Berlioz – Symphonie fantastique, Op. 18

Concertgebouworkest

19.9933.49
Clear
Original Recording Format: DXD

 

Daniele Gatti: ‘Berlioz enriched my stay in Paris immeasurably. Not just with the orchestra, but as an ordinary citizen. I lived in the city, I had a little apartment, and I experienced the city like a Parisian. I read a lot of history, I’m mad about the French Revolution, and I became aware how at that historic, epic moment, the world changed completely. Not just in politics, but also in the arts. The Enlightenment developed into the Sturm und Drang of the Romantic era. Berlioz is the clearest example of that, a composer who demonstrates quite literally what it means to be a ‘Romantic’ in a very personal sense: to consider the ordinary as extraordinary, the familiar as strange, the everyday as sacred, and the finite as infinite. In September of 2014, I conducted Roméo et Juliette with the Orchestre National, and it was then that I said, before I leave Paris I also want to do the Symphonie fantastique.’

Tracklist

1.
Symphonie fantastique, Op. 14, H. 48 - I. Reveries - Passions
16:17
2.
Symphonie fantastique, Op. 14, H. 48 - II. Un Bal
06:25
3.
Symphonie fantastique, Op. 14, H. 48 - III. Scene aux Champs
17:35
4.
Symphonie fantastique, Op. 14, H. 48 - IV. Marche au Supplice
07:27
5.
Symphonie fantastique, Op. 14, H. 48 - V. Songe d'une Nuit du Sabbat
10:26

Total time: 00:58:10

Additional information

Label

SKU

RCO16006

Qualities

, , ,

Channels

, ,

Artists

Composers

Genres

,

Digital Converters

Horus

Editing Software

Pyramix

Mastering Engineer

Everett Porter

Mastering Room

B&W Nautilus

Microphones

Neumann, Schoeps

Conductors

Original Recording Format

Producer

Everett Porter

Recording Engineer

Everett Porter, Karel Bruggeman, Lauran Jurrius

Recording location

Concertgebouw Amsterdam, The Netherlands

Recording Software

Merging

Recording Type & Bit Rate

DXD

Release Date November 11, 2016

Press reviews

HRAudio.net

“This album is being released to mark the commencement of Gatti’s tenure as Music Director with the Concertgebouw. This relationship is already very special. In terms of heritage, the Concertgebouw have this music in their blood. Gatti’s conception is a worthy successor yet also rather different. The first difference of note is that Gatti chooses to place the violins antiphonally which serves to clarify string textures throughout the work. The second, arguably the most noticeable, difference is that the first introduction of the idee fixe is given a great deal of space: in Gatti’s own words from the booklet “And so I took the tempo just a little bit slower there.” This decision is, to these ears, something of an understatement but one to which the listener quickly adjusts. After the double bar, the idee fixe is transferred to the violas, cellos and basses whereupon Gatti gives a rather unusual take on the dynamic instructions which is far more disconcerting than the earlier relaxation of the tempo. Generally though, the textural balances are marvellously clean and one would never guess that this recording emanated from concert performances. The recording served up here is nothing short of sensational. It’s scarcely credible from the lack of audience noise that this derives from concert performances, the clarity is astounding (even for this hall) and the reflection of the playing in the dynamic range is simply wonderful. This is simply outstanding music making and one can quite see why this collaboration became the prelude to their longer term relationship. Better yet, the recording is as good as the performance. Performance and Multichannel Sonics: 5 Star Rating.”

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