Berlioz: Symphonie fantastique Los Angeles Philharmonic & Gustavo Dudamel
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- Hector Berlioz (1803-1869): Symphonie fantastique, Op.14
- 1Rêveries. Passions (Largo - Allegro agitato ed appassionato assai)14:57
- 2Un bal (Valse: Allegro non troppo)06:39
- 3Scène aux champs (Adagio)17:58
- 4Marche au supplice (Allegretto non troppo)06:39
- 5Songe d'une nuit du Sabbat (Larghetto - Allegro - Ronde du Sabbat: Poco meno mosso)09:44
- Upbeat Live - Pre-Concert Lecture
- 6Upbeat Live - Pre-Concert Lecture04:53
Info for Berlioz: Symphonie fantastique
In his “Fantastic Symphony in Five Parts,” a literal translation of the composer’s final title, Berlioz tells a musical tale with himself as the central character – creating not only a mood (as in Liszt’s symphonic poems), but states of mind and precise, physical situations. Nothing like it had been attempted on this scale before.
Berlioz’s new concept of how far one could go in dramatic music without resorting to a vocal text once caused considerable polemicizing over whether such music was viable without reference to the “story.” Wagner’s great friend and champion, Eduard Dannreuther, took the negative tack: “The Symphonie fantastique, particularly its finale, is sheer nonsense when the hearer has no knowledge of the program.”
„Dudamel is an excellent colorist . . . [his] colors are extremely vivid, and help with something else this conducting is very good at: maintaining great clarity of secondary lines, without muddying the primary melody. This is especially evident in the first movement her. Dudamel and the orchestra maintain a lovely, singing line through material that can otherwise seem merely introductory or transitional. Dudamel takes the movement's 'Passions' as seriously as the earlier 'dreams', perhaps even more so, with very strong accents and eruptive phrase launches in the more dynamic sections. The second-movement ball scene benefits from very flexible phrasing, and lots of feline portamento in the repeated opening material. The third movement is nicely bucolic . . . Then Dudamel and the LA Phil really take off in the 'Marc to the Scaffold', everything crackling with energy and played with a jolly snarl (and repeat) . . .“ (James Reel, Fanfare)
Los Angeles Philharmonic
Gustavo Dudamel, conductor
Steven Stucky, speaker
Engineered by Fred Vogler
Editing by David Frost, Fred Vogler
Mastering by Tim Martyn, Scott Sedillo
Produced by David Frost
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