Berlioz was the first Romantic master of the orchestra. His music hasn't been surpassed in terms of sheer brilliance and accuracy of effect. This set includes all of the overtures, the Symphonie fantastique, Harold in Italy, the Royal Hunt and Storm from Les Troyens, orchestral music from The Damnation of Faust and Romeo and Juliet, and the completely insane Grande Symphonie funebre et triumphale. Davis achieved his reputation as a conductor as a Berlioz specialist, and he proves an expert advocate on behalf of this stimulating, bizarre, and totally original genius.
The nine-time Juno-winning Canadian James Ehnes is centre stage in a new recording of orchestral works by Berlioz, with the Melbourne Symphony Orchestra conducted by Sir Andrew Davis. This recording was made following an extraordinary concert in November 2014 with the same forces, in which James Ehnes played two instruments made by Stradivarius, respectively a viola in the solo part of Harold en Italie – ‘symphony with a principal viola part’, in Berlioz’s words – and a violin in the solo of Rêverie et Caprice, both of which works feature here.
This is a delightful recording from a conductor more closely allied than any other to Berlioz's music. With Berlioz the devil is always in the detail; he was an extraordinary orchestrator and capable of writing unidiomatically for instruments–especially the woodwinds–in order to get exactly the sound he wanted. Or rather, sounds, for the whole texture is made up of many layers. Davis understands this as if by instinct, and draws some beautiful playing from the instrumentalists without ever losing sight of the whole picture. It has been said that the French style of phrasing is all foreplay and no climax: the singers bring this teasing quality to their long, flowing lines but with a charmingly English home-counties blush too. Elsie Moris's light tone is a perfect match for Peter Pears' cool, silvery voice in this respect - and the choir too makes a good full sound without ever getting too heavy. The two discs also include some other gems from the pen of this most idiosyncratic of composers.
After a highly acclaimed recording of Briten’s Cello Symphony (ONYX4058) Pieter Wispelwey and the Flanders Symphony Orchestra, conducted by Seiko Kim, turn to two romantic cello concertos whose neglect is hard to fathom. Lalo, unusually for a French composer in the mid 19th century, was drawn to chamber music, and formed a string quartet (in which he played viola, and later second violin) that championed the works of Haydn, Mozart and Beethoven. His passion for chamber music developed to embrace large scale orchestral works – two violin concertos, the famous 'Symphonie espagnole' for violin and orchestra, a symphony in G minor, the Piano Concerto and the concerto recorded here: the Cello concerto in D minor of 1877.
The London symphonies, sometimes called the Salomon symphonies after the man who introduced London to Joseph Haydn, were composed by Joseph Haydn between 1791 and 1795. They can be categorized into two groups: Symphonies No.93 through 98, which were composed during Haydn's first visit to London, and Symphonies No.99 through 104, composed in Vienna and London for Haydn's second London visit.