Berlioz: Symphonie Fantastique, Op. 18

The Times

The string sound is silky. The brass glowing. The woodwind characterful.

HRAudio.net 5 out of 5

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 marvelously 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.

John Broggio - Source