Berlioz: Symphonie Fantastique

Although Sir Thomas Beecham would have been no friend to the “period instrument” movement, he was nevertheless acutely sensitive to the specific timbral characteristics of French music, in which he excelled. He chose to record the Symphonie Fantastique with the French National Radio Orchestra, which in the 1950s still had a character that Berlioz would have recognised as being peculiarly French, narrow-bore brasses with their bright, clean attack, waspish winds and fat-free strings. In a number of ways, the tonal profile of the FNRO as recorded here is closer to Roger Norrington’s London Classical Players than to, say, Beecham’s Royal Philharmonic Orchestra. He recorded the Symphonie Fantastique twice with the FNRO; it is his 1959 stereo remake that has been reissued on EMI’s Great Recordings of the Century series. In truth, it’s not one of the great recordings of 1959, let alone the century, being rather edgy and “toppy.” Don’t let that put you off; this is one of the most electrifying Berlioz performances ever committed to disc.

“C’est un Dieu,” the FNRO’s leader observed at the conclusion of the sessions. How he makes them play! The Scene aux champs positively glows in Sir Thomas’s hands, while the opening Reveries-Passions movement casts its spell from the first bar. The hero is dispatched with devilish glee at the conclusion of the Marche au supplice and Beecham and his wonderful orchestra play the Songe d’une nuit du Sabbat as if it was their last day on earth. The other items on the CD will be familiar to Beecham aficionados in one form or another. Le Corsaire, often featured on Sir Thomas’s programmes; it is after all an excellent vehicle to demonstrate an orchestra’s corporate virtuosity. The Marche troyenne was a frequent “lollypop,” while the Royal Hunt and Storm might have been written for Beecham to conduct. It is a very great pity that Beecham was never asked to conduct Les Troyens in the opera house (or indeed in the recording studio). The Chasse royale is given in its original version with chorus; the Beecham Choral Society’s ecstatic shouts contribute greatly to the overall effect. Marvellous stuff, and an essential part of any Berlioz collection.