It was designed by Berlioz as a sequel and second part to the Symphonie fantastique An Episode in the Life of an Artist. Each section is surrounded by a narrative: 1. Harold aux montagnes Adagio Berlioz: Harold en Italie, Op. In particular the generous amount of spoken dialogue results in listening difficulties, unless one actually follows and concentrates on the translated text. I must single out the famous cor anglais solo from Le Carnaval romain for special praise.
Hector Berlioz photographed by 1863 This is a list of works by the French composer. Consider the climax of the Lacrimosa in the Requiem, or the way Davis grinds out the closing bars of the first movement of the Grande symphonie funèbre et triumphale. Un bal Valse: Allegro non troppo Berlioz: Symphonie fantastique, Op. This is a rousing and exciting section for baritone, chorus and orchestra. The part for harp is especially effective. It is hard to fault the narration by Lafont, which is particularly well enunciated, displaying a fine feeling for the words.
Still, if you want the almost complete Berlioz without the operas, including all of the ballet music and overtures associated with them, then you can hardly go wrong with this thirteen disc set. I thoroughly enjoyed the essay from Richard Langham Smith, although, I am still searching for a clearer description of Lélio. From 1844 the score was originally intended as a symphonic introduction to the second act of his opera Benvenuto Cellini - a work that had failed at the Paris Opéra in 1838. For this chilling death march the brass, low strings and percussion are joined by the mixed choir. Evidently the sprawling and often bewildering text of Lélio comprises quotations from his own letters and the inspiration from his literary favourites; such as Goethe and Shakespeare. Whilst listening to the score I compiled the following notes: The score to Lélio commences with a narrative and is divided into six distinct sections. Harold aux montagnes Allegro Berlioz: Harold en Italie, Op.
Song of Bliss - Hymn, Larghetto un poco lento, The inner voice of Lélio. By the time the overture was completed Berlioz had decided that he would issue the score as a stand-alone concert overture. Colin Davis Rêverie et caprice, Op. © 1997 Universal International Music B. Check back regularly for more music from your favourite composers including Bach, Mozart, Chopin, Debussy, Satie, Beethoven, Vivaldi, Handel and more. Colin Davis Grande Symphonie funèbre et triomphale, Op. A generally relaxing section that flows easily.
The recording, considering its age almost miraculously fresh sounding, is impeccably detailed and well balanced. Probably the best known version of the popular concert overture Le Carnaval romain is the robustly dramatic 1965 performance from the London Symphony Orchestra under Sir Colin Davis. Sérénade Allegro assai - Allegretto Berlioz: Harold en Italie, Op. Imai and Davis team up for a splendid reading of Harold in Italy, deftly characterized and brilliantly played. In spite of fine performances and recording, Lélio, the featured work, is I fear, a curiosity destined for continued obscurity. The genres given below should be regarded as merely a guideline.
The recording is prime quality analog: dynamic, well balanced, and ideally spacious. In his role as soloist Jean-Philippe Lafont, as the captain, is in impressive form; noticeably strong and expressive. However, it is also thought that the romantic inspiration for Lélio was his fiancée Camille Moke. . The short work Hélène was originally composed in 1829 as a song for two voices and piano using translated texts from Thomas Gounet, after Thomas Moore.
Here the strings and woodwind provide light accompaniment to tenor Sune Hjerrild, as the inner voice of Lélio, who sings beautifully; searingly tender. The Aeolian Harp - Recollections, Larghetto A highly attractive section for strings and harp with a poignant part for clarinet solo. The performance is gorgeously played, but not crazy enough in the last two movements, and the sonics are dry, particularly in the bass. The musical compositions are arranged by both opus number and genre. Chant de bonheur Berlioz: Lélio ou le retour à la vie, Op. Marche au supplice Allegretto non troppo Berlioz: Symphonie fantastique, Op. In 1844 Berlioz completed a version for chorus and orchestra that was premièred the same year in Paris at the same concert as the first performance of the Le Carnaval romain.
Colin Davis Overture «Le roi Lear», Op. Over muted strings and light percussion the chorus sounds as if it consists of all-male voices, which must represent a choir of shepherds singing about the love between Hélène and William. My description of Lélio is a pasticcio, comprising assorted fragments, loosely fitted together by a narrative. Apothéose Allegro non troppo e pomposo Berlioz: Symphonie funèbre et triomphale, Op. The opening work on the disc is the popular and exciting Le Carnaval romain Ouverture caractéristique. La harpe éolienne - Souvenirs Berlioz: Lélio ou le retour à la vie, Op.