Artist: Los Angeles Philharmonic, Gustavo Dudamel
Album: Berlioz: Symphonie fantastique
Genre: Classical
Release Date: 2013
Audio Format:: FLAC (tracks) 24bit, 96 kHz
Duration: 01:00:50
Total Tracks: 6
Total Size: 951 MB

Tracklist:

01. Los Angeles Philharmonic, Gustavo Dudamel – Symphonie fantastique, Op.14 – I. Rêveries. Passions (Largo – Allegro agitato ed appassionato assai) (14:57)
02. Los Angeles Philharmonic, Gustavo Dudamel – Symphonie fantastique, Op.14 – II. Un bal (Valse: Allegro non troppo) (06:39)
03. Los Angeles Philharmonic, Gustavo Dudamel – Symphonie fantastique, Op.14 – III. Scène aux champs (Adagio) (17:58)
04. Los Angeles Philharmonic, Gustavo Dudamel – Symphonie fantastique, Op.14 – IV. Marche au supplice (Allegretto non troppo) (06:39)
05. Los Angeles Philharmonic, Gustavo Dudamel – Symphonie fantastique, Op.14 – V. Songe d’une nuit du Sabbat (Larghetto – Allegro – Ronde du Sabbat: Poco meno mosso) (09:43)
06. Steven Stucky, Los Angeles Philharmonic, Gustavo Dudamel – Berlioz: Upbeat Live – Pre-Concert Lecture (04:52)

Download:

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