Berlioz Symphonie fantastique, Op. 14 a. Le carnaval romain, Op. 9 b. Le corsaire, Op. 21 b. Harold in Italy, Op. 16 c. Symphonie funebre et triomphale, Op. 15 d. c Nobuko Imai (va); d John Alldis Choir; London Symphony Orchestra / Sir Colin Davis.

Philips Duo (Mid  price) (CD) 442 290-2PM2 (two discs: 150 minutes: ADD). Item marked a from SAL3441 (5/64), b SAL3573 (10/66), c 9500 026 (3/76), d SAL3788 (3/70).

Symphonie fantastique—selected comparisons:

LCP, Norrington (4/89) (EMI) CDC7 49541-2

ORR, Gardiner (6/93) (PHIL) 434 402-2PH

Harold in Italy—selected comparison:

Menuhin, Philh, C. Davis (11/90) (EMI) CDM7 63530-2

Davis's performances of Berlioz remain among the finest of our time, and in days when there was still a cause to be won they played a crucial part in establishing a central place in the repertory for that wayward romantic genius. Those here recorded have long been favourites with collectors and it is splendid, and splendid value, to have them here assembled in a convenient two-disc format. The oldest, the Symphonie fantastique, has been more sumptuously recorded since, but not conducted more perceptively or more excitingly, not least since Davis never goes for mere excitement: his charge of energy comes from a deeper involvement with the music, so that the liveliness of "Un bal" can emerge from a tinge of the sinister in the opening figures and the "Marche au supplice" thuds with menace beneath the crack of the rhythms. There is a strong case for the period-instrument versions by Norrington and Gardiner, but of those using the standard modern orchestra there is none I would prefer.

Nobuko Imai's performance of Harold is not, however, one to set above Davis's 1962 recording of the work with Menuhin. She is confident, warm and smooth where Menuhin's more questing approach seeks out more. Nevertheless, it is a fine performance, as is that of the Symphonie funebre et triomphale. The two overtures make up a full pair of discs in a highly recommendable package.
JW