{"product_id":"harty-and-monteux-conduct-berlioz-1927-35-pasc551","title":"HARTY and MONTEUX conduct Berlioz (1927-35) - PASC551","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphonie Fantastique\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOvertures, Marches and Orchestral Excerpts\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1927-1935\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 28:25  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHallé Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eParis Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHamilton Harty\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e and \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePierre Monteux\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare magazine review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThese are extremely old recordings, but the orchestral playing throughout is of an astonishingly high standard, and the recording quality is outstanding578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eHamilton Harty was one of that very rare species,\nan instinctive Berlioz conductor—but that is an understatement. He had\nan exceptional understanding of this unique composer and produced\nterrific performances with all the essential Berlioz qualities,\nespecially imagination. The electricity he generates in these recordings\nhas rarely, if ever, been equaled. In terms of sheer\nexposure—performances and recordings—Colin Davis did more than anyone to\nestablish Berlioz—not just the few popular overtures, of course, but\nthe operas and other large-scale works—but he tended to normalize this\neccentric music, moving towards moderation where fire and a sense of\ndanger are essential. Munch’s performances of the overtures are\ngenerally more characterful than Davis’s, but still Harty is in a\ndifferent class again. Immediately, with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBeatrice and Benedict\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nOverture, he is just perfect for this quicksilver piece—the prelude to\nan opera which Berlioz described as “a caprice written with the point of\na needle.” Rather than wearing the concrete boots seemingly preferred\nby numerous other conductors of this piece, Harty has borrowed Mercury’s\nwinged feet. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eMany performances of Romeo’s Reverie (or, more accurately, Romeo seul …\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Tristesse … Concert et bal\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e … ) suggest the young man is in a comatose state, but Harty’s pulsates with life, developing into passion, even in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo seul\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nsection. Maybe the passion is not so necessary here, but it is\ninfinitely preferable to the many faceless, bland, dreary versions\ncommitted to disc. As for the Fête of the Capulets—wow!—thrilling. This\nis so often flat-footed, but here—will the real Berlioz please stand\nup!—is a performance of magnificent drive, with flames leaping out in\nall directions. It’s incredible to hear an orchestra (London\nPhilharmonic) from 80 or so years ago playing as though their lives\ndepended upon it. What an inspiring conductor Harty must have been. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eIn the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDamnation of Faust\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nexcerpts Harty is delightful and charming in the “Dance of the Sylphs,”\nbut his “Hungarian March” is a little too fast (Berlioz’s marking of\nminim = 88 is usually ignored). Nevertheless, there is so much to admire\nhere—the sheer vitality and panache, the spat-out grace-notes, the\nclear bass drum, the swagger, incisive brass, the swell up and down on\nthe final chord—that the less than ideal tempo is easily overlooked. His\nacceleration may not be to everyone’s taste but it is undeniably\nstirring. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Royal Hunt and Storm has atmosphere and,\nlater, elemental power and demonic energy. Harty achieves superhuman\nplaying—this time from the Hallé in 1931. The return of the slow music\n(Berlioz marks\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e un poco ritenuto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003etwice) relaxes maybe a little too much, but it is not indulgent. The beginning of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Corsair\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is brisk without any sacrifice in clarity. The following section—marked \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio sostenuto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—initially\nseems too slow, so that one feels an eighth note pulse rather than\nquarter, but Harty shapes it beautifully. However, on checking with the\nscore, I find that Berlioz does actually mark an eighth note pulse\n(eighth note = 84), so this tempo turns out to be soundly judged.\nSubsequently, back in the swashbuckling music, he gets up a head of\nsteam and one can feel the players on the edge of their seats. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eHow did Harty know of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHamlet Funeral March\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nback then? This impressive piece is very rarely played even today.\nHarty builds to a powerful climax and then a moving conclusion. To end\nDisc 1, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRoman Carnival\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e receives a rousing performance, then \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKing Lear\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nbegins Disc 2. I have never come across this particular Harty\nrecording, so bravo to Pristine. There is a devilishly good Beecham\nrecording on BBC Legends, but Harty is even better. In the introduction\nhe takes Berlioz’s marked tempo of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante non troppo lento ma maestoso\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, avoiding the usual pomposity while also observing the staccato dots. His \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro disparato ed agitato assai\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is dangerous in the best sense. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eI have been a great fan of Hamilton Harty’s Berlioz (his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEnigma Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nalso is revelatory) for the past 40 years, so it is wonderful to see\nthese performances reissued again. There could be no greater cause for\ncelebration in this 150th anniversary year, though I hope I will be\nproved wrong in the coming months. I have already had one exceptional CD\nto review—François-Xavier Roth’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHarold in Italy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNuits d’été\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, so who knows? There may be unsuspected Berliozians out there. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eMonteux’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBenvenuto Cellini\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nhas plenty of energy, but also some over-deliberate passages, such as\nthe Cardinal’s theme in the bass. Monteux made five recordings of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphonie fantastique\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nof which this is the first, but he was not generally regarded as an\noutstanding Berlioz conductor (some may disagree), in spite of being one\nof the few to record \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo and Juliet\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nmany decades ago. The symphony is a problem piece (and, incidentally,\namong my least favorite Berlioz), accommodating both the Classical and\nthe grotesque, with both characteristics essential. Monteux’s 1930\nversion has many strengths. It is never lethargic, avoiding the\npotential longeurs in the slow movement, and often intense and\nmuscular—sometimes rather too emphatic. The contours are bold. There is\nno dreamy, pseudo-Impressionism. The “March to the Scaffold” has a\nsteady tempo, nearer than most to what Berlioz, I believe, had in mind.\nAgain, at a few points throughout the work, there is some walloping\nover-emphasis, but this is preferable to half-heartedness. Monteux\nevokes the necessary ferocity and can conjure up a devil of a storm. His\nfinale is especially fiery and brimful of character. This is genuinely\nscary, larger than life—taken as seriously as it should be. Witches were\nmuch more present in peoples’ minds in those relatively superstitious\ntimes. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eI realize that I have devoted much more space to\nHarty than to Monteux, but hopefully this is justified by his\nexceptional performances and his lower profile in terms of recording\nhistory. Finally, I must quote from Harty: “Berlioz and Mozart … are the\ntwo great intuitive composers as distinguished from the great logical\nones.… And it is intuition that I count as the supreme thing in music.\nCall it heart against head if you will. In Berlioz, as in Mozart, you\nare always coming upon a beautiful, fresh-sprung melodic line such as no\namount of head-work could have suggested. In Wagner, much as I love his\nmusic, I feel sometimes a mechanical process at work which makes me\nrate him below Berlioz.” \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eThese are extremely old recordings, but the\norchestral playing throughout is of an astonishingly high standard, and\nthe recording quality is outstanding. Mark Obert-Thorn has worked his\nusual remastering magic. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003ePhilip Borg-Wheeler \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n\n\n\n\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 42:6 (July\/Aug 2019) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC551.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nThis release commemorates the 150th anniversary of the death of Hector\nBerlioz (1803 – 1869) by presenting recordings by two of his greatest\nconductorial advocates: Sir Hamilton Harty and Pierre Monteux. Harty’s\ncomplete commercially-recorded Berlioz repertoire is collected here in its\nentirety for the first time (a 1991 Pearl CD featured all but the \u003cem\u003eKing Lear\u003c\/em\u003e Overture), coupled with Monteux’s complete pre-war\nrecordings of the composer’s works.\n\u003c\/p\u003e\n\u003cp\u003e\nIrish composer\/conductor Sir Hamilton Harty (1879 – 1941) considered\nBerlioz and Mozart as his two musical deities, due to what he perceived as\ntheir shared intuitive approach toward composition. His longest\nconductorial post was with the Hallé Orchestra of Manchester (1920 – 1933),\nwhose founder, Charles Hallé, had been a friend of Berlioz. Hallé had begun\na tradition of Berlioz performance with his ensemble which Harty continued\nand expanded into the then-new realm of recordings.\n\u003c\/p\u003e\n\u003cp\u003e\nBeginning with acoustic versions of the Hungarian March from \u003cem\u003eThe Damnation of Faust\u003c\/em\u003e (1920) and the \u003cem\u003eRoman Carnival\u003c\/em\u003e\nOverture (1924) for English Columbia, Harty presided over a string of\nnearly annual electrical sessions featuring Berlioz works. After leaving\nthe Hallé, Harty made several recordings as a guest conductor of Beecham’s\nnewly-formed LPO before making a final series for Decca in his last post as\nmusic director of the LSO, although the latter were hampered by the use of\na small hall, inferior engineering and noisier pressings. Throughout,\nHarty’s immense vitality and disciplined ensemble playing have rightly made\nhis Berlioz discs legendary.\n\u003c\/p\u003e\n\u003cp\u003e\nFor Pierre Monteux (1875 – 1964), an association with an orchestra steeped\nin the Berlioz tradition was also instrumental in developing his approach\ntoward the composer. While still in his teens, Monteux became principal\nviolist of the Colonne Orchestra, whose founder, Édouard Colonne, had known\nBerlioz and championed his works by presenting annual cycles. As Monteux’s\nformer pupil and biographer, John Canarina, notes, “Monteux felt he gained\ngreat insight into Berlioz’s music through Colonne’s understanding of the\ncomposer’s scores.”\n\u003c\/p\u003e\n\u003cp\u003e\nAlthough he conducted a wider array of Berlioz’s music, Monteux’s recorded\nrepertoire of the composer was small, comprising besides the three works\npresented here only \u003cem\u003eRomeo and Juliet\u003c\/em\u003e and the \u003cem\u003eFaust\u003c\/em\u003e\nHungarian March. While he went on to record the \u003cem\u003eSymphonie Fantastique\u003c\/em\u003e four more times after the 1930 Paris\nversion, Canarina relates that Monteux considered this early effort his\nfavorite, adding that “to this day, it is considered one of the greatest\nrecorded performances of the work.”\n\u003c\/p\u003e\n\u003cp\u003e\nThe Harty transfers were made from the best portions of pre-war American\nColumbia and early laminated English Columbia pressings, while the Monteux\nrecordings came entirely from US Victor “Z” pressings. Multiple copies of\neach record were located in order to ensure the best sources were used.\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eHARTY and MONTEUX conduct BERLIOZ\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eSymphonie Fantastique\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eOvertures, Marches and Orchestral Excerpts\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eStudio Recordings ∙ 1927 – 1935\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1 (68:51)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eBeatrice and Benedict – Overture\u003c\/strong\u003e (7:45)\u003cbr\u003eRecorded 2 November 1934 in Abbey Road Studio No. 1, London\u003cbr\u003eMatrix nos.: CAX 7331-2 \u0026amp; 7332-2 (Columbia LX 371)\n\u003c\/p\u003e\n\u003cp\u003e\n2 \u003cstrong\u003eRomeo’s Reverie and Fête of the Capulets\u003c\/strong\u003e \u003cstrong\u003e(from Romeo and Juliet, Op. 17)\u003c\/strong\u003e (11:29)\u003cstrong\u003e\u003cbr\u003eLéon Goossens (solo oboe)\u003c\/strong\u003e\u003cbr\u003eRecorded 5 September 1933 in Abbey Road Studio No. 1, London\u003cbr\u003eMatrix nos.: CA 13894-1, 13895-2, 13896-1 \u0026amp; 13897-2 (Columbia DB\n1230\/1)\n\n\u003c\/p\u003e\u003cp\u003e\n3. \u003cstrong\u003eQueen Mab Scherzo (from Romeo and Juliet, Op. 17)\u003c\/strong\u003e (7:26)\u003cbr\u003eRecorded 2 May 1927 in Free Trade Hall, Manchester\u003cbr\u003eMatrix nos.: WRAX 2658-2 \u0026amp; 2659-1 (Columbia L 1989)\n\u003c\/p\u003e\n\u003cp\u003e\n4. \u003cstrong\u003eDance of the Sylphs (from The Damnation of Faust, Op. 24)\u003c\/strong\u003e\n(2:52)\u003cbr\u003eRecorded 2 May 1927 in Free Trade Hall, Manchester\u003cbr\u003eMatrix no.: WRAX 2662-2 (Columbia L 2069)\n\u003c\/p\u003e\n\u003cp\u003e\n5. \u003cstrong\u003eHungarian March (from The Damnation of Faust, Op. 24)\u003c\/strong\u003e\n(3:51)\u003cbr\u003eRecorded 2 May 1927 in Free Trade Hall, Manchester\u003cbr\u003eMatrix no.: WRAX 2663-2 (Columbia L 2069)\n\u003c\/p\u003e\n\u003cp\u003e\n6. \u003cstrong\u003eRoyal Hunt and Storm (from Les Troyens)\u003c\/strong\u003e (9:45)\u003cbr\u003eRecorded 10 April 1931 in Central Hall, Westminster, London\u003cbr\u003eMatrix nos.: WAX 6062-1 \u0026amp; 6063-2 (Columbia DX 291)\n\u003c\/p\u003e\n\u003cp\u003e\n7. \u003cstrong\u003eThe Corsair – Overture, Op. 21\u003c\/strong\u003e (8:43)\u003cbr\u003eRecorded 2 November 1934 in Abbey Road Studio No. 1, London\u003cbr\u003eMatrix nos.: CAX 7333-2 \u0026amp; 7334-1 (Columbia DX 664)\n\u003c\/p\u003e\n\u003cp\u003e\n8.\n\u003cstrong\u003e\nFuneral March for the Last Scene of Hamlet (No. 3 from Tristia, Op. 18)\n\u003c\/strong\u003e\n(8:02)\u003cbr\u003eRecorded 18 April 1935 in Abbey Road Studio No. 1, London\u003cbr\u003eMatrix nos.: CAX 7525-1 \u0026amp; 7526-2 (Columbia LX 421)\n\u003c\/p\u003e\n\u003cp\u003e\n9. \u003cstrong\u003eRoman Carnival Overture, Op. 9\u003c\/strong\u003e (8:58)\u003cbr\u003eRecorded 12 February 1932 in Central Hall, Westminster, London\u003cbr\u003eMatrix nos.: CAX 6277-2 \u0026amp; 6278-2 (Columbia LX 172)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eLondon Philharmonic Orchestra (Tracks 1, 2, 7 \u0026amp; 8)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eHallé Orchestra (Tracks 3 – 6 \u0026amp; 9)\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e Sir Hamilton Harty (conductor)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (79:33)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eKing Lear – Overture, Op. 4\u003c\/strong\u003e (11:43)\u003cbr\u003eRecorded 15\/16 October 1935 in Thames Street Studio, London\u003cbr\u003eMatrix nos.: TA 1985-II, 1986-III \u0026amp; 1987-III (Decca K 792\/3)\n\u003c\/p\u003e\n\u003cp\u003e\n2. \u003cstrong\u003eMarche Troyenne (from Les Troyens) \u003c\/strong\u003e (4:00)\u003cbr\u003eRecorded 16 October 1935 in Thames Street Studio, London\u003cbr\u003eMatrix no.: TA 1988-II (Decca K 793)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eLondon Symphony Orchestra\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eSir Hamilton Harty (conductor)\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eLes Troyens – Prelude to Act 3\u003c\/strong\u003e (4:09)\u003cbr\u003eRecorded 31 January 1930 in the Salle Pleyel, Paris\u003cbr\u003eMatrix no: CF 2830-1 (Disque Gramophone W 1142)\n\u003c\/p\u003e\n\u003cp\u003e\n4. \u003cstrong\u003eBenvenuto Cellini – Overture, Op. 23\u003c\/strong\u003e (10:44)\u003cbr\u003eRecorded 30 January 1930 in the Salle Pleyel, Paris\u003cbr\u003eMatrix nos.: CF 2827-2, 2828-1 \u0026amp; 2829-2 (Disque Gramophone W 1141\/2)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eSymphonie Fantastique, Op. 14\u003c\/strong\u003e\u003cbr\u003e5. 1st Mvt.: Rêveries – Passions (13:04)\u003cbr\u003e6. 2nd Mvt.: Un bal (5:56)\u003cbr\u003e7. 3rd Mvt.: Scène aux champs (16:10)\u003cbr\u003e8. 4th Mvt.: Marche au supplice (4:41)\u003cbr\u003e9. 5th Mvt.: Songe d’une nuit de sabbat (9:07)\n\n\u003c\/p\u003e\u003cp\u003e\nRecorded 20, 23 \u0026amp; 27 – 29 January and 3 February 1930 in the Salle\nPleyel, Paris\u003cbr\u003eMatrix nos.: CF 2757-1, 2758-3, 2799-2, 2786-2, 2787-1, 2800-1, 2807-2,\n2808-2, 2801-3A, 2806-2, 2816-2 \u0026amp; 2817-3A (Disque Gramophone W 1100\/5)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eOrchestre Symphonique de Paris\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003ePierre Monteux (conductor)\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eSpecial thanks to Nathan Brown, Michael Gartz and Charles Niss for\nproviding source material\n\n\u003cbr\u003eCover artwork based on photographs of (L-R) \u003cb\u003eMonteux\u003c\/b\u003e, \u003cb\u003eBerlioz \u003c\/b\u003e\u0026amp; 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