I was completely wowed when I heard the Tilson Thomas so I'm glad he's up there with the best!!!

Glad you mentioned Karajan II. At the end of the 4th Movement, he pauses ever so slightly after the loud "Guillotine chop" so that the two "plunk plunks" of the head falling off the chopping block are clearly heard. Best bells ever in the 5th indeed!

My favorite recording is the London Symphony Orchestra with Sir Colin Davis. Very rowdy, loud and engaging!

Back in the sixties I heard two recordings of the Symphonie Fantastique one by Bernstein and then one of Boulez. Both really blew me away. Didn't have to be on anything except the highs of this beautiful music.

Ah, rehabilitation is here. My first acquaintance with the Fantastique was through Roger Norrington's recording. Need I say more?

Munch and Berlioz is a win, win. His interpretations of Symphonie Fantastique, Romeo and Juliet, L'Enfance du Christ, and the Requiem are without peer ,

Sold on the 1962 Munch/BSO. Followed your recommendation and got a good download of it. Revelatory. Put me in such a good mood after the first listening.

The MTT story reminds me of reading a neuroscientist from an Ivy League school writing that he and two colleagues agreed on the best music for coming off a bad acid trip: Haydn’s string quartets.

I still maintain that nobody got the measure of the crazy spontaneity of the Sinfonie Fantastique better than Stokowski. His 1968 live recording with the Philharmonia has the greatest adrenaline rush of the finale of all time (acknowledged by the roar of the audience afterwards)

Hallo David! Yes, I agree: the Symphonie Fantastique conducted by Karajan and by Paray are absolutely stunning. Paray really is very fast - maybe the fastest performance available, but so wonderful! In my humble opinion I think that Colin Davis is a very refined interpreter of this Symphony...I've got different recordings of it because I love Berlioz...one also that struck me was Myung-Whun Chung and the Orchestre de l'Opéra Bastille. But there's another which is absolutely astonishing, very well played and recorded and also with a rich sound of bells in the finale: this is The Hague Philharmonic Orchestra with Willem van Otterloo conducting...for me is one of the best performances ever of the Symphonie Fantastique...van Otterloo is on the fast side like Paray...he has recorded in the 50s the Fantastique also with the Berliner Philharmoniker and they have never played it at the ages of Furtwangler, Celibidache and so on. So van Otterloo spent much time to teach how rightly play the notes to Berliners! Unbelivable, right?! Anyway, personally, I strongly recommend the Symphonie Fantastique with The Hague Philharmonic and Willem van Otterloo conducting. I'm sure that also Berlioz from the Olympus of great musicians would have appreciated it! :D

So glad that Paray gets a mention - his is still the Fantastique that (for me) most captures the spirit of the work, and it's incredibly exciting too (as well as having some ear-opening orchestral balance). The one you don't mention that I've always liked a lot is Van Beinum's Concertgebouw recording on Decca. Completely agree about the Davis versions.

I generally agree with the picks but would add the Monteux/SFS recording from the early 50s.

"I believed what I was told by Gramophone!" How many of us could ruefully admit to that? Love your reviews!

Ormandy and Solti really knew how to work with the Symphonie Fantastique. Very different but excellent. Oh...and Beecham! But most recordings are horrible. Davis did two or three recordings....very clear but emotionless.

I have come across several recordings of the Symphonie Fantastique made in Paris in the early days of stereo, when Parisian orchestras still had their distinctive sound. As noted in the video, there is Igor Markevitch with the Lamoureux. There is also Pierre Dervaux with the Colonne; Ataulfo Argenta and Constantin Silvestri, both with the Conservatoire, Sir Thomas Beecham with the French Radio Orchestra, Louis Fourestier with Cento Soli and Pierre Michel LeConte with the Paris Opera Orchestra. None of these may challenge Munch in Boston for top prize, but they all have a special ring of authenticity in their customary playing of the piece.

Thank you for the advise, my wife is on the hunt now, for Christmas. I could listen to "Songe d'une nuit du Sabbat" on KZfaq. Incredible.

Munch (either one) and Colin Davis/Concertgebouw for me. Two very contrasting performances. The Davis emphasizes the lyrical qualities that are in abundance in the first three movements, and Davis was great with bringing out the form and structure. It may not be hysterical and white hot, but neither is it boring; it is supremely lyrical, and plays up that side of Berlioz. Munch, of course, is very spontaneous and brings out the hysteria and weirdness. I think they are both great, but in very different ways.

I remember a comment made about the Bernstein Royal Edition, that Prince Charles' watercolors were an amazingly blue-blooded addition to these red-blooded performances. I love that.

David, thank you so much for these videos. I am loving them. However, with the Symphonie Fatastique, the 1930 recording from Monteux with the Paris Symphony Orchestra holds a special place in my heart. I'm sure you must have heard the story behind it. Supposedly Monteux got a copy of the score marked up by Edouard Colonne. As a young man, Colonne had admired, met, and known Berlioz, and notated in the score the kind of tempos and phrasing that he heard in the composer’s own performances of his music. These score changes were passed on to Monteux, who also carefully notated them. But when the Nazis invaded France in 1940, they stole all of his scores, including the Symphonie Fantastique. Monteux claimed that because of this he could never reproduce these effects again. This is a very different performance than most others. In some ways it's closer to the wonderful Bernstein version you mentioned in the video (though with much worse sound). Anyway, I'd be interested to hear your take on this.

I agree that the 1962 Munch/BSO is the finest account overall.Karajan/BPO from the 1970’s is surprisingly inspired and well balanced. Colin Davis actually left four recordings of the SF: three on Phillips with the LSO, RCO, and the VPO, respectively, and one with the LSO, on LSO Live. I’ve heard them all except for the VPO; good but not very exciting. Glad you mention Bernstein ‘63, MTT, Paray, and Markevitch; we have them and they are excellent. I have soft spots for the Abbado/CSO, Muti/PhdO, and Beecham recordings.

I love all your reviews. The Norrington was so funny. And you are so cute.

I purchased the Karajan as an LP when it came out ... and wore it out; since replaced with Cd; and have ordered the newly available CD version with the enhanced CD technology. Will try and get the last two versions you mentioned to see if they really match up to Karajan.

The Igor Markevitch has been my favourite recording for some time along with his Damnation of Faust. I also enjoy Thomas Beecham’s recording on EMI. I haven’t heard either of the Much recordings so I will look into these.

Muti/Philadelphia is also another good one. I know the Muti/Philly recordings have gone relatively unnoticed, but they are uniformly excellent. Sleepers!

Agree with you on the Munch recording. I was surprised you didn't include Eugene Ormandy and the Philadelphia Orchestra. That was my first experience with the Berlioz symphonie.

And now we have another Fantastique on the market, with Celibidache and his Munich forces. It was released a few days ago. I'm curious and anxious at the same time. Will it be Anton Berlioz? Does anyone has any thoughts about it? Hit or miss?

David, what is the rule for repeats in Fantastique? Colin Davis observes them. There are only repeats for mvt 2 and mvt IV, right? In which case, Davis is really not that much slower, aside from the Countryside mvt where he really luxuriates in comparison to say Paray. Anyway, I do like Davis. But I'm now curious to sit down and give those other guys you mentioned a go! Cheers.

I looooooove the Markevich/Lamoruex performance. The orchestral sound is unique and Markevich's interpretation is a wonder. I do like the old Davis/Concertgebouw record (the coronet has a ball!) as well as the Muti/Philadelphia performance (the bass trombone, Charlie Vernon I think, is a monster in the 4th movement). Munch 1...yes. Karajan 2...yes, for those bells! Janowski...yes. Tilson-Thomas...yes. Mehta/LPO...yes.

In 1969, had the very good fortune to hear a VERY young Michael Tilson-Thomas (subbing for an ailing Erich Leinsdorf) conduct the Boston Symphony Orchestra in Bizet's Symphony in C and Berlioz' Symphonie Fantastique at Symphony Hall. It was pretty great. The brass (Ghitalla, Voisin, Come, etc.) and the percussion (Firth, Press, etc.) shone. I don't think I've heard a better one since.

Thanks for another great commentary/review. What's the date on Karajan 2?

Just stumbled on a video of this piece here on KZfaq with Beecham and the National Radiodifussion France. On vynil- RCA (1959). And wow. Better than the remaster. I won't say it's the greatest performance ever. However, Beecham has a certain intensity that's hard to put into words. Kind of a push and pull effect throughout. The march is slightly slower, but not sluggish. You also hear the nuasances in the strings in the waltz. Surprisingly, he gives a rougher edge to the brass Especially in the finale which is downright frightening. And yes, he plays the third just past the sixteen minute mark. But it doesn't drag. Again maybe not a top ten rendition, but it's definitely worth a listen. Just didn't know if anybody remembers this recording.

i lucked out and found a paray recording. it is with the detroit orchestra and that is not the one you recommended. so my back up is the munch rca victrola (the latter one) it is sitting in my 'cart' and i am trying to decide whether i can order it b4 i get my roommate's rent and my social security. of course i have the $ and these things do disappear, so i will go ahead. on the morrow. thanks for your comments on these recordings

One recording of the Fantastique you rarely hear about it Ernest Ansermet and La Orchestra d' la Suisse Romande. I believe it was recorded on the London label.

I might have added the Silvestri to the usual suspects, but agree the 1962 Munch is my favorite, too. That said, I happen to love the Davis/RCO. And I can't say I like the Klemperer any less than e.g. the Paray.

I have been listening and collecting classical music for 20 plus years; confidently, I can say I know something about it and the recordings of it. I need to make a suggestion for a couple pieces of French Music you should review. Since this is a review of a French Composer it seems the logical place to put it. Suggestions: 1. Ernest Chausson - Symphony in B flat major and his Poeme for violin and orchestra. His symphony is astoundingly good and the "Poeme' is dramatically romantic. I know your a piano person, but I am a violin person. Vibrato.vibrato.vibrato: the violin sings...the piano...well...it doesn't...I still very much enjoy what has been written for the piano---it's great!---but---I enjoy the violin more!! CD rankings: a. 1st-choice-RCA-The Boston Sym. conducted by C. Munch and the Poeme with David Oistrakh, violinist b. 2nd choice-Decca-Double CD-Set with the OSM conducted by C. Dutoit. This set also has a very nice comparably version of the Poeme and nice vocal piece. The second cd has Chausson's Piano Quartet and a Piano concertish Quartetish piece which are both very nice. It's really too bad but, I wish Chausson knew how to ride a bicycle....... 2. Camille Saint-Saens - La Foi (3 Symphonic Pictures), Op. 130 and the Suite algerienne, Op. 60. Cd rankings: La Foi: a. I like EMI 's recording with Michel Plasson conducting. It's coupled with an organ piece and Symphony No. 3. Suite algerienne: a. The only recording I have is on NAXOS and I have listened to another on youtube. It's OK. But, I like the coupling on NAXOS - because you get the Suite in D major and one in D minor and a Serenade transcribed for Orchestra. It's all very good....performance and sound. I watched your review on "Magnard's Symphony No. 4". I enjoy Chausson's Symphony and Saint-Saens' "La Foi" more the Magnard's #4.....

I’m so commenty that I cannot help writing here about Kegel/Dresden PO version. Serious and heavy, not elegant, not demonish, maybe somewhat cold, still burning undersurface. Quiet enthusiasm. The bell sound of the 5th movement is unique. The recording is superb. Worth trying as the 11th or 12th collection.

@David Hurwitz can you make a video about stereo and mono recordings diffrances and which is better for symphonic music

Maazel and Cleveland on Telarc is the first one I had (and one of my first CDs). I find it a bit stiff, but I keep thinking it must be me, it's Telarc after all and must be terrific given the label's rep for sound quality. I do like it, particularly the third movement, which is lovely.

Listening to Martinon now. What a fantastic cornetist in Un Bal.

Mackerras with the Royal Philharmonic is the one I grew up with. Why is it not mentioned much? It has a wonderfully played cornet solo in the second movement and the last note at the end of the final movement is held longer than most recordings. It's such a satisfying conclusion to the insanity, like waking up from a nightmare. I think it has ruined me for the Fantastique. It's always my point of reference for comparisons and I feel nothing has surpassed it yet, although Paray comes close in my list. Who knows? That may just be due to emotional value for me.

could we have your opinion on Karajan's mono 1952 with the Philharmonia? I thought it superior to his later Berlin recordings.

Regarding more recent recordings I think Rattle/BPO, Barenboim/West Divan Orchestra, Jansons/Bavarian Radio SO, and finally Daniel Harding/Swedish Radio SO are all very good indeed. As for classic recordings, to add to the Munch recommendation, what about Louis Fremaux with the LSO on Collins? Very good indeed.

Hello David - I am a keen follower of your reviews - last night I listened to this symphony conducted by the late Ataulfo Argenta with the Paris Conservatoire - and was surprised it sounded different from other popular versions - are you aware of this particular recording ? Thanks

I actually enjoy the first three movements. I first heard this symphony as an 11 year old, the first LP I bought - Silvestri and the Paris Conservatoire Orchestra, I loved it. I agree Munch is superb! Does anyone else find Martinon's annoying in the second movement - that trumpet drives me crazy!!! the rest is great though.

what year did the 2nd Karajan recording come out? very challenging to figure out online. There are many many covers out there

Hello, Pardon my interruption. Of the 1372 languages you appear to speak, I am curious. You never miss a chance to diss the major British music publication. So, other than your own very fine periodical, is there a current English language publication you consider to largely get their critiques right? And beyond that, what foreign language publication do you consider the best? Thank you.

Dave, I wish you would have addressed which good recordings, if any restore the coronet parts in the waltz. They are idiomatically written ( recall Arban and Saint-Jacome ) and add a welcome touch of contrast.

The extra Davis you were trying to remember is the one he did with Vienna Phil in the 90s, his third for Phillips, no less! I doubt it would shed any new light on the work, though. I have his two earlier ones, and enjoyed them for years, but now you've got me curious to hear the Markevitch, Paray and Munch 2!

Hello. I hope you don't mind me being pedantic; but the Bernstein "Royal Edition" leaflet you hold up states that the recording is the 1968 version. You are, in fact, correct: it is actually the 1963 recording, mislabeled as the 1968 recording. The 1968 recording is on a "Great Performances" CD. (I stole this info from the John Fowler review on amazon.com.)

Regarding those bells in the last movement, Christoph Eschenbach recorded the piece with the Corchestre de Paris, which supposedly possesses the actual chimes/bells that Berlioz used at the work's premiere. At least that's what Maestro Eschenbach said when I was working at Ravinia Festival while he served as music director for a number of years. Unfortunately, I can find no documentation in the notes accompanying the recording itself that confirms that fact.

What year was the Karajan II from?

Have you heard the Carlos Païta recording? It's absolutely nuts, it's amazing

Great. I just have listen to the Klemperer version. Wow!! Klemperer approach is very destabilizing...

I do like Dutoit...definitely more than Davis! Mostly for the last 2 movements though. I love the brass.

My first recording was Norrington’s. But now I have bought the Martinon and Munch versions, I will never listen to Norrington’s again. Like all of your suggestions, those two recordings are superb. I will, however, add one that you might not like - FX Roth’s second go at it, the one from 2019 (he clearly realised that his first one wasn’t very good). It’s pretty fiery and good - up there with the Munch. Surprising, I know.

I have the JVC Remastering of the Munch 1962 performance, for those interested in h-end sound.

Dave, what do you think about the Cluytens version?

And Daniel Harging's version?

I started listening to classical in the late 1970s and Gramophone was my bible. How foolishly was I. There's a KZfaq video with Munch conducting the work in Harvard in 1962. Don't know if this is the same version Dave recommends but it's worth watching just to see the intensity of the playing especially at the end. Of course Munch conducts without a score.

Completely agree with the choices - Munch '62 and Tilson Thomas splendid - but as I have more versions than the mind can comfortably conceive, let me put a word in for Argenta and the Paris Conservatoire on Decca (wonderful authentic French playing) and Immerseel's period version which is great and has the quirkiest bells, in that they are not bells (you just need to listen to understand!) Oh yes - haven't we all been on the end of some dubious Gramophone recommendations?

I thought I was an outlier for not liking the Colin Davis recordings. I've heard the three of them, and each time kept thinking that I must be missing something, since everyone seems to rave about them, but they just seemed dull to me. Thanks for the recommendations!

I just discover a Fantastique directed by André Vandernoot, Very professionnal and quite good. Anyway, I always prick up an ear on every Vandernoot recordings I found, He is so interesting and fantastic conductor. What do you think about it?

I'll go with Munch and the Boston Symphony Orchestra on RCA. The later Munch has great sound too !

You have to be French or at least fluent in French to enjoy Martinon's recording of Lelio. The actor is terrific. It's a fascinating work.

The MTT cocaine bust was around the same time as his Cleveland Carmina Burana, and the recording sounds coked up. Very exciting!

...and what about Gardiner and ...Norrington (both of course are „Sir”)?

A pretty sensible overview. No Beecham though? that surprised me a bit.

I’ll have to look at the Minch. Another vintage one I like is Beecham’s.

recent recording of la fantastique with leonard slatkin on naxos at lyon,france is my best ( otherwise i like this complete ravel orchestral music with slatkin on naxos and saint saens organ symphonies too but the choice of other work on cd saint saens is very poor...)....in addition of la fantastique slatkin conduct the Waltz of fantastique with addition of cornet...interesting

Never hear anything about Ansermet/OSR. For utmost clarity, give it a try. Like you, I love Munch & Bernstein, too.

We should also remember about the insane Oskar Fried recording from mid 30. It is a great pity that the sound quality is so bad! As for the French sonorities - we have also Pierre Monteux 1930 recording with Orchestre de Paris and two recordings made by sir Thomas Beecham in the late 50's ;) As for the crazy versions - the are three recordings (two by the Philharmonia Orchestra from 1968 and live recording with ASO from 1970) by Stokowski. The sound is fat and lush and the tam-tam crescendos are there! ;)

Just out of sheer curiosity: why is Pierre Boulez not in this list? Is he perhaps one of the "dull" ones? To my ears he is not, quite the opposite in fact!

For me it’s Davis/Concertgebouw, Tilson Thomas, and Gardiner (for period instruments). I also have fond memories of Ansermet with those fantastically (!) low bells that was my LP choice. Munch is too slapdash for me.

The Gramophone insists on pushing Davis (RIP) as a great Berliozian. Never quite agreed. Good at times? Of course. His Grand Messe is good - maybe even a top 10. But just that. Gramophone's gratuitous glorification of British conductors would be endearing if it wasn't so blanket and pervasive. Markevitch and Munch all the way!

I always vie for the modern recordings. Down with hissy analog

I have a Symphonie Fantastique story to share. One of my classical music friends from years ago really liked this symphony and told me that he got the recording with Boulez. "Boulez??!" I asked incredulously? My friend shared with me later that my expression was one of surprise and disgust. Indeed, I can't imagine this symphony conducted by Boulez.

The Colin Davis version does have a great cover, though.

Why do you not choose Charles Dutoit et the MOntreal Symphony Orchestra. Technically it is fantastic. And the way Dutoit played with the color of the sound is absolutely gorgeous

I think the best Fantastique to make recording was Sir Georg Solti and the Chicago Symphony, on Decca/London..... (I cannot stand the Munch read of this work.)

What about version on period instruments? Gardiner, "Les Siècles"...

I just played some of the Norrington on youtube, and I want to slash my wrists.

I think another performance which should be mentioned and be at the very top is the one by Les Siecles conducted by Francois-Xavier Roth

Thanks for clarifying about the two different Munch recordings. I had no idea. I've only heard the Living Stereo one and thought, "it must just be me" - I could see what the big deal was. I'll seek out '62 one.