An exquisitely played cor anglais, echoed by unseen oboe: dichotomy again, suggesting that happiness might be beyond reach. The “ScËne aux champs” is pastoral, but haunted by more poignant undercurrents. This moment of serenity contrasted with darker timbres, might indicate that happiness may be elusive. Four harps and shimmering strings introduce the waltz. dichotomy between poetic ideals and obsession that gives this symphony such power. In “RÍveries”, diaphanous textures herald the idÈe fixe, which here flows with ardent purpose, establishing the. This gives a more naturalistic, genuinely “Romantic”(big R) warmth to the performance. Roth and Les SiËcles use instruments of Berlioz’s period to better reflect the colours Berlioz would have used. When the symphony isn’t treated as a stand-alone, there is an impact on interpretation. The first part addresses annihilation, the second part revival through creative art, and, heard together, they have symmetry. The symphony, subtitled “…pisode de la vie d’un artiste … en cinq parties” flows naturally into the LÈlio, ou Le retour ‡ la vie, mÈlologue en six parties. Indeed, LÈlio can be heard as an extension of the Symphonie fantastique, since together they reflect an intensely creative period in his development.
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