Berlioz · Symphonie Fantastique · Bychkov

The Symphonie fantastique was born out of Berlioz's experiences with the quarrel between classicists and romantics over Shakespeare, and as the author of the French note to this issue neatly remarks, the work itself has become the subject of ''une nouvelle querelle des Ancients et des Modernes''. Those who take the part of 'authenticity' can enjoy the two excellent versions by Roger Norrington (EMI, 4/89) and John Eliot Gardiner (Philips, 6/93); for others who prefer the sound of the modern orchestra, there are many choices, and this new issue can stand high among them.

Bychkov has a fine ear for the textures, and the Orchestre de Paris has acquired a particularly warm, rich sound under him: the woodwind are beautifully blended (with a graceful cor anglais in Carnaval romain), and the brass strong and sonorous (with horns that seem to have abjured the old French vibrato). The recording supports these qualities. Bychkov is flexible in phrasing, and almost always makes this flexibility eloquent. It is a little overdone in the Ball, but beautifully apt to the long, arching curves and irregular phrasing of the idee fixe itself. This whole first movement is beautifully played, as, with rich but lucid textures, is the ''Scene aux champs''. The rhythmic attack of the ''Marche au supplice'' does not have quite the menacing tread of other versions, but there is plenty of sinister atmosphere in the Witches' Sabbath.

There are dozens of discs of the symphony to choose from, but those looking for a modern-orchestra version would do well to listen to this one before deciding.' Reviewed: Gramophone 11/1994, John Warrack

CD
Le carnaval romain, Op. 9
Symphonie fantastique, Op. 14