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Berlioz: Harold En Italie; Tristia

Hector Berlioz , John Eliot Gardiner , Orchestre Revolutionnaire et Romantique , Monteverdi Choir , Gerard Causse Audio CD
5.0 out of 5 stars  See all reviews (7 customer reviews)

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Amazon Price New from Used from
MP3 Music, 7 Songs, 1996 $9.49  
Audio CD, 1996 --  

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song TitleArtist Time Price
listen  1. Berlioz: Harold en Italie, Op.16 - 1. Harold aux montagnes (Adagio - Allegro)Gérard Caussé15:01Album Only
listen  2. Berlioz: Harold en Italie, Op.16 - 2. Marche des Pèlerins (Allegretto)Gérard Caussé 7:34Album Only
listen  3. Berlioz: Harold en Italie, Op.16 - 3. Sérénade (Allegro assai - Allegretto)Gérard Caussé 6:15$0.99  Buy MP3 
listen  4. Berlioz: Harold en Italie, Op.16 - 4. Orgie de brigands (Allegro frenetico - Adagio - Allegro, Tempo I)Gérard Caussé12:24Album Only
listen  5. Berlioz: Tristia, Op.18 - 1. Méditation religieuseThe Monteverdi Choir 4:40$0.99  Buy MP3 
listen  6. Berlioz: Tristia, Op.18 - 2. La mort d'Ophélie. BalladeThe Monteverdi Choir 6:51$0.99  Buy MP3 
listen  7. Berlioz: Tristia, Op.18 - 3. Marche funèbre pour la dernière scène d'HamletThe Monteverdi Choir 6:50$0.99  Buy MP3 

Frequently Bought Together

Berlioz: Harold En Italie; Tristia + Berlioz: Messe Solennelle
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  • Berlioz: Messe Solennelle $16.95

Product Details

  • Performer: Gerard Causse
  • Orchestra: Orchestre Revolutionnaire et Romantique, Monteverdi Choir
  • Conductor: John Eliot Gardiner
  • Composer: Hector Berlioz
  • Audio CD (July 30, 1996)
  • Number of Discs: 1
  • Label: Philips
  • ASIN: B0000041DH
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #188,476 in Music (See Top 100 in Music)

Editorial Reviews


Customer Reviews

Most Helpful Customer Reviews
17 of 17 people found the following review helpful
Format:Audio CD
Gardiner and his period instrument ensemble have rendered one of the finest performances I have heard of Berlioz's "Harold in Italy". It is probably comparable in quality to Sir Colin Davis' critcially acclaimed recording with the Concertgebouw Orchestra. Certainly the sound quality is exceptional. I found Gardiner's interpretation quite riveting, filled with excitement. Anyone looking for a splendid account of this Berlioz work will not be disappointed.
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20 of 22 people found the following review helpful
5.0 out of 5 stars one of the greatest performances of this piece. September 17, 1999
Format:Audio CD
Gardiner and his orchestra bring a sense of drama to "Harold" which equals the greatest readings, including those of Beecham and Davis. Causse delivers a highly sensitive and understated reading. The recorded sound is excellent. Highly recommended listening.
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5 of 5 people found the following review helpful
5.0 out of 5 stars Back from Oblivion! July 20, 2010
Format:Audio CD|Verified Purchase
Back from "forgottenness" for me, I mean. I had an intense Berlioz phase as a teenager, when I played his music in the school orchestra and heard it on LPs. Then my musical focus shifted in time and I lost interest in anything composed after Mozart but before Schoenberg. John Eliot Gardiner and his Orchestre Revolutionnaire have revived my crush on Berlioz with their DVD performance of his opera Les Troyens and with this stunningly evocative interpretation of Harold en Italie. Yes, I have heard Colin Davis's version, and yes, I do prefer Gardiner's. The orchestral colors are clearer and the phrasing is more transparent, and it helps that the sound recording on this CD is unusually accurate.

Harold en Italie is named after the lugubriously romantic poem by Lord Byron, but it was inspired more directly by Berlioz's visit to Italy in 1831. Listeners often imagine that the lovely melody given to the viola represents the pensive observer Harold. The symphony is a riot of musical impressionism, all sunlight and mountain crags and adolescent yearnings. Adolescent? So it sounds to me, but then I regard the entire romantic era as a phenomenon of cultural adolescence. Probably that was what appealed to me about Harold and the Symphonie Fantastique when i was an adolescent myself, and probably my current appreciation is a sign that I've entered my second adolescence. The "stages of life" have been augmented, you know. The cycle used to be roughly: infancy, childhood, youth/adolescence, independent adulthood, maturity, senescence/second-childhood. Almost universal retirement and extended lifespans have inserted another stage - second teenagerhood - between maturity and senescence.

But I still can't read Byron.
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1 of 1 people found the following review helpful
5.0 out of 5 stars A Core Berlioz Disc March 11, 2009
Format:Audio CD
Berlioz's Harold en Italie, Op. 16 is a work that is just as fine as (if not better than) his Symphonie fanstastique, Op. 14. I became acquainted with Harold first and can vouch for its quality. The integration of the viola into the symphony is masterly - done as only Berlioz would or could.

Gardiner's interpretation has consistent bite, though his period style never sacrifices the poetic feeling that must be inherent in a work based on Byron (though in only the loosest sense). The Orchestre Révolutionnaire et Romantique plays with flair and feeling to the point that its players (plus the violist Gérard Caussé) convince you that this music can be performed no other way. I have compared this performance to Sir Colin Davis's Philips recording and prefer this one. Both are different enough to justify duplication, however.

Tristia is a delicious work that deserves to be heard more often. It is a collection of three pieces for choir and orchestra which Berlioz wrote in 1831, 1842, and1844. The first, a "Religious Meditation" based on a poem by Sir Thomas More, is subtle in its treatment of the poem's theme of heaven. The translation from English to French loses the rhymes but not the beauty. The second piece, a ballad describing the death of Ophelia, is written beautifully for ladies' chorus. It is one of the most gorgeous ladies' choruses of which I am aware. The third, a funeral march for the Hamlet, is a dramatic work with wordless chorus. It is interesting to compare this work to the March to the Scaffold from Symphonie fantastique. This work is less grotesque; it's powerful climax makes the final descent into silence thrilling.

The Mondeverdi Choir cannot be praised enough.
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