Plasson's version of the Symphonie fantastique is exceedingly vivid and hard-driven, to thrilling effect in much of the first movement. He moves into the opening theme with scant regard for the Largo marking or for the dreamy atmosphere which the citation of an old love song implied for Berlioz (as is well known, it alluded to a romance with a girl he never forgot all his life). The snapped double chords of the opening of the Allegro agitato signal playing of the greatest virtuosity and excitement, with every accent noted and put into its place, every swerve of the phrasing taken at speed and with a sense of high danger, every dynamic contrast abrupt and accurate. It is a performance of keen romantic ardour, and a skilful recording catches the mood and detail well.
Matters are not quite so successful with ''Un bal'', where behind Plasson's quick attention to detail there is some lack of lyrical ease. The same is the case with the ''Scene aux champs'', though the underlying atmosphere of Nature aloof and uncaring is given a suitably sinister tinge. The ''Marche au supplice'' proceeds well, if without the grimness of Davis (Philips) or the steady menace of Norrington (EMI); still, the band blares bravely and the rhythm beats mercilessly. There is excellent playing (and recording) of the squealing piccolos and E flat and C clarinets later.
In sum—together with lively, vigorous performances of the two overtures thrown in for good measure—this is playing that emphasizes brilliance rather than turbulence, but that makes a highly exciting performance well worth setting beside Davis and Norrington.'