This latest version of Harold in Italy, the most richly recorded yet, not only brings the characterful viola playing of Pinchas Zukerman but an unusually apt, generous and attractive coupling. It was originally for Rob Roy that Berlioz conceived the broad lyrical theme which was later to become central to this symphony on a Byronic theme, while Le corsaire neatly follows by a parallel analogy as his other Byronic inspiration.
Many years ago in Sir Colin Davis's first recording of Harold in Italy for EMI, the warmly individual viola-playing of Sir Yehudi Menuhin brought a much more positive concertante flavour to the work than usual, and here similarly with outstandingly warm and characterful playing from Zukerman, the centre of gravity of the work is moved, at least until the last movement. Both the rival CDs that I have listed bring solo viola playing if anything a degree purer in tone, no less expressive but with markedly less individuality more deference to the conductor's ideas and control. The benefit from that, particularly in the Davis/Philips version with Nobuko Imai, is that when in the final ''Orgy of the Brigands'' the solo viola's contribution is all but eliminated, the outburst of the orgy emerges as a consistent conclusion. I have always noted how much more biting this movement is in Davis's Philips version than in his earlier account with Menuhin, and similarly Dutoit, who while drawing beautiful, refined and colourful playing from his Montreal orchestra sounds a little as though he is missing his soloist: as an orgy this is just a little tame and too wellbehaved next to Davis, though that shortcoming is purely relative, and there is excitement in plenty.
The typical richness and open warmth of the Montreal sound brings benefits all through, and matches the richness of the solo viola tone. Zukerman's playing is not as seamless as that of his less celebrated (but very distinguished) rivals, bigger and bolder, taking more risks and not always quite bringing them off. Speeds are generally broader, notably in the first movement. The extra tautness of Davis there is an obvious benefit in what can seem a diffuse movement, and all through, as so often in Berlioz, Davis's feeling for phrase, line, rhythm and pacing brings results a degree more idiomatic than those of his rivals. Dutoit here is in many ways more warmly expressive than Davis, but Davis's ability to bring out the spiky, mercurial element in this composer regularly adds extra point.
All things being equal, I would still recommend Davis as the first choice for Harold. On CD his coupling is just as generous as Dutoit's, more unusual but not quite so apt. Note that as well as the three Tristia items (recorded as recently as 1980) the extra Prelude that Berlioz wrote for Act 2 of Les troyens is included. The 1975 Philips sound for the symphony has come up very well in the digital transfer, but ultimately it cannot quite match the glory of the new Decca, with the two overtures warmly and colourfully done.'