Inbal's performance begins in brooding contemplative fashion, as indeed the work must, but here with an inward, dream-like quality that suggests more than usually the sense of a mind in which images are slowly clearing and forming. This is beautifully done. The structure of the main part of the movement is strong, and well articulated: and in the ball there is an agreeable lilt, with lucid textures giving suitable prominence to the harps, and with the ebb and flow of the rubato nicely judged. The orchestral clarity also makes much of the opening and close of the ''Scene aux champs'', with the final timpani chords thrusting forward alarmingly over the sorrowful cor anglais. The March goes at a firm, quite brisk pace, not at the menacing tread of Norrington's recent EMI performance nor quite with the inexorability of the Sir Colin Davis Philips version. Norrington's record is, of course, in a special category as it goes a long way towards re-creating the instrumental disposition and conditions of Berlioz's own time, as well as delivering a very fine idiomatic performance. I would still give preference to either of these, but Inbal's sensitive, exciting, well-considered performance, excellently recorded, joins the short list of outstanding performances of a work that has a very long list indeed of available versions.'