Sir Colin Davis's new version of the Symphonie fantastique has many of the hallmarks of his earlier accounts, and is in character with his whole approach to Berlioz—one that has influenced a generation. There is the old attention to the half-concealed melodic emphasis, the subtle spring of a rhythm, the harmonic surprise that poisons a progression: all this and much more is at the service of a steady vision of what remains an extraordinary masterpiece. Davis is somewhat less emphatic here, building up the ''Marche au supplice'', for instance, with less insistent energy, a stronger sense of how the advancing rhythm is still more terrifying when allowed its own natural momentum.
The beginning of the ''Scene aux champs'' already has a touch of foreboding over the oboe and cor anglais exchanges (beautifully placed in this recording), foreboding which is deepened with the handling of the central climax as casting a dark cloud over the landscape, and confirmed in the harsh timpani chords at the end set against the now forlorn solo cor anglais. In the opening movement, he takes the idee fixe with a fine passion, sensing unerringly its melodic originality and at the end of the movement playing the slightly dubious religioso passage, a late addition to the work, with a gravity that keeps it well clear of the sickly. He includes, incidentally, the cornet solo Berlioz subsequently added; this is most prominent in the ball scene, which is lightly and attractively played.
Davis's earlier recordings include one with the Concertgebouw and another with the LSO (both Philips). The Vienna Philharmonic plays warmly for him, making much of the sonorities in the ''Scene aux champs'' in particular and building up a superb menace in the ''Marche au supplice'', even if the natural richness of their brass does not have the edge of the French style. In a few places, detail is nearly lost. There are other enjoyable versions to savour, including the striking performance by Norrington (EMI) on period instruments: another such is on the way from Gardiner. But Davis's new performance is certainly one of the finest now available.
Incidentally, the English note says that the idee fixe ''appears to have been used in an earlier work entitled 'Herminie''', and the French note agrees. All that appears in Herminie is a version of the opening phrase, repeated at various pitches to introduce a scene for the heroine; the long, sweeping melody of the idee fixe, with its characteristic metrical oddities, was developed entirely for the symphony.'