Ophicleides and Other Rarities

On Friday evening, the UK Symphony Orchestra performed one of the most peculiar works to have emerged during the early nineteenth century – Berlioz’s Symphonie Fantastique (1830). The combination of neuroticism and magnitude in Symphonie Fantastique is humorous, but its robust presence in the Western musical canon is indisputable and well deserved. Berlioz, as a master innovator and orchestrator, reveals his skills in this work. His bold attitude toward orchestration and his unusual combinations of timbres are apparent throughout the piece. Composing an orchestral work in the shadow of Beethoven (i.e., just 3 years after Beethoven’s death) requires something particularly unusual or “fantastique” – if you want your work recognized, that is. In my estimation, Berlioz was very successful at achieving this goal.

The orchestra, under the baton of John Nardolillo, performed this work in a fearless, though sometimes reckless, manner. Does this approach reflect the spirit of Symphonie Fantastique? Absolutely. I applaud Nardolillo and the members of the orchestra for their spicy performance of this piece.

While the orchestra played with a confident and wild spirit throughout much of the work, some tender moments were at hand also. The charming ballroom scene in the second movement and the pastorale scene in the third movement provided a quiet space, which nicely contrasts the movements that follow. Overall, the performance was persuasive and effective, particularly in the last two movements. The orchestra successfully captured the furious drama and intensity of the end of the work. All that was lacking was an ophicleide or two.