Berlioz: Symphonie Fantastique (1925) Weingartner-2024 Restoration

Hector Berlioz
Symphonie Fantastique, Op.14
1. Rêveries - Passions (00:08)
2. Un bal (12:34)
3. Scène aux champs (19:16)
4. Marche au supplice (34:04)
5. Songe d'une nuit du sabbat (38:29)
Felix Weingartner, conductor
London Symphony Orchestra
Recorded on October 29 and November 1, 1925
at The Scala, London
The historic nature of this recording would be justification for the present restoration. Not only is it the first complete recording of the "Symphonie", but it is also Felix Weingartner. Everything that one expects from this work is here, but there are also a few touches by Weingartner that make this a truly outstanding performance.
It has never been offered since the era of 78s at its full original 1925 studio specifications until now. This full sonic reconstruction is with original restored acoustics as well.
This is one of the first major full length recordings of the electrical era. Before that time everything was acoustic and recordings like this were impossible. Part of the decision then was to make a recording that offered sound that had never been heard before on a record.
Imagine the effect this had on people at the time. People would go into music stores and hear, for the first time, a full orchestra with bells, brass, and powerful percussion coming out of amplified loudspeakers. The reaction of both the critics and public was quite enthusiastic when this came out.
In terms of sound this is a landmark as well. We are literally at the beginning of electrical recording and the technology was new in the studio for the engineers as well as the musicians. The present recording employed all the large scale resources of the orchestra with a single carbon microphone which is no small feat. The Gramophone Company in the UK was already pushing the technology at the beginning.
Due to the rarity of the material we had to go back to original 78 rpm sourcing. Each of the 12 original sides was optimized for this edition, which is also presented at its original rollover specifications. There were basically no EQ standards at the time for this and each side had to be taken as an individual recording. Engineers would make adjustments as the session progressed, which meant that even the rollover could change slightly from one sub-session to another. (A practice that would quickly be abandoned.)
These were identified and adhered to as closely as possible. The recording was made on pre-electronic transports and the pitch was also compensated for this edition.
Finally, the original record level was determined and is presented here for the first time in over 70 years. We have made two prior efforts to offer this recording before, but this is our most complete and accurate restoration to date. Barring future developments in restoration technology this is as close as is possible with this technology from a century ago as we can get.
Due to its extreme age some noise and surface artifacts are still present. This recording pre-dates noiseless recording technology.
Even with this limitation it is now possible to enjoy this recording as more than just a historic document. It is just as listenable as any good early recording, and every bit as enjoyable too.
Field acoustic and sonic restoration (2024): Paul Howard - The Yucaipa Studio
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[@leestamm3187]

Great job, Paul. I can appreciate how this level of recording caused a stir back then. Interesting also because Weingartner overall is notably less restrained than usual in this performance. Thanks much.

[@IgnatiusZaaijman]

Weingartner really lets fly in the finale! And wow, those bells. Incredible to think this is nearly 100 years old !

[@niek024]

The bells are eerily scary in this recording. What an achievement!

[@davidmann4315]

It's interesting to compare this recording with the Monteux Paris recording, made less than five years later, to see how far recording technology had advanced in such a short time. kzbin.info/www/bejne/jICUkKGan6emppI

[@hansbjarning]

36:55