The Requiem and Symphonie funèbre make logical disc-mates, as both stand among Berlioz’s most public works. As usual with Davis’ Berlioz, these versions are well-played, intelligently paced, and stylish. However, in the Requiem Davis lacks the intensity and sheer grandeur of Bernstein (Sony) or Munch (RCA). The recording, a bit lacking in bass and space around the singers and players, tends to highlight specific sections of the chorus at the big climaxes of the Dies irae and Lacrimosa, reducing the necessary sense of scale. Still, this is a very good performance on the whole, and it has held up quite well over time, particularly given the dismal quality of so much of the competition.
As for the Symphonie, an infrequent visitor both to concert halls and the recording studio, I have to confess a preference for Berlioz’s original, winds-only scoring. Davis uses the optional strings and the pointless chorus that Berlioz later grafted onto the finale. That said, the sudden entrance of the voices with their shouts of “Gloire” is an impressive moment, and if this version of the piece suits your fancy, then this is still the version to own. The opening funeral march in particular has real gravitas and some very exciting climaxes, while the solo trombone in the second-movement “funeral oration” is extremely well played. Davis surpassed this version of the Requiem in his live Dresden performance on Profil, but I suspect that very few listeners will be disappointed with this set. It’s really very good, all things considered, and fully deserving of its catalog longevity.
