The exaggerations of this performance of the Symphonie fantastique do not really accord with Berlioz's subtle sense of extremes. Batiz opens lethargically, with each phrase of the violin melody leant on so heavily as to rob it of grace and practically of forward movement, then plunging into the main part of the movement at a hectic rate that does not allow sufficient room for detail. The waltz does not really dance, and the atmosphere of the ''Scene aux champs'' is not so much heavy and brooding as simply morose. Matters improve a little with the ''March au supplice'', which is ferociously impelled upon its way.
It came as a surprise to find so raucous a recording credited to Brian Culverhouse, but at least it could be said to be suitable to the nature of the performance. There are too many other interesting performances of the symphony for this one to attract the collector. The two overtures are a little more effective, with brilliant strings in Le corsaire and also some nice cor anglais playing in Le carnaval romain.'