It would be an oversimplification to suggest that Matthew Best emphasises the Beethoven rather than the Berlioz aspect of the main work here; but he does seem less interested in the fascinating use of colour as an element in the actual invention than in the rugged moral strength and the force of the statements. The recording reflects this emphasis, and is firm and clear without being especially subtle over orchestral detail. The choir delivers the Diesirae powerfully, and much dramatic vigour is recalled in the fugue traditionally reserved for 'Quam olim Abrahae'. Berlioz, however, was satirical about Cherubini's fugues, and saved his admiration for the wonderful long decrescendo that ends the Agnus Dei. This is beautifully controlled here.
Best includes the tremendous Marche funèbre, inspiration here again for Berlioz. Best handles this superbly, opening with a merciless percussion crash and sustaining the pace and mood unrelentingly. It sounds more original than ever, a funeral march that, rather than mourn or honour, rages against the dying of the light.