Charles Munch;   Arrau, Gousseau, Posselt       (7-WHRA 6015)
Item# C0729
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Product Description

Charles Munch;   Arrau, Gousseau, Posselt       (7-WHRA 6015)
C0729. CHARLES M�NCH Cond. Boston S.O.:� Ib�ria (Debussy);� Le Tombeau de Couperin (Ravel);� La Muette de Portici � Overture (Auber);� Eine Faust Overture;� Die Meistersinger � Act III Excerpts;� Tristan � Prelude & Liebestod (all Wagner);� Symphony #41 in C, K.551 (Mozart);� Symphony #5 in B-flat;� Symphony #8 in b (both Schubert);� Symphony #4 in A (Mendelssohn);� Symphony #2 in C (Schumann);� Symphony #2 in D;� Symphony #3 in E-flat (both Beethoven);� Variations on a Theme by Haydn;� w.Claudio Arrau:� Piano Concerto #2 in B-flat (both Brahms);� w.Lelia Gousseau:� Emperor Concerto #5 in E-flat (Beethoven);� w.Ruth Posselt:� Symphonie Espagnole (Lalo), the latter missing Mvt. III;� w.Doriot Anthony Dwyer:� Flute Concerto (Ibert);� w.E.Power Biggs:� Symphony #3 in c (Saint-Sa�ns);� w.Mariquita Moll, Betty Allen, G�rard Souzay & Arnold Moss:� La Danse des Morts (Honegger).� (E.U.) 7-West Hill Radio Archives WHRA 6015, Live Performances, 1952-55.� Transfers by Maggi Payne.�- 4015023160156


"It's difficult to articulate what makes Munch's conducting special - or indeed if there even is anything identifiably unique about it. A lesser talent would simply turn out generic, cookie-cutter performances; but Munch was anything but generic. He was one of the most musical of conductors; in so many of his performances, everything simply sounds 'right'. Certainly, his experience as an orchestral musician gave him a lot of practical insight into the mechanics of directing orchestra traffic. But a classic Munch interpretation never sounds calculated. Spontaneity was one of his hallmarks, sometimes to the surprise and discomfort of the musicians playing under him. From one night to the next, a Munch performance of the same piece might be very different, depending on his mood of the moment - yet it would always sound like Munch."

- Lawrence Hansen, AMERICAN RECORD GUIDE, Nov. /Dec., 2012

�Charles M�nch served in the German Army in WWI, but was a staunch defender of the French Resistance in WWII. M�nch was a violinist by training (concertmaster under Walter and Furtw�ngler) and did not take up conducting until his 40s. He conducted in Europe at the beginning and end of his career, but made his biggest mark as Director of the Boston Symphony from 1949 to 1962. Perhaps owing to his many years as an orchestral player, he was a relaxed conductor, contrasting sharply with the dictatorial tendencies of both his predecessor Koussevitzky and his successor Leinsdorf�.In Boston, M�nch was particularly admired for his French music, especially Berlioz, Debussy, and Ravel.�

- Paul L. Althouse, AMERICAN RECORD GUIDE, Nov./Dec., 2012

"When you played a concert with Charles M�nch or attended one of his performances as a listener, it was not just a concert - It was an event. He never used the same palette twice. As a player, you had to give 110% of yourself, or be left out of the music.�

-Vic Firth, percussionist, Boston Symphony Orchestra