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

"When you played a concert with Charles Munch 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