Charles Munch;  Burgin, Seefried, Serkin, Fournier, Samuel Mayes     (5-WHRA 6017)
Item# C0746
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Product Description

Charles Munch;  Burgin, Seefried, Serkin, Fournier, Samuel Mayes     (5-WHRA 6017)
C0746. CHARLES M�NCH Cond. Boston S.O.:� New World Symphony #9 in e (Dvor�k), Live Performance, 8 Oct., 1954;� Tod und Verkl�rung - Live Performance, 6 Oct., 1951;� Don Juan � Live Performance, 30 Sept., 1955;� Divertimento (after Couperin), Live Performance, 26 July, 1953, Tanglewood (brief bits missing on original transcription discs);� w.Richard Burgin (Vln):� Ein Heldenleben � Live Performance, 15 Feb., 1957;� w.Irmgard Seefried (S):� Allerseelen, Wiegenlied, Morgen & St�ndchen � Live Performance, 12 Nov., 1954 (all Strauss);� Symphony #4 in d, Live Performance, 26 Oct., 1956;� w.Pierre Fournier:� Cello Concerto in a, Live Performance, 6 Dec., 1957 (both Schumann);� Symphony #2 in D, Live Performance, 30 Sept., 1955;� Academic Festival Overture � Live Performance, 6 Dec., 1957;� w.Rudolf Serkin:� Piano Concerto #1 in d, Live Performance, 20 Jan., 1956;� w.Zino Francescatti & Samuel Mayes:� Double Concerto in a, Live Performance, 13 April, 1956 (all Brahms).� (E.U.) 5-West Hill Radio Archives WHRA 6017, all Live Performances from Symphony Hall (except Strauss-Couperin).� Transfers by Andrew Rose.� - 4015023160170


"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