C0746. CHARLES MUNCH Cond. Boston S.O. Symphony #4 in d; Cello Concerto in a (both Schumann); Divertimento, Op. 86 (after Couperin) Ein Heldenleben; Tod und Verklarung; Don Juan; Gedichte aus Letzte Blatter - Wiegenlied; Morgen; Ständchen (all Strauss); Academic Festival Overture; Symphony #2 in D; Double Concerto for Violin and Cello in a; Piano Concerto # 1 in d (all Brahms); 'From the New World' Symphony #9 in e (Dvorák) (E.U.) 5-West Hill Radio Archives WHRA 6017, all Live Performances from Symphony Hall (except Strauss-Couperin). Transfers by Andrew Rose. Long out-of-print, Final Sealed Copy! - 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