Charles Munch;   Victoria de los Angeles, de Pasquale, Henriot Schweitzer, Addison, Gramm     (6-WHRA 6027)
Item# C1022
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Product Description

Charles Munch;   Victoria de los Angeles, de Pasquale, Henriot Schweitzer, Addison, Gramm     (6-WHRA 6027)
C1022. CHARLES M�NCH Cond. Boston S.O.: A Treasury of French Music, incl. Berlioz, Ravel, Roussel, Debussy, Milhaud, Franck, etc.; w.Victoria de los Angeles: Les Nuits d��t�; w.Joseph de Pasquale: Harold en Italie (both Berlioz); w.Nicole Henriot-Schweitzer: Symphonie sur un chant montagnard fran�ais (d�Indy); Piano Concerto in G (Ravel); w.Adele Addison & Donald Gramm: R�quiem (Faur�). (E.U.) 6-West Hill Radio Archives WHRA 6027, Live Performances, 1954-58. Transfers by Lani Spahr. - 5425008376950

CRITIC REVIEWS:

"Nicole Henriot-Schweitzer studied music at the Conservatoire de Paris in the class of Marguerite Long. She married Vice-Admiral Jean-Jacques Schweitzer, former Major General of the Navy, also one of the nephews of the theologian Albert Schweitzer and the uncle of the officer Louis Schweitzer. The conductors Fritz and Charles Munch were her uncles by marriage, and she was a frequent soloist under Munch during his Boston years with the Boston Suymphony Orchestra. In 1970 she became a piano teacher at the conservatories of Lige and then Brussels.

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





"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