C1183. CHARLES MÜNCH, Vol. I, Cond. NYPO.: Symphonie Liturgique Symphony #3 (Honegger), Live Performance, 26 Jan., 1947 (from a rare existing copy, albeit with numerous technical flaws); Münch Cond. Paris Conservatoire Orch.: Daphnis et Chloé – Suites Nos.1 & 2 (Ravel), recorded 9 Oct., 1946, Walthamstow Assembly Hall, London. (Canada) St Laurent Studio YSL 78-166. Transfers by Yves St Laurent.
“Composed in the aftermath of World War II, the Symphonie Liturgique is one of Honegger's best-known works. It is in three movements, each of which (following the symphony's subtitle) is named after part of the Requiem Mass. The first movement, Dies irae, is marked allegro marcato, and has an aggressive, storm-like quality. The slow movement, De profundis clamavi, is in contrast meditative and lyrical. The finale, Dona nobis pacem, is more episodic, with an insistent, brutal marching rhythm building to a dissonant climax, before a long, lyrical coda concludes the work. A melody resembling the robin song from JEANNE D'ARC AU BÛCHER, can be heard towards the end of each movement. Honegger himself wrote an extensive commentary on the work, making explicit the music's connection with the horrors of the War, and the desire for peace.
Written in 1945-46 on a commission from the Foundation Pro Helvetia, Honegger's Third Symphony was first performed in Zürich on 17 August 1946 with Charles Münch conducting the Suisse Romande Orchestra.”
“It’s difficult to articulate what makes Münch’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 Münch 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 Münch 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 Münch performance of the same piece might be very different, depending on his mood of the moment – yet it would always sound like Münch.”
- Lawrence Hansen, AMERICAN RECORD GUIDE, Nov./Dec., 2012
“Charles Münch served in the German Army in WWI, but was a staunch defender of the French Resistance in WWII. Münch was a violinist by training (concertmaster under Walter and Furtwängler) 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, Münch was particularly admired for his French music, especially Berlioz, Debussy, and Ravel.”
- Paul L. Althouse, AMERICAN RECORD GUIDE, Nov./Dec., 2012
“A genial conductor with a particular gift for French music, Charles Münch extended the Boston Symphony's glory years (begun under the baton of Serge Koussevitzky) into the early '60s. Münch was born in the province of Alsace-Lorraine, which at the time (1891) was controlled by Germany and has long hovered between two cultural worlds. Münch himself benefited from both French and German musical training, and his first important musical posts were in Germany. Yet he came to be regarded as the quintessential French conductor, and his recordings of French repertory with the Boston Symphony remain standards by which others are judged. Münch studied violin at the Strasbourg Conservatory, where his father was a professor, and, from 1912, in Paris with Lucien Capet. As an Alsatian, he was conscripted into the German army at the outbreak of World War I. Gassed and wounded as an artillery sergeant, he nevertheless survived the war through sheer resiliency. In 1919, upon returning to Alsace-Lorraine (now back in French hands), he took French citizenship, and a violin professorship in Strasbourg. Nevertheless, his professional interests soon sent him to Germany; he studied violin with Carl Flesch in Berlin, then moved to Leipzig to take a violin professorship at the conservatory there, and then became concertmaster of the Leipzig Gewandhaus Orchestra from 1926 to 1933, during Furtwängler's tenure.
But it was back in Paris, in 1933, where Münch made his successful conducting debut in a self-financed concert with the Straram Orchestra. He conducted the Paris Orchestre de la Société Philharmonique (1935-1938) and in 1937 was named director of the Société des Concerts du Conservatoire de Paris, a post he held through World War II. Münch introduced many new works, including, in 1945, Messiaen's L'Ascension; he quickly became known as a conductor attentive to music's larger formal structures, as well as details of color and sonority. Despite his allegiances 25 years before, Münch refused to collaborate with the Nazis, and indeed supported the French resistance; he was awarded the Légion d'honneur in 1945.
Münch's career quickly accelerated after the war. In 1946, he made his debut with the Boston Symphony (and several other American orchestras) as a guest conductor, and he toured America with the French National Radio Orchestra in 1948. The following year, he was appointed music director of the Boston Symphony, which he took on an unprecedented tour of the Soviet Union in 1956. Münch retired from the BSO in 1962 but continued to guest conduct, and helped Serge Baudo launch the Orchestre de Paris in 1967. On tour in America with that orchestra, he died the following year.
Münch was easygoing in rehearsal, reluctant to drill the spontaneity out of an orchestra. He was particularly noted as an elegant, colorful interpreter of French music of the nineteenth and twentieth centuries; his recordings of that material with the Boston Symphony for RCA are still regarded as classics of their kind. He was a strong advocate for the Franco-Swiss composers of his own generation, especially Roussel, Milhaud, and Honegger. But he also had a good touch with the conservative contemporary music of other lands, as may be heard in his few but important recordings of Martinu, Piston, and Barber. Indeed, during his Boston years Münch's commitment to American music was almost as strong as his allegiance to new French works.”
- James Reel, allmusic.com
“Each of these disks, from Canadian engineer Yves St Laurent… [feature] St Laurent's natural transfer – made without filtering, like all his dubbings – it is easy to listen to, despite the surface noise.”
- Tully Potter, CLASSICAL RECORD QUARTERLY, Summer, 2011