C1427. CHARLES MUNCH Cond. Boston S.O., w.ALEXANDER BOROVSKY: Piano Concerto, Op.36 (Roussel), Live Performance, 12 Oct., 1951, Symphony Hall, Boston; w.Adele Addison, Eunice Alberts, David Lloyd & Mac Morgan: Choral Symphony #9 in d - Mvt. IV (Beethoven), Live Performance, 27 April, 1956, Symphony Hall, Boston. (Canada) St Laurent Studio YSL T-315. Transfers by Yves St Laurent.
"Although he was veteran of some 2,500 world-wide concerts in his 47 years of performing, Alexander Borovsky never achieved quite the reputation he deserved, but that happened also to other once famous pianists like Barentzen and Uninsky. Borovsky paid more attention to romance and drama than to linear coherence, using lots of rubato and flexibility of rhythm to achieve a variety of stunning effects."
- Michael Waiblinger
"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