C1421. CHARLES MUNCH Cond. Boston S.O.: The Faithful Shepherd - Suite (Handel); Liturgique Symphony #3; Chant de joie (both Honegger); w.RUDOLF FIRKUSNY: Piano Concerto #16 in D, K.451 (Mozart). (Canada) St Laurent Studio YSL T-312, Live Performance, 21 April, 1956, Symphony Hall, Boston. Transfers by Yves St Laurent.
"Rudolf Firkusny was a connoisseur's pianist, his audiences invariably starred with musical celebrities."
- Bryce Morrison, GRAMOPHONE, Awards Issue, 2006
"Rudolf Firkusny, a Czech-born pianist, was known for his elegant performing style and his warm, patrician manner. During a long career, Mr. Firkusny was a favorite of audiences, piano connoisseurs and Czech-music specialists alike. He achieved still wider recognition in his late years in unexpected ways. In 1990, at 78, he appeared on a basketball court in concert dress, as a foil to David Robinson of the San Antonio Spurs in a popular television commercial for Nike sneakers. 'Music needs all kinds of encouragement', Mr. Firkusny said at the time. Shortly afterward, he made a triumphant return to Czechoslovakia, as the country was then still called. Although he had not performed there for 44 years because of his staunch opposition to Communist control, he was recognized for his lifelong contributions to Czech music and was awarded an honorary doctorate from Charles University in Prague."
- James R. Oestreich, THE NEW YORK TIMES, 20 July, 1994
"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