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: The Polydor Recordings ()
1-1: Piano Concerto For The Left Hand (17:39)
1-2: Fantasie For Piano And Orchestra (17:36)
: The L'oiseau-Lyre Recordings ()
: Sinfonia Concertante In B Flat Major, Hob.I:105 (20:05)
: Adagio And Fugue In C Minor, KV 546 ()
: The Decca Recordings ()
: Symphony No. 8 In F Major, Op. 93 (21:22)
: Symphony No. 5 In D Minor, Op. 107 'Reformation' (24:44)
3-1: Benvenuto Cellini ? Overture (10:47)
: Roméo et Juliette, Op. 17 (Scènes) (33:44)
: Les Troyens (8:30)
3-6: Le Corsaire ? Overture, Op. 21 (8:08)
: Symphony No. 4 In D Minor, Op. 120 (23:53)
: Violin Concerto In D Major, Op. 77 (37:56)
5-1: Franck: Variations Symphoniques (16:00)
: Symphony In D Minor (34:45)
5-5: Le Rouet D'Omphale, Op. 31 (8:36)
5-6: Danse Macabre, Op. 40 (6:47)
: Symphony In C Major (24:24)
6-5: La Jolie Fille de Perth - Danse Bohémienne (3:16)
: Pelléas Et Mélisande, Op. 80 ? Suite (16:20)
6-10: Pavane, Op. 50 (4:51)
: Fervaal Op. 40 (4:43)
: Symphony No. 1 In D Major, Op. 25 'Classical' ()
: Symphony No. 6 In B Minor, Op. 74 'Pathétique' (18:23)
: Ibéria (No. 2 Of Images Pour Orchestra) ()
8-4: Berceuse Héroïque (4:33)
: Petit Suite, Op. 39 ()
: Le Festin De L'Araignée, Op. 17 - Fragments Symphoniques: ()
: Suite In F Major, Op. 33 ()
: Piano Concerto In G Major ()
: Daphnis Et Chloé ? Suite No.1 ()
: Daphnis Et Chloé ? Suite No. 2 ()
9-9: Boléro (16:54)
: Gaîté Parisienne ()
: Carmen ? Suite ()
: Pini di Roma = Pines Of Rome ()
: Fontane di Roma = Fountains Of Rome ()
: L?Arlésienne ? Suite ()
: The Véga Recordings ()
: Symphony No. 3 ()
: Bacchus Et Ariane, Op. 43 - Ballet Suite No. 2 ()
: The Philips Recording ()
: Symphonie Fantastique, Op. 14 ()
: The Deutsche Grammophon Recording ()
: Requiem, Op. 5 (Grande Messe Des Morts) () |
| | Number of discs: |
14 |
| | Description: | The inspirational French maestro on disc: an unrivalled retrospective, covering three decades of incandescent music-making, including recordings new to CD and long unavailable, newly remastered and comprehensively documented. - The inspirational French maestro on disc: an unrivalled retrospective, covering three decades of incandescent music-making, including recordings new to CD and long unavailable, newly remastered and comprehensively documented. In the memories of most record-buyers, Charles Munch was indelibly and almost exclusively associated with the RCA label, thanks to a string of spectacular albums made during his thirteen-year-long tenure as Music Director of the Boston Symphony Orchestra. From telecasts of that era too is fixed the image of the white-haired, square-jawed maestro urging on his Boston musicians to ever greater heights of intensity with gestures of both elemental passion and delicious legerdemain. These qualities were also present, however, in the recordings made by Munch for several other labels throughout his career. They have now been brought together by Eloquence in a set that offers the most rounded portrait yet of the conductor throughout his career. His earliest recordings were made in Paris for Polydor and for L'Oiseau-Lyre in 1938, of concertante works by Ravel, Widor (the rarely heard Fantasie for piano and orchestra) and Haydn: these have been newly transferred from original masters by Mark Obert-Thorn. From the beginning of his postwar contract with Decca come London-made recordings of French repertoire (Berlioz, Bizet, Debussy, Fauré, Franck, Ravel, Roussel, Saint-Saëns) and Austro-German symphonies (Beethoven 8, Mendelssohn 5, Schumann 4), conducting the orchestra of the Société des Concerts du Conservatoire de Paris which he had led since 1939. In these performances, sustained throughout by a sweeping legato line, we may recall Munch's insistence that 'To be a conductor is not a métier but rather a sacred rite'. This is no less true of a ragged but thrilling 'Pathétique' Symphony from 1948, now recorded in Paris. After the Boston years, Munch struck up a partnership with the New Philharmonia Orchestra (1965-57), which yielded albums of Bizet, Offenbach and Respighi in which the conjuror's magic fire remained undimmed. He also returned with them to a suite from Roussel's Bacchus et Ariane ballet which was always a Munch favourite in concert. His last studio account - from Budapest in 1966 - of the Symphonie fantastique is also here, having appeared on Fidelio, Hungaroton and Philips, but long unavailable. The set concludes with more Berlioz - Munch's sole recording for Deutsche Grammophon, of the Grande messe des morts. This was made in Munich in 1967, the year before his death, and is a moving testament to the conductor's career-long dedication to realizing the most original orchestral and acoustic possibilities explored by a composer who, like Munch himself, always went his own way.CD 1
Polydor Recordings: Paris, France, January 1938 (Ravel), February 1938 (Widor)
Matrix Nos.: 1125½ / 1126½ / 1127 / 1128½ GPP (Ravel); 11/57 / 1158½ / 1159 / 1160½ GPP (Widor)
Original Polydor Releases: 566.192-93 (Ravel, 1938); 566.205-06 (Widor, 1938)
? &© 1938 (Ravel) Deutsche Grammophon GmbH, Berlin
? &© 1938 (Widor), Decca Records France
The L'Oiseau-Lyre Recordings: Paris, France, October 1938 (Haydn), February 1939 (Mozart)
Matrix Nos.: PART 1285-90 (Haydn); PART 1422-23 (Mozart)
Original L'Oiseau-Lyre Releases: OL 83-85 (Haydn); OL 93 (Mozart, 1938)
? &© 1938 (Haydn), 1939 (Mozart) Decca Music Group Limited
CD 2
Recordings: Kingsway Hall, London, UK, 29 September-2 October 1947
Matrix Nos.: AR 11581-86 (Beethoven); AR 11587-93 (Mendelssohn)
Original Decca Releases: AK 1933-35 / LX 3053 (Beethoven, August 1949); K 1715-8 (Mendelssohn, February 1948)
? &© 1948 (Mendelssohn), 1949 (Beethoven) Decca Music Group Limited
CD 3
Recording Locations: Walthamstow Assembly Hall, London, UK, 11 October 1946 (Benvenuto Cellini); La Maison de la Mutualité, Paris, France, 27 May 1948 (Le Corsaire), 30-31 May 1949 (Roméo et Juliette, Les Troyens)
Matrix Nos.: AR 10709-11 (Benvenuto Cellini); FAR 64-66 (Roméo et Juliette: 1), FAR 67-69 (Roméo et Juliette: 2), FAR 62-63 (Roméo et Juliette: 3); FAR 60-61 (Les Troyens); FAR 32-33 (Le Corsaire)
Original Decca Releases: [url=https://www.discogs.com/master/1668786]LXT 2677[/url] (Benvenuto Cellini, March 1952); AX 293-95 (Roméo et Juliette 1 & 2, January 1950); [url=https://www.discogs.com/release/16141352]LXT 2512[/url] (Roméo et Juliette: 1-3, 1950); X 301 /LXT 2512 (Les Troyens, February 1950); LXT 2677 (Le Corsaire, October 1948)
? &© 1948 (Le Corsaire), 1950 (Roméo et Juliette, Les Troyens), 1952, (Benvenuto Cellini) Decca Music Group Limited
CD 4
Recording Locations: Walthamstow Assembly Hall, London, UK, 4 June 1947 (Schumann); Concertgebouw, Amsterdam, The Netherlands, 13-14 September 1948 (Brahms)
Matrix Nos.: AR 11332-39 (Schumann); HAR 41-50 (Brahms)
Original "The Legacy of Charles Munch" is a remarkable CD collection that pays tribute to the legendary conductor Charles Munch, featuring performances by renowned orchestras such as the Symphony Orchestra of Bavarian Radio (SO Des BR), Orchestre Philharmonique de Paris, and London Philharmonic. This release showcases some of Munch's most celebrated interpretations, capturing his unique ability to bring out both passion and precision in French and German repertoire. The selection spans symphonic masterpieces and highlights his collaborations with top European ensembles during his illustrious career. Australian Eloquence, known for its high-quality reissues and dedication to preserving classical music heritage, presents this album with their signature attention to detail in remastering and presentation.
Charles Munch was one of the 20th century?s most influential conductors, particularly revered for his work with French composers like Berlioz, Debussy, and Ravel. He served as Music Director for prestigious institutions including the Boston Symphony Orchestra and left an indelible mark through numerous acclaimed recordings. His dynamic style combined clarity with expressive warmth?qualities evident throughout this compilation. | | | Manufacturer No.: |
ELQ4840219 |
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