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. 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.
First time Munch's classical catalogue has been availablein one single box New 86-CD specially priced box setwith16 works new to CD and 29 works newly remastered from the original analog tapes. Sony Classical presents a new reissue of all the recordings that Charles Munch, one of the most dynamic and charismatic conductors of the 20th century, made for RCA Victor while in Boston conducting the Boston Symphony Orchestra. Munch turned the BSO into arguably the greatest French orchestra in the world while preserving its sovereignty in the American, Austro-German, central European and Russian repertoires. An 86-CD box set, The Complete Album Collection marks the first time that this cornerstone of the classical catalogue has been available in a single box with 16 works new to CD and 29 works newly remastered from the original analogue tapes.The new set also contains Munch's 1963 French-music compilation with the Philadelphia Orchestra for American Columbia. Charles Munch was born in Strasbourg in 1891, during the brief period when Alsace-Lorraine was part of the German Empire. He himself straddled the two cultures: trained as a violinist at the conservatories of Strasbourg and Paris, he was conscripted into the German army in World War I.
After the war he taught at the conservatory and played in the orchestra of Strasbourg (by then French again) from 1920 until he was appointed concertmaster of the illustrious Leipzig Gewandhaus Orchestra in 1926 under Wilhelm Furtwängler and Bruno Walter. After making his own podium début in Paris in 1932, Munch settled there and established his reputation as one of the leading French conductors of the day, championing the music of Berlioz as well as of such contemporaries as Honegger, Roussel and Poulenc.
Following World War II - during which he strongly supported the French resistance (he was awarded the Légion d'Honneur in 1945) - his international career took off. In 1946 he made his début with several US orchestras, including the Boston Symphony. Three years later, aged 58, he was appointed by that patrician ensemble to succeed Serge Koussevitzky as music director.
This tribute to the conductor is overdue. Munchs continuing reputation is based on elegant, often fiery accounts of French repertoire Berlioz, Debussy and the like but here theres opportunity to explore far more, including numerous recordings on CD for the first time or in fresh masterings. New York Times (David Allen) Charles Much was himself the very epitome of unfettered spontaneity, ranging in musical style from imaginative reportage of French repertory to athletic Brahms and Schubert symphonies and a Beethoven Ninth that approaches the incendiary impact of Toscanini.
His Boston discography is sizeable and wide-ranging but this superbly produced set doesn't stop there. The action-packed first recordings - Saint-Saens Third Symphony, as well as works by d'Indy and Franck - are with the New York Philharmonic Symphony, and the set concludes with a program of Ravel, Faure, and Berlioz featuring the Philadelphia Orchestra, performances full of flair and color. Housed in a heavy, solidly built oblong box, the discs themselves are slipped into miniature card reproductions of their original LP sleeves, while the 162-page hardback booklet offers detailed information and various related issues. The tape-disc transfers are mostly excellent. Gramophone (12/2016) Ive been enjoying this set so much that it was hard to find time to write about it.Charles Munch was a very great conductor, and in ways that you might not expect. Yes, he gave us reference recordings of Ravel, Debussy, Saint-Saëns, anything by Berlioz, and French music generally; but its also important to keep in mind that he spent serious time as concertmaster of the Leipzig Gewandhaus Orchestra under Furtwängler. His Brahms was outstanding (pity he never got to the Third Symphony), his Beethoven explosive.
Happily his thrilling Ninth has been remastered, as have the overtures. His Coriolan is simply the most exciting performance ever, and his Schubert Ninth (Great) isnt far behind. It says something about the man and his range of sympathies that his versions of modern works for which he gave the premieres, such as the Sixth Symphonies of Piston (sound clip) and Martinu, remain the reference recordings. Both of these pieces, plus the incendiary Barber Medeas Dance of Vengeance, have also been newly remastered for this edition.
Other repertoire that hasnt seen the light of day in years, and has come up sounding better than ever, includes Poulencs Organ Concerto, Prokofievs Second Piano Concerto and Romeo and Juliet excerpts, Stravinskys Jeu de cartes, and an outstanding Dvorák Eighth Symphony. These eighty-six CDs also contain the early 1940s New York Philharmonic recordings (still sounding pretty lousy nothing to be done about it), and the late Philadelphia disc of Ravel, Berlioz, and Fauré. The original jacket approach means that some discs feature very short playing timelike a bit over thirty minutes for the Debussy Images but thats still better than having to deal with jackets that dont list correctly whats on the disc (these do, mostly). The admirably produced booklet isnt 100% accurate all the same.Roussels Bacchus and Ariadne Suite No. 2 is listed as a stereo recording, and its not, but this isnt a big deal.
The late 50s and early 60s were an amazing time for the American recording industry. Just imagine: we had Munch in Boston, Bernstein in New York, Reiner in Chicago, Szell in Cleveland, and Ormandy in Philadelphia. This set alone includes celebrated collaborations with the likes of Heifetz, Milstein, Gary Graffman, Byron Janis, and Piatigorsky.
Well never see that like of it again, thats certain, and theres no higher praise for Munch than to say he more than holds his own in this august company. No serious record collector can afford to be without this set. Get it while you can, and enjoy it forever.Th is lis ting is for a very rare, out of print Boxed Set of 86-CDs - a. FACTORY SEALED and assumed to be MINT condition set, PRESSED and ISSUED by RCA / SONY Classical Records. Of a highly collectible title from their catalog featuring performances by. Charles Munch - The Complete RCA Album Collection. 3 in C minor, Op. Boston Symphony Orchestra, New York Philharmonic, Philadelphia Orchestra. 7 in A major, Op.
Indy: Symphonie sur un chant montagnard, Op. 4 in E minor, Op. 1 in G minor, Op. Franck, C: Symphonic Variations for piano & orchestra, M46. 21 in C major, K467'Elvira Madigan.104 in D major'London. 1 in B flat major, Op. 1 in C major, Op.
103 in E flat major'Drum Roll. Saint-Saëns: La Princesse jaune (The Yellow Princess). Berlioz: Béatrice et Bénédict, Op. Lalo: Le Roi d'Ys: Overture.Mozart: Le nozze di Figaro, K492: Overture. 2 in B flat major, Op. Berlioz: Roméo et Juliette, Op. Roussel: Bacchus et Ariane, Op.
Ravel: Pavane pour une infante défunte. Strauss, R: Don Quixote, Op. Tchaikovsky: Violin Concerto in D major, Op. Berlioz: La Damnation de Faust, Op.
2 in F minor, Op. 4 in C minor, Op. 2 in D for strings and trumpet.
Berlioz: Les Nuits d'été, Op. 5 in C minor, Op. 8 in B minor, D759'Unfinished.Chausson: Poème for Violin & Orchestra, Op. Saint-Saëns: Introduction & Rondo capriccioso, Op.
4 in F minor, Op. 2 in D major, Op. Debussy: Prélude à l'après-midi d'un faune. 6 in F major, Op.
Debussy: Le Martyre de Saint Sébastien. Beethoven: Violin Concerto in D major, Op. Tchaikovsky: Romeo & Juliet - Fantasy Overture. Tchaikovsky: Francesca da Rimini, Op. Mozart: Clarinet Concerto in A major, K622.Mozart: Clarinet Quintet in A major, K581. 1 in C minor, Op. Tchaikovsky: Serenade for strings in C major, Op. Barber: Adagio for Strings, Op. Elgar: Introduction & Allegro for strings, Op. Prokofiev: Romeo and Juliet, Op. Franck, C: Symphony in D minor. Wagner: Tannhäuser: Overture and Venusberg Music. Wagner: Die Walkure: Magic Fire Music. Wagner: Götterdämmerung: Siegfried's Rhine Journey. Berlioz: L'Enfance du Christ, Op. 2 in G minor, Op. Barber: Medea's Meditation and Dance of Vengeance, Op. 4 in A major, Op. 5 in D major, Op.
Berlioz: Harold en Italie, Op. 3 in E flat major, Op. 3 in D minor, Op.
Wagner: Starke Scheite schichtet mir dort'Brünnhilde's Immolation Scene' (from Götterdämmerung). Wagner: Tristan und Isolde: Prelude & Liebestod. Ravel: Piano Concerto in G major. 1 in D minor, Op. Dukas: The Sorcerer's Apprentice.
Saint-Saëns: Le Rouet d'Omphale, Op. Debussy: Images for orchestra, L. Bach, J S: Brandenburg Concertos Nos. 9 in D minor, Op.
8 in F major, Op. Mendelssohn: Violin Concerto in E minor, Op. 9 in C major, D944'The Great. Mahler: Lieder eines fahrenden Gesellen.
Berlioz: Grande Messe des Morts, Op. 1 in E minor, Op. Mendelssohn: Capriccio Brillant in B minor Op. Dvorak: Cello Concerto in B minor, Op. Berlioz: Le carnaval romain Overture, Op.
Berlioz: Le Corsaire Overture, Op. Berlioz: Chasse royale et Orage (from Les Troyens). 22 in F major, Op. 3 in A minor, Op.Mendelssohn: Scherzo from Octet, Op. Poulenc: Concerto in G minor for Organ, Strings & Timpani. Strauss, R: Till Eulenspiegels lustige Streiche, Op. 2 in B flat major, D125.
Beethoven: The Creatures of Prometheus Overture, Op. Milhaud: La Création du Monde, Op. 8 in G major, Op. Chausson: Symphony in B flat major, Op.
Franck, C: Le Chasseur maudit. Debussy: Trois Nocturnes: Nuages et Fêtes. Debussy: Printemps, suite for piano 4 hands or orchestra, L. 6 in B minor, Op. Bach, J S: Violin Concerto No.
1 in A minor, BWV1041. Ravel: Valses nobles et sentimentales.
Fauré: Pelléas et Mélisande, Op. Booklet Editor Jochen Rudelt Conductor Charles Munch Design [ec:ko] Communications Mixed By, Mastered By Hansjörg Seiler (tracks: CDs 13, 4 , 5 , 7, 8 , 12 , 23 [1/2], 25, 26, 31 , 33, 34, 36, 37 , 43, 44 , 53, 56, 61, 66 , 71 , 73, 78, 81 , 83, 85 ), Mark Donahue (tracks: CDs 20, 22, 27 , 28, 37 , 44, 45, 52, 58 , 59, 64/65, 67, 68 ), Martin Kistner (tracks: CDs 13, 4 , 5 , 7, 8 , 12 , 23 [1/2], 25, 26, 31 , 33, 34, 36, 37 , 43, 44 , 53, 56, 61, 66 , 71 , 73, 78, 81 , 83, 85 ), Matthias Erb (2) (tracks: CDs 13, 4 , 5 , 7, 8 , 12 , 23 [1/2], 25, 26, 31 , 33, 34, 36, 37 , 43, 44 , 53, 56, 61, 66 , 71 , 73, 78, 81 , 83, 85 ), Philipp Nedel (tracks: CDs 19, 30, 38, 58 , 60) Photography By RCA Producer Robert Russ Research Anthony Fountain Transferred By Brett Zinn (tracks: CDs 13, 4 , 5 , 7, 8 , 12 , 23 [1/2], 25, 26, 31 , 33, 34, 36, 37 , 43, 44 , 53, 56, 61, 66 , 71 , 73, 78, 81 , 83, 85 ), Dirk Sobotka (tracks: CDs 19, 20, 22, 27 , 28, 30, 37 , 38, 44, 45, 52, 5860, 64/65, 67 & 68 ) Transferred By, Mixed By, Mastered By Andreas K.
All trademarks and logos are protected · Made in the EU Barcode: 888751697928. The Boxed Set is from the rare. RCA / SONY Classical Records.CDs made in the EU (UK likely). The CDs, OUTER BOX and INSERTS are all assumed to be in. Condition as this item is FACTORY SEALED! Comes complete - a superb collectible!
This CD is an audiophile quality pressing any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc. Can attest to the difference a quality pressing can make to an audio system.Don't let this rarity slip by!! The item "RCA / SONY 86-CD Box Charles Munch The Complete RCA Collection 2016 SEALED" is in sale since Tuesday, November 20, 2018. This item is in the category "Music\CDs". The seller is "hearthedifference" and is located in Woodbridge, Ontario. This item can be shipped worldwide.