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Great Conductors of the 20th Century - Charles Munch Compilation, Import

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Détails sur le produit

  • Chef d'orchestre: Charles Munch
  • Compositeur: Beethoven, Prokofiev, Saint-Saens, Martinu, Mendelssohn, et al.
  • CD (1 janvier 1970)
  • Nombre de disques: 2
  • Format : Compilation, Import
  • Label: Emi
  • ASIN : B00006IGIO
  • Classement des meilleures ventes d'Amazon: 477.840 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Danseromeo et juliette
  2. Romeo et juliette avant separatiromeo et juliette
  3. Ouverturela princesse jaune
  4. Symphonie n9 re min op125allegro premier mvt
  5. Symphonie n9 re min op125molto vivace deuxième mvt
  6. Symphonie n9 re min op125adagio molto troisième mvt
  7. Symphonie n9 re min op125presto quatrième mvt
  8. Le corsaire op21
  9. Octet mi bem maj op20scherzo
  10. Symphonie ut majallegro vivo premier mvt
  11. Symphonie ut majadagio deuxième mvt
  12. Symphonie ut majscherzo allegro troisième mvt
  13. Symphonie ut majfinal allegro quatrième mvt
  14. Symphonie n6lento allegro premier mvt
  15. Symphonie n6poco allegro deuxième mvt
  16. Symphonie n6lento poco vivo troisième mvt
  17. Mort de tybaltromeo et juliette
  18. Montaigus et capuletsromeo et juliette

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Amazon.com: 8 commentaires
10 internautes sur 10 ont trouvé ce commentaire utile 
Great Conductors of 20th Century= Best Reissues of the 21st 27 mars 2003
Par Michael Brad Richman - Publié sur Amazon.com
Format: CD
It's sad that the "Great Conductors of the 20th Century" reissue series has not gotten more notice on Amazon.com and in other places, because it has my vote for the best reissue program thus far of the 21st Century. Drawing from the archives of all the major classical labels (EMI, Sony, BMG, DG, Decca, Philips, Supraphon, etc.), EMI and IMG Artists have assembled a wonderful series of affordable two-disc sets by the leading conductors of the last century. And unlike its counterpart, "The Great Pianists of the 20th Century," which are basically compilations of material already available on other CDs, the "Great Conductors" features rare and, for the most part, previously unreleased performances!
This particular CD, Volume 22, features the great Charles Munch, who led the Boston Symphony Orchestra during the golden age of stereo recordings. As the track information is not abundantly clear above, allow me to mention that these discs feature memorable performances of Beethoven's 9th (with Leontyne Price and Maureen Forrester!), Mendelssohn's Octet, Martinu's Symphony No. 6, and Prokofiev's Romeo and Juliet Suites all with the BSO from between 1956 and 1960. A late recording of Bizet's Symphony in C from 1966 (2 years before Munch's death) is with the Orchestre National de la Radiodiffusion Francaise, and the set's only mono performances are Berlioz's Overture "Le Corsaire" from 1948 and Saint-Saens "La Princesse jaune: Overture" from 1951. Whether in stereo or mono, these performances are all golden.
Whether you are a serious collector of classical music or a beginner, the "Great Conductors of the 20th Century" has something for everyone. If the prized, rare performances previously unreleased on CD (or ever!) doesn't excite you, then use this as an opportunity to check out one of the greatest conductors ever recorded. Chances are, since stores are offering increasingly homogenized classical music sections, this conductor isn't even in your collection. And that would truly be a shame.
12 internautes sur 13 ont trouvé ce commentaire utile 
A Ninth for the Ages, and Other Goodies! 10 novembre 2003
Par AES ;:-) - Publié sur Amazon.com
Format: CD Achat vérifié
Charles Munch and Beethoven? An unlikely combination of French conductor, and arguably Germany's greatest composer and his greatest composition! But this wonderful reading with stellar soloists (including a young Leontyne Price) and the New England Conservatory Choir under Lorna Cooke de Varon made at Boston's Symphony Hall in 1958 was one of my most treasured LP sets. Now it's been transferred to CD, and in spite of some significant gripes about the transfer to CD, this is one of those rare occasions when everything comes together: Conductor, Orchestra, Soloists, Chorus, and original Recording Production to produce a breathtaking musical statement.

In my opinion, this is one of the finest performances recorded of Beethoven's Ninth available, including Toscanini's! From the opening majestic Allegro (but not too much so), through the driving Molto Vivace (a theme once used for closing credits for NBC Nightly News... "Good Night, Chet. Good Night, David!"), on to the sweeping Adagio with a very sustained but understated rhythm, to the wonderous solo singing and choral finale, this recording excites by its cohesive yet dynamic structure and wonderfully preserved sonics. Albeit very marred by some overload, "puncher", or limiter distortion which is tragically, very evident on the louder passages.
Maybe it was his Alsace birthright, but Munch, remembered for his outstanding, and somewhat spontaneous interpretations of French music, applied an overview to Beethoven's masterpiece that knits the entire massive work into a performance that flows, overwhelms, and excites, but never seems overblown in theatrics. And it's all accomplished in less than 63 minutes! The "velvet gloved fingers of steel" of the Boston Symphony Orchestra (BSO) string section, inherited from Serge Koussevitsky, never cease to create intonations of a silken yet intense sound. I think the great master, Beethoven, whose name is emblazoned above on the Symphony Hall proscenium would have been very pleased indeed!
And just to add spice to this feast, there are some demonstrations of Munch's well deserved reputation for creating a unique ambience in French repertoire that has rarely been equaled by any other conductor. Albeit they are a mixed bag of mono and stereo recordings owing to the vintage of some of the performances.
We are treated to Bizet's youthful "Symphony in C" with the French National Radio Orchestra from 1966, Saint-Saens' "Overture to La Princesse jaune" with the BSO in one of Munch's earliest recordings with this ensemble from 1951, Berlioz's "Le Corsaire" overture in a performance of reckless abandon with the Orchestre de la Societe des Concerts du Conservatoire from 1948, Martinu's Symphony No. 6 written specifically for Munch to help celebrate the BSO's 75th anniversary, was premiered by this ensemble in January of 1955. Then a marked divergence into Prokofiev with extracts from "Romeo and Juliet" recorded with the BSO shortly after the conductor's first performance of this work from 1957. Whether intentional or not, this set also includes one of Munch's last recordings with the BSO, made in 1960: the "Scherzo" from Mendelssohn's "Octet". It's a pity not to hear the entire Octet performed by this ensemble. I guess we'll just have to settle for Toscanini's dated NBC reading for intensity of overall performance.
I earlier noted a major gripe concerning the transfer, however. Having executed similar transfers on old master tapes with similar issues, it's worth mentioning as a "caveat" to this set.
The original BSO recordings were probably made directly from strategically placed Neumann U47 microphones, through a tube mixer (with no added equalization - it's all they had in those days!), and recorded using tube-based Ampex 300 tape recorders onto 3 track 1/2-inch tape for the "Living Stereo - Orthophonic" release. I suspect a dub of the final 2 channel LP master is what was used for this CD release.

Hat's off to the original Production-Engineering team of Richard Mohr and Lewis Layton at RCA; they did a spectacular job with what they had to work with in the 1950's and 1960s', notwithstanding the wonderful acoustics of Boston's Symphony Hall!
The original raison d'etre for these tape recordings was transfer to consumer vinyl LP stereo discs, which inevitably have some high frequency losses due to transfer, manufacturing, and playback systems of the day. Thus, at the time of original releases, tape hiss was masked on the final LP discs along with correcting slight rise in the frequency response of the U47 microphones; nowadays referred to as a "presence" rise.
I suspect the recording team were well aware of these characteristics and worked diligently to make the master the tape recording in such a way as to compensate for these vinyl transfer issues. Certainly, this was a curious complementary effect of the recording and playback systems of 1958. Now there are simple software tools available to easily compensate for this situation, which restores the original acoustical sound by removal of this "presence" peak, gently reduce the steady background tape hiss, and possibly even "scrub" the overload distortion for CD release.
Alas, the re-issue engineers have seen fit to "tinker" much more heavy-handedly! Not with the overall frequency balance, but with the dynamics in the worst possible way! Critical listening points up "constricted" and distorted passages throughout all the transfers. They have evidently applied a now popular signal processing technique for "pop" recordings to create a "punchy" sound to the detriment of the original recordings. This is a true pity, and mars the wonderful effort of the originals to the point of creating grating and strident effects during loud passages of the music in both strings and chorus. At first, I suspected my own playback equipment. But on further critical examination of all the disc set contents, I discovered that all the various recordings, made at different times and by very different recording companies employing different recording techniques, suffered from the same wretched effects; distorting the true dynamics of the original masterpieces and influencing the final product with overuse of non-musical production tools.
All things considered, I guess 'tis better to have the recording, albeit in a marginal transfer. The re-mastering staff has indeed done service in providing these wonderful examples of great conductors of the 20th century with such landmark recorded performances. I only regret that they would learn to apply the vast array of post-production tools now available in minimal ways.
To paraphase award winning music producer and mastering engineer, Bob Katz ([...] As with fine food, a little seasoning can do much to improve the taste. But too much produces bland or bitter results, unworthy of a great repast! Sigh! Such tools need to be applied minimally and judiciously, so as not to spoil the fruit of so many peoples labors in generating the original recordings.

However, hat's are also off to this team of folks and their management for producing the entire series, albeit with some of their unnecessary, "heavy handed" post-production processing.
In spite of these aural flaws, if you love Beethoven, this one is a "must" for your collection! If you have never heard Munch conduct, then this is certainly a tantalizing introduction to him and some great repertoire.
12 internautes sur 13 ont trouvé ce commentaire utile 
Fine Beethoven 3 mai 2003
Par William J. Mertens - Publié sur Amazon.com
Format: CD Achat vérifié
This set is worthwhile just to hear Munch conduct if you haven't. Moreover, it would be worth the price of admission just for the Beethoven No. 9.
The Boston Symphony Orchestra under Munch's baton was called, only half facetiously, the greatest French orchestra in the world. With the orchestra at its peak, and with first-rate soloists, Munch recorded the Beethoven 9 on three sides of a 2-LP RCA Red Seal release. Now it's on disc 1 of this set.
This long was my favorite recorded performance of the Beethoven No. 9--partly for its "French" qualities, most especially a gorgeous tone from the BSO. Munch coaxed a rich, mellow sound from the strings and winds that, in my opinion, was unmatched, and it serves this German composer's music very, very well. The CD captures the richness of the LP sound well.
Munch's tempos seem right on the money. The first movement has drive, and it expresses Beethoven's rage and fury when it should, but Munch avoided the break-neck pace of some recordings.
Some performances rush the scherzo movement and get a sort of galumphing effect. Munch's tempo here also has drive, but Munch finds an unusual elegance in the movement, and his players give the music that distinctive beautiful tone. It shows the music in a different light--maybe a new one, if you haven't heard this approach before. The rest of the performance is equally fine (and, again, there are those fine soloists in the last movement.)
So far as I know, this performance was never before issued on CD, and I always thought this was a shame. It's a very welcome addition to the catalog, and it remains my favorite recorded performance of the piece. (The 4th side of the Red Seal LPs had the Beethoven No. 8. Sadly, this performance still seems unavailable on CD.)
The rest of the set highlights French composers, which makes sense for this French conductor (though he was born in Alsace before World War I when it was still part of Germany). These performances also are fine and often quite beautiful.
5 internautes sur 6 ont trouvé ce commentaire utile 
One of those rare "Matters of Taste" 3 janvier 2006
Par Wayne A. - Publié sur Amazon.com
Format: CD
I hate the "it's a matter of taste" line that I get from too many kiddies these days who are infected with the debilitating no standards/cultural relativism sickness. There is good stuff, and there's crap, and there's a lot of confusing gray-with-flecks in between. With Munch though that "taste" thing may be the case. My esteemed colleague below (Chopra fan) dislikes (some of) the loose-limbed approach of Munch and has little nice to say about this performance of the Ninth, which I love. His points are completely valid. So is my love of Munch. Here's what I think happened.

Munch walked into one of the best orchestras in the world and realized they could do anything and barely needed him; he also realized this was the ideal circumstance to take a freewheeling and spontaneous tack, take the leash off the show-dog so to say, and see what happened. What happened was a beautiful and riotous Choral Symphony that's my favorite too, a Schubert Ninth that, for the first time didn't sound like an Arthur Murray dance class or like it had a stick up its hootie (which it does, sorry Franz), a Franck D minor that finally came across like the masterpiece it is, and a box load of Berlioz that still stands alone...among many other things. So imagine a great symphony orchestra, trained to the most precise standards, getting tipsy and playing the pants off its favorites. Sloppy ensemble at times, sure, but boyo what a party--I didn't get home till 6 AM!

You'll find the same sort of hell-raising with Markevitch and the Lamoureux (where they often do sound stinking drunk) and with Silvestri (who is brilliant). No dignity. But should one have ones pants on when doing Rossini overtures, Scheherazade, the Fantastique, or even the all-holy Beethoven Ninth? I'd argue no siree!!
A riveting rendition by a great old school conductor 27 juillet 2013
Par Splendid - Publié sur Amazon.com
Format: CD Achat vérifié
I have heard many renditions of Beethoven's 9th symphony and frankly after a while all of them sound similar to a certain extent. Here Munch had some surprises in store. Yes he has a faster tempo but unexpected but joyful changes of pace and rhythm in places where I thought I knew what was next. It was refreshing. Also the reissue has brought out parts of the orchestra and detail. Some may not like Munch but I think it is good to get earfuls of many conductors. He is one of the great ones. You will not be disappointed. The other parts of the program on 2 cd's I have not listened to as much to make a critical evaluation.
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