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...Perfect Gem. In 1949, tired and grey, Koussy turned his baton over to Charles Munch. In 25 years, he had brought to U.S. ears more contemporary music than anyone else in history. His Koussevitzky Music Foundation had commissioned works from such giants as Bartok and Britten. His dream was realized...

Author: /time Magazine | Title: Music: Benevolent Master | 6/18/1951 | See Source »

Meanwhile, he has plans for a new Symphonie Fantastique, with the Boston Symphony's Charles Munch in mind. Says Martinu: "We need to be a little romantic in this moment, I think, a little...

Author: /time Magazine | Title: Music: New Limelight at 60 | 6/11/1951 | See Source »

Until last year, when he relinquished his directorship of the B. S. O. to Charles Munch, Koussevitsky each spring rehearsed and directed the Glee Club and Choral Society in a major work which they performed at the annual B. S. O. Pension Fund concert...

Author: NO WRITER ATTRIBUTED | Title: Koussevitsky Dies At 74 in Boston | 6/5/1951 | See Source »

...Charles Munch is probably the outstanding living interpreter of Berlioz. His reading of the Requiem was incandescent. But great credit must also go to the Glee Club and Choral Society. It seems remarkable that in so short a time they could become so respensive to Mr. Munch's direction. And even in the last performance, their tone quality remained pure and clear. The excellence of their training was particularly well shown in the a capella prayer "Quaerens...

Author: By F. BRUCE Lewis, | Title: The Music Box | 4/26/1951 | See Source »

...chorus should have been somewhat larger. Although Mr. Munch kept the orchestra and chorus in approximately the same proportion that Berlioz envisaged, the voices were not strong enough in the triple-fortissimo passages of the "Tuba Mirum" and "Laerymosa." At these times, however, these was quite a bit else to occupy one's attention...

Author: By F. BRUCE Lewis, | Title: The Music Box | 4/26/1951 | See Source »

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