Word: munches
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Dates: during 1950-1959
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...nice thing about the Boston Symphony's open rehearsals is their concert hall quality. Instead of a tortuous practice session, a student audience sees and hears a preview of the next day's subscription concert. Charles Munch seldom finds it necessary to ask the orchestra to replay unsatisfactory passages. After nearly a week of practice, he has only a few subtle problems of interpretation to work...
...Boston premiere of a new symphony by Walter Piston highlighted the pair of concerts given last weekend by the Boston Symphony Orchestra, Charles Munch conducting. The symphony, Mr. Piston's fourth, was commissioned by the University of Minnesota and first performed as part of that school's centennial celebration in the spring...
...summer that "one of my gods," veteran First Flutist Georges Laurent of the Boston Symphony, was retiring. But she had experience and solid training (at Rochester's Eastman School), and she applied for the position anyway. In July she traveled to Tanglewood for an audition with Conductor Charles Munch. She played him some Bach, waited while other applicants took their turns, then went back twice more to show what she could do with Debussy and Ravel. Munch took two months to decide. It was not until fortnight ago that a phone call came through from Boston: she could...
...opening concert, Conductor Munch nodded approvingly over her solo bits in Beethoven's Fourth Symphony. The Boston Globe critic was even more approving; he pronounced her "a true find." Scowled the Herald's Elie: "I find it difficult to accept the notion that any lady flute player could ever succeed Georges Laurent either as an artist or as an object of such veneration among...
...about the program that I want to write you: the Beethoven Fourth, Berlioz' "Royal Runt and Storm," and the Brahms First. Mr. Munch, this choice is surely a failure either of nerve or of imagination. Indeed, the guests have been fed beef and potatoes with a touch of cola slaw on the side. For this nourishing fare we must be grateful. Yet surely one can design a more stimulating musical diet: something earlier than Beethoven, something later than Brahms. Perhaps you are as weary of playing items of standard repertory as I am of hearing them at so many concerts...