Word: munching
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Dates: during 1940-1949
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...basic philosophy characterizing Munch's approach to the orchestra is that every musician is talented and a master of his instrument. Otherwise he would not be a member of the orchestra, Munch reasons. Consequently he seldom corrects individuals in rehearsals, and though he is careful of details, he does not pick out one particular player for picayune criticism. Only when he strongly disagrees with a man's particular interpretation will he stop a rehearsal to correct him. Thus, although he spends as much time in rehearsal as other conductors, less of this time is spent in repetition of short phrases...
...every Munch performance, there is a certain amount of "calculated risk." That is the orchestra never is absolutely sure that everything is going to work out perfectly; consequently they are on edge, always awake, and always sensitive to the wishes of the conductor. This contrasts with the technique of a man like Bruno Walter, who sometimes repeats a few measures so many times that the orchestra becomes bored, and, of course, their playing shows it. Munch never takes a big chance in any performance, but just enough is left in doubt to create the effect he desires. Thus, in performance...
...Munch's baton technique is perhaps his most unique characteristic. One moment he may be beating time with the sparest possible motion, left hand by his side, and the next he literally whips up the orchestra with violent arm movements. He conducts not only with his arms but with his entire body. During the performance of a choral work here recently, he was conducting four separate elements of the orchestra with different parts of his body, all the while singing the French words along with the chorus and carefully exaggerating his lip movements of assist the singers in pronunciation...
Some critics notably those in Boston, have criticized Munch's technique as excessively flamboyant. This may seem justified to the casual observer, but many orchestra musicians explain that the technique is an extremely illuminating one that assists them greatly in performing complicated rhythms or melodies, especially those encountered in modern works. At any rate, the musicians of the Boston Symphony will have no doubt when Munch gives his downbeat--something which cannot be said for his predecessor...
...fear that haunts Munch when he is leading a performance is that the music is dragging. This to him is the worst thing that can happen, and thus when he feels a piece sticking, he is apt to rush...