The Requiem.
There’s no mention anywhere that these recordings have been remastered. They date back 1949-1961. Most are in stereo, as is the case here. This was taped in Symphony Hall in April 1959, all of 60 years ago. Much to my surprise the sound is very, very good. Uncluttered, with well-spaced stereo, no peaking, no distortion, no fizz, no hiss, no pre-echo. There is a nice spatial spread to the voices: basses and sopranos to the left, mezzos and tenors to the right. Very easy to follow the choral lines. Of course the dynamic range may be slightly less wide than on more modern recordings, but in all conscience I can only say that, as a recording, this is very successful. So far I had this only as a download transferred onto cdr, so no match for this fine product.
Munch’s interpretation is legendary, and justly so. I also have his later BRSO recording, a rather different kind of interpretation. In Boston he is on home turf, working with his own orchestra and the well-honed New England Conservatory Chorus and its fabulous director Lorna Cooke de Varon. Collectively they could start working on fine points of expression instead of going through the more lengthy and arduous process of starting from scratch. This is a very intense interpretation, extraordinarily focused, unfurling at what seems a quite steady pace. Munch’s Offertory is an urgent plea, with beautiful wind curls. In all the other movements he leans slightly on the slower side of average.
The participation of Léopold Simoneau in the Sanctus has always been praised to the skies and rightly so. This is a hugely difficult solo. The top of the voice must sound honeyed, sweet and utterly free of any strain. In the Book of Isaiah the words of the Sanctus are thundered forth by a bunch of six-winged seraphims whose voice move the foundations of heaven. Not exactly what Berlioz offers ! No matter, this is a moment of pure beauty and I wouldn’t want it any different.
Colin Davis recorded the work multiple times (4 or more) and I still consider his first, LSO recording as the most formidable of all. Munch’s BRSO account is almost as good as the Boston, except for his tenor and the last degree of passion in the playing. McCreesh is a spine tingling affair, dramatic in the extreme. Still, this BSO version retains my affection and I simply can’t find anything to detract from my enjoyment.
