Franck - Symphony In D Minor - Munch - Boston Symphony 1957 Classical - Original Canada Issue Stereo LP
Franck, Munch, Boston Symphony – Symphony In D Minor
RCA Victor Red Seal – LSC-2131
Living Stereo –
Vinyl, LP, Stereo
Record is VG++ has some very light wear (listen to our copy)
Cover is VG+ VG++ has some spine wear (see our pic)
Record comes in original RCA label inner sleeve VG++
Made in Canada. Cover Printed in the USA.
'Shaded Dog' Labels
This is a TRUE STEREOPHONIC record
"Living Stereo" in smaller print on the RCA Victor Shaded Dog label.
Symphony In D Minor
A First Movement: Lento - Allegro Non Troppo
B1 Second Movement: Allegretto
B2 Third Movement: Allegro Non Troppo
Composed By – César Franck
Conductor – Charles Munch
Orchestra – Boston Symphony Orchestra
Sleeve Notes – Cyrus Durgin
Barcode and Other Identifiers
Matrix / Runout (Side 1 on Label): J2RY-1983
Matrix / Runout (Side 2 on Label): J2RY-1984
Boston Symphony Orchestra/Charles Munch: Munch's driving tempos and innate feeling for Franck's symphonic drama make this one of the most satisfying performances available.
..And yet Franck's symphony starts with a veiled - or actually pretty obvious - homage to German music, to Beethoven's last quartet. Franck's opening theme is a rewrite of the questioning phrase to which Beethoven appended the words, "Muss es sein?" ("Must it be?") in the last movement of his final string quartet. Franck's theme, marvellously mobile in its modulatory potential, sets out, in its slow tempo, much of the material that the whole huge first movement will be based on. Transposed into an Allegro, you hear the same motto idea of the very opening, before the slow music is repeated in a new key. After its stormy beginning, the allegro proper climaxes in two radiant themes, both in F major, the first gently lyrical, and the second radiantly joyous. It's a feature of this symphony that while Franck is an inveterate modulator - his harmonies often shift like quicksand, something you hear particularly in the central development section of this movement, which starts with a startling move from F major to B major, achieved in just a few bars - his tunes are remarkably stable, like this joyous melody that's the reward for all that symphonic sound and fury. The lugubrious intensity of that slow introduction isn't easily forgotten, however, and it returns to catalyse the reprise of the movement's main themes, and after another appearance of that radiant tune, the movement ends with a vision of the slow motto theme, now in a major key.