Charles Munch, "The Complete Recordings on Warner Classics"

This box covers two very different eras in Munch's career: pre-Boston, and post-Boston.  Of course, the general consensus is that his best recordings were made during his thirteen years in Boston, and who am I to argue with that.  But the main thing that attracted me to this box is the breadth of the repertoire.  The box regularly branches outside of the standard repertoire and features several then-contemporary French composers whose work has not been regularly recorded.

The first six discs are stereo recordings from the 1960's.  Munch's specialty, the Berlioz "Symphony Fantastique" was the premiere recording of the Orchestre de Paris.  This orchestra that was essentially created for Munch, sadly he passed away not long after its formation.  This version may not be his finest recording of the work, but it does not disappoint.  Munch is also excellent with Ravel, drawing energy and passion from works like the "Daphnis and Chloe Suite No. 2" and "Bolero" that many conductors fail to do.  His "Bolero" may come as a surprise to those who are accustomed to versions where the main job of the conductor is to beat time as steadily and inexorably as possible.    

I still don't "get" Roussel as a symphonist, but I discovered Dutilleux via this box and was instantly drawn to the strange atmospheres and timbres in his Symphony No. 2 and "Metaboles".

The final seven discs are mono recordings presented in variable, but generally decent sound.  There are many wartime recordings from Paris, providing some historical significance.  A triumphant Beethoven "Emperor" concerto, recorded the week after D-day in Paris, is a fascinating listen in this regard.  But these discs contain many concertos where the influence of the conductor is more obscured, all the more so because of the sound quality which can make it difficult to hear the details from the orchestra.  Fortunately, just about all of it is good.  Elsewhere, there are several works by 20th century composers (Delannoy, Halffter, Samazeuilh) that show Munch's talent as a promoter of contemporary works if nothing else.  

This isn't a set that can be easily digested in large chunks because it's all over the place in terms of styles, sound, and orchestral quality.  But as a meaningful chapter in Munch's legacy, containing many fine performances, it's an enjoyable and highly inspiring listen.