【古殿唱片音樂故事】一首「幻想」，跨越百年的迴響——白遼士、孟許、克路易坦，與一個樂團的命運
古殿殿主
1830年的那個夜晚
1830年12月5日，巴黎。
一個叫白遼士的年輕作曲家，正因為暗戀一位他幾乎沒有機會接近的愛爾蘭女演員，而快要發瘋。他把這份無處宣洩的執念，全部燒進了一部交響曲裡：一個年輕藝術家因失戀而服下鴉片，在幻覺中看見自己殺了心愛的女人，被押上斷頭台，最後落入女巫的夜宴……五個樂章，一場美麗的瘋狂。
那晚，巴黎音樂學院的音樂廳裡，這部前所未聞的《幻想交響曲》迎來了它的世界首演。現場的聽眾幾乎被震驚到說不出話，第四樂章《赴刑場的行進》甚至被要求安可重演。整個巴黎樂壇意識到，某種全新的、劇烈的、大膽的音樂，剛剛誕生了。
完成這個歷史任務的，是一個兩年前才創立的樂團，由弗朗索瓦-安托萬·哈貝內克（François-Antoine Habeneck,1781-1849）指揮，叫做「巴黎音樂學院管絃樂團（Orchestre de la Société des Concerts du Conservatoire）」。
就在那一夜，這個樂團與《幻想交響曲》之間，形成了一種無法切斷的命運連結。沒有人知道，這個連結將一直延伸到一百三十七年後，才在遙遠的東京，以最後一次的演奏，完整地、靜靜地，畫上句點。
一個樂團，一段跨越百年的法式傳統
「巴黎音樂學院管絃樂團」在整個十九世紀和二十世紀前半葉，慢慢形成了一種獨特的聲音。很難用幾個字精確描述它——如果你聽過，你會知道那是一種透明的、精緻的、帶著一點點憂鬱與高傲的音色，管樂色彩層次豐富，弦樂不張揚，但每一個音符都有自己的位置與重量。這個特質逐漸形成所謂「法式」，有別於「德奧」的厚重與結構。連布拉姆斯都認為這種法國聲響可能才能展現他的交響曲的色彩與細節。這是法國音樂學院一代代訓練出來的演奏家，在特定的傳統與美學中積澱而成的東西，用一個詞來概括，法國人會說：Esprit——精神、氣韻、靈魂。
這個傳統，隨著時代更迭慢慢面臨挑戰。到了1960年代，法國政府意識到，這個歷史悠久但規模相對有限的老牌樂團，已經難以和柏林愛樂、阿姆斯特丹大會堂這些當代頂尖樂團平起平坐。法國需要一個更大、更現代、全面國家資源支持的世界級交響樂團。
於是，1967年，以「音樂學院管絃」為基礎，吸收巴黎各方優秀演奏家，大幅擴編，一個全新的國家級樂團宣告成立——「巴黎管弦樂團」（Orchestre de Paris）。
而「巴黎音樂學院管絃樂團」，在走過一百三十九年之後，就此解散。
但這不是一個單純的結束。就在這個老樂團完成歷史使命、走入歷史的同一年，一個嶄新的樂團在它的基礎上站起來，在巴黎的舞台上，奏響了第一個音符——而那個音符，是白遼士《幻想交響曲》的開頭。
圓圈在這裡閉合了，一百三十七年的故事，恰好在同一首曲子上，有了一個完整的終點與起點。
孟許：那個用音樂燃燒自己的人
要理解這段歷史，你必須認識查爾斯·孟許（Charles Munch,1891-1968）這個人。
他1891年出生於阿爾薩斯地區的斯特拉斯堡，一個音樂家庭。他的父親是音樂學院的管風琴教授，他從小學小提琴，後來去萊比錫，在當時最偉大的指揮家福特萬格勒(Wilhelm Furtwangler,1886-1954)身邊學習指揮。1938年，他接任「巴黎音樂學院管絃樂團」首席指揮，成為這個完成了《幻想交響曲》世界首演的偉大樂團的掌舵者。
二戰期間，孟許拒絕與納粹佔領當局合作，用指揮台作為一種精神的抵抗。這讓他在法國不只是一個音樂家，更成了一種文化尊嚴的象徵。
戰後，他的名聲傳到了美國。1949年，他接掌波士頓交響樂團，開始了長達十三年的黃金歲月。在波士頓，他留下了大量傳世錄音(他剛好遇到戰後RCA錄音的黃金時代)——尤其是法國曲目，白遼士、拉威爾、法朗克，在他棒下有著任何人都無法複製的光芒。他指揮《幻想交響曲》的版本，更是長期被公認為最接近這部作品靈魂的詮釋。
1962年退休後，他繼續四處指揮，1965年帶著樂團完成了俄羅斯巡演。然後，法國政府找上了他。
他們邀請這位已年近八旬的指揮大師，回到故鄉巴黎，擔任剛成立的「巴黎管弦樂團」首任藝術總監。孟許答應了。對他來說，這不是一份工作，而是一個召喚——回到法國，回到那個讓他成為音樂家的土地，為一個新的、承載著百年傳統的樂團，完成它最重要的第一步。
1967年11月14日，孟許率領「巴黎管弦樂團」在香榭麗舍劇院登台首演。他選擇的開幕曲目，毫無懸念：白遼士《幻想交響曲》。
這個選擇背後有著深刻的歷史意識。一百三十七年前，就是從「音樂學院管絃」脫胎而來的這個樂團的前身，完成了這部作品的世界首演。如今，在它的繼承者登上舞台的第一夜，這首曲子再度響起，像是一個跨越世代的宣誓，對哈貝內克的遺志，對整個法國音樂傳統，深深地鞠了一躬。
音樂會大獲成功。法國EMI的錄音師Paul Vavasseur在現場架好了麥克風，把這個歷史時刻凝固成了聲音。那份錄音，就在我們今天要介紹的這張唱片裡。
然而，命運沒有給孟許更多時間。1968年10月底，他帶著「巴黎管弦」展開首次美國巡演，卻在巡演途中的11月6日，在維吉尼亞州里奇蒙的清晨，因突發心肌梗塞辭世。他在音樂的路上，在旅途中，走完了人生最後一步，他如願地完成了使命，沒有留下遺憾，只留下了無數的音樂。
克路易坦：在終點前的最後守護
如果說孟許是「巴黎管弦」誕生的見證者，那麼安德烈·克路易坦（André Cluytens1905-1967）就是「音樂學院管絃」最後的守護者。
克路易坦1905年生於比利時，血統上不是法國人，卻成了法國音樂精神最忠實的守護者。他的家族有著根深蒂固的音樂傳統，祖父、父親都是指揮，近親中還有三位指揮家——他幾乎是注定要走上這條路的。
他的生涯以歌劇起步，在法國各城市磨練多年後，1943年在戰時巴黎被任命為「音樂學院管絃」的副指揮，替忙於抵抗運動的孟許代理日常工作。1949年孟許離開法國，克路易坦接棒，成為第十二任首席指揮，一直做到他生命的最後一刻。
他在「音樂學院管絃」的這近二十年，是樂團藝術上的黃金期。他對法國音樂的詮釋——尤其是拉威爾——以一種難以言喻的瀟灑著稱。那不是技巧層面的瀟灑，而是從骨子裡透出來的那種法式氣度：熱情而不失節制，精緻而絕不匠氣，清透到幾乎像光線穿過薄薄的玻璃。他同時也是二十世紀第一位登上拜魯伊特音樂節指揮台的非德語系指揮家，以詮釋華格納而備受德國樂壇讚譽，這在當時幾乎是不可思議的成就。
1964年，克路易坦率「音樂學院管絃」赴日本巡演，這是樂團最初也是最後一次踏上日本的土地。他們在大阪、東京、福岡演出，場場引發狂熱。日本樂評界幾乎傾巢而出，用盡最高規格的讚美詞彙形容這個樂團。而在這次巡演的曲目裡，克路易坦再次選擇了《幻想交響曲》——那首一百多年前，這個樂團帶到世間的作品。此時沒有人知道，這將是他們最後一次在異鄉的舞台上演奏它。
三年後，1967年，克路易坦以六十二歲之齡辭世。同年，「巴黎音樂學院管絃樂團」解散。這個由哈貝內克在1828年創立、以《幻想交響曲》首演留名青史的樂團，就這樣靜靜地走入了歷史，帶走了它一百三十九年積累的一切——包括那種任何人想要複製都不可能成功的獨特聲音。
三張黑膠，三個時刻，同一首幻想
手邊這三張黑膠，記錄的正是這段歷史中最關鍵的三個瞬間。把它們放在一起，你會看見一個巧妙而完整的生命連結故事。
【第一張】克路易坦 ／ 巴黎音樂學院管絃樂團《幻想交響曲》
1964年5月10日，東京文化會館現場Seven Seas Japan K20C-481
這張日本Seven Seas（國王唱片）發行的特製重量盤，屬於「NHK音樂會現場錄音——傳說中的日本公演系列」，記錄了1964年5月10日克路易坦率「巴黎音樂學院管絃」在東京文化會館的現場演出，音源由NHK服務中心提供。1986年首次出版。
這是「巴黎音樂學院管絃樂團」在日本留下的唯一錄音，也是他們最後一次將《幻想交響曲》帶上舞台。
封面上，克路易坦高舉右臂的黑白照片，凝固了那個時代最後的威嚴。唱片側標上，日本樂評人宇野功芳寫道：「純粹、精緻，且熱情如奔流般噴湧而出。」小石忠男則說：「精妙的法國風情。名家手筆中的頂尖傑作。」
這個演奏與一般人印象中宏大激昂的《幻想》不同。克路易坦不是用力量去壓倒你，而是用透明度去迷惑你。第一樂章的起伏輕盈而充滿心理張力，第二樂章的華爾茲優雅地流動，第三樂章在遼闊中透出一種可以呼吸的空間感。然後，從第四樂章開始，那種被壓抑的拉丁熱情驟然爆發——定音鼓的強擊、長號的怒吼、加速再加速的排山倒海——但即便如此，那個法式的精神始終沒有消失，就像白遼士寫這首曲子時，那種瘋狂背後永遠存在的優雅。
這是一個首演樂團，在它最後的歲月，以最後的氣力，再度演奏了讓它名留青史的那首作品。這份錄音的珍貴，已經超越了音樂本身。
【第二張】孟許 ／ 巴黎管弦樂團《幻想交響曲》
1967年10月，香榭麗舍劇院Angel Japan AA-8255（紅膠，日本1968歷史首次發行版中的最早限定版本）
三年後，同一首曲子，換了一個樂團，換了一個時代。
這張Angel Japan的紅標盤，記錄的是「巴黎管弦樂團」誕生前夕的錄音——1967年10月23至26日，在首演音樂會的三週前，
製作人René Challan與錄音師Paul Vavasseur，在香榭麗舍劇院現場留下了這份錄音。Paul Vavasseur是法國EMI二戰後最偉大的錄音師，法國EMI的眾多經典錄音中，七成以上出自他之手。這個組合——偉大的指揮、剛成立的世界級樂團、傳奇的錄音師、絕佳的錄音場所——使這張唱片在聲響上達到了難以企及的高度。
孟許指揮《幻想》的版本向來是業界公認的典範，而這張1967年版本更是他一生詮釋的最高點——年邁的指揮帶著重回故土的激情，新生的樂團帶著一鳴驚人的銳氣，而深藏其後的，是一百三十七年的歷史重量：哈貝內克的遺志、「音樂學院管絃」的百年精神、白遼士第一個瘋狂夢境的幽靈，全都在香榭麗舍劇院的空間中匯聚。這張Angel Japan紅標盤，是這份歷史時刻最美麗的物質載體。
這個版本的《幻想》，跟克路易坦的完全不同，但同樣震撼。孟許的版本是史詩氣度，是燃燒，是一個老人用盡最後的力氣所點燃的篝火。他對這首曲子太熟悉了，熟悉到可以從它身上挖出任何人都找不到的東西——那種白遼士瘋狂愛戀的核心，那種生死邊界的熱烈。新生的「巴黎管弦」在他的棒下，幾乎是脫韁而出，而整個演奏又始終在某種深邃的結構感中維持著完整。
這份錄音的聲響，至今仍是絕響。不只是因為演奏本身，更因為這是一百三十七年歷史的交接時刻所留下的聲音——老樂團的精神進入了新樂團的身體，由孟許的雙手完成了這個傳遞。
【第三張】孟許最後錄音系列
法國EMI CVB-2281-2《向孟許致敬》兩枚組盒裝（1968年）
這套法國EMI原版的豪華盒裝，是孟許留在世上的最後音樂遺言。
曲目全是法國音樂：拉威爾的《波麗露》、《西班牙狂想曲》、《達芙尼與克羅依第二組曲》、《G大調鋼琴協奏曲》、《為已故公主的帕凡舞曲》，以及霍乃格《第二號交響曲》。依然是Paul Vavasseur在香榭麗舍劇院錄音，依然是那個黃金組合。
最值得一說的是拉威爾《G大調鋼琴協奏曲》。鋼琴獨奏者叫妮可·昂利奧特·史懷哲（Nicole Henriot-Schweitzer,1923-2001），是孟許的姪女，也是他指定的這首曲子的「御用」演奏家。她十歲進入巴黎音樂學院，師承鋼琴教育傳奇人物瑪格麗特隆(Marguerite Long,1874-1966)，1938年以首獎畢業。她一生留下了這首協奏曲的五次錄音，其中四次是跟孟許合作，而1968年的這次，是她與孟許最後一次攜手，孟許辭世前數週完成的最後錄音。
聽這張唱片，你會被那種法式透明感震住。拉威爾音樂裡最難以捕捉的東西——那種管樂的輕盈、那種介於夢境與清醒之間的飄浮感——在這個錄音裡被完整保留了下來，如此清晰，又如此易碎，像是隨時會消散的晨光。
這套盒裝在孟許辭世後由EMI發行，作為對他的追念。封面是一張黑白的孟許特寫，那雙眼睛，飽含著整個人生的重量。
最後，圓圈閉合的那一刻
現在，讓我們把這三張唱片並列，重新看一遍這個故事。
1830年，「巴黎音樂學院管絃樂團」首演《幻想交響曲》，一個傳奇就此開始。一百三十四年後的1964年，這個樂團帶著最後的法式聲響來到東京，再度演奏《幻想》，在異鄉留下了最後的身影。三年後，樂團解散，克路易坦辭世。
而就在1967年那個命運性的同一年，「巴黎管弦樂團」成立，孟許選擇用《幻想交響曲》在首演夜向前人致敬，向那個百年傳統鞠躬，向哈貝內克的幽靈，向白遼士那個瘋狂的愛，再一次點燃。
翌年，孟許也走了。
這三套黑膠，就是這個圓圈上最重要的三個節點。它們不只是音樂錄音，而是歷史的切片，是一個時代如何開始、如何傳遞、如何終結的完整見證。
把唱針放上去，你聽到的，是一百三十七年的法國音樂史，在三張黑色圓盤上迴旋著，緩緩轉動，從不停歇。
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[Classical Vault Music Stories] A "Symphonie Fantastique," A Century-Spanning Echo — Berlioz, Munch, Cluytens, and the Fate of an Orchestra
That Night in 1830
December 5, 1830. Paris.
A young composer named Hector Berlioz was driving himself mad over an unrequited love for an Irish actress he could barely even approach. He took all of this nowhere-to-be-vented obsession and burned it right into a symphony: a young artist, heartbroken, takes opium. In his hallucinations, he sees himself murdering his beloved, being marched to the guillotine, and finally plunging into a witches' sabbath... Five movements. One beautiful madness.
That night, in the concert hall of the Paris Conservatory, this completely unprecedented Symphonie Fantastique had its world premiere. The audience was so shocked they were practically speechless. The fourth movement, "March to the Scaffold," was even demanded for an encore. The entire Parisian music scene suddenly realized that something entirely new, fierce, and incredibly bold had just been born.
The group that completed this historical mission was an orchestra founded just two years prior, conducted by François-Antoine Habeneck. It was called the Orchestre de la Société des Concerts du Conservatoire (The Paris Conservatory Concert Society Orchestra).
On that very night, an unbreakable bond of fate was forged between this orchestra and the Symphonie Fantastique. Nobody knew that this connection would stretch across one hundred and thirty-seven years, only to quietly and perfectly close its circle during one final performance in faraway Tokyo.
An Orchestra, A Century-Spanning French Tradition
Throughout the 19th and early 20th centuries, the "Conservatory Orchestra" slowly cultivated a highly unique sound. It’s hard to pin down with just a few words—but if you’ve heard it, you know. It’s a transparent, refined tone, carrying just a hint of melancholy and pride. The woodwinds are layered and rich in color, the strings never show off, yet every single note holds its own exact weight and place.
This characteristic sound gradually defined what we call the "French Style," distinct from the heavy, highly structured "German-Austrian" sound. Even Brahms believed that only this French resonance could truly reveal the colors and details of his symphonies. This was something accumulated over generations by musicians trained in the French conservatory system, steeped in a specific tradition and aesthetic. To sum it up in one word, the French would call it Esprit—spirit, elegance, soul.
But as eras changed, this tradition faced challenges. By the 1960s, the French government realized that this deeply historic, yet relatively small-scale orchestra was struggling to stand shoulder-to-shoulder with modern titans like the Berlin Philharmonic or the Concertgebouw in Amsterdam. France needed a larger, more modern, world-class symphony orchestra backed by full national resources.
And so, in 1967, using the "Conservatory Orchestra" as its foundation, absorbing top-tier musicians from all over Paris, and massively expanding its roster, a brand new national-level orchestra was born: the Orchestre de Paris.
As for the Orchestre de la Société des Concerts du Conservatoire? After a journey of 139 years, it simply disbanded.
But this wasn't just a simple ending. In the exact same year this old orchestra completed its historical mission and stepped into the past, the new orchestra stood up on its foundations. And the very first note they played on the Parisian stage? It was the opening of Berlioz's Symphonie Fantastique.
The circle closed right here. A 137-year-old story found its perfect ending and its brand new beginning, resting entirely on the same piece of music.
Munch: The Man Who Burned Himself with Music
To truly understand this history, you need to know Charles Munch (1891-1968).
Born in 1891 in Strasbourg, Alsace, to a highly musical family, his father was an organ professor at the conservatory. Munch learned the violin as a child, later traveling to Leipzig to study conducting alongside the greatest conductor of the era, Wilhelm Furtwängler. In 1938, he took over as the principal conductor of the "Conservatory Orchestra"—taking the helm of the very orchestra that had premiered the Symphonie Fantastique.
During World War II, Munch famously refused to collaborate with the Nazi occupation, using the conductor's podium as a form of spiritual resistance. This made him not just a musician in France, but a symbol of cultural dignity.
After the war, his reputation reached America. In 1949, he took over the Boston Symphony Orchestra, beginning a golden era that lasted thirteen years. In Boston, he left behind a massive catalog of legendary recordings (perfectly timed with RCA's post-war golden age of recording). His French repertoire—Berlioz, Ravel, Franck—shined with a brilliance under his baton that no one else could replicate. His version of the Symphonie Fantastique has long been universally recognized as the interpretation closest to the very soul of the work.
After retiring in 1962, he continued to guest conduct, eventually leading an orchestra on a Russian tour in 1965. Then, the French government came knocking.
They invited this maestro, now in his late seventies, to return to his hometown of Paris to serve as the first artistic director of the newly formed "Orchestre de Paris." Munch said yes. For him, this wasn't a job; it was a calling. He was returning to France, to the soil that made him a musician, to guide a new orchestra carrying a century of tradition through its most important first steps.
On November 14, 1967, Munch led the "Orchestre de Paris" onto the stage of the Théâtre des Champs-Élysées for their inaugural performance. His choice for the opening piece was without a single doubt: Berlioz's Symphonie Fantastique.
There was profound historical awareness behind this choice. 137 years ago, the predecessor of this very orchestra brought this piece into the world. Now, on the first night its successor took the stage, the music rang out again. It was a cross-generational oath—a deep bow to Habeneck's legacy and the entire French musical tradition.
The concert was a massive triumph. French EMI's sound engineer, Paul Vavasseur, had set up microphones at the venue, freezing this historical moment into pure sound. That recording is the very one we are talking about today.
Fate, however, did not give Munch much more time. In late October 1968, he took the "Orchestre de Paris" on its first American tour. On the morning of November 6, while on the road in Richmond, Virginia, he passed away from a sudden heart attack. He walked his final steps on the path of music, right in the middle of a journey. He fulfilled his mission just as he wished, leaving behind no regrets—only an endless wealth of music.
Cluytens: The Final Guardian Before the End
If Munch was the witness to the birth of the "Orchestre de Paris," then André Cluytens (1905-1967) was the final guardian of the "Conservatory Orchestra."
Born in Belgium in 1905, Cluytens wasn't French by blood, yet he became the most faithful protector of the French musical spirit. He came from a deeply rooted musical family; his grandfather and father were conductors, and three close relatives were also conductors. He was practically destined for this path.
He started his career in opera, honing his skills in various French cities for years. In 1943, during wartime Paris, he was appointed assistant conductor of the "Conservatory Orchestra," handling the day-to-day work while Munch was busy with the resistance movement. When Munch left France in 1949, Cluytens took the baton, becoming the 12th principal conductor—a role he held until the final moments of his life.
His nearly twenty years with the "Conservatory Orchestra" was the group's artistic golden age. His interpretation of French music—especially Ravel—was famous for an indescribable, effortless elegance. It wasn't just technical flair; it was a French grace that seeped from the bones: passionate yet restrained, exquisitely detailed yet never mechanical, so clear it was almost like light passing through a thin sheet of glass. He was also the first non-German-speaking conductor of the 20th century to take the podium at the Bayreuth Festival, earning immense praise from the German music world for his Wagner interpretations—an almost unthinkable achievement at the time.
In 1964, Cluytens led the "Conservatory Orchestra" on a tour to Japan. It was the first and only time the orchestra would ever set foot on Japanese soil. They performed in Osaka, Tokyo, and Fukuoka, sparking absolute frenzy at every show. Japanese music critics came out in droves, using the highest possible words of praise to describe them. And in the repertoire for this tour, Cluytens once again chose the Symphonie Fantastique—the very piece this orchestra had brought to the world over a century ago. No one knew then that this would be the last time they would ever play it on a foreign stage.
Three years later, in 1967, Cluytens passed away at the age of 62. That same year, the "Orchestre de la Société des Concerts du Conservatoire" disbanded. Founded by Habeneck in 1828, etched into history by the premiere of the Symphonie Fantastique, the orchestra quietly slipped into the past. It took with it everything it had accumulated over 139 years—including that unique, irreplaceable sound that no one could ever successfully copy.
Three Vinyl Records, Three Moments, The Same Dream
The three vinyl records I have on hand capture the most crucial moments of this history. Put them side-by-side, and you see a beautifully complete story of connected lives.
- [Record 1] Cluytens / Orchestre de la Société des Concerts du Conservatoire: Symphonie Fantastique May 10, 1964, Live at Tokyo Bunka Kaikan (Seven Seas Japan K20C-481)This special heavyweight pressing released by Seven Seas (King Records) in Japan belongs to the "NHK Live Concert—Legendary Japan Tour Series." It captures the live performance of Cluytens and the "Conservatory Orchestra" at the Tokyo Bunka Kaikan, with audio provided by the NHK Service Center. It was first published in 1986.This is the only recording the orchestra ever left in Japan, and it is the very last time they ever brought the Symphonie Fantastique to the stage.On the cover, a black-and-white photo of Cluytens with his right arm raised freezes the final majesty of that era. On the record's obi strip, Japanese music critic Koho Uno wrote: "Pure, exquisite, and passionate, bursting forth like a rushing torrent." Tadao Koishi added: "Subtle French charm. A masterpiece from the hands of a maestro."This performance is totally different from the grand, aggressive Fantastique most people imagine. Cluytens doesn't use power to overwhelm you; instead, he uses transparency to bewitch you. The ebb and flow of the first movement is light yet full of psychological tension. The waltz in the second movement flows elegantly. The third movement reveals a breathable sense of space amidst its vastness. Then, starting from the fourth movement, that suppressed Latin passion suddenly detonates—the heavy strikes of the timpani, the roar of the trombones, the overwhelming acceleration. But even then, that French spirit never vanishes. It's exactly like when Berlioz wrote the piece: an ever-present elegance hiding right behind the madness.This is a premiere orchestra, in its final years, using its last ounces of strength to once again play the piece that cemented its name in history. The value of this recording goes far beyond the music itself.
- [Record 2] Munch / Orchestre de Paris: Symphonie Fantastique October 1967, Théâtre des Champs-Élysées, Angel Japan AA-8255 (Red Vinyl, the earliest limited edition of the first 1968 Japanese release)Three years later. The same piece of music. A different orchestra. A new era.This red-label Angel Japan record captures the eve of the "Orchestre de Paris's" birth. From October 23 to 26, 1967—just three weeks before their debut concert—producer René Challan and sound engineer Paul Vavasseur recorded this live at the Théâtre des Champs-Élysées. Vavasseur is the greatest French EMI sound engineer of the post-WWII era; over 70% of French EMI's classic recordings came from his hands. This combination—a great conductor, a newly formed world-class orchestra, a legendary sound engineer, and a phenomenal recording space—pushed the sonics of this record to an almost unreachable height.Munch’s version of Fantastique has always been the industry standard, but this 1967 recording is the absolute peak of his life's interpretations. The aging conductor brought the passion of returning to his homeland; the newborn orchestra brought a fierce, astonishing vitality. And hidden deeply behind it all was the weight of 137 years of history: Habeneck's legacy, the century-old spirit of the "Conservatory Orchestra," and the ghost of Berlioz's first mad dream, all converging in the space of the Théâtre des Champs-Élysées. This red-label Angel Japan record is the most beautiful physical vessel of that historical moment.This version of Fantastique is completely different from Cluytens’s, but equally mind-blowing. Munch's take is epic; it is a fire. It is a bonfire ignited by an old man using every last bit of his strength. He was so intimately familiar with this piece that he could dig out things no one else could find—the core of Berlioz's mad love, that fervor teetering on the boundary of life and death. Under his baton, the newborn "Orchestre de Paris" almost runs wild, yet the entire performance remains wholly intact within a profound sense of structure.The sound of this recording remains unmatched to this day. Not just because of the performance itself, but because it is the sound left behind at the exact handover moment of 137 years of history. The spirit of the old orchestra entered the body of the new, and Munch's hands completed the transfer.
- [Record 3] Munch's Final Recording Series French EMI CVB-2281-2 "Hommage à Charles Munch" 2-LP Box Set (1968)This luxurious original French EMI box set is the final musical will and testament Charles Munch left to the world.The repertoire is entirely French: Ravel's Boléro, Rapsodie Espagnole, Daphnis et Chloé Suite No. 2, Piano Concerto in G Major, Pavane pour une infante défunte, and Honegger's Symphony No. 2. Once again, recorded by Paul Vavasseur at the Théâtre des Champs-Élysées. That same golden team.The most remarkable piece here is Ravel’s Piano Concerto in G Major. The piano soloist is Nicole Henriot-Schweitzer (1923-2001). She was Munch's niece and his designated "go-to" pianist for this specific concerto. Entering the Paris Conservatory at age ten, she studied under the legendary piano educator Marguerite Long and graduated with first prize in 1938. She left behind five recordings of this concerto in her lifetime, four of which were with Munch. This 1968 recording was their final collaboration, completed just weeks before Munch's death.Listen to this record, and you will be stunned by that French transparency. The most elusive quality in Ravel's music—that lightness of the woodwinds, that floating sensation suspended halfway between dreaming and waking—is perfectly preserved here. It is so clear, yet so fragile, like morning light that could dissipate at any second.This box set was released by EMI as a memorial after Munch's passing. The cover is a black-and-white close-up of Munch. Those eyes hold the weight of an entire lifetime.
Finally, The Moment the Circle Closes
Now, let's place these three records side-by-side and look at this story one more time.
In 1830, the "Orchestre de la Société des Concerts du Conservatoire" premiered the Symphonie Fantastique, and a legend began. One hundred and thirty-four years later, in 1964, this orchestra brought their final French sound to Tokyo, played the Fantastique one last time, and left their final silhouette in a foreign land. Three years later, the orchestra disbanded, and Cluytens passed away.
Yet, in that fateful same year of 1967, the "Orchestre de Paris" was born. Munch chose to use the Symphonie Fantastiqueon opening night to pay homage to those who came before, to bow to a century-old tradition, and to ignite, one more time, the ghost of Habeneck and the mad love of Berlioz.
The following year, Munch was gone too.
These three vinyl box sets are the most vital anchor points on this circle. They aren't just musical recordings; they are slices of history. They are the complete witnesses to how an era begins, how it is passed down, and how it finally comes to an end.
Drop the needle, and what you hear is one hundred and thirty-seven years of French music history, spiraling on three black discs, slowly turning, never coming to a stop.