But it was back in Paris, in 1933, where Münch made his successful conducting debut in a self-financed concert with the Straram Orchestra. He conducted the Paris Orchestre de la Société Philharmonique (1935-1938) and in 1937 was named director of the Société des Concerts du Conservatoire de Paris, a post he held through World War II. Münch introduced many new works, including, in 1945, Messiaen
's L'Ascension; he quickly became known as a conductor attentive to music's larger formal structures, as well as details of color and sonority. Despite his allegiances 25 years before, Münch refused to collaborate with the Nazis, and indeed supported the French resistance; he was awarded the Légion d'honneur in 1945.
Münch's career quickly accelerated after the war. In 1946, he made his debut with the Boston Symphony
(and several other American orchestras) as a guest conductor, and he toured America with the French National Radio Orchestra in 1948. The following year, he was appointed music director of the Boston Symphony
, which he took on an unprecedented tour of the Soviet Union in 1956. Münch retired from the BSO in 1962 but continued to guest conduct, and helped Serge Baudo
launch the Orchestre de Paris in 1967. On tour in America with that orchestra, he died the following year.
Münch was easygoing in rehearsal, reluctant to drill the spontaneity out of an orchestra. He was particularly noted as an elegant, colorful interpreter of French music of the nineteenth and twentieth centuries; his recordings of that material with the Boston Symphony
for RCA are still regarded as classics of their kind. He was a strong advocate for the Franco-Swiss composers of his own generation, especially Roussel, Milhaud
, and Honegger
. But he also had a good touch with the conservative contemporary music of other lands, as may be heard in his few but important recordings of Martinu, Piston
, and Barber. Indeed, during his Boston years Münch's commitment to American music was almost as strong as his allegiance to new French works.