Hans Rosbaud – The Complete Recordings on Deutsche Grammophon (5 CD box set, FLAC)

Audio CD
SPARS Code: ADD
Number of Discs: 5 CD box set
Format: FLAC (image+cue)
Label: Deutsche Grammophon
Size: 1.12 GB
Recovery: +3%
Scan: yes

CD 01
01. Mozart: Violin Concerto No.4 in D, K.218 – 1. Allegro
02. Mozart: Violin Concerto No.4 in D, K.218 – 2. Andante cantabile
03. Mozart: Violin Concerto No.4 in D, K.218 – 3. Rondeau (Andante grazioso – Allegro ma non troppo)
04. Haydn: Symphony in G, H.I No.92 – “Oxford” – 1. Adagio – Allegro spiritoso
05. Haydn: Symphony in G, H.I No.92 – “Oxford” – 2. Adagio
06. Haydn: Symphony in G, H.I No.92 – “Oxford” – 3. Menuet (Allegretto)
07. Haydn: Symphony in G, H.I No.92 – “Oxford” – 4. Presto
08. Haydn: Symphony in D, H.I No.104 – “London” – 1. Adagio – Allegro
09. Haydn: Symphony in D, H.I No.104 – “London” – 2. Andante
10. Haydn: Symphony in D, H.I No.104 – “London” – 3. Menuet (Allegro)
11. Haydn: Symphony in D, H.I No.104 – “London” – 4. Finale (Spiritoso)

CD 02
01. Beethoven: Piano Concerto No.5 in E flat major Op.73 -“Emperor” – 1. Allegro
02. Beethoven: Piano Concerto No.5 in E flat major Op.73 -“Emperor” – 2. Adagio un poco mosso
03. Beethoven: Piano Concerto No.5 in E flat major Op.73 -“Emperor” – 3. Rondo (Allegro)
04. Rachmaninov: Piano Concerto No.2 in C minor, Op.18 – 1. Moderato
05. Rachmaninov: Piano Concerto No.2 in C minor, Op.18 – 2. Adagio sostenuto
06. Rachmaninov: Piano Concerto No.2 in C minor, Op.18 – 3. Allegro scherzando

CD 03
01. Sibelius: Finlandia, Op.26, No.7
02. Sibelius: Valse triste, Op.44
03. Sibelius: The Swan of Tuonela, Op.22, No.2
04. Sibelius: Scènes Historiques I, Op.25 – 3. Festivo
05. Sibelius: Karelia Suite, Op.11 – 1. Intermezzo (Moderato)
06. Sibelius: Karelia Suite, Op.11 – 2. Ballade (Tempo di menuetto)
07. Sibelius: Karelia Suite, Op.11 – 3. Alla marcia (Moderato)
08. Sibelius: Tapiola, Op.112

CD 04
01. Blacher: Concertante Musik, Op.10
02. Blacher: Piano Concerto No.2, Op. 42 – 1. Andante – Allegro – Andante
03. Blacher: Piano Concerto No.2, Op. 42 – 2. Moderato
04. Blacher: Piano Concerto No.2, Op. 42 – 3. Molto vivace – Andante – Molto vivace
05. Stravinsky: Petrouchka – Version 1947 – Scene 1 – Part 1 – Shrovetide Fair – Danse Russe
06. Stravinsky: Petrouchka – Version 1947 – Scene 2 – Part 2 – Petrushka
07. Stravinsky: Petrouchka – Version 1947 – Scene 3 – Part 3 – The Blackamoor – Valse
08. Stravinsky: Petrouchka – Version 1947 – Scene 4 – Part 4 – Shrovetide Fair – The Death of Petrushka

CD 05
01. Berg: 3 Pieces for Orchestra, Op.6 – Revised version of 1929 – 1. Präludium. Langsam
02. Berg: 3 Pieces for Orchestra, Op.6 – Revised version of 1929 – 2. Reigen. Anfangs etwas zögernd- Leicht beschwingt
03. Berg: 3 Pieces for Orchestra, Op.6 – Revised version of 1929 – 3. Marsch. Mäßiges Marschtempo
04. Webern: Six pieces for orchestra, Op.6 – 1. Langsam
05. Webern: Six pieces for orchestra, Op.6 – 2. Bewegt
06. Webern: Six pieces for orchestra, Op.6 – 3. Mäßig
07. Webern: Six pieces for orchestra, Op.6 – 4. Sehr mäßig
08. Webern: Six pieces for orchestra, Op.6 – 5. Sehr langsam
09. Webern: Six pieces for orchestra, Op.6 – 6. Langsam
10. Stravinsky: Agon – Ballet (1957) – 1. Pas-de-quatre
11. Stravinsky: Agon – Ballet (1957) – 2. Double pas-de-quatre
12. Stravinsky: Agon – Ballet (1957) – 3. Triple pas-de-quatre
13. Stravinsky: Agon – Ballet (1957) – 4. Prelude
14. Stravinsky: Agon – Ballet (1957) – 5. 1st pas-de-trois: Saraband – step
15. Stravinsky: Agon – Ballet (1957) – 6. 1st pas-de-trois: Gaillarde
16. Stravinsky: Agon – Ballet (1957) – 7. 1st pas-de-trois: Coda
17. Stravinsky: Agon – Ballet (1957) – 8. Interlude
18. Stravinsky: Agon – Ballet (1957) – 9. 2nd pas-de-trois: Bransle simple
19. Stravinsky: Agon – Ballet (1957) – 10. 2nd pas-de-trois: Bransle gay
20. Stravinsky: Agon – Ballet (1957) – 11. 2nd pas-de-trois: Bransle double
21. Stravinsky: Agon – Ballet (1957) – 12. Interlude
22. Stravinsky: Agon – Ballet (1957) – 13./14. Pas de Deux – Coda
23. Stravinsky: Agon – Ballet (1957) – 15. Four duos
24. Stravinsky: Agon – Ballet (1957) – 16. Four Trios – Coda

The Best of Rosbaud

This set contains some remarkable performances by a conductor who has only belatedly earned the international reputation he deserved in his lifetime. Too bad Rosbaud was never appointed music director of a world-class ensemble such as the Chicago Symphony (where his death prevented his appointment to succeed Reiner) and that he made few recordings. The best of his studio efforts are to be found in this inexpensive DG box, and it is urgently recommended (especially since it would appear that it has gone out of print — only two “used and new” are currently available on this website).

Rosbaud was an incomparable interpreter of Classical repertoire; the Haydn performances included here are as close to perfection as one is likely to find. Elegance, wit, rhythmic vitality and judicious balancing of textures make for some truly compelling listening. The Mozart violin concerto with Schneiderhan possesses similar virtues, even though the violinist’s distinctive, sweet timbre and patrician manner might not appeal to every listener. Hugely enjoyable also is the Beethoven “Emperor” concerto with Casadesus. The great pianist is clearly on his mettle and of one mind with Rosbaud in communicating the grandeur of the piece without succumbing to an anachronistic “grand manner.” Rachmaninov, on the other hand, requires the grand manner and with the best will in the world Karolyi cannot be said to match its greatest exponents in this concerto (such as Richter, Kapell or Katchen). Rosbaud’s high-profile accompaniment, however, is sufficiently atmospheric and engrossing to make this performance worthwhile.

Robaud also takes a “Classical” approach to Sibelius, making such hackneyed warhorses as “Finlandia,” “Karelia” and “The Swan of Tuonela” seem newly minted. Best of all is “Tapiola”–a performance whose unique combination of elegance and elemental power is readily communicated despite the rather thin-sounding monaural recording. The sound is ampler and better defined in Stravinsky’s “Petrushka,” though the Concertgebouw’s playing is surprisingly less refined than that of the Baden-Baden ensemble heard elswehere in this set. Rosbaud’s interpretation, once again, approaches perfection in its effortless transitions and projection of Stravinsky’s kaleidoscopic orchestration. Few conductors have conveyed this ballet’s narrative structure as effectively as Rosbaud. “Agon” is no less convincingly portrayed, even if the music, from Stravinsky’s later period, might strike some listeners as a bit cerebral in comparison with his early ballets.

Though I don’t particularly care for the insipid jazzy noodling of Boris Blacher (give me real jazz instead!), Rosbaud’s elegance and panache almost won me over to his cause. Those who enjoy expressionism will undoubtedly respond to Rosbaud’s clear-headed and rhythmically precise way with Berg and Webern. Few recordings of their music have convinced me of its worth as readily as Rosbaud’s classic interpretations.

Altogether this is an indispensible set. As indicated, the sonics are variable, though never less than acceptable. Snap this up before it goes the way of the dinosaur.