The year 1841 finally marked Robert Schumann’s breakthrough as a composer for orchestra. That year, he created no less than two works: his First Symphony, also known as the “Spring Symphony”, and a piece which he initially planned as a "Symphonic Fantasy" in one movement, and which would later become his Symphony in D Minor. The Spring Symphony was composed in the coldest winter. Full of longing, it is a work that knows only one direction: growing, blossoming, the path to light and new life. The Symphony in D minor seems much more somber and intimate, “a work from the innermost depths of his soul”, as Clara Schumann noted in her diary. However, the audience could not warm up to this bold, impetuous work, and Schumann set it aside. Ten years later, after a major revision, he published it as his 4th Symphony. This album pairs the Spring Symphony with the original version of the Symphony in D minor, the version which friends such as Johannes Brahms preferred over the later edition. Schumann never heard it again in his lifetime, and it was not until 1889 that it was performed in public once more, by the Gürzenich Orchestra Cologne under the baton of Franz Wüllner. François-Xavier Roth, the Gürzenich Orchestra’s current chief conductor, also prefers the original version. With its leaner orchestration, it is certainly the more radical one, and thus requires a higher degree of commitment from the orchestra musicians in forming crescendi, melodic phrases, and extended arcs of formal development.

While composers like Schumann and Brahms held fast to the classical concept of the symphony, it was composers of the New German School, such as Wagner and Liszt, who preferred the tone poem as a modern means of expression for orchestral music. It tries to convey non-musical topics, like legends, tales, myths, and sometimes novels, in musical terms: programme music in its best sense. Strauss’ boisterous self-confidence allowed him the conviction that a different ‘formula’ would enable him to roll out his musical imagination with inimitable style. His success in doing so has ensured the popularity of these works to the present day. The SWR Sinfonieorchester Baden-Baden and Freiburg under the baton of its former chief conductor François-Xavier Roth recorded all ten tone poems, as well as Strauss’ musical epitaph Metamorphosen, between 2012 and 2016. These recordings are now re-released as a collector’s item in an exquisite 5-album box set .

REVIEW:

With music as wonderful as this, we are all liable to develop our personal favourites that we will always remain loyal to. But it is hard to imagine a conductor and orchestra who could bring greater commitment and sheer intensity to a collection such as this. As you can see from the dates above, the CDs were issued over a period of four years or so; but the standard of playing and direction is high from the first to the last; a tremendous achievement by all involved.

-- MusicWeb International

This superpowered set of Richard Strauss’s ‘Complete Tone Poems’ with the SWR Symphony Orchestra of Baden-Baden and Freiburg under François-Xavier Roth (recorded 2012-15) makes its mark right from the lunging first bars of Ein Heldenleben and carries through a series of performances that for drama, energy, and commitment, has few if any equals, certainly not in the post-Fritz Reiner era.

Just listen to the timps in Also sprach Zarathustra—the way they hurtle towards us at Sunrise—and Till Eulenspiegel, or Roth’s skill at holding Aus Italien together, his affectionate yet energetic handling of Symphonia domestica, the epic aural vistas of his Alpine Symphony and an account of Metamorphosen that because of Roth’s sense of urgency sounds swifter than it actually is.

The recordings are spacious, full-bodied and pretty aggressive (the brass especially) but do the music and its performers proud. This now surely has to be the top-rating digital set of Strauss’s tone poems. Tod und Verklärung, Don Juan, Macbeth, and Don Quixote, all superbly played, complete the deal.

-- Gramophone

Bruckner‘s Third - a creative history that is unique even for the great Austrian romantic. No other of his symphonies has been revised, reshaped and reissued more often. Yet the first version from 1873, which François-Xavier Roth has chosen for this recording, bristles with boldness and the joy of experimentation. Here, the reminiscence of Beethoven‘s Ninth and the works of the dedicatee Richard Wagner is almost tangible. With this recording, François-Xavier Roth and the Gürzenich-Orchester Köln continue the highly acclaimed Bruckner Symphonies cycle and, with great attention to detail, once again present the „unvarnished“ Bruckner, groundbreaking, virtuosic and refined.

This album is titled 'Sir!' because it is dedicated to the famous Concerto for Cello and Orchestra by the English composer Sir Edward Elgar. But also because Astrig Siranossian plays Sir John Barbirolli's cello, a magnificent instrument by Gennaro Gagliano from 1756, on loan from the Henrot Fund for the Promotion of Young French Chamber Musicians. Barbirolli was a passionate advocate of Elgar's music, but also of Bruch's, whose Kol Nidrei Astrig has recorded-'one of the most beautiful works ever written for the cello,' says the cellist, who is accompanied by the London Symphony Orchestra under the baton of Francois-Xavier Roth. Also on the program, this time with her friend Nathanael Gouin at the piano, is the sonata by Britten, who declined the title of 'Sir' but was a Lord.

To date, countless composers and Bruckner scholars have attempted to undo the body-snatching and reconstruct the manuscripts of the fourth movement into a whole "in the spirit of the composer". François-Xavier Roth and the Gürzenich Orchestra Cologne remain true to the original three-movement version in their highly acclaimed Bruckner cycle, and this album marks an important milestone in the work's discography.

The dance permeated every layer of Romantic society. From popular dance halls to courtly salons, people showed their public face, enjoyed themselves and met one another in waltz time or to the rhythms of the quadrille or the polka. At the same time, ballet gained unprecedented fame on the stage of the Paris Opéra. The music that accompanied this frantic round in France has long been neglected, whereas the Viennese have never ceased to celebrate their waltzes. Under the expert baton of François-Xavier Roth, the orchestra Les Siècles has set out to rediscover this French repertory using historical instruments. Their album explores the output of both established composers – Camille Saint-Saëns, Ambroise Thomas, Charles Gounod, Jules Massenet – and their colleagues who specialized in Terpsichorean entertainment, including Philippe Musard, Isaac Strauss, Émile Waldteufel and Hervé.

REVIEWS:

Beautifully recorded and with Bru Zane’s customary excellent booklet notes, this is a disc to delight Francophiles, especially sweet-toothed ones like myself.

 -- Gramophone

There is a blowsy joie de vivre in these performances by Roth’s French Orchestra Les Siecles that is hard to resist.

-- The Sunday Times (UK)

It’s all very French, and presented with great flair and warmth by Roth and his orchestra.

-- The Guardian (UK)