Hans Rosbaud;   Eva-Maria Rogner  -  Mahler 4th  (Archipel 0473)
Item# C1219
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Hans Rosbaud;   Eva-Maria Rogner  -  Mahler 4th  (Archipel 0473)
C1219. HANS ROSBAUD Cond. Baden-Baden S.O.: Parsifal – Act I Prélude (Wagner), recorded 25 Oct., 1957; w.Eva-Maria Rogner (S): Symphony #4 in G (Mahler), recorded 14 May, 1959. (Germany) Archipel 0473. Long out-of-print, Final Sealed Copy! - 4035122404739


"Even among devotees of Mahler’s music, the association of that most histrionic of composers with fellow Austrian Hans Rosbaud (1895-1962) remains unlikely, until we realize how much Mahler set the prototype of Twentieth Century aesthetics for this soft-spoken conductor whose slightest gesture could unleash a torrent of sound. Much like Romanian conductor Sergiu Celibidache, Rosbaud found that working with radio-symphony ensembles allotted him the requisite rehearsal time and degree of artistic independence he could not have enjoyed within the confines of the more formal symphony orchestras’ budgets. Richard Kapp (1936-2006), with whom I shared a microphone on several 'First Hearing' panels, never spoke of his studies with Rosbaud with anything less than veneration. 'He mastered every style', offered Kapp, 'despite his repute only in the most contemporary classics'."

—Gary Lemco, Audiophile Audition, 2 Feb., 2013

“GRAMOPHONE recently remarked that Rosbaud ‘was one of the unsung heroes of mid-20th-century music, who ... gave thoroughly rehearsed and assimilated performances and premieres of the widest possible range of music’. Prominent in his legacy are recordings of the music of Bruckner, Mahler, Stravinsky and Boulez.

Hans Rosbaud was one of the best known conductors in Europe, particularly for his pioneering performances of twentieth century music.

In 1928 he took the position of Musical Director of Frankfurt Radio, a position he held until 1938; simultaneously he was First Kapellmeister of Frankfurt's Museumgesellschaft concerts. In both positions he made Frankfurt one of the most exciting venues for new music. He frequently scheduled music of Schönberg, Berg, Webern, Bartók, Stravinsky and others. He presented the premiere performances of Schoenberg's ‘Four Songs with Orchestra’, Op. 22 (1932),and Bartók's Second Piano Concerto with the composer as soloist (1932). Nazi rule forced him to curtail performances of Jewish composers and those labeled as ‘cultural Bolsheviks’ after 1933. He also shifted to less prominent positions as Generalmusikdirektor in Münster (1937-1941) and in Strasbourg (1941-1944). After the war, he again returned to conducting in a major city, as Principal Conductor of the Munich Philharmonic Orchestra (1945-1948).

But his preference was for radio, where he could schedule more innovative concerts and reach a wide audience with modern music. Therefore in 1948 he accepted the position as Chief Conductor of the South-West German Radio Orchestra in Baden-Baden. German radio was based on strong regional companies whose programs were also carried elsewhere in the country. Baden-Baden, with a history as one of the most liberal corners of German and a strong interest in arts, was ideal for Rosbaud's purposes. Furthermore, the identification by the Nazis of their opposition to certain kinds of music gave that music a strong prestige and support among, particularly among the younger audience. These factors, and a sense of a need to learn about music currents that had passed Germany by when Hitler and Goebbels transformed the country into a cultural backwater, combined to create a strong audience for Rosbaud's programming.

He made the provincial orchestra into a strong and precise ensemble, with a lean, anti-Romantic sound. Success on radio led immediately to demand for phonograph recordings. He participated in the first Aix-en-Provence Festival in 1948 and remained associated with it, often appeared in the Donaueschingen Festival, Europe's primary avant-garde music festival (where he supported the music of Boulez, Stockhausen, and their circle), and performed regularly at the annual festivals of the International Society for Contemporary Music. He gave the first performances (concert and staged) of Schoenberg's MOSES UND ARON. In 1957 he added the position of Music Director of the Zürich Tönhalle Orchestra.”

- Joseph Stevenson, allmusic.com

“Hans Rosbaud, was the first conductor from Germany to be invited to appear in France after the war, and was warmly received. In 1948, he took up the position we associate most with him, that of chief conductor of the South West German Radio Orchestra, Baden-Baden, where he was based for the rest of his life. A prime mover in the establishment of the Aix-en-Provence Festival from 1948 onwards, Rosbaud appeared there annually until 1959. He added to his responsibilities in 1950 when he became conductor of the Zürich Tonhalle Orchestra and at the Zürich Opera, assuming the role of chief conductor of the Tonhalle in 1957. His successes at Baden-Baden and at the neighbouring Donaueschingen Festival of Contemporary Music, following its resumption in 1950, led to his international recognition. Rosbaud’s fame was reflected in his activity as a guest conductor of the major European orchestras and in his concert tours abroad, notably to South America, South Africa and the United States. He made a particularly strong impression with the Chicago Symphony Orchestra and was seriously considered as a successor to Fritz Reiner, a move that was prevented by his untimely death in 1962.”