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Raymond Tuttle
Fanfare, March 2014

I almost can’t stop playing this CD; I’ve played it more times than would be necessary…

Rosbaud is taut and dramatic, with sharp outlines, and the ability to make the Symphony’s materials seem more interesting than ever. The last movement is particularly incisive. Paradoxically, Rosbaud’s uncompromising approach to this Symphony is more appealing than the blander readings it usually receives.

At the time of these radio broadcasts, the performers were called the Cologne Radio Symphony Orchestra and Chorus. The quality of the playing (and singing) throughout is very high. In addition to his advocacy for modern music, Rosbaud evidently was an expert orchestra-builder.

Do not have any hesitations about acquiring this excellent release. © 2014 Fanfare Read complete review

Phillip Scott
Fanfare, January 2014

…Rosbaud’s…Sibelius Sixth is earthy—partly because the strings have a strong presence in the sound picture…but also because Rosbaud underlines the relatively rare fortes. In his hands, the work registers as a genuine symphony and not an episodic symphonic poem, as it can sometimes seem. He has a clear idea of the work’s structure and gives a performance of true depth.

He is just as impressive as a colorist in the Debussy selections. The careful balancing of woodwind tones in “Nuages” is immediately striking, while “Fétes” bursts with energy and vitality in a way that eludes many conductors on disc. Jeux, a favorite Debussy score of avant-gardists…is given a detailed and, again, supremely well-balanced reading…this release…[is] eminently recommendable for Rosbaud’s musicality and insight. © 2014 Fanfare Read complete review

Rob Cowan
Gramophone, December 2013

In Debussy’s ‘Nuages’, the sense of line, the rise and fall of every phrase, pulling back ever so slightly where necessary, the tension of the closing passages, are all remarkable attributes. ‘Fêtes’ flies off at an excited scamper with clear pizzicatos before the central processional, which is (thankfully) played in tempo. ‘Sirènes’ is animated and warmly textured…Crammed with revealing detail, not to mention sensuality and suggestive horseplay, this remarkable performance also has plenty of atmosphere and at times generates breathtaking levels of excitement.

Rosbaud has the full measure of Sibelius’s Sixth, cueing warmly expressive strings for the first movement where a pervading legato warms the arguments at a relatively broad tempo. He offers an emphatic reading…The sound is good for the period, ‘compact mono’ but with no lack of clarity. An essential addition to Rosbaud’s slender discography and to the discographies of both composers. Listen and learn. © 2013 Gramophone Read complete review on Gramophone

Gary Lemco
Audiophile Audition, October 2013

The concert of 7 March 1955 presents Rosbaud’s Trois Nocturnes, studies in shades of gray. …a sensuous wash pervades the Nuages, whose tempos ebb and flow with subtle motion, devoid of Teutonic heaviness. Fetes trembles with high energy, the winds, harp, and brass in high militant gloss, thanks to remastering courtesy of Dirk Franken. The last of the grisailles, Sirenes, receives a richly liquid performance, as required.

Debussy’s 1912 ballet Jeux (for Diaghilev) builds a huge rondo around a series of tiny motivic waltz kernels, the scenario a kind of menage a trios of tennis players. Rosbaud impels the triple meters rife with syncopations and constant rubato. The entire aura of the performance remains luminous and eerily suggestive at once. Curiously, very few of the actual themes return in their original form, a testament to what Pierre Boulez calls “the idea of irreversible time.” That Rosbaud could elicit as powerful a realization as he does places him in the tradition of Victor de Sabata, who recorded it first, in 1947. © 2013 Audiophile Audition Read complete review

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