Roth Brock Project

After a period-instrument reading of the Symphony no.1 that received unanimous acclaim from the critics, François-Xavier Roth and Les Siècles return to Mahler. Joined by the luminous voice of Sabine Devieilhe for the famous finale, they offer us their vision of the Fourth Symphony, which in its own way marks the composer’s transition to modernity, and reveal unsuspected colours and instrumental balances. We still have much to learn about the polyphonic transparency possible within Mahler’s big orchestra!

Opening with its famous ‘Sunrise’ fanfare, there is no mistaking Strauss’ Also sprach Zarathustra. A bold, intrepid tone poem, famously used by Stanley Kubrick in 2001: A Space Odyssey, it explores mankind’s place in the universe, diving headfirst into themes of religion, science and individuality.

Hyperion’s Romantic Violin Concerto series returns with three real rarities, rescuing them from their current neglect. All receive the strongest advocacy from Linus Roth, who plays them like the repertoire standards they may one day become.

Continuing their exploration of Ravel’s output, François-Xavier Roth and Les Siècles offer us two works linked by his love of Spain. Alongside the famous Bolero, which regains its original flavour here on period instruments, is Ravel’s first opera, which flirted with libertinism: though its outstanding cast consists entirely of native French-speakers, this caustic ‘Hour’ remains quintessentially Spanish!

Lead singer of Van Halen. He left the band in 1985, to be replaced (mainly) by Sammy Hagar, but after a 21 year break he rejoined them in 2006. In 2007 he was inducted into the Rock and Roll Hall of Fame…

This release, part of harmonia mundi's series celebrating the Beethoven year, pairs the composer's iconic and much-loved Symphony No.5 with the far less well-known Symphony In 17 Parts by Francois-Joseph Gossec. The dramatic power and intensity of Beethoven stands in sharp contrast to to the cheerful and gallant music of Gossec. Les Siècles, led by François-Xavier Roth, apply their usual virtuosity and keen insight to both works in performances that are sure to delight.

At 16 cuts, this Greatest Hits collection from the inimitable David Lee Roth is four short of 1998's Best, but with the exception of fan favorite "Ladies' Nite in Buffalo?," all of Diamond Dave's best post-Van Halen hits are accounted for…

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 specialised in Terpsichorean entertainment, including Philippe Musard, Isaac Strauss, Émile Waldteufel and Hervé.

François-Xavier Roth and Les Siècles offer us a double-sided portrait of Saint-Saëns here. On one side, some of the most fascinating symphonic poems of French Romanticism are revealed in all the shimmering timbres of the period. On the other, we rediscover a composer who enjoyed a good laugh (The Carnival of the Animals also returns to its original colours!), when he was not involved in the early days of the cinema, with the very first music ever composed for a film!

Loss, death, and redemption: Anton Bruckner went through a whirlwind of emotions during the two years in which he wrote the Seventh Symphony. The worst theater fire in history left hundreds dead practically next door to his Vienna apartment; Bruckner would have been one of the victims, had he not decided at the last minute to stay at home instead of going to the opera. He still feared that the flames might engulf his apartment and his manuscripts. As he wrote shortly thereafter to a friend: "The inexpressible misery of so many souls makes the blood run cold!" In the Seventh Symphony, Bruckner incorporated all those unsettling impressions, as well as the mourning over the death of Richard Wagner, his admired "ideal."