Hans Rosbaud

Biography

Born: July 22, 1895; Graz, Austria   Died: December 29, 1962; Lugano, Switzerland  
Hans Rosbaud was one of the best known conductors in Europe, particularly for his pioneering performances of twentieth century music.

He studied at the Hoch Conservatory in Frankfurt, where his piano instructor was Alfred Hoehn and his composition instructor Bernhard Sekles. He chose an academic career, becoming director of the State Music School (Städtische Musikschule) in Mainz. There he also frequently conducted the Municipal
Read more Orchestra. During his first year there he conducted music by Paul Hindemith, then one of the most rapidly rising young stars in the German music, and a teacher of his for three years, and scheduled other new 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 Schoenberg, 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 Zurich Tönhalle Orchestra.

His performances were highly objective, clear, and intellectual, frequently seeming now to lack warmth. Read less

There are 45 Hans Rosbaud recordings available.

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Biography

Born: July 22, 1895; Graz, Austria   Died: December 29, 1962; Lugano, Switzerland  
Hans Rosbaud was one of the best known conductors in Europe, particularly for his pioneering performances of twentieth century music.

He studied at the Hoch Conservatory in Frankfurt, where his piano instructor was Alfred Hoehn and his composition instructor Bernhard Sekles. He chose an academic career, becoming director of the State Music School (Städtische Musikschule) in Mainz. There he also frequently conducted the Municipal
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WORKS ALBUMS
TITLE/COMPOSER
LABEL
Act I Scene 1: Prelude
Act I Scene 1: Da zu dir der Heiland kam (Chorus)
Act I Scene 1: Verweilt! Ein Wort! (Stolzing)
Act I Scene 1: Da bin ich! Wer ruft? (David)
Act I Scene 2: David, was stehst? (Apprentices)
Act I Scene 2: Mein Herr! der Singer Meister-Schlag (David)
Act I Scene 2: Das sind nur die Namen, nun lernt sie singen (David)
Act I Scene 2: Wer dichter war? (David)
Act I Scene 3: Seid meiner Treue wohl versehen (Pogner)
Act I Scene 3: Zu einer Freiung und Zunftberatung (Kothner)
Act I Scene 3: Das schone fest, Johannistag (Pogner)
Act I Scene 3: Nun hort noch, wie ich's emstlch mein'! (Pogner)
Act I Scene 3: Verzeiht! Vielleicht schon ginget ihr zu weit (Sachs)
Act I Scene 3: Mir genugt der Jungfer Ausschlogstimm' (Sachs)
Act I Scene 3: Dacht' ich mir's doch! Geht's da hinaus, Veit? (Beckmesser)
Act I Scene 3: Am stillen Herd in Winterszeit (Stolzing)
Act I Scene 3: Nun, Meister, wenn's gefallt (Kothner)
Act I Scene 3: Was euch zum Liede Richt' und Schnur (Kothner)
Act I Scene 3: Fanget an! So rief der Lenz in den Wald (Stolzing)
Act I Scene 3: Seid ihr nun fertig? (Beckmesser)
Act I Scene 3: Halt! Meister! Nicht so geeilt! (Sachs)
Act I Scene 3: Aus finstrer Dornenhecken (Stolzing)
Act II Scene 1: Johannistag! Johannistag! (Apprentices)
Act II Scene 2: Lass seh'n, ob Meister Sachs zu Haus? (Pogner)
Act II Scene 3: Zeig her, 's ist gut (Sachs)
Act II Scene 3: Was duftet doch der Flieder (Sachs)
Act II Scene 4: Gut'n Abend, Meister! Noch so fleissig? (Eva)
Act II Scene 4: Konnt's einem Witwer nicht gelingen (Eva)
Act II Scene 4: Hilf Gott! wo bliebst du nur so spat? (Magdalene)
Act II Scene 4: Ja, Ihr seid es! Nein, du bist es! (Eva)
Act II Scene 5: Geliebter, spare den Zorn! (Eva)
Act II Scene 5: Jerum! Jerum! (Sachs)
Act II Scene 5: Mich schmerzt das Lied, (Eva)
Act II Scene 5: War das Eu'r Lied? (Sachs)
Act II Scene 5: Den Tag seh' ich erscheinen (Beckmesser)
Act II Scene 6: Seid Ihr Nun Fertig? (Sachs)
Act II Scene 7: Ach, Himmel! David! Gott, welche not! (Magdalene)
Act III Scene 1: Prelude
Act III Scene 1: Gleich! Meister! Hier! (David)
Act III Scene 1: Blumen und Bander seh' ich dort! (Sachs)
Act III Scene 1: Am Jordan Sankt Johannes stand (David)
Act III Scene 1: Wahn, Wahn! Uberall Wahn! (Sachs)
Act III Scene 2: Gruss' Gott, mein Junker! (Sachs)
Act III Scene 2: Mein Freund! in holder Jugendzeit (Sachs)
Act III Scene 2: Morgenlich leuchtend in rosigem Schein (Stolzing)
Act III Scene 2: Abendlich gluhend in himmlischer Pracht (Stolzing)
Act III Scene 3: Ein Werbelied! Van Sachs! Ist's wahr? (Beckmesser)
Act III Scene 3: O Schuster, voll von Ranken (Beckmesser)
Act III Scene 3: Mag sein! Doch hab ich noch nie entwandt (Sachs)
Act III Scene 4: Gruss Gott, mein Evchen! (Sachs)
Act III Scene 4: Weilten die Sterne im lieblichen Tanz? (Stolzing)
Act III Scene 4: O Sachs! Mein Freund! Du teurer Mann! (Eva)
Act III Scene 4: Ein Kind ward hier geboren (Sachs)
Act III Scene 4: Selig, wie die Sonne meines Gluckes lacht (Eva)
Act III Scene 4: Nun Junker! Kommt! Habt frohen Mut! (Sachs)
Act III Scene 5: Sankt Crispin, lobet ihn! (Chorus)
Act III Scene 5: Ihr tanzt? Was werden die Meister sagen? (David)
Act III Scene 5: Wach' auf, es nahet gen den Tag (Chorus)
Act III Scene 5: Euch macht ihr's leicht (Sachs)
Act III Scene 5: O Sachs, mein Freund! Wie dankenswert! (Pogner)
Act III Scene 5: Morgen ich leuchte in rosigem Schein (Beckmesser)
Act III Scene 5: Das Lied, furwahr, ist nicht von mir (Sachs)
Act III Scene 5: Morgenlich leuchtend im rosigen Schein (Stolzing)
Act III Scene 5: Den Zeugen, Denk' es, wahlt' ich gut (Sachs)
Act III Scene 5: Verachtet mir die Meister nicht (Sachs)
I. Allegro con brio
II. Largo
III. Rondo: Allegro scherzando
I. Allegro
II. Adagio un poco mosso
III. Rondo: Allegro
I. Trauermarsch
II. Sturmisch bewegt, mit grosster Vehemenz
III. Scherzo
IV. Adagietto
V. Rondo-Finale
I. Allegro
II. Andante
III. Allegretto
I. Allegro maestoso
II. Romanza: Larghetto
III. Rondo: Vivace
I. Moderato - Allegro
II. Adagio sostenuto
III. Allegro scherzando
I. Allegro non troppo
II. Allegro appassionato
III. Andante
IV. Allegretto grazioso
IV. Allegretto grazioso
I. Allegro
II. Adagio
III. Allegro assai
I. Allegro
II. Andante cantabile
III. Rondo: Andante grazioso
I. Allegro
II. Romance: Larghetto
III. Allegro
I. Allegro vivace
II. Andantino
III. Allegro ma non troppo
I. Allegro
II. Adagio
III. Rondeau: Allegro
I. Allegro maestoso
II. Andante
III. Rondo: Allegro
Mozart: Violin Concerto No.4 in D, K.218 - 1. Allegro
Mozart: Violin Concerto No.4 in D, K.218 - 2. Andante cantabile
Mozart: Violin Concerto No.4 in D, K.218 - 3. Rondeau (Andante grazioso - Allegro ma non troppo)
Haydn: Symphony in G, H.I No.92 - "Oxford" - 1. Adagio - Allegro spiritoso
Haydn: Symphony in G, H.I No.92 - "Oxford" - 2. Adagio
Haydn: Symphony in G, H.I No.92 - "Oxford" - 3. Menuet (Allegretto)
Haydn: Symphony in G, H.I No.92 - "Oxford" - 4. Presto
Haydn: Symphony in D, H.I No.104 - "London" - 1. Adagio - Allegro
Haydn: Symphony in D, H.I No.104 - "London" - 2. Andante
Haydn: Symphony in D, H.I No.104 - "London" - 3. Menuet (Allegro)
Haydn: Symphony in D, H.I No.104 - "London" - 4. Finale (Spiritoso)
Beethoven: Piano Concerto No.5 in E flat major Op.73 -"Emperor" - 1. Allegro
Beethoven: Piano Concerto No.5 in E flat major Op.73 -"Emperor" - 2. Adagio un poco mosso
Beethoven: Piano Concerto No.5 in E flat major Op.73 -"Emperor" - 3. Rondo (Allegro)
Rachmaninov: Piano Concerto No.2 in C minor, Op.18 - 1. Moderato
Rachmaninov: Piano Concerto No.2 in C minor, Op.18 - 2. Adagio sostenuto
Rachmaninov: Piano Concerto No.2 in C minor, Op.18 - 3. Allegro scherzando
Sibelius: Karelia Suite, Op.11 - 1. Intermezzo (Moderato)
Sibelius: Karelia Suite, Op.11 - 2. Ballade (Tempo di menuetto)
Sibelius: Karelia Suite, Op.11 - 3. Alla marcia (Moderato)
Blacher: Piano Concerto No.2, Op. 42 - 1. Andante - Allegro - Andante
Blacher: Piano Concerto No.2, Op. 42 - 2. Moderato
Blacher: Piano Concerto No.2, Op. 42 - 3. Molto vivace - Andante - Molto vivace
Stravinsky: Petrouchka - Version 1947 - Scene 1 - Part 1 - Shrovetide Fair - Danse Russe
Stravinsky: Petrouchka - Version 1947 - Scene 2 - Part 2 - Petrushka
Stravinsky: Petrouchka - Version 1947 - Scene 3 - Part 3 - The Blackamoor - Valse
Stravinsky: Petrouchka - Version 1947 - Scene 4 - Part 4 - Shrovetide Fair - The Death of Petrushka
Berg: 3 Pieces for Orchestra, Op.6 - Revised version of 1929 - 1. Präludium. Langsam
Berg: 3 Pieces for Orchestra, Op.6 - Revised version of 1929 - 2. Reigen. Anfangs etwas zögernd- Leicht beschwingt
Berg: 3 Pieces for Orchestra, Op.6 - Revised version of 1929 - 3. Marsch. Mäßiges Marschtempo
Webern: Six pieces for orchestra, Op.6 - 1. Langsam
Webern: Six pieces for orchestra, Op.6 - 2. Bewegt
Webern: Six pieces for orchestra, Op.6 - 3. Mäßig
Webern: Six pieces for orchestra, Op.6 - 4. Sehr mäßig
Webern: Six pieces for orchestra, Op.6 - 5. Sehr langsam
Webern: Six pieces for orchestra, Op.6 - 6. Langsam
I. Allegro
II. Adagio
III. Allegro assai
I. Allegro
II. Romance: Larghetto
III. Allegro
I. Allegro maestoso - Tempo giusto
II. Quasi adagio - Allegretto vivace - Allegro animato
III. Allegro marziale animato
1. Allegro
2. Andante cantabile
3. Rondeau (Andante grazioso - Allegro ma non troppo)
1. Adagio - Allegro spiritoso
2. Adagio
3. Menuet (Allegretto)
4. Presto
1. Adagio - Allegro
2. Andante
3. Menuet (Allegro)
4. Finale (Spiritoso)
Sibelius: Karelia Suite, Op.11 - 1. Intermezzo (Moderato)
Sibelius: Karelia Suite, Op.11 - 2. Ballade (Tempo di menuetto)
Sibelius: Karelia Suite, Op.11 - 3. Alla marcia (Moderato)


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