"Everything that makes a collector happy. Artistically and technically speaking, this is a very nice production. The vinyl version sounds great. Especially the Stradivarius 'Dancla' on which Roth plays is convincing."Music Emotion, 20-7-2020
“This remastered reissue is a special album in every respect. The most important thing is for the music to reach the listener as directly as possible. Every nuance and every emotion. It’s about more than just listening to music. It’s about the whole experience of the music.”
Linus Roth, who received the ECHO KLASSIK Award as 'Best Newcomer' 2006 for his début CD on the label EMI, was awarded his second ECHO award in 2017 for his recording of the violin concertos by Shostakovich and Tchaikovsky with the London Symphony Orchestra under Thomas Sanderling.
Linus Roth has made a name for himself internationally, not just with his acclaimed work in core repertoire, but also with his discovery / rediscovery of works that have undeservedly fallen into oblivion. He has devoted special attention to the works of Mieczysław Weinberg, both on the concert platform and the recording studio. Roth's recording of the complete works for violin and piano by Mieczysław Weinberg, released in 2013 by Challenge Classics to wide public and critical acclaim was followed up by recordings of Weinberg’s Violin Concerto with the Deutsche Symphonie-Orchester and his Concertino with the Württemberg Chamber Orchestra Heilbronn. Both CDs were selected as 'Editor’s Choice' by Gramophone magazine. Making Mieczysław Weinberg’s oeuvre known to a wider audience is also the aim of the International Weinberg Society, which Linus Roth founded in 2015. This association organises and sponsors concerts, readings, exhibitions, interdisciplinary events and publications on the work and life of the Polish-Jewish composer. For the 100th anniversary of Weinberg’s birth in 2019, Linus Roth will curate two days of events dedicated to the composer in the form of six concerts at Wigmore Hall in London. In addition to chamber music works, all of Weinberg’s six sonatas for violin and piano as well as the three sonatas for solo violin will be played, including by Linus Roth himself.
Linus Roth has played as a soloist with many leading orchestras including the Stuttgart State Opera Orchestra, the Munich Chamber Orchestra, the Württemberg Chamber Orchestra Heilbronn, the German Radio Symphony Orchestras of broadcasters SWR and Berlin, the Orquesta de Cordoba, the Orchestra della Toscana in Florence, the Royal Liverpool Philharmonic Orchestra, the Vienna Chamber Philharmonic, the Bern Symphony Orchestra, the Orchestra del Teatro San Carlo in Naples, the Cologne Chamber Orchestra and the Bruckner Orchester Linz. Conductors with whom Roth has worked include Gerd Albrecht, Frank Beermann, Herbert Blomstedt, Andrey Boreyko, Finnegan Downie Dear, Dennis Russell Davies, Kevin John Edusei, Dan Ettinger, James Gaffigan, Hartmut Haenchen, Domonkos Héja, Antony Hermus, Manfred Honeck, Kirill Karabits, Isaac Karabtchevsky, Mihkel Kütson, Leo McFall, Thomas Sanderling, Konstantin Trinks, and Antoni Wit.
A passionate chamber musician, he has performed fellow musicians such as Nicolas Altstaedt, Gautier Capuçon, Kim Kashkashian, Anne-Sophie Mutter, Albrecht Mayer, Nils Mönkemeyer, Andreas Ottensamer, Benjamin Schmid, Christian Poltéra, Julian Steckel, Markus Schirmer, Julien Quentin, Jens-Peter Maintz, Florian Uhlig, Itamar Golan and Danjulo Ishizaka, among others. He has also worked closely for several years with the Argentinean pianist José Gallardo.
Linus Roth attended the preparatory class of Prof. Nicolas Chumachenco at the Musikhochschule in Freiburg, Germany, before going on to study with Prof. Zakhar Bron. Subsequently, he pursued his studies for several years with Prof. Ana Chumachenco at the Universities of Music in Zurich and Munich. Salvatore Accardo, Miriam Fried and Josef Rissin have also been important influences on him. During his studies, Linus Roth held a scholarship from the Anne-Sophie Mutter Foundation.
In October 2012, Linus Roth was appointed Professor of Violin at the 'Leopold-Mozart-Zentrum' at Augsburg University and is also the artistic director of the Leopold Mozart International Violin Competition in Augsburg. In addition, Linus Roth is the Founder and Artistic Director of the International Festival Ibiza Concerts and from 2020 on of the music festival Schwäbischer Frühling in Ochsenhausen /Germany Linus Roth plays the Stradivarius violin 'Dancla' from 1703 on kind loan from the music foundation of the L-Bank Baden-Württemberg.
In his free time, Roth enjoys fitness sports of all kinds, travelling, eating out and loves boating around the Mediterranean. He has lived in Munich for many years.
Formed in 1904 by a group of 46 musicians who had resigned from London's Queen's Hall Orchestra because of change in policy, the London Symphony Orchestra (LSO) is an ensemble of "firsts." It was the first orchestra in England to set up a self-governing administrative structure, the first to tour North America, and the first to accept commercial sponsorship. Known as one of England's most gifted and versatile ensembles, it is the resident orchestra at London's famous Barbican Centre. This and the fact that the LSO tours extensively; has provided music for countless films, radio broadcasts, and television productions; and records prolifically has helped to consolidate the group's reputation as one of the world's leading orchestras.
During the late nineteenth and early twentieth century, London musicians worked on a strictly freelance basis, finding work where they could for the highest possible fee. In 1904, Henry Wood, conductor of the Queen's Hall Orchestra, decided that he could no longer tolerate the chaos of the situation and hired players as full-time employees with a small but guaranteed wage for about 100 scheduled performances a year. Many of the best musicians, who were in great demand and who stood to lose a significant portion of their earnings through this restriction, resigned from Wood's ensemble and formed their own, self-governing orchestra.
Soon after its creation, the LSO invited Hans Richter to be its first conductor. He accepted the position on the condition that the orchestra increase its number to at least 100 players. Although Richter conducted a great many of the orchestra's concerts during his eight-year tenure, the group also attracted numerous other distinguished conductors to the podium. These included Nikisch, Steinbach, and Elgar. In so doing, the LSO promoted the idea of guest conductors in English musical society.
Two years after its foundation, the orchestra played its first concerts outside England; two concerts in Paris. Under the direction of Nikisch in 1912, the LSO became the first British orchestra to tour North America, presenting 28 concerts in 21 days, beginning and ending with performances in New York's Carnegie Hall.
Over the next 50 years, the LSO was lead by a number of gifted and distinguished conductors including Sir Thomas Beecham, Albert Coates , Sir Hamilton Harty, Josef Krips, Pierre Monteux, Istvan Kertesz, André Previn, and Claudio Abbado. All of these men, in addition to the many guest conductors and artists invited to work with the LSO, left their marks on the orchestra; shaping and honing the virtuosity of its players into an ensemble of great sensitivity and versatility.
The orchestra's association with the film industry began in 1922 when Walter Wanger, head of United Artists, hired the LSO to play for the presentation of silent films at Covent Garden's Opera House. Since then, the ensemble has provided music for numerous films including the Star Wars series for which the LSO won a platinum disc.
The LSO's connection with the BBC goes back to 1924 when Ralph Vaughan Williams conducted the orchestra in the premiere broadcast performance of his Pastoral Symphony. The LSO was the unofficial orchestra in residence for the BBC until the formation of the BBC Symphony in 1930 and has continued to broadcast concerts and provide background music for many BBC productions.
When Michael Tilson Thomas replaced Abbado in 1987, he set about securing the organization's financial as well as musical future by encouraging the LSO to accept corporate sponsorship. Conducted by Sir Colin Davis from 1995 to 2006, who was succeeded by Valery Gergiev in 2007, the London Symphony Orchestra has long enjoyed its well-deserved reputation as a pioneer in several areas of British orchestral history and is a highly versatile and distinguished world-class ensemble.
Everything that makes a collector happy. Artistically and technically speaking, this is a very nice production. The vinyl version sounds great. Especially the Stradivarius 'Dancla' on which Roth plays is convincing.
Music Emotion, 20-7-2020
Linus Roth: athlete on the violin.
Sound and interpretation: 9 out of 10!
Roth is an impressive interpreter of Weinberg’s music, but of the three solo works, I’d prefer Kilnits in No.1 and, clearly, Kremer in No.3 – although Roth’s tight focus is a collector’s wish and the SACD sound impressive.
Music Web International, 11-1-2017
The personal nature of Linus Roth’s approach to the music of Mieczyslaw Weinberg is evident as well, in a new Challenge Classics release featuring Weinberg’s three solo-violin sonatas interspersed with violin-and-piano versions of the Three Fantastic Dances by Weinberg’s friend, colleague and longtime supporter, Shostakovich.
"That the mildness never becomes a weakness, is to be thankend to the violist by whom the toneforming and rythmic precision are always well balanced."
"On paper, this is far from easy music to assimilate, yet here it sounds radiantly compelling. An outstanding achievement."
The Strad, 23-9-2016
Whimsy, wistful melancholy and dry wit coexist. And, it’s beautifully held together by Roth, playing the work as if he’s delivering a series of soliloquies.
The Arts Desk, 23-8-2016
‘’Roth makes his violin sob and snarl'' (*****)
De Volkskrant, 27-7-2016
For both violinists and listeners, even those with special appreciation for Twentieth-Century music, Mieczysław Weinberg’s Sonatas for solo violin are not easy going. This is music in which unspeakable atrocities are confronted unflinchingly, music in which one man sought answers to questions that ravage all of mankind. Perhaps these are questions with which each man must contend on his own, but few men can contend with Weinberg’s music as authoritatively as Linus Roth does in his performances of the three Sonatas for solo violin. This is not solely music making: what Roth achieves on this disc is the recreation of a solitary voice, now made intelligible to every pair of ears willing to listen.
Roth did great by making this beautiful pieces of Weinberg unlock for the western world, he did this with a great powerfull play that touches the listener.
Nieuwe Noten, 13-7-2016
In all three his sense of the architecture his finely sustained, especially in the last sonata.
Planet Hugill, 08-7-2016
" [...] the poise and intensity of Roth’s performance; the Third Sonata, from 1978, unfolds in an unbroken, nearly half-hour stretch, and Roth’s achievement in maintaining its tension is considerable. [...] "
The Guardian, 07-7-2016
Linus Roth, a proven advocate of Weinberg’s music, invites the listener in the fascinating sound world of the composer, where he carefully mingles emotion and intellect, so that the three sonatas become every bit as rewarding as solo sonatas from much better known composers. The recorded sound is silky-smooth as well as clearly defined.