CD 1: Symphony No. 1 in C Major, Op. 21 Symphony No. 2 in D Major, Op. 36
CD 2: Symphony No. 3 in E-flat Major, Op. 55
CD 3: Symphony No. 5 in C Minor, Op. 67 Symphony No. 6 in F Major, Op. 68
CD 4: Symhony No. 7 in A Major, Op. 92 Symphony No. 8 in F Major, Op. 93 (1953)
CD 5: Symphony No. 8 in F Major, Op. 93 (1961) Concerto for Violin and Orchestra in D Major, Op. 61
CD 6: Concerto for Violin, Viola, Cello and Orchestra in C Major, Op. 56 Concerto for Piano and Orchestra No. 5, Op. 73
CD 7: Coriolan Overture in C Minor, Op. 62 Egmont Overture in F Minor, Op. 84 Fidelio Overture in E Major, Op. 72b King Stephan Overture in E-flat Major, Op. 117 Leonore Overture in C Major, Op. 72a
Rosbaud's ability to combine a structural approach with musical brilliance, urgency with poetic magic, austerity with inspiration, is a source of deep admiration, not least in the works of Beethoven, The more one focuses on the nuances of Rosbaud’s artistry, the more one admires his ability to convey precise ideas to the orchestra without compromising vivacity, verve and spontaneity. These Beethoven recordings prove beyond doubt that Rosbaud was one of the greatest musicians and conductors of the 20th century. This is equally true when providing concerto accompaniments: from supporting the Trio di Trieste's enthusiastic playing in the Triple Concerto, to the titanic brilliance of Ginette Neveu in the Violin Concerto, and to Géza Anda's faultless execution of the Fourth Piano Concerto. Under Rosbaud’s direction, the orchestra performs minute details to perfection, with exciting touches that still remain faithful to the character of the music. Beethoven's structural contrasts achieve an overall homogeneity. Recordings: Baden-Baden, Studio V (later Hans-Rosbaud-Studio), 24.02.1960, 27.04.1959 (CD 1); 19.–25.06.1959 (CD 2); 10.–15.09.1962, 12.11.1956 (CD 3); 23./24.06.1961, 25.09.1949 (CD 4); 15.02.1953, 18.04.1956 (CD 6); 22-23.12.1960, 27.03.1957 (CD 7)
