Anton Bruckner dedicates his 9th Symphony to "Dear God", knowing full well that his heart disease will kill him.

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 it's original colors), when he was not involved in the early days of the cinema, with the very first music ever composed for a film.

Hector Berlioz, France’s greatest Romantic composer, exemplifies the spirit of his age – yet his genius was also ahead of its time. Reflecting his colourful life, his music is astonishing for its originality and ambition, and for orchestration of groundbreaking brilliance. This, the first-ever complete Berlioz edition, comprises carefully selected recordings and even includes works completely new to the catalogue. The accompanying booklet, lavishly illustrated, contains a fascinating commentary from Berlioz biographer David Cairns, whose words bring the composer’s music still more vividly to life.

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!

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.

Bruckner's Third - a creative history that is unique even for the great Austrian romantic. No other of his symphonies has been revised, reshaped and reissued more often. Yet the first version from 1873, which François-Xavier Roth has chosen for this recording, bristles with boldness and the joy of experimentation. Here, the reminiscence of Beethoven's Ninth and the works of the dedicatee Richard Wagner is almost tangible.

Isabelle Faust and François-Xavier Roth explore here extremely contrasting facets of Stravinsky’s output for violin. From the Concerto to the Pastorale, the composer plays with codes and colours, sketching extraordinarily vivid soundscapes. Once again, the musicians of Les Siècles have succeeded in rediscovering the works’ original dynamic by using period instruments – and that changes everything!

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!

Isabelle Faust and François-Xavier Roth explore here extremely contrasting facets of Stravinsky’s output for violin. From the Concerto to the Pastorale, the composer plays with codes and colours, sketching extraordinarily vivid soundscapes. Once again, the musicians of Les Siècles have succeeded in rediscovering the works’ original dynamic by using period instruments – and that changes everything!

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.

Ligeti’s interest in sonorities and instrumental timbres is well known. François-Xavier Roth and the musicians of Les Siècles, themselves true alchemists of sounds and colours, recorded shimmering interpretations of these three works in 2016, displaying unprecedented clarity and naturalness, and also tremendous humour. They have been superbly remastered for this reissue.

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!

The practice of performing music on original instruments was once the exclusive domain of early music specialists who sought to revive the characteristic sounds of Renaissance, Baroque, and Classical instruments and ensembles scaled to proper size. The so-called "historically informed movement" eventually expanded into re-creating 19th century music, which yielded some ear-opening performances; but this practice soon began to overlap with modern interpretation and instrumentation, so the actual differences between period and modern strings or winds were minimal.

After the tremendous success of the 7th Symphony, François-Xavier Roth and the Gürzenich-Orchester Köln continue their Bruckner complete symphonies cycle. The "Romantic", as Anton Bruckner himself entitles his 4th Symphony, was composed in 1874 in the midst of a period of personal defeat. And he immediately doubted his work, describing some parts as "unplayable" and finding "the instrumentation here and there overloaded and too turbulent". It was only years later, after numerous revisions, that the Fourth was premiered and Bruckner achieved the success he had longed for with the public of the time.

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!