Like his older contemporary Bronisław Huberman, violinist Max Rostal was a committed European. He was also a supporter of the modern music of his day, having premiered concertos by Benjamin Frankel, Franz Reizenstein, Alan Bush and others. However, his high reputation as a teacher, juror and broadcaster often overshadowed the fiery nature of his performances, especially those heard live, which is why Melo Classic’s collection of Rostal’s concert tours is so valuable.

Top billing must go to a Dvořák Concerto recorded in Luxembourg in 1957 under Henri Pensis, where Rostal’s gypsy-style infections, expressive vibrato and keen sense of rhythm make for a performance quite unlike any other on disc. The work seems literally to leap from Rostal’s bow. Khachaturian’s Concerto (also 1957, Bavarian RSO, Jan Koetsier) isn’t quite so well recorded but is equally memorable as a performance – the first and last movements especially – and Mozart’s Fifth Concerto, K219 (Pensis again, 1956) has a Heifetzian edge and elegance to it.

The other two featured concertos are by Bruch (No 1, from Luxembourg under Carl Melles, 1960) and Glazunov (1965, with the Beromünster Radio Orchestra under Erich Schmid), both treated to a wide range of expressive gestures. These are engaging, spontaneous-sounding performances that if widely heard could well spark off a renaissance of interest in Rostal’s other recordings, studio and live.

This article originally appeared in the October 2024 issue of Gramophone magazine. Never miss an issue – subscribe to Gramophone today