Roth and his period-instrument orchestra give a fine account of the Eroica with a beautifully balanced sound, and with the detail brilliantly brought out. With its measured tread the funeral march is heroically conceived, and the Scherzo has a fleet-footed exuberance. The bombast of the finale is well handled.

I came away convinced that this was the best period “Eroica” I have ever encountered, by far.

An Eroica of lively insights and strong feeling, complemented by the high contrasts of strife and idyll in the overture for a politically motivated opera by Méhul.

Performing on period-appropriate instruments (or, where this was not possible, modern replicas) makes a huge impact, not only on the sound of the orchestra but also on the clarity of textures, aided by Roth's attention to detail (notably his scrupulous observance of the difference between forte and fortissimo)...The orchestra crackles with energy throughout, and the Méhul makes for a thrilling coda to a most ear-opening recording of the Eroica.

Roth’s performance of Beethoven’s Eroica symphony…immediately startles the ear, a generously spread opening chord replacing the normally more abrupt call to order and signalling a fresh approach. What follows is clear textured, brisk, vividly coloured, yet still searching.