Max Christian Friedrich Bruch (1838–1920) was a German composer and conduct… Read Full Bio ↴Max Christian Friedrich Bruch (1838–1920) was a German composer and conductor who wrote over 200 works, including three symphonies that are rarely performed, and three violin concertos, one of which is a staple of the violin repertoire.
Born on the 6th January 1838 in Köln, he received his early musical training in Köln under the composer and pianist Ferdinand Hiller, to whom Robert Schumann dedicated his piano concerto. Ignaz Moscheles recognised his aptitude. He had a long career as a teacher, conductor and composer, moving among musical posts in Germany: Mannheim (1862-1864), Koblenz (1865-1867), Sondershausen, (1867-1870) Berlin (1870-1872), and Bonn, where he spent the years from 1873 to 1878 working privately. At the height of his reputation he spent three seasons as conductor of the Liverpool Philharmonic Society (1880-1883). He taught composition at the Berlin Hochschule für Musik (the Berlin Conservatoire) from 1890 until his retirement in 1910. He died on the 20th October 1920 in Friedenau.
Bruch's conservatively structured works in the German romantic musical tradition, placed him in the camp of Romantic classicism exemplified by Johannes Brahms, rather than the opposing "New Music" of Franz Liszt and Richard Wagner. In his time, he was known primarily as a choral composer.
His concerto no 1 in G minor, op. 26 (1868) for violin is one of the most popular Romantic violin concertos in the concert repertoire. It uses several techniques from Felix Mendelssohn's violin concerto. These include the linking of movements, and a departure from the customary orchestral exposition and rigid form of earlier concertos. Bruch sold the rights to the G minor concerto to the publisher August Cranz for a one-time payment, and he never received another penny from its innumerable performances. He, of course, valued the fame that the concerto brought to him and his music, but he also came to realise that the work’s exceptional popularity overshadowed his other pieces for violin and orchestra. "Nothing compares to the laziness, stupidity and dullness of many German violinists", he complained to the publisher Fritz Simrock in a letter from 1887; "Every fortnight another one comes to me wanting to play the First Concerto; I have now become rude, and tell them: 'I cannot listen to this Concerto any more — did I perhaps write just this one? Go away, and play the other [two] Concertos, which are just as good, if not better.'"
Other pieces which are also well-known and widely played include the Scottish Fantasy for violin and orchestra which includes an arrangement of the tune "Hey Tuttie Tatie", best known for its use in the song "Scots Wha Hae" by Robert Burns. Bruch also wrote a popular work for cello and orchestra, his op. 47, "Adagio on Hebrew Melodies for Violoncello and Orchestra", better known as his "Kol Nidre". This piece was based on Hebrew melodies, principally the melody of the Kol Nidre prayer, which gives the piece its name. The success of this work has made many assume that Bruch himself had Jewish ancestry, but there is no evidence for this.
Bruch wrote several other large-scale orchestral works, which have until quite recently been neglected in favour of the more popular violin concerto. These include two other concertos: one for the combination of viola and clarinet (a combination he used again in a chamber work with piano), and one for two pianos. He also wrote three symphonies, which are only now starting to gain recognition from out of the shadow of Brahms and Schumann.
The violinists Joseph Joachim and Willy Hess advised Bruch on composing for strings, and Hess performed the premieres of a number of works by him, including the Concert Piece for violin and orchestra, op. 84, which had been composed for Hess.
Born on the 6th January 1838 in Köln, he received his early musical training in Köln under the composer and pianist Ferdinand Hiller, to whom Robert Schumann dedicated his piano concerto. Ignaz Moscheles recognised his aptitude. He had a long career as a teacher, conductor and composer, moving among musical posts in Germany: Mannheim (1862-1864), Koblenz (1865-1867), Sondershausen, (1867-1870) Berlin (1870-1872), and Bonn, where he spent the years from 1873 to 1878 working privately. At the height of his reputation he spent three seasons as conductor of the Liverpool Philharmonic Society (1880-1883). He taught composition at the Berlin Hochschule für Musik (the Berlin Conservatoire) from 1890 until his retirement in 1910. He died on the 20th October 1920 in Friedenau.
Bruch's conservatively structured works in the German romantic musical tradition, placed him in the camp of Romantic classicism exemplified by Johannes Brahms, rather than the opposing "New Music" of Franz Liszt and Richard Wagner. In his time, he was known primarily as a choral composer.
His concerto no 1 in G minor, op. 26 (1868) for violin is one of the most popular Romantic violin concertos in the concert repertoire. It uses several techniques from Felix Mendelssohn's violin concerto. These include the linking of movements, and a departure from the customary orchestral exposition and rigid form of earlier concertos. Bruch sold the rights to the G minor concerto to the publisher August Cranz for a one-time payment, and he never received another penny from its innumerable performances. He, of course, valued the fame that the concerto brought to him and his music, but he also came to realise that the work’s exceptional popularity overshadowed his other pieces for violin and orchestra. "Nothing compares to the laziness, stupidity and dullness of many German violinists", he complained to the publisher Fritz Simrock in a letter from 1887; "Every fortnight another one comes to me wanting to play the First Concerto; I have now become rude, and tell them: 'I cannot listen to this Concerto any more — did I perhaps write just this one? Go away, and play the other [two] Concertos, which are just as good, if not better.'"
Other pieces which are also well-known and widely played include the Scottish Fantasy for violin and orchestra which includes an arrangement of the tune "Hey Tuttie Tatie", best known for its use in the song "Scots Wha Hae" by Robert Burns. Bruch also wrote a popular work for cello and orchestra, his op. 47, "Adagio on Hebrew Melodies for Violoncello and Orchestra", better known as his "Kol Nidre". This piece was based on Hebrew melodies, principally the melody of the Kol Nidre prayer, which gives the piece its name. The success of this work has made many assume that Bruch himself had Jewish ancestry, but there is no evidence for this.
Bruch wrote several other large-scale orchestral works, which have until quite recently been neglected in favour of the more popular violin concerto. These include two other concertos: one for the combination of viola and clarinet (a combination he used again in a chamber work with piano), and one for two pianos. He also wrote three symphonies, which are only now starting to gain recognition from out of the shadow of Brahms and Schumann.
The violinists Joseph Joachim and Willy Hess advised Bruch on composing for strings, and Hess performed the premieres of a number of works by him, including the Concert Piece for violin and orchestra, op. 84, which had been composed for Hess.
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Violin Concerto in G minor {1}
Max Bruch Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
@dannyboy2267
Vorspiel. Allegro moderato
0:44 - the opening
2:00 - powerful & steady part (Main subjekt)
2:32 - intensifying part
2:51 - strong ending of phrase
3:20 - relaxing part
3:55 - bright part
4:19 - most beautiful part
5:14 - chaotic and frustrating part
5:38 - new and interesting part
6:02 - most epic part
6:55 - cool orchestral part
7:36 - last solo of the first movement
II. Adagio
9:14 - beautiful start
11:03 - build up for ⬇⬇⬇
11:42 - proud & stately part
12:27 - warm & thick part
13:37 - sweet & lovely part
14:15 - escalating part
15:13 - similar to 11:42
16:29 - ending part
III. Finale. Allegro energico
17:31 - the start
17:55 - powerful solo start
18:24 - escalating part
19:15 - wavy & flowy part
19:30 - most beautiful part
20:06 - buzzing part
20:25 - wholesome part
21:37 - main theme return
22:03 - most beautiful part 2
22:36 - similar to 20:25 but brighter
23:14 - cheerful part
24:02 - the beginning of the end
24:30 - the triumphant ending
Feel free to comment if you want me to do this on a different performance :)
@JeanDeLaCroix_
Young Hilary Hahn played perfectly. Older Hilary Hahn is starting to become a legend.
@jeanparke9373
Amen.
@BrucknerMotet
jean de la croix "Older" is more apt than "old," so I give you much credit. Such spirit as is hers knows the pangs and pleasures of growth, yet ever ripens.
@jamesrockford2626
Usually it's the other way around.
@JeanDeLaCroix_
James Rockford why ? Look at Picasso for exemple, he started by mastering the technique and made it totally perfect and then he developed his own style
The change is not so drastic here but it seems Hahn's style is changing, though her technique is still perfect
@ianscarborough7363
She Already is a legend
@zimt_g2375
This is so impressive already, but playing while hulahooping is her ultimate form.
@spikesparks4615
She has a sway it's great.
@danielfurugren9219
That´s a fact!
@nicoley5094
#TWOSETVIOLIN