Max Bruch
Published February 15, 2019
54 min
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    Donald Macleod explores Max Bruch’s violin works. Melody, said Bruch, represents the “soul of music” and nowhere is that better represented than in his famous violin concerto. It’s a work which brought him fame and fortune, but it’s also a work he came to hate, since he felt its popularity suppressed performances of his other compositions. It’s a sentiment that has some justification, since Bruch wrote some two hundred odd works, the majority of which are rarely performed. This week, Donald Macleod looks at Max Bruch’s prickly professional relationships, his feeling of being overshadowed by Brahms, and the instrument with which he had a very close affinity. Music featured: Adagio Appassionato Septet 6 pieces for solo piano Op 12 Violin Concerto no 1 in G minor, Op 26 Swedish dances, Op 63 Symphony No 2 Schön Ellen Op 24 for soprano, baritone and orchestra Violin Concerto No 2 in D minor, Op 44 Bei den roten Rosen Odysseus, Op 41 Scottish Fantasy Kol nidrei Op 47 Symphony No 3 Romance in A minor, Op 42 Das Lied von der Glocke, Op 45 Violin concerto No 3 Eight pieces for clarinet, viola and piano, Op 83 Serenade, Op 75 String Octet in B flat major Konzertstück in F sharp minor, Op 84 Presented by Donald Macleod Produced by Johannah Smith for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Max Bruch: And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here:
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