See also: Bruch

max Christian Friedrich Bruch is a German Compositeur , born with Cologne the January 6th 1838 and died in Berlin the October 2nd 1920

Biography

His/her mother is soprano and professor of music, her father man of law.

After having received a first musical approach by his/her mother, Bruch follows the teaching of Breidenstein (Bonn). At fourteen years, it obtains a purse of the Mozart foundation in Frankfurt, which gives access to prestigious professors to him, like Carl Reinecke, Ferdinand Hiller,…, with which it works during four years. It is at this period that he writes a first symphony.

After being itself installed with Mannheim in 1863, it is named there leader, as it will be it with Berlin (1870), etc For this active period, it composes inter alia his first Concerto for violin in minor ground (1864). Joseph Joachim, the famous violonist, will help Bruch to alter this work which will finally ensure its author a certain consideration in the world. He also writes a profane opera, Hermione, parts, etc

In 1880, known in Europe, it is named leader to Liverpool. It composes a work which gains a success: Scottish Imagination for violin and orchestra and Kol Nidrei, long meditation with the violoncello built on Hebraic melodies intended for the Jewish community of the city. During this pleasant time, he marries the singer Clara Tuczek.

Of return in its country towards 1883, he becomes musical director of the orchestra of Breslau, then, seven years later, he obtains a pulpit of composition in Berlin. He will give up this station in 1910. In 1918, it is named " Doctor in philosophie" at the University of Berlin.

October 2nd 1920, Bruch dies in Berlin. Its principal regret was undoubtedly to have been known almost exclusively only thanks to its famous concerto for violin.

In short

• Often perceived like a type-setter passeist, it did not arrive at the recognition of his/her friend Johannes Brahms. It, during its 82 years of existence, cotoyé largest (Mahler, Liszt, Wagner, Bruckner, etc) without for to have modified its rigorous style as much, “keeping its esthetic and academic fidelity”.

• In spite of these criticisms, it composed a work which met as of its creation (just like today) a sharp success, its Concerto for violin n° 1, COp 26 , began in 1864, as well as the Scottish Fantaisie for violin and orchestra and its Kol nidrei for violoncello and orchestra, regularly recorded with the disc.

• the dedication of the musical long career of Bruch was the pulpit of composition obtained with the Conservatoire of Berlin in 1892 where it will remain until in 1910.

• Of other partitions apart from its concerto for violin held the attention of demanding soloists, in particular the dances Swedish for clarinet and a small part for oboe.

• These works have been more played - successfully - for a few years, removed nowadays from the quarrels of schools whose max Bruch was a long time the unjust victim. Its first concerto for violin seems to announce that of Brahms, which it precedes by ten years.

Principal works

Chamber music

• Trio for violin, violoncello and piano in minor C, COp 5 (1857)
• String quartet n° 1 in minor C, COp 9 (1858/59)
• String quartet n° 2 into semi major, COp 10 (1860)
• Quintet with piano in minor ground (1886)
• Eight parts for clarinet, viola and piano, COp 83

Concerting works

• Concerto for violin n° 1, COp 26 (1865-67)
• Concerto for violin n° 2, COp 44 (1877)
• Scottish Imagination for violin and orchestra, COp 46 (1879/80)
• Kol nidrei , for violoncello, toothing-stone and orchestra, COp 47 (1880/81)
• Concerto for violin n° 3, COp 58 (1891)
• Serenade for violin and orchestra, COp 75 (1899/1900)
• Konzertstück for violin and orchestra, COp 84 (1910)
• Concerto for clarinet, viola and orchestra, COp. 88 (1911)

Symphonic works

• Symphony n° 1, COp 28 (1868)
• Symphony n° 2, COp 36 (1870)
• Symphony n° 3, COp 51 (1882, revised in 1886)
• Continuation according to Russian popular melodies, COp 79b (1903)
• Continuation n° 2 according to Swedish popular melodies (1906)
• Continuation n° 3 for organ and orchestra (1909, revised in 1912)

Vocal works

• Cantata Frithjof-Szenen , COp 23 (1860, revised in 1864)
• Oratorio Odysseus , scene according to the Odyssey for soli, chorus & orchestra, COp 41 (1871/72) Text of Wilhelm Paul Graff.
• Oratorio Arminius , COp 43 (1875)
• Oratorio Das Lied von der Glocke , according to Friedrich Schiller, COp 45 (1872)
• Oratorio Brace , COp 67 (1893/94)

Operas

• Opera Die Loreley , in two acts, COp 16 (1863)
• Opera Hermione (1872)

External bonds

• Ausführlicher Lebenslauf
• Biography of max Bruch and MIDDAY (site from where this article is partially drawn)

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