Max Bruch

[SonicMan46]

Chamber Works for the afternoon - selective listening - currently own the 5 CDs below w/ some duplication - after listening to the Octet, a favorite, the much newer Nash Ensemble recording trumps the CPO version to my ears (and the rest is present on other discs), so likely will cull out; the attached reviewer's comments also are in agreement - a LOT of wonderful music on those performances.  Dave

[kyjo]

Recently, I had the pleasure of re-acquainting myself with Bruch's 3 symphonies in these marvelous performances:



It had been many years since I'd heard the 1st, a couple years since I'd heard the 3rd, and I don't believe I'd ever listened to the entire 2nd. The 1st Symphony (1870) is a work full of youthful vigor which exceeded my expectations. It's cast in 5 movements à la Schumann's Rhenish, shares the same key, and its solemn 4th movement in the dark key of E-flat minor resembles the respective movement of that work. Another standout movement is the delightful scherzo which has a glorious string-led tune in the trio section.

I was less taken by the 2nd Symphony in F minor (1870). It often seems to me like Bruch is trying to express tragedy and sadness but never quite succeeding (he was more successful at conveying positive emotions). It's actually quite a unique work for its time in its almost relentlessly pensive demeanor. The whole work is strangely understated and lacking in timbral contrast - everything is very legato and rarely rises above mezzo-forte, and the melodic writing is definitely not amongst Bruch's most memorable. That said, the slow movement has an almost proto-Elgarian(!) nobility which is quite interesting, and I feel this work may yield more upon repeated listening. But, this time around, I couldn't really connect very well with it.

The 3rd Symphony (1887), in the wonderfully bright and sunny key of E major, returns to the mood of the 1st. There's a beautiful sunrise-like opening (similar to that of his marvelous 2nd String Quartet in the same key), followed by an Allegro section filled with freshness and vivacity. The slow movement is lush and warm if somewhat conventional. Then, the real fun begins with the folksy scherzo with its catchy main theme and humorous (rare for Bruch!) ending. And the finale is admirably concise and full of tremendous energy - no hint of an overblown "finale problem" here!

The 2-disc set is filled out with orchestral excerpts from Bruch's operas Die Loreley and Hermione and his oratorio Odysseus. This is well-crafted, enjoyable fare in the same vein as the symphonies - nothing overtly dramatic or Wagnerian here. Special mention must go to the performances by the Bamberger Symphoniker under Robert Trevino - surely one of the most promising younger conductors active today. These symphonies could easily sound too "safe" or predictable in the wrong hands, but Trevino and his orchestra imbue these scores with plenty of forward drive and character. Much to my chagrin, Trevino encourages the string players of the Bamberg orchestra to employ delicious portamenti when necessary. If you've had mixed feelings about these symphonies like I did previously, give these performances a try! (Well, I still have mixed feelings about the 2nd. )

[SonicMan46]

Bruch,Max(1838-1920) - Violin Concertos et al on the 3-CD box below - finishing up the last few days listening to the dozen or so discs now in my collection - see spreadsheet attached - this has been added to and culled looking at my previous posts in the thread; also attached are the non-vocal works now owned (in bold) w/ some duplication (not much left to add) (Source); although no choral works? - Dave

 

[kyjo]

Bruch,Max(1838-1920) - Violin Concertos et al on the 3-CD box below - finishing up the last few days listening to the dozen or so discs now in my collection - see spreadsheet attached - this has been added to and culled looking at my previous posts in the thread; also attached are the non-vocal works now owned (in bold) w/ some duplication (not much left to add) (Source); although no choral works? - Dave

 

What were your impressions of the music? Any particular favorite works?

[SonicMan46]

What were your impressions of the music? Any particular favorite works?

Hi Kyjo - well, still finishing up the third disc; there are 9 works in toto, including the 3 violin concertos with over 3 1/2 hrs of music.  I've always favored Violin Concerto No. 1 and the Scottish Fantasy, but the other works are equally enjoyable to my ears. Antje Weithaas plays a recently made violin which sounds great and Hermann Baumer and his orchestra provide well integrated performances with excellent sound by CPO (recordings from 2013-15); packaged as usual by CPO in separate jewel boxes w/ the original liner notes.  Attached are several compilation reviews (sorry but may be similar - put together a number of years ago) - uniformly very good to excellent reviews.  I used to have the Accardo-Masur recordings but in comparison sound was dated and I did not feel Masur did as well as Baumer, so culled out and replaced with the CPO recordings.  Dave

[Roasted Swan]

What were your impressions of the music? Any particular favorite works?

that's a very fine set - I preferred it to the famous Masur/Accardo set.  Accardo is a wonderful player but for me - as with his version of the symphonies - Masur is just lack-lustre and dutiful rather than inspired.  But then I rarely find Masur inspired.  Hard not to think that his career was majorly aided by the state support he received from the DDR - Suitner, Kegel, Rogner, Sanderling for starters strike me as more interesting conductors in just about anything.........

[Symphonic Addict]

If Bruch is mainly known for his concertante works (namely, the violin concertos), he should be even more so for his chamber music. I'm finishing to listen to this disc of his string quartets and the music is incredibly inspired:



These two works have striking ideas in spades regarding the melodies, the development, some unpredictable moments, the cohesive structure, etc. And he wrote them when he was 20-22 years old! The first quartet in C minor alone is impressive, but the 2nd one in E major is even superior in quality. I think it deserves the label of masterwork, and I'm not exaggerating.

[Mapman]

If Bruch is mainly known for his concertante works (namely, the violin concertos), he should be even more so for his chamber music. I'm finishing to listen to this disc of his string quartets and the music is incredibly inspired:



These two works have striking ideas in spades regarding the melodies, the development, some unpredictable moments, the cohesive structure, etc. And he wrote them when he was 20-22 years old! The first quartet in C minor alone is impressive, but the 2nd one in E major is even superior in quality. I think it deserves the label of masterwork, and I'm not exaggerating.

I should revisit those. I remember enjoying them.

Do you know his 8 pieces for clarinet, viola, and piano? My dad thought very highly of them, and I agree.

[Symphonic Addict]

I should revisit those. I remember enjoying them.

Do you know his 8 pieces for clarinet, viola, and piano? My dad thought very highly of them, and I agree.

Probably I have heard the piece before, but I don't remember anything about it and I forgot to take some notes when I did it. I should give it a listen to refresh my memory.

[J]

I utterly cherish a performance by the Montagnana Trio (on the Facet label) of Bruch's "Eight Pieces" -with Cello substituting for Viola.  They get the rhythms and dynamics, the ebb and flow of these pieces just about perfect in my judgment.  "Wistful" & "Soulful" is how I'd characterize the overall tenor of their unique interpretations (but wonderfully "bucolic" at times also when that's called for), -  they don't push things, but let the music breathe, and the cello (in place of viola) appropriately complements and enhances their approach with its greater weight and deepening effect. Truly a distinctive rendition in my view I recommend highly.

[Mapman]

If Bruch is mainly known for his concertante works (namely, the violin concertos), he should be even more so for his chamber music. I'm finishing to listen to this disc of his string quartets and the music is incredibly inspired:



These two works have striking ideas in spades regarding the melodies, the development, some unpredictable moments, the cohesive structure, etc. And he wrote them when he was 20-22 years old! The first quartet in C minor alone is impressive, but the 2nd one in E major is even superior in quality. I think it deserves the label of masterwork, and I'm not exaggerating.

I finally re-listened to the 2nd quartet today. It is a fine work. What struck me the most was how much the 2nd theme of the 1st movement sounded like Dvořák!

[Maestro267]

It's cast in 5 movements à la Schumann's Rhenish, shares the same key, and its solemn 4th movement in the dark key of E-flat minor resembles the respective movement of that work.

Which version do you have? Every version I've seen of the 1st has it in four movements, and none of them have a separately tempoed introduction that could be misconstrued as a separate movement.

[Roasted Swan]

Which version do you have? Every version I've seen of the 1st has it in four movements, and none of them have a separately tempoed introduction that could be misconstrued as a separate movement.

I think Kyjo has made a mistake here.  If you look at the score on IMSLP

https://ks15.imslp.org/files/imglnks/usimg/9/90/IMSLP81386-PMLP165788-bruchsymphony1.pdf

this early edition is clearly marked in 4 movements (which correspond exactly to the CD listings I have) with the E flat minor Quasi Fantasia marked "III" - page 118 of the score linked above.  Not that it matters - the music is still very appealing!

[Maestro267]

I found out afterwards that in 2001 they discovered an Intermezzo that was allegedly included in the first performance (placed second) before Bruch discarded it in favour of the four-movement symphony we know. CPO's recording includes that Intermezzo. Maybe they missed a trick in not marketing it as the Original Version (World Premiere Recording!) or whatever labels are inclined to do.

[Roasted Swan]

I found out afterwards that in 2001 they discovered an Intermezzo that was allegedly included in the first performance (placed second) before Bruch discarded it in favour of the four-movement symphony we know. CPO's recording includes that Intermezzo. Maybe they missed a trick in not marketing it as the Original Version (World Premiere Recording!) or whatever labels are inclined to do.

Aah!  Mystery solved - I didn't think Kyjo would make a mistake!