Violin Concerto No. 1 (Bruch)

The Violin Concerto No. 1 in G minor, Op 26 is a violin concerto by the composer and conductor Max Bruch. It is one of the few of his works, which are performed regularly today. The composer from Cologne, who, though in his lifetime regarded as similar as Johannes Brahms, but quickly lost after the death of prestige and presence, here succeeded a violin concerto, world-class.

Formation

The work was written in the years 1866 bis 1868., The work was dedicated to the eminent violinist Joseph Joachim, who was also a soloist in the premiere. He had advised breaking previously in the design of the solo part. The concert features the soloist in some places the opportunity to demonstrate virtuosity. A first version of this work was completed at the Lower Rhine Music Festival in 1866, the second and current valid version ended break in 1868.

About the Music

1st Set: Introduction, Allegro moderato

The first set, denoted by breaking as a prelude, has a strong rhapsodic character. Will open the set with two pianissimo timpani strokes. This is followed by the first argument advanced by the woodwinds lyrical main theme. The solo violin then begins to edit the subject and to present some improvisations. A short orchestral tremolo follows the first actual solo part of the violin. After some time breaking introduces a B major theme in the sentence. Below is a brief introduction by a similar part, which initiates the climax of the movement. This consists of one leading urgent orchestral tutti ( Un poco piu vivo). The recapitulation brings an interplay of solo violin and orchestra, in which the theme is slightly changed. The orchestra now has derives directly into the second set.

2nd movement: Adagio

The lyrical Adagio is the central movement of the work. The most sensitive and intimate set is modeled on a romance. It starts directly with the vocal and elegiac main theme. The solo violin develops a lyrical Kantilenenspiel with quiet orchestral accompaniment. Here the melodic invention margin collapse is particularly clear. The sensitive rate increases slowly over the melodic and lyrical, elegiac page also thoughts. In the middle of the pack there is a change to G major. This light musical shift causes a change in the sound. With further dynamic enhancements, the sound will eventually become a bright -flat major. One last time heard the dreamy main issue before the poignant sentence fades away slowly.

3rd movement: Finale, Allegro energico

The finale is a dance of character and is mostly in G major. The orchestral introduction introduces the passionate and become popular main theme. The rhythmic core idea of the sentence is gradually developed and finally shines fortissimo. The soloist has to deal with this issue with often demanding double stop playing. In the course of the movement plays around and varies the solo violin the main theme. A festive and compact secondary theme is introduced by the violin. The conclusion of the majestic acting set forms a virtuosic Presto Stretta, performed by the orchestra and the soloist.

Effect

The first version of the Violin Concerto was premiered at the Lower Rhine Music Festival 1866. We know it today, again patched version by the composer, was first played on January 7, 1868 in Bremen.

The first violin concerto fracture has a similar value as the violin concertos of Johannes Brahms and Felix Mendelssohn. The expressive melody, the beauty of sound and the clear structure of the work justify its continued popularity with soloists and listeners. At first, Max Bruch was pleased with the success of his first- concert. However, in the course of time, this success was a burden because all the public attention is now focused on the first violin concerto and break remaining music, even the second and third violin concerto, were neglected. So wrote fracture to his publisher:

" Nothing equals the inertia, stupidity, dullness of many German Geiger. Every fortnight comes one and wants to play for me the first Concert: I 'm already become rough and have said to you, 'I can not hear this concert - I may have written just this concert? Go back and play for once the other concerts, which if are just not better! ' "

In 1893, he even wrote a Xenie, in which he called for a ban of the concert:

" As happened in recent times, the amazing Factum, / That the violins even played the first concert / Let's quickly known to calm anxious souls, / That we forbid said Concert in truth. "