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II. Adagio. Adagio ma non troppo
reh. B - reh. C |
Skills & Techniques: Dynamic Contrast, Endurance, Phrasing, Slurred Flexibility
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Horn 1 (F)
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Gewandhausorchester (1988)
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Gürzenich Orchestra (1993)
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II. Adagio. Adagio ma non troppo
reh. D - 2 mm. after reh. F |
Skills & Techniques: Loud Playing, Marcato Style, Rhythms, Slurred Flexibility
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Horn 1 (F)
Horn 2 (F)
Horn 3 (F)
Horn 4 (F)
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Gewandhausorchester (1988)
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Gürzenich Orchestra (1993)
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Composer & Composition Information
Max Bruch (1838-1920)
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Max Bruch was born in Cologne on 6th January, 1838, in the same year as Bizet. He studied there with Ferdinand Hiller and Carl Reinecke. Extended journeys at home and abroad as a student were followed by a longer stay in Mannheim, where his opera Loreley was performed in 1863, a work based on a libretto by Geibel and originally dedicated to Mendelssohn, which brought him to the attention of a wider public. Bruchs first official appointments were as Kapellmeister, first in Koblenz (1865-67) and then in Sondershausen (1867-70), followed by a longer stay in Berlin and a period from 1873 to 1878 in Bonn, when he dedicated himself to composition. After a short time as director of the Sternscher Sangverein in Berlin, in 1880 he was appointed conductor of the Liverpool Philharmonic Orchestra, and he left England in 1883 to become director of the Orchesterverein in Breslau. In 1891 he moved finally to Berlin and took over master classes in composition, Respighi being one of his pupils. He retired in 1911 to devote himself to composition, and died in Berlin on 2nd October, 1920.
The text & image are reprinted from The Atlanta Symphony Orchestra where more information about the composer can be found. |
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Symphony No. 3, Op. 51
More than a decade separates the Second Symphony from the Third, but Bruch’s earlier stylistic fingerprints remain recognizable. He wrote the piece in the early 1880s, towards the end of a short, unhappy spell as conductor of the Liverpool Philharmonic Society, and at the request of Walter Damrosch’s Symphony-Society of New York.
Parts of it are infused with nostalgia. Bruch evidently considered subtitling it “On the Rhine” and there’s a pronounced sense of longing and reminiscence in many of the extended gestures and even whole movements (like the slow second). The Third is a beautiful piece, yes, thoroughly of its time and perfectly conventional, but conventional in a way that’s steeped in its composer’s distinctive style and made fresh by a crafty handling of forms, a strong ear for instrumental color, and a great sense of how to build (and resolve) a musical argument.
The text is written by & reprinted from Jonathan Blumhofer (The Arts Fuse) where more information about the composition can be found.
Parts of it are infused with nostalgia. Bruch evidently considered subtitling it “On the Rhine” and there’s a pronounced sense of longing and reminiscence in many of the extended gestures and even whole movements (like the slow second). The Third is a beautiful piece, yes, thoroughly of its time and perfectly conventional, but conventional in a way that’s steeped in its composer’s distinctive style and made fresh by a crafty handling of forms, a strong ear for instrumental color, and a great sense of how to build (and resolve) a musical argument.
The text is written by & reprinted from Jonathan Blumhofer (The Arts Fuse) where more information about the composition can be found.
Notable Performances/Recordings:
Bamberger Symphoniker (2020)
Hungarian State Symphony Orchestra (2002)
London Symphony Orchestra (1998)
Bamberger Symphoniker (2020)
Hungarian State Symphony Orchestra (2002)
London Symphony Orchestra (1998)