Max Bruch: Scottish Fantasy, Op.46, Aaron Rosand (violin), Christoph Wyneken (cond.)

Описание: Max Bruch - Scottish Fantasy, Op. 46 – Aaron Rosand (violin), North German Radio Philharmonic Hannover, Christoph Wyneken (conductor)
I.Introduction: Grave – 0:00 ---- II. Adagio Cantabile – 3:31
III. Scherzo: Allegro – 07:49 ---- IV. Andante Sostenuto – 13:54
V. Finale: Allegro Guerriero – 19:57
Max Christian Friedrich Bruch (6 January 1838 – 2 October 1920), also known as Max Karl August Bruch, was a German Romantic composer, teacher, and conductor who wrote more than 200 works, including three violin concertos, the first of which has become a staple of the violin repertoire.
Max Bruch was born in Cologne. He received early musical training by pianist and composer, Ferdinand Hiller. Unlike quite a large proportion of classical musicians, Bruch’s family were very supportive of his music studies, and were often pushing him to take it one step further in the education ladder. Perhaps due to this, Bruch’s compositional output is large and covers many different genres including sacred and secular settings of songs psalms and motets, violin sonatas, piano works, orchestral works and chamber music for strings.
The Scottish Fantasy in E-flat major (German: Fantasie für die Violine mit Orchester und Harfe unter freier Benutzung schottischer Volksmelodien), Op. 46, was composed in Berlin during the winter of 1879–1880. Although Bruch visited Scotland for the first time only a year after the premiere of the work, he had access to a collection of Scottish music at Munich library in 1868. In paying homage to Scottish tradition, the work gives a prominent place to the harp in the instrumental accompaniment to the violin.
As alluded to in the title, the four movements of this work are built on Scottish folk melodies. These are: Through the Wood Laddie, The Dusty Miller, I’m A’ Doun for Lack O’ Johnnie, Hey Tuttie Tatie, Scots Wha Hae.
Despite the dedication of work to Sarasate, Joseph Joachim was involved in the fingering and bowing of the solo part. The premiere was in Liverpool on 22 February 1881 with Bruch (who was then director of the Liverpool Philharmonic Society) conducting, and Joachim as the soloist. Bruch was unhappy with Joachim’s performance, describing him as having "ruined" the work. When Bruch conducted the work with Sarasate as the soloist at a Philharmonic Society concert in St. James’s Hall on 15 March 1883, it was titled Concerto for Violin (Scotch). At a concert that Bruch conducted in Breslau, also with Sarasate as the soloist, the work was titled Third Violin Concerto (with free use of Scottish melodies), Op. 46.
The Scottish Fantasy is one of several signature pieces by Bruch that is still widely heard today, along with his first violin concerto and Kol Nidrei for cello and orchestra.