Bruch, Max

Preface

Bruch, Max – Frithjof op. 23, Szenen aus der Frithjof-Sage von Esaias Tegnér für Männerchor, Solostimmen und Orchester (with German libretto)

Scenes from the Frithjof saga by Esaias Tegnér for male choir, solo voices and orchestra

Frithjof’s journey home. p.1
Ingeborg’s bridal procession to King Ring. p.42
Frithjof’s revenge. Burning of the temple. Curse. p.47
Frithjof’s farewell to Nordland. p.106
Ingeborg’s lament. p.129
Frithjof at sea. p.139

Preface
Today, Max Bruch is considered one of the forgotten composers—a stark contrast to his popularity during the second half of the 19th century, when he was regarded as “one of the most important and versatile composers of the present day.”¹ However, one of his numerous works, the Violin Concerto No. 1 in G minor, Op. 26, has remained part of the select canon of its genre into the 21st century. It is an integral part of the repertoire of the great violin virtuosos of both past and present, standing alongside the violin concertos of Ludwig van Beethoven, Felix Mendelssohn Bartholdy, and Johannes Brahms. The striking contrast between the worldwide fame of this work and the neglect of the rest of Bruch’s oeuvre is both curious and tragic. Equally remarkable is the fact that Bruch’s reputation in music history is primarily based on an instrumental work. By his own account, he was far more devoted to vocal music, which is also reflected in his oeuvre: approximately two-thirds of his compositions are vocal, while only about one-third is dedicated to instrumental music.² However, considering that Bruch shaped his instrumental compositions with a vocal sensibility, this, in a way, brings his artistic vision full circle. His particular affinity for the violin—evident throughout his oeuvre and noted by his contemporaries—was rooted in its similarity to the human voice.³ Bruch’s inclination toward vocal music was evident from an early age. In 1858, the 20-year-old Bruch wrote to his Cologne teacher and mentor, Ferdinand Hiller, while on a study visit to Leipzig: “At the moment, however, the focus and highlight of musical life here lies only in instrumental music; far less is done for singing than here on the Rhine. It seems to me that there is just as much a lack of the right passion for singing as of melodious voices. This is bad enough for my purposes, since, as you know best, I would prefer to perform vocal pieces.”4 …

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