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Max Bruch
Born: 1838
Died: 1920
Country: Germany
Period: Romantic
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While the music of Max Bruch generally strikes listeners as beautiful, imaginative, and high-minded, critics have tended to relegate him to the status of a minor master. Bruch started composing as a child, displaying an extraordinary musical talent which was recognized as such by Ignaz Moscheles. In 1852, he wrote a symphony and a string quartet, the latter work bringing him a scholarship from the Frankfurt-based Mozart foundation, which enabled
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There are 393 recordings available.
Select a specific Work or Most Popular Work below.
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Works
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Abendständchen (1)
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Abschied von der Heimat (1)
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Achilleus, Op 50: Aus der Tiefe des Grames (1)
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Adagio appassionato for Violin and Orchestra, Op. 57 (3)
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Adagio appassionato, for violin & orchestra in C sharp minor, Op. 57 (1)
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Adagio on Celtic themes for Cello and Orchestra, Op. 56 (3)
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Arminius, Op. 43 (1)
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Ave Maria for Cello and Orchestra, Op. 61 (4)
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Bei den roten Rosen (1)
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Canzone for Cello and Orchestra in B flat major, Op. 55 (6)
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Concerto for 2 Pianos, Op. 88a (5)
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Concerto for Clarinet and Viola in E minor, Op. 88 (9)
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Concerto for Violin and Orchestra No. 1 in G minor, Op. 26: Adagio (3)
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Concerto for Violin no 1 in G minor, Op. 26 (132)
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Concerto for Violin no 1 in G minor, Op. 26: 1st movement, Adagio (3)
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Concerto for Violin no 1 in G minor, Op. 26: 2nd movement, Adagio (40)
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Concerto for Violin no 1 in G minor, Op. 26: 2nd movement, Adagio: Excerpt (5)
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Concerto for Violin no 1 in G minor, Op. 26: 3rd movement, Allegro energico (12)
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Concerto for Violin no 1 in G minor, Op. 26: Excerpt(s) (3)
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Concerto for Violin no 2 in D minor, Op. 44 (15)
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Concerto for Violin no 2 in D minor, Op. 44: 1st movement (1)
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Concerto for Violin no 2 in D minor, Op. 44: 1st movement, Adagio non troppo (1)
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Concerto for Violin no 2 in D minor, Op. 44: 2nd movement, Recitativo (1)
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Concerto for Violin no 2 in D minor, Op. 44: 3rd movement, Finale (1)
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Concerto for Violin no 3 in D minor, Op. 58 (6)
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Concerto for Violin no 3 in D minor, Op. 58: 1st movement, Allegro energico (1)
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Concerto for Violin no 3 in D minor, Op. 58: 2nd movement, Adagio (1)
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Concerto for Violin no 3 in D minor, Op. 58: 3rd movement, Allegro molto (1)
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Das Lied von der Glocke, Op. 45 (1)
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Der Hochzeittag (1)
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Der sterbende Barde (1)
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Die Glocken von Aberdovey (1)
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Die Loreley: Overture (1)
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Die Nachtigall (1)
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Fantasia for 2 Pianos in D minor, Op. 11 (1)
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Heimweh (1)
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Hermione, Op 40: Allein, allein mit meinem Gram (1)
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Hermione, Op 40: Setzt Ihnen nach! (1)
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In der Nacht, Op. 72 (1)
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In memoriam, Op. 65 (2)
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Johnie und Jenny (1)
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Jubilate-Amen, Op. 3 (1)
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Klavierstück (2), Op. 14 (1)
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Kol Nidrei for Cello and Orchestra, Op. 47 (88)
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Konzertstück for Violin and Orchestra in F sharp minor, Op. 84 (4)
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Kriegsgesang (1)
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Kriegslied der Männer von Glamorgan (1)
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Lasst uns das Kindelein wiegen (2)
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Liebeslied (1)
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Lieder (5) for Chorus, Op. 38 (1)
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Lieder (5), for chorus, Op. 38: Waldpsalm ("Auf, zu psallieren in frohem Choral") (1)
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Lieder (6) for Chorus, Op. 86 (1)
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Lieder (7) for Chorus, Op. 71 (2)
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Lieder (9) for Chorus, Op. 60 (1)
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Lord Gregory (1)
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Marion (1)
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Moses, Op. 67 (2)
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O sahst du den Vater (1)
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Octet for Strings (2)
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Odysseus, Op. 41: Ich wob dies Gewand (2)
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Pieces (4) for Cello and Piano, Op. 70 (1)
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Pieces (6) for Piano 4 hands, Op. 12 (1)
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Pieces (8) for Clarinet, Viola/Cello and Piano, Op. 83 (13)
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Pieces (8) for Clarinet, Viola/Cello and Piano, Op. 83: no 1 in A minor, Andante (4)
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Pieces (8) for Clarinet, Viola/Cello and Piano, Op. 83: no 2 in B minor, Allegro con moto (5)
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Pieces (8) for Clarinet, Viola/Cello and Piano, Op. 83: no 3 in C sharp minor, Andante con moto (2)
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Pieces (8) for Clarinet, Viola/Cello and Piano, Op. 83: no 4 in D minor, Allegro agitato (3)
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Pieces (8) for Clarinet, Viola/Cello and Piano, Op. 83: no 5 in F minor (3)
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Pieces (8) for Clarinet, Viola/Cello and Piano, Op. 83: no 6 in G minor (6)
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Pieces (8) for Clarinet, Viola/Cello and Piano, Op. 83: no 7 in B major (4)
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Pieces (8) for Clarinet, Viola/Cello and Piano, Op. 83: no 8 in E flat minor (2)
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Quartet for Strings no 1 in C minor, Op. 9 (2)
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Quartet for Strings no 2 in E major, Op. 10 (2)
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Quintet for Piano and Strings in G minor (2)
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Quintet for Strings in A minor (4)
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Quintet for strings, in A minor: Allegro molto / Adagio non troppo (1)
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Romance for Viola and Orchestra, Op. 85 (13)
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Romance for Violin and Orchestra in A minor, Op. 42 (7)
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Ruhelos, rastlos (1)
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Scherz, List und Rache, Op. 1: Overture (1)
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Schwedische Tänze, Op. 63 (3)
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Schwedische Tänze, Op. 63: no 1 (1)
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Schwedische Tänze, Op. 63: no 2 (1)
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Schön Ellen, Op. 24 (1)
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Scottish Fantasy for Violin and Orchestra, Op. 46 (38)
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Scottish Fantasy for Violin and Orchestra, Op. 46: 1st movement, Adagio cantabile (1)
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Scottish Fantasy for Violin and Orchestra, Op. 46: 4th movement, Allegro guerriero (1)
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Scottish Fantasy for Violin and Orchestra, Op. 46: Excerpt(s) (1)
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Septet in E flat major, Op. posthumous (1)
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Serenade for Violin and Orchestra in A minor, Op. 75 (3)
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Serenade on Swedish Melodies (3)
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String Quartet No.1, in C minor, Op. 9 (1)
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String Quartet No.2, in E major, Op. 10 (1)
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Suite for Orchestra and Organ no 3, Op. 88b (1)
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Suite on Russian folk melodies, Op. 79b (6)
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Suite on Russian folk melodies, Op. 79b: Andante (1)
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Symphony no 1 in E flat major, Op. 28 (7)
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Symphony no 2 in F minor, Op. 36 (6)
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Symphony no 3 in E major, Op. 51 (7)
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Taliesins Weissagung (1)
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Tanzlied (1)
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Trio for Piano and Strings in C minor, Op. 5 (5)
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Walisisches Kriegslied (1)
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Biography |
by Joseph Stevenson
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While the music of Max Bruch generally strikes listeners as beautiful, imaginative, and high-minded, critics have tended to relegate him to the status of a minor master. Bruch started composing as a child, displaying an extraordinary musical talent which was recognized as such by Ignaz Moscheles. In 1852, he wrote a symphony and a string quartet, the latter work bringing him a scholarship from the Frankfurt-based Mozart foundation, which enabled him to study with Ferdinand Breunung, Ferdinand Hiller, and Carl Reinecke. In 1858, having embarked on a teaching career in Cologne, he produced his first opera, Scherz, List und Rache. He visited several important German cultural centers between 1861 and 1862. From 1862 to 1864, Bruch lived in Mannheim, where he wrote his cantata, Frithjof, which audiences received with great enthusiasm. In addition, Bruch's opera Loreley was produced in 1863. After leaving his Mannheim post, Bruch visited Paris and Brussels, eventually accepting the position of music director in Koblenz in 1865. In 1867, Bruch became Court Kapellmeister in Sonderhausen, remaining at that post until 1870. That year, Bruch moved to Berlin, where his third opera, Hermione, was produced in 1872. Between 1873 and 1878, Bruch, enjoying his reputation as an eminent German composer, worked independently in Bonn. In 1881, however, he resumed his career as a conductor, succeeding Julius Benedict as conductor of the Liverpool Philharmonic Society in England, but he did not get along with the players, who had rather lax standards. In 1883 Bruch left Liverpool and became director of the Breslau (now Wroclaw, Poland) Orchesterverein, where he stayed through the end of the season in 1890.
That autumn, Bruch took up an appointment as professor of composition at the Berlin Hochschule für Musik, working there until his retirement in 1910 and retaining his rank as a professor there until his death in 1920.
During his lifetime he had a reputation as destined to become one of music's great composers. Bruch's best-known work is without doubt his passionately romantic Violin Concerto No. 1 in G minor (1868), a major item in the standard violin repertoire. His next most often played work is the single-movement work for cello and orchestra, Kol Nidrei. This lovely composition is representative of his interest in setting melodic material originating from other ethnic groups; he wrote works on Russian, Swedish, Scottish, and Celtic melodies as well. These other works, and his symphonies, have not worn well and are rarities, sometimes revived in the concert hall and on records and on those occasions usually favorably surprising the audience for their beauty and fine workmanship. |
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