1st symphony (break)

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The 1st Symphony in E flat major, Op. 28 is a symphony by the German composer Max Bruch .

Emergence

Max Bruch had already written symphonies in 1852, 1853 and 1861, probably for study purposes; but these are no longer preserved.

Bruch completed the symphony op. 28 (1868) after taking office as princely court conductor in Sondershausen ; he had already started the first work on the symphony during his time in Koblenz. He was also attracted by the prospect of a fee of 300 talers for the symphony. An important stimulus for this came from Hermann Levi , who encouraged Bruch to also gain experiences outside of Bruch's usual choral music.

In Sondershausen, Bruch had the first opportunity to rehearse a symphony with a powerful orchestra.

The premiere took place on July 26, 1868 in Sondershausen. The symphony is dedicated to Johannes Brahms .

To the music

Bruch's Symphony No. 1 was written at a time when the genre was in a state of upheaval. The symphony genre was generally rejected by the New German School ; the conservatives around Johannes Brahms tried to find new ways after Ludwig van Beethoven .

Orchestral line-up

Two flutes , two oboes , two clarinets in B, two bassoons , four French horns (in E ♭ / in F), two trumpets in E ♭, three trombones , two timpani , strings.

Sentence names

  1. Allegro maestoso
  2. Scherzo. Presto
  3. Quasi fantasia. Grave
  4. Final. Allegro guerriero

1 sentence

The beginning of the symphony has its introduction over a tonic - organ point. With its gradual build-up of held chords, it points back to Robert Schumann's Third Symphony (the “Rhenish Symphony”) and also to Anton Bruckner . Bruch already uses means such as harmonic leads, tremolandi, accompanying arpeggio figures and reinforcing the melody with horns and woodwinds, which should become his characteristics.

2nd movement

The second movement is inspired by the scherzo from A Midsummer Night's Dream by Bruch's musical role model Felix Mendelssohn Bartholdy . The set is structured in three parts. The first and the third part of the set are characterized by a continuous staccato motif, the second by an extended melody, as in the Third Symphony of Spohr in octaves of the coating - is introduced - accompanied by woodwind and horns. Later, the strings and the woodwinds or horns swap roles.

3rd movement

The third movement is a slow fantasy in E flat minor. It begins with a dark passage for strings and woodwinds, followed by solos for cello, oboe, viola and clarinet. In the violas there is a quote from the first movement. After a climax in the orchestral tutti, the previously performed solos follow, this time supplemented by horn and bassoon. A soft drum roll on the dominant leads to the finale.

4th movement

The movement designation Allegro guerriero in the finale is reminiscent of Bruch's Twelve Scottish Folksongs, composed shortly before, and Felix Mendelssohn Bartholdy's Third Symphony (the “Scottish Symphony”). Bruch himself took up this tempo designation again later in his Scottish Fantasy .

As in the first movement, the finale contains two contrasting themes. The emphasized rhythm of the main theme is reminiscent of Spohr, the continuous triplet accompaniment in the strings is again reminiscent of Franz Schubert and Mendelssohn. Bruch's own creative ingredient is the syncopated variation of the accompaniment by the second violins, violas and cellos, while the horn and clarinet play the second theme.

effect

The first performance took place on July 26, 1868 in Sondershausen and was followed by other performances within Germany. The press did not develop any enthusiasm, but responded with praise to the symphony. Kretzschmar's concert guide described the symphony in 1890 as one of the "most famous symphonies of the period" .

Bruch himself once said: "I am more at home in other areas, and I have achieved more than that of the symphony ."

The symphony is accused of orienting itself too clearly towards Felix Mendelssohn Bartholdy . Bruch's conservatism, expressed through this, among other things, is seen as the reason why Bruch's symphonies have received so little attention so far. In addition, contrary to German tradition, Bruch emphasizes vitality and freshness instead of thoughtfulness in his symphonies.

literature

  • Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, ISBN 3-7263-6616-4 , pp. 78–81
  • Harenberg concert guide , Harenberg Kommunikation, Dortmund, 1998, ISBN 3-611-00535-5
  • Booklet of the double CD Bruch - The Complete Symphonies , Philips Classics, 1998

Web links