3rd symphony (break)
The 3rd Symphony in E major, Op. 51 is a symphony by the German composer Max Bruch .
Emergence
After the failure of the second symphony in 1870, Bruch did not compose another symphony until 1882 with the third symphony in E major op. 51. In the summer of 1882, while working in Liverpool, Bruch was commissioned by Leopold Damrosch to write a symphony for an American tour, which was to be premiered by the New York Symphony Society . Bruch used sketches that go back to 1870 when he was working in Sondershausen .
Between 1884 and 1886 Bruch made revisions to the symphony; in this form it was published by Breitkopf & Härtel . Fritz Simrock had previously refused to publish the Third Symphony after the failure of Bruch's Second Symphony , whereupon Bruch wrote: “However, a lot of water has flowed through the Rhine since 1870; I shed different skins and because I had some bad luck with the second symphony, it doesn't mean that I have to be bad luck again now. "
To the music
At first Bruch had toyed with the idea of giving the symphony the subtitle Am Rhein . The theme material has the basic key in common with the prelude to Bruch's opera The Loreley ; on the other hand, the second theme is in a similar mood and a similar rhythm as the theme of Lenore, a main character in Bruch's Loreley .
Orchestration
Two flutes , two oboes , two clarinets , two bassoons , four French horns , three trumpets , three trombones , tuba , timpani , strings
Sentence names
- Andante sostenuto - Allegro molto vivace - Adagio
- Adagio. Adagio ma non troppo
- Scherzo. Vivace
- Final. Allegro ma non troppo
1 sentence
The movement begins with a slow introduction in broad tempos and with first horn and first clarinet solos, which play an important role in the course of the entire work. In the actual sentence Allegro molto vivace before prevail wide melodic themes in the implementation of classical sonata form coming of the sentence to an impressive climax.
2nd movement
With its chorale-like introduction with subsequent variations and a return to the chorale-like mood of the beginning of the movement, the second movement is held in a religious mood, similar to the final movement of Schumann (the “Rhenish Symphony”).
In some performances of the symphony, the order of the second and third movements was reversed. Such a performance of the symphony was conducted by Hans von Bülow on November 5, 1888 in Bremen; he said: "[the] Adagio requires very collected ears ... [the] finale immediately sounds fresher than after the Scherzo". For the conductor and Bruch's friend Carl Martin Reinthaler , the symphony in this form was “a happy inspiration”.
3rd movement
The Scherzo is in C major and has a happy and exuberant mood. It is in rondo form and is characterized by a simple melody based on a simple arpeggio as well as a syncopated rhythm of a transparent orchestration. According to George Henschel's remarks , the sentence for the Boston Daily Advertiser was a sentence that "gave the appearance of a minuet" in which the dancers forgot their courtly manner in the exhilaration of the sport. The sentence is “cleverly humorous and entertaining”. After the first performance of the symphony under Leopold Damrosch , the New York Times described this sentence as "brilliant and original, and with a certain verve that makes it irresistible".
4th movement
The fourth movement is characterized by a firmly anchored E major organ point, thick orchestration and doublings.
effect
The premiere took place on December 17, 1882 under Leopold Damrosch in New York, which the Boston Daily Advertiser described as follows:
“It is clearly not striving for the highest level of symphony composition, but it fulfills all the requirements that it has set itself, and if we are not seriously mistaken, it will grow above its level rather than the other way around. It is a fine example of what a composer with a good but not extraordinary gift of invention, with excellent musical sensitivity, exquisite taste, extensive education and masterful mastery of his orchestral resources can achieve "
The first performance of the revised version took place on December 2, 1886 in the Leipzig Gewandhaus under the direction of the composer. There were further performances of the work in Boston in 1883 and - in a revised form - in Bremen in 1888 under the baton of Hans von Bülow .
literature
- Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, ISBN 3-7263-6616-4 , pp. 201–203
- 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
- 3rd Symphony (Fraction) : Sheet music and audio files in the International Music Score Library Project
Individual evidence
- ↑ CD supplement Naxos 8.555985, Bruch: 3rd Symphony etc., Hungarian State Symphony Orch., Manfred Honeck. Text: Keith Anderson
- ^ Letter to Fritz Simrock , September 9, 1886
- ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, ISBN 3-7263-6616-4 , p. 202
- ^ Letter from Carl Martin Reinthaler to Max Bruch, November 17, 1888
- ^ Boston Daily Advertiser , March 5, 1883
- ^ New York Times , December 17, 1882