Max break

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Max break
Signature of Max Bruch

Max Bruch (born January 6, 1838 in Cologne , † October 2, 1920 in Berlin ) was a German composer and conductor . In literature he has two other first names with Max Christian Friedrich and with Max Karl August . Max Bruch is best known for his 1st Violin Concerto and the Scottish Fantasy .

Life

Memorial plaque on the Richmodisturm, Bruch's birthplace in Richmodstrasse in Cologne
Statue of Max Bruch at the Cologne town hall tower

origin

Max Bruch's ancestors can be traced back to Thomas Bruch, a Catholic who was born in Saarbrücken in 1560 and converted to Protestantism. Max Bruch's grandfather Christian Gottlieb Bruch (1771–1836) studied theology and came to Cologne as superintendent.

His eldest son, August Carl Friedrich Bruch (1799–1861), the composer's father, studied law and, after a few years as a lawyer in Berlin, became the Royal Police Council and deputy chief of police in Cologne. His wife Wilhelimine Bruch, b. Almenräder (1799–1867) was a singer and came from a family of musicians originally from the Bergisches Land. In addition to their son Max Christian Friedrich, the couple had a daughter named Mathilde (1841–1914).

Childhood (1838–1847)

Max Bruch was born on Epiphany in 1838 in the Richmodis House in Cologne. A plaque on the rebuilt tower in Richmodstrasse on Neumarkt bears the following inscription: "Birthplace of the Rhenish sound poet and singer Max Bruch - January 6, 1838". Why Bruch is also described as a singer is unclear.

In his childhood memories, Bruch characterizes his father as a conscientious and conscientious official who, however, was benevolent and helpful wherever he could. In the same article, he adds an anecdote, especially interesting for musical posterity, about a small, agile businessman who one day appeared in his father's office, introduced his son and praised him as a great talent at the cello - it was the boy around the later operetta composer Jacques Offenbach . Bruch received his first music and piano lessons from his mother. In his childhood memories, he describes her as a musical woman with a good soprano voice, who then lost her voice and therefore had to limit herself to singing lessons. He had a close relationship with his sister Mathilde, called Till, since, as he writes, there were no other siblings. Bruch describes how much they did and talked about together, and praises her sense of form and melodic beauty, as well as her sharp and logical mind.

Between the ages of 7 and 10, Bruch developed a talent for painting, which is why his relatives also called him the "second Raphael". As an exercise, he copied works he admired such as The Landing of Ferdinand Cortez on the coast of Mexico , The Ascension of Elias , Saint Bonifacius felling the holy oak of Hesse and others known to him as illustrations from children's books, Bibles and studies on world history were.

Youth (1848–1857)

At the age of nine he wrote his first composition, a song for his mother's birthday. From then on, music was his passion, which his parents encouraged to the best of their ability. In a sudden creative outbreak, many small works such as motets, psalm settings, piano pieces, violin sonatas, a string quartet and even orchestral works such as the overture to a planned opera Jungfrau von Orléans were created . Only a few of these early works have survived.

In 1968 an early composition from this period appeared in the estate of the widow of Max Bruch's eldest son Max Felix, namely the septet in E flat major, dated August 28, 1849 . The dating - the 100th birthday of Johann Wolfgang von Goethe - suggests the creation of the septet as a homage to the poet von Bruch admired.

Bruch received his first music theory lessons in Bonn in 1849 from Professor Heinrich Carl Breidenstein , a friend of his father's. At this time he came to the Igeler Hof for the first time , an estate in Bergisch Gladbach , where he wrote a large part of his music. The farm belonged to the lawyer and notary Neissen, who lived in it with his unmarried sister Thérèse. The property was later bought by the Zanders family, who owned a large paper mill . On hikes and stagecoach rides there, the boy was instructed in French and English by his father. In the later years Maria Zanders, as a close friend and patron , gave him the right environment for his work in the Villa Zanders . In addition, Max Bruch received private tuition from teachers at the Friedrich-Wilhelm-Gymnasium in Cologne .

The critical eye of the bright boy was trained early on by the family. In a letter to his mother about an invitation to coffee at the Igeler Hof with his befriended Weber family, he wrote very differently about the pieces of music performed there. In the same letter he also reports on the course of his studies, how he racked his brains over the composition of a fugue that he presented to Professor Breidenstein during violin lesson in the afternoon, who found the fugue not that bad.

At the age of eleven, he went public with major compositions. In March 1852 his first symphony in F minor was performed by the Philharmonic Society in Cologne. With a string quartet he won a four-year scholarship from the Frankfurt Mozart Foundation in 1852 . This scholarship enabled him to study composition with Ferdinand Hiller and piano studies with Carl Reinecke and Ferdinand Breunung in Cologne from 1853 to 1857 .

Hiller had already got to know the young Bruch in 1850, as evidenced by a diary entry from April 8: “Visit from Bruch and Son”. He also reports on a sonata for four hands that Max brought him. In the following years he heard several pieces by the young talent, such as "a string quartet from his son for his mother's birthday", in 1851 a trio, a motet and a sonata. On November 30, 1852, during one of the numerous visits to his parents' house, he finally heard a "sonata with violin" and a piano quintet.

In the meantime Hiller had applied for a scholarship for Max at the Mozart Foundation in Frankfurt, for which the boy thanked him in a letter and, among other things, responded to Hiller's constructive help with Bruch's earlier string quartets. The foundation also explicitly asked Hiller to “train the new Mozart pupil to be a valiant musician and composer”.

As early as March 12, 1852, an article about Max appeared in the Rheinische Musikzeitung , in which he was compared with Mozart and Mendelssohn . He is described as "a dear, open, lively, childlike uninhibited boy who, although he only lives and weaves in tones, nonetheless also shows skill and ability for other objects". At the end of the article you give him your best wishes:

“May he courageously step forward on the path he has begun, serve art as the noble holy goddess only for its own sake and find his goal only in the attainment of the highest and best! We wish him the best of heaven's blessings with all our hearts! "

- "Rheinische Musikzeitung", March 12, 1852

Hiller was a great believer in breaking and devoted more attention to his work than to that of his other students. Most of von Bruch's unpublished early works and his first published compositions are mentioned in his diaries. He was also significantly involved in the printing of Op. 1, the opera Scherz, List and Rache based on a model by Goethe, his pupil, by making recommendations on the one hand and circulating a subscription list in Cologne among music lovers and friends on the other. This list was drawn up within a few days and made it possible in 1857 to publish Scherz, Cunning and Vengeance at the Senff publishing house in Leipzig. The opera is about the couple Scapin and Scapine, who are robbed of their savings and get them back by using a trick.

Creative years (from 1858)

On the advice of his teacher Hiller, Max Bruch went to Leipzig in 1858 to continue his musical studies. There he met Ignaz Moscheles , Ferdinand David and Moritz Hauptmann . He also made his first contacts with Breitkopf & Härtel and brought his first works to publication or performance. One of these was the Jubilate op. 3, a short work for solo soprano, choir and orchestra, which the music critic Ludwig Bischoff was enthusiastic about. Other compositions from this period include Die Birken und die Erlen op.8, the Drei Duette op.4, the Trio op.5 in C minor for piano, violin and violoncello, the two string quartets op.9 and op.10 as well as his last solo piano works, namely the Fantasia for two pianos op.11, the six piano pieces op.12 (dedicated to Bruch's cousin Bertha Krupp) and the two piano pieces op.14

After his return from Leipzig in 1859, Bruch interrupted his musical studies and began to study philosophy, art and architecture at the University of Bonn . Since he could not prove a formal high school diploma through private tuition, he was enrolled at the university through letters of recommendation from Professor Hoss, the deputy director of the Friedrich-Wilhelm-Gymnasium and - probably through the mediation of his father August Bruch - by the police at the university. Bruch's time at the university did not last long, however; so his file was closed on December 6, 1859. However, the lectures given by art historian Anton Springer on the history of art in the Rhineland left a lasting impression on Bruch ; Bruch kept the notebook with the notes on visits to Cologne churches and crypts by Springer and the students.

Max Bruch's father died in 1861. Fortunately, Bruch's mother and sister were financially supported by the Essen industrialist Alfred Krupp , to whom the Bruch family was related through Max Bruch's cousin Bertha Krupp, so that Max Bruch was now able to continue his musical education in metropolises such as Berlin, Dresden, Leipzig, Vienna and Munich .

His first stopover was Berlin. From this time there is a lot of correspondence from his mother with motherly advice. On November 18, 1861 he arrived in Leipzig, where he met musicians like Carl Reinecke , Ferdinand David and Ignaz Moscheles, attended concerts and rehearsed his own compositions.

The Loreley and Frithjof

In 1862, Bruch's career took a decisive turn with the composition of the opera Die Loreley op.16 about Count Otto, who conjured up a misfortune because he was about to get married to Bertha, Countess von Stahleck, but fell passionately into the peasant girl Lenore in love. Bruch set a poem by Emanuel Geibel to music , which was initially intended for Felix Mendelssohn Bartholdy , who, however, was dissatisfied with Geibel's text. At first Geibel forbade a performance of Bruch's setting with reference to the applicable copyright law, but changed his mind after being mediated by Count Ludwig von Stainlein in January 1862. The opera was well received at its premiere on June 14, 1863 and with Rotterdam and Prague also in the Played abroad. Thirty years later, the opera found an advocate in Hans Pfitzner , who brought it back to the stage in 1916 as music director of the Strasbourg Opera House.

After composing Die Loreley , Bruch turned exclusively to vocal music. He was encouraged by George Thomson , Secretary of the Board of Trustees for the Encouragement of Arts to Manufacturers in Scotland and his new mentor Vinzenz Lachner to include twelve original melodies from the collection The Scots Musical Museum (Edinburgh 1787-1803) compiled by James Johnson to provide his company.

After the publication of some vocal works such as the Ten Songs, Op. 17, the Cantata Flucht der heiligen Familie, Op. 20 and the Gesang der Heilige Drei Könige, Op. 21, Bruch conducted on November 20, 1864 in Aachen with the men's choir Concordia, soloists and orchestra the First performance of the cantata Frithjof op. 23. The cantata is based on an epic by the Swedish poet Esaias Tegnér based on an Icelandic legend from the 13th century and is about King Helge, who comes into conflict with Frithjof, the fiancé of his sister Ingeborg. The work suddenly increased Bruch's reputation.

The success with Frithjof prompted Bruch to look for a permanent position. One of his greatest disappointments in this regard at that time was his application to the Concordia Choir and Orchestra, which - although Bruch asked Clara Schumann , Rudolf von Beckerath, Ludwig Bischoff and Franz Lachner for intercession - failed.

Koblenz (1865 - 1867) and First Violin Concerto

In 1865, Max Bruch got the post of "Director of the Royal Music Institute and the Koblenz Subscription Concerts" under the music-interested Queen Augusta of Prussia in Koblenz. There he continued his work on his First Violin Concerto , which he had begun in the summer of 1864, with extensive advice from the violinist Joseph Joachim . The first performance of the concert in its current version took place on January 7, 1868, when Bruch had already left Koblenz and took up his position in Sondershausen . The overwhelming success of the work developed into a nuisance for Bruch over time, as it was reduced to the violin concerto, which threatened to overshadow other works that, in his opinion, were equal. In contrast, the financial return on the concert was limited for Bruch, as he had sold it to the publisher Cranz for a one-time fee of 250 thalers. From April 1920 the whereabouts of the concert score was unknown; it did not reappear until 1968.

Bruch's mother died on April 6, 1867. Although he immediately traveled from Koblenz to Cologne, he was no longer able to stand by her at the moment of death.

Towards the end of his time in Koblenz, Bruch was engaged to a certain Emma Landau, apparently living in Koblenz, around 1867, about whom little is known. As Bruch wrote from Brussels to von Beckerath, however, she broke off the engagement. As Bruch wrote to Laura von Beckerath at the end of August 1871, he met Emma Landau twice before she disappeared from his life, but had no opportunity to talk to her alone.

Sondershausen (1867 - 1870)

Memorial plaque at Bruch's home address in Sondershausen
Igeler Hof 2018
Monument to Max Bruch and Maria Zanders in the pedestrian zone of Bergisch Gladbach

In June 1867, after a period of hesitation, Bruch took up a new position as princely court conductor in Sondershausen . Even if Clara Schumann advised him to look for a job in a big city, the opportunity to work with a good orchestra attracted him to Sondershausen. Due to the death of her mother and Bruch's move to Sondershausen, Sister Mathilde decided to move in with her brother, to run his household and to support him in artistic matters.

In Sondershausen Bruch completed and published his First Symphony , which he had begun in Koblenz and which was premiered on July 26, 1868 in Sondershausen under Bruch as a conductor. Three earlier symphonies from 1852, 1853 and 1861 from Bruch's apprenticeship with Ferdinand Hiller are missing. In the six months after the successful premiere, further performances were given or at least planned in cities such as Leipzig, Dresden, Vienna and Hamburg. Shortly before the completion of the symphony, Frithjof composed on his father's grave mound op.27 , a kind of afterword to the Frithjof cantata op.23.

During his time in Sondershausen, Bruch was increasingly drawn to the Igeler Hof in Bergisch Gladbach , whom he knew from his youth. In the ten years after the painful death of the farm owner Katherina Neissen, the farm was a place of painful memory for Bruch. From 1870 an intensive and deep friendship developed with the new owner, the 31-year-old widow Maria Zanders , who looked after her children, ran several paper mills in the area, founded the Cäcilien Choir on September 25, 1885 and worked for the Reconstruction and restoration of Altenberg Cathedral began. Bruch reacted shaken to her death on December 6, 1904. It seems that Bruch stayed at Villa Zanders between 1859 and 1888 and worked at the Igeler Hof during the day. He visited the farm for the last time in the summer of 1909 and could no longer visit it due to illness and age. In 1918 he was made an honorary citizen of Bergisch Gladbach on his 80th birthday and was honored with a memorial in 1935.

The success of his First Symphony encouraged Bruch to compose another symphony, the later Second Symphony in F minor, Op. 36 . Up to their completion two years later he composed or completed choral works such as Rorate Coeli op.29, The Priestess of Isis in Rome op.30, The Flight into Egypt op.31 No. 1, Morning Hour op.30 No. 2, Norman Train op. 32, Vier Lieder op.33, Römische Leichenfeier op.34 and the mass movements op.35 .

The year 1870 marked several turning points for Bruch. On the one hand, he became musically independent of his teacher Hiller, on the other hand he became known to a much wider audience by publishing his works with the music publisher Fritz Simrock . The Second Symphony, completed in the summer of 1870, was one of these . This was followed by the choral works The Song of the German Emperor, Op. 37, Five Songs, Op. 38, and Dithyrambe, Op. 39.

During this time, a love affair with a singer named Anna Strauss apparently also fell, but it came to an end when she became engaged to a music director Walter in Basel.

Also in 1870, Bruch considered giving up his job in Sondershausen. Despite his sympathy for the princess and her family, he found it increasingly difficult to cope with the bureaucracy of the court. On the other hand, the success of his compositions encouraged him to go to Berlin as a freelance composer. After Bruch had resigned, Johannes Brahms toyed with the idea of ​​taking up the vacancy in Sondershausen and asked Bruch for detailed information, but then went to Vienna instead.

Berlin (1870-1873)

After Bruch's arrival in Berlin, his friend Rudolf von Beckerath wrote an article about Bruch's life and work for the Musikalisches Wochenblatt . He helped out with extensive information.

At the same time he started his next project, the opera Hermione . The opera, based on William Shakespeare's play The Winter's Tale , with a libretto by Emil Hopffer , premiered on March 21, 1872 in Berlin and was received rather moderately. His next project was the secular oratorio Odysseus in collaboration with the poet Wilhelm Paul Graff. This work met with a much better response from critics and audiences than the previous opera. Bruch's fame in England, where he was already known for his First Violin Concerto , was reinforced by his choral works.

Bonn (1873 - 1878)

Hermione's failure - Bruch suspected the reason that only Wagner and Brahms were heard in Berlin - prompted Bruch to leave Berlin in 1873 and go to Bonn with Sister Mathilde. Here the 35-year-old Bruch met 19-year-old Amalie Lally Heydweiler and became engaged to her. Amalie's mother - the father had already died - attached great importance to a son-in-law with a regular income. Due to the moderate success of his last compositions, publisher Simrock was unable to offer him a solution in this regard. Also, since Amalie was the heiress of a considerable fortune, Bruch may also have been viewed as a potential dowry hunter. After half-hearted attempts on his part to apply for a job and a lot of ups and downs in the relationship, he ended it on Easter 1874.

From a musical point of view, Romance Op. 42 was written, which Bruch had originally planned as a violin concerto, but then left it with the first movement, the Romance . Another compositional project was Bruch's second secular oratorio Arminius about the battle in the Teutoburg Forest , which hit the nerve of the times after the Franco-Prussian War and the establishment of the German Empire by Otto von Bismarck .

During performances of his First Violin Concerto in Frankfurt and Wiesbaden in February 1877, Bruch met the Spanish violinist Pablo de Sarasate . In March 1877 he decided to compose a violin concerto especially for Sarasate, his later Second Violin Concerto in D minor, Op. 44 , which was premiered with him as a soloist on November 4, 1877 in London's Crystal Palace during the violinist's European tour. During the trip to England, the First Violin Concerto was performed on October 13th - also in the Crystal Palace - and Odysseus on October 23rd in Liverpool .

In Germany, Bruch was pained by the reaction of the Bonner Zeitung to the performance of the Second Violin Concerto on November 15, which praised Brahms' First Symphony in the same concert and practically ignored Bruch's Violin Concerto. Brahms and the music critic Hans von Bülow , impressed by his symphony , were also critical of the violin concerto. Bruch suspected the existence of a clique who wanted to make Brahms an idol. In August 1878, for example, he took advantage of the invitation to return to Berlin after the resignation of his friend Julius Stockhausen as the musical director of Stern 's choral society in Berlin.

Berlin (1878-1880) and marriage

At the time of Bruch's return to Berlin, he composed his cantata Das Lied von der Glocke, based on Friedrich Schiller 's poem of the same name . The work, which premiered on August 26, 1879 at the Birmingham Triennial Music Festival , was well received in England; Bruch was also pleased to be invited to perform the cantata in Cologne.

During his time in Berlin from September 1, 1878 to June 20, 1880 Bruch wrote only two works with the Scottish Fantasy op. 46 and Kol Nidrei op. 47. The Fantasy for violin with orchestra and harp with free use of Scottish folk melodies , the full name of the Scottish Fantasy , was created in 1879/80. It was premiered on March 15, 1883 with Bruch as conductor and its dedicatee Sarasate as soloist in the concert of the Liverpool Royal Philharmonic Society in St. James's Hall . Later, Joseph Joachim also played the work despite his inclination to only play works that were actually dedicated to him. At that time, Joachim's marital problems began which eventually led to a divorce. Like Brahms and many others, Bruch could not hide the fact that he did not believe Joachim's suspicion that his wife Amalie Joachim was cheating on him with Fritz Simrock.

Kol Nidrei for violoncello and orchestra was composed largely in Liverpool. The dedicatee was the cellist Robert Hausmann , one of many cellists who had long asked Bruch for a cello piece that would be on a par with Bruch's violin compositions. Kol Nidrei later published arrangements for violin, viola, piano and organ.

On August 22, 1880, Bruch became engaged to Clara Tuczek (born February 15, 1854, died August 26, 1919); the wedding took place on January 3, 1881. Years earlier - in December 1861 - Bruch had heard her aunt Leopoldine Tuczek at her farewell performance at the Berlin Opera. Max Bruch and Clara Tuczek met on a concert tour of Bruch in the summer of 1880. Clara Tuczek came from a family of musicians and was a contralto; However, Bruch demanded that she give up singing and become a housewife. But she sang anyway; mostly in performances by her husband. The couple had four children:

  • Margarethe (born August 29, 1882; died 1963 in Berlin) became a writer and was passionate about her father's music.
  • Max Felix (born May 31, 1884, died 1943) soon gave up his musical career as a clarinetist and conductor of two choral societies in Hamburg and became the German representative of an international record company.
  • Hans (born March 18, 1887; died June 4, 1913) showed a talent for painting and died - at the beginning of a promising career - at the age of 26 of blood poisoning .
  • the youngest son Ewald (born May 19, 1890; died 1974) began a career as a forester and went to the police after the First World War . He collected material from his father's legacies, which he bequeathed to the Musicological Institute of the University of Cologne after his death .

Only Felix and Ewald married, but had no offspring, so that Max Bruch's direct line died out.

Liverpool (1880-1883)

Memorial plaque for Max Bruch on Brompton Avenue in Liverpool

On August 30, 1880, Bruch took up his new position as director of the Royal Philharmonic Society in Liverpool . After Bruch had previously been invited several times to perform his works in Liverpool, he has now been appointed to succeed Julius Benedict .

On August 29, 1882, Margarethe was born, the first of four children and the only daughter of the Bruch couple.

Over time, the Royal Philharmonic Society had repeated quarrels with the choir and other colleagues. In addition, Bruch had, among other things, to publicly represent resolutions of the committee that he believed to be wrong. At one point he toyed with the idea of ​​leaving Liverpool and going to Edinburgh . There was already an inquiry from the young composer and conductor Frederick Corder , who asked Henry Sudlow, the secretary of the Philharmonic Society, about a vacancy because Bruch had rumored to have resigned or was about to do so. After the plans for Edinburgh were dashed, he signed on January 3, 1883 for his new position in Breslau.

Later, in December 1917, he wrote in retrospect in an article in the Daily Rundschau that he had to have completely Anglicized himself in Liverpool in order to be accepted, but at over 40 he was already too old for that.

Breslau (1883-1890)

Before taking office in Wroclaw, Bruch went on a concert tour to America. His Third Symphony was premiered there on December 17, 1882 in New York . It was created on commission from Leopold Damrosch in the summer of 1882 and is based on Bruch's sketches that date back to 1870 in Sondershausen. Since Simrock did not want to accept any more symphony from Bruch after the moderate success of the Second Symphony , the Third Symphony was published by Breitkopf & Härtel . Their reception was also rather poor despite the successful performances.

Bruch returned to Europe at the beginning of June 1883. On September 24, 1883, the Bruch family moved into the third floor in Museum Square 9 in Breslau. Clara Bruch was expecting her second child; Son Max Felix was born on May 31, 1884. In his new position, Bruch received an income of 7,000 marks; the committee gave him a free hand. In addition to his own works such as Arminius , he also performed Mendelssohn and the violin concerto , the piano concertos and most of Beethoven's symphonies , as well as works by Wagner, Liszt and even the young Richard Strauss. After the premiere of his From Italy, Strauss thanked Bruch for his efforts.

Just at the time when Bruch started his work in Breslau, his former teacher Ferdinand Hiller resigned from his post as head of the Cologne Conservatory , with which Bruch had long been toying. After Hiller's favorite Brahms rejected Hiller's offer to be his successor in Cologne, Hiller turned to Bruch. The latter, however, did not think he could leave Breslau after he had just arrived, and doubted being able to run a conservatory whose teachers were older and more experienced or friends with him; Moreover, shortly before the birth of the second child, he could not expect his wife Clara to move again. However, the responsible committee in Cologne feared Bruch's difficult character and his ability to make enemies, and decided in favor of the incumbent Dresden court conductor Franz Wüllner . Bruch reacted indignantly; He emphasized that in the meantime he had named the conditions under which he could nevertheless take up the position in Cologne. This behavior was not well received by the responsible committee.

The birth of son Max Felix itself on May 31, 1884 was without complications, but the child was sickly from the start. The Bruch family hired a nanny named Lene. It was not until the age of three that Max Felix began to run and speak. Daughter Margarethe survived a diphtheria illness. On March 18, 1887, the family's third child, son Hans, was born; on May 19, 1890, shortly before the Bruch family moved to Berlin, their son Ewald, the youngest child of the family, was born.

In the years before the end of his activities in Breslau, Bruch had met with resistance with his choice of soloists and his conservative programming; the real reason for this development, however, was his sympathy for Reich Chancellor Otto von Bismarck, which irritated some political groups. Breslau was in an area that was friendly to Kaiser Wilhelm II - who had dismissed Bismarck because of the socialist laws. The dissatisfaction was exacerbated by an intrigue by Ernst Flügel , a city composer and choirmaster with whom Bruch was originally friends. On December 1, 1889, Bruch submitted his resignation.

Among the compositions Bruch's compositions were the secular oratorio Achilles , the dramatic cantata Das Feuerkreuz op.52 , the two male choirs for four-part male choir op.53, the Siechentrost songs op.54, the Canzone for cello and orchestra, op. 55, the Adagio after Celtic melodies , op. 56 for cello and orchestra (both closely related) and the Adagio appassionato op. 57 for violin and orchestra. These works led to Bruch's Third Violin Concerto , which he also worked on shortly before he left Breslau.

Berlin (1890-1920)

Berlin memorial plaque on the residential building in Berlin-Friedenau , Albestraße 3

On September 9, 1890, the Bruch family moved to Ahlestrasse 3 in what was then the Berlin suburb of Friedenau . This would be Bruch's last move until his death in 1920.

At the end of 1890, Bruch had to appease Simrock's fears that he wanted to go to Joachim's circle. Bruch had established the relationship with Joachim, among other things, because this Bruch had supported him during his difficult time in Breslau. In February 1891, Bruch finished the Third Violin Concerto in D minor, op. 58, which had begun in the summer of the previous year . The first performance took place on May 31, 1891 in Düsseldorf.

On November 26, 1891, through the mediation of Joachim and Philipp Spitta , Bruch was offered the direction of the Master School for Composition in connection with membership in the Senate of the Academy and the title of professor with effect from April 1, 1892. Among other things, it was tempting for Bruch to be independent of the whims of the public and press, as well as the regular income. The condition for taking up the position was the composition of a cantata for the birthday of Kaiser Wilhelm II. In 1892; this was premiered on January 17, 1892 in the Royal Academy and published in autumn 1893 as the hymn , op. Bruch wrote the work out of pragmatic reasons for the financial security of the job rather than out of conviction. Nevertheless, for him, Joachim and others, the cantata was "very much above the level of the occasional pieces."

In a burst of activity during this period, Bruch published the Five Songs for Baritone, Op. 59, the Nine Songs for Mixed Choir a capella, Op. 60, the Ave Maria, Op. 61, Greetings to Holy Night , Op. 62, the Swedish Dances, op.63 and In Memoriam , op.65.

In 1890 Bruch became an honorary member of the Beethoven Society in Bonn and the Singing Academy in Breslau. In 1893 Bruch took part as one of five composers - after Brahms had canceled - in a concert on the golden anniversary of the Cambridge University Musical Society (CUMS). The aim of the CUMS was to invite five important composers who have been awarded an honorary doctorate in music. Bruch conducted The Banquet at the Phaeacians from Odysseus , op. 41. In September 1893 Bruch traveled to Vienna to prepare the world premiere of the song Leonidas , op. 66, composed for the golden jubilee of the Vienna Men's Choir . On this occasion, Bruch became an honorary member of the Vienna Men's Choir.

Bruch's idea to publish a new collection of Scottish folk songs in the style of the Twelve Scottish Folksongs was dashed. Instead, he started a new oratorio, this time with Moses , op. 67, a material from the Old Testament. The plot of the oratorio ranges from receiving the Ten Commandments on Mount Sinai to the death of Moses. The work was premiered on January 19, 1895 in Barmen. Bruch considered the Moses to be a further development of his compositional style. According to Bruch biographer Christopher Fifield , the opposite is more the case. From then on, Bruch turned even more strongly against "modernity" than before.

At the same time there were also the first cracks in Bruch's friendship with Sarasate, who, in Bruch's opinion, could no longer cope with his Third Violin Concerto .

After Moses , Bruch composed the three New Male Choirs , op.68, the final version of the five-part mixed choir Be faithful to death , op.69, the Four Pieces for Cello with Piano Accompaniment , op.70, and the Seven Choir Songs for mixed choir , op.71 and the choir In der Nacht , op.72.

His fifth and last oratorio followed with Gustav Adolf , op. 73. Brahms died of liver cancer on April 3, 1897 while Bruch was working on the oratorio. Bruch reacted shocked to the news of his death. After the death of Johannes Brahms, his closest musical ally, Bruch saw himself as the last remaining advocate of conservatism. He now saw even more Mendelssohn - and thus his own importance as his epigone - stand out even more. In view of the musical developments of his time, however, this meant increasing isolation. In addition, there was his admiration for Bismarck in the political field. Nonetheless, Bruch continued to receive declarations of honor and official recognition. On the occasion of his 60th birthday on January 6, 1898, an international committee was set up to organize a charity fund. At the end of the year, Bruch was appointed a corresponding member by the Paris Académie des Beaux Arts .

During this time Bruch's oratorio Gustav Adolf op. 73 about the Swedish King from the Thirty Years' War was written , with which Bruch also made an impression on the emperor and his wife. The oratorio, premiered on May 22nd, 1898 with Bruch as a conductor in Barmen, was an immediate success. Gustav Adolf was to remain Bruch's last major choral work; in the following years he wrote the shorter choral works Herzog Moritz , op. 74 and Der last Abschied des Volkes, op. 76. In the following ten years Bruch concentrated on teaching, conducting his own works and composing smaller works.

His students included Oscar Straus , Ottorino Respighi, and Ralph Vaughan Williams . From a compositional perspective, the Serenade , op. 75 for violin and orchestra, was written in August 1899 and was originally planned as the fourth violin concerto. There was a definitive falling out with Sarasate, who reacted enthusiastically to the serenade but did not include it in his standard repertoire. Joachim caused inconvenience when he asked for the work to be dedicated to his girlfriend, the singer Nellie Melba - his wife Amalie had since passed away. The work was premiered on May 15, 1901 with Max Bruch as conductor and the Belgian violinist Joseph Débroux. Criticism's reaction to the work was mixed, especially since it was compared to the First Violin Concerto . Further compositions of this period were Dumajanti , op.78 for soprano, choir and orchestra (for unknown reasons the opus number 77 in Bruch's catalog raisonné is not recorded), the songs and dances , op.79 for violin and piano, and the suite for large Orchestra based on Russian folk melodies , op.79b and the Second Suite , op.80 .

On April 4, 1903, the Royal Swedish Music Academy in Stockholm appointed Bruch an honorary member.

Bruch's health was affected by anemia and his intolerance to the northern German winters , among other things . It was therefore decided that it would be better for Bruch to spend the period from October 1903 to May 1904 in Italy. He visited some sights such as St. Peter's Basilica , the Sistine Chapel , the Roman Forum and the Colosseum and wrote numerous letters to Maria Zanders.

During this time Bruch's anti-Semitism grew, although he was a great admirer of Felix Mendelssohn Bartholdy and had a close friendship with Joseph Joachim.

In human terms he was shocked by the death of Maria Zanders on December 6, 1904. Furthermore, on August 15, 1907, Joseph Joachim died. Despite being banned by his doctors, Bruch attended Joachim's funeral and gave an eulogy. Joachim's successor as director of the university, the music writer Hermann Kretzschmar , made some changes in the organization of the institute that Bruch could not cope with. This led to his retirement with effect from January 1, 1911. In musical terms, the scene of Marfa , op. 80, which was published in 1906, was created at this time .

On the occasion of his 70th birthday, he was honored with a gala concert by the city of Bergisch Gladbach and awarded the " Pour le Mérite " order. In terms of music, the Easter Cantata , op.81 , the Wessabrunn Prayer , op.82 , and the Eight Pieces for clarinet, viola and piano, op.83 , were written in the following years .

After Bruch had said on his birthday that his inspiration had dried up, in 1911 alone he composed the concert piece for violin and orchestra, op.84 (the first work of Bruch that was at least partially recorded on record), the Romance , op. 85, the six songs for mixed choir a capella, op. 86 (among other things based on texts by daughter Margarethe), die Macht des Gesangs for baritone solo, mixed choir and orchestra, op. 87 (after Schiller) and the double concerto for clarinet and Viola, op. 88 for his son Max Felix.

In 1909 Bruch visited - as it turned out, for the last time - the Igeler Hof . After that, his poor health prevented him from visiting again. Hans Zanders, son of Maria Zanders, asked Bruch to write a piece to celebrate the completion of the restoration of Altenberg Cathedral - a lifelong dream of Maria Zanders. The result was the Altenberg anthem , which was premiered on July 16, 1913 in celebration.

On June 4, 1913, son Hans died of blood poisoning in a hospital in Jena at the age of 26 ; he was buried in Jena. The loss hit the family hard. Bruch's sister Mathilde died on March 25, 1914. Max and Clara Bruch could not travel to Mathilde's funeral and were represented by Max Felix and Margarethe.

After the outbreak of World War I, Bruch suspected in a letter to daughter Margarethe that this war would exceed the horrors of the previous one. Son Ewald was drafted as an infantryman, son Max Felix to the home reserve. Bruch's financial situation deteriorated significantly, as the royalties from foreign performances of his works were no longer applicable.

At this time the sisters Ottilie and Rose Sutro from Baltimore commissioned Bruch to compose a double concerto for two pianos. The result was the Concerto for Two Pianos , op. 88a. The double concert was premiered on December 29, 1916 in Philadelphia with Leopold Stokowski as conductor and the Sutro sisters as soloists. The coverage in the American press shows that the sisters had rewritten the work; they also claimed the copyright for themselves. The score later disappeared and did not reappear until 1970.

Otherwise, among other things, the Heldenfeier , op.89 as a direct consequence of the war, arrangements of earlier works, the Five Songs , op.90 for four-part choir a capella and The Voice of Mother Earth for mixed choir, organ and orchestra, op 91.

Grave in Berlin

The celebrations for Bruch's 80th birthday began in April 1917 with a performance of Frithjof . This was followed by a performance by Gustav Adolf on November 2, 1917 on the 400th anniversary of the Reformation . An extensive ceremony took place on January 6, 1918; Bergisch Gladbach made him an honorary citizen . Bruch wrote his memoirs but could not find a publisher; the manuscript was destroyed in World War II .

In the summer of 1918 Bruch suffered from several neuralgic attacks as well as the poor supply of food due to the war, for which he blamed the Jews. The abdication of Kaiser Wilhelm II after the end of the First World War came as a shock to Bruch after Bismarck had tried to maintain the monarchy.

The Christkindlieder , op. 92, and the funeral service for Mignon were written . op. 93. Bruch's last published composition was the Five Songs for voice and piano, op. 97 (Opus numbers 94 to 96 are vacant in Bruch's list of works).

On the night of August 27, 1919, wife Clara died at the age of 65 after an operation in the Berlin Charité . In addition to the poor health of the last years of life, she suffered from the death of her son Hans as well as from the war and the symptoms of deficiency.

In the spring of 1920, Bruch collapsed and was in need of care, but still mentally active. Bruch died on October 2, 1920 and was buried next to his wife, who had died a year earlier, in the Old St. Matthew Cemetery in Berlin-Schöneberg . His grave has been dedicated to the city of Berlin as an honorary grave since 1965 . Son Ewald later collected material from his father's legacy and bequeathed it to the Musicological Institute of the University of Cologne.

Compositional style

Bruch's ideals were already fixed at the beginning of his compositional career and shouldn't even begin to change until his death. A high degree of appreciation for Felix Mendelssohn Bartholdy and his friend Johannes Brahms is unmistakable . To his great regret, however, he was always in the shadow of the overpowering Brahms, with whom he had to be compared all his life. There is also a lively interest in the German folk song. On the other hand, he fought against the New German School around Franz Liszt and Richard Wagner from the beginning . His works show a sense for catchy melodies and traditional form thinking. Although Bruch was very interested in vocal music, his strongest works are more in the field of instrumental music (symphonies, concerts).

During his life it became clear what is still a reality today: the public perception of the composer Bruch is largely limited to his first violin concerto - a fact that embittered Bruch and made him a misanthrope . There are several reasons for the relative indifference that is shown to his diverse work:

Although a large number of his compositions have unconventional and progressive traits in their formal structure, Bruch was basically a conservative composer who was branded an anachronist at the turn of the century, mainly because of his rather poorly advanced harmonics. He defended his romantic conception of art as the only true one and came under additional criticism because of his violent attacks on Richard Strauss and Max Reger . Throughout his life he turned against any musical innovations that he called “musical social democracy”. Since he disappeared from the program plans as a supposed Jew because of his Kol Nidrei (op. 47) during National Socialism , his works have been largely forgotten in German-speaking countries.

Honors

Max Bruch monument on the Margaretenhöhe in Bergisch Gladbach

Bruch received numerous awards, including an honorary doctorate from Cambridge University in 1893 (returned in 1914) and an honorary doctorate from Berlin's Friedrich Wilhelms University in 1918 .

His main place of work, the city of Bergisch Gladbach , honored Max Bruch in many ways:

In 1992 the asteroid (5004) Bruch was named after Max Bruch.

In Cologne, Max Bruch was honored with a statue on the tower of Cologne City Hall and with the naming of a street in the Lindenthal district .

Memberships

Max Bruch was a member of the Academic Choral Society of Vienna, which was organized as a student choir, today the Barden choir.

Works

Stage works, operas

  • Scherz, Cunning and Revenge Op. 1; First performance on January 14, 1858 in Cologne
  • The Loreley op. 16; First performance on June 14, 1863 in Mannheim
  • Hermione op. 40; First performance on March 21, 1872 in Berlin
  • Claudine from Villa Bella , WoO

Orchestral works

Concerts and concert pieces

  • Violin Concerto No. 1 in G minor, Op. 26 (1865–67)
  • Romance for violin and orchestra in A minor op.42
  • Violin Concerto No. 2 in D minor, Op. 44 (1877)
  • Scottish Fantasy for Violin and Orchestra in E flat major, Op. 46 (1879/80)
  • Kol Nidrei , concert piece for violoncello and orchestra in D minor op.47 (1880/81)
  • Canzone for violoncello and orchestra in B flat major Op. 55
  • Adagio based on Celtic melodies for violoncello and orchestra op. 56 digitized
  • Adagio appassionato , concert piece for violin and orchestra op.57
  • Violin Concerto No. 3 in D minor op.58 (1891)
  • Ave Maria for violoncello (or violin) and orchestra Op. 61
  • Swedish Dances for Violin and Orchestra op.63
  • In Memoriam for violin and orchestra in A minor op.65
  • Serenade for violin and orchestra op.75 (1899/1900) digitized
  • Concert piece for violin and orchestra in F sharp minor op.84 (1910)
  • Romance for viola and orchestra in F major op.85 (around 1912)
  • Concerto for Clarinet, Viola and Orchestra in E minor, op.88 (1911)
  • Concerto for 2 pianos and orchestra in A minor, Op. 88a (1915, based on Suite No. 3)

Vocal music

Sacred choral works

  • Hosanna, WoO
  • Jubilate and Amen op.3
  • The Flight of the Holy Family , cantata op.20
  • Song of the Three Kings op.21
  • Rorate coeli op.29
  • The Flight into Egypt op. 31, no. 1
  • Morning hour op. 31, no. 2
  • Kyrie, Sanctus and Agnus Dei op.35
  • Greetings to Holy Night op.62
  • Hymn , cantata op.64
  • Moses , Oratorio op.67 (1893/94)
  • Be faithful to death op.69
  • Easter cantata op.81
  • The Wessobrunn Prayer op.82
  • Christkindlieder op.92

Secular choral works with solo voices

  • Rinaldo , WoO
  • The birches and alders , cantata based on a poem from the forest songs by Gustav Pfarrius op. 8; First performance on November 4, 1857 in Cologne
  • Frithjof , cantata based on scenes from the Frithjof saga by Esaias Tegnér op. 23 (1860, rev. 1864); First performance on November 20, 1864 in Aachen
  • Schön Ellen op. 24; First performance on February 22nd, 1867 in Koblenz
  • Salamis , War Song of the Greeks op.25
  • Frithjof on his father's burial mound op.27
  • Norman Train op.32
  • Dithyrambe Op. 39
  • Odysseus , Oratorio op. 41 (1871/72); First performance on February 8, 1873 in Barmen.
  • Arminius , Oratorio op.43 (1875)
  • The bell , oratorio based on the song of the bell by Friedrich Schiller, op.45 (1872)
  • Achilles , oratory motifs from the Ilias of Heinrich Bulthaupt op. 50
  • The Cross of Fire , cantata op.52
  • Three Hebrew Chants, WoO
  • Leonidas , oratorio op.66
  • Gustav Adolf , Oratorio op.73
  • Damanjanti , scenes from the Indian seal Nala and Damanjanti op. 78
  • The power of song op. 87
  • Funeral for Mignon op.93

Secular choral works without solo voices

  • Four male choirs with orchestra op.19
  • Five songs op.22
  • Roman funeral op. 34
  • The Song of the German Emperor op.37
  • Five songs, op.38
  • Four male choirs op.48
  • Two male choirs op.53
  • Nine songs op.60
  • Three New Male Choirs, Op. 68
  • Seven Chants op.71
  • In the night op.72
  • Duke Moritz , War Song of the Magdeburg against Duke Moritz of Saxony op.74
  • The last farewell of the people op.76
  • Six folk songs, WoO
  • Six songs, op.86
  • Alternberger anthem, WoO
  • Heroes' celebration op.89
  • Five songs op.90
  • The voice of mother earth op.91

Songs

  • Three duets for soprano, alto and piano op.4
  • Seven songs for 2- and 3-part female voices and piano op.6
  • Six songs op.7
  • Hymn for soprano (or alto) and piano op.13
  • Four songs for solo voice and piano op.15
  • Ten songs op.17
  • Four songs for baritone and piano op.18
  • Twelve Scottish Folk Songs, WoO
  • The priestess of Isis in Rome , cantata op.30
  • Four songs op.33
  • Songs and chants op.49
  • Siechentrost songs op.54
  • Five songs for baritone op.59
  • Scene of Marfa from Schiller's Demetrius op.80
  • Five songs op. 97 digitized

Chamber music

  • Spring song for two violins, piano and harmonium ad lib., WoO
  • Septet in E flat major for clarinet, horn, bassoon, 2 violins, violoncello and double bass, WoO (August 28, 1849, Goethe's 100th birthday)
  • Piano Trio No. 1, WoO (1849, lost)
  • Quintet for piano and strings WoO (1852, lost)
  • String quartet in C minor (1852, long thought to be lost, rediscovered in 2013, premiered again in 2014)
  • Piano Trio No. 2, WoO (c1852, lost)
  • Piano Trio No. 3, WoO (1855, lost)
  • Piano Trio in C minor, Op. 5 (1858)
  • String Quartet No. 1 in C minor, Op. 9 (1859)
  • String Quartet No. 2 in E major op.10 (1860)
  • Piano quintet in G minor, WoO (1881/86)
  • Swedish Dances for Violin and Piano, Op. 63 (1892) digitized
  • Four pieces for violoncello and piano op.70 (1896)
  • Oh stay with your grace , chorale for brass instruments, WoO (1897)
  • Songs and Dances on Russian and Swedish Melodies for Violin and Piano op.79 (1903)
  • Eight pieces for clarinet, viola and piano or violin, violoncello and piano op.83 (1910)
  • String Quintet No. 1 in A minor, WoO (1918)
  • String Quintet No. 2 in E flat major, WoO (1918)
  • String Octet in B flat major, WoO (1920)

Piano music

  • Romance, WoO
  • Capriccio in F sharp minor for piano four hands op.2
  • Fantasia in D minor op.11
  • Six piano pieces op.12
  • Two piano pieces op.14
  • Mindener Fantasy, WoO
  • New Year's song from op. 22 digitized
  • Nordic May Festival op. 22 digitized
  • Swedish Dances op. 63, arranged for piano for 2 hands digitalized
  • Swedish Dances op. 63, arranged for four-hand piano

Organ works

  • Little prelude, WoO

various

  • Song to parents , WoO
  • Songs, WoO (1851)
  • On the Rhine , WoO
  • Dramatic scenes from Scheffel's Ekkehard, WoO
  • Through night to the light , WoO
  • Be spiritually minded , WoO
  • Chants at the wedding of Else Tuczek and Franz von Ankert on March 24, 1897
  • Anthem, WoO
  • Hymn to the Fatherland , WoO
  • Japanslied , WoO
  • Kaiser Wilhelm -Lied, WoO
  • Guardian song on New Years Eve , WoO
  • The song of the Germans in Austria , WoO
  • Military marches, WoO
  • Venetian Serenade , WoO
  • Guardian song on New Years Eve , WoO
  • As of August 31, 1900 , WoO

literature

  • Matthias Falke: The symphony between Schumann and Brahms. Studies on Max Bruch and Robert Volkmann. Berlin 2006, ISBN 978-3-936637-09-0 .
  • Karl-Gustav Fellerer: Max Bruch (1838–1920). In: Rheinische Lebensbilder, Volume 5. Ed. By Bernhard Poll . Rheinland Verlag, Cologne 1973, pp. 175–190.
  • Ders .: Max Bruch 1838–1920. In: Contributions to the history of music in the Rhineland. Issue 103, Cologne 1974.
  • Christopher Fifield: Max Bruch, His Life and Works. London 1988, new edition added in 2005, ISBN 1-84383-136-8 .
  • Ders .: Max Bruch, biography of a composer. From d. Engl. By Renate Maria Wendel, Zurich 1990, ISBN 3-7263-6616-4 .
  • D. Kämper (Ed.): Max Bruch Studies. On the 50th anniversary of the composer's death. Cologne 1970, In: Contributions to Rhenish music history. Issue 87.
  • Hildegard Neuhauser: Music maintenance in Bergisch Gladbach in the 19th century - the entrepreneur Maria Zanders and the composer Max Bruch. Fernwald 2004, ISBN 3-929379-12-0 .
  • This. (Ed.): One more thing, dear friend!… Letters from the Rhenish composer Max Bruch to the Imperial Music Director Arnold Kroegel in Cologne (1900–1920). mbv, Berlin 2008, ISBN 978-3-86664-384-0 .
  • Alfons Ott:  Bruch, Max Karl August. In: New German Biography (NDB). Volume 2, Duncker & Humblot, Berlin 1955, ISBN 3-428-00183-4 , p. 641 f. ( Digitized version ).
  • Magdalene Christ, Albert Eßer: Bergisch Gladbach - A place for Max Bruch. Brochure accompanying the exhibition of the same name as part of the Max Bruch Music Festival with exhibits from the Bergisch Gladbach City Archive and the Max Bruch Archive in the Zanders Foundation from October 13th – 17th. November 2013, Bergisch Gladbach 2013.

Documents

  • Letters from Max Bruch are in the holdings of the Leipzig music publisher CF Peters in the Leipzig State Archives .
  • Thanks to the longstanding friendship with the Zanders family, the Zanders Foundation , Bergisch Gladbach , has an extensive archive of autographs, notes and letters .
  • The entire Bruch estate with numerous autographs, personal items as well as letters from and to the composer is in the Max Bruch archive at the Musicological Institute of the University of Cologne .

Web links

Commons : Max Bruch  - Collection of images, videos and audio files
Wikisource: Max Bruch  - Sources and full texts

Individual evidence

  1. ^ Journal of the civil status registers of the mayor's office of Cologne (No. 44/1838), Landesarchiv NRW, Dept. Rhineland, location Brühl, civil status register Cologne G 1838
  2. ^ A b Library of Congress Authorities Record, n 81125409 Retrieved May 29, 2017
  3. ↑ Virtual International Authority File, ID: 2655561 Retrieved May 29, 2017
  4. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 13-14
  5. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 15, note 1
  6. ↑ a b c d Max Bruch: Childhood and youth on the Rhine
  7. ↑ a b c Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 17
  8. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 17-18
  9. ^ Letter to mother, autumn 1850
  10. ^ Albert Eßer: Bergisch Gladbach city history. City archive Bergisch Gladbach 2006, page 298, ISBN 3-9804448-6-4
  11. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 88-104
  12. ↑ a b Letter to the mother, October 6, 1850
  13. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 18-19
  14. ^ Letter from Bruch to Hiller, December 29, 1852
  15. ^ "Rheinische Musikzeitung", March 12, 1852
  16. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 19-21
  17. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 22
  18. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 25
  19. ↑ Niederrheinische Musikzeitung , No. 5, 1857
  20. ^ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 25-26
  21. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 26
  22. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 26–28
  23. ↑ a b Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 28
  24. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 28–29
  25. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 29
  26. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 29–30
  27. ↑ a b c Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 30
  28. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 31
  29. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 31ff.
  30. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 33–43
  31. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 44–54
  32. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 44–46
  33. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 47-48
  34. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 48–51
  35. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 51–54
  36. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 52–54
  37. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 55–73
  38. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 58–73
  39. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 74
  40. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 85–87
  41. ^ Letter to von Beckerath, November 20, 1868
  42. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 74–87
  43. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 78–81
  44. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 105
  45. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 88-104
  46. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 105–119
  47. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 111–112
  48. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 112–113
  49. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 114–115
  50. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 113–119
  51. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 120-136
  52. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 120–126
  53. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 126–129
  54. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 129-136
  55. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 137–154
  56. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 140–141
  57. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 143–147
  58. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 147–154
  59. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 155–170
  60. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 155–161
  61. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 162–167
  62. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 167–170
  63. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 10
  64. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 210
  65. ↑ a b Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 214
  66. ↑ a b Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 300–301
  67. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 171–198
  68. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 184
  69. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 199–219
  70. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 199–203
  71. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 201–203
  72. ↑ CD supplement Naxos 8.555985, Bruch: 3rd Symphony etc., Hungarian State Symphony Orch., Manfred Honeck. Text: Keith Anderson
  73. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 206-209
  74. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 212
  75. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 212–214
  76. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 214-218
  77. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 218–222
  78. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 222–225
  79. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 225-229
  80. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 230-319
  81. ^ Letter to Simrock, December 12, 1890
  82. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 230–231
  83. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 231–235
  84. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 235–236
  85. ^ Letter to Simrock, March 22, 1892
  86. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 236–239
  87. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 240
  88. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 240–245
  89. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 245–246
  90. ↑ a b Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 246
  91. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 248-252
  92. ^ Bruch to Simrock, February 13, 1895
  93. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 252
  94. ^ Letter to Simrock, November 13, 1894
  95. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 252-253
  96. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 253-254
  97. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 255
  98. ↑ a b Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 266–268
  99. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 255-256
  100. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 265
  101. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 265–266
  102. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 268–269
  103. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 268ff.
  104. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 270-272
  105. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 273-277
  106. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 277
  107. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 277–281
  108. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 283
  109. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 287
  110. ^ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 288–290
  111. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 291–295
  112. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 298–299
  113. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 301
  114. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 303-304
  115. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 304–309
  116. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 309–311
  117. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 311-312
  118. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 313
  119. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 313-314
  120. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 314-315
  121. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 315-316
  122. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, p. 315
  123. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 317-318
  124. ↑ Christopher Fifield: Max Bruch - Biography of a Composer , Swiss publishing house, 1990 Zurich, pp. 318–319
  125. ↑ With the fee for this work, which many star soloists quickly included in their repertoire, Max Bruch felt betrayed by the publisher August Cranz . He received an advance of 250 thalers for this , but no further royalties .
    Pasticcio from January 28, 2009 / Recording of Violin Concerto No.1 ; Accessed January 28, 2009
  126. ↑ Prager Tagblatt of September 18, 1914, page 6. Quoted from?
  127. ↑ Cf. Magdalene Christ and Albert Eßer: Bergisch Gladbach. A place for Max Bruch , Bergisch Gladbach 2013.
  128. ↑ Gisela Schwarz: A child prodigy of the romantic Kölner Stadt-Anzeiger, January 4, 2013.
  129. ^ Konrad Adenauer, Volker Gröbe: Streets and squares in Lindenthal. JP Bachem, Cologne 1992, ISBN 3-7616-1018-1 , p. 107 ff.
  130. ^ Lexicon of important fraternities and other corporates, accessed on October 25, 2017
  131. ↑ On this, see Fifield: Max Bruch, Biographie einer Composer , p. 17
  132. ↑ see: New old chamber music by Max Bruch The charm of the undiscovered [1] and the review: Max Bruch, Complete String Quartets [2]
  133. ↑ Zanders Foundation, collection MB No. 1-76
personal data
SURNAME Break, max
ALTERNATIVE NAMES Bruch, Max Christian Friedrich (full name)
BRIEF DESCRIPTION German composer and conductor
DATE OF BIRTH January 6, 1838
PLACE OF BIRTH Cologne
DATE OF DEATH October 2, 1920
Place of death Berlin