Concerto In G Minor Op.26 in 1st position, composed by Max Bruch for violin and piano, arranged by K,.W. Rokos. / Violon Et Piano

Par BRUCH MAX. Thanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto #1 zipped onto the road to success and has never left it since. Yet from the preface of the 'BreitkopfUrtext' edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote '3, 4 development sections in the finale,' and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: 'Have I written nothing but this one concerto?' The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work./ Répertoire / Orchestre

The song 'Lenz komm herbei!' Nr. 6 from Max Bruchs 'Sieben Gesänge' Op. 71 arranged for mixed choir.

Arrangeur: Robert Rainford. Par BRUCH MAZ. 7 short, melodic pieces with chances for both soloists to shine. Max Bruch (1838-1920) was a German Romantic composer, conductor and teacher. A child prodigy, he composed his first pieces at the age of nine, and went on to hold musical posts in Mannheim, Berlin and Bonn. He also spent three seasons as conductor of the Liverpool Philharmonic Society. In his lifetime he was known mostly as a choral composer, but it is for his first violin concerto that he is chiefly remembered now. These dances were first published in 1892 for violin and piano, although Bruch later arranged them for solo piano, and also for orchestra. The slow, stately introduction leads in to seven dances in volume one, each a charming character study. Individual movements aredramatic, then tranquil: dance-like then reflective. The third, fifth and seventh movements have the feeling of folk-dances, while the others are more lyrical and expressive. Structurally the pieces are fairly simple, with melody sections flowing in to each other. Some ideas are developed into links and codas. In this arrangement, both solo players share the melodic material fairly evenly. Each has a solo movement to play, with the other movements featuring call and answer moments, harmony sections and contrapuntal elements to enjoy. Technically quite advanced, with the music covering the whole range of the instrument, these gems of pieces are well worth working on. / Niveau : Intermédiaire à Avancé / Répertoire / Flûte Traversière, Hautbois et Piano

La Romance pour alto et orchestre opus 85 de Max Bruch (1838-1920) est une des principales oeuvres de style romantique écrite pour cet instrument. Composée en 1910 elle est créée en 1911 par Willy Hesse, violoniste concertiste proche du compositeur. La romance est toutefois dédiée à Maurice Vieux, figure éminente de la vie musicale parisienne et fondateur de l'école française d'alto. Nous proposons ici une adaptation originale pour piano et contrebasse d'après la partition orchestrale. La partie soliste est spécialement revue et annotée par Daniel Marillier. / Contrebasse Et Piano

Performed by Geoffrey Applegate violin Accompaniment: Stuttgart Symphony Orchestra Conductor: Emil Kahn Max Bruch's sumptuous Romantic masterpiece has remained an audience favorite since it was published in 1868. Its dedicatee the great violinist Joseph Joachim had considerable input and as in the Brahms concerto his contributions add to its unstoppable lustre. In typical three-movement form it is a spectacularly lush concerto of the highest order and its intoxicating spell usually takes a firm grip on even the most jaded cynics. Guaranteed to please both player and audience! Contains a printed score and a compact disc featuring the concerto in split-channel stereo withthe violinist on the right channel; then again in a stereo accompaniment version minus the solo violin part.

Kol Nidrei was originally composed by Max Bruch for Cello and Orchestra. Here Alan Arnold has arranged this piece for Viola and Piano accompaniment. Alan Arnold the upstate New York resident is renowned for his arrangements and compositions solely for Viola dedicating his whole business aptly named Viola World to specialising in works for Viola.

Bruch's Kol Nidrei subtitled Adagio on Hebraic themes for Violincello and Piano is another wonderful display of Bruch's mastery at transforming his 'folk tunes' into art music whilst still retaining their folk elements. Composed in 1881 the work is based on two Jewish themes the first an old Hebrew song of atonement and the second is the middle section of the song O Weep for Those That Wept on Babel's Stream. Two beautiful songs made truly magnificent.

The Simrock Edition Of Bruch's 8 Pieces. These special editions are respected worldwide for being closest to the composers' original manuscripts and are invaluable resources for the discriminating musician. Arranged for Clarinet Viola and Piano; or Violin Cello and Piano.

In Full Score-Two of Bruch's most enduring compositions revealing the German composer's romanticism fluent scoring colourful orchestrations and exuberant melody. The First Violin Concerto in G Minor stands as one of the most performed and recorded concertos in the violin repertoire while Scottish Fantasy reflects his lifelong interest in folk music.Reprint of Concert Op.26 C. F. W. Siegel's Musikalienhandlung Leipzig n.d. and Fantasie Op.46 N. Simrock Berlin 1880.