Scottish Fantasy (Op.46)

Max Bruch (1838-1920)

Another composer whose music was inspired by the writings of Sir Walter Scott, was Bruch in his Scottish Fantasy.

Max Bruch was born on 6^th January 1838 in Cologne, Germany, the son of a police officer. Bruch’s mother was a professional singer and it was she who gave him his first music lessons. He composed a symphony at the age of only fourteen, and by twenty, an opera. He became a successful music professor and conductor. In the latter capacity he travelled widely, visiting the USA, and spending three years in England as director of the Liverpool Philharmonic Orchestra. Until the early 20^th century he was highly regarded as a composer, but sadly lived long enough to see his music go out of fashion, and he died a disappointed and bitter man.

First performed in 1881 by Joseph Joachim, the Scottish Fantasy, is really a concerto for violin and orchestra with the harp playing a considerable part as almost a soloist in its own right. Although it is not played as frequently as his popular Violin Concerto No.1, it contains some equally fine music. The solo part ranges from lyric beauty to fiery technique, with the orchestral scoring taking full advantage of the range of colours offered by the late romantic orchestra. Surprisingly, despite having lived in Liverpool, Bruch never visited Scotland – the melodies were drawn from folk tunes in the ‘Scots Musical Museum’, an anthology of 600 Scots songs collected by James Johnson in 1787 to 1803.

Introduction (Grave) – The work opens with an introduction of solemn brass chords alternating with rhapsodic figures for solo violin that lead straight into the first movement proper.

I. Adagio cantabile – The nostalgic Scottish tune Old Robin Morris is played in full by the solo violin with the use of much double-stopping.

II. Allegro-Adagio – A lively dance based on the tune of the Dusty Miller is played over a bagpipe-style orchestral drone. At the end, the theme of the first movement is recalled leading directly into the following andante.

III. Andante sostenuto – The song I’m a-doun for lack of Johnnie forms the basis of this movement which is full of beautiful expressive feeling.

IV. Finale (Allegro guerriero) – The finale uses the famous march of Robert the Bruce, Scots wha hae that commemorates the Scottish victory over the English at Bannockburn. Spectacularly acrobatic writing for the soloist provides another opportunity for a display of virtuosity before the Fantasy comes to a vigorous conclusion.

Instrumentation (key to notation): 2 2 2 2 : 4 2 3 1 : T 2P Hp Str

Programme Notes by Jonathan Hodgetts

www.SalisburySymphonyOrchestra.org.uk