Famous for his works for solo instruments and orchestra - the Scottish Fantasy, Kol Nidrei and the Violin Concerto, Max Bruch was born in Köln, Germany on 6 January 1838 and died near Berlin on 2 October 1920. Taught by Hiller and Reinecke, his working life consisted of various conducting posts, and from 1891 he was principal teacher of composition at the Berlin Hochschule für Musik.
A selection of M&V articles about Max Bruch
Ensemble. Superb Control - Wagner, Bruch and Elgar in Nottingham, enjoyed by Mike Wheeler
Ask Alice - On Nicola Benedetti, losing the 'Max' in Max Bruch and the National Children's Orchestra of Great Britain, with Classical Music agony aunt Alice McVeigh
Ensemble. Shh ... Out! - Malcolm Miller was at the Israel Philharmonic Orchestra's 75th Anniversary Prom for an audience composition to remember ...
Ensemble. Consummate Artistry - The Israel Piano Trio, heard by Bill Newman
Ensemble. Inspired Artistry - The Israel Piano Trio at London's Wigmore Hall, enjoyed by Malcolm Miller
CD Spotlight. A Noteworthy Introduction - Music by Stravinsky for violin and piano, heard by Howard Smith. '... refreshing naturalness ...'
Ensemble. Finely Controlled - A concert by the Polish National Radio Symphony, heard by Mike Wheeler
CD Spotlight. Irresistible Enjoyment - Music by Mozart and Mendelssohn, heard by Howard Smith. '... a truly idiomatic performance ...'
CD Spotlight. Consistently Solid - Kurt Masur and others conduct Mendelssohn, reviewed by Howard Smith. '... too often short on graciousness, charm or buoyancy.'
Ensemble. A Real Barnburner - Another report from this summer's Tanglewood Festival, by Lawrence Budmen
Ensemble. Fine Playing - The Czech National Symphony on tour, reviewed by Mike Wheeler
CD Spotlight. Pros and Cons - Music by Max Bruch, reviewed by Howard Smith. '... unruffled, reasonably considered, technically secure ...'
CD Spotlight. Unusual combination - 'Dance of the Blessed Spirits' for saxophone and organ, reviewed by Robert Hugill. '... a lovely technique ...'
CD Spotlight - Bruch rarities. '... the orchestral accompaniment transcends the accepted harmonic idiom, interspersed with Elizabeth Whitehouse's serene arias ...' Should we allow biased opinions to sway musical judgement? with Bill Newman