Bruch:
Violin Concerto No. 1 in G minor, Op. 26
Scottish Fantasy, Op. 46
Romance in A minor, Op.
42
Aaron Rosand (violin)
NDR Radio-Philharmonie Hannover
Christoph Wyneken (conductor)
Vox
Bruch:
Symphony No. 3 in E major, Op. 51
Suite on Russian Themes,
Op. 79b
Hungarian State Symphony Orchestra
Manfred Honeck (conductor)
Naxos
Bruch:
Swedish Dances in D minor, Op. 63
Serenade for String Orchestra, Op. posth.
Schön Ellen, Op. 24
Thomas Laske (baritone)
Kantorei Barmen-Gemarke
Wuppertal Symphony Orchestra
George Hanson (conductor)
MD&G
Having successfully recorded the lesser-known Concerto No. 2, violinist Aaron Rosand returns to the core Bruch repertory with a well-played coupling of the First Violin Concerto and the Scottish Fantasy. Although Bruch was renowned in his lifetime as a composer of big choral works, casual listeners today know him mostly for these two pieces, a pair of achingly melodic works idiomatically written for the solo instrument. The Scottish Fantasy is, in fact, a formidable showpiece, and Rosand gives it its virtuosic due.
Heifetz made some of the first recordings of these works, and in certain ways he sets the precedent for their performance — which is sometimes unfortunate. As in the older violinist's recordings, for example, Rosand is placed way out in front, where he overpowers the orchestra. Rosand's violin tone is more plaintive, however, with an easygoing edge that contrasts with his technical prowess.
Today, the Scottish Fantasy may seem more like a charming concerto than a serious collection of ethnic dances. But Bruch was a determined fan of folksong, collecting northern European tunes (which he considered more affecting than the Hungarian melodies borrowed by Brahms and Liszt) and incorporating them in such works as the Suite on Russian Themes and the Swedish Dances. Both are drawn from music originally for violin and piano; the Russian piece was reworked when it was orchestrated and the "Song of the Volga Boatmen" was added. The Swedish Dances, patterned after Brahms's Hungarian Dances, is a more tightly composed work, its episodes fleshed out with shrewd developments and snazzy modulations. Because it lacks the catchiness of its Brahmsian model, it has achieved nothing like the popularity of the Hungarian Dances. This is a pity — as with the Brahms, Bruch's music reveals more magic the more you listen to it.
Bruch's orchestral works are graced with his gift for melody, his talent for construction and his keen ear for instrumental color. This is especially apparent in the Symphony No. 3, a 38-minute, four-movement work in the manner of Dvorák. A slow, charming introduction gives way to a lively opening section that is balanced by the poignant movement that follows. The third movement, a scherzo, is followed by a slower, triumphant finale. The Hungarian State Symphony under Manfred Honeck does well by the piece.
Least-known of the works on these recordings are the shorter pieces. The Romance, Op. 42, is an endearing andante, well-suited to Rosand's approach. The Serenade for Strings is a late work drawn from Bruch's Nordland Suite, with a brooding section at its heart framed by easygoing march movements.
The strings of the Wuppertal Symphony Orchestra are excellently recorded and the group plays with suitable warmth. These qualities are also present in the performance of the choral ballad Schön Ellen, Op. 24, a politically unfortunate tale of English valor in occupied India. Bruch evidently mistook the poem's cry "The Campbells are coming!" for a cue to employ Scottish folk tunes, an amusingly incongruous juxtaposition.
Although a widespread Bruch revival may never sweep the concert halls, these
recordings offer excellent opportunities to learn more about this composer, and
there are no musical disappointments.
