Analysis by	:	Philip Coad
Reference	:	8.550195 tracks 1-3

Note: It would be a good idea to consult the chapters on ‘Music of the Romantic Period’, ‘The Concerto’ and ‘Sonata Form’ in the Study Area before studying this analysis.

Background and Overview

Max Bruch spent most of his working life in Germany, although one conducting post took him to Liverpool. In 1891 he became professor at the Berlin Academy. His early reputation was built on his choral music; his cantata Odysseus, among other concert works of an epic nature, led an early twentieth century writer in Grove’s Dictionary to assert that his greatest mastery lay in his treatment of chorus and orchestra. But it is his writing for solo stringed instruments and orchestra which has remained in the repertory; in particular his Kol Nidrei for ‘cello, and the Scottish Fantasy  and the first of three concertos for violin.

Bruch did not attempt any particular innovation of style, and in his last years felt strongly at odds with musical developments. As Tovey puts it, his music is none the worse for that: “It is really easy for Bruch to write beautifully, it is in fact instinctive for him… Further, it is impossible to find in Max Bruch any lapses from the standard of beauty which he thus instinctively sets himself”¹. The many lovers of the G minor Violin Concerto will testify to that.

The Concerto was written in 1866 and was dedicated to the violinist Joachim who was also closely associated with Brahms. The orchestra, with the exception of a second pair of horns, is no larger than that used in Mozart’s C minor Piano Concerto – there are no trombones or untuned percussion. The outline of the work is broadly classical too, but two structural features provide a link with Mendelssohn’s Concerto of 1844. Firstly the opening orchestral exposition of the classical concerto is dispensed with and the soloist enters at the outset; secondly the three movements are designed to be played without a break – the first movement is in fact entitled Vorspiel (Prelude).  Unlike Mendelssohn, however, Bruch dispenses altogether with a formal cadenza.

*** ¹ Tovey: Essays in Musical Analysis: Vol. 3

 

Analysis

First movement: Vorspiel: Allegro moderato

The outlines of sonata structure are followed, until the return of opening material after the development leads straight into the second movement.

Exposition	First group and transition	0.00-2.29	G minor, then modulating
	Second group	2.29-4.08	B flat major
Development		4.08-6.27	settling back in G minor for orch. tutti at 5.20
Recapitulation of opening		6.27-7.25	G minor
Orchestral link into second movement		7.25-8.06	dominant of E flat major

An introductory phrase for wind outlining the tonic chord is succeeded by a rising arabesque marked ad libitum for the soloist. Strings join woodwind as the procedure is repeated in E flat major (an important key later on). A third orchestral phrase for full orchestra, back in G minor, is more urgent and leads into an important bass motive (1.13) which is largely responsible for belatedly establishing the impression of an Allegro tempo:

The soloist’s new urgency is emphasised by a theme of double-stops and rising arpeggios, firmly based on the tonic chord, followed by a more lyrical descent.   A more bravura repeat of this theme leads to an interrupted cadence (at 1.49) and a modulating extension of it takes us to a brief orchestral tutti in the dominant key of D minor based entirely on Ex. 1 (2.16).

The soloist returns (2.29), expressively pointing us instead in the direction of the relative major of B flat for the second group. The orchestral strings’ contrary motion tenderly envelops the descending solo line, but the soloist emerges with a beautiful solo melody, enriched by countermelodies from strings and oboe; the rhapsodic quality of the music and the decorated lines result in a slowing tempo.

At 4.08, Ex. 1 and the more forward-moving momentum of first group material returns for development. There is some dialogue between soloist and horns based on its opening double-dotted rhythmic figure, as the music moves towards the subdominant key of C minor. At 4.45 Ex. 1 is used to establish a dominant pedal, as a long build-up begins. At first the soloist deals mainly in rising and falling scale figures, while the woodwind pass around descending arpeggios deriving from the very opening of the second subject; then the woodwind material passes to first violins as the soloist’s Bach-inspired arpeggiations begin to dominate the momentum. A climactic cadence leads into a loud orchestral tutti back in the tonic key (5.20).

This is the first extended orchestral passage in the movement. It is marked un poco piu vivo (a little more lively) and con fuoco (with fire), and certainly makes a dramatic impact. Although it hardly strays from the tonic key, it has plenty of developmental purpose. Ex. 1 dominates at first, then the gentle syncopation and falling arpeggio of the second subject’s opening (at 2.29) is transformed into a series of energetic statements enlivened by triplet horn calls (5.28). The double-dotted rhythm of the first group is heard first in full woodwind (5.41), and then with brass and timpani as well, as the strings pursue an imitative cut-and-thrust based on Ex. 1 (from 5.57) before dying away in semiquaver arpeggio figuration.

The tempo and material of the very opening return as if for a recapitulation (6.27). This time the second exchange between woodwind and soloist does not suggest E flat major, but remains in the tonic key of G minor. Now the soloist’s extensions promise something new. A rapid rising scale ends on a high A flat as the full orchestra launches onto a dominant seventh chord of E flat major for its third phrase (7.25). The violas and bassoons suggest Ex. 1 for a final time, but the rest of the orchestra are already favouring a more lyrical vein in preparation for the slow movement. The strings, marked morendo (dying away) are left on their own to complete the seamless transition. A single sustained B flat leads into the Adagio.

 

Second movement: Adagio

A sonata structure with a freely re-ordered recapitulation; one thematic idea (Ex. 2) is shared between first and second groups.

Exposition	First group	0.00-1.29	E flat major
	Transition	1.29-2.21	modulating to…
	Second group	2.21-4.06	B flat major
Development		4.06-5.32	G flat major, returning to..
Recapitulation		5.32-7.06	E flat major
Coda		7.06-8.02	E flat major

The expressive opening subject for solo violin is accompanied by strings alone - very simply, apart from one gesture of countermelody for first violins. Pizzicato quavers in the bass, an undulating demisemiquaver figuration for second violins and a horn pedal introduce (at 0.43) Ex. 2, the most important idea in the movement which, as Tovey puts it, “is always used to effect cardinal action in the piece”. It begins by decorating the dominant chord:

Its opening phrase is extended by repeating the rhythm marked x; and this extension is then repeated, briefly introducing flutes and bassoons.

The transition passage finds x now also influencing the bass line, with the dotted rhythm on the last beat of the bar; and above it, some beautiful soaring polyphony for orchestral and solo violins, and then woodwind bring us to a cadence in G flat major. A second phrase begins similarly, but the soloist’s more extravert and decorative lines begin to dominate as the music moves through A flat major to the dominant key of B flat; eventually the accompaniment returns to a sustained string texture as the soloist reaches an expressive trill in anticipation of new material.

The second group begins with a theme announced by low strings, horns and bassoons decorated by a countermelody in semiquaver triplets high in the solo violin. The melody soon proves tonally unstable, and is taken up by oboe and flute in G major as the soloist’s figuration becomes more elaborate. A descending line is passed around the woodwind and horns as the music returns to the dominant key (3.10) for a full return of Ex. 2, bringing the exposition to a close with x heard in the timpani.

A development section begins with a pivotal sidestep into G flat major (the key anticipated in the bridge passage). The opening subject is begun first by orchestral violins, then an octave higher by the soloist; but it is Ex. 2 which is the main object of development. It is given first to ‘cellos (5.07), then to clarinet and bassoon as the music modulates to E flat minor, the relative minor of G flat; the soloist meanwhile provides short-breathed phrases of countermelody which restlessly explore all registers. Further entries of Ex. 2 become more frequent: low strings are still in E flat minor, but when first violins take it on at its original pitch beneath a dominant trill for the soloist, the music begins to sound recapitulatory.

The soloist comes off the trill and appears to begin Ex. 2 himself at last (5.32); but he is soon interrupted by upper woodwind and then upper strings in a kind of climax-building stretto over a dominant pedal. Immediately, at the climactic moment (5.42) the opening idea of the second group – not the first -  re-enters beneath in a marvellous gesture of thematic fusion. From its starting point of E flat major, this second subject idea unfolds, this time via C major (5.57), in a similar fashion to the exposition; but instead of leading into Ex. 2, flute and horn echo the second subject’s opening. The soloist now brings back the opening idea of the whole movement, but lower, in the subdominant key of A flat (6.40). The melody is cut short by a cadence as the tonality is brought back to E flat by the ‘cellos.

A short coda (from 7.06) reminds us of the thematic unity displayed at the start of the recapitulation. The soloist begins Ex. 2 pianissimo but then rises climactically upwards beneath a final hint of the second subject, before subsiding into a gentle final cadence.

 

Third movement: Finale – Allegro energico

An expansive sonata structure, but without development.

Exposition	Intro and First group	0.00-1.23	E flat major – G major
	Transition	1.23-2.28	modulating to D major
	Second group	2.28-3.47	D major
Orchestral Link		3.47-4.13	modulating back to G
Recapitulation	First group	4.13-5.00	G major (-Bm, Em)
	Second group	5.00-6.32	G major
Coda		6.32-7.30	G major

Bruch’s intention that the Finale should follow on without a break is demonstrated by the strings, who begin in the key of the slow movement. They hint at the prominent rhythmic gesture of the main first group theme to come, and steer the tonality towards the key of G major. Woodwind join the strings over a dominant pedal as the rhythmic hints become ever more frequent.

The soloist introduces the main theme at 0.25. As in the Prelude’s main first group theme, the first four bars are rooted to the tonic chord, but important rhythmic elements are established amid some bravura double stops:

A second phrase leaps onto B minor, but, as the theme is extended through use of z, we appear to be making for the dominant key when the tutti orchestra interrupts with an affirmation of C major (0.50). The soloist restores order and leads the restoration of the tonic key in further thematic extensions making plenty of use of motives y and z.

The more extended orchestral tutti which follows (at 1.23) uses Ex. 3 as its starting point, and begins more permanent movement away from the tonic key; when the soloist reappears at 1.53, the music has reached the dominant of B minor. The soloist decorates a lyrical melodic line from the orchestral violins with triplet figuration at first; then reverts to duplets con fuoco (with fire) at 2.13, soaring ever higher to build a climactic entry for the second group in the dominant key, D major, at 2.28.

The main idea of the second group is much broader, and plainer in rhythm, but features some wide melodic leaps. Its initial statement for orchestra is followed by the soloist’s version, marked con forza and to be played entirely on the fourth (lowest) string for maximum richness of tone. The theme is extended mainly by first violins with heterophonic elaborations from the soloist; then at 3.26 the typical rhythmic features of the first group are incorporated into otherwise new material.

The soloist’s double stops, falling arpeggio and rising scale lead us into an orchestral tutti (at 3.47)  which provides the central pillar of this abridged sonata structure. Using Ex. 3, it begins by affirming D major, but soon it is returning us to G major for the recapitulation at 4.13.

The soloist leads the way with Ex. 3. This time, however, the leap onto B minor is taken more seriously; and G major is left behind in a brief development of Ex. 3 which takes us via B minor and major (4.37) to E minor (4.42). But the departure from the tonic key is only temporary. A crescendo and a trill from the soloist introduce the early return of the second group main theme back in G major, initially for orchestra but this time interrupted by the soloist. The partly new material of 3.26 is reached again at 5.55, and its extension incorporates a further series of trills from the soloist (from 6.16) over a dominant pedal. The recapitulation is over, and once again the soloist is left alone to rise towards an anticipated climactic cadence.

Beginning a coda at 6.32 with a return to Ex. 3, the orchestra unexpectedly responds with a reiteration of E flat major; the soloist restores the status quo; then the orchestra tries E minor. Again the soloist restores G major, but has a few tonal questions of his own – and some exuberant syncopations spread over four octaves, complemented by snatches of Ex. 3 in the woodwind and the second subject in the brass - as the tempo pushes towards the final Presto bars at 7.20. Even in these final bars Bruch remains faithful to the elements of his thematic material which he has deployed so effectively throughout.

 

Further listening

Mendelssohn - Violin Concerto in E minor, Op. 64 (8.550153)

Brahms - Violin Concerto in D, Op. 77 (8.550195)

Bruch - Kol Nidrei for ‘cello and orchestra (8.550519) and Scottish Fantasy, Op. 46 (8.557395)