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Home , Kol Nidrei (Bruch), Scottish Fantasy

JOSHUA BELL BRUCH

Academy of St Martin in the Fields

Br uc h (1838-1920) SCOTTISH FANTASY FOR AND , OP. 46 1 I. Introduction: Grave, Adagio cantabile 2 II. Scherzo: Allegro 3 III. Andante sostenuto 4 IV. Finale: Allegro guerriero

VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26 5 I. Vorspiel: Allegro moderato 6 II. Adagio 7 III. Finale: Allegro energico

Joshua Bell, Soloist/Director Academy of St Martin in the Fields Master of More than Melody The works presented here are two out of the three pieces by that can be called staples of the classical repertoire. (The third is his piece for and orchestra, .) In his lifetime he was best known for large-scale choral works, well received at their premieres and popular with the many amateur choral societies found throughout Europe in the later 19th century. Those choruses began to dwindle once the 20th century got underway. As they disappeared, Bruch’s cantatas and oratorios also faded from consciousness, rarely, if ever, to be heard again.

By association, Bruch became thought of as a composer whose time had come and gone. It is interesting to compare the very diff erent assessments of him in two successive editions of Grove’s Dictionary of Music, from 1904 and 1954. The earlier edition declared: “He is above all a master of melody, and of the eff ective treatment of masses of sound.” By 1954 the verdict on his output was dismissive and condescending: ‘It is its lack of adventure that limited its fame.’

Bruch was born during the lifetimes of Mendelssohn and Schumann and died when Schoenberg and Stravinsky were creating gigantic waves in musical life. One could hardly have expected a composer with that lifespan to remain throughout at the cutting edge of “adventure.” Along with many other musicians of his generation he never warmed to the intense chromaticism or formal experimentation of Liszt and Wagner. Melody was too important to him, and he had a remarkable gift for it. Allied to his ability to dream up memorable and emotive themes was a fi rm grasp of musical structure. When the two go hand-in-hand, a composer has the best possible chance of communicating with an audience.

Although Bruch’s early musical training was in the hands of somewhat solidly conservative fi gures (notably ), he was in one respect ahead of his time: he had a keen interest in folk song, and not just that of his own culture, believing it could be profi tably integrated into art music. The most celebrated product of this enthusiasm is Kol Nidrei; it is based on the Jewish sacred chant of that name and a second Hebrew melody taken from a collection published in 1815. In 1879, the year of its composition, Bruch was conductor of a choir whose Jewish members picked up on his interest in varous aspects of their culture and drew his attention to the melodies. This enduringly popular piece, plus the name Max, has led many people to assume Bruch was himself Jewish; it was enough for the Nazis to proscribe his music as degenerate. In fact no Jewish roots in his ancestry have so far been unearthed. As those countless oratorios attest, he was a practicing Protestant Christian.

Bruch’s Scottish Fantasy might also be viewed as indicative of his passion for folk tunes, though it would be stretching a point to promote him as a pioneering ethnomusicologist. The romance he associated with Scotland stemmed not from fi eld research but from his having read several novels by Walter Scott. In fact he wrote the Fantasy in 1880, before he had ever visited the country. The extensive use in the score of the concert harp suggests a somewhat vague grasp of Celtic culture, since the folk harp is more characteristic of Welsh or Irish traditional music than Scottish. Still, a bagpiper on stage would probably have diverted came to him requesting that he conduct the First a much less conventional way, developing the ideas in attention from the violin soloist; after all, doesn’t the Concerto he sometimes exploded in irritation, saying that dialogue between soloist and orchestra, as in terms of key we title fantasy suggest some sort of showpiece potpourri the Second and Third were as good if not better. It got move from B fl at minor to an extended bass-pedal D, based on well-known tunes? To an extent Bruch’s to the point where he was even snapping at his publisher the dominant of the original tonic. When G minor is re- work is indeed a virtuoso vehicle, though it celebrates for suggesting concertante works for cello or piano; he established it is not the signal for a recapitulation but for a the violin as singer rather than acrobat, and is not a frivolous no longer wanted to be thought of as a composer of fortissimo orchestral outburst that climaxes in a brief, concoction. The composer sensed its title might hinder its concertos, let alone that concerto. arresting new theme, then subsides to a return of the reception in the more seriously minded parts of Europe, introductory thirds. From this material, plus cadenza and experimented by billing it as a concerto in some early There is a crucial hidden story here. At the time of writing passages, a marvelous transition to the slow movement performances. A certain duality of character is evident the First Concerto, having had some exposure as a teenage is fashioned. when one considers the two soloists associated with prodigy, Bruch was endeavoring to make a fresh start those fi rst outings. One was the lyrically inclined as an adult composer. As a consequence he accepted a With its three deceptively simple themes, the E fl at Adagio , who advised on the violin writing during one-off fee for its publication, and never saw a pfennig in enshrines the concept of rapture in both its meditative and composition; the other was the more fl amboyant virtuoso royalties. He was neither the fi rst nor the last composer to ecstatic forms. Its most magical moment occurs when, just as , who received the dedication after experience the bitterness of such a situation. the fi re’s embers seem to be dying, the music begins again Bruch’s friendship with Joachim cooled. in G fl at major – the gentlest, most exquisite surprise As for the work itself, there is a striking affi nity with another possible. The G major fi nale begins with a bustle of But neither the showcasing of the soloist nor the concerto-like minor-key that had been premiered in 1845: anticipation and proceeds with a miraculously sustained aspirations detracts from the importance or authenticity of Mendelssohn’s, in E Minor. Max Bruch was born in 1838, air of celebration. There are two main themes, the fi rst with the Scottish melodies themselves. They were gleaned from the year that Mendelssohn’s fi rst ideas for his work a Hungarian fl avor (perhaps in honor of Joachim’s origins, the same anthology that Haydn had utilized when sourcing emerged. Both concertos took several years to reach and published ten years before Brahms paid similar his settings of Scottish folk songs. The basis of the fi rst their perfected form; Bruch started sketching his in homage in his own Violin Concerto). The second leaps movement is a tune called “Thro’ the Wood, Laddie,” 1864, heard a fi rst version performed in 1866, then made majestically over large spans as if taking deep, satisfi ed and it is used to evoke an atmosphere of ancient mystery, further revisions before the fi rst performance in its breaths after having climbed to the summit of a hill. How shrouded, perhaps, in “Scotch mist”. defi nitive form two years later. Mendelssohn and Bruch sad that the composer of such life-affi rming music came to both introduce their soloists after the briefest of resent its popularity. If only he could have joined the The second movement introduces the tune “The Dusty introductions, eschewing the conventional orchestral countless musicians and listeners over the generations for Miller” and features, if not real bagpipes, then a suitable exposition. And, no doubt consciously, Bruch follows whom the concerto has a very special place in the heart. drone eff ect from the strings. For the slow movement, the Mendelssohn’s practice of joining fi rst and second source material is a song called “I’m a’ Doun for Lack movements with a linking passage. — Brian David, 2018 o’ Johnnie,” which is contemplated at length in a series of variations. The fi nale features the warlike “Scots Wa Joseph Joachim advised Bruch on technical matters Hae” – Bruch here tips his bonnet to the corresponding concerning the solo part, which is notable for copious use movement in Mendelssohn’s Scottish Symphony by employing of double-stopping. Joachim was notoriously tied to the same, unusual tempo direction: Allegro guerriero. It tradition, and the composer must have been nervous that will be noticed that some of these melodies steal into his radical abbreviation of sonata form in the fi rst other movements, which helps create a sense of unity. movement would incur his intended soloist’s disapproval. As would later occur with the Scottish Fantasy, he debated The Scottish Fantasy was written at the height of Bruch’s whether “concerto” was the correct title, though surely career as a composer. He was also much in demand as a only the most pedantic theorist could object to it. In the conductor, shuttling between appointments in Britain and end he hit on the rather brilliant idea of labeling the fi rst mainland Europe. In 1881 he married Clara Tuczek, a singer movement “Vorspiel” (Prelude). sixteen years his junior, whom he had met the previous year; they had four children. Family life must have settled The glorious outpouring of melody is almost too obvious down a little after 1890 when Bruch took up a permanent to need comment. But while the rhapsodic character of teaching appointment at the Berlin Hochschule für Musik, the opening movement feels entirely spontaneous, its a position he held for twenty years until his retirement. construction is full of ingenuity. After a quiet drum roll, wind instruments glide through the tonic triad in thirds. It might seem odd that a major source of irritation to him While and fl utes descend, move during these years of success was the enduring appeal upwards – this contrary motion is a prominent feature of his breakthrough work as a mature composer: the of the B fl at major second subject. And the dotted Violin Concerto No. 1 in G Minor. That “No. 1” is the giv rhythm at the end of these tranquil introductory bars away – he had composed two more concertos for the becomes an urgent thrumming in and double basses instrument that never achieved the same, lasting to underpin the dramatic fi rst subject. After the clear-cut success with audiences or performers. When violinists exposition of two contrasting themes, Bruch proceeds in Produced and Engineered by Adam Abeshouse Edited, Mixed and Mastered by Adam Abeshouse ProducedExecutive andProducer: Engineered Joshua by Bell Adam Abeshouse Edited,Assistant Mixed Engineers: and Mastered Laurence by Anslow, Adam Abeshouse Robert Rossman ExecutiveRecorded Producer:September Joshua 8-9, 2017 Bell at Air Studios, London, UK Assistant Engineers: Laurence Anslow, Robert Rossman RecordedCover Image September and page 8-9, 4: Shervin 2017 at LainezAir Studios, London, UK Recording Session Photography: Roger King CoverGraphic Image Design: and Amelia page 6: Joyce Shervin Tubb Lainez RecordingProduct Development: Session Photography: Jennifer Liebeskind Roger King Graphic Design: Amelia Joyce Tubb ProductManagement: Development: David Lai, Jennifer Matthew Liebeskind Zelle, Alex Monsey Product Management: Matthew Zelle Management: David Lai, Matthew Zelle, Alex Monsey ProductORCHESTRA Management: Matthew Zelle Music Director: Joshua Bell ORCHESTRAViolin 1: Harvey de Souza, Robert Salter, Jeremy Morris, Helena Smart, MusicMatthew Director: Ward, JoshuaKatie Stillman, Bell Joanna Wronko, Amanda Smith Violin 12:: HarveyMartin Burgess,de Souza, Jennifer Robert Godson,Salter, Jeremy Fiona Morris,Brett, Mark Helena Butler, Smart, Re- Matthewbecca Scott, Ward, Richard Katie MiloneStillman, Joanna Wronko, Amanda Smith ViolinViola: Fiona2: Martin Bonds, Burgess, Nicholas Jennifer Barr, Godson, Alexandros Fiona Koustas, Brett, MarkMartin Butler, Humbey Re- beccaCello: Stephen Scott, Richard Orton, MiloneWilliam Schofi eld, Judith Herbert, Juliet Welchman ViolaDouble: Fiona Bass Bonds,: Lynda NicholasHoughton, Barr, Benjamin Alexandros Russell Koustas, Martin Humbey This album is dedicated to the CelloFlute:: StephenJoshua Batty, Orton, Sarah William Newbold Schofi eld, Judith Herbert, Juliet Welchman DoubleOboe: Timothy Bass: Lynda Rundle, Houghton, Rachel IngletonBenjamin Russell memory of my favorite “Scotsman,” FluteClarinet: Joshua: Nicholas Batty, Carpenter, Sarah Newbold Marie Lloyd OboeBassoon: Timothy: Rebecca Rundle, Mertens, Rachel Lawrence Ingleton O’Donnell ClarinetHorn: Stephen: Nicholas Stirling, Carpenter, Joanna Marie Hensel, Lloyd Peter Francomb, Harry Johnstone my dad, Alan Bell... TrumpetBassoon: MarkRebecca David, Mertens, William Lawrence O’Sullivan O’Donnell HornTrombone: Stephen: Roger Stirling, Harvey, Joanna Amos Hensel, Miller, Peter Joe Francomb,Arnold Harry Johnstone TrumpetTuba: Martin: Mark Knowles David, William O’Sullivan TromboneTimpani: Adrian: Roger Bending Harvey, Amos Miller, Joe Arnold TubaPercussion: Martin: Julian Knowles Poole, Elsa Bradley HarpTimpani: Bryn: Adrian Lewis Bending Percussion: Julian Poole, Elsa Bradley HarpThanks: Bryn to: Lewis Adam Abeshouse, Harvey de Souza, Shirley Bell, David Lai, Matthew Zelle, ThanksAlex Monsey, to: Alan Watt, Alison Tedbury, Andrea Berbegal, Linda Hsieh, AdamHeidi Frederick, Abeshouse, Jane Harvey Covner de andSouza, Ross Shirley Michaels Bell, David Lai, Matthew Zelle, Alex Monsey, Alan Watt, Alison Tedbury, Andrea Berbegal, Linda Hsieh, HeidiA special Frederick, thanks Jane to Maria Covner Cardamone and Ross and Michaels her husband Paul Matthews for their generosity and friendship. A special thanks to Maria Cardamone and her husband Paul Matthews for theirjoshuabell.com generosity and friendship. asmf.org joshuabell.comsonymusicmasterworks.com asmf.org sonymusicmasterworks.com G0100038887567J © 2018 Sony Music Entertainment / 2018 J. Bell Ventures, under exclusive license to Sony Music Entertainment / is a registered trademark of Sony Corporation. Used under license. / Sony Classical is an imprint of Sony Music Masterworks.