Max
Bruch
(6
January
1838
–
2
October
1920)


Violin
Concerto
No.
1
in
G
minor




I. Vorspiel:
Allegro
moderato

II. Adagio

III. Finale:
Allegro
energico


Max
Bruch
began
composing
music
in
his
childhood,
and
continued
to
compose
actively
till
the

end
of
his
long
life.

He
was
only
28
when
he
composed
this
violin
concerto,
and
whilst
he
spoke

of
it
with
understandable
pride,
he
was
disappointed
that
almost
all
his
other
compositions,

with
exception
of
the
Scottish
Fantasy
and
Kol
Nidrei
,
were,
in
his
view,
terribly
neglected.
He

also
wrote
two
other
violin
concerti,
which
are
no
lesser
than
their
more
illustrious
predecessor.




Comparing
the
four
most
famous
German
violin
concerti:
Beethoven,
Mendelssohn,
Brahms
and

the
Bruch,
Joseph
Joachim,
who
was
the
leading
violinist
of
the
19th
century
and
closely

connected
with
all
four
concerti,
proclaimed
Bruch’s
concerto
“the
richest,
the
most
seductive”.




Bruch
first
sketched
out
the
concerto
in
1857,
but
withdrew
it
after
its
1866
premiere.
After
a

thorough
revision
based
on
suggestions
from
a
number
of
violinists
and
composers,
most

notably
Joachim,
Bruch
released
a
final
version
in
1868.




I.

Vorspiel:
Allegro
moderato

Bruch
originally
planned
to
call
this
movement
Introduzione‐Fantasia,
but
changed
the
title
to

Vorspiel
(Prelude).
Opening
with
dark
tinged
orchestral
entries
alternating
with
solo
flourishes,
it

is
free
and
improvisatory
in
spirit.
Bruch
manages
to
fit
in
two
unreserved
and
memorable

melodies
nonetheless.
The
opening
chords
and
flourishes
return
at
the
end
of
the
movement
to

lead
directly
into
the
next
movement.



II.
Adagio

The
core
of
this
Concerto
is
contained
herein,
where
a
nostalgic
aria
is
carefully
spun,
drifting

through
a
more
ardent
second
theme,
culminating
in
a
deeply
emotional
climax,
before
easing

off.

With
artfully
cultivated
form
and
proportion,
Bruch
avoids
unrestrained
outpouring
of

emotion
from
spilling
into
over‐sentimentalism.



III.
Finale:
Allegro
energico

A
careful
orchestral
build
up
leads
into
the
gypsy
tinged
finale,
where
the
exuberant
theme

leaps
and
spins
in
the
soloist’s
virtuoso
hands,
and
before
giving
way
to
a
open‐hearted,
lyrical

and
broad
melody
which
Sir
Donald
Francis
Tovey
called
the
work’s
“noblest
feature”.

The
fiery

brilliance
of
the
gypsy
theme
carries
the
concerto
to
an
exhilarating
conclusion
which
is
a
far
cry

from
the
gloomy
beginning
of
the
work.



The
final
version
of
the
concerto
was
premiered
by
Joseph
Joachim
on
5
January
1868
with
Karl
Martin
Rheinthaler

conducting.















Gustav
Mahler
(7
July
1860
–
18
May
1911)

Symphony
No.
2
in
C
minor



I. Allegro
Maestoso:
Mit
durchaus
ernstem
und
feierlichem
Ausdruck
[With
a
serious
and

solemn
expression
throughout]

II. Andante
moderato:
Sehr
gemächlich!
Nie
eilen!
[Very
moderate
–
Never
rushing]

III. In
ruhig
fliessender
Bewegung
[Calmly
flowing]
–


IV. ‘Urlicht’:
Sehr
feierlich,
aber
schlicht
(Choralmässig)
[Very
solemn
but
simple,
like
a

chorale]
–


V. Im
Tempo
des
Scherzo:
Wild
herausfahrend
[In
the
same
tempo
as
the
Scherzo;
in
a
wild

outburst]
–
Langsam
[Slow]
–
Allegro
energico
–
Langsam





Gustav
Mahler
was
Jewish
by
birth,
but
was
not
brought
up
in
a
strictly
religious
faith
and
later

struggled
to
achieve
one.
He
feared
death,
the
serene
assurance
of
a
convicted
Christian
beyond

his
grasp,
and
though
he
later
converted
to
Catholicism,
this
spiritual
conflict
emerged
in
many

of
his
works.
His
music
depicts
poles
of
contrast,
such
as
Suffering
and
Redemption,
the

Personal
and
the
Universal,
the
Transient
and
the
Eternal.
Composed
between
1888
and
1894,

this
symphony
reflects
his
personal
journey
in
addressing
these
timeless
issues.




I.

Allegro
maestoso



The
first
movement
is
dominated
by
a
funeral
march
that
grows
out
of
the
initial
onslaught
in

cellos
and
basses,
announcing
an
angry
protest
against
death’s
dominion.
The
lyrical
contrasting

theme,
which
foreshadows
its
transformation
into
the
finale’s
eternity
theme,
pays
homage
to

Beethoven’s
Violin
Concerto.





In
the
composer’s
own
words,
“We
stand
by
the
grave
of
a
hero.
His
whole
life,
his
struggles,
his

passions,
sufferings
and
accomplishments
on
earth
pass
before
us.
And
now,
a
voice
of
awe‐
inspiring
solemnity
grips
our
hearts.
‘What
next?’
it
asks.
‘What
is
life
and
what
is
death?
Why

did
you
live?
Is
it
all
an
empty
dream
or
does
our
life
and
death
have
a
meaning?’



II.
Andante



“A
blissful
movement
–
like
a
ray
of
sunshine
–
from
his
life.
As
if,
on
the
way
back
from
burying

someone
dear
to
us
some
long‐forgotten
moment
of
shared
happiness
suddenly
comes
to
mind

and
what
has
just
taken
place
is
almost
forgotten”
–
Mahler



The
second
movement
was
occasionally
performed
by
itself,
and
Mahler
used
to
refer
to
it

alongside
with
the
minuet
from
his
Third
Symphony,
as
‘raisins
in
his
cakes’.
Its
two
themes,
a

graceful
dance,
and
an
agitated
triplet
theme,
are
varied
and
contrasted
against
each
other.

Mahler
was
particularly
proud
of
the
cellos’
countermelody
that
accompanies
the
second

variation
of
the
first
theme.



III.

In
ruhig
fliessender
Bewegung



“What
I
have
expressed...
can
only
be
described
visually.
When
one
watches
a
dance
from
a

distance,
without
hearing
the
music,
the
revolving
motions
of
the
partners
seem
absurd
and

pointless.
Likewise,
to
someone
who
has
lost
himself
and
happiness,
the
world
seems
crazy
and

confused,
as
if
deformed
by
a
concave
mirror.
This
Scherzo
ends
with
the
fearful
scream
of
a
soul

that
has
experienced
this
torture.”
–
Mahler



The
Scherzo
is
based
on
the
song
Mahler
simultaneously
wrote,
in
which
St
Anthony
preaches
to

the
fishes,
who
after
being
admonished
by
the
saint
on
their
thoughtless
lives,
swim
off

nonchalantly.



Two
timpani
strokes
unleash
the
whirl
of
notes,
with
shrill
and
grotesque
sounds
permeating
the

musical
soundscape.
Perpetually
moving
semiquavers
conjure
up
images
of
the
ever‐swimming

fish.
A
Trio
for
the
trumpets
contrasts
delightfully
with
its
simplicity
and
tunefulness.
The

scherzo
ends
with
the
cry
of
despair
of
the
tortured
soul
as
described
by
the
composer.
The

sardonic
scherzo
skids
into
silence,
and
is
replaced
by
a
new
sound,
the
sound
of
a
human
voice.




IV.
‘Urlicht’



“Poised
as
if
on
the
edge
of
a
great
chasm,
the
moving
voice
of
simple
faith
sounds
in
our
ears

and
draws
us
back
from
the
darkness
of
oblivion...The
struggle
of
the
human
soul
for
God
...

come
to
the
forefront.”
–
Mahler



The
solo
mezzo‐soprano,
the
solitary
voice
of
simple
faith
acts
both
as
a
commentary
on
the

issues
raised
by
the
previous
movements,
as
well
as
preparation
for
the
dramatic
revelations

and
universal
message
of
the
last
movement.



V.
Im
Tempo
des
Scherzo:
Wild
herausfahrend



“The
movement
starts
with
the
same
dreadful
deathcry
which
ended
the
Scherzo.
And
now,
after

these
frightening
questions,
comes
the
answer,
redemption.
The
Day
of
Judgement
is
at
hand.
A

huge
tremor
shakes
the
earth.
The
graves
burst
open,
the
dead
arise
and
stream
on
in
endless

procession,
rich
and
poor,
peasants
and
kings,
bishops
and
popes.
All
have
the
same
fear,
all
cry

and
tremble
alike
because,
in
the
eyes
of
God,
there
are
no
just
men.
The
cry
for
mercy
and

forgiveness
sounds
fearful
in
our
ears.
Our
senses
desert
us
as
the
Eternal
Judge
approaches.
The

trumpets
of
the
Apocalypse
ring
out,
and
the
earth
lies
silent
and
deserted.
A
solitary
nightingale

–
the
bird
of
death
–
sings
the
last
echo
of
earthly
life
before
it
too,
dies
away.
Then,
a
gentle

chorus
of
saints
intones
Rise
Again!“
–
Mahler



The
peace
and
serenity
of
Urlicht
is
shattered
by
a
ferocious
outburst,
recalling
the
cry
of

despair
of
the
third
movement.
Offstage
Horns
sound,
which
Mahler
describes
as
“The
Crier
in

the
Wilderness”
which
refers
to
the
following
biblical
passage
and
anticipates
the
ending
of
the

symphony:



“The
voice
of
him
that
crieth
in
the
wilderness,
Prepare
ye
the
way
of
the
Lord,
make
straight
in

the
desert
a
highway
for
our
God...
And
the
glory
of
the
Lord
shall
be
revealed,
and
all
flesh
shall

see
it
together:
for
the
mouth
of
the
Lord
hath
spoken
it”


–
Isaiah
40:3‐5,
The
Holy
Bible,
King
James
Version



Music
saturated
with
emotion,
fear,
and
desperation
is
set
out.
Trombones
recall
the
Dies
Irae,

from
the
Requiem
mass
of
the
dead,
from
the
opening
movement.
A
long
orchestral
recitative

elaborates
on
the
theme
of
human
frailty
and
the
anxiety
of
mankind
as
they
prepare
to
meet

their
creator.



A
massive
crescendo
for
percussion,
representing
an
earthquake,
introduces
the
march
of
the

dead,
a
vast
symphonic
free‐for‐all,
based
on
themes
already
heard.
A
return
of
the
opening
‘cry

of
despair’
leads
to
a
section,
which
features
an
effect
of
spatial
displacement,
possibly
one
of

the
first
instances
in
musical
history,
in
which
the
off‐stage
brass
repeatedly
superimpose

fanfares
on
an
impassioned
plea
for
mercy
in
the
cellos
and
violins.
The
sense
of
anguish
grows

more
and
more
insistent,
until
the
brasses
reenter
with
the
fanfare
from
the
beginning
of
the

movement.
The
cellos
finally
introduce
the
complete
Resurrection
theme
in
an
atmosphere
of

mystery
and
hope,
and
the
seven
tones
of
the
Glockenspiel
ring
in
the
beginning
of
eternity.

Offstage
horns
and
four
trumpets
of
the
Apocalypse
ring
out
in
the
Last
Trump,
and
the

Nightingale
dies.





Silence
falls,
and
in
that
calm,
the
chorus
is
heard
alone,
intoning
the
hymn
of
Resurrection.
The

solo
voices
break
free
and
soar
in
Mahler’s
own
cathartic
words:
“O
believe,
you
were
not
born

in
vain!
Have
not
lived,
suffered
in
vain!”,
which
lays
all
doubt
to
rest,
and
a
sense
of
spiritual

certainty
takes
hold
of
the
music,
driving
one
of
the
most
glorious
and
powerful
musical

climaxes
ever
written,
with
the
combined
choral‐orchestral
forces
singing
the
Resurrection

chorus
and
unleashing
an
unforgettable
sonic
brilliance.




Right
at
the
end,
Mahler
does
reveal
to
us
where
he
believes
the
destination
of
the
resurrected

saints
to
be,
where
in
the
postlude,
three
bells
ring
out
in
strict
triple
rhythm,
and
collide

rhythmically
with
the
horns
intoning
the
Eternity
theme.




The
first
performance
of
the
entire
work
was
performed
on
13
December
1895,
by
the
Berlin
Philharmonic
under
the

direction
of
the
composer.








































Choral Text
4th Movement: Urlicht
(aus Des Knaben Wunderhorn)
O Röschen rot!
Der Mensch liegt in größter Noth!
Der Mensch liegt in größter Pein!
Je lieber möcht' ich im Himmel sein.
Da kam ich auf einen breiten Weg:
Da kam ein Engelein und wollt’ mich abweisen.
Ach nein! Ich ließ mich nicht abweisen!
Ich bin von Gott und will wieder zu Gott!
Der liebe Gott wird mir ein Lichtchen geben,
Wird leuchten mir bis in das ewig selig Leben!
5th Movement: Aufersteh’n
Aufersteh'n, ja aufersteh'n
Wirst du, Mein Staub, Nach kurzer Ruh'!
Unsterblich Leben! Unsterblich Leben
wird der dich rief dir geben!
Wieder aufzublüh'n wirst du gesät!
Der Herr der Ernte geht
und sammelt Garben
uns ein, die starben!
O glaube, mein Herz, O glaube:
Es geht dir nichts verloren!
Dein ist, ja dein, was du gesehnt!
Dein, was du geliebt,
Was du gestritten!
O glaube
Du wardst nicht umsonst geboren!
Hast nicht umsonst gelebt, gelitten!
Was entstanden ist, das muß vergehen!
Was vergangen, auferstehen!
Hör' auf zu beben!
Bereite dich zu leben!
O Schmerz! Du Alldurchdringer!
Dir bin ich entrungen!
O Tod! Du Allbezwinger!
Nun bist du bezwungen!
Mit Flügeln, die ich mir errungen,
In heißem Liebesstreben,
Werd'ich entschweben
Zum Licht, zu dem kein Aug'gedrungen!
Primeval Light
(from The Youth’s Magic Horn)
O little red rose!
Man lies in greatest need!
Man lies in greatest pain!
Even more would I rather be in heaven.
There I came upon a broad path.
There came an angel and wanted to turn me away
Ah no, I would not be turned away!
I am from God and want to return to God!
The loving God will grant me a little light,
Will illuminate me into the eternal blessed life!
Translation by Renate Stark-Voit and Thomas
Hampson
Resurrection
Rise again, yes, rise again,
Will you my dust, after a brief rest!
Immortal life! Immortal life
He who called thee will grant thee.
To bloom again art thou sown!
The Lord of the harvest goes
And gathers in, like sheaves,
Us who died.
O believe, my heart, O believe:
Nothing is lost with thee!
Thine is what thou hast desired,
What thou hast loved,
What thou hast fought for!
O believe,
Thou were not born in vain!
Hast not lived in vain, suffered in vain!
What was created must perish,
What perished, must rise again!
Cease from trembling!
Prepare thyself to live!
O Pain, thou piercer of all things,
From thee, have I been wrested!
O Death, Thou masterer of all things,
Now, art thou mastered!
With wings which I have won,
In love’s fierce striving,
I shall soar upwards
To the light which no eye has soared!
Mit Flügeln, die ich mir errungen With wings which I have won,
Werde ich entschweben. I shall soar upwards
Sterben werd'ich, um zu leben! I shall die in order to live!

Aufersteh'n, ja aufersteh'n Rise again, yea thou will rise again,

wirst du, mein Herz, in einem Nu! My heart, in the twinkling of an eye!
Was du geschlagen, What thou hast fought for,
zu Gott wird es dich tragen! Shall lead thee to God!

Translation by Deryck Cooke

The text for the first two verses is by Friedrich

Gottlieb Klopstock with additions by Gustav
Mahler; the remaining verses are by Mahler.