A pearl in the romantic repertoire for viola and orchestra! Bruch’s “Romance” has long occupied a permanent place in the viola repertoire, whether in lessons or on the concert stage. Our edition is the first to take every relevant source into account. Like the original print, it also presents the composer’s own easily playable piano reduction. As in many other viola works in our catalogue, fingering and bowing marks have been added by experienced violist Jürgen Weber. In 1911 Bruch also published an arrangement for violin and piano in parallel with his original version for viola. Our new edition makes his arrangement available once again after a lapse of many years. A welcome addition to the violin repertoire!
- Romance F major op. 85
The F-major Romance for viola and orchestra, op. 85, by Max Bruch (1823–1920), long ago earned a firm place in the viola repertoire as one of the few solo works for this instrument from the “romantic” period. It belongs to a group of instrumental pieces that Bruch composed between 1909 and 1911 for specific performers who were close to him in various ways. In 1909 he … 続き
A German composer of the Romantic period. Stylistically, his works outline a counter-aesthetic to the New German School. His violin concerti are particularly significant, but he also wrote numerous choral works, cantatas, oratorios, songs, stage works and orchestral pieces.
|1838||Born in Cologne on January 6. He received his first musical training from his mother, a singer.|
|from 1849||Music instruction from Heinrich Carl Breidenstein. Writes many compositions even though still a child.|
|1852||Scholarship recipient of Frankfurt’s Mozart Foundation.|
|1853–57||Studies composition with Ferdinand Hiller in Cologne.|
|1858||Premiere in Cologne of his opera “Scherz, List und Rache” (“Jest, Cunning, and Revenge”), op. 1.|
|from 1858||In Leipzig he associates himself with those around Mendelssohn.|
|1862||Moves to Mannheim.|
|1863||Premiere in Mannheim of his opera “Die Loreley,” op. 16.|
|1865–67||Music director in Koblenz. Composes his Violin Concerto no. 1 in G minor, op. 26.|
|1867–70||Court musical director in Sondershausen. Composes his Symphony no. 1 in E-flat major, op. 28, dedicated to Johannes Brahms, and Symphony no. 2 in F minor, op. 36 (both in 1870).|
|1870–78||Freelance composer in Berlin and Bonn. Composes the oratorio Odysseus, op. 41 (1871/72).|
|1879/80||Composition of the Fantasy in E-flat major, op. 46 (Scottish Fantasy) for violin and orchestra.|
|1880–83||Director of the Philharmonic Society in Liverpool.|
|from 1883||Travels to the United States. Director of the Breslauer Orchesterverein (Wrocław Orchestral Society).|
|from 1891||Director of the composition masterclass at the Berlin Academy of the Arts. Honorary doctorate from Cambridge University (1893), and membership of the Académie des Beaux Arts (1898).|
|1907||Vice-President of the Academy of the Arts, Berlin.|
|1920||Dies in Berlin on October 2.|
As with all of Henle's Urtext scores every facet of production has been carefully scrutinized and the result is a very clear and practical edition.
This affecting work is in the AMEB 8th Grade Viola List C.
Die Henle-Ausgabe für Viola und Klavier berücksichtigt erstmals sämtliche relevanten Quellen und gibt, wie die Erstausgabe, den sehr gut spielbaren Klavierauszug des Komponisten wieder.