Symphony No. 1 in E-flat Major - by Max Bruch

Symphony No. 1 in E-flat Major by Max Bruch
Performed Sunday, May 7th, 2023 | First Christian Church
Conductor: Thomas Wilson
Audio/Video: Michael Lascuola
Program Notes: Jennifer Carpenter
Widely respected in his day as a composer, conductor, and pedagogue, Max Bruch doesn’t find the same recognition today, particularly for his symphonies. Today, concert goers most frequently hear his compositions for string soloist and orchestra - the G Minor Concerto for violin, the Scottish Fantasy for violin, and Kol Nidrei for cello. Like the other composers on this program, Bruch began composing as a child. By 14, he created a symphony and string quartet, the latter garnering a prize that allowed him to study with composers Carl Reinecke and Ferdinand Hiller in Cologne. Bruch went on to hold various posts as a choral and orchestral conductor throughout Germany, often showcasing his own compositions. In 1883 he visited America, where he produced concerts filled with his new works. From 1880 to 1910, Bruch taught composition at the Berlin Academy, receiving numerous awards for his compositions, including an honorary doctorate from Cambridge University.
Bruch only composed three symphonies, the first appearing in 1867. Dedicated to his contemporary Brahms, whose music greatly influenced Bruch, his Symphony No. 1 fits squarely in the Romantic-era style. One can hear the influence of both Mendelssohn and Schumann in his symphonies, too. And perhaps that is also Bruch’s symphonic downfall: they are solidly romantic in style, but fail to push the barriers of symphonic writing. Brahms’ four symphonies were right around the corner and amassed such acclaim that Bruch’s symphonies fell to the wayside.
Symphony No. 1 begins quietly before the substantially theatrical main theme appears in the first movement. The second-movement “Scherzo” shows Bruch’s fascination with Mendelssohn, nearly paying homage to Midsummer Night’s Dream before taking a turn at more original and lyrical content. The final movement is lively and innovative, pressing forward to its dramatic conclusion with a lively rhythmic vigor.