Violin Concerto No. 1 in G Minor, Op.

26
WORK BY BRUCH
WRITTEN BY:
 Betsy Schwarm
See Article History
Violin Concerto No. 1 in G Minor, Op.
26, concerto for violin by German composer Max Bruch. It is
admired especially for its lyrical melodies, which span nearly
the entire range of the instrument. The work premiered
in Bremen, Germany, on January 7, 1868, with the virtuoso
violinist Joseph Joachim as soloist. The piece is not only
Bruch’s best-known composition but one of the most frequently
performed of all violin concerti.
Bruch’s firm adherence to the rich, mostly orderly sound of mid-
19th-century Romanticism is evident throughout his corpus,
which includes not only many violin pieces but
also symphonies, symphonic dances, and various other works.
By the time of his death in the early 20th century, however,
musical styles had charged ahead through the thematic
and harmonic innovations of Franz Liszt and Richard
Wagner to the angular rhythms of Igor Stravinsky. Indeed, as
exemplified by the Violin Concerto No. 1, Bruch remained
faithful to flowing melodies and graceful rhythms reminiscent of
an earlier era. The sonata-form first movement of the work,
“Prelude: allegro moderato,” features the violinist performing
impassioned solo passages in alternation with a more solidly
paced—but occasionally ardent—orchestral voice. The second
movement, “Adagio,” presents three sentimental themes, which
are explored and developed fairly evenly across the solo and
orchestral parts. The spirited third movement, “Finale: allegro
energico,” is based largely on a vibrant theme that is suggestive
of a folk dance.
Max Bruch, detail of an engraving after a photograph.J.P. Ziolo
Much to Bruch’s frustration, the Violin Concerto No. 1 became
a perennial audience favourite largely at the expense of his
other works. The composer’s son recalled his father’s outburst
upon receiving yet another invitation to perform the piece:

The G-Minor Concerto again! I couldn’t bear to hear it even

once more! My friends, play the Second Concerto, or the
Scottish Fantasia for once!
Those other pieces, like the perennially popular Violin Concerto
No. 1, contain both virtuosic and lyrical writing, for soloist and
orchestra alike. However, they rarely received attention equal
to that of their predecessor.