BRUCH OCTET PDF

Two of his other works for solo instrument with orchestra appear occasionally on programs: his Kol Nidrei for cello, and his Scottish Fantasy for violin. He wrote several splendid chamber works, unconscionably ignored apart from his Eight Pieces for Clarinet, Viola, and Piano, Opus Bruch did not relate to any of this. In fact, it is probably true that he never wrote a really avant-garde piece in his life. What he was composing in did not differ in its musical fundamentals from what he had composed when he first walked into the spotlight seventy years before. It was his fate to remain in the shadow of Johannes Brahms, who was five years his elder.

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Two of his other works for solo instrument with orchestra appear occasionally on programs: his Kol Nidrei for cello, and his Scottish Fantasy for violin. He wrote several splendid chamber works, unconscionably ignored apart from his Eight Pieces for Clarinet, Viola, and Piano, Opus Bruch did not relate to any of this. In fact, it is probably true that he never wrote a really avant-garde piece in his life.

What he was composing in did not differ in its musical fundamentals from what he had composed when he first walked into the spotlight seventy years before.

It was his fate to remain in the shadow of Johannes Brahms, who was five years his elder. In he offered an assessment in a conversation with the American musical chronicler Arthur Abell:. Brahms was a far greater composer than I am for several reasons. First of all he was much more original. He always went his own way.

He cared not at all about the public reaction or what the critics wrote. I had a wife and children to support and educate. I was compelled to earn money. Therefore I had to write works that were pleasing and easily understood.

I never wrote down to the public; my artistic conscience would never permit me to do that. I always composed good music but it was music that sold readily. There was never anything to quarrel about in my music as there was in that of Brahms. A forcible reminder of this is his three-movement Octet for Strings, one of several chamber works clustered at the end of his life. Also early on, between and , while he was still a student, he produced a piano trio and two string quartets.

He composed a piano quintet in , though it remained unpublished for more than a century. Signing off on the manuscript of his String Octet, on March 6, , Bruch wrote that he had derived it from a Quintet written from January through March It was one of three string quintets he penned that year, the other two surviving in the form he originally envisaged.

The movement builds in energy and grandeur throughout its sonata-form layout. The Adagio maintains a generally pensive character, although a march-like passage and then a lyrical expanse with Brahmsian rhythms of two beats vs.

The juxtaposition of these disparate sections may invite comparison to Schumann. It alternates with the rather Mendelssohnian first theme to create a conclusion that is both invigorating and memorable.

James M. You can read our critically acclaimed program notes online one week prior to select concerts. Bruch: Octet in B-flat major for Strings. Print Program Notes. In he offered an assessment in a conversation with the American musical chronicler Arthur Abell: Brahms was a far greater composer than I am for several reasons. I was compelled to earn money with my compositions. Keller James M. Please wait

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Program Notes

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Bruch: String Octet, String Quintets CD review – grace and verve

A string octet is a piece of music written for eight string instruments , or sometimes the group of eight players. It usually consists of four violins, two violas and two cellos, or four violins, two violas, a cello and a double bass. From Wikipedia, the free encyclopedia. This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.

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Bruch: Octet for Strings

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String octet

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