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Max Bruch - Symphony No. 2, Op. 36 (1870)

Max Bruch (6 January 1838 – 2 October 1920) was a German Romantic composer, teacher, and conductor who wrote over 200 works, including three violin concertos, the first of which has become a staple of the violin repertoire. Symphony No. 2 in F minor, Op. 36 (1868-70) Dedication: Seinem Freunde Joseph Joachim zugeeignet 1. Allegro passionato ma un poco maestoso (0:00) 2. Adagio ma non troppo (12:03) 3. Allegro molto tranquillo (23:10) Gewandhausorchester Leipzig conducted by Kurt Masur Bruch's successful Symphony No. 1 In E-flat Major (1867) was followed by his Symphony No.2 In F Minor (1870). The work is in three movements: I. Allegro passionato, ma un poco - This movement is in sonata form and begins with a short, dark introduction by the timpani and strings. The main theme is sounded out quietly by the strings and then loudly by the full orchestra. The next theme is a more flowing one that remains in the minor. A third theme appears, just as dramatic as the preceding ones. Other themes enter, the number of which depends on what the listener's ear makes of the material whether it is an actual theme, a connecting melodic bridge to a theme, or a short motif. Themes are developed as the music constantly moves towards the end of the movement, when the opening theme quietly closes out the movement. II. Adagio ma non troppo - The strings carry the main theme of this movement in music lighter in feeling than the first movement, but still in the minor mode, this time of C minor. Bruch follows the same general procedure as the first movement by introducing themes and developing them in a loose sonata form. The movement closes with a gentle reference to the main theme, and goes directly to the last movement without pause. III. Allegro molto tranquillo - The movement begins with a syncopated figure played by the strings. The music swells slightly until the main theme in F major is played by the strings. The woodwinds have their turn with the theme. A theme in dotted rhythm is played by the strings as the volume increases and the horns state an extension of the second theme which is developed until it reaches a climax with the full orchestra in dotted rhythm. The development section begins with the first theme played in the oboe and parts of the theme are then passed to other members of woodwind. The recapitulation has themes return, some in different keys. The end of the symphony emphasizes the dotted rhythm in the horns and brass while the strings add rapid and surging figures as accompaniment. The symphonies of Bruch aren't ground breaking works by any means. Thematic material isn't very striking, and his forms and developments aren't overly original. But what is evident is his skill in musical construction and orchestrating, as well as his sense of the dramatic. The 2nd Symphony's premiere was a failure and it took Bruch 12 years to pick up the pieces and write a 3rd Symphony.