Bruch Max.

comprising: parts for violin I [4 sets], violin II [4 sets], viola [3 sets], violoncello [3 sets], double bass [2 sets], written in several scribal hands; and a solo part, 17 pages of which (pp.11-13, 19-32) are autograph, the remaining 16 pages (the first movement, bb.1-10 of the second movement and the first 5 pages of the finale) in a scribal hand, the autograph music notated in brown ink, the whole of the solo part extensively revised and corrected by Bruch and containing autograph markings by Sarasate, one autograph page stuck down on the recto of a scribal leaf, individual title-pages to the orchestral parts, with two autograph title-pages for the solo part ([1] "Seinem Freunde Pablo de Sarasate zugeeignet Zweites Concert für die Violine von Max Bruch op. 44 Violino Principale...[2] Zweites Concert f. d. Violine von Max Bruch op. 44 Principalstimme zum Stich, Bonn, 4 Jan. 78."), the solo part also signed and initialled in several places by the composer ("Max Bruch"; "M.B."), extensive corrections and revisions to the parts, including many pastedowns, with many additions and emendations in pencil, red and blue crayon, the solo part also annotated by and for the printer, a number of parts containing contemporary annotations by orchestral players indicating place and date of performance ("4 u. 7 Februar 78 Berlin Singakademie...P. Janke")



the solo part 33 pages, the remaining orchestral parts c.241 pages, plus blanks, folio c.33 x 24.7cm, mostly 12-stave paper, dated on the solo part Bonn, 4 January 1878, half morocco box, gatherings of solo part detached, others loose, some light staining, a few small tears; together with a set of engraved parts (lacking parts for viola and the solo violin), published by Simrock in 1878



 

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A wonderful set of manuscripts, which not only reveals the final stage of Bruch's work on the concerto, but also provides a record of the earliest performances.

Bruch wrote his second violin concerto in Bonn in 1877. It was first performed by Sarasate - to whom it is dedicated - at the Crystal Palace, London, on 4 November 1877, the composer conducting. Performances with both the dedicatee and the composer followed the same month in Bonn and Koblenz. The work was published by Simrock in 1878.

Bruch's extensive and revealing revisions to the solo part turn what what was once (evidently) a scribal part throughout in to a largely autograph working manuscript, the many changes of which evidently reflect changes made during the earliest performances. Similar revisions can be found in the orchestral parts, which were certainly used for performances in Berlin in late 1877 and for performances in 1878 in Berlin, Dresden, Leipzig and Cologne, since details indicating this have been entered in some of the parts by the orchestral players. Particularly noteworthy, too, are the many entries in the solo part in Sarasate's hand; in many places the great violinist has indicated on which string to play a particular passage.