Bruch lived until 1920 but was clearly a composer of an earlier age – that of late Romanticism. Like most composers of that time, his model in his violin concertos was the playing and the sound of Joseph Joachim, the great violin virtuoso.The solo parts of both of these concertos is designed to be the major attraction, with plenty of strong melodies that will stick in the mind. The First is the best-known and most performed, with melodies that seem to have an opera aria cast to many of them. It’s melodies are so strong that Bruch’s other concertos which don’t have quite as immediately striking tunes have been relegated to its shadows.
Both concertos are in three movements, with a very expressive slow Adagio in the center, and an energetic finale full of triumphant and upbeat-sounding proclamations. The First Concerto has several fine recordings providing serious competition to this new entry. Jascha Heifetz, in the RCA Living Stereo SACD series (and on LP reissue) would have to be the major player here. His 1962 recording stands up very well, with a lovely silky violin tone, perfect phrasing, and rich orchestral support from the New Symphony of London. Violinist Janicke’s tone is sharper and more ascerbic, but has more of the higher frequencies. It is just as forward and spot-lit as is Heifetz’s. The advantages of the EBS disc would be that it is true 5.0-channel surround, whereas the Heifetz disc – also containing Bruch’s Scottish Fantasy and Vieuxtemps’ Concerto No. 5 – is not one of the three-channel Living Stereo masters, but only standard stereo. The other advantage is the presence here of the Third Concerto, which is equally worthwhile musically to the First. A fact of note is that the orchestra is based in Bruch’s home town, and the soloist is the concertmaster of the orchestra. The notes on the music are also more informative than the RCA disc’s notes.
– John Sunier
