Copyright © 2011 Digital Violin Archive Project
of Chimei Museum All Rights Reserved.
Music Appreciation
- / German-Austria Music /
- George Friderick Handel《Sonata for Violin and Basso Continuo in D Major, Op. 1, No. 13》
- Johann Jakob Walther《Scherzo D’Augelli con il Cuccu from Hortulus Chelicus》
- Franz Schubert《Moments musicaux Op.94 No.3》
- Johannes Brahms《Waltz, Op.39, No.5》
- Johann Sebastian Bach《Menuet in G Major》
- Paradis,《Sicilienne》
- Robert Schumann《Abendlied》
- Karl Maria von Weber《Adagio》
- Karl Maria von Weber《Rondo》
- Felix Mendelssohn《Fruhlingslied》
- Ludwig van Beethoven《Menuett in G Major》
- Johannes Brahms《Walzer》
- Karl Maria von Weber《Larghetto》
- George Friderick Handel《Passacaglia》
- Johann Sebastian Bach《Chaconne》
- Ludwig van Beethoven《Romance for Violin and Orchestra in G major, Op. 40》
- Max Reger《Romance in G major》
- Johannes Brahms《Hungarian Dance No.2》
- Franz Schubert《Serenade from The Swan Song》
- Max Bruch《Romance for Viola and Orchestra in F Major, Op. 85》
- Felix Mendelssohn《Son Songs without Words, Op.62, No.1》
- Paul Hindemith《Viola Sonata for viola and piano op.11, No.4, Mov. 1》
- Robert Schumann《Fantasy Pieces》
- Fritz Kreisler《Liebesleid》
- Fritz Kreisler《Liebesleid》
- Johann Baptist Strauss《An der schönen, blauen Donau, Op.314》
- Johann Strauss I《Radetzky March》
- Johannes Brahms《Akademische Fest-Ouvertüre》
- Johannes Brahms《Hungarian Dance No.5》
- Felix Mendelssohn《Auf Flügeln des Gesanges Op.34 No.2》
- Franz Schubert《Ave Maria》
- Lugwig van Beethoven《Symphony No.5, mov. 1》
- Franz Joseph Haydn《"Empero"Strings Quartet in C,Op.76-3r" ,mov. 2》
- Wolfgang Mozart《Symphony No. 40, K. 550, mov. 1》
《Romance for Viola and Orchestra in F Major, Op. 85》
Max Bruch (1838-1920)
As a German composer and conductor, Max Bruch’s music follows in Brahms’ footsteps and the German Romantic tradition. “Romance, Op. 85” may be described as a precious gem in the viola repertoire of the Romantic period, occupying a permanent place in the classroom and on the concert stage. In 1911 Bruch also published an arrangement of the piece for violin and piano in parallel with his original version for the viola. With the viola as the lead instrument and the piano playing the accompaniment, the melody conveys a flowing lyricism and never for a moment loses its dramatic tension. The triplets in duple meter lend the music a mysterious drive; the melody stays constantly in close dialogue with the accompaniment, allowing the two instruments to complement each other seamlessly. After the dazzling display of rapid upward arpeggios in the middle section, the piece returns to the theme introduced in the beginning and ends on a high note played very softly, leaving ample space for interpretation in the listener’s imagination.