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Donald Macleod charts Bruch鈥檚 restless early years of musical soul-searching.

鈥淥nly true melody outlasts all changes and shifts of time鈥� 鈥� so said this week鈥檚 composer, Max Bruch, the creator of what may be the world鈥檚 best-loved violin concerto. But Bruch would hate us to think of him as a one hit wonder. He even came to resent the very sound of his first Violin concerto, the only piece by which he鈥檚 often remembered. All this week, Donald Macleod colours in Bruch鈥檚 life story and reveals the breadth of his output, including some of his lesser-heard music.

Today, we explore Bruch鈥檚 musical youth and precocity, hungry for new experiences and living out of a suitcase. This period saw his first dalliances with many forms like chamber music and opera, but despite his own virtuosity, it would be his final fling with solo piano, before he condemned "that dull rattle trap鈥�.

Fr眉hlingslied, Op 7 No 5 (arr. for violin and piano)
Anna Sophie Dauenhauer, violin
Lukas Maria Kuen, piano

Septet, Op Posth (iii. Scherzo)
Berlin Philharmonic Octet

Klavierst眉cke, Op 12 (excerpt)
Christof Keymer, piano

Piano Trio, Op 5
Nash Ensemble

Die Loreley: Overture
Bamberg Symphony Orchestra
Robert Trevino, conductor

String Quartet No 2 in E major, Op 10 (i 鈥� Allegro maestoso)
Mannheim String Quartet

Produced by Amelia Parker for 麻豆官网首页入口 Audio Wales and West