Max Bruch was born in Cologne, Germany, on January 6, 1838, and died in Friedenau, Germany, on October 2, 1920. The first performance of the Scottish Fantasy took place in September 1880, in Hamburg, Germany, with Pablo de Sarasate as soloist. In addition to the solo violin, the Scottish Fantasy is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, harp, and strings. Approximate performance time is thirty minutes.
German composer Max Bruch once commented: “As a rule, a good folk tune is more valuable than 200 created works of art.” In the early 1860s, Bruch made the acquaintance of The Scots Musical Museum, a late 18th-century anthology of 600 Scottish melodies. The Scots Musical Museum, compiled by James Johnson in collaboration with Robert Burns, attempted to catalogue every known Scottish air. Burns hoped that “to future ages (The Scots Musical Museum) will be the textbook and standard of Scottish Song and Music.” This resource served as the basis for Max Bruch’s 1864 composition for voice and piano, Twelve Scottish Folksongs.
Fifteen years later, Bruch again turned to The Scots Musical Museum for one of his most famous compositions, the Scottish Fantasy. Bruch composed the work — whose full title is Fantasia for Violin with Orchestra, and Harp, with the Free Use of Scottish Melodies — during the winter of 1879-1880.
Bruch composed the Scottish Fantasy for the talents of his friend, the Spanish virtuoso Pablo de Sarasate (1844-1908). It was Sarasate who was the soloist in the world premiere of the Scottish Fantasy, which took place in Hamburg in the fall of 1880.
The Scottish Fantasy opens with a somber orchestral statement (Einleitung. Grave), soon yielding to the wide-ranging flights of the soloist. Following the Introduction, the orchestra offers another brief statement (Adagio cantabile), this time serving to introduce the soloist’s presentation of the affecting Scottish melody, “Auld Rob Morris.” The soloist’s ascending trills resolve to the movement’s hushed conclusion. The lively second movement (Allegro) is based upon the spirited dance tune “Hey, the Dusty Miller.” The soloist’s thrilling display yields to a pensive episode, recalling “Auld Rob Morris.” This serves as a bridge to the slow-tempo movement (Andante sostenuto), which follows without pause. The violin sings the beautiful melody, “I’m a-Doun for Lack o’ Johnnie.” This haunting tune is the basis for several majestic flights by the soloist. The virtuoso Finale (Allegro guerriero) is inspired by the Scottish war song, “Scots Wha Hae,” or “Hey Tuttie Taitie,” a melody associated with the June, 1314 Battle of Bannockburn. A hushed reprise of “Auld Rob Morris” leads to the Scottish Fantasy’s exuberant closing bars.
Program notes by Ken Meltzer