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Bruch Violin Concerto No.1 Op. 26 for Violin and String OrchestraBruch's Violin Concerto No. 1 in G minor, Op. 26 is one of the most frequently performed violin conc…
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Bruch Violin Concerto No. 1 for Violin and String Orchestra - 1st MovementThis one has a genuinely distinctive selling point — the newly composed ending — which I…
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Bruch Double Concerto Op. 88 in E minor for Violin, Viola and String OrchestraBruch's Double Concerto in E minor, Op. 88 is one of his final large-scale works, and one of the mos…
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Bruch Double Concerto Op. 88 in E minor for Viola Clarinet and String OrchestraBruch's Double Concerto in E minor, Op. 88 was written for viola and clarinet, and this edition pres…
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Bruch Ave Maria Op. 61 for Cello and String OrchestraBruch: Ave Maria, Op. 61 (Arr. Solo Cello and String Orchestra) The Ave Maria Op. 61 began life as t…
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Bruch Ave Maria Op. 61 for Cello and OrchestraBruch: Ave Maria, Op. 61 (New Edition, Cello and Orchestra) The Ave Maria Op. 61 began as the Prayer…
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Bruch Adagio on Celtic Melodies Op. 56 for Cello & String OrchestraGood, that's what I needed. The relative obscurity is actually worth leaning into rather than glossi…
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Bruch Romance Op. 85 for Viola and String OrchestraBruch: Romance Op. 85 for Solo Viola and String Orchestra Bruch wrote his Romance Op. 85 specificall…
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Bruch Kol Nidrei for Cello and Cello QuartetBruch: Kol Nidrei, Op. 47 (Arr. Cello and Cello Quartet) Bruch composed Kol Nidrei in 1881, drawing …
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Bruch Canzone Op. 55 for Cello and String OrchestraBruch: Canzone, Op. 55 (Arr. Cello and String Orchestra) Bruch composed the Canzone in 1891, and the…
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Bruch Canzone for Cello and Orchestra Op.55Bruch: Canzone, Op. 55 for Cello and Orchestra Bruch's Canzone, Op. 55, is a single-movement lyrical…
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Bruch Kol Nidrei for Cello and String OrchestraBruch: Kol Nidrei, Op. 47 for Cello and String Orchestra Bruch's Kol Nidrei, Op. 47, is one of the g…
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Bruch
Max Bruch (1838–1920) was a German composer and conductor who spent three years as director of the Liverpool Philharmonic Society before returning to teach in Germany. His Violin Concerto No. 1 in G minor became one of the most performed concertos in the repertoire, a distinction that gave him little pleasure; he considered his choral works more significant and grew increasingly frustrated that a single concerto defined his reputation. His Kol Nidrei for cello and orchestra, based on the Jewish Day of Atonement prayer, became so beloved in Jewish communities that many assumed its composer was himself Jewish; Bruch was not.