Bruch, Max. (1838 – 1920). Romanze für Violine, Op. 42: INSCRIBED to Otto von Königslöw . Berlin: N. Simrock. [1874]. First edition. Upright folio. Parts (6, 13). [PN] 7450. Important presentation copy inscribed on the violin title page by the composer to the violinist Otto von Königslöw, who had given the premiere of his G minor Violin Concerto. Dated "Bonn, 27.6.74." The violin part marked "Coln" in the hand of Königslöw and with his pencil fingerings on several pages. Both parts with archival repairs at margins of several pages, overall very good. Housed in an elegant custom folder, half cloth with marbled boards and gilt-stamped title plate.
Otto von Königslöw (1824 - 1898), a student of Ferdinand David in Leipzig, had an important touring career throughout Europe where he frequently performed sonatas with the composer/pianist, Carl Reinecke and was later professor at the Cologne Conservatory and concertmaster of the Gürsenich Orchestra. In that capacity, on April 24, 1866 - and with the composer himself conducting - Königslöw was the first to perform Bruch's celebrated Concerto No. 1 in G minor, Op. 26 in a performance at the last Winter Concert of the Musik Institute at Coblenz.
The present "Romanze," composed in the beginning of 1874, was initially intended by Bruch as the first movement of a projected second violin concerto. "But his heart was not in it, and as he was both pleased with the first movement, and encouraged by the positive response of friends who heard it, Bruch decided to leave the work as a one-movement 'Romanze.'...Wilhelm Altman wrote that (according to the composer himself) the 'Romanze' Op. 42 was based on Bruch's preoccupation with Nordic sagas and specifically on Gudrun's Lament by the Sea. Given Bruch's aversion to programmatic music, it is far more likely that its inspirational source was Max's Lament by the Rhine over his troubled love affair with Amalie Heydweiller. More interesting is the assumption that this projected violin concerto would have begun unusually (as the real Second Concerto actually did) with a slow movement." (Christopher Fifield, "Max Bruch," pp. 142 - 143).
Otto von Königslöw (1824 - 1898), a student of Ferdinand David in Leipzig, had an important touring career throughout Europe where he frequently performed sonatas with the composer/pianist, Carl Reinecke and was later professor at the Cologne Conservatory and concertmaster of the Gürsenich Orchestra. In that capacity, on April 24, 1866 - and with the composer himself conducting - Königslöw was the first to perform Bruch's celebrated Concerto No. 1 in G minor, Op. 26 in a performance at the last Winter Concert of the Musik Institute at Coblenz.
The present "Romanze," composed in the beginning of 1874, was initially intended by Bruch as the first movement of a projected second violin concerto. "But his heart was not in it, and as he was both pleased with the first movement, and encouraged by the positive response of friends who heard it, Bruch decided to leave the work as a one-movement 'Romanze.'...Wilhelm Altman wrote that (according to the composer himself) the 'Romanze' Op. 42 was based on Bruch's preoccupation with Nordic sagas and specifically on Gudrun's Lament by the Sea. Given Bruch's aversion to programmatic music, it is far more likely that its inspirational source was Max's Lament by the Rhine over his troubled love affair with Amalie Heydweiller. More interesting is the assumption that this projected violin concerto would have begun unusually (as the real Second Concerto actually did) with a slow movement." (Christopher Fifield, "Max Bruch," pp. 142 - 143).
Bruch, Max. (1838 – 1920). Romanze für Violine, Op. 42: INSCRIBED to Otto von Königslöw . Berlin: N. Simrock. [1874]. First edition. Upright folio. Parts (6, 13). [PN] 7450. Important presentation copy inscribed on the violin title page by the composer to the violinist Otto von Königslöw, who had given the premiere of his G minor Violin Concerto. Dated "Bonn, 27.6.74." The violin part marked "Coln" in the hand of Königslöw and with his pencil fingerings on several pages. Both parts with archival repairs at margins of several pages, overall very good. Housed in an elegant custom folder, half cloth with marbled boards and gilt-stamped title plate.
Otto von Königslöw (1824 - 1898), a student of Ferdinand David in Leipzig, had an important touring career throughout Europe where he frequently performed sonatas with the composer/pianist, Carl Reinecke and was later professor at the Cologne Conservatory and concertmaster of the Gürsenich Orchestra. In that capacity, on April 24, 1866 - and with the composer himself conducting - Königslöw was the first to perform Bruch's celebrated Concerto No. 1 in G minor, Op. 26 in a performance at the last Winter Concert of the Musik Institute at Coblenz.
The present "Romanze," composed in the beginning of 1874, was initially intended by Bruch as the first movement of a projected second violin concerto. "But his heart was not in it, and as he was both pleased with the first movement, and encouraged by the positive response of friends who heard it, Bruch decided to leave the work as a one-movement 'Romanze.'...Wilhelm Altman wrote that (according to the composer himself) the 'Romanze' Op. 42 was based on Bruch's preoccupation with Nordic sagas and specifically on Gudrun's Lament by the Sea. Given Bruch's aversion to programmatic music, it is far more likely that its inspirational source was Max's Lament by the Rhine over his troubled love affair with Amalie Heydweiller. More interesting is the assumption that this projected violin concerto would have begun unusually (as the real Second Concerto actually did) with a slow movement." (Christopher Fifield, "Max Bruch," pp. 142 - 143).
Otto von Königslöw (1824 - 1898), a student of Ferdinand David in Leipzig, had an important touring career throughout Europe where he frequently performed sonatas with the composer/pianist, Carl Reinecke and was later professor at the Cologne Conservatory and concertmaster of the Gürsenich Orchestra. In that capacity, on April 24, 1866 - and with the composer himself conducting - Königslöw was the first to perform Bruch's celebrated Concerto No. 1 in G minor, Op. 26 in a performance at the last Winter Concert of the Musik Institute at Coblenz.
The present "Romanze," composed in the beginning of 1874, was initially intended by Bruch as the first movement of a projected second violin concerto. "But his heart was not in it, and as he was both pleased with the first movement, and encouraged by the positive response of friends who heard it, Bruch decided to leave the work as a one-movement 'Romanze.'...Wilhelm Altman wrote that (according to the composer himself) the 'Romanze' Op. 42 was based on Bruch's preoccupation with Nordic sagas and specifically on Gudrun's Lament by the Sea. Given Bruch's aversion to programmatic music, it is far more likely that its inspirational source was Max's Lament by the Rhine over his troubled love affair with Amalie Heydweiller. More interesting is the assumption that this projected violin concerto would have begun unusually (as the real Second Concerto actually did) with a slow movement." (Christopher Fifield, "Max Bruch," pp. 142 - 143).