![Bruch, Max. (1838-1920) [Joachim, Joseph. (1831-1907)] [Sarasate, Pablo de. (1844-1908)] Autograph Letter to Carl Halir - "My G minor Violin Concerto has been played too often"](http://www.schubertiademusic.com/cdn/shop/files/Bruch_2C_Max_ALS_23362a.jpg?v=1722190755)
![Bruch, Max. (1838-1920) [Joachim, Joseph. (1831-1907)] [Sarasate, Pablo de. (1844-1908)] Autograph Letter to Carl Halir - "My G minor Violin Concerto has been played too often"](http://www.schubertiademusic.com/cdn/shop/files/Bruch_2C_Max_ALS_23362b.jpg?v=1722190755)
![Bruch, Max. (1838-1920) [Joachim, Joseph. (1831-1907)] [Sarasate, Pablo de. (1844-1908)] Autograph Letter to Carl Halir - "My G minor Violin Concerto has been played too often"](http://www.schubertiademusic.com/cdn/shop/files/Bruch_2C_Max_ALS_23362c.jpg?v=1722190755)
Bruch, Max. (1838-1920) [Joachim, Joseph. (1831-1907)] [Sarasate, Pablo de. (1844-1908)]. Autograph Letter to Carl Halir - "My G minor Violin Concerto has been played too often".
Autograph letter signed to "Concertmeister" Carl Halir (originally, Karel Halíř) of "Weimar". Breslau [now Wrocław, Poland], September, 25, 1888. In German. 3 pp. of bifolium. Envelope signed additionally on the verso, "M. Bruch." The intriguing letter is a response to a list of works that Halir had suggested to Bruch, then music director in Breslau, for his upcoming appearance as a soloist. In full: "Many thanks for your welcome programming suggestions. Brahms has been played by De Ahna and Joachim here and must rest for a while. Joachim will play Beethoven here with us this year on November 20. Tchaikovsky is not particularly welcome here. My Concerto no. 1 (G minor) has been played too often, my No. 2 and No. 3 (Scottish) has been played by Sarasate multiple times. Thus, we should maybe focus on the Lassen concerto. I will take a look at it and write you more later. / I think that my Romanza was last heard in 1886. I would be pleased to hear it from you." 7 x 4.5 inches (17.6x11.1 cm).
The recipient is identified on the accompanying autograph envelope only, not in the letter itself. The Czech-born Halir (1854–1904) was concertmaster in Weimar at the time. The letter shows that Bruch did not want to perform works too often (least of all, his own Concerto no. 1). The work referred to here as Bruch’s Violin Concerto No. 3 is his Scottish Fantasy, Op. 46 (1880); his actual Concerto No. 3 was not composed until 1890. The "Romanza" is his Op. 42. Bruch's objection to Tchaikovsky, the only non-German composer discussed here, is no surprise given his aesthetics (and politics). The Concerto in D, Op. 87, by Eduard Lassen (1830–1904), the only work on the list that is completely unknown today, was then new (published probably in 1888).
Max Bruch's Violin Concerto No. 1 in G minor, Op. 26, is one of the most popular violin concertos in the repertory. It continues to be performed and recorded by many violinists and is the composer's most famous composition. The first performance was given on 24 April 1866 by Otto von Königslow with Bruch himself conducting, but was then considerably revised with help from celebrated violinist Joseph Joachim and completed in its present form in 1867. The premiere of the revised concerto was given by Joachim in Bremen on 5 January 1868 with Karl Martin Rheinthaler conducting.
Bruch, Max. (1838-1920) [Joachim, Joseph. (1831-1907)] [Sarasate, Pablo de. (1844-1908)]. Autograph Letter to Carl Halir - "My G minor Violin Concerto has been played too often".
Autograph letter signed to "Concertmeister" Carl Halir (originally, Karel Halíř) of "Weimar". Breslau [now Wrocław, Poland], September, 25, 1888. In German. 3 pp. of bifolium. Envelope signed additionally on the verso, "M. Bruch." The intriguing letter is a response to a list of works that Halir had suggested to Bruch, then music director in Breslau, for his upcoming appearance as a soloist. In full: "Many thanks for your welcome programming suggestions. Brahms has been played by De Ahna and Joachim here and must rest for a while. Joachim will play Beethoven here with us this year on November 20. Tchaikovsky is not particularly welcome here. My Concerto no. 1 (G minor) has been played too often, my No. 2 and No. 3 (Scottish) has been played by Sarasate multiple times. Thus, we should maybe focus on the Lassen concerto. I will take a look at it and write you more later. / I think that my Romanza was last heard in 1886. I would be pleased to hear it from you." 7 x 4.5 inches (17.6x11.1 cm).
The recipient is identified on the accompanying autograph envelope only, not in the letter itself. The Czech-born Halir (1854–1904) was concertmaster in Weimar at the time. The letter shows that Bruch did not want to perform works too often (least of all, his own Concerto no. 1). The work referred to here as Bruch’s Violin Concerto No. 3 is his Scottish Fantasy, Op. 46 (1880); his actual Concerto No. 3 was not composed until 1890. The "Romanza" is his Op. 42. Bruch's objection to Tchaikovsky, the only non-German composer discussed here, is no surprise given his aesthetics (and politics). The Concerto in D, Op. 87, by Eduard Lassen (1830–1904), the only work on the list that is completely unknown today, was then new (published probably in 1888).
Max Bruch's Violin Concerto No. 1 in G minor, Op. 26, is one of the most popular violin concertos in the repertory. It continues to be performed and recorded by many violinists and is the composer's most famous composition. The first performance was given on 24 April 1866 by Otto von Königslow with Bruch himself conducting, but was then considerably revised with help from celebrated violinist Joseph Joachim and completed in its present form in 1867. The premiere of the revised concerto was given by Joachim in Bremen on 5 January 1868 with Karl Martin Rheinthaler conducting.