Max Bruch's Violin Concerto No. 2 in D minor, Op. 44, was initially appreciated in European concert halls, but after some time fell into obscurity. Following the death of Pablo de Sarasate in 1908, the work remained in the repertoire only thanks to a few outstanding violinists such as Jascha Heifetz and Itzhak Perlman. As Joseph Joachim's influence on Bruch waned, the composer turned more to Sarasate and was inspired by his exceptional virtuosity. When Bruch rehearsed the new concerto with Sarasate in England, the Sunday Times criticized the work's form. Only after revisions and consultation with other violinists such as Joachim and Heckmann was Sarasate able to present the concerto successfully. The work depicts a military scene in a dramatic Adagio and continues with a Recitativo and a spirited Finale that portrays a cavalry. Bruch also composed the Adagio appassionato in F minor, Op. 57, as a token of gratitude to Joachim, and dedicated the Konzertstück in F-sharp minor, Op. 84, to Willy Hess after the deaths of Sarasate and Joachim. With the Konzertstück, premiered by Maud Powell in 1911, Bruch concluded his extensive output for violin. Powell shortened the Konzertstück for a recording, a decision Bruch disapproved of. Nevertheless, the work secured a permanent place in Bruch's diverse repertoire.
