Album insights
Max Bruch celebrated his 80th birthday on January 6, 1918, amidst wartime challenges in Germany. Despite hardships, he received honors and accolades for his music that year, while tending to his own and his wife Clara's failing health. Encouraged by violinist Willy Hess, Bruch turned to composing chamber music, revisiting a neglected discipline. His three string quintets, reflecting a non-revolutionary stance, highlighted his prowess with a distinctive full orchestral sound. The pieces, dating between 1918 and 1919, showcased Bruch's unique blend of motifs and forms, each carrying its own profound emotional narrative.
In 1919, as Clara Bruch passed away, and Germany faced defeat and turmoil, Max Bruch experienced profound grief. Despite these challenges, he continued composing, revising his third quintet into a string octet in B major. Bruch's reviving creativity infused this work with captivating themes and a more pronounced development. Shortly after completing the octet, Bruch's health declined rapidly, leading to his passing in October 1920. The octet, imbued with hope amid melancholy, seemingly echoed Bruch's yearning for strength to revisit his youthful memories.
The histories of these works were intertwined with the dedicated efforts of scholars and musicians, particularly elucidated by Christopher Fifield. The legacy of Bruch's compositions, originally preserved by Willy Hess, journeyed through various hands before resurfacing for modern audiences through meticulous research and performances. Despite initial underappreciation, Bruch's chamber works have since garnered recognition, accentuating the enduring brilliance and emotional depth of his musical craftsmanship.