Episodes
| Series | Episode | Title | First Broadcast | Comments |
|---|---|---|---|---|
| 2019 | A Real Showman | 20190212 | Donald Macleod explores Max Bruch's violin works. Today his second violin concerto, created for a charismatic violinist with a dazzling technique. Melody, said Bruch, represents the `soul of music` and nowhere is that better represented than in his first violin concerto. It's a work which brought him fame and fortune, but it's also a work he came to hate, since he felt its popularity suppressed performances of his other compositions. It's a sentiment that has some justification, since Bruch wrote some two hundred odd works, the majority of which rarely get performed. Aside from a natural outspokenness and a tendency to take umbrage, which lead to some very prickly professional relationships, he also had to contend with some unlucky timing. Born in Cologne in 1838, Bruch was five years younger than Brahms. Even though he outlived him by some twenty years Bruch remained over-shadowed by one of the great luminaries of German music. This week though the spotlight falls firmly on Bruch, as Donald Macleod explores his concerted works for the violin, an instrument with which he had a very close relationship. Starting with that most famous example Bruch came to resent so much, you can also hear the second violin concerto, which was championed in more recent times by Itzhak Perlman, the third violin concerto, the folk-inspired Scottish Melody and one of his final utterances for the instrument, the Konzertstück, Opus 84. Attending a performance in Paris given by the Spanish virtuoso Pablo de Sarasate left Bruch deeply impressed. A great showman, with a mop of wild hair, his playing captivated the audience. and Bruch, who enthusiastically determined to write the violinist a major new work. Swedish dances, Op 63 No 2 - Ruhig bewegt Dene Olding, violin Piers Lane, piano Symphony no 2 - Allegro passionato, ma un poco maestoso Staatskapelle Weimar Michael Halကsz, conductor Sch怀n Ellen Op 24 for soprano, baritone and orchestra Claudia Braun, soprano Thomas Laske, baritone Kantorei Barmen-Germarke Wuppertal Symphony Orchestra George Hanson, conductor Violin Concerto No 2 in D minor, Op 44 Izthak Perlman, violin New Philharmonia Orchestra Jesus Lopez-Cobos, conductor | |
| 2019 | A Rock And A Hard Place | 20190213 | Donald Macleod explores Max Bruch's violin works. Today his folk inspired Scottish Fantasy leads to a falling out with two close allies. Melody, said Bruch, represents the `soul of music` and nowhere is that better represented than in his first violin concerto. It's a work which brought him fame and fortune, but it's also a work he came to hate, since he believed its popularity suppressed performances of his other compositions. It's a sentiment that has some justification, since he wrote some two hundred odd works, the majority of which are rarely performed. Bruch's passage through life wasn't easy. Aside from a natural outspokenness and a tendency to take umbrage, which lead to some very prickly professional relationships, he also had to contend with some unlucky timing. Born in Cologne in 1838, Bruch was five years younger than Brahms. Even though he outlived him by some twenty years Bruch remained over-shadowed by one of the great luminaries of German music. This week though the spotlight falls firmly on Bruch, as Donald Macleod explores his concerted works for the violin, an instrument with which he had a very close relationship. Starting with that most famous example Bruch came to resent so much, you can also hear the second violin concerto, which was championed in more recent times by Itzhak Perlman, the third violin concerto, the folk-inspired Scottish Melody and one of his final utterances for the instrument, the Konzertstück, Opus 84. Folk music caught Bruch's interest in his mid-twenties, and while, like Beethoven, he never actually set foot in Scotland, when he later coupled these tunes with his gift for melody, he found the violin was a natural partner. Bei den roten Rosen Darmstadt Concert Choir Wolfgang Seeliger, conductor Odysseus, Op 41, excerpt Odysseus in the Underworld Jeffrey Kneebone, baritone, Odysseus NDR Radio Choir Budapest Radio Choir NDR Radio Philharmonic, Hanover Leon Botstein, conductor Scottish Fantasy (Excerpt) Tasmin Little, violin Royal Scottish National Orchestra Vernon Handley, conductor Kol nidrei Op 47 (Adagio on Hebrew melodies) Truls Mork, cello Philharmonic Orchestra of Radio France Paavo J䀀rvi, conductor Donald Macleod explores Max Bruch's violin works. Today his Scottish Fantasy. | |
| 2019 | A Wunderkind | 20190211 | Donald Macleod explores Max Bruch's violin works. Today his best known work, the first violin concerto in G minor. Melody, said Bruch, represents the `soul of music` and nowhere is that better represented than in his famous violin concerto. It's a work which brought him fame and fortune, but it's also a work he came to hate, since he felt its popularity suppressed performances of his other compositions. It's a sentiment that has some justification, since Bruch wrote some two hundred odd works, the majority of which are rarely performed. Aside from a natural outspokenness and a tendency to take umbrage, which lead to some very prickly professional relationships, he also had to contend with some unlucky timing. Born in Cologne in 1838, Bruch was five years younger than Brahms. Even though he outlived him by some twenty years Bruch remained over-shadowed by one of the great luminaries of German music. This week though the spotlight falls firmly on Bruch, as Donald Macleod explores his concerted works for the violin, an instrument with which he had a very close relationship. Starting with that most famous example Bruch came to resent so much, you can also hear the second violin concerto, which was championed in more recent times by Itzhak Perlman, the third violin concerto, the folk-inspired Scottish Melody and one of his final utterances for the instrument, the Konzertstück, Opus 84. Today, Donald Macleod gets his first taste of Bruch's unfortunate ability to undermine the positive, while some timely advice from a star violinist of the day, Joseph Joachim helps Bruch to rekindle his confidence in the first violin concerto. Adagio Apassionato Jack Liebeck, violin BBC Scottish Symphony Orchestra Martyn Brabbins, conductor Septet (2nd movt Adagio) Consortium Classicum 6 pieces for solo piano op.12 No 4 to 6 Sophie Rahman, piano Violin Concerto no 1 in G minor, op.26 Nigel Kennedy, violin English Chamber Orchestra Jeffrey Tate, conductor Produced in Cardiff by Johannah Smith Donald Macleod explores Max Bruch's violin works. Today his first violin concerto. | |
| 2019 | Man And Musician | 20190215 | Donald Macleod explores Max Bruch's violin works. Today, Serenade, Op 75, commissioned by his long-time collaborator, the violinist Pablo de Sarasate and Konzertstuck, a work is sometimes viewed as Bruch's fourth violin concerto. Melody, said Bruch, represents the `soul of music` and nowhere is that better represented than in his first violin concerto. It's a work which brought him fame and fortune, but it's also a work he came to hate, since he felt its popularity suppressed performances of his other compositions. It's a sentiment that has some justification, since he wrote some two hundred odd works, the majority of which rarely see light of day. Aside from a natural outspokenness and a tendency to take umbrage, which lead to some very prickly professional relationships, Bruch also had to contend with some unlucky timing. Born in Cologne in 1838, he was five years younger than Brahms. Even though he outlived him by some twenty years Bruch remained over-shadowed by one of the great luminaries of German music. This week though the spotlight falls firmly on Bruch, as Donald Macleod explores his concerted works for the violin, an instrument with which he had a very close relationship. Starting with that most famous example Bruch came to resent so much, you can also hear the second violin concerto, which was championed in more recent times by Itzhak Perlman, the third violin concerto, the folk-inspired Scottish Melody and one of his final utterances for the instrument, the Konzertstück, Opus 84. In this final chapter, Donald Macleod contrasts a surprising portrait of Bruch the family man, with the composer's mercurial dealings with his long standing collaborators Joachim and Pablo de Sarasate. Eight pieces for clarinet, viola and piano Op 83 - No 7 in B major: Allegro vivace, ma non troppo Trio Zemlinsky Thomas Friedli, clarinet Annick Gautier, cello Patricia Thomas, piano Serenade Op 75 Allegro energico e vivace Antje Weithaas, violin NDR Radio Philharmonic Hermann B䀀umer, conductor Odysseus - The Banquet with the Phaiakes Camilla Nylund, soprano, Nausicaa Michael Burt, bass baritone, Alcinos Jeffrey Kneebone, baritone, Odysseus Xenia-Maria Mann, mezzo soprano, Arete NDR Radio Choir Budapest Radio Choir NDR Radio Philharmonic of Hanover Leon Botstein, conductor String Octet in B flat major 3rd Movt Allegro molto The Nash Ensemble Konzertstück in F sharp minor Op 84 Allegro appassionato Adagio, ma non troppo lento Jack Liebeck, violin BBC Scottish Symphony Orchestra Martyn Brabbins, conductor Donald Macleod explores Max Bruch's violin works. Today, Serenade, Op 75 and Konzertstuck. | |
| 2019 | Ruffled Feathers | 20190214 | Donald Macleod explores Max Bruch's violin works. Today his third violin concerto, a work heralded as a triumph at its premiere in 1891. Melody, said Bruch, represents the `soul of music` and nowhere is that better represented than in his first violin concerto. It's a work which brought him fame and fortune, but it's also a work he came to hate, since he felt its popularity suppressed performances of his other compositions. It's a sentiment that has some justification, since he wrote some two hundred odd works., most of which are rarely performed. Aside from a natural outspokenness and a tendency to take umbrage, which lead to some very prickly professional relationships, Bruch also had to contend with some unlucky timing. Born in Cologne in 1838, Bruch was five years younger than Brahms. Even though he outlived him by some twenty years Bruch remained over-shadowed by one of the great luminaries of German music. This week though the spotlight falls firmly on Bruch, as Donald Macleod explores his concerted works for the violin, an instrument with which he had a very close relationship. Starting with that most famous example Bruch came to resent so much, you can also hear the second violin concerto, which was championed in more recent times by Itzhak Perlman, the third violin concerto, the folk-inspired Scottish Melody and one of his final utterances for the instrument, the Konzertstück, Opus 84. The completion of the third concerto repaired Bruch's association with the violinist Joseph Joachim. Even with cordial relations once again restored, the collaboration hit a glitch over last minute changes. It was left to rival virtuoso Pablo de Sarasate to give the first performance. Symphony No 3 Scherzo Hungarian National Philharmonic Orchestra Manfred Honeck, conductor Romance in A minor Op 42 Maxim Fedotov, violin Russian Philharmonic Orchestra Dmitry Yablonsky, conductor Das Lied von der Glocke. Op. 45 1. Festgemauert in der Erden, II. Praeludium, III. Denn mit der Freude Feierklange Mario Hoff, bass Philharmonic Choir, Prague Staatskapelle Weimar Jac van Steen, conductor Violin concerto no 3 1st movt Jack Liebeck, violin BBC Scottish Symphony Orchestra Martyn Brabbins, conductor | |
| 2025 | 01 | On A Quest | 20250512 |  Donald Macleod charts Bruch's restless early years of musical soul-searching. “Only true melody outlasts all changes and shifts of time ? – so said this week's composer, Max Bruch, the creator of what may be the world's best-loved violin concerto. But Bruch would hate us to think of him as a one hit wonder. He even came to resent the very sound of his first Violin concerto, the only piece by which he's often remembered. All this week, Donald Macleod colours in Bruch's life story and reveals the breadth of his output, including some of his lesser-heard music. Today, we explore Bruch's musical youth and precocity, hungry for new experiences and living out of a suitcase. This period saw his first dalliances with many forms like chamber music and opera, but despite his own virtuosity, it would be his final fling with solo piano, before he condemned 'that dull rattle trap ?. Frühlingslied, Op 7 No 5 (arr. for violin and piano) Anna Sophie Dauenhauer, violin Lukas Maria Kuen, piano Septet, Op Posth (iii. Scherzo) Berlin Philharmonic Octet Klavierstücke, Op 12 (excerpt) Christof Keymer, piano Piano Trio, Op 5 Nash Ensemble Die Loreley: Overture Bamberg Symphony Orchestra Robert Trevino, conductor String Quartet No 2 in E major, Op 10 (i – Allegro maestoso) Mannheim String Quartet Produced by Amelia Parker for BBC Audio Wales and West An informative guide to composers' lives and their music. Donald Macleod explores the life and music of German Romantic composer Max Bruch. Today, following Bruch's restless early years of musical soul-searching. |
| 2025 | 01 | Questing | 20250512 | Donald Macleod charts Bruch's restless early years of musical soul-searching. “Only true melody outlasts all changes and shifts of time ? – so said this week's composer, Max Bruch, the creator of what may be the world's best-loved violin concerto. But Bruch would hate us to think of him as a one hit wonder. He even came to resent the very sound of his first Violin concerto, the only piece by which he's often remembered. All this week, Donald Macleod colours in Bruch's life story and reveals the breadth of his output, including some of his lesser-heard music. Today, we explore Bruch's musical youth and precocity, hungry for new experiences and living out of a suitcase. This period saw his first dalliances with many forms like chamber music and opera, but despite his own virtuosity, it would be his final fling with solo piano, before he condemned 'that dull rattle trap ?. Frühlingslied, Op 7 No 17 (arr. for violin and piano) Anna Sophie Dauenhauer, violin Lukas Maria Kuen, piano Septet, Op Posth (iii. Scherzo) Berlin Philharmonic Octet Klavierstücke, Op 12 (excerpt) Christoph Keymer, piano Piano Trio, Op 5 Nash Ensemble Die Loreley: Overture Bamberg Symphony Orchestra Robert Trevino, conductor String Quartet No 2 in E major, Op 10 (i – Allegro maestoso) Mannheim String Quartet Produced by Amelia Parker for BBC Audio Wales and West An informative guide to composers' lives and their music. Donald Macleod explores the life and music of German Romantic composer Max Bruch. Today, following Bruch's restless early years of musical soul-searching. |
| 2025 | 02 | Making An Impression | 20250513 | Donald Macleod explores Bruch's journey towards his biggest hit, his first Violin Concerto. “Only true melody outlasts all changes and shifts of time ? – so said this week's composer, Max Bruch, the creator of what may be the world's best-loved violin concerto. But Bruch would hate us to think of him as a one hit wonder. He even came to resent the very sound of his first Violin concerto, the only piece by which he's often remembered. All this week, Donald Macleod colours in Bruch's life story and reveals the breadth of his output, including some of his lesser-heard music. Today, Bruch begins to make his way in the professional world, though not always smoothly, and lands what looks like a pretty plum job at the court in Koblenz. There are a few bumps in his personal life , but he's beginning to get ideas for the work that would make his name throughout the world - Swedish Dances, No 10 (Frisch, nicht zu schnell) Dene Olding, violin Piers Lane, piano Musicaklang, Op 71 No 5 Bath Camerata Nigel Perrin, conductor Symphony No 1 (5th movement - Finale) Bamberg Symphony Robert Trevino, conductor Schön Ellen, Op 24 Claudia Braun, soprano Thomas Laske, baritone Kantorei Barmen-Gemarke Kantorei Velbert Wuppertal Symphony Orchestra George Hanson, conductor Violin Concerto No 1 in G minor Randall Goosby, violin Philadelphia Orchestra Yannick Nezet-Seguin, conductor Produced by Amelia Parker for BBC Audio Wales and West Donald Macleod explores Bruch's journey towards his hugest hit, his first Violin Concerto. An informative guide to composers' lives and their music. Donald Macleod explores the life and music of German Romantic composer Max Bruch. Today, following the blunder-filled journey towards his super-hit first Violin Concerto. |
| 2025 | 03 | Love And Liverpool | 20250514 | Donald Macleod follows Bruch as he grapples with a new life chapter on British shores. “Only true melody outlasts all changes and shifts of time ? – so said this week's composer, Max Bruch, the creator of what may be the world's best-loved violin concerto. But Bruch would hate us to think of him as a one hit wonder. He even came to resent the very sound of his first Violin concerto, the only piece by which he's often remembered. All this week, Donald Macleod colours in Bruch's life story and reveals the breadth of his output, including some of his lesser-heard music. Today, Bruch crosses the Channel and makes his way north to Liverpool to take up the post of conductor of the city's Philharmonic Society. At first he's resentful and lonely, but not for long. In his early 40s, Bruch at last finds love. 12 Scottish Folksongs: No 2- Johnie und Jenny Darmstadt Concert Choir Wolfgang Seelinger, conductor Songs, Op 49 No 4 – Serenade (dedicated to Clara) Duo Dauenhauer Kuen Anna Sophie Dauenhauer, violin Lukas Maria Kuen, piano Piano Quintet in G minor (iii. Scherzo and iv Allegro Agitato) Goldner String Quartet Piers Lane, piano Gruss an die Heilige Nacht (Greeting to the Holy Night) Katharina Kammerloher, alto Peter Dicke, organ WDR Rundfunkchor Köln Kölner Rundfunk-Sinfonieorchester Helmuth Froschauer, conductor Kol Nidrei Steven Isserlis (cello) Connie Shih (piano) Olivia Jageurs (harp) Scottish Fantasy for violin and orchestra (iv. Allegro guerriero) Nicola Benedetti, violin BBC Scottish Symphony Orchestra Rory Macdonald, conductor Produced by Amelia Parker for BBC Audio Wales and West An informative guide to composers' lives and their music. Donald Macleod explores the life and music of German Romantic composer Max Bruch. Today, Bruch grapples with a new life in Britain, conducting the Liverpool Philharmonic Society. |
| 2025 | 04 | Berlin And The Brood | 20250515 | Donald Macleod takes us inside the Bruch family home and explores his different sides as a family man and teacher. “Only true melody outlasts all changes and shifts of time ? – so said this week's composer, Max Bruch, the creator of what may be the world's best-loved violin concerto. But Bruch would hate us to think of him as a one hit wonder. He even came to resent the very sound of his first Violin concerto, the only piece by which he's often remembered. All this week, Donald Macleod colours in Bruch's life story and reveals the breadth of his output, including some of his lesser-heard music. Today we enter his new chapter as a father of four, and professor of composition in Berlin. As well as the Bruchs' family dramas and regular open house soirees, we hear how he finally returned to writing chamber music, discovering the joy of writing for new instruments through his children. 8 Pieces for Clarinet, viola and piano, Op 83 No 2 Philon Trio In der Nacht, Op 72 Darmstadt Concert Choir Wolfgang Seeliger, conductor 4 Pieces, Op 70 (i. Aria) Nash Ensemble Octet (i. allegro moderato) Kodály Quartet Auer String Quartet Zsolt Fejervari, double bass Concerto for Two Pianos (iv. Andante- Allegro) Katia and Marielle Labeque, piano Philharmonia Orchestra Semyon Bychkov, piano Double Concerto for clarinet and viola Jean-Luc Votano, clarinet Arnaud Thorette, viola Orchestre Philharmonique De Liège Pascal Rophé, conductor Produced by Amelia Parker for BBC Audio Wales and West Donald Macleod takes us inside the Bruch family home and its dynamics. An informative guide to composers' lives and their music. Donald Macleod explores the life and music of German Romantic composer Max Bruch. Today, we meet Bruch at home in Berlin – and his different sides as a family man and teacher. |
| 2025 | 05 | A Happy Place | 20250516 | Donald Macleod transports us to Bruch's spiritual home and creative haven. “Only true melody outlasts all changes and shifts of time ? – so said this week's composer, Max Bruch, the creator of what may be the world's best-loved violin concerto. But Bruch would hate us to think of him as a one hit wonder. He even came to resent the very sound of his first Violin concerto, the only piece by which he's often remembered. All this week, Donald Macleod colours in Bruch's life story and reveals the breadth of his output, including some of his lesser-heard music. Today, we hear the works inspired by Bruch's spiritual home, a country house called the Igeler Hof in the Rhineland Hills. Since his childhood, visits there anchored him creatively, formed the backdrop for one of his most important friendships, and he held the place in his heart, even in his dying days. Sommerlust im Walde, Op 71 No 1 Darmstadt Concert Choir Wolfgang Seeliger, conductor String Quartet No 1 (iii.Allegro molto enérgico) Mannheim String Quartet Symphony No 3 (iii. Scherzo Vivace) Hungarian State Orchestra Manfred Honeck, conductor Das Lied von der Glocke (final movements) Ute Selbig, soprano Elisabeth Graf, alto Matthias Bleidorn, tenor André Eckert, bass Singakademie Dresden Dresdner Philharmonie Hans-Christoph Rademann, conductor Odysseus Prelude Bamberg Symphony Orchestra Robert Trevino, conductor In Memoriam, Op 65 Kerson Leong, violin Philharmonia Patrick Hahn, conductor Produced by Amelia Parker for BBC Audio Wales and West Donald Macleod transports us to Bruch's spiritual and creative haven, the Igeler Hof. An informative guide to composers' lives and their music. Donald Macleod explores the life and music of German Romantic composer Max Bruch. Today, we're transported to Bruch's spiritual and creative haven, a house called the Igeler Hof. |