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【布鲁赫】纪念，为小提琴和管弦乐团而作 Bruch - In memoriam for violin and orchestra - Op.65
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https://www.youtube.com/watch?v=Q3iXXsmqYgQ A more substantial single movement for violin and orchestra came in the winter of 1892–3, with In memoriam in C sharp minor, Op 65. To Joachim, with whom Bruch was back on good terms after a rocky period caused by the violinist’s controversial divorce, the composer wrote in January 1893: ‘The piece actually is a lamentation, or a kind of instrumental elegy; I could not say, however, that it was written for specific persons or those of the past.’ When Simrock suggested expanding it into a concerto, Bruch replied in March: ‘In memoriam is in itself so complete that nothing can follow it.’ The work is in sonata form and as usual Bruch orchestrates imaginatively, introducing a cor anglais to his accustomed line-up in place of one of the oboes, along with a contra-bassoon. The percussion includes three timpani and cymbals, which—as in the Scottish Fantasy—are brushed rather than clashed, and the first horn has a field day. Solemn funereal drumbeats usher in quiet orchestral phrases before the violin enters: the first theme is lyrical but pregnant with feeling. The orchestra brings in a slightly faster theme before the violin takes off on another lyrical flight, and the working-out, based mainly on the first theme, is masterly. The closing bars, with the solo violin heard over the hushed orchestra, breathe an air of consolation rather than mourning. Bruch considered In memoriam his finest work for violin and it is certainly impressive, although it takes much of its contemplative atmosphere from its scoring—the version for violin and piano does not create the same effect. Original audio: Tomotada Soh (violin), Royal Philharmonic Orchestra (cond. Howard Griffins) (GALLO, 1992)
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