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TO VOLUNTEER : 410-662-4380 Volunteer @ ChooseKeswick . org wrote to his family that he had been very seasick , and Klingemann recalled that “ my companion Felix …[ got ] along better with the sea as an artist than as a human being with a stomach .” But fortunately it was the artistic impression that remained ; that night , Felix sent a letter to his sister Fanny that included the first measures of this overture as a musical souvenir . The overture was finally premiered in London on May 14 , 1832 .
The opening theme , a swirling melody of wind and waves introduced by cellos and bassoons , captures the thrill of a sea voyage . Rolling arpeggios in the low strings conjure the surge of the waves . A melancholy second theme , sung by cellos and bassoons and later by solo clarinet , evokes the lonely , gray-skies atmosphere of the Hebrides . At the end , the composer adds a graceful “ bon voyage ”: the solo clarinet sings the opening theme one last time , and as it soars upward , a flute adds the highest notes .
Instrumentation : Two flutes , two oboes , two clarinets , two bassoons , two horns , two trumpets , timpani and strings .
SCOTTISH FANTASY
Max Bruch
Born in Cologne , Germany , January 6 , 1838 ; died in Friedenau , Germany , October 2 , 1920
“ There is nothing to compare with the feeling , power , originality and beauty of the folksong .” Max Bruch wrote this to his publisher in 1884 , just a few years after composing his charming Scottish Fantasy — or , to give its full , formal title , the “ Fantasia for the Violin and Orchestra with Harp , freely using Scottish Folk Melodies .” For a composer who prized expressive , lyrical melody above everything else , folksong provided the richest source .
In early 1863 , Bruch published arrangements of 12 Scottish folksongs , including two of the songs that would figure prominently in the Scottish Fantasy of 1879 – 1880 : “ Auld Rob Morris ” and “ Scots wha hae .” However , faithfulness to the original tunes was not foremost in Bruch ’ s mind ; he was far more concerned with creating a stunning showcase for his friend , the great Spanish violinist Pablo de Sarasate . Because the Scottish Fantasy had a rather unorthodox format — four movements plus a separate introduction — as well as its folksong content , Bruch chose to call it a “ fantasy ” rather than a concerto .
Bruch told a colleague that the novels of Sir Walter Scott were an important inspiration for the atmosphere of this piece . Certainly , its dark and brooding Introduction , set in the unusual key of E-flat minor , is filled with Scottish storm clouds and romance . Bruch said this music depicts “ an old bard contemplating a ruined castle and lamenting the glorious times of old .” The violin ’ s recitative almost speaks the bard ’ s words .
The orchestra maintains the bardic mood , but the key now brightens to E-flat major for the Adagio cantabile first movement . Here the violin sings the lovely , slightly sentimental Scots folksong “ Auld Rob Morris ,” accompanied by the harp .
Against a bagpipe drone in horns and strings , the traditional song “ The Dusty Miller ” provides a frisky dance tune for the second movement , which makes tremendous demands on the violinist ’ s technique . In a haunting bridge passage to the next movement , violas and soloist recall “ Auld Rob Morris .”
Movement three revolves around the plaintive folksong “ I ’ m down for lack of Johnnie .” The violinist introduces it very simply , then passes it to the orchestra while spinning elaborate countermelodies high above .
Legend tells us that “ Scots wha hae ” was the song Robert the Bruce sang to rally his troops at the Battle of Bannockburn in 1314 ; Bruch uses it as the theme for his rousing finale . The harp returns to accompany the soloist , who adds heft to this rugged , infectiously rhythmic tune with double and triple stops . A last reminiscence of “ Auld Rob Morris ” adds a touch of sweetness to the fiery conclusion .
Instrumentation : Two flutes , two oboes , two clarinets , two bassoons , four horns , two trumpets , three trombones , tuba , timpani , percussion , harp and strings .
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