Max Bruch (1838-1920) had already accepted during his lifetime that he was not one of the greatest composers of his time. More than his famous contemporaries, Brahms at the forefront, he believed, he was forced to make concessions and write music that would sell well so that he could feed his family. Among those relatives was a son, Max Felix, who, like his father, aspired to a career as a musician.
He quickly made a name for himself as an exemplary clarinetist, and to support him in his ambitions his father wrote several works for him. In 1910 the Eight Pieces for clarinet, viola and piano emerged.83; a year later followed the Concerto for clarinet, viola, piano and orchestra, op.88. These are pieces that are completely true to Bruch's adage that music should not upset the listener too much. For a long time, this view has been seen as evidence of a lack of artistic integrity. Today it is much clearer that composers adored by Bruch such as Brahms and Beethoven were equally aware of commercial aspects in their work, and so this music can be approached without prejudice. Anyone who does so will notice that the Eight Pieces in particular contain exceptionally beautiful and poetic music, which prove that Bruch's financial considerations did not hinder his musical artistry. (JvG) and thus this music can be met without prejudice. Anyone who does this will notice that the Eight Pieces in particular contain exceptionally beautiful and poetic music, proving that Bruch's financial considerations did not hinder his musical artistry. (JvG) and thus this music can be met without prejudice. Anyone who does this will notice that the Eight Pieces in particular contain exceptionally beautiful and poetic music, proving that Bruch's financial considerations did not hinder his musical artistry. (JvG)more
