Max Bruch. Jack Liebeck

Poor old Max Bruch. He sold the rights to his hugely popular first violin concerto to a music publisher, so never received any royalties even when the work took off and was played by pretty well everyone. He spent the rest of his life trying for another “hit” but never succeeded. The second violin concerto is in no way as good as the first, and the third concerto is a pretty routine affair. About the only other work by Bruch that still receives a regular airing is his highly likeable and echt romantic Scottish Fantasy for violin (and harp) and orchestra.

The Scottish Fantasy was a favourite work of Jascha Heifetz; written for Sarasate, the work suited Heifetz's suave and sophisticated playing like a glove. In performance Heifetz usually got through the work in around 25 minutes, helped by flowing tempi and a few cuts in the score. In a new recording, the greatly talented Jack Liebeck takes 31 minutes, with broader tempi, and no cuts. Liebeck's recording certainly does not supplant Heifetz, but it does enhance the work of Max Bruch since the orchestra makes a real contribution and Liebeck plays well and makes a nice sound; well recorded. Unfortunately, Hyperion completes Liebeck's CD with the dud third concerto; why did the company not substitute Karl Goldmark's far more interesting but rarely played violin concerto to make a really desirable disc?