Scottish Fantasy

The success of Max Bruch's violin concerto was something of a millstone around his neck. On one occasion he joked that it was so popular that it should be banned; on another, during a visit to Naples in 1903, he wrote: "On the corner of the Via Toledo they stand there, ready to break out with my first violin concerto as soon as I allow myself to be seen." One other work which has stood the test of time is the Scottish Fantasy, a work inspired by the writings of Sir Walter Scott. Perhaps somewhat harshly, Brahms summed up the reason for the neglect of Bruch's other works. After hearing a performance of one of Bruch's oratorios, Brahms wrote to Clara Schumann that hearing it moved him in only one way: "To thank God that He has preserved me from the sin, the vice or the bad habit of merely writing notes."

The Scottish Fantasy is a delightful concoction based on Scottish folk tunes. A quotation from the internet "Rough Guides Music" captures the essence of the piece. "Its Scottishness is about as authentic as Brigadoon, but it's highly enjoyable if you surrender yourself to its kitsch charms. A gloomy processional opening, from which the wavering violin line emerges, conjures up a kind of misty "days of yore" atmosphere before the soloist lets rip with a heart-tugging version of the song "Auld Robbie Morris." It's followed by a lively dance over a bagpipe-style orchestral drone, a relatively restrained slow movement, and a rousing finale with some spectacularly acrobatic writing for the soloist." The unashamedly difficult nature of the violin part endeared the Scottish Fantasy to a stream of well-known virtuosi. Fritz Kreisler and Nathan Milstein, whose recordings are still available and thoroughly recommended, are two who make light of the technical problems. So, sit back and enjoy the skills of Xue Wei, the Norfolk Symphony Orchestra's favourite violinist, as he charms us with this engaging music.