Why has the Scottish Fantasia remained one of the classics often heard on the musical stage? (iv)

Love under the blue sky

One lonely afternoon, I sat alone in front of the window, the sunlight fell noiselessly, my chest cavity has been filled with the melancholy current of the Scottish Fantasy, when that fragile as the thin ice of winter music sound, I was captivated. Sad, quiet and old Scottish music, the sound of the wooden flute was a little husky, slowly the violin came in with a broken step and my heart was drenched with something fragrant and wet. The silence of the pipe organ, witnessed the air "down" the wind like music, piled up very, very high. Listening to Bruch's Scottish Fantasy, I was more skeptical than ever about the term "serious music". Is there really any music that is "serious"? What else is there in music but nature, God and love? And what is there in music but nature, God and love? These are in fact just the splendor of human nature and the roar of blood. Beethoven and the others are at this moment a distant and doubtful existence, if one defines them as "serious". Perhaps, when music is born in the heart, it has nothing to do with "greatness", but only love and illusion to the extreme.

For me, when I like a musician or a singer, and I am moved by his music, the process of searching for his musical roots and experiences is pleasurable. And in the midst of the search, perceiving the profound musical souls of various places and peoples often makes me feel, when I write about them, that the music seems to be echoing back from the distant skies, stretching so far and wide, covering me and illuminating me. Music without borders spreads joy and sorrow to the whole world on the wings of notes. The languid bagpipes will soon fill the whole room with music with a strong Scottish flavor, like gurgling water, with the quietness of the deep sea, and like waves lapping at the shore, sometimes gently brushing your body, sometimes mercilessly piercing your heart. The wind gently touched the wind chimes, the wind chimes issued tinkling tinkling sound, crisp and beautiful, that is the whisper between them, the sound is far away like a camel's bell, they seem to be telling people the story of the past.

Another epic classic music masterpiece, reflecting the connotation of an ancient city that has faded over the years, they are blended with the music, each other's souls and reliance. The melancholy tone of the notes from time to time lingers in the heart, and it is difficult to leave. Especially the epilogue more people call the heart, look at each other, keep each other, how much love, how much love, all in this moment to show. Songs one by one past, the melody I do not remember much, only remember the flute that sour cool feeling. This 19th century tune issued a soft as satin sound, let a person touched speechless, when the history of the calendar page by page over the past, let us accompanied by memories, accompanied by attachment, revisit the classic melody of these eternal echo, revisit those who once shocked the heart of the moving! (Wang Feng)

German Jewish composer and conductor Max Bruch was born in Cologne on January 6, 1838, about the same time as Brahms, but he lived much longer than Brahms. Bruch's father was a lawyer and his mother was a mezzo-soprano and music teacher. In 1852, at the age of 14, Bruch was awarded a four-year scholarship by the Mozarteum Foundation in Frankfurt to continue his studies in Cologne, during which time some of his compositions had already attracted attention. Bruch taught in Bonn and Cologne in 1861, at which time he composed his first opera, Teasing, Trickery and Revenge, which premiered in 1858. At the age of 25 Bruch followed up with a second opera, Lorelei.

After entering the music business, Bruch began a busy life in which he often held several jobs at once; from 1867 to 1870 he served as a musician to the Prince of Schwarzburg-Zondershausen. His further musical development was closely connected with his long travels to many musical cities. He was a teacher in Cologne, and a light opera based on Goethe's original work was performed at this time. In Munich he wrote an opera based on a poem by the poet Gabriel, which he was able to stage in Mannheim. He worked as a music conductor in Koblenz and elsewhere, concentrating on his compositions in Berlin and Bonn before moving to Liverpool, England, for two years as conductor of the Philharmonic Orchestra. During this time he completed the Violin Concerto No. 1 in g minor. The concept of composing this piece was in his mind as early as when he was 19 years old, but its completion came nine years later. Dedicated not only to Joachim, but also to the violinist Sarasati, it is the most widely known of Bruch's 3 violin concertos. His Violin Concerto No. 2 in D minor is dedicated to the violinist Sarasati. Another piece, the Scottish Fantasy, also dedicated to Sarasati, was composed as a result of inspiration triggered by his two trips to England. Upon his return to England, he went on to work as a conductor and teacher in Breslau and Berlin, where Bruch was a teacher of composition at the Berlin Higher School from 1892 to 1910. In the midst of such a busy schedule, the composer had to arrange time to travel, compose, and publish his works.

Bruch, as an authentic German musician, although his works have a romantic color, but perhaps influenced by the strict nature of the Germanic people, his life is calm and rich, and thus his musical works also show a smoother style. He grew up and composed in the German classical tradition, and benefited from extensive exposure to and study of folk songs. He loved German chorales, traditional Hebrew tunes, and Scottish and Welsh folk tunes, and used these folk melodies as his source material and developed them into full-scale compositions. This eclectic attitude in music makes Bruch's music melodious, full of passion, rigorous and natural style, beautiful and pure sound effects, able to adapt to the needs of different cultural levels, to maintain lasting vitality, so that his music has been loved by generations of people.