Max Bruch composed a number of choral works that were, during his lifetime, judged to be his most successful pieces. Instrumental music makes up only about a third of Bruch’s total output, while vocal music forms a considerably larger proportion. These works are described variously as oratorios and cantatas. His oratorios (mostly secular) are generally held to represent the best of his vocal writing. Some were of a religious character but many were based on mythological themes.
Many of Bruch’s large-scale oratorios were inspired by the unification of Germany of which he was an eager supporter. His subjects focused on national leaders as role models (the Greeks Odysseus and Achilles, the German Arminius, the Swedish Gustav Adolf, and the biblical Moses). Bruch’s compositions were eagerly taken up by the many amateur and professional choruses that were thriving in Germany at the time.
The New International Encyclopedia stated “the greatest master of the secular oratorio is Bruch.” George Putnam Upton wrote “His greatest successes…. have been made with his works in the cantata form, as he is a recognised master of writing for large masses of voices and instruments, though many of his solo melodies possess great beauty. In this class of his compositions the most conspicuous are Scenes from the Frithjof-Saga… Flight of the Holy Family, Roman Triumph Song, Roman Obsequies, Salamis, Fair Ellen, Odysseus and Rorate Coeli.”
The Birch and the Alder
The Birch and the Alder () (opus 8) (2.2.2.2.-4.2.0.0. str, timp mixed (s)) is a setting of a poem from the Waldlieder of Gustav Pfarrius. Bruch wrote it while he was in Cologne in 1857; it was published in Leipzig in 1858 and dedicated to the poet.
The Flight of the Holy Family
The Flight of the Holy Family () (opus 20) is a setting for choir and orchestra Instrumentation (2 2 2 2 - 2 0 3 0 - chorus(satb) str tmp) of a poem by Joseph Freiherr von Eichendorff. The work was composed in Mannheim in 1863.
It narrates the Flight into Egypt, with the wings of angels creating a cooling breeze and fireflies lighting their way. The reviewer writing for the Niederrheinische Musikzeitung said that “a tender breeze of poetic feeling runs through the entire work. The overall effect…. is above all proof of the truth and purity of expression with which this composer has rendered his feelings.” Together with opus 21, The Song of the Three Wise Men (Gesang der heiligen drei Könige), this work appears to have been part of an unfinished trilogy based on the Christmas story. The manuscript of opus 20 is dated 19 July 1863 and dedicated to the Crefeld Choral Society. Bruch conducted the first performance of the work with the society in December 1863.
Frithjof
Frithjof (opus 23) was completed in October 1864 after Bruch had spent eight years working on it. It was first performed in Aachen on 20 November 1864, with Bruch conducting the Concordia male chorus, soloists and orchestra. It originally contained six scenes; a seventh was later added and the work republished as opus 27. It is based on Frithjof’s Saga by Esaias Tegnér. The Monthly Musical Record pronounced it to be “the most important choral work of our time”, it was his first great success with the German public, and it went on to become his greatest success for male choir.
Fair Ellen
Fair Ellen () (opus 24) (2.2.2.2.-4.2.3.0. str, timp, perc, no, mixed (sb)) is a setting of a ballad by Emanuel Geibel. The work is set during the 1857 siege of Lucknow, during which Ellen is convinced that the city will be relieved, because she has such sharp hearing that she can hear the regimental song of the Campbells long before anyone else.
Salamis
Salamis subtitled “A War Song of the Greeks” is a secular cantata (opus 25) written in 1866 for a quartet of male soloists, male choir and orchestra, based on a poem by Hermann Lingg. The work depicts the Greek warriors sailing home triumphant after their victory over Xerxes I.
The work was reviewed in the Allgemeine musikalische Zeitung of February 1868, in a piece by the editor, Selmar Bagge, who opined that “Bruch’s music bears the mark of sophistication, but which borders on degeneracy in its sumptuousness and extravagance.” A July 1881 performance in Chicago was described by one critic as “a most interesting work, though not as effective (owing to greater intricacies) as the “Battle Prayer” [by Ferdinand Möhring].” Another critic commented that “it is a very ambitious hymn of triumph and its difficulties were no doubt felt by the chorus.”