“Scottish Fantasy”
Today, I am throwing off the mantle of any kind of musical genre I have tried to pigeonhole myself into. Instead, I am going to introduce you to an amazing piece of classical - yes, classical - music. This is a piece that moves me every single time I hear it. So, please, pour a glass or cup of your favorite relaxing beverage, grab your headphones, and listen to Max Bruch’s "Scottish Fantasy".
This violin concerto piece is in four movements, each one so distinctive and wonderful that they could stand alone as solo performances. But whomever plays this betta be a dang good fiddler, because this piece is TOUGH. (Take it from me. I actually tried to play this a couple of times. Talk about an epic fail… ).
The opening movement sounds like the fog rolling through the moors and braes of Scotland. The violin sneaks in after a subdued intro by the orchestra. Even though later movements of “Scottish Fantasy” have far “flashier” violin solo work, to me, this first movement has got to be the hardest one to master. Try playing any instrument very quietly and yet full of emotion. Not easy.
In subsequent movements, we hear the influences of Bruch’s obsession with folk melodies of his day. I particularly like the “Allegro” section of this work. The violin solo is incredibly complex - like, over-the-top - but in the right hands, this dance-like movement is quite a mood-elevator, and stands in stark contrast to the “grave” opening movement.
The “Andante” movement has one of the most gorgeous melodies I think I have ever heard. And the last “Allegro” movement returns to the Scottish folk roots; you can practically see highland country dancing to this light, yet reflective movement. The concerto winds down after a few fluttery fiddle flourishes (alliterate much?) before closing with a rip-roaring orchestral statement.
Oh, man. Makes me want to return to Scotland someday…
So, as a songwriter - and keep in mind, there are no words in “Scottish Fantasy”, so it’s not a song - why do I admire and study this piece? Well, as I’ve discussed in a previous post (4/9/21, “Hey, Wait A Minuet!”), classical influences are everywhere in modern music. And solid melody, emotive use of dynamics and tempo, etc. are as important in modern songwriting as they were to Max Bruch.
If you’ve never thought of yourself as a fan of classical music, I can understand. Sometimes, if there are lyrics (like in opera), they might be in a foreign language. And classical pieces are not usually 2 - 4 minutes in length; in our fast-paced world, it’s hard to find the time to sit down and actually listen to classical music.
But please don’t pass on a chance to tune in to an occasional classical piece. You may find it is far more delightful to the senses than you would have imagined.
Aye, it’s well worth the time investment.