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Bruch, Max. (1838 – 1920). Important Autograph Letter about French copyright and payment for his celebrated Op. 26 Violin Concerto. Autograph letter, 4 pp, dated June 20th, 1884 from Breslau. 12mo. In French, addressed "Messieurs," and concerning his quarrels with French copyrights and specifically his lack of payments received for performances of Bruch's Violin Concerto No. 1 in G minor, Op. 26. Translated in full: "Sirs, For about ten years I have been a member of the Society of Authors and Composers in Paris. In 1882, I received a share of 370 francs (for the Violin Concerto, op. 26 which was often played in Paris). Since 1882, I have received nothing. Maybe the Society does not know I have moved: in 1882 I was still music director in Liverpool, England, but since 1883 (October), I am as you know music director in Breslau. Would you be kind enough to give my new address (Breslau Museum, Platz 9) to their bureau in Paris, and ask them in my name if there are any shares they owe me, from August 1882 to June 1884? My concertos were played several times in Paris during those months and Frithiof was sung. I just learned that there is now a Literary Convention between France and Germany. Would you tell me if, thanks to this agreement, the society is allowed to send me rights in Germany as well as in France? Rights for the operas, but also for concert pieces? This is very important to me and for the other German authors, who are members of the French Society. If possible, I would like you to send me a copy of this convention. A thousand thanks. Your devoted, Max Bruch." In fine condition.



Max Bruch's Violin Concerto No. 1 in G minor, Op. 26, is one of the most popular violin concertos in the repertory. It continues to be performed and recorded by many violinists and is the composer's most famous composition. The first performance was given on 24 April 1866 by Otto von Königslow with Bruch himself conducting, but was then considerably revised with help from celebrated violinist Joseph Joachim and completed in its present form in 1867. The premiere of the revised concerto was given by Joachim in Bremen on 5 January 1868 with Karl Martin Rheinthaler conducting.



It was not until 1928 that such a reciprocal agreement between the French and German Societies was reached. Of particular interest in this context and at the early date of this letter, is Bruch's difficulty in receiving payment for performances of his most famous work. Early on, Bruch sold the autograph score to the publisher N. Simrock outright for a small lump sum, but he kept a copy of his own. At the end of World War I, he was destitute, having been unable to enforce the payment of royalties for his other works because of chaotic world-wide economic conditions. He then sent his autograph copy to the duo-pianists Rose and Ottilie Sutro (for whom he had written his Concerto in A flat minor for Two Pianos and Orchestra, Op. 88a, in 1912), so that they could sell it in the United States and send him the money. Bruch died in October 1920, without ever receiving any money. The Sutro sisters decided to keep the score themselves, but they claimed to have sold it, and sent Bruch's family some worthless German paper money as the alleged proceeds of the alleged sale. They always refused to divulge any details of the supposed purchaser. In 1949, they sold the autograph to Mary Flagler Cary, whose collection, including the Bruch concerto, now resides at the Pierpont Morgan Public Library in New York.

Bruch, Max. (1838 – 1920) Important Autograph Letter about French copyright and payment for his celebrated Op. 26 Violin Concerto

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Bruch, Max. (1838 – 1920). Important Autograph Letter about French copyright and payment for his celebrated Op. 26 Violin Concerto. Autograph letter, 4 pp, dated June 20th, 1884 from Breslau. 12mo. In French, addressed "Messieurs," and concerning his quarrels with French copyrights and specifically his lack of payments received for performances of Bruch's Violin Concerto No. 1 in G minor, Op. 26. Translated in full: "Sirs, For about ten years I have been a member of the Society of Authors and Composers in Paris. In 1882, I received a share of 370 francs (for the Violin Concerto, op. 26 which was often played in Paris). Since 1882, I have received nothing. Maybe the Society does not know I have moved: in 1882 I was still music director in Liverpool, England, but since 1883 (October), I am as you know music director in Breslau. Would you be kind enough to give my new address (Breslau Museum, Platz 9) to their bureau in Paris, and ask them in my name if there are any shares they owe me, from August 1882 to June 1884? My concertos were played several times in Paris during those months and Frithiof was sung. I just learned that there is now a Literary Convention between France and Germany. Would you tell me if, thanks to this agreement, the society is allowed to send me rights in Germany as well as in France? Rights for the operas, but also for concert pieces? This is very important to me and for the other German authors, who are members of the French Society. If possible, I would like you to send me a copy of this convention. A thousand thanks. Your devoted, Max Bruch." In fine condition.



Max Bruch's Violin Concerto No. 1 in G minor, Op. 26, is one of the most popular violin concertos in the repertory. It continues to be performed and recorded by many violinists and is the composer's most famous composition. The first performance was given on 24 April 1866 by Otto von Königslow with Bruch himself conducting, but was then considerably revised with help from celebrated violinist Joseph Joachim and completed in its present form in 1867. The premiere of the revised concerto was given by Joachim in Bremen on 5 January 1868 with Karl Martin Rheinthaler conducting.



It was not until 1928 that such a reciprocal agreement between the French and German Societies was reached. Of particular interest in this context and at the early date of this letter, is Bruch's difficulty in receiving payment for performances of his most famous work. Early on, Bruch sold the autograph score to the publisher N. Simrock outright for a small lump sum, but he kept a copy of his own. At the end of World War I, he was destitute, having been unable to enforce the payment of royalties for his other works because of chaotic world-wide economic conditions. He then sent his autograph copy to the duo-pianists Rose and Ottilie Sutro (for whom he had written his Concerto in A flat minor for Two Pianos and Orchestra, Op. 88a, in 1912), so that they could sell it in the United States and send him the money. Bruch died in October 1920, without ever receiving any money. The Sutro sisters decided to keep the score themselves, but they claimed to have sold it, and sent Bruch's family some worthless German paper money as the alleged proceeds of the alleged sale. They always refused to divulge any details of the supposed purchaser. In 1949, they sold the autograph to Mary Flagler Cary, whose collection, including the Bruch concerto, now resides at the Pierpont Morgan Public Library in New York.