Of all the Operas that have been written round the picturesque sixteenth-century Florentine, Benvenuto Cellini, the only survivor is the work which Berlioz wrote about 1837-8. It was a complete failure when it was produced in Paris in the latter year, and when Berlioz himself conducted it at Covent Garden in 1853. Nowadays we are inclined to agree with Berlioz's contemporaries, for the Opera is dying a lingering death, and only this Overture remains in the repertory of works that get performed.

For three years (1880-83) Max Bruch held an important English post-that of Director of the Liverpool Philharmonic Society.
Of his larger works, none is more familiar, at least in England, than this first of his three Violin Concertos, which dates from 1869. It consists of three Movements, but there is no break between the First and Second.
The First Movement (Moderately quick) is, in fact, called by its Composer 'Prelude'. Certainly it has the effect of a rhapsodical introduction, though it is a fairly extended and organic piece, with one definite, complete tune. It is chiefly remarkable for its combination (especially in the solo part) of brilliance and emotional intensity.
The Second Movement opens with a full statement by the Soloist of a slow-paced, wordless song of some length, and two other ideas play their part in the building up of the Movement.
The boldness and exuberant force of the Finale (Quick and energetic) are self-evident.