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purchased a box of unidentified papers for $ 11, and it proved to contain the autograph score of Rose and
Ottilie's version of Bruch's concerto, a work unknown to him. The orchestral parts for the original version were bought by other people at the same auction, and Twining managed to track them
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The Sutros withdrew the concerto after the second performance and never played it again. They never played Bruch's original version at all. But they continued to make revisions to their version, amounting to thousands of changes, the last by
Ottilie as late as 1961 (Rose having died in 1957).
42:, Op. 88 (1911). There are claims that the two-piano concerto is based on the earlier concerto, but thematically these two works seem to have little or nothing in common, and this supposed relationship seems to be an erroneous assumption based purely on the works having similar opus numbers.
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Bruch did not write an entirely fresh piece, but reworked music he had been writing for his planned Suite No. 3 for Organ and
Orchestra (also referred to as his Orchestral Suite No. 3). The Suite used some melodies that Bruch had heard on
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Bruch gave the Sutro sisters the sole performing rights to the work. Without Bruch's permission, however, they rewrote the concerto themselves to suit their pianistic abilities, copyrighting their version and depositing it with the
129:, but gave permission for it to be played only in the United States (it is not clear from the source which version this was; apparently he knew that the Sutros had made revisions, but to what extent is not known).
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Ottilie died in
September 1970, aged 98. Some of her miscellaneous scores, manuscripts and newspaper cuttings were auctioned in January 1971. The pianist
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on 29 December 1916. In 1917 they played a further revised version of the work, with the number of movements reduced from four to three, with the
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In addition to the 1973 premiere recording mentioned above, the
Concerto for Two Pianos and Orchestra has been recorded by:
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play his
Fantasy in D minor for 2 pianos, Op. 11, and was so delighted that he agreed to write a double concerto for them.
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The knowledge of the existence of the concerto has its own peculiar history. It was listed in the 5th edition (1954) of
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then reconstructed Bruch's original version, and they recorded it for the first time in
November 1973, with the
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The concerto has also been arranged as a work for six hands at three pianos, by
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Liner notes to the Martin
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in 1912. It is in 4 movements, written in the rarely seen key of
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in 1916. They performed the premiere of this version with the
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In 1911, Bruch had heard the
American duo-pianist sisters
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