This is a list of musical compositions for keyboard instruments such as the piano, organ or harpsichord and orchestra. See entries for concerto, piano concerto, organ concerto and harpsichord concerto for a description of related musical forms.

This list of compositions by Max Bruch is sorted by genre.

This list of compositions by Max Bruch is sorted by genre.

This is a list of musical compositions for cello and orchestra ordered by their authors' surnames.

Max Bruch (6 January 1838 – 2 October 1920) was a German Romantic composer, violinist, teacher, and conductor who wrote more than 200 works, including three violin concertos, the first of which has become a staple of the violin repertoire.

A viola concerto is a concerto contrasting a viola with another body of musical instruments such as an orchestra or chamber music ensemble. Throughout music history, especially during the Baroque, Classical, and Romantic eras, viola was viewed mostly as an ensemble instrument. Though there were a few notable concertos written for the instrument in this time period, these instances were quite rare and the instrument continued to be ignored. However, during the 20th century, the instrument was revitalized thanks to the work of a number of violists and composers, which led to the commission and composition of many more viola concertos, expanding the repertoire significantly.

A violin concerto is a concerto for solo violin (occasionally, two or more violins) and instrumental ensemble (customarily orchestra). Such works have been written since the Baroque period, when the solo concerto form was first developed, up through the present day. Many major composers have contributed to the violin concerto repertoire. Traditionally a three-movement work, the violin concerto has been structured in four movements by a number of modern composers, including Dmitri Shostakovich, Igor Stravinsky, and Alban Berg. In some violin concertos, especially from the Baroque and modern eras, the violin (or group of violins) is accompanied by a chamber ensemble rather than an orchestra—for instance, in Vivaldi's L'estro armonico, originally scored for four violins, two violas, cello, and continuo, and in Allan Pettersson's first concerto, for violin and string quartet.

Kol Nidrei, Op. 47 (also known as All Vows, the meaning of the phrase in Aramaic), is a composition for cello and orchestra written by Max Bruch.

This is a list of musical compositions for keyboard instruments such as the piano, organ or harpsichord and orchestra. See entries for concerto, piano concerto, organ concerto and harpsichord concerto for a description of related musical forms.

The term romance (Spanish: romance/romanza, Italian: romanza, German: Romanze, French: romance, Russian: романс, Portuguese: romance, Romanian: romanţă) has a centuries-long history. Applied to narrative ballads in Spain, it came to be used by the 18th century for simple lyrical pieces not only for voice, but also for instruments alone. The Oxford Dictionary of Music states that "generally it implies a specially personal or tender quality".

Max Bruch's Romance for Violin and Orchestra in A minor, Op. 42, was composed in 1874. Bruch had intended the piece to form the first movement of a projected second violin concerto. However the composer found himself unable to progress beyond the first movement and chose to publish the work as a standalone concert piece dedicated to violinist Robert Heckmann who along with Joseph Joachim had assisted Bruch with the violin part.

The Scottish Fantasy in E-flat minor (German: Fantasie für die Violine mit Orchester und Harfe unter freier Benutzung schottischer Volksmelodien), Op. 46, is a composition for violin and orchestra by Max Bruch. Completed in 1880, it was dedicated to the virtuoso violinist Pablo de Sarasate. It is a four-movement fantasy on Scottish folk melodies. The first movement is built on "Through the Wood Laddie". This tune also appears at the end of the second and fourth movements. The second movement is built around "The Dusty Miller", the third on "I'm A' Doun for Lack O' Johnnie", and the fourth movement includes a sprightly arrangement of "Hey Tuttie Tatie", the tune in the patriotic anthem "Scots Wha Hae" (with lyrics by Robert Burns). Although Bruch visited Scotland for the first time only a year after the premiere of the work, he had access to a collection of Scottish music at Munich Library in 1868. In paying homage to Scottish tradition, the work gives a prominent place to the harp in the instrumental accompaniment to the violin. The Scottish Fantasy is one of several signature pieces by Bruch that is still widely heard today, along with his first violin concerto and Kol Nidrei for cello and orchestra.

A minor is a minor scale based on A, B, C, D, E, F, and G. Its key signature has no flats or sharps. Its relative major is C major and its parallel major is A major. The A natural minor scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The A harmonic minor and melodic minor scales are:

A minor is a minor scale based on A, B, C, D, E, F, and G. Its key signature has no flats or sharps. Its relative major is C major and its parallel major is A major. The A natural minor scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The A harmonic minor and melodic minor scales are:

The "Song of the Volga Boatmen" (known in Russian as Эй, ухнем! [Ey, ukhnyem!, "Yo, heave-ho!"], after the refrain) is a well-known traditional Russian song collected by Mily Balakirev and published in his book of folk songs in 1866. It was sung by burlaks, or barge-haulers, on the Volga River. Balakirev published it with only one verse (the first). The other two verses were added at a later date. Ilya Repin's famous painting Barge Haulers on the Volga depicts such burlaks in Tsarist Russia toiling along the Volga. The song was popularized by Feodor Chaliapin, and has been a favorite concert piece of bass singers ever since. Bill Finegan's jazz arrangement for the Glenn Miller band took the song to No. 1 in the US charts in 1941. Russian composer Alexander Glazunov based one of the themes of his symphonic poem "Stenka Razin" on the song. Spanish composer Manuel de Falla wrote an arrangement of the song, which was published under the name Canto de los remeros del Volga (del cancionero musical ruso) in 1922. He did so at the behest of diplomat Ricardo Baeza, who was working with the League of Nations to provide financial relief for the more than two million Russian refugees who had been displaced and imprisoned during World War I. All proceeds from the song's publication were donated to this effort. Igor Stravinsky made an arrangement for orchestra.

E-flat major is a major scale based on E♭, consisting of the pitches E♭, F, G, A♭, B♭, C, and D. Its key signature has three flats. Its relative minor is C minor, and its parallel minor is E♭ minor, (or enharmonically D♯ minor). The E♭ major scale is: The E-flat harmonic major and melodic major scales are

Pyotr Ilyich Tchaikovsky's Symphony No. 4 in F minor, Op. 36, was written between 1877 and 1878. Its first performance was at a Russian Musical Society concert in Moscow on February 22 (or the 10th using the calendar of the time), 1878, with Nikolai Rubinstein as conductor. In Central Europe it sometimes receives the nickname "Fatum", or "Fate". A typical performance lasts about 40 minutes.

Max Bruch's Violin Concerto No. 1 in G minor, Op. 26, is one of the most popular violin concertos in solo violin repertoire and, along with the Scottish Fantasy, the composer's most famous work. It has been recorded often.

Max Bruch's Violin Concerto No. 2 in D minor, Op. 44 was composed during 1877, following a failed attempt in 1874, and dedicated to the great Spanish violinist, Pablo de Sarasate. It was premiered in London by Sarasate, conducted by Bruch, on 4 November 1877.

Max Bruch's Violin Concerto No. 3 in D minor, Op. 58, was composed in 1891 and dedicated to the violinist/composer Joseph Joachim, who had persuaded him to expand a single movement concert piece into a full violin concerto. It has never attained the same prominence as the G minor concerto.