Violinists who visited Max Bruch to perform his 1st Violin Concerto (although he composed three) were driven away by the composer, who angrily exclaimed that he had written much more than just that particular piece. The immense success of this enchanting concerto has overshadowed his other compositions. Those familiar with the work, or even those encountering it for the first time, understand all too well why it is rightfully one of the most beloved romantic violin concertos.

However, Bruch has another work for violin and orchestra that may be considered even more remarkable. Technically, it poses greater challenges for the soloist than the 1st Violin Concerto, and it takes the form of a free fantasy rather than a traditional three-movement concerto. This work is the Scottish Fantasy, Op. 46, composed in 1880 for the legendary virtuoso Pablo de Sarasate, a Spanish musician who spent his entire life in France. Not long before, Édouard Lalo had created his exotic and daring Symphonie Espagnole (1875) for de Sarasate. This composition is another peculiar fusion of symphony, solo concerto, and suite. Bruch hesitated to label his piece a "fantasy" since this term typically refers to a shorter composition in free form, while he had created a substantial work lasting half an hour, encompassing a range of contrasting moods.