Have changed to Max Bruch Scottish Fantasy, played by (of course,) the great Jascha Heifetz.

Real name: "Fantasy for Violin and Orchestra and Harp freely using Scottish Folk Melodies, in E-flat Major,Op.46"

Like Alan, put it,

"It's a nice piece, but no one plays it cuz its very ULU (malay; in this context means: UNKNOWN).

But I implore you to listen to this. The beginning may sound boring to you, if you may, but look deeper, and see and feel the intense pain that Heifetz's harsh tone brings out so effectively and heart-wrenchingly. You can almost visualize the tears flowing from the violin... Even the very first note of the solo violin... The B natural... The way it creeps in so softly, silently... The loneliness and the solitude that Heifetz portrays bring goose bumps everytime, without fail.

The trill gives way ends the introduction with a sense of acceptance somewhat, transforming the tragic opening to a romantic, folksong-like theme that fully does the "Scottish" title due explanation. The preceding harsh, edgy tone is immediately transformed, becoming lush, sweet and whole. It descends into intense longing in parts here and there, but most of it represents poise and dignity. I'd like to visualize a gentleman strolling through the rolling meadows of Scotland, now and then recounting bygone loves when coming across ruins of once magnificent castles, and noting his loneliness when he does. All this Heifeitz gives to his listeners, almost flawlessly, with such grace and style, and needless to say, technique, that no other soloist has managed for this particular piece. It is because of his Scottish Fantasy that I've come to truly appreciate his immense worth as a musician.

The other movements of course are worthy of your listening to, as well. But I chose the first because of its musical worth, and tragicness, and its amazing charm.

It is no wonder that this is undoubtedly the best recording of Bruch's Scottish Fantasy.

The first movement, Adagio cantabile, comes from the popular 18th century tune, "Through the Wood Laddie," possibly McGibbon's version. The original tune has a typical baroque flavor, using the old pentatonic scale. Bruch transforms it into a lush, romantic melody by employing double stops and the key of E-flat major. This tune is often misidentified as "Auld Rob Morris," one of the traditional tunes Bruch arranged for voice and piano in his Twelve Scottish Songs of 1863.

http://www.rachelbarton.com/mus_notes.htm
http://www.sheilascorner.com/scot.html