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Pablo de Sarasate | |
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_crop2.jpg) Pablo de Sarasate, c. 1890 (Newberry Library, Chicago) | |
| Born | Pablo Martín Melitón de Sarasate y Navascués (1844-03-10)10 March 1844 Pamplona, Spain |
| Died | 20 September 1908(1908-09-20) (aged 64) Biarritz, France |
| Occupations |
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| Years active | 1852–1904 |
| Relatives | Francisca Sarasate (sister) |
Pablo Martín Melitón de Sarasate y Navascués (Spanish pronunciation:[ˈpaβlosaɾaˈsate]; 10 March 1844 – 20 September 1908), commonly known asPablo de Sarasate, was a Spanishvirtuosoviolinist,composer andconductor of theRomantic period. His best known works includeZigeunerweisen (Gypsy Airs), theSpanish Dances, and theCarmen Fantasy.[1]
Sarasate was born inPamplona,Navarre, in 1844, the son of Don Miguel Sarasate, a local artillery bandmaster. Apparently, after seeing his father struggle with a passage for a long time, he picked up the violin and played it perfectly. He began studying the violin with his father at the age of five and later took lessons from a local teacher. His musical talent became evident early on and he appeared in his first public concert inA Coruña at the age of eight.
His performance was well-received, and caught the attention of a wealthy patron who provided the funding for Sarasate to study under Manuel Rodríguez Saez inMadrid, where he gained the favor ofQueen Isabella II. Later, as his abilities developed, his parents decided to send him to study underJean-Delphin Alard at theParis Conservatoire at the age of twelve. Aboard the train en route toParis, his mother (who had been accompanying him) died of a heart attack at the Spanish-French border, and Sarasate was found to be suffering fromcholera. The Spanish Consul inBayonne took Sarasate to his home and nursed him back to health, then financed his trip to Paris.[2][3]
There, Sarasate auditioned successfully for Alard, who arranged for him to live with his colleague Théodore de Lassabathie, administrator of the Conservatoire.[2][4] At seventeen, Sarasate entered a competition for the Premier Prix and won his first prize, the Conservatoire's highest honor. (No other Spanish violinist achieved this untilManuel Quiroga did so in 1911; Quiroga was frequently compared to Sarasate throughout his career.)
Sarasate, who had been publicly performing since childhood, made his Paris debut as a concert violinist in 1860, and played inLondon the following year. Over the course of his career, he toured many parts of the world, performing inEurope,North America, andSouth America. His artistic pre-eminence was due principally to the purity of his tone, which was free from any tendency towards the sentimental or rhapsodic, and to that impressive facility of execution that made him a virtuoso. In his early career, Sarasate performed mainlyopera fantasies, most notably theCarmen Fantasy, and various other pieces that he had composed. The popularity of Sarasate's Spanish flavour in his compositions is reflected in the work of his contemporaries. For example, the influences of Spanish music can be heard in such notable works asÉdouard Lalo'sSymphonie espagnole which was dedicated to Sarasate;Georges Bizet'sCarmen; andCamille Saint-Saëns'Introduction and Rondo Capriccioso, written expressly for Sarasate and dedicated to him.
Of Sarasate's idiomatic writing for his instrument, the playwright and music criticGeorge Bernard Shaw once declared that though there were many composers of music for the violin, there were but few composers of violin music. Of Sarasate's talents as performer and composer, Shaw said that he "left criticism gasping miles behind him". Sarasate's own compositions are mainly show-pieces designed to demonstrate his exemplary technique. Perhaps the best known of his works isZigeunerweisen (1878), a work for violin and orchestra. Another piece, theCarmen Fantasy (1883), also for violin and orchestra, makes use of themes from Georges Bizet's operaCarmen. Probably his most performed encores are his four books ofSpanish Dances, Opp. 21, 22, 23, 26, brief pieces designed to please the listener's ear and show off the performer's talent. He also made arrangements of a number of other composers' work for violin, and composed sets of variations on "potpourris" drawn from operas familiar to his audiences, such as his Fantasia onLa forza del destino (his Opus 1), his "Souvenirs deFaust", or his variations on themes fromDie Zauberflöte.
AtBrussels, he metBerthe Marx, who traveled with him as soloist and accompanist on his tours through Europe, Mexico, and the US; playing in about 600 concerts. She also arranged Sarasate'sSpanish Dances for the piano.[5] In 1904, he made a small number of recordings. In all his travels Sarasate returned to Pamplona each year for theSan Fermín festival.[6]
Sarasate died inBiarritz,France, on 20 September 1908, from chronic bronchitis. He bequeathed his violin, made byAntonio Stradivari in 1724, to theMusée de la Musique. The violin now bears his name as theSarasate Stradivarius in his memory. His second Stradivari violin, theBoissier of 1713, is now owned byReal Conservatorio Superior de Música, Madrid. Among his violin pupils wereAlfred de Sève andM. J. Niedzielski. The Pablo Sarasate International Violin Competition is held in Pamplona.
A number of works for violin were dedicated to Sarasate, includingHenryk Wieniawski'sViolin Concerto No. 2,Édouard Lalo'sSymphonie espagnole,Camille Saint-Saëns'Violin Concerto No. 3 and hisIntroduction and Rondo Capriccioso,Max Bruch'sScottish Fantasy, andAlexander Mackenzie'sPibroch Suite. Also inspired by Sarasate isWilliam H. Potstock'sSouvenir de Sarasate.
Sarasate composed more than fifty works, all of which include the violin. He assignedopus numbers to 54 of them.[8]
| Opus | Composition | Year | Instrumentation |
|---|---|---|---|
| — | Chopin (arr. Sarasate) Nocturne Op.9 No.2 | Violin and piano | |
| — | Moszkowski (arr. Sarasate) Guitarre Op.45 No.2 | 1890 | Violin and piano |
| — | Fantaisie-Caprice | 1862 | Violin and piano |
| — | Los pájaros de Chile (The Birds of Chile) | 1871 | Violin and piano |
| — | Mazurka en mi (Mazurka in E) | Violin and piano | |
| — | Souvenir deFaust (Gounod) | 1865 | Violin and piano |
| 1 | Fantasy onLa forza del destino (Verdi) | Violin and piano | |
| 2 | Homenaje aRossini | 1866 | Violin and piano |
| 3 | La dame blanche (Boieldieu) | Violin and orchestra | |
| 4 | Réverie (Dream) | 1866 | Violin and piano |
| 5 | Fantasy onRoméo et Juliette (Gounod) | 1868 | Violin and piano |
| 6 | Caprice onMireille | Violin and piano | |
| 7 | Confidences | Violin and piano | |
| 8 | Souvenir de Domont (Vals de salón) | Violin and piano | |
| 9 | Les Adieux (The Farewell) | 1899 (?) | Violin and piano |
| 10 | Sérénade Andalouse (Andalusian Serenade) | Violin and piano | |
| 11 | Le sommeil (The Sleep) | Violin and piano | |
| 12 | Moscovienne (Muscovite) | Violin and piano | |
| 13 | New Fantasy onFaust (Gounod) | 1874 | Violin and orchestra |
| 14 | Fantasy onDer Freischütz (Weber) | 1874 | Violin and orchestra |
| 15 | Mosaíque deZampa (Herold) | Violin and piano | |
| 16 | Gavota onMignon (Thomas) | 1869 | Violin and piano |
| 17 | Prière et Berceuse (Prayer and Lullaby) | 1870 | Violin and piano |
| 18 | Airs espagnols (Spanish Airs) | 1874 (?) | Violin and piano |
| 19 | Réminiscence onMartha (Flothow) | Violin and piano | |
| 20 | Aires Bohemios,Zigeunerweisen (Gypsy Airs) | 1878 | Violin and orchestra |
| 21 | Malagueña y Habanera (Spanish Dances Nos. 1, 2 - Book I) | 1878 | Violin and piano |
| 22 | Romanza andaluza y Jota navarra (Spanish Dances Nos. 3, 4 - Book II) | 1878 | Violin and piano |
| 23 | Playera y Zapateado (Spanish Dances Nos. 5, 6 - Book III) | 1880 | Violin and piano |
| 24 | Caprice Basque (Basque Caprice) | 1880 | Violin and piano |
| 25 | Fantasy onCarmen (Bizet) | 1882 | Violin and orchestra |
| 26 | Vito y Habanera (Spanish Dances Nos.7, 8 - Book IV) | 1881 ca. | Violin and piano |
| 27 | Jota aragonesa | Violin and piano | |
| 28 | Serenata andaluza (Andalusian serenade) | 1883 | Violin and piano |
| 29 | El canto del ruiseñor (The Nightingale's Song) | Violin and orchestra | |
| 30 | Bolero | 1885 | Violin and piano |
| 31 | Balada (Ballade) | 1885 | Violin and piano |
| 32 | Muiñeira | 1885 | Violin and orchestra |
| 33 | Navarra | 1889 | 2 Violins and orchestra |
| 34 | Airs Écossais (Scottish Airs) | 1872 | Violin and orchestra |
| 35 | Peteneras, Caprice espagnol | Violin and piano | |
| 36 | Jota de San Fermín | 1894 | Violin and piano |
| 37 | ZortzicoAdiós montañas mías | 1895 | Violin and piano |
| 38 | Viva Sevilla!(Live Seville!) | 1896 | Violin and orchestra |
| 39 | Zortzico de Iparraguirre | Violin and piano | |
| 40 | Introduction et Fandango varié (Introduction and Fandango Variations) | Violin and piano | |
| 41 | Introduction et Caprice-jota (Introduction and Caprice-Jota) | 1899 | Violin and orchestra |
| 42 | ZortzicoMiramar | 1899 | Violin and orchestra |
| 43 | Introduction et Tarantelle (Introduction and Tarantella) | 1900 | Violin and orchestra |
| 44 | La chasse (The Hunt) | 1901 | Violin and orchestra |
| 45 | Nocturno - Serenata (Nocturne - Serenade) | 1901 | Violin and orchestra |
| 46 | Gondoliéra Veneziana | Violin and piano | |
| 47 | Melodía rumana (Romanian Melody) | 1901 | Violin and piano |
| 48 | L'Esprit Follet | 1904 | Violin and orchestra |
| 49 | Canciones rusas (Russian Songs) | 1904 | Violin and orchestra |
| 50 | Jota de Pamplona (Pamplona's Jota) | 1904 | Violin and orchestra |
| 51 | Fantasy onDon Giovanni (Mozart) | Violin and piano | |
| 52 | Jota de Pablo (Pablo's Jota) | 1906 | Violin and orchestra |
| 53 | Le Rève (The Dream) | 1908 | Violin and piano |
| 54 | Fantasy onDie Zauberflöte (Mozart) | 1908 | Violin and orchestra |
This article incorporates text from this source, which is in thepublic domain: I. Singer & C. Adler'sThe Jewish Encyclopedia: A Descriptive Record of the History, Religion, Literature, and Customs of the Jewish People from the Earliest Times to the Present Day (1912)
This article incorporates text from a publication now in thepublic domain: Chisholm, Hugh, ed. (1911). "Sarasate y Navascues, Pablo Martin Meliton de".Encyclopædia Britannica. Vol. 24 (11th ed.). Cambridge University Press. p. 204.
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