No. 194 of the ongoing ITYWLTMT series of audio montages can be found in our archives at https://archive.org/details/pcast194 |
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The second
of our three-part look at the violin concertos of Max Bruch considers
one of the greatest violinists and composers for the instrument of his
generation, Spain’s Pablo de Sarasate. The playwright and music critic
George 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".
Pablo
Sarasate was born in Pamplona, the son of an artillery bandmaster. He
began studying the violin with his father at the age of five and later took lessons
from a local teacher. So well received was his first public concert at
the age of eight that a wealthy patron provided for Sarasate to study under
Manuel Rodríguez Saez in Madrid, and laterunder Jean-Delphin Alard at the Paris
Conservatoire at the age of twelve. There, at seventeen, Sarasate entered a
competition and received the Premier Prix for his instrument at the prestigious
institution.
Sarasate’s
career took off after his Paris debut in 1860, touring many parts of the world,
performing in Europe, North America, and South 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 mainly showpieces, most notably the Carmen
Fantasy, and various other pieces that he had composed in order to demonstrate
his exemplary technique. The popularity of Sarasate's Spanish flavour in his
compositions is reflected in the work of his contemporaries; like Édouard
Lalo's Symphonie Espagnole which was dedicated to Sarasate; Georges Bizet's
Carmen; and Camille Saint-Saëns' Introduction and Rondo Capriccioso, written
expressly for Sarasate and dedicated to him.
Today’s
podcast begins with a selection of chamber virtuoso Spanish dances for piano
and violin, again showcasing this month’s violinist James Ehnes. Ehnes is also
our featured soloist in Bruch’s second violin concerto which has a link to the
Spanish virtuoso.
Indeed,
like Lalo, Wieniawski and Saint-Saëns, Max Bruch composed two works for
Sarasate; Bruch's Violin Concerto No. 2 in D minor was composed around 1878,
dedicated to and premiered in London by Sarasate with Bruch conducting, in
November 1878. Less frequently heard than last week’s concerto, Bruch himself
regarded the second as at least as fine as the famous first.
Partly
because of the poor critical reception of the concerto, Bruch decided to
dedicate a second work to Sarasate: his Scottish Fantasy (which, oddly enough,
was premiered by Joseph Joachim and not by Sarasate). Since we have already
featured the Fantasy on a podcast, I chose to provide here a YouTube video of
the work, again featuring James Ehnes and the Montreal Symphony (part of a Juno
Award winnin release of both works).
Sarasate
died in 1908 from chronic bronchitis. He bequeathed his violin, made by Antonio
Stradivari in 1724, to the Musée de la Musique. The violin now bears his name
as the Sarasate Stradivarius in his memory. His second Stradivari violin, the
Boissier of 1713, is now owned by Real Conservatorio Superior de Música,
Madrid. The Pablo Sarasate International Violin Competition is held in
Pamplona.
Tomás
Bretón (1850 –1923) was a Spanish conductor and composer who lived in
Sarasate’s time. Breton was one of the rare Spaniards to write symphonic music
as in Spain, orchestral ensembles barely existed. Among his compositions, there
is a violin concerto which Bretón dedicated to the memory of Sarasate. This
work completes our podcast this week.
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