Pablo Martín Melton Sarasate y Navascuez, better known as Pablo de Sarasate, made his public debut at the age of eight. At twelve, he entered the Paris Conservatory thanks to a scholarship granted by Queen Isabella II of Spain after dazzling the court in Madrid with his talent. Five years later, he won first prize for violin at the Conservatory.
The violinist
Born in 1844 in Pamplona, the city famous for the running of the bulls in the festival of San Fermin, nowadays in the doldrums due to the legitimate "animalistic" claims, he will start from Paris an extensive and endless tour that will last almost three decades, touring Europe and the United States, reaping successes and recognition of the authors in vogue who will dedicate their works to him and will gladly agree to request works for his instrument, the violin.
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| Pablo de Sarasate (1844 - 1908) |
The composer
Pablo de Sarasate is the author of around 50 pieces for violin and piano (or violin and orchestra), which formed part of his sought-after repertoire. Among the most popular are Aires Gitanos (Zigeunerweisen), from 1878, and the Fantasia on Carmen, Bizet's opera, composed in 1883 when the opera had already gained public favor after its failed premiere in 1875, which left the unfortunate Georges convinced he had composed a failed work, three months before his death.
Sarasate spent the last years of his life in a villa in Biarritz, France. But he did not forget his origins. Every year, until his death, he traveled to Pamplona, to celebrate with his violin the festivities of San Fermin.
The Spanish Dances
Between 1878 and 1882, Sarasate composed four volumes of short Spanish dances, for violin and piano or violin and orchestra (Opus 21 to 23, and 26), which quickly won the favor of the public, generating not inconsiderable economic income for the author and others involved in his performance.
The most famous of these is Zapateado, which is No. 2 of Opus 23. The dance not only derives its rhythm and gestures directly from Spanish popular music but also represents a sort of catalog of "violinistic" effects, very popular among the virtuosos of the instrument at the end of the 19th century.
The rendition is by Japanese-American artist Midori Goto. At the piano, Robert McDonald.
