Pablo de Sarasate - Danzas Españolas, Op. 21 / Spanish Dances (Century's record.: Ruggiero Ricci)

Sarasate: Danzas Españolas & Pieces by Ruggiero Ricci
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Pablo de Sarasate (1844-1908) Danzas Españolas, Op. 21 / Remastered
00:00 Danzas Españolas No. 1: Malagueña, Op. 21 No. 1
04:05 Danzas Españolas No. 2: Habanera, Op. 21 No. 2
07:33 Danzas Españolas No. 3: Romanza andaluza, Op. 22 No. 1
11:44 Danzas Españolas No. 4: Jota navarra, Op. 22 No. 2
16:04 Danzas Españolas No. 5: Playera, op. 23 No. 1
19:50 Danzas Españolas No. 6: Zapateado, Op. 23 No. 2
23:16 Danzas Españolas No. 7: Vito, op. 26 No. 1
28:26 Danzas Españolas No. 8: Habanera, Op. 26 No. 2

Serenata Andaluza, Op. 28
Introduction et Tarantelle, Op. 43
Caprice Basque, Op. 24

Complete Remastered edition (Sarasate: Danzas Españolas & Pieces by Ruggiero Ricci) available on: Qobuz (Hi-Res 24/96), Apple Music, Amazon Music, Tidal, Deezer, Spotify, Youtube Music...: https://www.youtube.com/watch?v=627SYQPJWPM&list=OLAK5uy_kObrPNTTYWk8CcgkltBluYPFZjDmUzP9M&index=9

Violin: Ruggiero Ricci
Piano: Brooks Smith
Recorded in 1961, at New York
New mastering in 2023 by AB for CMRR
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Spanish violinist and composer Pablo de Sarasate (1844-1908) follows in the footsteps of the Franco-Belgian violin school. His exceptional talent earned him a scholarship to work in Madrid with Manuel Rodríguez Sáez. Queen Isabelle II took notice of him and allowed him to study at the Paris Conservatoire, where he was admitted in 1856; he attended the classes of Delphin Alard (violin) and Henri Reber (harmony), winning first prizes in violin and solfeggio in 1857, followed by a harmony prize in 1859. His international career quickly took off.

Pablo de Sarasate's vertiginous technique impressed both the general public and the most discerning amateurs. His style was very new, compared to that of Joseph Joachim, considered the greatest violinist of the time: rapid vibrato, varied and perfectly controlled portamento, a quest for the most charming sonorities, rhythmic agility and precision, but also classical purity of expression. This rigor and sobriety, mistaken for coldness at the time, earned him much criticism; it's never easy to be ahead of one's time.

Yet the composers of the day were fascinated, and made no mistake. Witness the many works composed for Pablo de Sarasate, including Max Bruch's Second Violin Concerto and Scottish Fantasy, Antonín Dvořák's Mazurek, Édouard Lalo's Symphonie espagnole and Violin Concerto, Camille Saint-Saëns' Third Violin Concerto, Op. 61, and Introduction et rondo capriccioso, Henryk Wieniawski's Second Violin Concerto; Joachim himself wrote the Variations for violin and orchestra for Sarasate. All of which hints at Sarasate's extraordinary means and expressive qualities. Sarasate formed a string quartet (1860-1870) that often included Brahms' quartets in its programs, while the triumphant soloist always refused, for reasons that remain unexplained, to perform the latter's Violin Concerto.

By contrast, his repertoire extends to composers such as Joachim Raff and Karl Goldmark. Schubert's difficult Fantasy for violin and piano, in C major, D 934, is one of his most remarkable hobbyhorses. Pablo de Sarasate played on many precious violins, including two Stradivari - the 1713 "Boissier" and a 1724 instrument, his favorite, which is kept at the instrumental museum of the Paris Conservatoire - and the famous 1742 Guarnerius del Gesù, which had belonged to Ferdinand David, creator of the Mendelssohn concerto, and which passed through the hands of Jascha Heifetz.

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