Pablo de Sarasate

Pablo de Sarasate studied at Conservatoire de Paris. Training under Lambert Massart and Jean-Delphin Alard is recorded. José Antonio Huarte is recorded as having studied under Pablo de Sarasate. The recorded working language is Spanish. The field of work recorded is music. Subjects and genres recorded for the work are Romanticism. Works named in the authority record are Zigeunerweisen and Carmen Fantasy. Work by Pablo de Sarasate is recorded in the collections of Tate. Distinctions recorded are Grand Cross of the Order of Isabella the Catholic, Grand cross of the Civil Order of Alfonso XII, Order of the Dannebrog and Honorary Member of the Royal Philharmonic Society.

• Birth Name — Pablo Martín Melitón de Sarasate y Navascués • Born — 10 March 1844 • Birthplace — Pamplona, Spain • Died — 20 September 1908 • Place of death — Biarritz, France • Occupation — * Violinist • composer • conductor • Years Active — 1852–1904 • Relatives — Francisca Sarasate (sister)

• Illustration — Pablo de Sarasate in 1905 Sarasate was born in Pamplona, 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 in La 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 in Madrid, where he gained the favor of Queen Isabella II. Later, as his abilities developed, his parents decided to send him to study under Jean-Delphin Alard at the Paris Conservatoire at the age of twelve. Aboard the train en route to Paris, his mother (who had been accompanying him) died of a heart attack at the Spanish-French border, and Sarasate was found to be suffering from cholera. The Spanish Consul in Bayonne took Sarasate to his home and nursed him back to health, then financed his trip to Paris. There, Sarasate auditioned successfully for Alard, who arranged for him to live with his colleague Théodore de Lassabathie, administrator of the Conservatoire. 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 until Manuel 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 in London the following year. Over the course of his career, he toured 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 opera fantasies, most notably the Carmen 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 as 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. • Illustration — Photo of Sarasate from an Austrian newspaper in 1906 Of Sarasate's idiomatic writing for his instrument, 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". Sarasate's own compositions are mainly show-pieces designed to demonstrate his exemplary technique. Perhaps the best known of his works is Zigeunerweisen (1878), a work for violin and orchestra. Another piece, the Carmen Fantasy (1883), also for violin and orchestra, makes use of themes from Georges Bizet's opera Carmen. Probably his most performed encores are his four books of Spanish 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 on La forza del destino (his Opus 1), his "Souvenirs de Faust", or his variations on themes from Die Zauberflöte. At Brussels, he met Berthe 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's Spanish Dances for the piano. In 1904, he made a small number of recordings. In all his travels Sarasate returned to Pamplona each year for the San Fermín festival. • Illustration — The familiar figure of Sarasate caricatured as a "Man of the Day" for Vanity Fair, 1889 Sarasate died in Biarritz, France, on 20 September 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. Among his violin pupils were Alfred de Sève and M. J. Niedzielski. The Pablo Sarasate International Violin Competition is held in Pamplona. A number of works for violin were dedicated to Sarasate, including Henryk Wieniawski's Violin Concerto No. 2, Édouard Lalo's Symphonie espagnole, Camille Saint-Saëns' Violin Concerto No. 3 and his Introduction and Rondo Capriccioso, Max Bruch's Scottish Fantasy, and Alexander Mackenzie's Pibroch Suite. Also inspired by Sarasate is William H. Potstock's Souvenir de Sarasate.

• James Whistler's Arrangement in Black: Pablo de Sarasate (1884) is a portrait of Pablo Sarasate. • In Arthur Conan Doyle's short story The Red-Headed League (1891), Sherlock Holmes and Dr. John H. Watson attend a concert by Sarasate. Violinist Bruce Dukov portrays Sarasate in the 1984 Granada Television adaptation of the story. • Sarasate is a major figure in Murder to Music, a Sherlock Holmes pastiche by Anthony Burgess. Holmes is also mentioned as attending a Sarasate concert in The Treasure Train by Frankie Thomas. • In Edith Wharton's 1920 novel The Age of Innocence, set in 1870s New York, the main protagonist is invited to a private recital to be given by Sarasate. • Zigeunerweisen is the title of Seijun Suzuki's 1980 movie, the first of the so-called Taisho Trilogy. A recording of the air of the same title by Sarasate, and his that can be heard on the recording, are one of the themes of the movie. • He appears in Mercedes Lackey's Elemental Masters story A Study in Sable (based on the folk tale "The Twa Sisters"), as an Elemental Master of Spirit, able to conjure, speak with, and to some extent control ghosts with his music; he even goes so far as to use a bow made of the bone and hair of a murdered woman in an effort to bring her murderous sister to justice.

• I. Singer & C. Adler's The 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) *

The authorities additionally record the headings Martin Meliton Sarasate, Pablo Martin Meliton de Sarasate y Navascues and Pablo Martín Melitón Sarasate y Navascuéz. His recorded language was Spanish.

Pablo de Sarasate is recorded as having received Grand Cross of the Order of Isabella the Catholic, Grand cross of the Civil Order of Alfonso XII and Order of the Dannebrog.