Sarasate: Zigeunerweisen

Zigeunerweisen, Op. 20

Pablo de Sarasate
(1844-1909)

Born in Pamplona, the son of a military bandmaster, Sarasate was one of the most renowned Spanish musicians of his day, widely regarded as one of the finest violinists of the late 19^th century. As a boy he was the protégé of Queen Isabella of Spain, going on to study at the Paris Conservatory at the age of twelve, where he won prizes in violin, solfege and harmony. He embarked upon a career as a violin virtuoso, touring the Americas as early as 1867-71, with a return tour in 1889-90. From 1874 onward he was a regular visitor to London, where he took audiences by storm. Remembered today chiefly for his brilliant, crowd-pleasing virtuoso compositions, he was held in high esteem by the finest musicians of the day, including Brahms, Dvorak and Joachim. For someone likely to be dismissed as a “typically flashy fiddle-player,” it is striking to learn that Sarasate took great pleasure in performing chamber music. Some of the leading composers of his time composed major works for him, including Saint-Saens (Introduction and Rondo Capriccioso and 3^rd Violin Concerto), Lalo (Symphonie Espagnole), Wieniawski (2^nd Violin Concerto), and Bruch (Scottish Fantasy).

To persons of earnest high-mindedness Sarasate is likely to be scorned as the purveyor of encore kitsch. Fortunately today’s musical world is beginning to accept the notion that the musical equivalent of a chocolate dessert sometimes is just the thing to round out a concert menu. Of Sarasate’s many party pieces Zigeunerweisen (1878) and the Carmen Fantasy (1883) are best known to today’s listeners, with Zigeunerweisen (“Gypsy Tunes”) a perennial favourite over the generations. First published in Leipzig (which accounts for the German title by which it has always been known), the work has often been adapted for viola and cello---it is certainly fitting that the double bass should be given its turn in today’s performance, in an edition prepared by Joel Quarrington, who transposes the work to G Minor. It is interesting to note that Mr. Quarrington departs from common practice (in which the bass is tuned in fourths), tuning his instrument in FIFTHS, an octave below the tuning used by cellists.

Zigeunerweisen is quite simple in structure. After an declamatory opening in the orchestra, the soloist takes command, only rarely giving way to the orchestra thereafter! The first of two sections is given over to to characteristic yearning, heart-tugging melodic figures which were familiar ingredients in 19^th century “Gypsy” music. Sarasate is especially successful in capturing the rapturous emotional power which can still be heard in performances of genuine Gypsy music to this day. Set in a velvety G Minor, the music is full of soulful sighs and hesitations, the soloist displaying the full panoply of technical wizardry, with PIZZICATO effects, harmonics, arpeggiated figures, and every sort of melodic blandishment. The orchestra, always humble in its accompanying role, is allowed to set out a secondary theme of even more melting and expressive character---only to have the soloist snatch it away, naturally. Quite suddenly the music leaps into G Major, with a brisk and prancing rhythmic energy. An exhilarating new melody is unfolded, full of acrobatic tricks for the soloist, shifting into E Minor to hurtle onward to a zestful conclusion.