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Pablo Sarasate was born 10 March 1844 in Pamplona, Navarre, 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. His musical talent became evident early on and he appeared in his first public concert in A 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, he was sent to study under Jean-Delphin Alard at the Paris Conservatoire at the age of twelve.
There, at seventeen, Sarasate entered a competition for the Premier Prix and won his first prize, the Conservatoire’s highest honour. (There was not another Spanish violinist to achieve 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.
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 two books of Spanish dances, 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 of Faust“, or his variations on themes from Die Zauberflöte. In 1904 he made a small number of recordings. In all his travels Sarasate returned to Pamplona each year for the San Fermín festival.
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 was Alfred De Sève. The Pablo Sarasate International Violin Competition is held in Pamplona. (Wikipedia)
Following recording Zigeunerweisen is performed by Chrissie Telma Guðmundsdóttir (violin) and The Iceland Amateur Symphony Orchestra directed by Oliver Kentish.
This was recorded at Seltjarnarnes Church 16th of October 2016.
Thanks to Oliver and Chrissie who gave me a permission to publish this recording on the web.

(320Mbps / 24,4Mb)

Recorder: Sound devices 788
Mics: Neumann KM184 (NOS) & Line Audio OM1 (AB40) in 3m above orchestra. Sennheiser MKH20 for bass and Line Audio CM3 on soloist (Chrissie).
Location: 64.1485379,-22.0052351

More information:
Chrissie Telma Guðmundsdóttir
Oliver Kentish
The Iceland Amateur Symphony Orchestra

Auglýsingar

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Guitar on wall   Gítar á vegg

Mario Castelnuovo-Tedesco (1895 – 1968) fæddist í Flórens og starfaði fyrri hluta starfsævinnar á Ítalíu sem tónskáld og píanóleikari. Hann var af gyðingaættum og flúði til Bandaríkjanna árið 1939 með konu sinni og tveimur ungum sonum. Hann settist að í Hollywood, starfaði fyrir MGM Studios og samdi tónlist við fjölda kvikmynda. Hann samdi einnig mikinn fjölda annarra verka, þ.á.m. sjö óperur og yfir 300 verk fyrir gítar, þar á meðal tvo gítarkonserta og einn konsert fyrir tvo gítara. Tedesco var einnig eftirsóttur kennari, kenndi meða annarra John Williams, Henry Mancini og André Previn. Sá síðastnefndi lét eitt sinn þau orð falla að til þess að fá verkefni í kvikmyndaverum Hollywoods væri nánast skylda að vera nemandi Castelnuovo-Tedesco.
Hér er á ferðinni annar þáttur af þremur úr gítarkonsert nr. 1, í D dúr, ópus 99 sem saminn var fyrri hluta árs 1939 fyrir Andrés Segovia. Þessi annar þáttur sem byggður er á stefjum ítalskra þjóðlaga, er saknaðarfull kveðja til fósturjarðarinnar.
Þórarinn Sigurbersson spilar á gítar með Sinfóníuhljómsveit áhugamanna. Oliver Kentish stjórnar. Tónleikarnir voru haldnir 13. febrúar 2011 í Seltjarnarneskirkju
Bæði Þórarinn og Oliver gáfu leyfi fyrir því að þetta færi á vefinn.

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I am so lucky to be able to train my self recording a symphony orchestra several times a year.
On 13th February 2011 was the Amateur orchestra playing Guitar Concerto, Op. 99 by Mario Castelnuovo-Tedesco. Here is second episode; Andantino Romanza.
Guitar player is Þórarinn Sigurbergsson. Director Oliver Kentish
Recorder: Korg MR1000 1bit/5,644Mhz with two Sound devices 302 preamps
Mic: one pair SE4400 (MS setup for orchestra) and one pair SE1a (X/Y setup for guitar)
Pix: Nokia N82 – in local store Tónastöðin

Sækja mp3 skrá (192kbps / 9,8Mb)

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Snorri Sigfús Birgisson (f. 1945) stundaði píanónám fyrst hjá Gunnari Sigurgeirssyni en innritaðist síðan í Tónlistarskólann í Reykjavík. Þar lærði hann á píanó hjá Hermínu S. Kristjánsson, Jóni Nordal og Árna Kristjánssyni en lagði einnig stund á tónsmíðar hjá Þorkeli Sigurbjörnssyni. Hann lauk einleikaraprófi 1974. Þá tók við framhaldsnám í píanóleik hjá Barry Snyder við Eastman School of Music í Bandaríkjunum og tónsmíðanám í Osló hjá Finn Mortensen og hjá Ton de Leeuw í Amsterdam. Veturinn 1978-79 bjó hann í París og árið eftir í London þar sem hann kenndi á píanó. Snorri hefur starfað í Reykjavík sem tónskáld, píanóleikari, tónlistarkennari og stjórnandi síðan 1980. Hann hefur samið einleiksverk, kammertónlist, raftónlist, kórtónlist og sinfónísk verk. Hymni fyrir strengjasveit var saminn árið 1982 fyrir Nýju strengjasveitina og frumflutt undir stjórn höfundar á tónleikum í Bústaðakirkju. Verkið samanstendur af 11 köflum sem allir eru í mixólýdískri tóntegund, mjög stuttir og hægir. Flutningur verksins er hér tileinkaður minningu Önnu Snorradóttur, móður tónskáldsins.
Upptakan sem hér má heyra með leyfi höfundar, er flutt af Sinfóníuhljómsveit áhugamanna 7. febrúar 2010 í Seltjarnarneskirkju. Var hún tekin upp í DSD 1bit/5,644Mhz á Korg MR1000 og Sound device 305 formagnara. Tveimur SE4400 hljóðnemum (sterio) og einum SE4 (miðju), sem allir voru staðsettir á einni 2,5 metra hárri súlu framan við stjórnandann Oliver Kentish.
Sækja MP3 skrá (192kbps / 22.9mb)

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