The 19th century was a heyday for arrangements of all kinds. So it was natural that the composer and violin virtuoso Sarasate should turn to this genre to expand his repertoire. He composed numerous fantasies on successful operas of the time, but pride of place undoubtedly belongs to his Carmen Fantasy. For this arrangement, composed in 1881, Sarasate deliberately chose those numbers that most clearly convey the Spanish atmosphere of the opera. Besides a version for violin and piano, Sarasate also wrote one with orchestral accompaniment. Both have since then delighted audiences and critics alike. This Henle Urtext edition is the first-ever critical edition of the work, and takes the sources for both versions into account. The solo part has been annotated by Augustin Hadelich.
Read more about this edition in the Henle Blog.
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The fantasy on opera themes is one of the genres that the young Pablo de Sarasate (1844 – 1908) cultivated most intensively in order to showcase his talent as a violinist. Most violin virtuosos of the time had such fantasies in their repertoires, since the prevailing passion for opera made these works very popular with audiences. The genre therefore played an important … more
About the composer
Pablo de Sarasate
A violinist and composer from Spain. During his childhood he already rose to become a celebrated virtuoso whose precise playing was described as brilliant and having a beautiful tonal quality. He was the dedicatee of world-famous violin concerti including Max Bruch’s Violin Concerto No. 2, op. 44. He himself wrote works for orchestra, including fantasies on operatic themes, as well as salon and chamber music. His musical language is characterized by folk elements.
|1844||Born in Pamplona on March 10. His father, the director of a military band, fosters his musical education. A child prodigy, he makes his debut as a violinist at approximately eight years of age. He studies in Madrid with Manuel Rodríquez.|
|1856||With the support of the Spanish court he studies violin at the Paris Conservatoire under Jean-Delphin Alard and harmony with Napoléon-Henri Reber.|
|1857||He is awarded the Conservatoire’s first prize in violin.|
|1858||He wins the Conservatoire’s first prize in harmony.|
|from 1860||Up to 200 concerts per year take him throughout Europe, Russia, the United States, and South America. His repertoire includes the violin concerti of Beethoven and Mendelssohn. He also increasingly focuses on chamber music.|
|1908||Dies in Biarritz on September 20.|