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»ç¶ó»çÅ×, Pablo de Sarasate, Violinist, Spain | ||
Æĺí·Î µ¥ »ç¶ó»çÅ× (Pablo de Sarasate) ¹ÙÀ̿ø®´Ï½ºÆ®, ÀÛ°î°¡ [º»¸í] Æĺí·Î µ¥ »ç¶ó»çÅ× Pablo de Sarasate [Ãâ»ý] 1844³â 3¿ù 10ÀÏ ½ºÆäÀÎ ¿Õ±¹ ÆÊÇ÷γª [½ºÆäÀÎ ÆÊÇ÷γª Pamplona] [»ç¸Á] 1908³â 9¿ù 20ÀÏ (64¼¼) ÇÁ¶û½º °øȱ¹ ºñ¾Æ¸®Ã÷ [ÇÁ¶û½º ºñ¾Æ¸®Ã÷ Biarritz] [Á÷¾÷] ÀÛ°î°¡, ¹ÙÀ̿ø®´Ï½ºÆ® [»çÁ¶] Èı⠳¶¸¸ÁÖÀÇ [Çз»çÇ×] Æĸ®±¹¸³À½¾Ç¿ø [»ý¾Ö È°µ¿ ¹× ÀÛÇ°] Æĺí·Î µ¥ »ç¶ó»çÅ×(Pablo de Sarasate, 1844³â 3¿ù 10ÀÏ ~ 1908³â 9¿ù 20ÀÏ)´Â ½ºÆäÀÎÀÇ ¹ÙÀ̿ø° ¿¬ÁÖÀÚÀÌÀÚ ÀÛ°î°¡ÀÌ´Ù. 19¼¼±âÀÇ °¡Àå ¶Ù¾î³ ¹ÙÀ̿ø®´Ï½ºÆ®ÀÇ ÇÑ »ç¶÷ÀÌ´Ù. »ç¶ó»çÅ×´Â ½ºÆäÀÎÀÇ ÆÊÇ÷γª¿¡¼ Ãâ»ýÇØ, ¸¶µå¸®µå¿¡¼ À½¾Ç°øºÎ¸¦ ¹Þ°í, [½ºÆäÀÎ ÆÊÇ÷γª Pamplona] [½ºÆäÀÎ ¸¶µå¸®µå Madrid] 1856³â ¿©¿Õ À̻级¶ó 2¼¼¿Í ³ª¹Ù¶óÁÖÀÇ ÀåÇбÝÀ¸·Î Æĸ® À½¾Ç¿ø(Conservatoire de Paris)¿¡ ÀÔÇÐÇÏ¿© ¾Ë¶ó¸£ÀÇ °¡¸£Ä§À» ¹Þ¾Ò´Ù. ¾î·Á¼ºÎÅÍ °üÁßµé ¾Õ¿¡¼ ¿¬ÁÖÇÑ ±×´Â 1860³â Æĸ®¹«´ë¿¡ µ¥ºßÇß°í À̵ëÇØÀÎ 1861³â ·±´ø¿¡¼ µ¥ºßÇß´Ù. [1800³â´ë ¸»~1900³â´ë ÃÊ ·±´øÀÇ ¸ð½À] ±×´Â À¯·´ °¢Áö¿Í ³², ºÏ¾Æ¸Þ¸®Ä«¿¡ °ÉÄ£ ´ë ¿¬ÁÖ¿©ÇàÀ» ÇÏ¿© ¼º°øÀ» °ÅµÎ°í, ÆÄ°¡´Ï´Ï(1782¡1840) ÀÌ·¡ÀÇ ¹ÙÀ̿ø°ÀÇ ´ë°¡·Î¼ ¸í¼ºÀ» ¶³ÃÆ´Ù. 1870³â¿¡ ±×´Â ´Ù½Ã Æĸ®·Î µ¹¾Æ¿Í È°¹ßÇÑ ¿¬ÁÖ È°µ¿À» °è¼ÓÇÏ¿´´Ù. [1800³â´ë ¸»~1900³â´ë ÃÊ ÇÁ¶û½º Æĸ®ÀÇ ¸ð½À] ÇÁ¶û½ºÀÇ ÀÛ°î°¡ ¶ö·Î´Â ±×ÀÇ ÃÖÃÊÀÇ '¹ÙÀ̿ø° ÇùÁÖ°î 1¹ø' °ú '½ºÆäÀÎ ±³Çâ°î'À» ±×¿¡°Ô ÇåÁ¤ÇÏ¿´°í »ý»ó½ºµµ '¼ÁÖ¿Í ·Ðµµ Ä«ÇÁ¸®Ä¡¿À¼Ò'¸¦, µ¶ÀÏÀÇ ÀÛ°î°¡ ºê·çÈå(1838¡1920)µµ '¹ÙÀ̿ø° ÇùÁÖ°î Á¦2¹ø' °ú '½ºÄÚƲ·£µå ȯ»ó°î'À» ±×¸¦ À§ÇØ ½è´Ù. Æø³ÐÀº ºñºê¶óÅä¿Í °³¼ºÀûÀÎ ¸®µëÀÇ ¿¬ÁÖ´Â ¼¼°è ¿©·¯ ³ª¶óÀÇ Ã»ÁßµéÀ» ¿±¤½ÃÄ×´Ù. ±×ÀÇ ÀÛÇ°Àº ÁÖ·Î ¹ÙÀ̿ø° °îÀ¸·Î¼ <Ä¡°íÀ̳ʹÙÀÌÁ¨>, <Ä«¸£¸à ȯ»ó°î>, <¿¡½ºÆÄ³Ä ¹«°î> µîÀÇ ¸í°îÀÌ ÀÖ´Ù. [»ç¶ó»çÅ×ÀÇ ÀÛÇ°¸ñ·Ï] Ä«¸£¸à ȯ»ó°î Op.25 (1840³â) ¿¡½ºÆÄ³Ä ¹«°î Op.21,22,23,26 Ä¡°íÀ̳ʹÙÀÌÁ¨ Op 1. Fantasy on La forza del destino Op 2. Homenaje a Rossini Op 3. Concert Fantasy on Boieldieus La Dame Blanche, Op 4. Reverie Op 5. Concert Fantasy on Gounods Romeo and Juliet, Op 6. Caprice on Mireille Op 7. Confidences Op 8. Souvenir de Domont Op 9. Les Adieux Op 10. Serenade Andalouse Op 11. Le sommeil Op 12. Moscovienne Op 13. Concert Fantasy on Gounods Faust Op 14. Concert Fantasy on Webers Der Freischutz Op 15. Mosaique de Zampa Op 16. Gavota on Mignon Op 17. Priere at Berceuse Op 18. Airs espagnols Op 19. Fantasy on Martha Op 20. Zigeunerweisen Op 21. Spanish Dances for Violin and Piano Op 21-1. Malaguena Op 22. Spanish Dances for Violin and Piano Op 22-1. Romanza andaluza Op 22-2. Jota Navarra Op 23. Spanish Dances for Violin and Piano Op 23-1. PlayeraOp 23-2. Zapateado Op 24. Caprice basque Op 25. Carmen Fantasy for Violin and Orchestra Op 26. Spanish Dances for Violin and Piano Op 26-1. Dance in C Op 26-2. Dance in C Op 27. Jota aragonesa, for violin & piano Op 28. Serenade andalouse, for violin & piano Op 29. El Canto del ruisenor, for violin & orchestra Op 30. Bolero for Violin and Piano Op 31. Balada Op 32. Muneira Op 33. Navarra for 2 Violins and Piano Op 34. Airs ecossais Op 35. Peteneras, for violin & piano Op 36. Jota de San Fermin Op 37. Zortizico Adios montanas mias, for violin & piano Op 38. Viva Sevilla Op 39. Zortzico de Iparaguirre, for violin & piano Op 40. Introduction et fandango varie Op 41. Introduction et caprice-jota Op 42. Miramar-Zortzico, for violin & orchestra Op 43. Introduction and Tarantela Op 44. La chase Op 45. Nocturne-serenade Op 46. Barcarolle venitienne Op 47. Melodie roumaine, for violin & piano Op 48. Lesprit follet Op 49. Chansons russes, for violin & orchestra Op 50. Jota de Pamplona Op 51. Fantasy on Don Giovanni Op 52. Jota de Pablo, for violin & orchestra Op 53. La Reve Op 54. Concert fantasy on Mozarts Magic Flute [ÁÖ¿äÀÛÇ°] ¡¸Áö°íÀ̳׸£¹ÙÀÌÁ¨¡¹ Op.20, No.1 ¡¸ÇϹٳ׶ó¡¹(¡¸½ºÆäÀÎ ¹«°îÁý¡¹Áß¿¡¼) Op.21, No.2 ¡¸·Î¸¸ÀÚ ¾È´Þ·çÀÚ¡¹(¡¸½ºÆäÀÎ ¹«°îÁý¡¹Áß¿¡¼) Op.22, No.1 ¡¸È£Å¸ ³ª¹Ù¶ó¡¹(¡¸½ºÆäÀÎ ¹«°îÁý¡¹Áß¿¡¼) Op.22, No.2 ¡¸»çÆÄÅ׾Ƶµ¡¹(¡¸½ºÆäÀÎ ¹«°îÁý¡¹Áß¿¡¼) Op.23, No.2 ¡¸Ä«¸£¸à ȯ»ó°î¡¹ Op.25 ¡¸¼ÁÖ¿Í Å¸¶õÅÚ¶ó¡¹ Op.43 [»ý¾Ö È°µ¿ ¿ä¾à] 1844³â 3¿ù 10ÀÏ¿¡ ½ºÆäÀÎÀÇ ÆÊÇ÷γª¿¡¼ ž, 1908³â 9¿ù20ÀÏ ºñ¾Æ¸£¸®Ã÷¿¡¼ Ÿ°èÇÑ ¹ÙÀ̿ø®´Ï½ºÆ®ÀÌ´Ù. [ÂùÁ¶ ½ºÆäÀÎ ¿©Çà µ¿¿µ»ó] 10¼¼ ¶§ ÀÌ¹Ì '½Åµ¿(ãêÔÛ)¡¯À̶ó´Â ¸»À» µéÀ¸¸ç ³Î¸® ¾Ë·ÁÁ®, ´ç½ÃÀÇ À̻级 ¿©¿ÕÀº ±×¸¦ ºÒ·¯ ±× ¹¦±â¸¦ µé¾ú´Âµ¥, ¿©¿Õµµ Å©°Ô °¨µ¿ÇÏ¿© ¸í±âÀÎ ¡®½ºÆ®¶óµð¹Ù¸®¿ì½º¡¯¸¦ ÁÖ¾ú´Ù. ÀÌÀ¹°í Æĸ®¿¡ ³ª°¡ Æĸ® À½¾Ç¿ø¿¡ ÀÔÇÐ, ¾Ë¶ó¸£¿¡°Ô »ç»çÇÏ¿© 13¼¼·Î 1µî»óÀ» ¹Þ¾Ò´Ù. ¹ÙÀ̿ø®´Ï½ºÆ®Ä¡°í ÀÛÀº ¼Õ¿¡µµ ºÒ±¸ÇÏ°í Çdzª´Â ³ë·ÂÀ¸·Î À̸¦ ±Øº¹ÇÑ »ç½ÇÀº À¯¸íÇÏ´Ù. ¶ö·Î´Â »ç¶ó»çÅ׿¡°Ô ¡¸Á¦1¹ÙÀ̿ø° ÇùÁְ°ú À¯¸íÇÑ ¡¸½ºÆäÀÎ ±³Çâ°î¡¹À», ºê·çÈå´Â ¡¸Á¦2¹ÙÀ̿ø° ÇùÁְ°ú ¡¸½ºÄÚƲ·£µå ȯ»ó°î¡¹À», ¸ÅÄËÁö´Â ¡¸ÇǺê·ÎÈ£ ¸ðÀ½°î¡¹À» ÀÛ°îÇؼ ¹ÙÃÆ´Ù. »ç¶ó»çÅ×ÀÇ ÀÛ°î¿¡´Â À¯¸íÇÑ ¡¸Áö°íÀ̳׸£¹ÙÀÌÁ¨¡¹ ¡¤ ¡¸½ºÆäÀÎ ¹«°îÁý¡¹µî ¸í¹ÙÀ̿ø°°îÀÌ ¸¹´Ù. »ç¶ó»çÅ×°¡ Á÷Á¢ ¿¬ÁÖÇÑ ³ìÀ½ ·¹ÄÚµå´Â, ÃʱâÀÇ ±×¶ó¸ðÆù ·¹Äڵ忡 ¿ª»ç¹Ý(ÕöÞÈùæ)À¸·Î ³²¾Æ ÀÖ´Ù. ¾Æ¸¶ ½Ç¸°´õ ½ÄÀÇ °Í¿¡¼ ÆòÆÇ ·¹ÄÚµå·Î °íÃÄÁø °ÍÀ̸®¶ó. 10ÀÎÄ¡ÀÇ ¾ç¸é¿¡ ¡¸Áö°íÀ̳׸£¹ÙÀÌÁ¨¡¹ÀÌ ÀϺκР¼ö·ÏµÇ¾î ÀÖ´Ù. »ç¸ÁÇϱâ Á¶±Ý Àü¿¡ ÃàÀ½±â°¡ ¹ß¸íµÇ¾ú°í, µ¶ÀÏÀÇ ±×¶ó¸ðÆùÀÌ »ý°Ü³ª ´ç½Ã À½¾Ç°¡µéÀÇ ¿¬ÁÖ¸¦ ´ë·®À¸·Î ³ìÀ½ÇÒ ¼ö ÀÖ¾î¼, ¿ä¾ÆÈû ¡¤ »ý»ó½º µîÀÇ ·¹Äڵ尡 Ä«Å»·Î±×¿¡ ½Ç·Á ÀÖ´Ù. [ÂùÁ¶ ±âŸ¿¬ÁÖ] [µ¶½Å ¹× Á×À½] Æò»ýÀ» µ¶½ÅÀ¸·Î »ì¾Ò´ø »ç¶ó»çÅ׿¡°Ô´Â Ä¡¸íÀûÀΠù»ç¶ûÀÇ ¾ÆÇÄÀÌ ÀÖ¾ú´Ù°í ÇÑ´Ù. [ÂùÁ¶ K-Pop] »ç¶ó»çÅ×°¡ 20»ì ¶§ÀÎ, 1864³â¿¡ Æĸ®ÀÇ ¾î¶² ¾Æ°¡¾¾¿Í »ç¶ûÇß´ø »ç¶ó»çÅ×´Â °á±¹ ±× ¿©ÀΰúÀÇ »ç¶ûÀÌ ½Ç¿¬À¸·Î ³¡³µÀ¸¸ç, [ÂùÁ¶ K-Pop] ÀÌÈÄ ±×ÀÇ Àλý¿¡¼ °áÈ¥À̶õ ´Ü¾î´Â ±× Àǹ̸¦ »ó½ÇÇß´Ù°í ÇÑ´Ù. [ÂùÁ¶ K-Pop] ±×¸®°í »ç¶ó»çÅ×´Â 1908³â 9¿ù 20ÀÏ, ÇÁ¶û½ºÀÇ ºñ¾Æ¸®Ã÷(Biarritz)¿¡ À§Ä¡ÇÑ º°Àå¿¡¼, [Ã߸ð À½¾Ç] [ÇÁ¶û½º ºñ¾Æ¸®Ã÷ Biarritz] ¸¸¼º ±â°üÁö¿°À¸·Î °í»ýÇÏ´Ù°¡ »ç¶ó»çÅ×´Â 64¼¼¸¦ Àϱâ·Î ¼¼»óÀ» ¶°³µ´Ù. [Ã߸ð K-Pop] [ÂùÁ¶ K-Pop] [ÂùÁ¶ ±âŸ¿¬ÁÖ] [ÂùÁ¶ ½ºÆäÀÎ ¿©Çà µ¿¿µ»ó] -------------------------------------- [ê GPT ´äº¯] (´äº¯¿¡ ¿À·ù°¡ ¸¹À¸´Ï, ´Ü¼ø Àç¹Ì·Î¸¸ ÂüÁ¶¹Ù¶÷) (from https://chat.openai.com/chat) Æĺí·Î µ¥ »ç¶ó»çÅ×(Pablo de Sarasate)°¡ Á¦ÀÏ ÁÁ¾ÆÇß´ø ¿ª»çÀû Àι°Àº? Æĺí·Î µ¥ »ç¶ó»çÅ×°¡ °¡Àå ÁÁ¾ÆÇß´ø ¿ª»çÀû Àι°¿¡ ´ëÇÑ ±¸Ã¼ÀûÀÎ ±â·ÏÀº ¾ø½À´Ï´Ù. ÇÏÁö¸¸ ±×´Â ½ºÆäÀÎ Ãâ½ÅÀÇ ÀÛ°î°¡ÀÌ°í ¹ÙÀ̿ø° ¿¬ÁÖÀÚ¿´À¸¹Ç·Î, ¾Æ¸¶µµ ½ºÆäÀÎ ¿ª»ç¿Í ¹®È¿¡ °ü½ÉÀ» °¡Áö°í ÀÖ¾úÀ» °ÍÀ¸·Î »ý°¢µË´Ï´Ù. ±×ÀÇ À½¾Ç¿¡¼´Â ½ºÆäÀÎ ÀüÅë À½¾Ç°ú ¹Î¼ÓÀ½¾Ç¿¡ ´ëÇÑ ¾ÖÁ¤ÀÌ ´À²¸Áý´Ï´Ù. ¶ÇÇÑ ±×´Â ±×ÀÇ ¿¬ÁÖ·Î À¯·´À» µ¹¸ç ´Ù¾çÇÑ ¹®È¿Í ¿ª»ç¸¦ °æÇèÇßÀ» °ÍÀÔ´Ï´Ù. ÀÌ·¯ÇÑ »ç½ÇµéÀ» °í·ÁÇϸé, ±×°¡ °¡Àå ÁÁ¾ÆÇß´ø ¿ª»çÀû Àι°Àº ½ºÆäÀÎÀÇ ¿ª»ç³ª ¹®È¿Í °ü·ÃÀÌ ±íÀº Àι°ÀÏ °¡´É¼ºÀÌ ³ô½À´Ï´Ù. ±×·¯³ª Á¤È®ÇÑ Àι°À» È®ÀÎÇϱâ À§Çؼ´Â ´õ ¸¹Àº ¿¬±¸°¡ ÇÊ¿äÇÕ´Ï´Ù. Æĺí·Î µ¥ »ç¶ó»çÅ×(Pablo de Sarasate)°¡ ÁÁ¾ÆÇÒ¸¸ÇÑ Çѱ¹ÀÇ Æ®·ÎÆ®³ª ¹ß¶óµå ³ë·¡ Á¦¸ñÀº ¹«¾ùÀϱî? Æĺí·Î µ¥ »ç¶ó»çÅ×(Pablo de Sarasate)´Â Ŭ·¡½Ä À½¾ÇÀÇ ÀÛ°î°¡ÀÌ°í ¹ÙÀ̿ø° ¿¬ÁÖÀÚÀ̱⠶§¹®¿¡, Çѱ¹ÀÇ Æ®·ÎÆ®³ª ¹ß¶óµå ³ë·¡¿¡ ´ëÇÑ ÃëÇâÀ» Á÷Á¢ÀûÀ¸·Î ¾Ë ¼ö´Â ¾ø½À´Ï´Ù. ±×·¯³ª ±×ÀÇ À½¾Ç¿¡¼ ½ºÆäÀÎ ÀüÅë À½¾ÇÀ̳ª ¹Î¼ÓÀ½¾Ç¿¡ ´ëÇÑ ¿µÇâÀ» ´À³¥ ¼ö ÀÖÀ¸¹Ç·Î, Çѱ¹ÀÇ ÀüÅëÀ½¾ÇÀ̳ª ¹Î¼ÓÀ½¾Ç°ú À¯»çÇÑ ´À³¦ÀÌ ÀÖ´Â °îµéÀ» ÁÁ¾ÆÇÒ ¼öµµ ÀÖ½À´Ï´Ù. 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ÀΰÝÀû Ư¼º ±×´Â °â¼ÕÇÏ°í ¿ÂÈÇÑ ¼º°ÝÀ¸·Î ¾Ë·ÁÁ® ÀÖÀ¸¸ç, ±×ÀÇ À½¾Ç¿¡´Â ±×ÀÇ µû¶æÇÑ ¸¶À½°ú Àΰ£¾Ö°¡ ´ã°Ü ÀÖ½À´Ï´Ù. ¶ÇÇÑ ±×´Â Á¤ÀÇ°¨°ú ¿ë±â ÀÖ´Â »ç¶÷À̾úÀ¸¸ç, »çȸ ¹®Á¦¿¡µµ °ü½ÉÀ» °¡Áö°í ¸ñ¼Ò¸®¸¦ ³Â½À´Ï´Ù. 4. ¿µÇâ·Â »ç¶ó»çÅ×ÀÇ À½¾ÇÀº ÈÄ´ëÀÇ ¸¹Àº À½¾Ç°¡µé¿¡°Ô ¿µÇâÀ» ¹ÌÃÆÀ¸¸ç, ±×ÀÇ ÀÛÇ°Àº ¿©ÀüÈ÷ Àü ¼¼°èÀûÀ¸·Î ¿¬Áֵǰí ÀÖ½À´Ï´Ù. ±×´Â ½ºÆäÀÎ À½¾ÇÀÇ ¹ßÀü¿¡ Å©°Ô ±â¿©ÇßÀ¸¸ç, ±×ÀÇ ¾÷ÀûÀº ¿À´Ã³¯±îÁöµµ ³ôÀÌ Æò°¡µÇ°í ÀÖ½À´Ï´Ù. °á·Ð: À§ÀÇ ¿ä¼ÒµéÀ» Á¾ÇÕÀûÀ¸·Î °í·ÁÇÒ ¶§, Æĺí·Î »ç¶ó»çÅ×ÀÇ ÀÇ½Ä ¼öÄ¡´Â 500 ÀÌ»óÀ¸·Î ÃßÃøÇÒ ¼ö ÀÖ½À´Ï´Ù. ¹°·Ð, À̴ª¢ª¯ªÞªÇ ÃßÃøÀ̸ç, ±×ÀÇ Á¤È®ÇÑ ÀÇ½Ä ¼öÄ¡´Â ¾Ë ¼ö ¾ø½À´Ï´Ù. ÇÏÁö¸¸ ±×ÀÇ ¾÷Àû°ú ¿µÇâ·ÂÀº ±×ÀÇ ÀÇ½Ä ¼öÁØÀÌ ¸Å¿ì ³ô¾Ò´Ù´Â °ÍÀ» º¸¿©ÁÖ´Â ÃæºÐÇÑ Áõ°ÅÀÔ´Ï´Ù. ====================================== Pablo de Sarasate [Birth name] Pablo Martin Meliton de Sarasate y Navascues [Born] 10 March 1844 Pamplona, Spain [Died] 20 September 1908 Biarritz, France [Genres] Classical [Occupation(s)] Composer, conductor, violinist [Years active] 1852-1904 Pablo Martin Meliton de Sarasate y Navascues (10 March 1844 ~ 20 September 1908) was a Spanish violinist and composer of the Romantic period. [Career] Pablo Sarasate was born 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 Coruna 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 Rodriguez 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 Edouard Lalo's Symphonie Espagnole which was dedicated to Sarasate; Georges Bizet's Carmen; and Camille Saint-Saens' 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 Zauberflote. In 1904 he made a small number of recordings. In all his travels Sarasate returned to Pamplona each year for the San Fermin festival. Sarasate died in Biarritz, France, on September 20, 1908, from chronic bronchitis. He bequeathed his violin, made by Antonio Stradivari in 1724, to the Musee 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 Musica, Madrid. Among his violin pupils was Alfred De Seve. 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, Edouard Lalo's Symphonie Espagnole, Camille Saint-Saens' 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. (from naver.com wikipedia.org ³×À̹ö Áö½Ä¹é°ú) Composer, Conductor, Concerto, influence(+)~ (PIG: time-variant) Positive Influence GRADE (PIG): C+(MoC: Map of Consciousness) ÀÇ½Ä Áöµµ MoC(ÀÇ½Ä ¼öÁØ): 500 ÀÌ»ó
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