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SAURET 24 Études-Caprices, Op Émile SAURET 24 Études-Caprices, Op. 64 Vol. 2 (Nos. 8–13) Nazrin Rashidova, Violin Émile Sauret (1852–1920) control of the bow at the peak of the G and D strings, and ‘aria’ on the G string, showcasing the instrument’s 24 Études-Caprices, Op. 64 – Vol. 2 (Nos. 8–13) its distribution in the double-stopped material to follow, all capacity, tonal palette and the miraculous non-existence within the same piano dynamic range. The second section of ‘wolf notes’ on a string that is most prone to them. The The extraordinary 19th-century violin virtuoso, composer Paganini’s ‘Il Cannone’ of the same year. In Perlman’s [05:35], accompanied by a con spirito marking could leave second section embodies a sequence of sextuplets and pedagogue Émile Sauret carved himself an enviable hands, especially in his 1986 recording of Bach’s a player short-breathed in juggling a series of extreme accompanied by a delicatamente expressive marking in reputation during his lifetime and was acclaimed by the Chaconne, it is clear that it has the extraordinary ‘power registral leaps while retaining the suggested expressive the piano dynamic, encouraging a balanced control of the greatest musicians of the century, including Brahms, Liszt, and reserve’ that The Strad admired. marking: however, the ‘compactness’ of the Stradivari bow, thus securing subtle changes of the bow while Rubenstein, Tchaikovsky, Saint-Saëns and Sarasate, with The Stradivari embodies a different kind of quality and makes this a pleasurable challenge. tackling complex string crossings. whom he often played duets. refinement – though not itself lacking power and reserve – Étude-Caprice No. 10 in F minor (Andante non troppo Étude-Caprice No. 12 in B flat minor (Adagio non Nevertheless, and despite an impressive repertory and having spent time with it making this recording it is – Allegro) is the first Caprice to mark out the warm qualities troppo – Allegro con fuoco) is the longest in the set, comprising 70 concertos and a vast range of abundantly clear why Sauret could not part with it. He of the instrument, commencing with a touching melody extending to nearly 14 minutes. The first section comprises miscellaneous works, he is probably best known today for acquired the c. 1685 Stradivari violin in 1885, a mere six which flows into a stream of filigree demisemiquaver a two-part fugue, which travels across all four strings, the spectacular cadenza he wrote for Paganini’s First years before the start of his professorial appointment at material in the highest of positions, reflecting on the bringing out the instrument’s equal balancing of the voices Violin Concerto. These 24 Études-Caprices, composed the Royal Academy of Music where his 24 É́tudes- instrument’s ideal suitability for the ‘spacing of notes’ as (SATB). The sostenuto expressive marking that supports during his professorial tenure at the Royal Academy of Caprices were ‘born’ and completed. articulated in The Strad article of 1926. With a paused the first section, again prompts me to aim for subtle bow Music (between 1891 and 1903), are a testament to his When I first picked up this instrument, over 90 years quaver rest as the main breather connecting the two halves changes in double-stopped material while bringing out the technical finesse and are dedicated to his student, the after the observations in The Strad, it was indeed the of the Caprice [05:36], the Allegro section launches into an voices. The fiery cascade of semiquaver movement that great British violin virtuoso Marjorie Hayward. flawless quality of the instrument (there are no ‘wolf energetic and an uninterrupted outpouring of semiquavers erupts into the second section diverts to a labyrinth of notes’), the clarity, the compactness, the accessibility and Acoustically the instrument is flawless, the carrying presented in a diverse range of bowing variations. Revisit- bowing variations while the heart of the complexities lie in above all, the carrying sweetness of the quietest notes that sweetness of notes played pianissimo being ing an appoggiatura motif hiding within demisemiquaver recurring dotted figurations comprising exceptional captured my attention. If the 1743 Guarneri is the phenomenal. In rapid arpeggio passages the movement initially introduced in the first section of Étude- registral leaps. instrument we might associate with Paganini and the Caprice No. 5, the motif takes a highly complex turn in the spacing of the notes (the absence of smothering Étude-Caprice No. 13 in G flat major (Andantino – notorious Sauret cadenza for the First Concerto then it suggested tempo, as the appoggiature appear in the form reverberations) is ideal. In power and reserve it Allegro moderato). The Andantino opens with a most seems clear that it is the Stradivari that belongs to these of trills enveloped in semiquaver movement with yields to the Guarnerius, the tone of which is, delicate and sweet melody, marked by undulating curves Études-Caprices. diminuendo markings to further complicate matters. expectedly, of greater volume. leading to spiralling modulations flowing seamlessly into The Strad, 1926 Étude-Caprice No. 8 in C minor (Tempo lento – Étude-Caprice No. 11 in D flat major (Moderato, the next section. Borrowing the rhythmic shape of the Allegretto giocoso – Più tranquillo – Tempo I – Lento – This quotation, from an article in the April 1926 edition Andante sostenuto, Moderato – Moderato). This É́tude- contrasted section in Étude-Caprice No. 11, the continuity Allegretto). The many tempo changes here hint at an array of The Strad entitled ‘Émile Sauret and his violins’, refers Caprice highlights Sauret’s fondness for ‘moderation’ in its of the ‘arabesque’ semiquaver sextuplets that engulf the of mood swings, as various modulations and key changes to the Antonio Stradivari violin of c. 1685 that now carries repeated Moderato indications – the first and third sections Allegro moderato take shape through the endless sinuous drive the expressive material through a selection of Sauret’s name. This is the violin used on this recording, could be seen as a mirror image where the main modulations, culminating in the return of the opening technical challenges. Sauret stamps his mark on variation and to me it is the perfect tactile and sonic embodiment of complexity of the material lies in the way the dynamics melody. Demanding evenly balanced, unobtrusive bow technique, most evident when listening to the opening the musical ideals explored in these pieces. work against the musical shape of the arpeggios (getting changes and legato, through the control of the expressive sections of the Tempo lento and Allegretto giocoso Sauret owned two complementary violins for much of softer as the material ascends and vice versa) – as Sauret dynamic and fingered markings, the instrument plays a alongside their return towards the end where the repeated his active performing life and told his daughter that he had likes to vary his material, the dynamics are reversed in the vital role in establishing these connections. material undergoes various bowing and arpeggiation never seen any other violins for which he would have second parts of the repeated Moderato. The Andante changes. exchanged his Joseph (Guarnerius) or this Stradivari. The sostenuto between the Moderato sections entails a rich Nazrin Rashidova Guarneri del Gesu ̀of 1743 which also now carries Sauret’s É́tude-Caprice No. 9 in A flat major (Lento ma non name will be known to many ‘by ear’ as it was owned and troppo – Vivace) takes a binary route, mirroring the Étude- played from the mid 1980s by Itzhak Perlman (latterly Caprice No. 2 in A minor recorded on Volume 1 [8.573704]. alongside the ‘Soil’ Stradivari of 1714). This Guarneri is The marking, ben sostenuto at the beginning, highlights the classified in Haweis’ book Old Violins (1898) alongside dynamic capacity of the opening, which aims at mastering Nazrin Rashidova The Azerbaijani-born British violin virtuoso, soloist, recitalist, chamber musician and orchestral director, Nazrin Rashidova made her solo debut́ at the age of three in Baku and was awarded a gold medal by the Cairo Opera House for an exceptional violin recital three years later. Establishing FeMusa in 2008, Britain’s first female chamber orchestra in 60 years, is the latest in a series of achievements. She was accepted into the Royal Academy of Music at the age of fifteen, where she had the privilege to play on a rare collection of violins by Antonio Stradivari. She studied with Professors Erich Gruenberg, Felix Andrievsky and Lydia Mordkovitch. A prizewinner in several international competitions, she has broadcast internationally, played for royalty and other dignitaries, and also performed in the US, Japan, Europe and the Middle East. Rashidova’s two recordings for Naxos – works for violin and piano by Godowsky [8.573058] and Moszkowski [8.573410] – were acclaimed by The Strad and Gramophone magazines. Her fourth album, Carnival was released in 2016 on First Hand Records. Comprising popular classical works newly arranged for the violin and guitar, it was acclaimed by The Strad, Fanfare and Classical Guitar maga- zines. Rashidova is pursuing a PhD at the Royal Academy of Music, where her research explores Emile Sauret and his 24 Études- Caprices. The first volume [8.573704] was released in June 2017 and featured on BBC Radio 3. She plays on the ‘Sauret’ Stradivari violin, c.1685, kindly loaned to her for this recording by John Ludlow. www.nazrin.co.uk Photo: Omur Black Photo: Omur Black Émile Sauret (1852–1920) l’Étude-Caprice n° 2 en la mineur enregistrée sur le Volume L’Andante sostenuto placé entre les sections Moderato 24 Études-Caprices, op. 64 – vol. 2 (nos 8–13) 1 [8.573704]. L’indication initiale ben sostenuto souligne la comporte une opulente « aria » sur la corde de sol, faisant capacité dynamique de l’ouverture, qui vise à maîtriser la valoir les capacités de l’instrument, sa palette sonore, et la L’extraordinaire virtuose du violon, compositeur et Stradivari « Soil » de 1714).
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