Album insights
A personal bond with the violin stayed with Saint-Saëns throughout his life, often manifesting coincidentally. The works presented here, inspired by friendship, exhibit a rather intimate character unlike his more ambitious pieces for the instrument. His earliest transcription, a Fantaisie based on themes from Carl Maria von Weber's Oberon, was cooperatively composed with his friend, the violinist Achille Dien, reflecting their youthful virtuosity. Despite lacking Saint-Saëns' mature style, his enthusiasm for Weber and sense of humor shine through, both within and beyond the work. Humorous inclinations are evident even in Saint-Saëns' earliest composition attempts.
In 1859, while studying at the Paris Conservatoire with his new friend, the precocious Spanish violinist Pablo de Sarasate, Saint-Saëns penned his Caprice brillant. This piece marked a significant step forward from his previous year's attempts at a violin concerto. Initially lost and later orchestrated, the Caprice brillant found its way into the third movement of the renowned Third Violin Concerto, further transformed and as a standalone piece titled Allegro de concert for violin and piano.
The Caprice brillant stands as a true duo, where both pianist and violinist are equal partners. Reflecting Saint-Saëns' phenomenal technique, particularly showcased through the Lisztian style in the piano part, this rendition not only revisits a well-known work but also reveals the playful virtuosity and connections to Sarasate, with a nod to Wagner intertwined. The fusion of both instruments creates a harmonious whole, with the violin as an extension of the piano’s world.
Saint-Saëns later befriended the eminent Belgian violinist Eugène Ysaÿe, who played a crucial role in reviving French music's chamber music tradition. Ysaÿe's adaptation, rather than transcription, of Chopin's Waltz showcases intricate technical demands, reflecting his interpretive artistry. This meticulous approach extended to his ambitious adaptation of Chopin's Ballade No. 1 in G minor, op. 23, marked by a masterful violin lesson and profound coloration, tantamount to a reinterpretation of Chopin's work. Ysaÿe's innovations reveal his interpretative prowess and artistic freedom, echoing through his pupils.
Although unpublish, Ysaÿe's endeavors inspired his Sonata No. 3 for solo violin, op. 27, perhaps his most renowned work to date. Within the Chopin transcription manuscript, Ysaÿe's reflection on a potential orchestral version hints at his versatile musical intentions, akin to his Caprice d’après l’Étude en forme de valse arrangement. Saint-Saëns' delightful L'air de la pendule, created in remembrance of a royal visit to Belgium in 1918, offers a playful and heartfelt homage tied to personal connections and experiences.
The exploration of past friendships and artistic nuances finds another expression in the Fantaisie op. 124 for violin and harp, a work belonging to the later phase of Saint-Saëns' career, dedicated to the Eisler sisters and tinged with memories of Sarasate. The harmonies and textures in this composition allude to a nostalgic farewell to youth, blending ephemeral guitar-like sounds and Spanish influences, infusing a metaphysical touch into his music. Through these musically rich endeavors, Saint-Saëns attempted to craft a novel "French music," resonating with echoes of Fauré, early Ravel, and a hint of longing for Spain akin to Debussy's Violin Sonata (1917).
Philippe Graffin © 2002
Translation: ChatGPT