Program Notes }
we will hear at these concerts. Sarasate was
renowned for his elegance and beautiful
sound; another famous violinist, Leopold
Auer, described it as “a tone of supreme
singing quality,” while conductor Hans von
Bülow remembered the Spaniard’s “seductive speaking on the violin.” Sarasate’s
technique seemed effortless, and he was
able to reach the highest notes with unerring accuracy. All these qualities Saint-Saëns
exploited in the Third Violin Concerto,
bequeathing a formidable challenge to
future violinists.
In sonata form, movement one mixes
drama with lyricism. Over a suspenseful
string tremolo and the rumble of drums,
the violinist opens with big declamatory
gestures in the instrument’s earthy low
register, then gradually ascends to its silvery
top. Although Saint-Saëns believed the
ideal concerto should be an equal balance
between orchestra and soloist, there is no
question in this movement that the violinist
is the star. Soon silky lyricism takes over in
melodies emphasizing the violin’s loveliest
singing tone. The music is sprinkled with
vertiginous