224 SARASATE Coverley’ is now danced), and the other, “Adson's Saraband,’ to be danced ‘longwayes for six.’ It was at about this time that the Saraband, together with other dances, found its way into the Suite, of which it formed the slow movement, placed before the concluding Gigne. In this form it is remarkable for its strongly accentuated and majestic rhythm, generally as follows : key, in 3-2 or 3-4 time, although Walther (Lexikon, 1782) says thut it may be also written in 2-4 time. It usually consists of two 8- or 12-bar divisions, begins on the down-beat, and ends on the second or third beat. Bach, in the “Clavierubung,” Pt. TL. (B.-G. iii, 76) bas a Saraband beginning on the up-beat, and Handel (Suite XT.) has one with variations, Those by Corelli do not conform to the established rules, but are little more than Sicilianas played slowly. ‘The following Saraband for the guitar is printed in Fuertes’ Historia de la Musica Espaiola, Handel's noble air ‘Lascia ch’ io pianga,’ in « Rinaldo,’ is taken with no material alteration from Sarabund in his earlier opera of * Alinira," in which the majestic rhythm mentioned reigns im all its dignity. See Chrysander's Hiindel, i, 121. We Bes SARASATE. Panto Marty Mrrros px Sanasare ¥ Navascues, born at Pampeluna, March 10, 1844, came to France as a child, ‘and entered the’ Paris Conservatoire, Jan, 1, 1856. The following year he became the fuvour- ite pupil of Alard, and gained the first prizes for solfege and violin, He then entered Reber's harmony class, and secured a premier accessit in 1859, but shortly after relinquished the study. of composition for the more tempting career of aconcert player. His beautiful tone, retentive SARASATE memory, immense execution, and certainty of finger, added to the singularity of his manners and appearance, ensured his snecess in Paris, the French provinees, and the Peninsula, ‘The Spaniards naturally honoured an artist whom they looked upon as their own countryman, but Sarasate aspired to make his name known wher- ever music was appreciated, as well as in the two countries especially his own by birth and adoption, No violinist has travelled more than, he; besides making his way through Europe, from the remotest corner of Portugal to Norway, and from London to Moscow, he has visited America, North and South. In all his wander- ings he has contrived to carry on his cultivation, and develop his great natural gifts. 'To London his first visit was in 1861, when he played at St. James's Hall on May 22; he came again in 1874, when he played at ‘the Philharmonic Coneort, May 18, and at the Musical Union, June 9, etc. He returned in 1877 (Crystal Palace, Oct. 13), and 1878 (Philharmonic, March’ 28), and has been a frequent visitor since, In 1885 and 1886 he gave sets of orchestral concerts conducted by Cusins, and at the Birmingham Festival of 1885 played a. concerto written for him by Mackenzie, Sarasate's distinguishing characteristics are not so much fire, toree, and passion, though of these he has an ample store, as purity of style, charm, brightness of tono, flexibility, and extra~ ordinary facility. He sings on his instrument with taste and expression, and without that exaggeration or affectation of sentiment which distigures the playing of many violinists. His répertoire is varied, comprising the concertos of German masters—Beethoven, Mendelssohn, and Bruch, —Raif's various works for violin, and the works of the modern French and Belgian schools. Among the formerhis favourites are the concertos of Saint-Saéns and Lalo, and the Symphonie Espagnole of the last-named composer. [He has avoided the music of Paganini and his followers, partly for want of taste for it, and partly because of the long stretches required, his hand being very small. Although Bach, on the whole, is unsuited to his style for obvious reasons, he gives certain movements with great charm, notably the prelude and gavotte from the E major solo sonata, Dnt he will always be remembered for his rendering of the solos he has written for himself, and plays so exquisitely, giving the spirit of Spanish dance translated into terms of the violin virtuoso. He possesses two fine Stradivari violins, one of which, dated 1724, was presented to him when a boy by Queen Isabella of Spain. ‘This instrument was one of those bronght from the chapelle royale at Naples by Charles III. (for whom Boccherini composed his quintots), and upon it he has mainly played throughout his career. A sue- cessful copy of it was made by Vuillaume, and is sometimes used by him at rehearsals. LaterSARRUSOPHONE in life he acquired from the Boissier collection, and occasionally plays on, an exceptionall: beautiful instrument, bearing date 1713. Sarasate has composed for his instrument romances, fantaisies, and especially transcrip. tions of Spanish airs and dances, ail calculated to display his skill as a virtuoso, His ‘ Zigeu- nerweisen,’ ‘Jota Aragonesa,’ and the four Dooks of Spanish dances are among the most popular violin solos in existence. [He pays an annual visit to his native town of Pampeluna, where fétes are held in his honour.) a. ©. 3 additions, in square brackets, by W. w. c. SARRUSOPHONE. A brass instrument of conical bore, played with a double reed, designed in 1863 by M. Sarrus, a bandmaster in the French army. The scheme of the inventor comprised a whole family of instruments rang- ing in pitch from soprano to contra-bass, and his expectation was that they might well’ take the place of oboes and bassoons in military bands. As regards the contra-bass models, Sarrus was to some extent anticipated by Stehle of Vienna in 1835, who brought out a contra- bassoon in brass, of simple fingering, and whose model has been’ further developed by Cerveny of Kéniggratz, and Mahillon of Brussels ; but to Sarrus belongs the credit of designing a whole family of double-reed instruments as possible substitutes for the oboe and bassoon ‘The objection that has been raised to that they fail to produce the delicate inctive qualities of the wooden double- reed instruments, ‘The complete family of sarrusophones com- prises the sopranino in ¢’p, soprano in bp, alto in eb, tenor in Bp, baritone in Eb, bass in Bp, contra-bass in E,p, and the contra-bassoon ‘in C, or B,>. All these have a compass from one tone below the pitch note, to a fifth above its double octave, bb to /”, agreeing in this respect with the oboe, and the general scheme of finger- ing is much like that of the oboe. The tube of all but the small instraments is bent back upon itself, so as to reduce the length to a convenient compass. The actual use of the sarrusophone in the orchestra has been very limited, but M. Saint- Sains appears to have thought highly of the contra-bass instrument as an alternative to the donble-bassoon, and used it on several occasion Jules Massenet introduced it in his ‘Esclar- monde’ with great effect, and other composers have followed his example. It is possible that the bass and contra-bass members of the family may be kept alive, as they have distinctive qualities, but the treble and alto instruments can be regarded only as interesting experi- ments. Dig. Be SARTI, Grusepre, born at Faenza, Dec. 1, 1729, a date differing from that given by most of his biographers, but furnished by Sarti’s own grandson to the writer, who has taken great vor. 1 groups. SARTL 225 pains to verify it. ‘The son of a jeweller who played the violin in the cathedral, he early learned music, and had lessons in composition —from Vallotti according to his own family, from Padre Martini according to his biographers. Whether at Padua or at Bologna (the respective homes of the two masters), he completed his studies at an early age, for we learn from the chapter archives, still preserved in the library of Faenza, that he was organist of the cathedral from 1748 to April 1750, and director of the theatre from 1752. In 1751 he composed his first opera, ‘Pompeo in Armenia,” which was enthusiastically received by his fellow-towns- men, and followed by soveral more serious works, and ‘Il Ré pastore’ (Venice, 1753), which’ had an immense success. So. quickly did his fame spread that when he was only twenty-four the King of Denmark (Frederick V.) invited him to Copenhagen as Capelimeister to the Prince Royal, and director of the Italian opera ; and, on the closing of the latter in two years, made him Court-capellmeister. In. the summer of 1765 the king determined to reopen the opera, and Sarti went buck to Ttaly after an absence of twelve years to engage singers ; but his plans were upset by the deaths first of the king in 1766, and then of his own mother in 1767, so that it was not till 1768 that ho re- turned to Copenhagen. These three years of trouble were not infruitfil, as he composed five operas, of which two, ‘I Contratempi? (1767) and ‘Didone abbandonata,’ were given in Venice, where he seoms chiefly to have resided. Overskou's carefully compiled History of the Danish Stage* informs us that Sarti directed the Danish court-theatre from 1770 to May 20, 1775, when he was summarily dismissed. A favourite with Christian VII, and the protégé of Struensee and Queen Caroline Matilda, he was too artless and straightforward to curry favour with the queen dowager and the ambiti- ‘ous Ove Gulberg ; 80 after the catastrophe of 1772 he found his position gradually becoming worse and worse, and when the oligarchical party had secured the upper hand, imprisoning. the queen, and reducing the king to a mere cipher, he'had, with other court favourites, to endure much ill treatment, and was finally banished. During this second stay at Copen- hagen he married Camilla Pasi, by whom he had two daughters. Returning to Italy in the summer of 1775, ho wont first to Venice, became at once director of the Ospedaletto Conservatorio, and adminis- tered it with great success for four years. In 1779 the post of maestro di cappella of the cathedral of Milan fell vacant through the death of Fioroni, and Sarti was pronounced successful at a competition held before the ‘copentiage, tobi oka, 2” famehe Stuephade on ey