Pablo de Sarasate plays his famous "Introduction et Tarantelle" (Introduction and Tarantella) Op. 43 a musical composition published in 1900.
His only one recording of of the "Tarantella" made in 1904 in Paris!
Unfortunately he recorded only the Tarantella without the Introduction :(
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Other Pablo Sarasate recordings:
Pablo de Sarasate plays his famous "Zigeunerweisen" Op. 20
[ Ссылка ]
Pablo de Sarasate plays his famous "Zortzico" Miramar Op 42
[ Ссылка ]
Pablo de Sarasate plays his famous "Zapadeado" Op 23 No 2
[ Ссылка ]
Pablo de Sarasate plays his famous "Caprice Basque" Op. 24
[ Ссылка ]
Pablo de Sarasate plays his famous Habanera Op. 21 No 2
[ Ссылка ]
Jascha Heifetz plays P. Sarasate "Romanza Andaluza" Op 22, No 1
[ Ссылка ]

Greatest Violinists Playlist:
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As one of Sarasate's most popular compositions and a favorite among violin virtuosos, the "Introduction et Tarantelle" has remained a staple on records at least since Sarasate himself recorded it in 1904, in collaboration with fellow composer Juan Manén as the accompanying pianist.

Pablo de Sarasate (1844-1908), undoubtedly, is one of the most important and most successful violin virtuosos of the second half of the 19th century and has become immortal through his virtuoso and highly expressive bravura pieces in the world of violin playing. His concert programs mostly consisted of his own compositions, even if quite a few works had been dedicated to him by fellow composers and tailor-made for him: for example, 'Symphonie Espagnole' by Lalo, 'Scottish Fantasia' by Bruch and violin works by Saint-Saëns and Wieniawski. In 1899 Sarasate composed one of his most popular, non-Spanish pieces, 'Introduction & Tarantella' Op. 43, which was published in the following year, even in a version with orchestra accompaniment. The tarantella, a folk dance in 6/8 metre, comes from southern Italy and has developed from dance tunes played in Apulia for people suffering from tarantism. According to popular belief, the bite of a tarantula caused tarantism which was supposed to be cured by wild dancing.

In around 1900, some 20 years after releasing the Spanish Dances that made his name as a composer, and after many years during which his production of showpiece creampuffs was sporadic at best, Pablo de Sarasate found time to put to paper about a half-dozen new salon-type pieces. One of these, the Introduction and Tarantella, Op. 43, would prove to be his most enduringly popular non-Spanish Dance short work (it remains so today; only the Caprice Basque can boast the same popularity). In addition to the original violin and piano version, Sarasate also fashioned a version of the Introduction and Tarantella for violin and orchestra, probably so that he might better incorporate it into his own busy concert schedule.

The Introduction and Tarantella is, to be fair, not a piece in the same class as Sarasate's best and most elegant salon truffles (like the Playera, Op. 23, No. 1, or Spanish Dance, Op. 26 No. 2), but Sarasate clearly intended it more as a flashy virtuoso display-piece than as an ingratiating charmer. The introduction is marked Moderato; the violinist sings a rolling melody over a simple chordal accompaniment that returns to an arch-shaped chromatic gesture which, ultimately, when taken over and elaborated by the violinist, serves as a bridge between the Introduction and the following Allegro vivo Tarantella, a wild and, in good hands, exhilarating 6/8 time ride up and down the violin fingerboard.



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