Sauret: 24 Études-caprices, Vol. 4 Nazrin Rashidova

• Emile Sauret (1852 - 1920): 24 Études-caprices, Op. 64:
• 1 24 Études-caprices, Op. 64: No. 20 in F-Sharp Minor 11:04
• 2 24 Études-caprices, Op. 64: No. 21 in D Major 14:59
• 3 24 Études-caprices, Op. 64: No. 22 in B Minor 15:21
• 4 24 Études-caprices, Op. 64: No. 23 in G Major 10:47
• 5 24 Études-caprices, Op. 64: No. 24 in E Minor 13:19
• Total Runtime 01:05:30

Info zu Sauret: 24 Études-caprices, Vol. 4

The final volume of the 24 Études-Caprices by the internationally renowned virtuoso Émile Sauret, crowns one of the most impressive but seldom performed bodies of solo violin writing in the entire canon. In the last five Études, once again played by Nazrin Rashidova on Sauret’s own Stradivarius violin, the full range of his art can be heard, from double- and triple-stopping, to registral leaps, chordal and staccato techniques and exercises for absolute control of the bow. Of Volume 3 (8.573975) The Strad wrote: ‘Rashidova plays superbly’.

"Emile Sauret’s Opus 64 Twenty-four Etudes-Caprices were composed between 1902 and 03, a period when he was busy teaching at London’s Royal Academy of Music. With this release we have reached the fourth and final disc in the complete series recorded by the brilliant young Azerbaijani-born British violinist, Nazrin Rashidova, playing the famous ‘Sauret’ Stradivarius violin from around 1685. To the listener they are highly enjoyable, but to the performer they pose a searching spectrum of techniques that equally questions perfection of intonation. That is manifest in the disc’s opening Twentieth Etude where passages at times would convince you that you are listening to a duet. That becomes even more probing in the opening section of the Twenty-first that requires double-stopping throughout. As with works from other famous composers in the past, the 24 Etudes contain a work in every key, and that on a string instrument is, in itself, a test for the performer. Maybe Rashidova employs more vibrato than will be universally enjoyed, but it warms her tonal quality so that the works never overstay their welcome. The sforzando in the opening section of the Twenty-first is too exaggerated, but later in that Etude her spiccato playing is so perfectly even. The most extended Etude comes with the Twenty-second a score that hastens to a brilliant finale with a passage of cross-string virtuosity. The ability of obtaining delicacy of bowing is examined in the Twenty-Third, while the Twenty-fourth is a summation of more than 6000 bars that have questioned in depth the basic requirements of a skilled performer, and though it might appear to be in the world of academia, it is a most interesting release. All four volumes have enjoyed the finest recording standards." (David’s Review Corner)

Nazrin Rashidova, violin

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Booklet für Sauret: 24 Études-caprices, Vol. 4