[ ClassicalX ] Violinist David Garrett on Sarasate’s Zigeunerweisen

Going for a song

How can one relatively obscure piece of music change the course of someone’s life? Well, Zigeunerweisen (Gypsy Airs), by the 19th-century Spanish composer Pablo Sarasate, has changed mine more than once. The first time was when I was nine. I was a child prodigy, being pushed by my parents, like so many kids, to play a musical instrument. In my case, the pushing was extreme and involved practising seven hours a day, so much of my time was spent alone. I was living with my family in the small town of Aachen, Germany, so it was a big deal to be asked to go all the way to Hamburg to audition for the Hamburg Symphony Orchestra.

Naively, I chose what I came to realise was a very complicated and challenging piece of music - the joy of being a fearless child! On the positive side, for a violinist it has everything - fun, passion, romance, excitement - all rolled into one piece, and demands real virtuosity. On the other hand, I was nine. Even at nine, though here was my chance, risky as it was, to show off to the max.

I must have done it justice, because I was chosen to play as a soloist with the HSO, one of the most revered orchestras in Germany. This led to my being the youngest person ever to be signed to Deutsche Grammophon, the prestigious classical record label. Just as importantly, I found my life partner: Zigeunerweisen. She and I would never be parted. I have taken this piece, and vice versa, all over the world. I have played it in concert halls in front of thousands, small clubs with my band in front of hundreds, and most intimately, and passionately, in front of an audience of one.

Sarasate was famous for playing his violin without having his chin on the chin rest and always smiling as he played. I often do the same. He was a maverick who enjoyed life, women and crazy stuff, and he lived for his music. He is my role model, I can totally identify with him and his style. His piece defines me as a musician and as an entertainer. If I, as a nine-year-old, could be touched, even consumed, by it, I reasoned that this piece of music could engage people all over the world. I wanted to show audiences, especially young people, the passion, fun, drama and excitement that I felt as a child, and which I feel every time I hear it or play it.

It seems to be working. Last year, I was invited by the concert producer Raymond Gubbay to play at the Albert Hall, always a dream of mine. What better place to take my life partner, Zigeunerweisen, and show her off? I wasn’t going to miss this opportunity to see if we could cast our spell over a crowd.

So, I asked Raymond if I could play the piece in the audience. Raymond, being a showman, was a ready accomplice. We agreed that I would start at the back of the hall, with one spotlight capturing the drama of the start of the music. Then, as the piece unravelled, I was able to walk around the Albert Hall and through the audience, stopping every now and again to serenade someone who took my eye. It did the trick. Faces lit up.

Since then, I have played the piece to unsuspecting audiences in classical halls and rock venues, always with the same effect. It is a challenging piece to play - and probably to listen to - but my mission was to see if it could touch others the way it touched the nine-year-old me. It even touches audiences of one - in my private life, my Zigeunerweisen and I have been involved in threesomes.

David Garrett’s latest album, Virtuoso, is out now; he plays at the Classical Brits, shown on ITV1 on Thursday.

Watch David Garrett discuss his love of Metallica, Led Zep and White Stripes at timesonline.co.uk/music

Source: The Sunday Times