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Concert from
November 11th, 2011

Chapelle Notre-Dame-de-Compassion, Paris

Priscille Lachat-Sarrete violin
& Saïda Zulfugarova piano


Ludwig van Beethoven (1770-1827): Sonata No. 7 in c minor Op. 30 No. 2
Allegro con brio, Adagio cantabile

This dark and passionate work, with virtuoso accents is nearly fatalistic. It was composed at the same time than the second Symphony and the third piano Concerto.

Franz Schubert (1797-1828): Sonatine in a minor D. 385
Allegro moderato



We can feel Mozart's influence in this fresh and dynamic piece. Each instrument accompanies the other alternately, providing worry in the first thema and lightness and delight in the second.


Antonin Dvorak (1841-1904): Sonatine in G major Op. 100
Larghetto, Scherzo: Molto vivace



Dvorak composed this Sonatina in 1893 in New York for his children to celebrate gladly family parties. For the expressive Larghetto, he found inspiration in tunes of Northern American Indians. The Scherzo is lively and sparkling.

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Concert from January 27th, 2009

Hotel Westin, Paris
Priscille Lachat-Sarrete violin & Saïda Zulfugarova piano

Sergueï Rachmaninov: Vocalise op.34 n°14



A vocalise is a music piece which is sung on one or more voyel sounds. Beofre becoming a vocal exercise, it was known to have a magic character, expressing joy or pain without words. The russian pianist and composer Sergei Rachmaninoff wrote this vocalise in 1912 for the soprano Antonina Nezhdanova, at a time where he was tormented by the fear of death: "How is it possible to accept to live if it is to die, how can you support the idea of being mortal ?" he said.

Concert from June 8th, 2007

House of Japan, Paris
Priscille Lachat-Sarrete violin & Ziad Kreidy piano

Olivier Messiaen: Thème et variations for violin & piano



Messiane composed this Thème et variations in 1932 as wedding gift for his first spouse Claire Delbos. He uses some of his modes of limited transposition in it.



Concert from
November 24th, 2006               

Norwegian House, Paris
Priscille Lachat-Sarrete violin
& Ziad Kreidy piano


Ole Bull: Et Saeterbesøg



Ole Bull is one of the most famous virtuosos violinists of the 19th century. He went on tour several times through all Europe and was in America, giving concerts in New York, San Francisco, Cuba or Panama. He pruchased some exceptionnal instruments, among them a Guarnerius del Gesù and Gasparo da Salo, the greatest stringed-instrument maker before Stradivarius. Feeling inconditionnal love for his country, he really enjoyed the Hardangerfele, the traditional Norwegian fiddle. He encouraged the fifteen-year-old Edvard Grieg by supporting him financially during his studies in Germany and he payed the construction of the first Norwegian theater with his own money.

His compositions are not a fair reflection of his art, because he was a master of improvisation and he made up for what he didn't know in theory by his talent of delighting the public with his deep tone and legendary staccato. In 1876, he celebrated his 66th birthday by playing Et Saeterbesøg at the top of one of the pyramids of Cheops in Egypt.


Johannes Brahms, Sonata for violin and piano Nr 2 in A major op.100 :
Allegro amabile (movement 1)



In 1886, Brahms composed his Second Violin Sonata in Switzerland, near the lake of Thun. He quotes two of his own lieder: "Wie Melodien zieht es mir leise durch den Sinn" and "Im Kirchhof" and repeatedly exploits the violin's resemblance to the human voice.


Clara Schumann: Romance for violin and piano Op.22 Nr 3



« Nothing may overcome the joy of composing and after it hearing one's own work », confided Clara Schumann in 1846. Clara Schumann, nee Wieck, began composing very young. The four Polonaises op. 1 of this eleven-year old virtuoso pianist, already famous in all Europe, were published in 1830, before any of the works of her future husband. Her Three Romances op. 22, dedicated in 1853 to the violinist Joseph Joachim, are sensitive, romantic pieces. The character of the music derives from the interplay of the two instruments: the melodies are simple but the harmonies and the diversity of the accompaniment lends them great interest and charm.

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