Many librarians and archivists from Britain, Europe and America responded to my requests for information. I am grateful to all of them and would like to thank the following libraries, organisations and foundations for permission to reproduce material: Archiv Berliner Philharmoniker; Beare Violins Ltd; Berlin University of Arts; Bibliothèque nationale de France; Boston Symphony Orchestra Archive; Chicago Symphony Orchestra Rosenthal Archive; Conservatoire de Strasbourg; Guildhall School of Music Archive; Harmonie Autographs and Music, Inc., New York City; Hochschule für Musik und Theater “Felix Mendelssohn Bartholdy” Bibliothek/Archiv; Library of Congress; London Metropolitan Archive; Michigan State University Library; National Library of Russia; Nederlands Muziek Instituut; New York Philharmonic Leon Levy Digital Archive; Royal Academy of Music Library Archive; Royal Albert Hall Archive; Royal College of Music Library Archive; Scharwenka Stiftung, Saarow/Germany; Stiftung Jüdisches Museum Berlin; The Strad Archive; Trinity College of Music Archive; Wigmore Hall Archive.
I would like to thank my sound engineer, John Taylor for his patience and professionalism in tolerating the many notes and hours of Sauret’s endless variation techniques. His expertise and precision was indispensable to the completion of the final master of the recordings. I am grateful to Naxos for their support with the release and distribution of the CD series. With thanks to them, Émile Sauret’s 24 Études Caprices, op. 64 are closer to achieving global recognition.
I would like to offer my sincerest gratitude to the Worshipful Company of Musicians for awarding me The John Clementi Collard Fellowship 2018 in support of my research project. I am also very thankful to Marliese Myerscough and her family for the Clarence Myerscough Award and for introducing me to professor Myerscough’s remarkable music library. It was a wonderful experience to be acquainted with selected scores of Sauret’s works autographed and dated by his professor Elsie Nye, from around the same period she was a student of Émile Sauret.
Never would I have imagined that I would be able to come into contact with Sauret’s own Stradivari violin of 35 years. This would not have been possible without the kind introduction of Beare Violins Ltd to its owner, John Ludlow, whose belief in the project made an unbelievable dream come true. I am forever grateful for his incredible kindness and generosity.
I express my greatest thanks to my research adviser, Professor Neil Heyde of the Royal Academy of Music, who has been extremely generous with his time and for his invaluable expertise throughout all the stages of the research.
Finally, I would like to thank my parents for their love and encouragement; and especially my Father for humouring and enduring my recording sessions. Words do not adequately express my gratitude for what they have helped me achieve in life. It is to them I dedicate this work.
I would like to thank my sound engineer, John Taylor for his patience and professionalism in tolerating the many notes and hours of Sauret’s endless variation techniques. His expertise and precision was indispensable to the completion of the final master of the recordings. I am grateful to Naxos for their support with the release and distribution of the CD series. With thanks to them, Émile Sauret’s 24 Études Caprices, op. 64 are closer to achieving global recognition.
I would like to offer my sincerest gratitude to the Worshipful Company of Musicians for awarding me The John Clementi Collard Fellowship 2018 in support of my research project. I am also very thankful to Marliese Myerscough and her family for the Clarence Myerscough Award and for introducing me to professor Myerscough’s remarkable music library. It was a wonderful experience to be acquainted with selected scores of Sauret’s works autographed and dated by his professor Elsie Nye, from around the same period she was a student of Émile Sauret.
Never would I have imagined that I would be able to come into contact with Sauret’s own Stradivari violin of 35 years. This would not have been possible without the kind introduction of Beare Violins Ltd to its owner, John Ludlow, whose belief in the project made an unbelievable dream come true. I am forever grateful for his incredible kindness and generosity.
I express my greatest thanks to my research adviser, Professor Neil Heyde of the Royal Academy of Music, who has been extremely generous with his time and for his invaluable expertise throughout all the stages of the research.
Finally, I would like to thank my parents for their love and encouragement; and especially my Father for humouring and enduring my recording sessions. Words do not adequately express my gratitude for what they have helped me achieve in life. It is to them I dedicate this work.