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Ysaÿe: The 6 Sonatas for Solo Violin

Ysaÿe: The 6 Sonatas for Solo Violin

Alina Ibragimova

Duration68 Min

On September 22, 1894, Debussy addressed a letter entitled "Cher Grand Ami" to Eugène Ysaÿe. In this letter, he used the familiar "du," a privilege Debussy otherwise reserved almost exclusively for family members or close friends from his studies in Paris and Rome. Ysaÿe, a Belgian who rejected the rigid Parisian form of address, had already adopted this informal tone. The form of address was not only a sign of closeness but also alluded to Ysaÿe's imposing stature: the violinist was so tall that his violin almost disappeared on stage—an impression that, however, misleadingly reflected his actual playing.

The few surviving recordings of Ysaÿe reveal a clear, appealing sound, characterized by restraint and a refined sense of portamento. His playing combined charm and elegance with a natural ease that was considered groundbreaking for violin playing at the time. Unlike contemporaries such as Sarasate, Ysaÿe brought a certain seriousness to his playing, which was highlighted by critics like Jacques Thibaud. These characteristics are also reflected in the six sonatas that Ysaÿe composed for violin in 1923.

Born in Liège in 1858, Ysaÿe received his musical training first at the conservatory in his hometown and later with Vieuxtemps and Wieniawski in Brussels. From 1886 to 1897, he taught as a professor of violin at the Brussels Conservatory and subsequently launched a successful international career. Although he began writing his own works in 1884, much of his music for string instruments remained unpublished and little known for a long time. The six sonatas illustrate Ysaÿe's rejection of conventional forms, surprising the listener in each movement with unusual and captivating technical and emotional elements.

The impetus for composing his violin sonatas came from Joseph Szigeti's impressive performance of Bach's Solo Sonata in G minor. Szigeti and Ysaÿe wondered why no comparable works had been created since Bach, even though music and violin technique had developed considerably since 1720. In July 1923, Ysaÿe sketched out outlines for all six sonatas in a single day, and they were published the following year.

The dedication of the first sonata, in G minor, to Joseph Szigeti underscores his importance as a source of inspiration; moreover, the key corresponds to that of Bach's model. When the sonatas were published in 1924, Szigeti was nearing the end of his professorship in Geneva and was performing Prokofiev's First Violin Concerto. Despite his reservations about virtuosity and his conservative style, Szigeti impressively demonstrated his technical and musical mastery with this sonata.

The opening movement of the G minor Sonata forms the foundation of the cycle: double and multiple stops, passages in the style of Bach, practice sections, and imaginative transitions characterize its structure. The finale is marked by a striking gigue that emphasizes musical contrasts and reprises the opening motif.

Ysaÿe dedicated the A minor Sonata to Jacques Thibaud, a graduate of the Paris Conservatoire, renowned for his refined tone and a close friend of Ysaÿe's for many years. The first movement, entitled "Obsession," refers to Thibaud's habit of regularly playing Bach's Preludio. Further sections of the sonata incorporate motifs from Bach and the Gregorian "Dies irae" in various variations.

The third sonata, in D minor, subtitled "Ballade," is dedicated to George Enescu, who was equally committed to Bach and modern composers. Ysaÿe's single-movement composition blends classical and unconventional elements, reflecting Enescu's versatility.

Ysaÿe dedicated his sixth sonata in E major to Manuel Quiroga, renowned for his impeccable technique and pure tone. Spanish rhythms such as the tango and habanera are combined here with technical brilliance and lyrical expression.

The fourth and fifth sonatas are dedicated to other violinists and each is distinguished by its own unique nuances. While Crickboom, known for his teaching, inspired the rustic G major sonata, Quiroga shaped the E major sonata with its lyrical and Spanish-influenced character.