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University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyler's Green High Wycombe, Bucks, England HP10 BHR 77-2544 BAUGHMAN, Gordon Shepherd, 1946* THE TEN PRELUDES FOR UNACCOMPANIED VIOLIN, OP. 35 BY EUGENE YSAŸE, The Ohio State University, D.M.A., 1976 Music
Xerox University Microfilms, Ann Arbor, Michigan 4810e
0 1976
GORDON SHEPHERD BAUGHMAN
ALL RIGHTS RESERVED THE TEN PRELUDES FOR UNACCOMPANIED
VIOLIN, OP. 35 BY EUGENE YSAYE
DOCUMENT
Presented in P artial F u lfillm e n t o f the Requirements fo r
the Degree of Doctor of Musical Arts in the Graduate
School of The Ohio State University
By Gordon Shepherd Baughman, B.A., M.M.
******
The Ohio State University
1976
Reading Committee: Approved By
Dr. Robert Hare Dr. Burdette Green Dr. Norman Phelps Advisor Department of Music To Christopher Kimber and Joseph Gingold, my Teachers.
ii ACKNOWLEDGMENTS
I would like to take this opportunity to thank all of the members of my committees throughout the program fo r th e ir help and encouragement.
I wish to extend special thanks to Dr. Burdette Green and Dr. Norman
Phelps fo r the generous amounts o f time that they have given to make th is paper possible. In addition, I express my thanks to Jody Williams and Steve Hannan fo r th e ir kind help in preparing th is paper.
i i i VITA
September 19, 1946 ...... Born--Columbus, Ohio
1969 ...... B.A. Indiana University Bloomington, Indiana
1970-1976 ...... Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio
1973 ...... M.M., The Ohio State University Columbus, Ohio
FIELDS OF STUDY
Major Field: Performance
Studies in Violin. Professor Christopher Kimber
Studies in History. Dr. Keith Mixter
Studies in Theory. Dr. Harold Luce
iv TABLE OF CONTENTS
Page ACKNOWLEDGMENTS ...... i i i
VITA...... iv
LIST OF FIGURES ...... vi
PREFACE...... 1
Chapter
I. BIOGRAPHY...... 3
I I . THE PERFORMER-COMPOSER...... 12
I I I . THE PRELUDES...... 18
Their Origin and Purpose ...... IB
The Discovery and Editing ...... 23
IV. THE "SQUELETTES GRAMMATIQUES"...... 25
V. CONCLUSION...... 50
The Importance of Ysaye in the Development of Modern Left-Hand V io lin Technique ...... 50
The Place of the Preludes in the Etude Literature of the Instrument ...... 55
APPENDIX
A...... 38
B...... 68
BIBLIOGRAPHY ...... 71 LIST OF FIGURES
Page Figure I . Letter of 1-26-1976 from Antoine Ysaye to the Writer. 58
Figure I I . Autograph from a copy of Antoine Ysaye's Etudes Biographique presented to the Writer. 60
Figure I I I . Note of 3-9-1976 from Antoine Ysaye to the Writer. 62
Figure IV. Letter of 3-18-1976 from Schott Frères to the Writer. 64
Figure V. Note of 3-23-1976 from Antoine Ysaye to the Writer. 66
vi PREFACE
Though few violinists are aware of the existence of Dix Preludes pour Violon seul by Eugene Ysaye, those who know the work regard i t as something of an enigma: a musically eccentric, extremely d if f ic u lt set of etudes on the intervals from unison through the tenth. The preludes are assembled from a series of thirty-three brief exercises which are among the few leg ib le remains of a projected pedagogical work le ft incomplete at the time of Ysaye's death in 1931. The work was dis covered and recently reconstructed from notebooks.
There has been a growing renewal of interest in the many and varied compositions by Ysaye and his evident contributions to the devel opment o f modern v io lin technique. His Six Sonates pour Violon seul, op. 27 are now available to American audiences through recordings and re c ita l performances, and they have long been regarded as pedagogical staples in the studios of master teachers such as Ivan Gal ami an and
Ysaye's student Joseph Gingold in the United States, and A. I. Yampolsky and David Oistrakh in the Soviet Union. In spite o f the renewed in te r est in the sonatas, the preludes continue to be neglected by students and teachers. In a recent le tte r to me (see Appendix A, Figure I ) ,
Antoine Ysaye, son of the vio lin ist and president of Fondation Ysaye in
Brussels, stated that he knows of no commentary published on the Dix
Preludes, other than that contained in the Schott edition of the work.
He also stressed the importance of making known the relationship between
1 the sonatas and the preludes. The primary purpose of th is paper is to clarify this relationship and to consider the contributions of the Dix
Preludes to the etude lite ra tu re o f the instrument.
In addition, this study takes advantage of the detailed record of
Ysaye's approach to the problem o f left-hand technique which the pre
ludes contain. This w ill help to sharpen the focus o f our h is to ric a l
perspective in regard to the true place of Eugene Ysaye in the develop ment of modern violin technique. CHAPTER I
BIOGRAPHY
In recalling the impressions of his youthful years at the turn of the century, famed pianist Artur Rubinstein wrote:
The Belgian v io lin is t Eugene Ysaye was my id o l. Accustomed as I was to the ascetic restrain and n o b ility of Joachim, who seldom used a vibrato, the exuberance and sensuousness of th is Belgian lio n simply overwhelmed me.l
That a violinist and not a pianist should have been Rubinstein's idol may seem odd, but not so to anyone fa m ilia r with the enormous prestige and influence enjoyed by Ysaye at the height of his powers.
Born in Liège, the center of the great Belgian school of v io lin playing, on July 16, 1858, Ysaye began study of the instrument at age four with his father Nicholas, conductor of a local theatre orchestra.
At seven, he entered the Liège Conservatory where he studied with Desire''
Heynberg, a teacher with whom he had l i t t l e rapport. Consequently, he le ft the conservatory and resumed study with his father. The lack of extensive conservatory training during his early years may to some ex
tent account for the great originality of his playing. Of his work under
his father, Ysaye later said:
lA rtu r Rubinstein, My Young Years (New York: Alfred A. Knopf, 1973), P. 32. It was my father who really taught me to play the violin. Though his manner was rough and his hand heavy, without him I should never be where I am today. Rodolph Massart, Wieniawsky, and Vieuxtemps o f course opened new horizons for me in the realm of technique and interpretation, but i t was my father who taught me how to make my in s tru ment sing.2
The young Ysaye's career was launched under circumstances resemb ling the scenario of a movie script. The renowned virtuoso Henri
Vieuxtemps was s tro llin g past the home of the Ysaye fam ily when he heard his own F ifth Concerto impressively rendered by the fourteen- year-old Eugene. Subsequently, Ysaye was readmitted to the conservatory through Vieuxtemps' influence. He began to study under Theodore Radoux and then under the famous Rodolph Massart, former teacher of the re nowned Wieniawsky, and la te r teacher o f F ritz K reisler.
Wieniawsky (1835-1880) la te r tutored Ysaye in Brussels, and in
1876 he began work with Vieuxtemps in Paris. I t is "A mes Maîtres
Vieuxtemps et Wieniawski in memoriurn" that the Dix Preludes are dedi
cated, but undoubtedly Vieuxtemps played the more important role in
establishing the young v io lin is t's career. Through Vieuxtemps' e ffo rts ,
Ysaye was introduced to many of the greatest musical personalities of
the day such as Anton Rubinstein, Camille Saint-Saëns, and Cesar Franck.
He la te r became closely associated with Franck as disciple and in te r
preter.
In 1879, due to the financial difficulties of his family, Ysaye
temporarily abandoned plans fo r a concert career and accepted the
ZAntoine Ysaye and Bertram R a tc liffe , Ysaye, His L ife , Work, and Influence (London: William Heinemann, 1948), p. 13. position of concertmaster of a Berlin beer-hall orchestra under the direction of its impresario, Benjamin Bilse. The orchestra engaged some of the greatest a rtis ts of the day, somewhat lik e the Pops Concert series of the Boston Symphony today. Consequently, Ysaye had fu rth e r opportunities to meet and hear other great artists. He was also given opportunities to perform as soloist and conductor.
In 1882, Anton Rubinstein persuaded the young a r tis t to leave
B erlin and accompany him on a concert tour of Norway and la te r Russia.
Rubinstein was to become another major force in shaping the young vio
lin is t's personality. Just as Artur Rubinstein was one day to regard
Ysaye as his id o l, in la te r years Ysaye was to say of Anton Rubinstein
"He was truly my master of interpretation."3
In 1883, Ysaye set o ff fo r the French capital where he became one
of the entourage of devoted admirers of Cesar Franck: Chausson, d'Indy,
and Faure among them. Although at that time there was little interest
in Franck's music, Ysaye began a life-long effort to make known the
work of that composer.
Another composer with whom he was to become closely associated was
Camille Saint-Saëns. Ysaye and a c e llis t, Joseph Hollman, often visite d
the composer, ". . .who would play his tr io with them or advise Eugene
as to the interpretation of his Third V io lin Concerto. . . one of
Ysaye's favorite works, which he performed frequently.
SAntoine Ysaye and Bertram R a tc liffe , Ysaye..., p. 24.
4 lb id ., p. 40. The 1884 premier performance in Paris of Wagner's Tristan und Isolde marked the beginning of yet another strong influence on the young vio lin is t 's musical personality. In a le tte r to a friend he wrote:
Never has any music, even that o f Bach or Beethoven, had such an e ffe ct on me. I was completely submerged by i t . I went back to my hotel as though drunk and began to un dress automatically. My heart, my mind, all that is conscious or unconscious in me, was under the spell of that ecstatic music, so tragic and yet so tender, inspired by the death of the two lovers It was whilst taking o ff my boots that I suddenly returned to ea^th. I had been soaring in ethereal regions and now there before my eyes was a pair of boots. It was too much. I picked them up and flung them in the f ir e . 5
Such prose (and such behavior) is excessive or theatrical to us.
But i t should be remembered that th is was the age of Sarah Bernhardt
and Anton Rubinstein: the age of the A rtis t, when grand and romantic
passions and gestures were part of the public life-style of performers
both on and o ff stage.
Ysaye's career as a major a r tis t began in 1885 when Saint-Saëns
arranged fo r him to appear as so lo ist at one o f the important Concerts
de Colonne, he performed works by Lalo and Saint-Saëns to great
acclaim by the audience and c ritic s . Numerous engagements ensued, and
a concert career began that was to last almost thirty years. By the
turn o f the century, he had earned the reputation of being the world's
greatest violinist.
The following year, 1886, was also to mark several important events
in Ysaye's lif e . On September 28, he married Louise Bourdeau de
Courtrai, the daughter of an officer in a Luxemburg garrison. The
^Antoine Ysaye and Bertram R a tc liffe , Ysaye.. . , pp. 40-41. marriage celebration included the f i r s t performance of the now-famous v io lin sonata o f C^sar Franck, a wedding present from the composer.
This was to be the f i r s t of a long l i s t of major works premiered by and/or dedicated to the violinist. Shortly before his marriage, Ysaye
had been appointed professor at the Brussels Conservatory, where he be
gan his long career as a distinguished teacher of many celebrated
artists. 1886 was also the year that he organized his highly successful
quartet with Mathieu Crickboom, second v io lin ; Leon Van Hout, v io la ;
and Joseph Jacob, ce llo .
In 1889, he expanded the range of his tours to include Germany,
Austria, Italy, and England to ever-increasing acclaim. The year 1890
included a second highly successful tour of Russia.
Ysaye had made attempts at composition as early as 1862, but he
later destroyed most of these early works, considering them too deriva
tiv e of the works of Vieuxtemps and Wieniawsky. In 1892, Ysaye began
to compose once again, this time in a new form: the poème. It should
be noted that this was prior to the creation of the famous Poème of
Chausson, composed fo r and, to some extent, ^ Ysaye. Joseph Szigeti
relates in his autobiography. With Strings Attached, the following
anecdote:
There can be no doubt in the mind of any v io lin is t who had the good fortune to hear Ysaye in his^great days that the solo exposition in Chausson's Poème with those typically.Ysayean sinuous double stop passages across the strings could never have been w ritte n but fo r the inspiration - and probably the collaboration - of Ysaye. I was confirmed in this feeling when by chance I met David Holguin, a pupil o f Ysaye. He told me how, one morning in class in Cincinnati, André de Ribeaupierre asked Ysaye about the genesis of th is p a rticu la r passage, saying "It sounds as if you had written it yourself." To which Ysaye replied with a smile: "Mais oui, that is precisely what I did - on Chausson's fram ework. "6
Three pieces composed in 1892 were the Poème el egiague, op. 12; Scène
au rouet, op. 13; and the Chant d 'h iv e r, op. 15. These works already
show the modal and whole-tone harmonies o f the la te r works o f the
master. I t is interesting to note that th is was also the year during
which Debussy was creating the string quartet that received its firs t
performance the follow ing year by the Ysaye Quartet. The close re la
tionship between Ysaye and Debussy is discussed in the next chapter.
After a highly successful tour of the United States in 1894, the
v io lin is t returned to Brussels to found, the following year, the now-
legendary "Concerts Ysaye," a symphonic society featuring the greatest
conductors and soloists of the day. Among the conductors were Nikisch
and Weingartner; the pianists included Paderewski, Busoni, Saint-Saëns,
and Cortot; and among the string soloists were Casals, Dreisler, Thibaud,
and Capet. The society also introduced numerous works by little-know n
Belgian and French composers o f the day. And the following year marked
the premier performance by Ysaye o f the above-mentioned Chausson Poeme
in Nancy.
In 1898, Ysaye made his second triumphal tour of the United States,
where he gave over one hundred concerts. He was offered the post of
permanent conductor of the New York Philharmonic Orchestra, to succeed
Seidl, but refused the position to return to Europe. From this point
until the year 1914, Ysaye was the most sought-after vio lin ist in
Europe and America.
^Joseph S zigeti, With Strings Attached (New York: Alfred A. Knopf, 1967), p. 117. In 1914, the outbreak of the war forced Ysaye to leave his villa
La Chanterelle in Le Zoute and fle e to London, where he gave numerous performances to benefit Belgian ch a ritie s. Two years la te r, at the request of his friend Queen Elizabeth of Belgium, the violinist returned to the Belgian front to play for the troops stationed there.
At the end of 1916, Ysaye returned to the United States for the seventh time. The following year, he became the conductor of the
Cincinnati Symphony Orchestra, where he enhanced the high standards of performance that ,s till characterize that organization. During this
period, he introduced to the American public the then-little-known
scores o f such composers as Debussy, Schoenberg, Scriabin, and Ravel.
It was also at this point that he returned to teaching. A lis t of
some of his students gives indication of his influence on the development
of violin playing in this country. Among those that studied with him
in Cincinnati, or subsequently in Europe, are David Mannes, concertmaster
of the New York Symphony and founder of the Mannes School; Nicolai
Sokoloff, founder of the Cleveland Symphony Orchestra; Joseph Gingold,
the distinguished teacher and former concertmaster of the Cleveland
Orchestra under George Szell; Andre de Ribaupierre, well-known teacher
at the Eastman School in Rochester; and vio list, William Primrose,
who Ysaye persuaded to concentrate on the v io la , rather than on the
v io lin .7
^Bertram Greenspan, "The six sonatas fo r Unaccompanied V io lin ," (unpublished Ph. D. dissertation, Indiana University, 1969), pp. 138-141. 10
In 1922, at the request of Queen Elizabeth, Ysaye returned to Belgium to resume his positions as Maître de Chapelle at the Belgian Court and the director of "Les Concerts Ysaye." It is also at this time that he devoted himself'more and more to composition by accomplishing the works which had been germinating in his mind in London and in Cincinnati."®
Ysaye's monumental Six Sonatas pour Violon Seul, op. 27 were composed in 1924. Each sonata was dedicated to a contemporary v io lin is t;
Szigete, Thibaud, Enesco, K reisler, Crickboom, and Quiroga respectively.
This great work is his violinistic testament. Antoine Ysaye cites 1922 as also the year of the genesis of the sketches of the Quarante Preludes sur les Intervalles from which the Dix Preludes were la te r realized.®
After many years of living the life of the bon vivant, having
"burned the candle at both ends," as he la te r wrote to F ritz K re isle r, his age began to catch up with him. As early as 1900, he had been diagnosed as being diabetic, but he continued to live the good life of the gourmet and the connoisseur. In 1929, his health fin a lly gave way, and a gangrenous boil on his leg made amputation necessary.
During his convalescence, his attention turned to an opera scenario which he had outlined in his youth. The subject was the sad exploitation of coal miners, whose children had been his childhood companions. The
re su lt ms the opera Pier li Houyeu, with a text written in his own
Walloon dia le ct. I t was performed fo r the f ir s t time on March 4th, 1931
in Liège, with Queen Elizabeth in attendance. Unable to attend the
®Antoine Ysaye, H istorical Account of the Six Sonatas fo r Unaccompanied V io lin op. 27 of Eugene YsaÿëXtrans. by Nadine Leblanc, Editions Ysaye, 1968), p. 25.
® Ibid.. p. 25. 11 performance himself, Ysaye listened to the performance by radio in
Brussels. According to his son Antoine:
At the end, through the applause, the audience could be heard calling fo r the composer, and a voice was heard announcing: "You w ill now hear the voice of Ysaye," and (through specially- installed loudspeakers) Ysaye's voice, a little weak, a little trembling, was indeed heard tendering his thanks from his sick-room, whilst a portrait of him was projected onto a screen in the theatre.TO
The opera was performed a few weeks la te r in Brussels on A p ril 25th, with the composer in attendance. This was Ysaye's la s t public appearance.
On May 12th, 1931, Antoine Ysaye greeted a young v io lin is t at the
door of the master's house. His name was P h illip Newman, and he had come
to play fo r the composer his Fourth Sonata, dedicated to K reisler. He was
quietly led to the landing outside the room where the great violinist
lay dying. As Antoine signalled, the young violinist began to play:
...the dying man tried to raise himself, straining to catch every shade o f expression. Then came the la s t chord, and in the silence which followed he said: "Splendid.. .the finale ju s t a l i t t l e too fa s t." He never spoke again.H
Thus, Ysaye ended his life as romantically as he had lived it.
T^Antoine Ysaye and Bertram R a tc liffe , Ysaye. . . , p. 151.
Antoine Ysaye and Bertram R a tc liffe , Ysaye. . . , p. 153. CHAPTER I I
THE PERFORMER-COMPOSER
Ysaye may be the last major violinist to devote himself to serious composition of large-scaled works. After him, Kreisler continued to compose his charming l i t t l e concert pieces; and serious composers who were also v io lin is ts , such as Ysaye's student Ernest Bloch, continued their work. However, we must return to the major nineteenth-century v irtu o s i, such as Ysaye's teachers Vieuxtemps and Wieniawski, to find great violinists who also composed large-scaled works. Nevertheless,
there exists a significant difference between Ysaye and most of the
great violinist-composers of the nineteenth-century. Virtuosi such as
Paganini and Wieniawski created compositions which were p rim arily in
tended for their own use on the concert stage. With the exception of the
poèmes o f the 1890's, most o f Ysaye's important compositions were
created after his retirement from the concert stage. In order to find a
major v io lin is t who also composed an opera we would have to return to
the time of Louis Spohr (1784-1859), another figure who successfully
combined the roles of conductor, composer, and v io lin virtuoso and
teacher.
For some extraordinary reason that no-one has adequately explained,
reference works rarely credit Ysaye with having composed anything but
six violin concertos; and yet there are over sixty works in existence,
most o f which have been published. The six concertos were deemed too
unoriginal by the composer to even be given an opus number and were
12 13 never published! Ysaye actually composed seven concertos, but later he abandonned them. An eighth concerto has been performed and recently published in an edition by Ysaye's grandson (see Appendix A, Figure IV).
The numerous works composed by Ysaye in free form fo r v io lin and orchestra were regarded by the composer as potential material fo r several concertos.
Following this conception of them, Jacques Ysaye has combined
Divertissement, op. 24 and Extase, op. 21, giving rise to a work in
the tra d itio n a l three-movement form o f the concerto. The resulting
concerto is extremely successful, containing many passages calling to
mind the best work of such composers as Ravel and Scriabin.
Ysaye's e a rlie s t surviving pieces are typical nineteenth-century
salon pieces: mazurkas and fantasies in the styles of Wieniawski and
Vieuxtemps. The harmonic and formal characteristics of Cesar Franck
and his followers, especially Chausson, exerted a strong influence on
his compositions from the 1890's to the end of his life . Specifically,
these influences can be seen in Ysaye's frequent use of ninth chords
and his fondness fo r cyclic form.
Anotht'' composer whom the v io lin is t met during his second stay in
Paris (1883-1886) was Claude Debussy. This meeting was the beginning of
a long and mutually rewarding relationship. At the time of their in itia l
meeting, they were both as yet little k.own names to the general public;
but as Ysaye's reputation began to grow, Debussy gladly accepted his
frie n d 's growing influence to create a greater audience fo r his works.
On December 19th, 1893, Ysaye's quartet gave the premier performance o f
Debussy's string quartet in Paris. In an undated le tte r of the same year
to Chausson, Debussy wrote: 14
The person I was most interested to see there (Brussels) was Ysaye, whom I called on firs t. You won't be very surprised to hear th a t he actually shrieked with joy on seeing me, hugging me against his big chest and treating me as if I were his little brother. After which reception, I had to give him news of everyone and p a rtic u la rly of you, of whom, unfortunately, my only knowledge was from le tte rs . And then music, and music t ill we went mad with it. That memorable evening, I played^in succession the Cinq Poèmes (of Baudelaire), La Damoiselle élue and Pelleas et Melisande. . .as for Ysaye, he became delirious. I really canT repeat what he told me! He liked your quartet too and is getting some people to work at it.l
Such sessions as the one described above by Debussy gave Ysaye the opportunity to gain a deeper understanding of the goals of the avant-garde composers of his day. His relationship with Debussy at this point in their live s was especially close. For example, the Nocturnes, were o rig in a lly intended to be a work in three movements for violin and orchestra to be performed by Ysaye. In a le tte r to the v io lin is t dated September 22nd,
1894, Debussy wrote:
I am working at three Nocturnes for violin and orchestra.... It is, in short, an experiment with the different combinations that can be obtained from one col our--like a study in grey in painting. I hope that this w ill appeal to you, for the pleasure i t might give you is what I am most concerned with. I am not forsaking Pelleas for this--and I must say that, the further I go, the more depressed and anxious I become 2
Debussy's ideas, especially concerning the use of modal and whole-tone
lEdward Lockspeiser, Debussy (New York: McGraw-Hill, 1972), p. 55.
Z ib id ., p. 61. 15 scales, la te r had a strong influence on Ysaye's own composing. A strong parallel may be drawn between the Dix Preludes and Debussy's Douze Etudes for piano, and the possible connection between the two projects w ill be discussed in the next chapter.
Antoine Ysaye's 1972 catalogue of his father's work includes, along with twelve arrangements and harmonizations of Baroque composers, over sixty compositions.3 They are divided into the following categories: works for solo violin, two violins, violin and piano, violin and orchestra, two violins and orchestra, viola solo, cello solo, violin and viola duets, cello and piano or orchestra, piano trio , string quintet, quartet and orchestra, strin g tr io , orchestra, and the above-mentioned opera.
Ysaye's strong interest in composing may explain his life-long crusade to make known the creations of obscure or neglected composers in his work as solo violinist,conductor, and quartet leader. Antoine
Ysaye has compiled a li s t of over f i f t y works dedicated to or premiered by his father. In addition to the previously cited works by Franck,
Chausson, and Debussy, the l i s t contains works by Saint-Saëns, Faure d'Indy, Lekeu, Dukas, Busoni, Vieuxtemps, and K reisler, as well as numerous lesser-known composers. I t should be added that many of those now-famous names were p ra c tic a lly unknown when Ysaye f i r s t began to
perform th e ir music.
Ysaye's role as performer-composer also served another important
historical function. Aside from their intrinsic musical value, his violin
^Antoine Ysaye, Etude Biographique (Brussels: Editions Ysaye, 1974), pp. 216-217. .
4 lb id ., pp. 213-14. 16
compositions, especially the solo sonatas, provide a priceless record of a style of playing which no longer exists. Concerning Ysaye's historical importance as a performer, Joseph Szigeti has written:
"Here was perhaps the la s t representative of the tru ly grand manner of violin playing, the living link with Vieuxtemps In regard
to the sonatas, Szigeti continues:
He was well aware of the importance of his intensely individual double-stop, chord, and"across-the-string sweep" techniques in the history of violin playing.... A glance at some of the pages showed me that here indeed was a w ork... that would permit later generations to reconstruct a style of playing of which the inadequate Ysaye recordings give us barely a hint.6
The famous v io lin is t and pedagogue Carl Flesch wrote the following
detailed impression of Ysaye's playing:
...Above all I must try to describe Eugene Ysaye... the most outstanding and individual violinist I have ever heard ----- The taste of the time, which yearned fo r the synthesis between technical perfection and the greatest^intensity of expression... found its complete fu lfillm e n t in Ysaye. His tone was big and noble, capable of modulation to the highest degree His vibrato was the spontaneous expression o f his feeling, a whole world away from what had been customary u n til then: the incidental, thin-flowing quiver " only on expressivo notes"; his portamentos were novel and entrancing, his left-hand a g ility and intonation of Sarasate-like perfection There was no kind of bowing technique that did not show tonal perfection as well as musical feeling. His style of interpretation betrayed the impulsive romantic, who was concerned not so much with the printed note-values, the dead letter, as with the spirit tha t cannot be reproduced graphically At the apex of th is pyramid o f fascinating a ttrib u te s , however, was an indefinable aura emanating from th is dominating personality and drawing everybody irr e s is tib ly w ithin its charm 7
Sjoseph S zigeti, With Strings Attached (New York: Alfred A. Knopf, 1967), p. 117. 6lbid.. p. 118.
?Carl Flesch, The Memoirs of Carl Flesch, trans. Hans Keller (New York; Macmillan, 1958), pp. 78-79. 17
To anyone fam iliar with the usually dry and scientific style encountered in most of Carl Flesch's writings concerning violin playing and violinists, the almost rapturous prose of the above passage is something o f a surprise.
The passage is p a rtic u la rly interesting fo r our purposes because i t isolates one technical specific in which Ysaye is revealed in his role as innovator: the vibrato.
In Szigeti on the violin, the great violinist recalls "... listening to the beautiful, chaste, close vibrato on his (Ysaye's) 1912 Columbia
U.S.A. recording.. .Ysaye's unthrobbing lovely cantilena as I s t i l l remember
it."® Thus in the use of the continuous, focused vibrato used as an
integral aspect of tone production, rather than as an occational expressive
ornament, Ysaye was regarded as a pioneer.
Concerning other aspects of Ysaye's approach to the problems of
left-hand technique, more is said in the fourth chapter which examines
his fingerings preserved in the Dix Preludes.
®Joseph Szigeti, Szigeti on the Violin (New York: Frederick Praeger, 1970), p. 174. CHAPTER I I I
THE PRELUDES
Their Origin and Purpose
In a letter marked: Zoute, April 18th, 1928, Ysaÿe described the genesis of the preludes as follows:
....D epuis quelques mois déjà, je pioche une machine qui me passionne et m'absorbe. J'avais à quelque temps d 'ic i conçu le projet d'un tra va il de haute technique moderne se basant sur le jeu des intervalles partant de l'unisson jusqu'à la dixième. Si l'unisson n'est pas un in te rv a lle harmonique, il 1'est, au violon, par le comma différentiel et par le doigté. Je fa is d'abord un squelette grammatique, un schema, par pair et impair, en employant le meme intervalle des quatres ordres majeur, mineur, diminué, augmenté, et ainsi proposé (c'est un dogme, une loi) je vais, je realize, je conjoins le tout en un court morceau de musique que j'appelle"prélude" lui-même formé d'exercises différement rythmés. Comprends- b ie n :^si, par exemple, je m'escrime sur la quinte, ce sera le prélude uniquement, exclusivement f a it avec des q u intes... Et je t'assure que ce n'est pas faux, c'est^même fort harmonieux et c'e st nouveau au moins du côté sonarites. Ce travail est, je le crois robustement, celui qu'on attend e t qui d o it venir parce q u 'il est émanation directe des fleu rs harmoniques du dernier quart de siècle; i l vient a son heure parce qu'il est nécessaire au progrès de la virtuosité et de la composition orchestrale. ^ Je suis en bon voie, la première esquisse s'achevé au moment ou je dois repartir. Certes cet ouvrage n'est pas au point, mais j'en suis féru, je tiens le filon et le re tra v a ille r, retoucher, p o lir , sera un p la is ir nouveau ___ 1
1 Eugene Ysaÿe, Dix Préludes pour Violon seul, Essai sur le Mécanisme moderne du Violon, Op. 35, edited by Charles Radoux Rogier and Henry Koch (Brussels: Schott Freres, 1952), pp. 7-8.
For the la s t few months, I have been working on a project that obsesses me. Some time ago, I planned a work of advanced modern technique based on the playing of intervals from the unison to the tenth. On the violin, the unison can be considered
18 19
an harmonic interval because of fingering and the d iffe re n tia l comma. At firs t, I make a grammatical skeleton, a schema, according to odd and even numbering, using the same in te rva l in its four different forms: major, minor, augmented, and diminished. With th is basic organizing principal in mind, I proceed to unite the whole in a short piece o f music which I c a ll "prelude", it s e lf created from exercises in d iffe re n t rhythms. Understand me w ell: i f , fo r example, I am working with the f i f t h , i t w ill be a prelude made exclusively from fifth s — And I assure you that the end re s u lt is not bad. I t is even quite harmonious, and as far as the sonorities go, it is new. I strongly believe tha t th is is the expected work that is bound to come as a d ire c t emanation of harmonic developments of the past twenty-five years. It appears at the right time, because of a necessity fo r the advancement of v irtu o s ity and orchestral composition. I am on the right path; the firs t sketch is just finished at the moment that I have to leave. Of course, this work is not yet complete, but I am deeply committed to i t . To rework i t , to retouch and polish it w ill be a new pleasure.
In addition to this letter, there exists a fragment of an unfinished preface by Ysaÿe to the work. It is also published in the Schott edition
of the preludes. That portion revised in the author's own hand is as
follows:
II est indubitable que, de tout temps, les conquêtes harmoniques furent à la base des progrès de la technique instrumentale et, particulièrement, de celle des instruments à cordes. En effet, chaque accord nouveau--ou ceux dont l'ussage fu t long a entrer dans la pratique— apporte au mécanisme une richesse, un essor un élément d'invention, un intérêt nouveaux; l'apport se partage e t tous les domaines de la musique s'enrichissent. PAGANINI, chercheur, inventeur d'une technique spéciale, suit l'évolution de la musique lyrique italienne^de son temps et,^ sur une harmonie généralement consonante, b â tit tout un système nouveau en utilisant avec une habilité qui tient du prodige les successions rapides de tierces, octaves (doigtées) et dixièmes en doubles cordes...2
^Eugène Ysaÿe, o^. c i t . , p. 5. 20
Without question, harmonic discoveries have always provided the basis fo r the development of instrumental technique, and particularly that of stringed instruments. In effect, every new chord (or those which only gradually came into general usage) brought to instrumental technique a richness, an element o f invention, a new in te re s t; every realm o f music benefits from this contribution. PAGANINI, the seeker, the inventor of a special technique, follows the evolution of lyrical Italian music of his time, and builds in a basically harmonically consonant style a new technique with a prodigious capacity fo r rapid successions of thirds, fingered octaves, and tenths in double-stops...
The specific harmonic developments which are explored from the violinistic standpoint are the modal, whole-tone, and hybrid scales of the impressionist composers. A strong pa rallel can be drawn between the Ysaye preludes and the Debussy etudes for piano. It is even possible that the long discussions of Ysaye and Debussy concerning the letter's works may have provided Ysaye with the impetus for the creation of the preludes.
The two books o f piano etudes were w ritten by Debussy during 1915.
According to Edward Lockspeiser: "The Studies do, in fact, present a synthesis o f the manifold aspects o f Debussy's o rig inal and independent conceptions of the piano.They explore the new difficulties which result from the impressionist harmonic innovations as well as new color possibilities of the instrument.
The most striking sim ilarity between the etudes and the preludes is,
perhaps, Debussy's title s fo r the second through f if t h etudes: "pour les
Tierces, pour les Quartes, pour les Sixtes, pour les Octaves." Of special
interest in any comparison are the etude and prelude on fourths. Although
^Edward Lockspeiser, Debussy (New York: McGraw-Hill, 1963), p. 160. 21
etudes on sp e cific intervals were not uncommon, p rio r to the Debussy and
Ysaye works, few make an extensive exploration of the interval of the fourth.
Aside from the sim ilar harmonic idioms o f the Debussy etudes and
the Ysaye preludes, there exist also thematic parallels. For example, the
following passages from the second and fourth exercises from the preludes
resemble passages from the ninth Debussy etude, "pour les notes répétées:"
Example I. Eugene Ysaÿe, Dix Preludes, 2nd exercise (Tempo) measure 1.
Example II. Ibid. , 4th exercise (Allegro assez viv), measure 1
Allegro assez vif ^ 2 0 *. . . . '4 - j -
Example I I I . Claude Debussy, 9th Etude (Scherzando), measure 10.
È
i,tg . Æ 22
Example IV. Ib id ., measure 1.
m
a
Like the Debussy etudes, the Ysaÿe preludes also explore the possibilities of new sonorities. At the beginning of the firs t prelude a note by the author states:
A part de quelques très rares exemples-de ci de 1^ le double son d'une corde voisine- je ne vois pas que l'unisson soit entré" dans la pratique courante. Pourtant, avec son étrange effet sonore, un peu supernaturel, l'unisson est intéressant et curieux...4
Throughout the preludes, c o lo ris tic p o s s ib ilitie s are pursued in both tra d itio n a l and novel ways. There are the usual variety of color effects through the use of harmonics, and pizzicati. In the second prelude, something of a klanqfarben effect is created by executing passages that would usually be played on one s trin g in broken double stops in seconds, as in Exercise 6. Nevertheless, the strange sonorities of the successive unisons of the firs t prelude are the most strikingly original color effects of the set.
^Eugene Ysaye, o^. c it , p. 11.
Apart from a very few instances, that of the double stop of an open string with its fingered equivalent on the next string, I do not think that the unison has come in to general use. However, with its strange sonority, rather unearthly, the unison in itself is interesting... 23
Unlike the Debussy etudes, the Ysaÿe preludes should not be regarded as formal compositions, with the exception of the sixth prelude (see
Appendix B fo r formal analysis). They are, as Ysaye's le tte r indicates, a series of exercises realized from scale outlines for pedagogical purposes.
Instead o f the tra d itio n a l analytical approach to the set, I have
reduced scale outlines of the passages containing original fingerings
using the format of the existing squelettes grammatiques which is also
described in the composer's le tte r , quoted on pages 18-19. I must emphasize
that these are presentations of the original fingerings according to a
format used in the existing squelette grammatique fragments. They are
not necessarily the complete outlines actually used by Ysaÿe.
The Discovery and Editing
Ysaÿe's studio in Brussels on Avenue Brugmann was reconstructed at
the Royal Conservatory of Liege. A g ift from the violinist's heirs to
his native town, the studio contained a priceless lib ra ry which the c ity
asked M. Charles Radoux Rogier to catalogue. The exact date of the
discovery of the Dix Preludes is not known according to a note from
Antoine Ysaÿe to this w rite r (see Appendix A, Figure IV ), but i t occured
during 1938-39 when the work of M. Radoux Rogier was carried out. Two
notebooks were discovered among the manuscripts. One contained the firs t 24 sketch of "40 Exercises"in pencil from which the second notebook containing a manuscript (also in pencil) entitled Treize Preludes was realized. In another letter to this writer, Antoine Ysaÿe described the manuscript of the 40 Exercises as"illegible" (see Figure I). Of the thirteen preludes planned by the author, only the firs t ten were found to have been actually composed. A sketch fo r the eleventh, bearing the heading " Intervalles melanges" (mixed in te rv a ls ), was discovered in such a premature state that it could not be reconstructed. A note in Ysaye's hand gives the following plan for the final three preludes: "Prelude 11 - libre;
Prelude 12 - caprice; Prelude 13 - va ria tio n s."^
According to the above-mentioned note from Antoine Ysaÿe, i t was
in 1940 that M. Henri Koch, professor o f v io lin at the Royal Conservatory
of Liège, was engaged to edit the work for publication in a practical, working format. It was his task to realize the bowings, slurs, fingerings,
etc. le ft in incomplete o’" abbreviated form by the master. In the
resulting edition (Schott, 1949), the printed fingerings are those of
Ysaÿe; the ita lic iz e d fingerings are those of Koch. The added performance
markings by Radoux Rogier are marked by ve rtica l brackets. Those segments
of the original manuscript which were so unclear as to be open to
in te rp re ta tio n have been marked by Radoux Rogier with a horizontal
bracket. These precautions taken by the editors have made the task of
analysing Ysaÿe's original intentions considerably less complicated.
^Eugène Ysaÿe, op. c i t ., p. 9. CHAPTER IV
THE "SQUELETTES GRAMMATIQUES"
The complete "squelettes grammatiques''which Ysaÿe mentioned were not in the sketchbook or in the notebook containing the manuscript of the preludes. However, fragments of these outlines for intervals of the third, the seventh, and the ninth were discovered in the sketchbook.
These have been published in the Schott edition following the corresponding preludes.
Example V. Eugene Ysaÿe, 10 Preludes, p. 17.
Par tons Whole tones In Ganztünen pa:r tv e n
Schema
P a ir even gcride
25 26
Example VI. Ib id ., pp. 27-8.
GAMMES SCALES TONLEITERK
C D-r' '• ^ T T f T l 0 ' : ' ' ' ’ '
Schema
Sol majeur _ a ,------. » j :— :— • - * —r- —
G Dill t ~j 2 i i J ^ i i , 2 , 3 i T f " ' " - ' 5
Ré majeur z S r j. J-r:*.-:------;
D Dur “•■ : , : 1 : ' 2 ' : 1 3 , 3 j 3
Par teas _c*L'_x :------....'. j — —l_ V hcic tcr.cs ■--— Gaoitbnen •■ > v; .v •» -j ; i : ) ; 1 3 ; 1 2 1 j 1 , ^ » 3
Ces doiglcj sont logiques et très These /ingetings are topical and Dicse Fingersatie Jind logisch praticables. very practicable. und liegen gui in der Hand.
^ ^ ^ E. Y. 27
Example V II. Ib id ., p. 33.
GAMMES SCALES TONLEITERN j » * f f : 0 â 4 3 * t m ai. aj. /» I ' • I i'll C C Dur r— r-!-: —
a joucr stparemenl tû he played separately Schema gctrennt zu iibca
Fa maj F m a j. F Dur
: ? » . », Ré maj J ) tn c j. D Dur
Par tons r i . l , •.J 0 A ^ i - ! —1 -* -----
Tonweise ■ " • , ' 1 1 ♦ / a? 28
To what extent Ysaÿe followed his original intentions regarding the squelettes grammatiques as stated in the letter previously quoted on pages 18-19 cannot be determined. The fragments which are available do contain the schema divided according to odd and even fingering, except in the case of the interval of the tenth where alternate fingering would be impossible for most hands because of the great stretching of the fingers involved. However, the fragments do not show the same interval in all four basic forms as described in the same letter.
Ysaÿe's plan o f creating the preludes from a series of separate exercises in different rhythms was followed through. The exercises are numbered consecutively from one through thirty-three throughout the set.
A plausible explanation for retaining this subdivision of the preludes
is that each exercise isolates a particular problem and could be practiced
separately, perhaps with more efficient results.
In the same letter, Ysaÿe states emphatically that each prelude w ill
be composed exclusively from one interval. This intention he did not
carry through to the end. As early as the third prelude (measure 41)
he deviated from his original design and began to incorporate mixed
intervals and chords (measure 55). Even the second prelude contains
one pizzicato double stop on the minor ninth (measure 17). Nevertheless,
he does remain remarkably faithful to his original intentions by making
only occational use of mixed intervals and chords in all but the sixth
prelude, which he regarded as the most musically in te restin g. Perhaps
because of his fondness fo r the interval of the sixth as demonstrated by
his extensive use of the interval in most of his violin works, Ysaye
was unable to re s is t the free play of musical ideas which the sixth 29 prelude suggests. I t is the only prelude o f the set which is suitable fo r concert performance.
Aside from the composer's statements regarding his method of realizing the preludes from scale o u tlin e s, or "schemas", a comparison of the squelette grammatique fragments and their corresponding preludes helps to c la rify the compositional process used by the master. For example, i f we examine the upper lin e of the schema fo r the whole tone thirds (Example V lll- a ), we can see the outline of the f i r s t measures of the th ird prelude (Example V lll- b ) .
Example V lll- a . Ib id ., p. 17.
Par tons Whole tones In Ganxtbnec pair €ttu ftra d e
Schema 30
Example V lll-b . Ib id ., p. 17.
IMotlemto i (CD:': 1 ? J i , | Ex.7
(ZVE::1 . I J i i —J I . —...... -*<—-r— »-i—r—E » - - ■ . -.. - 3«* ' ■ ... .—. r ..g» . — ~* — — — — I w U /_ - ■ ■ •-— f., - I.. I—.;.. - — ^ I.. I ,. .. — ,, #. —- f »•• —— 4 — —— «-^4—j
Since the fingerings of Ysaye and those of the editor M. Koch are cle a rly distinguished in the e d itio n , we are able to reduce scale outlines and th e ir corresponding schemas from those passages in the preludes
using only the original fingerings.
Fortunately, the preludes contain enough material with the original
fingerings to have made possible the deduction of Ysaÿe's fingerings
fo r scales on a ll o f the in te rva ls from the unison through the tenth,
with the exception o f the seventh and the ninth. Regarding these la tte r
intervals we have the fingerings contained in the fragments of the
original outlines. In many instances, the information has been sufficient
to make possible an extensive reconstruction of the original squelette
grammatique. Even in those instances where the fingerings fo r the 31 intervals were not numerous. I believe that I have been able to construct a cogent picture of the master's approach to the problems of executing those intervals. This data has permitted a consistent reconstruction of
Ysaye's approach to left-hand technique discussed in the next chapter.
The description of the schema in the April 18th, 1928 letter and the fragment outlines suggest that the schema served a dual function.
On the one hand, the odd and even fingering represented the traditional approach to the problem of successive double stops, which is d iffe re n t from the fingering which Ysaÿe had indicated for the same scale
(cf. Example V I). This allowed an immediate comparison of the tra d itio n a l fingering and Ysaye's fing erin g. On the other hand, the schema also provided the opportunity of examining his fingerings for each of the ten intervals in scale outlines at the third (cf. Examples V and VII).
The importance of this function is underscored by the instruction accompanying the schema of the th ird fragment: "à jouer séparément."
In the following examples, I have placed some fingerings in brackets in the scale reductions. Those fingerings in parentheses represent alternate fingerings in Ysaÿe's hand in sim ilar passages. Those fingerings in brackets are my estimated fingerings for passages in which one or two fingerings are missing and not readily deducible from the context of neighboring fingerings. I should emphasize that only passages which were extensively fingered were used as sources for the scale reductions.
Consequently, only occational additions were necessary. 32
The sixth prelude is constructed from whole-tone scales on g-natural and a-flat. Most of the original fingerings are given for the extensive single-stop passage work. Because they are relevant to our general in te re s t, these are reproduced along with the scales in sixths. In order to determine Ysaÿe's original fingerings fo r the whole-tone scale on a-flat, I have used his fingerings for this scale as it appears in measure 15 of his firs t unaccompanied sonata.^ An interesting a rtific ia l scale on a-natural is completely fingered in the sixth measure of
Exercise 18. As previously mentioned, a formal analysis of this prelude appears in Appendix B.
^Eugene Ysaÿe, Six Sonatas pour Violon Seul, (New York: 6. Schirmer, 1924), p. 5. 33
Example IX, Eugene Ysaÿe, Prelude I,u n is o n s
a. Scale in D Minor
? s i . i f " " j 3 i- -J —
T c a T o /_ o *-
T Î: K f » -W -t — --- - " --- z z z i ] ■ ■( ¥ '■ :o~ O /.
b. Schema fo r Scale in D Minor
##
v \ )
[
4 34
c. Whole Tone Scale on E
c ^ T
- i . I . 1 I ^ % I - ■• •■'■-I- I ~—^ 'j1 1*— *rr4 i^ :J < irJ ^ rzr i * ------“ - — » - I - — I 1- ■ T o /■
d. Schema fo r Whole Tone Scale
»‘r
~A I 4
o 35
Example X. Eugene Ysaÿe, prelude I I , seconds.
a. Scale in C Major* (T o 6e pfayed pcry tto w lÿ St first mnd grsduslly fsstcr.)
» ? X-*—r i ; f 5 ; : ? ; f i i i J i I I « g . —-, = — — « »*i— I. I ' ■' ' -■ « ■ ■ -■■' " — .»«. I ■ ■ I » » .^ = * = « — a r • — »!■ - - • ■ '——------É* r - y -
* This scale from the sketchbook is reproduced on page 15 o f the Schott edition.
b. Schema for Scale in C Major.
r . .
4 / 36
c. Whole tone Scale on C*
Par This scale from the sketchbook is reproduced on paqe 16 of Schott edition. d. Schema fo r Scale in C Major — ------37 Example XI, Eugene Ysaÿe, Prelude I I I , th ird s , a. Scale in C Major ' — )------1 '— I— — ( I, — IΗ — *— i z-7 — —bz; z r - ; l — .1—^^ - j - j-— »— -i— t 334 1334/3 I 'f I U a t f ' it _ -i>- ' > É É â Ü z M ^ 1 1 2 / 0 b. Schema fo r Scale in C Major I t 3 3 — # 38 c. Whole Tone Scale on C* (From the aketchbook.) First simpie scale, then / whole tone scale): (eKcrver In Mmlrt*#) {mole Ike / t m e m m f ) 4 J 4 3 4 0 4,4 34 34 3 4 3 4 3 4 3 (FisrcruU kcixku») * This scale from the sketchbook is reproduced on page 19 of the Schott edition. For the corresponding schema, see example X. 39 Example X II. Eugene Ysaÿe, Prelude IV, fourths a. Scale in E Major / 1 «- "> 77T ^ ° ^ " ^ .-111 1 3[3:g3 "* z I b. Schema fo r Scale in E Major r I ___ # - # -. f .. n n 40 Example X III. Eugene Ysaÿe, Prelude V, fifth s a. Scale in C Major - G. Mixolydian o I I I I ‘ f —f ■ — III ^ • I “ J«— « —' ^ .p •à I ■ ■— I , — i I ■■ f I I. -«p.. = l É Ê I I I T [^j z " / / o ^ , z b. Schema fo r C Major - G. Mixolydian Scale 1 z I z z V 41 C. Scale in E Minor dy:.;; :r. AziM zzi.l j:^ji:i“/-irrj - t I I f * f ) - : %zz : - 4 — iTÎip-t:" ziz: 2 2 £E^ ^ I [2] I 2 I 3 3 I d. Schéma for Scale in E Minor <3 z o z. 42 Example XIV. Eugène Ysaÿe, Prelude VI, sixths a. Whole Tone Scale on A -fla t z z 4 2- — 1 P I z - m z M z ^ ; - • f - hut. fr-f- J------1------1---- E($Ei3=E3EEEi^ □b #- v/ I . r., 1 / _ ' . T I Li] I [J] ' 3 I b. Schema fo r Whole Tone Scale f r r ' î r ' T 43 c. Constructed Scale - A lternating Whole and Half Steps on A-natural 3 f 3 A . /--TT^c A / — a 'it J=- » / ;I ; 2 » 2 / I I f A J 1 3 f 3 4 3 4 ^ -:z j -riOr-dr—Ijrzzfjr- Trr/^i: J 2. I 2. I 2- I y 2 / a , d. Schema for Constructed Scale i i ♦ — • /. 44 e. Whole Tone Scale on G-natural (single stops) ______- _ ,__I----- 1 ^ ^ " j 9 7" T i r - | — F : " ------0 I / L-J Ç i /I p] ? / [; •:b:-.Tzi: _f :.ilz-.r.frbf.... .]^zb|E-iz:rz...r._>•/'“> zzjrdzzb-ir^-zzzi [£ y ------: *------1------\------1 i i [ 1------— / " r y ~ I " o o f . Whole Tone Scale on A -fla t (single stops) . r" b .. lz:J . - f ..//z^zzz;=:z:)zT|zz:|z=ri:q:2:^ z :;z=: ' ^ 3 Z ) 1 ' ^ t 2. I ^ V I 2-54°3 4 . / - ’ .f / % ^ ,7 £■ Î — $ - . E:|zz:zz|— zrizzbrjr^ J ^ -f::È 0 4 ^ , z 3 4 I 45 Example XV. Eugene Ysaye, Prelude V II, sevenths* (Fram the aketchbook.) CAMMES ’TO N L H T E E N Ut taaj. • j L_i_ C mnj. C Dur •' i T ' î î ' Sol majeur £ G m ajor G Dur T ♦ » Ré majeur ^ X) m a jo r = D JÜUT Par-tons W hole tones h; Ganztoncs \ V5 - k? ^ j * i ’ : a 1 i a i a i a » i i * * » TAese fin p m tp t are /ofpenJ mnd mtra prtcticnblt. E. Y. 46 Example.XVI. Eugene Ysaye, Prelude V III, octaves a. Scale in D Minor . y : ^"ÏTj i - ' H W : jijj j b > :: r~-~p:[—.{r-:!—: -T- . 'iy.V . i:p - j I—; . ./..Ç I I Z 0 / i / z I ^ f z C ^ J 2 _ 7 . - —4 "— -J —— I “* “* I ' ' ' ' I — ■ i —■ I ^ I — ■■ ■« — 1 I , —o % z / 1 I 2 / Z y I m 2 I I b. Schema fo r Scale in D Minor 3 ? •4-< (?) 2 47 Example XVII , Eugene Ysaye, Prelude IX, ninths* GAAI31ES SCALES TONLEITERK 3 4*42 0 Dt mg) C m aj. C Lnr = 5Î ' ( I I I i icmer «éparrment Schema <0 flayed srfarxtiely iretrtnnt zu tibea Fa maj. F mtaj. F Dur : ? & 0 Ré maj 3 0 3, z ^#2 & t D m aj. D Dur Par ton* IT/ro/i» fanes Tonweiae * This ou tline fragment from the sketchbook is reproduced on page 33 of the Schott edition. 48 Example X V III, Eugene Ysaye, Prelude X, tenths a^_Scale.in_C_Major *0 I I I I I I I O '' 3 t i -f ê — Ÿ” - o » / 0 t I / o b. Schema fo r Scale in C Major 49 The preceeding scale reductions v/ere realized from passages in which Ysaye had marked those intervals with the fingerings indicated. They are not necessarily the only fingerings Ysaye would have used for those scales. A careful examination of these fingerings does reveal a consistent approach to the problems of fingering. CHAPTER V CONCLUSION The Importance of Ysaye in the Development o f Modern Left-Hand V io lin Technique According to the outstanding Soviet violinist David Oistrakh, I.M. Yampolsky's The Principles of Violin Fingering "...embodies the artistic and methodological experience of the Soviet violin school In the final portion of the book, the author makes the following statement regarding the evolution of modern left-hand technique in violin playing: I f we consider the h isto rica l development of the technique o f playing musical instruments, we can observe a clearly defined tendency fo r technical methods of playing to become s im ila r. The history o f music gives a number of examples of such simplification which opened up new artistic possibilities fo r both composers and performers. I f we consider the development of v io lin fingering method in th is lig h t, we can observe that such sim p lifica tio n s, which were connected with the elim ination o f unnecessary movements in the le ft hand, were the result of using hitherto under developed technical devices--the contracted position of the fin g e rs, which led to the maximum use of the fourth fing er and h a lf-p o sitio n , the concept of the position as having an extent of a fourth to a fifth , and the use of the even numbered positions...2 ^I.M. Yampolsky. The Principles of Violin Fingering, translated by Lumsden (London: Oxford University Press, 1967), preface. Z ib id ., p. 129. 50 51 The final lines of this quotation provide us with the nucleus of the Soviet authority's views on this matter. In the United States, Ivan Galamian is the most influential violin theorist and teacher. In his Principles of Violin and Teaching, Galamian makes the following statement regarding the development o f modern left-hand technique: In the field of fingerings there have been several develop ments that have helped to advance the le ft hand technique as such: (a) more playing in the even numbered positions, (b) the half-step shift, (c) position changes on the open strings, (d) better chromatic fingerings, (e) new types of extensions outside the frame, and, fin a lly ( f) a new kind of fingering that is based on extensions of contractions...3 Both of these generalizations have several basic points in common. The statements by Yampolsky and Galamian may be reduced to the following generalization: contemporary left-hand violin technique differs from the practices common through the early decades of th is century in the following three aspects--(a) the frequent use of the even-numbered positions, (b) the frequent use of extentions and contractions outside a given position, and (c) the use of extensions, contractions, and half positions as shifting devices. These three elements have brought an evenness and flu id ity to modern left-hand technique which was impossible with the approach to fingering generally taken by violinists in the past. A surprising number of editions by nineteenth- century editors are s till in print. Their extremely awkward fingerings testify to the servile devotion to the odd-numbered positions by most nineteenth and early ^Ivan Galamian and Elizabeth Green, Principles of Violin Playing and Teaching (Englewood C liffs : P rentice-H all, 1962), p. 32. 52 twentieth-century violinists. The Schirmer edition of the Brahms third violin sonata (edited by the nineteenth-century violinist Franz Kreisel) provides a good example of th is kind of anachronism. Measures 44 through 47 of the f ir s t movement demonstrate the results o f th is approach at its worst: Example XIX. Johannes Brahms, Opus 108, 1st movement (Allegro), measures 44-47 of the violin part. The above passage would be fingered in the following manner i f the principles of the extension shift^ were applied; Example XX. Ib id . ^The term"extension shift" is used in this paper to refer to any s h ift accomplished through the use of extensions, contractions, or h a lf step shifts. 53 Although Ysaÿe was a contemporary of most of these editors, a close examination of the fingering reductions of the preceeding chapter reveals how fa r ahead of them he was in his approach to the problems of fingering. In every example there is present "(a) the frequent use of the even-numbered positions," and "(c) the use of extensions, contractions, and half positions as shifting devices." Extensions and contractions outside the frame other than the half-step s h ift are not frequently encountered in scale passages. Their primary function is to facilitate the execution of large intervals in a context of smaller intervals as well as to facilitate the execution of alternating small and large double-stop intervals. Since the preludes are largely created from scale passages on the same in te rv a l, there are few passages o f th is nature in them from which to evaluate Ysaÿe's approach to "(b) the frequent use of extensions and contractions outside a given position..." We do find that Ysaÿe applied this principle to those passages where it is relevant: Example XXI. Eugene Ysaÿe, Opus 35, 2nd prelude (Cadenza), measure 8. 54 Example XXII. Ib id . , 3rd prelude, measures 50-52. 55 a <) S Î These few instances of extensions and contractions outside of the position frame do not constitute sufficient proof that Ysaye had clearly formulated this concept in his mind. However, the third prelude also contains extension passages with the instruction "Laisser le pouce à la l^i^e position," "Leave the thumb in the firs t position." This indicates the use of extension fingering: Example XXIII. Ib id . , measures 15-17. pocoy animando , ? 1 - ^ ------[cresc.] . Laisser le pouce à la 1'" position___ Laiie tkc tlmmb ûi the position.. Dca Daumen in der I. Lagc lasscn. _ 55 Example XXIV. Ib id . . measures 21-22. M Av y rit. y b - S - j ' —I-—^ —' '- ■I_p J:. • ^ Laisser le pouce à la l"'" position. Leave the thumb tu the V*position. Den Daumen in der I. Luge lasscn. The Place of the Dix Preludes in the Etude Literature of the Instrument In the previously quoted le tte r in which Ysaÿe outlined his intentions regarding the form and purpose of the etudes, he referred to the project as "... a d ire c t emanation of the harmonic development of the past twenty-five years.This period was essentially the firs t quarter of the twentieth-century. Although Ysaye was familiar with the work of Schoenberg and other early twentieth-century composers and conducted th e ir works, the harmonic developments explored in the preludes are basically those of the impressionist composers and the poly-tonal composers such as Busoni and Szymanowski. The preludes provide the v io lin is t and opportunity fo r examining the problems of executing double stops from the unison to the tenth in various modal, whole-tone, and hybrid scale patterns. In addition, they provide access to ingenious fingering solutions in accord with the basic principles of modern left-hand technique. In so doing they constitute an ideal preparation for the study of Ysaÿe's own masterpiece: the six sonatas fo r unaccompanied v io lin . They are also an excellent ^This writer's translation, p. 18-19. 56 preparation for mastering the solo and orchestral parts of works of the impressionist and poly-tonal composers. The technical difficulties for the le ft hand peculiar to this period are usually neglected by students and teachers alike. Although there have been subsequent pedagogical works which deal with many o f these problems, the Dix Preludes are probably the only work in the etude lite ra tu re o f the v io lin devoted solely to the problems found in the works of this period. They thus f ill what was once an unfortunate void in that body of literature.^ In closing, let us consider another statement by the great David Oistrakh: ...like Paganini, Ysaÿe introduced a new era of the violinistic art, enriching the instrument's technical and polyphonic p o s s ib ilitie s . The contribution of Ysaÿe's work to the international musical heritage has not been suficiently emphasized.7 ®For an excellent study of the technical problems in the v io lin literature from the atonal period to the present, see W. Walters' Technical Problems in Modern Violin Music.. . , (State University of lov/a, 1958), Photocopy, Xerox University M icrofilm s, Ann Arbor, Michigan, 1976. It also contains an interesting set of original exercises. ^Antoine Ysaÿe, H istorical Account of the Six Sonatas fo r Unaccompanied V io lin of Eugene Ysaye, translated by Nadine LeBlanc (Bruxelles: Editions Ysaÿe, 1968), p. 3. 57 The six unaccompanied sonatas with all of the original fingerings and bowings have long been available to the public. There have been studies o f them, such as the Greenspan and Antoine Ysaÿe works, from historical and musicological points of view, but there is yet to appear a detailed study of the fingerings and bowings from the viev/point of the executant. The six sonatas are Ysaÿe's musical and violinistic testament. Until an exhaustive study of the fingerings and bowings of the sonatas appears, Ysaÿe' s fu ll contribution cannot be properly accessed. I t is my sincere hope that this study o f the preludes may provide an impetus fo r the realization of a definitive evaluation of the six sonatas. APPENDIX A. CORRESPONDENCE REGARDING THE PRESENT DOCUMENT 58 ]F(DN]DÆ T][(DN ETQOIEMIE YSAW 3B sous lA fRtSIDENCE D'HONNEUR DE DAVID OISTRAKH ET COMITÉ D'HONNEUR DES ANCIENS EIÊVES OU MAITRE SOUS lE HAUT PATRONAGE DE S. M. LA RUINE ÜLISABETH t Um4i L KHKfH> K iOUliO — M. CAI( MAffOID ** M. lAy^NCXf V. ^ 0. THOMSON MM. i lOlOCNIHl C lOUUlCN — M. CITC! MISS — A. T tltA ltS I — W. KiJjCHJIT — J. ClNOOtO — A. » I H — W. flIMIOSC - L SOttlMS M SOiWAY f. WICY coNita MFVBKES D H.ONNtUR : J aocil . r anohc . l kopcsco . j. bruvr . e. calamc . j . c a lv c t . p. c sA C st D‘ADMIN|}1IA1iON H» J CHICKOOOMf F OAHCMAMDCAU . A OtFOSSTZ . H OCSCuIN . M CC&TfNATt* O rSf>UA . P. P O U R N IC M I FHANC».SCArf| . fKiOCUU CACA . p CALLOIS M.'ÎPiTOPt/N . « CAVOTY . A t : ' ATLCW . CC'SrAVT eiAON e«* r k m V*VI'N. V/*» L'#* r.oiLrus • m h y m m a n s c . m h o s s c l c t - o j c n n c • L . k o c a n . m . K u u t L t - m . l f j c u n c . a . l o l v c n c o t h iam'x» («slin v/r* T MFNUHIN . G OCTClb . I OtSTPAr.M . Tm.o PASOCIFR . F PETWONIO . M ni»«CMlRLC . M POOT . O. POUlCT vu*l. <••«* r O U IS tT t J OUtTJN . n «ICCI • a. ROSANO . c SUrUKI . J S Z iO C T lf M SZCRYNG . L. TCRASPCLSKY . l_TCRTIS A*f«tU lAVCiNl. Cm**II. R TINCL . d. TRINAA • M TVIOAT . A. VAN O t MCO«lCU • ». VOOILLCMiH . J VAN STRACLCN • C. ZiMBALIST. y c u s n e s a c t if s MOUVf AUX MÎMCIfTES ACTIFS P D AI»ChamOFAU • J SFHVAiS • A V*N TF A»OOR*FL • V DRUNFA'JT . M CCRü • G VE^r.CKFN, A» t'Y • I l A ’.AI.'.AN . M »■•••» AWA • Al •_ T M «•O a A>*VA • C ivATAAtR • J SAl.AÜOR • K TOTENUERG • V‘£lAr DO;S. nv:«9i • C :AA . A;:TA . A MA:*ÂA* - V G iAV*‘TT|.a PiUv.LK>A VASHéH LISOLM •f * JETTEUR • M VANOENaiA&SOHUGCE « A W ü f W iCmLL,DECKS'!Alt f C t l'f S - E VOlCAAr«*T . •» WrHîMtN • J vAN'.F, s s . A CJ JIA»C ViOU V I:C »'LL^ CslF-.X ES UfGE J ilHVA G . USA A'ASS T JU Sut RG • T4\A;. f LACK . ARlZ. . U CAI.E • FRANCE : C. FOULET • JAPON : Cailo V4A h‘5»C T. SSANAA'I . MARYLASG . V Ri Cm AROSON • NEW HAAIp' H. UiRTHlNCT « N.Y. ; U MARTIN. O' S*%# Vÿ^YC Mich«i TSAVb SiEûE ;>OC.IAl RUE CE I E S C A lV t. ü . 1190 BRUXELLES |W | W li. M OlUCUCS AUtsUCNt S .*y/'/'y ^ Â~in IJ 'C M It eANruAtr T>' i-'y X. /it^ .'/C /i.VwAç, A / T< ^ ^ ^ Wm# J. SmUartof ITATt llM>t Imd • I 1/o / / y. t9 Y* *** < MmM. • I. Ai^li M. t •- N. T. I I. GA# I ,f ^ à X-Z/Vy R. ^ ^ ^ F* • K IR«« F# I t FRANCE V.6. 0«AJ*iô*BcuilidA R. TlflfAm# B. SaccNi 0 . Ct«<*rt F / QIAN3( IHTACNE V" lUIlt i {. CttN cnzii#AMfOM /x'OK/ tuirwfojfG . t 't ' M. #« tfiANOt » A MMW < KMCYA<» - ■ / / - . / . l , 0. im AfiiCA 0. OiAM ^ /?/✓<.CL , / c w " fültM ». tooetwioviOL'i» A. K CmAWN V » i i . N.B. p.eff'bT»» •CUT»•Mm5r«i c l C d'hAiMCw# o t r f j f i sont .------J Figure I. Letter of 1-26-1976 from Antoine Ysaÿe to the Writer. 59 1-26-1976 Dear s ir: Regarding your amiable le tte r of 5-1-76 There is no commentary on the ten preludes of my father (he wrote 40 o f them, but they are practically illegible) other than that by Ysaye himself in the edition in three languages. It is up to you to make known the musicological importance of th is work, v/hich constitutes an excellent preparation for the fin a l sonatas. I am sending you a copy of my work in English, and I hope that you w ill become a member of our association which contains the most eminent masters o f the bow. Sincerely, Antoine Ysaye 60 EUGÈT sIE y s a y e ( r o K - l ) o ^ % c u x . p A/ CL l/V c ‘^A ' /4 - ■o A _ Pz-'C H - ^ h ' f 6 ot d'* t-t ■'C- *^‘- yX ^ ) -A< 'A />.-<-<_ X f_ y/to ILc_ .^-t_t_-, y /■ t; A//V , .'A A- “-> A /'"— /,s-^ û ^ ^ s ^ 't î - j ) t X‘ t - fTu^ '^ /{'i^ /At. f - i ' i ^ Figure I I . Autograph from a copy of Antoine Ysaÿe's Etude Biographique. presented to this Writer. 61 To Gordon Baughman, with the author's wish that it w ill be read for his doctoral paper in which he w ill not forget the exalted figure of "the greatest v io lin is t of a ll tim e." Casals D ix it. Long Live the Fiddle, The Author, A. Ysaÿe 2-23-1976 62 f • - 4 , / ^ ^ 3 ..< ' - j .y - jty f . c V J J . l c . r ^C‘-< A n4 ^ ;^ > ii-t^ >• n <-•• %o T ^ ."'-r> < < , / *; : ^^'s,% ' * V J ',',V':3' y r' -Î-C-J /j, r r/ / f j , > ’* r % ' -V > O ' • ”f— /e. V t> * #*—'.->» /- k /"'f 't < ( —^1’ ,JL ' : \ ' \ ■V < ’ ' ' i. V /V a -.'/,. ’U ‘ #j" /Z«_ Xi ft’.^ < r\ f- i. - - > y 'L ? y < ^ \ * ^ - \ ) r .) > • - 'w' •>-''f'-^.V 'C’ «-X lA -f I./.,"u< t-> f f^‘ J/I. X. - j)" J- /. ■L.^e^'t^’l -V'. v.c. X : ;> 'l u < 4 ' ‘ “ 1.0’^—r -c I- ^ '/f 'Z'. i-A.i^Tk'.vy À: A. 64tyl/. «-1: Figure III. Note of 3-9-1976 from Antoine Ysaye to the Writer. 63 3-9-1976 Dear Friend, The explanations are contained in the edition of the ten preludes, the re s u lt of fo rty sketches which are almost ille g ib le . These are in the museum at Liège. They were among the la s t works of the master, created between 1928 and 1930. Ysaÿe's la s t work, the opera Pierre the Miner, was written after the operation on his leg in 1929. You should obtain la s t March's issue of The Strad, which contains an original article by Mr. Sheppard, but which contains some rather serious errors: Ysaÿe created the studies during two different periods at Liege, not at Brussels, where he was professor. Yours T ruly, A. Ysaÿe 64 # SCHOTT FRÈRES tDITCURft oe MUSIOUC DtBTninuTCUH* M r . Gordon BAUGIIIÎAN, OB DISOUC» CT OMN»TltUMCNT» »ONW lOOO URUXCLLCS, LE 18 mars 1976 M o n s ie u r, En réponse à votre lettre du 2 et.. Nous sonnes d'ac cord que vous reproduioie: dans votre thèse doctorale, gratui tement, des extraits des "Dix Préludes" do YSAYE. Veuillez agréer. Monsieur, nos salutations distinguées. p. SCllOTT FRERES J.J.JUNNF. Figure IV. Letter of 3-18-1976 from Schott Freres to the W riter. 65 3-18-1976 Dear S ir: In response to your le tte r of the 2nd of la s t month, we agree to allow you to reproduce extracts from the Ten Preludes of Ysaÿe. Sincerely, for Schott Brothers, O.J. Ounne 6 6 ~ {/cn ^*~ ■ -: L A 6 2, , r^'^' / . - y . ! I ' ^ y : ^ . , , 2 (L_ . / ^ ^ y^ ‘"'-^ / /^c A' /w V } >^V'/ t ►J- V c^^C -Ck. f^' '-c^t~'• <->,^ ^ s -1. A ,c .y , /Co 'V y f V -f / « < ; i_v oi_, /. ,S<_ /fc ^ /'’ ^-•^‘ , v ^c? ^ ' A. C-&( ‘-^- fO 1<^ / < / , A. /.. r ' •V / U: •^^-v ~ c«r /y t '\j « .C/.X y <—<• '0 4,*' ^ /'-^~*- /< 7^ gvj j, t ■i /■ L ^ ^ - L ^ ) _ Figure V. Note of 3-23-1976 from Antoine Ysaÿe to the W riter. 67 3-23-1976 Dear S ir: I cannot give you the exact date of the discovery by Mr. Radoux Rogier of my father's manuscript of forty exercises. It all happened sometime during the seven-year period when we were cataloguing the library which was reconstructed and inaugurated in 1938 or 1939. It was at this time that Mr. Radoux Rogier catalogued all that was in the studio. The project took several months, and i t must have been around 1940 tha t he began^the work with Mr. Koch, a professor at the conservatory in Liège. The date of the copyright is in the edition. C ord ially, A. Ysaye (The eighth concerto of my father has just been discovered. It has been edited by my son. Next time you w ill receive remarks by my father himself.) APPENDIX B. FORMAL ANALYSIS OF THE SIXTH PRELUDE 6 8 PRELUDE VI LKS SIXTHS SIXTHS W+ g i piîi vivo C I Z Z I 4 j i « jr •• ^ ' " *4 * -«J —y ^ ^ - l * ^. y • # ^ ^ ïfî. ..— . Ÿ " ' ••«. - • - —k ■ ■ ■'*.1— — ■ y - L * * • — — # ^ -.— • - —1 y M /f _ _ —- -- «r • ^ -*- LTrn -r^ y — f — f— ■-/if^iïiïî^'"“ «iSsp i •■■'=■■■■ .*-=—- .*— , ' j semprv animando .L - -rf. ho-ô-f* 69 Allegro non troppo Ex.kx. 18lo V/ w n Mo f c! t ' — a ^ f , ^ "iL ^ y-*- ^ '* j '~ : - i ' i I ' “^=a /cresc.7[cresc.] cc tc *^- r'C n * I C ifconfuocoj \V 4" A(f , - J ^ .» I [l*oco i^roco lonlo lonio • •string.]] B^ring.j a ^ C-—*V->' i. A =: je. 0 Ê o :jcrz:~t:;;^-:—-f-?jtjlz:::—_ —%'z' .v-T'-i »~r—u' .. ';»» ■. < ? -> -'/ -r —«»— I*» —»-*— rrzTTL—f f ;é -« ::''- «': # " - —1^7 —-* ar“”*^'^ */ • •— -a. —« «%——-“—^ A -#<^L.~. . . .— . w. ». ■ — ■ — ■ ^ I f • m ~p m “ y II ■ ^ —.. • — # *«f". -_ . i>. . ■ i_ V M f f ^ f j Al+e,.,&+& V.yu/e 3^-’?S /%/ W n n n ^ J . i i / î . j l j -,J:4 :4 :| M 'l l ■ ■ I • ' .—.•-■— iitii. — — ^ — pr^■ j . *11 ■ .■ *“ —-^5— '■^4“^-V * — • I-•..«1 "»• ■■ ^ "«t " '■'■ ^ ^ I ■ ji «. A .VA -. ^ i ^ — — -i .• —" * . — —. .. . -..i^. 1j ' —»0 ^ ' w —... —^ ■ I ■ # ■ % 'l & 3 >l>y ' • J ,:? 3 3 ' > Sf T i I 1 ‘ c n c r g i c o j ^ '------I ' [Più vivo - con fuoro] rifr s \ 4 en to "'^'fdimj ^ IP] , ^ fAnJante - reclt.] - 't Fx 19 AUcpro -schcrzoso f j 4 T S ' :»r\ / poco vivo, : ' / W ^ Ÿ____ 6?C'f it>n av6C, fcrescj -4»*V—-» — -— ' * —i— •'^ . > i t _ r ^ i^ —— i> » — —— —-4— . O —- ^-1^ —T •^■«** **l V **” W4 A' O. r <. A 70 —Jf ••• • ♦- • —ry • •*—^- --«—+—"4.jg>Jj= ' ■ t Ç —Iij,*- » ■ w • • “iJ «a *■y— vbsi —« •• • 4—__ -■“ »*■ • *j““ ■ *?Wi* 3 3 uVw = = : « V 3 f » ■■ f t ' """ — "^ ^ ^ t -M— — ■ i >• -— » II * — — ■ « - ^ , M ■IIMI^- ■■■■ liBI Xm^ •** I X — I «i* 4 P .. .wi — « ■ |4X li v j M BIBLIOGRAPHY BOOKS Bachman, Alberto. An Encyclopedia of the V iolin, introduction by Eugene Ysaye. Nev/ York: D. Appleton, 1925. Damrosch, Walter. My Musical L ife , New York: C. Scribner's Sons, 1924. Farga, Franz. V iolins and V io lin is ts , translated by E. Larsen, London: Rockliff, 1940. Flesch, Carl. The Art of Violin Playing, 2 vols. New York: C. Fischer, 1930. ______The Memoirs of Carl Flesch, translated by Hans Keller, New York: Macmillan, 1958. Gal ami an, Ivand and Green, Elizabeth. Principles of Violin Playing and Teaching, Englewood C liffs : P rentice-H all, 1962. d 'Indy, Vincent. Cesar Franck, translated by Rosa Newmarch, London: Bodley Head, 1909. Lochner, Louis. Fritz Kreisler, New York: Macmillan, 1950. Lockspeiser, Edward. Debussy, New York: MacGraw-Hill, 1963. Magi d o ff, Robert. Yehudi Menuhin, Garden C ity: Doubleday, 1955. Martins, Frederick. String Mastery, New York: F. Stokes, 1923. ______Violin Mastery, New York: F. Stokes, 1919. Pincherle, Marc. The World of the Virtuoso, translated by L. Brockway, New York: W. Norton, 1953. Rubinstein, A rthur, My Young Years, New York; A. Knopf, 1973. S zig e ti, Joseph. A V io lin is t's Notebook, London: G. Duckv/orth, 1964. With Strings Attached: Reminiscences and Reflections, New York: A. Knopf, 1967, Yampols.ky, I.M. The Principles of Violin Fingering, translated by A. Lumsden, London: Oxford U niversity Press, 1967. 71 72. Ysaÿe, Antoine and R a tc liffe , Bertram. Eugène Ysaÿe: His L ife , Work, and Influence, London: Heinemann, 1948. Ysaÿe, Antoine. Etude Biographique, Bruxelles: Edition Ysaÿe, 1974. H istorical Account of the Six Sonatas fo r Unaccompanied Violin of Eugene Ysaÿe, translated by N. LeBlanc, Bruxelles, Editions Ysaÿe, 1958. DISSERTATIONS Greenspan, Bertram. The Six Sonatas fo r Unaccompanied V iolin and Musical Legacy of Eugene Ysaÿe, Unpublished D.M.A. Document, Indiana University, 1969. Walters, W illard. Technical Problems in Modern V io lin Music as Found in Selected Concertos with Related Original Exercises and Etudes, State University of Iowa, 1958. Xerox University Microfilms, Ann Arbor, 1976. ARTICLES Elman, Mischa."Eugene Ysaÿe: A Tribute." V iolins and V io lin is ts , vol 20, No. 19, pp. 25-27. Gingold, Joseph."A Tribute to My Master." American String Teacher, vol 8, pp. 12-18. "Ysaÿe's Solo V io lin Sonatas", Repertoire, vol 1, No. 2, pp. 102-104. Montagu-Nathan, M."A Street Named Ysaye", Strad, vol 61, p. 236. Parker, D.C. "Eugene Ysaÿe" Strad, vol 59, p. 232. S zigeti, Joseph. "Eugene Ysaÿe" Musical America, No. 78, p. 36. 73 MUSIC Debussy, Claude. Douze Etudes pour le Piano, 2 vols. Paris; Durand, 1916. Ysaÿe, Eugene. Concerto pour Violon, op. posth. Bruxelles: Editions Ysaÿe, 1976. Dix Preludes pour Violon seul: Essai sur le Mécanisme moderne du Violon, edited by C. Radoux Rogier, Bruxelles: Schott, 1952. Six Sonates pour Violon Seul, Op. 27, New York: G. Schirmer, 1924.