Eugène Ysaÿe - 6 Sonatas for Violin Solo, Op 27 (1923) [Score-Video] скачать в хорошем качестве

Eugène Ysaÿe - 6 Sonatas for Violin Solo, Op 27 (1923) [Score-Video]

Eugène Ysaÿe 6 Sonatas for Violin Solo, Op 27 (1923) Kristóf Baráti, violin Sonata No. 1 in G minor 'Joseph Szigeti' 00:00 - No. 1: I. Grave: Lento assai 05:05 - No. 1: II. Fugato: Molto moderato 09:05 - No. 1: III. Allegretto poco Scherzoso: Amabile 13:12 - No. 1: IV. Finale con brio: Allegro fermo Sonata No. 2 in A minor 'Jacques Thibaud' 15:53 - No. 2: I. Prelude 'Obsession' 18:15 - No. 2: II. Malinconia: Poco lento 20:50 - No. 2: III. Sarabande 'Danse des Ombres' 25:25 - No. 2: IV. Les furies: Allegro furioso Sonata No. 3 in D minor 'George Enescu' 28:22 - No. 3: Ballade: Lento molto sostenuto - Allegro in tempo giusto e con bravura Sonata No. 4 in E minor 'Fritz Kreisler' 35:37 - No. 4: I. Allemanda: Lento maestoso 41:23 - No. 4: II. Sarabande: Quasi lento 44:24 - No. 4: III. Finale: Presto ma non troppo Sonata No. 5 in G major 'Mathieu Crickboom' 47:34 - No. 5: I. L'Aurore: Lento assai 52:13 - No. 5: I. Danse rustique: Allegro giocoso molto moderato Sonata No. 6 in E major 'Manuel Quiroga' 57:43 - No. 6: Allegro giusto non troppo vivo Description (by Michel Stockhem) Eugène Ysaÿe (1858-1931) occupies a towering and exceptional position in the history of musical performance, but this worked more to the detriment than to the benefit of his compositional oeuvre. Like his sometime partner on the piano, Ferruccio Busoni, he scaled new heights on the violin but showed hardly any concern for the dissemination of his own music. This situation was different in his youth, when he wrote concertos and mazurkas stylistically beholden to Vieuxtemps and Wieniawski, and in his old age, when he appeared ever more rarely as a violinist and ever more frequently as a conductor. Ysaÿe reached his zenith as a composer at a time of artistic upheaval, when his stature as an instrumentalist had entered a steep decline. He too forced to discover how easily a world with no notion of “high fidelity” can forget one of its great masters. Ysaÿe completed his Six Sonatas for Violin Solo 1923-24 in his seaside house in Knokke-le-Zoute (today Belgium’s best-known bathing resort). At that time he was still deeply impressed by a recital in which Jozef Szigeti had played works by J.S. Bach. However, Szigeti’s performance did not mark the beginning of Ysaÿe’s encounter with Bach: he had long occupied himself with Bach’s works for unaccompanied violin and had frequently played the D-minor Chaconne in public. Ysaÿe’s six sonatas were conceived as a modern-day response to Bach’s music and a renewal of the message they contain. But they are also a response to everything that had changed in music and violin playing in the meantime – two contrasting aspects that nonetheless proved mutually compatible. At a time when Ysaÿe himself was withdrawing from the concert stage, he conceived his violin sonatas for six younger virtuosos with whom he felt a special affinity: Jozef Szigeti, of course, but also Jacques Thibaud, Georges Enesco, Fritz Kreisler, Mathieu Crickboom and Manuel Quiroga, whose career was cut short by an accident. All six of these men had regularly expressed their admiration for him; now, in return, they received a gesture of thanks for which they in turn were grateful to their aging master. Another of Ysaÿe’s goals was to depict the personality of each of the dedicatees. Their characteristics ranged from suave rigor (Szigeti and Crickboom) to the stringent elegance (Kreisler), and from rhapsodic wit and esprit (Enesco) to Spanish ardor (Quiroga) and tender lyricism (Thibaud). But not all the references in the sonatas can be deciphered: some direct musical allusions point to the dedicatees’ origins and personalities, while others relate to their preferred repertoire (from Baroque to Bartók) or to shared memories, lending the entire work a resemblance to the Enigma Variations. Indeed, today we perceive a Thibaud or a Kreisler quite differently from the way they viewed by their contemporaries and we associate when with a repertoire often formed only a small part of their actual field of activity. Ysaÿe himself played music with them on his holidays, taking the violin, viola or even his cello parts alongside his friends in string quartets by Haydn, Beethoven or modern French composers, and afterwards joining them lightheartedly at the dining table.