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T11edissertanonof.KarenD.Hoalsonisapp TARI_FOFCONTENTS

LISTOFFIGURES…………………………….……..…….….……....…………………..…………………iv

VITA.……..………….………..……..……………..………………………..…………..….…….…….…….….vi

ABSTRACTOFTHEDISSERTATION.…………….……..…………….…….………………….…vii

INTRODUCnON………….……….….….……….…….….…….………….……..…….………....…..……l

STYLEOFYSAYE-COMPOSERANDVIOLINIST……….…….…………...………….….….4

MaZurkaNo.linG､.､Danslelointain.､…...….….…………….…..,,….….……….………….…….4

Reved'enfant,Op.14………………………….…….….…….…………………….…......…….…………6

Ysaye､sPlayingStyle….…..……....….…..….………………………………….….….….………………9

LATERWORKS・…………………….………….….…..…………………..…..…….……..…….……….…16

SoIoSonatas,Op､27.….…….….…………………….….….…………..…..…….…….………….…....18

SymboIsUsedinYsaye.sMusic……..…………….…….…………………….……….….……….…24

BowingTechniques….…….….…………...………...………...…….……………..……….……………27

FingeringSolutions.…………………......…….….……………...……...……..…….…….….……..….31

CONCLUSION.……………………….….………….…..….…….……..……….……………….……………36

BIBLIOGRAPHY.………………………………….…...………………….…………….….……..……….…38

DISCOGRAPHY.…….…………….…………………..…………….….…….…………….….…….……….39

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VITA

Bom､Greenville､SoUthCarolina

B.M.､ViolinPe㎡brmance

OberlinCollegeConservatoryofMusicOberlin,Ohio

M.M.,ViolinPerfbrmanCe

NewEnglandConservatoryofMusicBoston,Massachusetts

V1

ABSTRACTOFTHEDISSERTATION

CulminationoftheBelgianViolinTradition-

ThelnnovativeStyleofEugencYsaye

by

KarenD.Hoatson

DoctorofMusicalArIs

UniversityofCalifbmia･LosAngeles,1999

ProfEssorMarkKaplan､Chair

●

EugeneYsaye'5(1858-1931)virtuosity,compositions,dedicationloinに叩retmgnew

wOrkS､andcommitmenttoteachinghavehadaprofbundeffiectonsubsequent

generationsof.violinists･Thevirtuososkillsthatestablishedhimasthefinestviolinistof

hisdayalsoenabledhimtoexPerimentanddevelopnewtechniquesseeninhis

compositionsfbrviolin,cello,andstringorchestraAnoutstandinginterpreterof● ●

contemporarymusic.heorganizedandparticipaにdmchamberandorchestralconcertsof●c

newmusic,bothasapermonnerandaconductor.HisgiftsasapedagOguetmcted

smdentsftcmalloverlheworld,andhedevotedasignincantportionofhiscazeerto

teaching.

●e

V11

、

･IheSixm"釦"α『","27(I924)representlheculminationofhis

compositionaloutpul.･nlesepiecesembodyYsaye,sattemptloputintonO画tionhisown

personalstylc､andofYErsolutionstothenewharmomcandtechnicalPmblcmsibundin

musicwrittenbyothercomposersduringlheearly20Ihcentury・Inthem,heshowshis

r己spectfbrthep"1byalludingtoj.S.Bach'sselofsix""αIm&.α"dPq〃jms､andhis

hopesibrthe皿uregencrationofviolinisIsbydedicatingeachoflhesixtoayounger

colleague.Ysayewaskeenlyawareoftheneed(oexpandthecaPabilitiesof.current

violinlechnique.ThemlO""αInsofIErrepeatedexamplesofinventivenngerings，

originalmultiplestopcon6guralions､andotherunusualeffects.Naturally､lheyrenect

Ysaye'sownpersonalstyleofplaying､o碇ringanopportunitytoanalyzehisuseof

vibrato.portamenloandbowing.

Thisstudyconsistsol.biographicalinfbrmationonYsaye,discussionofhis

composilionalandperfbnningstyle､andanin-deplhexaminationofthe"loSb"αねⅣ｡．

ノ伽GMi""".2ス肋e.@SEEe"."Perfbrmanceissuesrelaledtolhiswork､including

specilicinnovationsthatcontribuledlotheadvancementofviolintechnique､are

discussedindetail.Itismyhopethatlhispaperwillencourageviolimstsandcomposers

tDstudyYsaye'scompositions.

●｡●

Vlll

｣

INTRODUCTION

EugeneYsayewasbominLiege,BelgiumonJulyl6,1858,intoaamilywitharich

musicalheritage.HisiirsKviolinteacherwashisfalherNicholas,whomhecrediにdwith

にachingihenatumlposilionofthehands､coITectbowing,and,aboveall､developinghis

tastefbrasingingandexpressivelone.Agiftibrimpmvisalionbecamequickly

apparent､andonentheyoungYsayewouldplayshortpiecesof.hisowncreation.

Vibratoandthebeautyiladdedtothesoundoftheviolinintriguedhim.However,his

desiretoleamthisskillwasgreせにdwithoppositionfromhisfalher,whoadmonished

him,.･Don'tletmecatchyouusingvib園Io.Leamtoplayin'unenrst.'''

Asatenyear-oldboy,Ysayewasexpecにdlohelpsupporthisfamilybyplaying

inorchestrasandatchurch.Thisaddedresponsibilitymayexplainwhyhisearliest

IbrmaltrainingattheLiegeConservatoirewasafailunme.andinl869hewasexpelledfbr

alackofprogreSSinhisStudies.SeveralyearslaにrhewaSrPadmittedonthe

recommendationofHenriVieuxにmps,smdyingwithRodolpheM"sartz・Hemyk

Wieniawskiandlaにr､VieuXにmpshimself

･n,issecondperiodofstudyftcml872tol879wasverysuccessitll,withYsaye

winningnumerousprizs,aswellastheadmirationofhiscolleagues.Histeacherswere

impressedwithhisabilitiesanddesireloleam.VieuxtempsdescribesthelesSons:

...lamuptomyeyesinworkwiihYsaye,whOisanexemplarypupil,inhiScomplianiCe,hiSconfiqCnge,his?PpUcaKi9nWidhisIalepl:Hekpp,MgeYeryhinginmilivelyandimmediaにlycarriesoutwhatlhavetoldh血ntodo.Inshc【t･a

'AnloincYsale､lt"aBuckinglamshirgi980,p.16.2RodolpheMassartwaslhen"ewo(""qu5PzrisianviolmpmessorLambertMasmmLam陸rtMaSSarf(1801-l892)beganviolinskudiegmBeleiumbe"nloviqStoMs"画ごheWdにdwimRodolphEKreuEcr.Massan'smostnotablepupilswemWieniawskiandK』EiEIEr_

1

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一

;鰯蝋雛謡!漁:}蝿蕊型mylifb.H……dymadeT11etransfbrmationftcmgifiedstudenttocelebraledsoloisttooksometime.

AnerfInishinghisstudieswithVieuxtempsinParis,Ysayespentseveralyearsservingas

aconcertmasterinorchestrasinBerlin・Althoughlhereweredisadvanlagesto山esejobs,

theydidpmvidemanysoloperfbmingopportmities,andhispopularitywithlocal

audienccsgrew.S1ill,helongedfbralnlesolocareer,andinpursuitofthisgoalrelumed

inl8831otheculturalandmusicalcenにrofParis.Thedecisiontoreturn[oPariswas

risky,sinceYsayehadnosteadysourceofincomethere.However,itprovedIobeawise

choice:hissecondperiodinPariswascmcialinlayinglhefbundationibrYsaye's

SuCCeSS・Duringthistimchedevelopedfriendshipswithmanycomposerslivinginor

passinglhrcughParis,includingCesarFranck,CamilleSaintPSaEns,EmesiChausson.

GabrielFaure,andCIaudeDebussy.

Frequently,Ysayeandagmupofhisihendsmeltoreadchambermusic.These

sessions.bcginninginthelateaftemoonandlastingiarintothenight,includedreadings

ofnewworks,alongwithslandardrepertoire.PierTedeBreville4describedYsaye's

exceptionalabilitytobringmodemworkstolifE:.､Ysayewasmagnilicent…generous,

emhn'Riaglic…Hewasthefinestinにmreにrofthatgreatageofourmusicwheneach

yearbmughtusnewm"にrpieceS.''5

1vicUxtqppswToiClhislctlcrinParisonNovemberl,18761oMalhildeLCieunc-V"Hmncllyck.4nloineYsayeandBemamRatclifYb.比…一HbL"Wrka寓加WwcaEngland,1947,P28.4Pie町EdeBrtville(1861-!949)w"apuPilofCdsarF『画nck．'AnloineYsa9eandEERrin,~RAMEM腫一〃bL泥仰bFka画"り『"emaEngland,1947,p.49.

2

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Finally・abreakthroughcamewithYsaye,sdebutassoloistpermormingthe

$Amp加"だe"""⑥/ebyLaloandihe"rro"c"o"α何dRo""CmriCcjOsobySaint-

SaenswiththeColomeOIcheSlrabinl885・TheconcertwassUchasuccesslhatRom

lhenonherarelyhadiowoITyaboutfIndingperformanceengagements.Atthesame

tlnlC､hisfriendshipSwithcomposerslivinginPariscontinuedtonourish・Hepremier亡d●

manynewworks､includingsomethatwercwntにnfbranddedicatedtohim.Among●

thesearetheSb"“α〃"o""fmdPicmobyFranck(writtenasapiecetocelebr己に

Ysaye'sweddinginl886toLouiscBourdeau);astringquartetbySaint-Saens;theの

RJ""αﾉbr"O"〃α"dPin"obyLekeu;theP麺"⑧Q"刷曾fbyFaure;thearj"gg"aFreJby

Debussy:andthePoをmどbyChausson.7

YsayebecaneheirtoalongtJaditionofBelgianviolinplaying,whichBeliot8、

WieniawSki9・andVieuxtempsII)enrichedduringtheirrespecliveprufEssorshipsatthe

BrusselsConservatoire.ThisIIaditioniscommonlyrefbrTedioasthe..Franco-Belgian'､●

schoolofviolinplaying;however,itwasYsaye'scontentionthatlheBelgianstyleof

碗nlcCU"ざ〃心Qjﾉﾋ"""どwere琶画blishedinParisinl873byEdouardColonne(1838-l910).

7Foracomp!etelistingofworksdedicatedtoorgjVeqIhe侃届tPerformancesbyYsa9eseeAntomeYsayeandBenramRatclinと､"の壱一月I3L猴外七雄α'画"〃Jg"⑮aCreatBritain､l947,pp.214-215.8CharlesdeBGriol(1802-1870)．HiSuniquestyleaddedthetecimicalprowessdisplayedbyPaganiniloIheelegantPan畠ianslyLorplaying.Beriol'splaying,whichincludedoffethesmngbow_ToteSSJIdsWellysingingmelodies,"asilidifecrConiras(to(heCemans@hoolleadbMlQuisSpp"(I784.18591an4Jo韮phJoachm(1831-1907).whostressedhavinglhemwcnthesmngatall!imes.BeriottaughtattheBmsselsConservatokeiroml8431oI852.andstablishedtheBelgianviolinschcol.whichcontinuedlogam

immrtanceanerhistenure.'HenrykWicniawski(1835-1880)didnQlgrQWupipBelgium､butmheriledtheBelgianpEditinngnomhis【国cher,LambertMaSSartAIthouJIheonlylaUghtatlheBrUSSclSCOnservalOirefbroneyearinl874､WicniawskiinnuencedallcfthestudenEthroudlhiscompo5ilions.IoHenriViel"temps(I820-1881)representslhepost･PagmlinigeneI副ionsWlecrviclinvirtuosc:one,whoisneXible印⑨UghtOperformwoWkSbyCtherCO"陣巽Ts・"rfofmcham"rmusic､"zFhand仁⑨m陣Sc、VieuxtempsstUaiedWilhBGrioihOmiheaSes.of"!ocl"eninBelSium,_clgiminghisplaccinlhePelgi"回n.加ﾛnfcmlhe"gmnmg・Heaboemphasizdthepenfomlance⑥rworksby。《hercomposms･whにhwascrilical!othedeWelopmemoftheBelgiansWlc.VicuxtempsheldthcpmesscrshipattheBn｣sseIsConSewaXoire付Dml871untill879.

3

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playingwasdistinClivefiomlheFrenchschool.IIThisisdeba'ahle､asalloftheBelgian

violinistsduringthistimehadstrongtieslotheParisConservaloire.However,many

musicians,especiallyviolinisis､viewcdlheFr巴nchschoolasmoremusicallysuperlicial

becauseoflheirlackofinlereslinperfbnningconにmPorarycompositions・inaddilion,

theBelgianschoolemphasizedthewilandcharmofoffthe.sInngbowslrokes;asinging

linewithspecialattemiontothesubtleshadingofthesound,andadeepscnseof

responsibilitytolheartofinに叩『elationofworkswriltenbymanydifYErentcomposers.●

ご

Ysayewaslheculminalionofthislongtradition,incorporatingelementsofBeriol､

Wieniawski・andVieuxtempsintohisownstyleofplayingandcomposing.

mm4ｰ一一一・・…･････-,一･･一･一一-一･･…･･ －F一一口ﾛ'一一一－0一●一一一一寺一一一■■■■■■■■■､一一一一一一

mm5二一一-一 ~a型

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STYLEOFYSAYE-COMPOSERANDVIOLINIST

〃bz凹戚α恥.I"G"Dmsたん伽、伽”

Ysaye'sにachersandtheclosetieshedevelopedwithothercomposcrshadasignificant

effieclonhisowncomPositions.Oneofhisearlyworks,1heA牝厘""Nb.〃〃G"Dα応

胞わ”α腕,'.clearlyexhibitstheinnuenceofWieniawski.WrittenearlyinYsaye's

career-probablywhenhewasstillinhismid-tw巳nties-thispiececonlainsmany

similaritiestoWieniawski'sshortpieccs・Forexample,in''""E"極Nb.ノ''Ysayeuseda

recognizblefiealure6omWieniawskiinme"urE46(Fig.l),withamelodylineplayed

highontheCstring・HealsowroteWieniawski-likepassaagesoffingeredharmonicsand

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up-bowstaccato(mm.76-77,85).

Figl.EugeneYsaye,MazurkaN⑨､1inG,jDα"”たわ伽、伽”

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確肥d℃､血硴伽脚

YsayewmleR@vedｾ砿"L伽〃inl901．Thisshortpiecedemonstratesthe

innuenceofhisParisiancomposeritiends･Franck,Faure,andDebussy.Measuresonc

throughsixcontainlhesamebasichannony(Fig.2),anAnatMajoririadonthefirst

dottedquarter-notebeaLagainstaGMajorsecondinversiontriad.T11etonalambiguity●

createdbylhisuseoftwodistanUyrelatedchordshasmanypamllelsinDebussy.In

姪wdｾ砿".theambiguilyYsayecreaにsaccentualesthesublletiesofdynamicsand●

tone.makingtheperfbImer'schoiceoflingeringsandthetonecolorproducedbylheゆ

bowevcnmorecritical..nlerichchromaticharmoniesfbundinmeasure33are

reminiscemofFranck.Ysaye'sincoIporationoflhesenewtechniquesintohismusic◆

●

helpedtomodemizetheBelgianviolinschool.andmusiciansbegantoseeBelgiumas●D

thecenterofviolinplayingduringthistime.

W0回L●■

P■a■｡

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臺… B

Fig2･EugらneYsaye,R@ved'enmnt

R2vどdｾ"たmisoneofonlyasmallnumberofpiecesYsayeeverrecorded.

Theserecordings､madeinl912､oHerarareopportunitytocompareascorewitha

performancebythecomposerhimselfIzThispieceshowsYsaye'sabilitytosustaina

long,legatophrase.ThefIngeringsintheviolinpartareveryclosetowhatYsaye

02"GEa〃わﾉ航鰄塁rjE3･URS-501m.

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AnunusualnomtioninlheScoreisihe.､<>､'symbolsappearingovercertainnoにSinthe●

middleofagroupofsixteenthnoにs(mm.38,39).

’actuallyperibrmsontherecording．However.hisstrikinguseofp⑥"αme""']between

notesinvolvingshinsisnotnolated.

鍵匡＝菫三雲三＝＝三三室菫＝6、8

p、．．．、、..….．．.……

Fig.4.EugeneYsayepR6ved'cnfbnt,violinPart

WithouthavingYsaye､srecordingasaguide,onemightassumelhisisatypeofdynamic

indicalion$however.thisisn⑥【atall山ecase.YsayeuSesapo"αme""uPtocachofthe

noにS,SOrnetaSにnllr凹如fOandapanicularlytendervibrato.

IntheshifiFIoB-nat,mm.6･7.thereisanoliceableamountorpo〃α腕e"roused,aS山ere

isagainonthedownshinicmtheCIotheF,mm､7-8．ThisefYEclisemployed

【hroughoutthepiece・andtoaliSにneraccus!omedtolheextremelycleanperfbnnances

thatarelhestand"d[oday.itmaysoundexcessive・However,oncconehasbecome

accus!omedlothedi歴rentstyleofShiningPnehearsallof山ebeautinllcolorsandthe

subUelineYsayeiscrealing.nlePlayingisalwaysinteresting,andinmyopinion,quite

caplivating.ltisimponanttorememberthatsingersandotherviolinistswh⑥にcorded

duringthiStimeftequenllyusedpo"αme"〃betweennotes.WhencomparingCarl

Flesch'sI929recordingofBg"""".ﾉ6"byFaurftothesamepiecerecordedby●

Ysayeinl912,YsayeisactuallythecleanerPlayeriemployingmuchlesspo"αme"Io

thanFlesch.

】“淀む恥y伽g鋤胞

WhilelheParisiancomposersinnuencedYsaye'scompositionalstyle,his

personalplayingstyleafibcにdtheirowncompositionsfbrtheviolin.Thedifficultylies

indescribingthisstyle､especiallywhenrelyingonseCOndhandaccountS・Challenging

quesKionscomeftomlhisproblem.suchas:whatexacdydefinesstyle,andwhat

distinguishingcharac【eristicsmadeYsaye，splayingandcompositicnsunmistakablyhis？

JosephSzigeti'5givesusahintofwhathefeltweresomeofYsaye'sindividual

stylistictraits:

He(Ysaye)waswellawareoftheimportanceofhisintenselymdividumdOuble-stoP,chOcdand.across-the-stringssweep.techniquesmihehistoEyofviOlinplaying.…IfeltthattheseSonatas(SolOSonataS,Op.27)weremoretoYsayethanyetanctherworkwouldbetoacompoSerwhosepIimennctionwas',Pcnamento:in§in8ingamaJmermwhichIhcvoiceglide5g応duaⅡyfmmonetonetDthenextlhroughaIl

theimermedialepiにhes.MakingaudibleslidesbelweentwonotesorashiacamEEEb~SimilarefYEctbn【heviolin.

04TheHMVRccordings,BiddulphLabCD"5_ 旧JosephSzigeti(1892-l973)wasRhed"icatecortheluSoloSOnambyYsale.

8 9

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p『･digioustechnician-violinis(IFereeverwas.'.9ut.呼唖§"g喧雪dbow,EVermIgsCCmedsoeasyandlhemostnm-ofthe-millpiecebE匡己、こamasierpieCe.'9

creating.TT1eywere,

騨…ubconsciousattemptonhispartl｡…哩tehisownelusivePlayings

FmmSzigeti'siirs(handaccounts,andthestudyofYsaye'scompositions,several●●

chzmoにris!icsbecomeevident.(Iwillexaminetheseinmoredetailstartingonp.25.)

YsayeuseddoublestoPsandmulliPlestoPsextensively;creatingunusualinにWaisthat

hadnotbeenulilizedbefbreinpolyphonicwrilingibrtheviolin.T11eteChniqUethat

Szigelicalisan..acmss-the-siringssweep"crealesnmningarpeggiosandlonglines,and

isibundinmostofhispieces.Someofhiscompositionshaveanimprovisatorynature

wilheachmeasurecontainingadi雁にntnum"rofbeats.・I11ePhraSeendSwherever

Ysayedecidesitshould,wi山outholdingtoaspecificsetnumberofmeasuresinaphrase&

however･lhelargersimcluralibrmsareclear.Thiscontrastbetweenirrごgularsmall

smlcturesandsimplerlargeronesallowslhecomposilionslosoundimprovisatory,even

whileYsayehasclearlylhoughtouteveIydetail.Finally,YsayewasexUemelycarefillto

markfingeringsandbowingdelailsinthe"わ釦"qms("27.Fromtheseiingerings

andbowingsandthelimitednumberofhisrecordingsI7wecangetanideaofhisuseof

shinS,slideSandvibratotoemphasizedi碇rentphrases.

IndividualswhoheardYsayeperfbmdeScribedhisplayingaSPassionaにand

filledwithexPreSSion・Fri"KreislerdiscussedthiswithAntoineYsaye:'8

AdolpheBoschot､amusiccmic・describedYsaye'splayingml924.HiSobservations●

areinterごstingbecauseoftheemphasisYsaye､sfathcrgavetoteachingasingingand●

’

expressivetcne:

Wi〔hregardlohisplaying.i‘canbec皿c“zc4岬W･rd:”P壁&fMEEMji.Miignm6EmenlionedbulallofiheUWrecomribulorylo[he¥型弓UYi●

cenamtecmicaldelailscouldbemenlionedbutallofthemarごcontribmorylothe●

．､song,''Ihalislosay,IMEEXPreSSi｡nofthemuSicitself"◆

SomeoflhecommenlsofMarcPincherleshedlightontheinnova[ionsthaIYsayewas

abletomakewiththenewharmoniesbeingintrcducedbyFranckandothごrcompoSers

duringthistime:

WhaIaviolinistYsayeis!WhatncwfcalUreshePamroUgh[!othFechnnUggIAig.MigirimHEHiYMI6reaSymeime.Asfbrlhelefihan4marvellouSqgilityglmd

｡｡

EMXi.aa5Mdir6rmeei""tCchniqueto(hemu"mOreEWEPEand●

incoliSlantlonalitiesofthemodem(Ysaye､sowncompositionsarebeselwith■

Suchadjustmenls)MEFER5Hgiagid6iemdveryITeeuseofit､PerhapsattribulabletoqneAsfbrlhebow,whelherinlong･sustainedorrapid,detachednoにs;MMX5MIEiiEMEE"iallj,andnoonehiseverhadapysucCFssinlbistherE1sconsiderableandveryiTEeuseofit･perhapsattribu【ableto【he●

vlrtuoso，sathleIicbuild，Especially,andnoonehaseverhadanysuccesSinthis●

6EfBEIlieEEOmdulatingsonorities.WilhoulanyUaceofvibraqp,hestaitswithadull､almostlifeless､fiblank"soundinordert6buildupromdnessandwamilIOfionebytheuSeoftheboWalong;thushehasaKhiscommandaconSiderablevari6tyoftonecolourgノ

●

Thedevelopmentoffingerings､particularlyinplayingchordpassagesof･.inconstant''

lonalities,andauniquewayofaddingchordstoamelodyline､areofinにrestwhen●

comparingYsaye'sstyletoviolincompositionswrittenfbrhim・.nnem"m"αrm｡卯．

2ZgiveaclearpictureofwhatthisstyleentailS.Inthefbllowingexampletaken丘om●

II'scUriousIhalglihoughyourfalherhasbeendescribedasthemostexpressiveeverknOwn(andhowtruethatis!)somepeopleclaimedthathistechniquewasnotreallysotranscendent.Thatwasquitewrong・YsayewasProbablythemost

fjoSephSagetL"1"S"伽MA伽銚ed-舵"『e"『"w"c"m"R馴匪"D"".NewYort,1967l'n,eibwmEomingSawai"leincludeiOnpieCeS7MMMiMiEhimhEMMEdHiGBhcerto.1ﾂThefEw応cording$ayaihbleinclude曲｡丘pieces,andIheIaStmov臼nentoflheMendebsohnCo“erto・Thepieceswe応暉cgrdedinl912whenYsayewasalr"dypasthispnmeandsuHErmgiomdiabetes・andIhUS,unfbrtunately,donolreprescntYsajeathispeak.l0''AnmineYsajeidi"WEm""EEHW廻y＆

!'AnloineYsalcandBemamRalcliITｾ､脆の瞳一〃"L権〃b成回p画〃柳必印琶aEngland.1947,p.46.コ必越pl34.ﾕ’必越p.133.

[1110

一」－一

distinctivecharacteristicisthechordwritingaroundamelodyline.'ITEemelodynoにs【hefirstmovemenl､Graw,of""f"ﾛNb.ノ,onecanseeYsaye'Suniquewayofwriling

multiplestoPchords. fTequentlyappearintheinnervoiceswithfbur,oroccasionally､sixnotesofachord

surroundingthemelodyvoice.SometimcsitisevenneceSsarylobreaklhechordsftom

thelopdown､asinmeasure2ﾉ1.Ysayemanagestokeepanascendinglinegoingin

measureone､andfitthechordsarcundthislinealongwilhthechangesofvoicinginthe

melody(mm.l-2)．PerhapsonlyviolinistswillhavealilllappreciaUonfbrhowwelllhis

iswntにnfbr1heviolin.OnlysomeonewilhanintimaにandcomprehenSiveknowledge●

ofIheinsmlmentwouldhavecomposedpassagessuchaslhese.ltisdimcullmusic,but

notnecessarilyawkward.

StudyoflhesecondsoloviolincadenzaofthePDをme・中25byChauSSon，

revealsanuncannyresemblancetoYsaye'sstyleinlhewaythechordsarewritlen.Inthe

passageiivemeasuresafierrehearsalnumber4(Fig.6)､notelheextensivedoublestop

writing,企aluringinにrvalsfavoredbyYsaye:tri-tones(mm.69/2,70/1,70/2,70/3),■

majorandminorlhirds(69/1.andmanyexamplesinfbllowingmeasures),parallelminor

sixthmotion(m.76)､anddiminish"inにIvals(m.72/4).

一一

Fig.5Eug@neYsaye,"SZigeti''Sonata,OP､27,N⑥､1,"ve

Noにthatheseemstoparticularlyenjoyusingdimmishedseventhchords(mm.

I/2,2ﾉ1.2/2,7/2,8/1)zz.dominantseventhandninthchords(mm.1/3,6/3,8/2),passing

tonesthatproduceunusualdoublestopsSuchasaugmenにdnnhsorthirds(mm.5-6),

andaspecialaHinitylbrminor6Ihs(m､5/2,andextendedpassageinm.15)z3.Another

Fig.6．Ern"tChausson,PoemeoOp､25

g"notesmeasurcnumkrfbllowedbyasFcificbcatinthemcasurC.画Y"ye"W!opedconVellienmngcqilleslhalmadeintervals,suchasp"sagesormmor61hsinwhole【cnes.p"sibleonlheviolin・T11iswillbeimherdiscusscdonp､32.

13I2

認！

r－←－－ 三一

T11ePo@mewasdedicatedandpremieredbyYsaye.Giventhemanysimilaritiesbelween

hisownpolyPhonicwritingstyleandthispiece,ilseemsreasonableloassumehewas Ezerごigel

involvedinlhecomposilionalpmcessaswell. 、5

Ysayewassoinに睡sledinthedevelopmentof.newwaysofpmducingdoubleand

mulliplestopsIhalhewroteasetof施""Bﾉ脚北風中迩hasedonalloflheinlewalS

ficmunisonstolenths.Originallyinにndedtobe乃"!""Pre/凹咋sblhescshoneXerciSes

werelenun6nishedallhetimeofYsaye･sdeath.Thisse!ofpieceso雁rssomeconcise

examplesofYsaye､sChodalstyle,andisworthyorstudyibranyviolinistinteresにdin

leamingmoreabouthim・ProbablynocompoSerasidefrcmJ.S・BachdidmoreIo

expandthepolyphonicpossibilitiesoftheviolin.

OneunlEualexampleisthe丹習"んlbasedontheunison.'111elypicaluseoflhe

unisononaviolinwastoaddanopenslringloastoppednoに,suchasanopenDstring

withastopedDplayedon(heOstring.YsayethoughtthatIheunisonintelvalcouldbe

employedefYeclivelyincompositionsbecauseofthedi眠庭､Itoneandvibrations

prcducedbytwodifYerentsmngs.Howeveriunisonsnotinvolvingopenstringsare

extremelydifYiculltoplay,muchless"rfbnnintune.Nolicetheinに『gstingfingering

changesdesignedtcrearticulatethenote(withoutusinglhebowfbr『ごaniculaling)onthe

Ainmeasure5.111ese6ngerings(m.5)arealsodesignedtosimulatelheefrectsof

unisonsonnotesihalaretoolowontheCstringtoallowfbrdoubling.

－－

4."

Fig.7･Eug6neYsaye,TenPreludes,Op､35,N⑨､1．

Exer℃ise2fromtheRe伽叱ノofYErspracticeatlargeeXにnsicnsofthehand.usingthis

techniquetochangethelonecolorbychangingsQrings.

Fig･8．EUgeneYSa7e,TenPrelUdeS,Op､35,No.1･

Ysayeincludessuggestionsfbrpracticeattheendofeachp歴〃血.TheadvicefblloWing

thePre/凹叱ノwillbringasmiletoanyviolinistwhotriestomaslerthisinにwal:

Thedimcultyconsisisinthecorreclintonation(especiallyfbrsmallhands);but,byobservingiheimmobilityofthefingersintheirParallelmovemcnt,oneissdnprisedioseehowsoononemastersit.

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LATERWORKS

Ysaye'sarUsticabilitywasgrcatlyIEspecledbycomposers,whowereeagertohavehim

perfbrmtheirworks.111eProcessol.workingoutanewpiecewithacomposerwas

someihingthaiYSayewasParticularlygoodat､andhedevotedmuchofhislifEto

promoling,commissioningandperfbnningnewworks・Vincentd､Indy24describes

Ysaye'sabililytogmspcontemporarypieces:

Butlhen,thismanYsayeisreallyanartistofgenius.Rightffomthestarthecanunderstandand"similateawork,transmitilintothemindsofhiscompanionsandexplainiothemexacllywhalhastobedone.inshort,itwasasourceofgreatjoylometohearmyQuaneltreatedwithsuchartistry.ldOn,tlhinklcouldPOssiblybemoredelightedthanlwasatlheperfiormance.2'

ThenewhaImoniclanguagedevelo"dbyDebussyandlheFrEnchImpressionist

composeIsinnuencedYsaye'sdeveloPmentofにchnique・Aviolinistcomposersuchas

Paganinibasedhisnewtechnicaiskillsonolderharmonicsequences・YSayewasSo

absorbedinthecurrenlcomposilionalpracticesthalheallowedhisownstyletobe

changCd,anddevelopednewlechniquestomaketheseharmoniespossiblcontheviolin.

OthercomPositionallrailsthatYsayesharedwithDebussyarehissomewhalirregular

phrasestructure,alにredchordSwiKhunresolveddissonances,andtheuscofatmospheric

emects､blumnglhemusicthroughmeterchanges,orlheuseoftripletfigurestomakeiK

pUrpoSelyvague.

WhileYsaye'sinnuenceoncomposerswasprofbund,hefeltlhattoenhanceand

expandlhetechnicalcapabilitiesoftheviolinistitwouldbenecessaryfbraviolimstto

24Vincemd.1ndy(1851-1931)wasaFrenchcomposerwhofbundedQheScholaCantonunandpromoにd｡esymphcnicidedsofFr麺ck・

zgAmomeYsayeandBcmamRalcli雁.】”雁-ffL脆恥雄d"d"ﾛ""caG祀郡Brilain.1947,p.121

16

－ 』

composcthescnewtechniques.Heibltthalacomposerwhowasconcentratingon

writinggreatmusicalworkswouldnolhavesumcicntknowledgeortheviolintoGC

composeanythingtrulylechnicallynew.Ysayespokeaboutthisinaninterviewwith

FrederickMartens:

Whenlsaidlhatthestringinstruments､includinglheviolin,subsistinameasureonthehentagetransmi【tedbythemastersofthepast・IsPokewithspecialregard●

ICにchnique.SinceVicuxにmpslherchasbeenhardlyoneneWpassageWnttenfbrtheviblin;andlhishasretardedthedevelopmenlofitsにchnique-…inawaylHEgMM6iagE601iOnheviolin-newworkScOnCCiyedonlyftpmlhemUsicUpoin(ofviewbringaboullheslagnati｡Poiiにchnicaldiscovery,theinventionof

告

H副b玉S垂由.石品死Iharm･ni5wealthofcombinWnisnqlencourage4.4皿42violiilistoWeSittohimselfloexploitthegreatpossibililiesofhisowninstmment.IhavetriedlofindnewtechnicalwaysandmeansofexpressioninmyoWncompositions.Forexample､lhavewTiKにnaDivertimentofbrviolinandorchEsIrainwhichlbelievelhaveembodiednewlhoughtsandidgas､gndhaveattemptedtogiveviolinにEImiEabfOaderscopeoflifeandvigor.2･

■

ThenewideasappearinginhisDjverr""".".2Jareverysimilarlotheones

hcwouldlaにrbeincorporatinginiothe釦ﾉO&J"α他禺の.2スTheDiver"碗g"”・卯2･J,｡●

asinglemovementworkinthreesections・requiresfbmidableleft-handskillsalongwith

avirtuosobowarmtechnique.ltcontainspassagesofextensivedouble-stops(mm､48-●

60,mm､13I-157.mm.182-l89andm.195totheend).passagesofsweepingarpeggios

(mm､61-63),and､throughoutthepiece,interestingcombinationsofrhythms・Ysaye's

inventiveuseofrhythmdeservesspecialconsideralion.Onenhewriにsaveryincisive

dottedfigure,andthencontrasIsitwiththeblurredefiectofsextupletsortripletfiures.

Oneexampleofthisoccursmmeasmel23(Fig.9).

"FrederickH・ManenS,"D"〃ん必s妃ら←7哲仏sw"んん他g蛇F”｡紬1Mawd7を唾催眠sbNewYork､1919.p･今'0．

l7

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Ysayeheardinl923wouldhavebeenper℃eivedasmodembecauseitincludedthe

completeBachSoJDS@""qj"GMi"orLInlact,SzigetiwaSthenrsttoProgram

compleにBachmﾉOSo""asonhisIecitals,andinl932hemadethefIrstcompleに

recordingofaBachSoﾉOSb"α”・zBHisl955-56recordingoftheBachSolOSo""qsami

Pp〃"αsdemonstratesthethoughtiillnessofhisPlaying.29Ysayewroleof･Szigeti:

I ■ ■ ■ ■ ■ ■ ■ ■ ■ 一

■■■■■■ ■■■■■■■－－－－一一一■■■一一一■■■■■■■■■■■■

■■■■I■■■■■■■－Ⅱ■■■■_一Ⅱ■■■■I■■■■■■■■■－I■■■'一■■■一■■■■■■■■■■■■■Ⅱ■■■

■■■■■■■■■■■■_Ⅱ■■■■Ⅱ■■■■■■Ⅱ■■■■■■一I■■■■一■q■■■I■■■H■■■■■■■一■■｡■■P■■■■■■■一一■■■■■■■■ロ■■■■ーロ

Fig.9．EugeneYsaye,Dive冗imento,Op.24

IhavefbundinSzigetithatquali!yrareinourdays;(oPgatll!eSameliVleaVmOs5anaamusitian.OIibsenSestheanislawareofhismission-li*ea

●

prophet-andoneappreciaにStheviolinislplacingtechniqueintheServiceofexpression.]0

SりんSb""","27

Ysaye'sideasreachedmaturityinthe釦ﾉoSbPT"",(".27.Inspiredafter

hearingJoSePhSZigeti･s"rlbnnanceof･Bach.sGM"orm/o釦"“α､Ysayewantedto

creale..aselofsPecificallyviolinislicworkSthatwouldreneclthecharacterislicsof山e

difYeremm"にrsoflhePresenttime.､．27.,1eresultwasasetofsixsoloviolinpieces

ThesehighaniSticvalueSclearlyinspiredYsayeandthe..SZjge".．m"αjαにnectStheSc●■

qualiRieSinitsseriouSness､andavoidanceofobviousvirtuosity.whencompared,fbr●

examplewiththe..g"rogq"So""q.

TheBachmlOm"αmsdPTdPα〃"αshaveonlyaiewsimilaritieswilhYsaye's

SolOSb""as,("7.27;butiheycertainlyibrmedaguidefbrinspiration.TTne.,鑓Ee".'

S<D""ncontainsmanyexampleS.alihoughYsaye's.4obsession'.withBachismostclearly●

seeninSoﾉoSo""q"o.2.Jhe.･所肋α凹域・・nle..7乃めα“･'"""qopenswithadirect

tailoredtothePlayingslylesofsixdifmerentartisthiendsandcolleagueso｢Ysaye-

josephSzigeli""値Ⅳひ.ﾉﾉ､jacquesT11ibaudiSb"JαⅣb.",GeorgesEnescom"α他

Nb.jﾉ､FrilZKreislerrm""Q"M.〃・M28hieuCriCkboomim"α""o.jjandManuel

Quircga“"α廼脆.の．quoteiromtheEル血ノロr知γ""(Fig.10).

ltisnotsurPrisingthataperibnnanceorSzigCtiinspiredYsayetochallengethe

limitsofviolinlccmique,composeSomethingintendonallycharacteristicoftheviolin,

and･.P"slhetorch''tothenextgenemlionofviolinists.Typicalviolinrecitalprograms

of山eearlyl920'swerefilledwithshonshowpieces.Sagetiwasattemptingtobreak

thistraadilionandaddmoreseriousworkstohisrecilalpmgramming.Therecitalthal

▽８

・６

虐傾

・１ｓ

２１》

０８にＢ

ｏＺ

屋『召

・函如

Ｑ■■ｂ

Ｃｍ

》耐

麺起

酔》

ｖ○

固

唾

．ｈ

》》》

唖榊》

一一一》

●●ロ■■

》胸

》＆ｉ篁

守酔錘麺

軍恥叡

曲函・叩

巳。ｔ

睡堰師４

羽毒加Ｐ

27AntoineYsaye,f佑胞"ml""o"I"7WESE""nmsprum"｡"狸"彪伽'1｡伽の.27,Bmssels,1968,P.6.

l918

」、’■

』

ロ

r－ --- -

１１

一

両７９恥万０１８８Ⅱ８ＢＯｃＯＢ●▼０▼●。脆

■叱晦・８Ｂｒ

Ysaye'sfirstmovemenlCﾀrwealsohasaquaner-notepulseandlarge..pillar''

chordsoneachquarternoにbeal(Fig.12).･Themovementsarealsosimilarinrangeand

contrapuntalstyleofvoicing.Ysaye'sfirslmovementsoundsimprovisatory,atraitthat一一mlO

FiglO．Eug@neYsaye,"Thibaud"Sonata,Op.27,No．Z,O"""s""

secmstontBach､s』唾jUaswell.

GB▲vE．

Bach､ssecondmovementR4guandYsaye､ssecondmovementFzdgaroareboth

fi｣guesinGMinor､intwo､andtakelheirrhytiuniccnergyfmmaninitialeighthnoterest.

Inthe..雛梓""釦何qMIhckeyofGMinorunitesilwithBach'sGA"TorSb"

釦"αα.inaddition,YsayeuseslheSaneibur-movementSmlCtUre､witheachmovement

basedonrhylhmicpalにmSsimilartOthemovemenlsintheBach.Bach's6rstmovement

刈血giohasaquaner･notePulsewithlargechordal..pillarS､connectedbynmningnoにs

ofomamenlation(Fig.ll).

Fug&

’

一一

鱈 1

Fig.13．J。S・Bach,SMoS⑥皿mtmmGMm⑥畷源切ga

Fig・皿.』.S・Bach,SoloSonatainGMinor@J4"ib

2120

、い

１

一‘ 1

由 国 画

Ⅱ■■

■垂一 …

い■■■

戸一一一 玉 ＝ ー 一

一

己ー

こ＝

一室記

『二二

＝口＝ー

＝

■ ＝

r‐~一一~－一一~一一一一一一一

1’

’11

Hereiswherethetwopiecesdiverge,inpart・becauseoftheverydifYErent Sにi1ian■

戸』

琴一

historicalperspectiveofeachcomposer.Bach､aBaroquecomposer,choosesshorter

articulalions・andshorternoにvalues;whileYsaye､comingfromal9'''centuryradition、

chooseslongslursoverhisphrasesandlongernotevalues.

rpO△TO

FrJ’グレしグ ク

P P

へ

ｰザ句

』《岸一=＝弓昂

篝▲

ヨ蔓二一pF－－－I

～一

Fig．15．J.S.Bach,ScmS⑥皿■t皿inGMin⑪扇S脆”"回

‐

一一

里哩哩nmOPDCO80HBBZO80･

-－三….'n.=.｡ogj,

、16u Q●

ー

U一口

雷 垂可一一一ロq■■■■■

Figpl4･EugineYsaye,"Szigeti''Sonata,F唾α”

■■■r一一■■■■■■！■■■■■.．！■■■－－■■ー－－ロ■■■■■‘■■■■■■一一一‘-■･ロ．一．一一＝二..＝二二.ローー＝■－－1■■■■■■■■－■■■ー■一q■■■■■■

l一一■■■■■■■■■I■■■■■■■■I■■■■

－

■■■■■■

Fig.16.EugeneYsaye,o.SZigeti"Sonata,'d"笹"田"Dpoco錘〃grz“ひ

’’

ThethirdmovemenlsoftheserEspectivepiecessharelheuseoi.triPlegroupings

withBach.sMci伽"αinl2ﾉ8time(Fig.15)andYsaye's舟"ggFで"opccoscheJ宮Osoin3/8

lime(Fig.16).Thisgivesalilttobothworks,althoughthechoiceofarticulationinlhe

Ysayeis,again,compleにlydi舵にntfiomtheBach.

｜’ IfYsayeinterPretedthecharacterofBach'sPrasfo(Fig.17)tobeflashyand

extrcmelydifWculttoplay,thenheimilateditperfEcOlyinthe廊何aleco"brio(Fig.18).

TheBachcontainsnoexplicitcounterpointormultiple-stops.’’

2322

‘

』一

トヨ

＝■■■■■

＝’一 － コ

ー ヨ ＝

目ﾛ■

底ー己一『 1匡

一一一

一一面

一

コ■I■■

■画ＰZ一

＝■■画一 一一

．｜三

ｇ』二

■・二

ニヨ

－’’一

■ ー ロｰ

君

ヨ三三』室『 巨

再画画

】画■

一三 壕

－－－

I←

｜’ForanyonewhoheardYsayeplay,lhissonalawOuldcomecloses(toshowingjisapproachlotheviolin・Itistiued.Ballade,､anditssinglemovementopenswilhain.introductioninthestyleofarecitativewhichistypicalbothorthewayinwhichYsayewouldimProviseandoftheimprovisaioryqlnlityhewouldbringtothemusicOfothercomPosems.makingitsoundnewandfreshaleverypcrfiomlance.Them"fimovementshowsthestrOngrhythmiQimpactOfhisblaying,andIhewholeworkischaracterislicofhisPeaUtyand_grace､uneeaseMMMiEii､i,EEbmghCbmPaggihefingerboardandbringoutirinervoices.32

》一一一一

Thismaybewhythe..E""E⑥.．m"α"isperfon･nedmo唾⑨Renlhananyoftheolher

five.

Therearemanyindicalionsthatthisimprovisalorystylewasextremelywell

planned.OnthefirstpageoftheSchimlerEditionoflhe"lOSむ"QIm,伽.27thereisan

entirepageofinnovativesymbols・Ysayeusedthesedescnptivesymbols(Fig.19with

Englishtranslation)throughoutlhepiecestoinsIructtheperfionnerregardingfimgerings、

bowdiStrib皿ionandtheuseofquarter-tones・Ysaye､snotetoperfionnersattheendof

Fig.17．J.S､BaCh,SolOSonatainGMinor,gesm

’

FIHALB"HBBIO

菫 菫lhesesymbolsiSofpmticularinにresl．

Figl8・Eug&neYsale,"Szigeti''SOmata,F加回化co"6Fjb

砂廊6唯眺ed伽】“'eなM“た

111osewhoheardYsayePlaydescribedtheimprovisatoryfbelofhis

lances・josefOingold,3'oneofthelastpupilsofYsaye,describesthe09

..E"esco陣㎡bmances.

釦"α“：

l1｣"Ci98･IJ(1909g1995)"eemedPmessorofviolinallheUnivemilyofIndiana,Bloominglonbom1960untilhiSdeaUl.HesmldiedwilhYsayenDml927-l930. J2LevOinsburg,脆娠NewJerSey､1980､p､531．

2524

－ 4I

よ

‐

－－－－

IF=一'一一一一一一一一----=一一

ｌ１ｌｌＩ‐ｌｌｌＩｌｌｌ

’

’

B@w"堰7途尚"町脚画

Thoughmanyofthesesymbolsdenotefingerings,morethanhalfofthem

describedeKailedbowinginslructions.Ysayewasamaslerofthebow･asAdolphe

Sign覗愚撫恕ationB.

ｊｏｍ功１銅

呼睡Ｊ

ａｈｌｌ

ｅ

”晒函唾Ｊ

函配１呼

砿蝿Ｊ但岬ｈ

函

》函咋那諏

動》酔恥一Ｊ一応蝉榊酎》

ひａ耐》岬叫吋蝿晦⑩

一一》岬睡州一．

●

Ａ．

●Ｅ

四坪、睡岬岬岬》唖恥》

》》似似函四國函唖曇

麺恥四四回回国園ｔ

》咋恥嘩呼睡醍睡唖

瘻

恥恥一呵一↑一一噸・囲囲．

●●ｅ

旅》》《拙却一

ｒ

●一品画

Ｑ呵配ゞ則一・・・伽８四皿函。。

飢

一品、↑螂・一・・・的“蝉

一展皿↑肥叩一ゞ・錘皿肌

●■。一

睡雌圃画國唖・鴎

働岬》恥》峰一・一臆。。：：回

国、、ロＩ。！

》梱》・一》》》

陣即酬．、

誼。．Ｉ９

ｍｍｉｅ・ロ加嘩蜘・恥姻州咋

酔鋤》岬》》》

酎酔岬国》岬皿御岬岬唖岬

０。Ｏｅｃ

Boschot"describedinl924:

ViolinistsmayadrnireKhefteedomandthepowerofinisbow:lnisstac"os､fbrexample､havealighmeSs､adnriw､andaveWelhathavenotbeenredisCoveredsinccSar=aに，stime.Buttheywillalsoremarkontheamplitude,thecaimstrengthandtheabundanttonelhatcomeftomasuprememasteryofthebow.6hEEaimOMiiSbowwithone'scyes:sometimeslherighthandseemshardlylomoveatallbut､nevenheless・thesoundissenlfbrlh､strongandmellow,smoothasvelvet､cmiltedwilhapparEnteaseandareallyineXplicabieinにnsity.EZEIIPhrase~ig6ibIjglttoacloseWi(hgngmazinglyirrSistiblecimn.Nowlookathisbow:itmovegalitUewayftomlhebridgeandglidestowardslheiingerboard;andrnoreoftenthannotinadowngPoMherigllthaqddC.ceildg

:鰹淵器鰯縦翻悪罵灘h:"edSlOwSdOwo…ndofe

｜

Inthe..&"e"..Sわ""",thechallengestothebowannarepresentfiromthefIrst

noにs.Thelargefbur-notechordswilhaccentsmarkedontheEnatandEnaturalare

verydifficulttoexecutewhilegivingproperemphasistotheinnervoice.

(TMcm"ml訓函as》LEB配信ord9ainsinol":--

１１１１日ＩＩｌｌ

Fig･20．EugeneYsaye,0oSzigeti"Sonata勺αm櫃(ErG唾『『肥doutbyampdarpeggm｡）gocｴさcqtenlParunrgpldnarptge･

－

H､B、9Bmgg81“餌『叩●lmnr"6d6080eb越額■8国■邸色dg■■岨Cl血▼!“01,曲脚､1世rooaTOgunlMO,叩glOaru幽科『噸rd8mdjpr&01n"Igldo｡cmps-dPaaO8．…●t唾“10函曲Fulewr,0oWpro心宛1"=G膜画W趣■CQ“且bn8．

E,Ⅲ

(N､B､W勘画風d協風殿呵愉aIIheI画恒lp"e"eSWOWnluntmWW脚尅uaIpmvm国｡Q､⑥mn5"wnh"ftaWW,"ttheartmwm師ﾛ胸okdseWal1"nm8nmsa掴…st睡kBs･函唾B5a“刷趣Ca”S劇ﾛ砲aAn胸応WmaM画ySammaChl"卵劃何画旧“味坪-E､M）

Fig.19．Eug"eYsaye,"mbolsaPPea面ngonPageone

"AdolpheBoSchOt(1871-1955)waSaFrenChaUthOrandmQEiccridc.]4AntoincYsaleandBer面amRaにliWe.脆の峰"&L推彫"士α画"吸砥g"暉哩En3and,1947.p・’34.

［2726

正』､1号へ一・一

F_一:=－ ＝－一_＝一一二一－一二三ニーニニ卒二二一二二全＝二二＝＝＝一一一 T

l’

｜’

Anotherexampleappearsinmeasures2-29oftheR4garo.'I11ebowingskilllbrplayingmullipleslopchordsisIBquiredthroughoultheCrmJe・and

evenatlheendofthefi噌回!othereiSaseclionwithsixnotestobeplayed

simultaneously､orasclosetosimultanecuslyaspossible.

一

－■■邑守一一二一一

ヨ■■■■

割ー⑲

Fig.21．EugdneYSaye,"SZigeti"Sonata,F"gUlo

AnotheroneofYsaye.sbowinggestures,appearingasanelongatedletter.､H､，

overanole,isimerestingbecauseofitsefWectonlhephrasing(Fig.24,m.l8).

SzigetidescribedanotherbowingskillpcculiartoYsayeasthesweepingacross-

(he-sIringsbowinggesI山写,somethingthatappearsinallfburofthemovememsofthe

.･鑓ge"'."""Cingold妃佗rstotheseas..gmndameggios,''35andthisdescnption

seemsparticulariy6tting.IntheCm'e(Fig.22).wefindanexcellentexampleofthiS

bowingslyle:alrulygrandgeslurelhalservesasadramalictransitionintothe

reslatemenloftheopeninginmeasure35.

I

The､.Symbolg､page(Fig.19)describesthissymbol'smeanmgas:..usetheentirebow.．’

Obviously､thiScannotbefbllowedliterally､duetothefiveremainingnolesiobeplayed

undereachslur.WheneXecuにdwilhagrcaatdealofbowspeedandusmgapproximtely

twothirdsofthebowonlhefirstnote､itgivesadecidedSweeptothesextuplets.ThiS

bringsthefirstnoteofeachsexmPletintothefbreground.propellingthephrasefbrward.

nleRJgaID(mm.63,64,69)and厨"口陀co"brjO(mm.65,66,92-95)containsimilar

pasSageS･

Inthe制"ごgｧご"opocoscheFzoso(Fig.25),hewrctethesamesymbolovernotes

tocreatetheoppoSiteeHｾct:here,alargeamountofbowgivesemphasistotherolled

’ 一一一

一Fig･22・EugeneYsaye,"Szigeti''Sonata,⑥靭咋

’

"LevGmsburg,lt"bNewJEEey,1980,P.531.

’2928

－11

ム一K！

由芒一

＝一一一『

ヨ→

ヨー

一一一一『

一一一一 三

一一轌

一一

一二一

』・■

一『一

■■■■

一『二圭一

一一一一

一一一

一一一 王

一三一一

二一一 主

一一一Ｆ 三三

一一一一

一一一

一一一一 垂

両国卓。

一一一一

一一言一’－ － ~ - . - - ------ 一言．‐１

司’ ’

｜I

一一一

Fig.27.EugeneYgale,･4Thibaud''S⑥n日畑,Les/brZ

chordonthedownkatwithlhe爬stof.lhemeasure､senergydissipating(mm.9．ll,13.9

14).

ー

’

I

YSayealsousedpo剛睡〃6bowinginacrealivewayattheendoftheGruve

(Fig.26，，．42totheend).111eaddilionoflen-handpizzicq!onoにs(evokingCminor、

m､44)and山eeerietimbreorlheI肥､⑥んeighthnotesaddtotheevocativeefYEct.

possiblysuggestingBach'sspirilhoveringoverthepiece.

Fmg2『i”g釦畑"b"s

TherestofYsaye.sspecialsymbolsaredevotedtofIngeringsolutions.TofUlly

understandtheirimplications・ilishelpfUlloknowthephilosophybehindYsaye､s

choicesoffingerings.ThesechoicesarealwaysbasedonwhatwillworkbestKoserve

Ihcmusic・notnecessarilywhatmightfieelthemostcomibrtableorwhatwouldbethe

easiesttoperfiormontheviolin.ThreefingeringPrinciplesareevidentinYsaye'smusic:

1)theprincipleoffingeringbasedonlhecharaacterofthephrase;2)choosingdifWerent

slringsandfingenngsKopmducedi匪唾ntcolorsofsound;3)extensiveuseof

po廊回"池"fctoconnecttwonolestogelherinasingingmanner.

ThefirstprincipleomngeringSzigetidescribedasa,､fingeringenhancement､''

meaningIhatYsayewouldchooseafingeringtosuitthemusic'scharacter.Ifthe

charaacterofaphraseseemedtobenaShy､lhenYsayechoseadifficult,brilliantfingering;

orifmelancholy,thenhechosesometypeoffIngeringtoenhancethesadcharacterofthe

musicsuchastheopeningofRgveゴセ砿加I(Fig.4).Fig.29illusraResthistyFof

fingedngchoice・TTIebright､trumpet-somdingpassagei3.enhanced''byYsaye's

一 邑廿一.、‐ダヘタロ…『ユー穴gAL－o－■画

壷 皀■ 甲 ■ ■ ワ 車 マ ウ

ー

一一

Fig.26.EugeneYsaye,o6Szigeti''sonata,Gmve

｜

’

｜’

Theonlyotherexampleinthe釦わ釦""whe庭PC""ce"oappearsisinthelast

movementof""qmⅣb.2,the.'7Wi6q"''markedLes""(Fig.27).11nismagnificent

uscoftheDiesimeJ7alにmatingbetweenpo"唯elbandnormalsoundisstriking.

MPomicello:abowmgperfomedclosCioillebiidgeresulKingmachin,nasal,glasWsound"Dieshae:theauenCeoftheMassibr山eD"d．

3130

、

I

－～

■

一■画■

』］一 ＝ ＝

ー 罠一零

巴＝

－－‐~~.．‐－－‐‐・---一一一‐一-－－－．‐‐ -－．－． ~‐‐一-_‐・ゞ‐_~~司司

｜’

Thesecondnng筐ringprincipleisseeninthefi4gロノo(Fig.30).Here､Ysayeused

Ihe6q〃⑥j画g僅廼にchniquetogeIdifrerenttonecolorsinmeasure92,and､inmeasure91,

harmonicsandopenstringswherestoppednolescouldeasilybesubstituにd.

decisiontofingerm・I40completelyontheOstring,ralherthantheeasierchoiceof

playingtheGsharpontheDstring・TheGstringontheviolinprqjectsthesoundmuch

morestmnglylhantheDstring,lhusmakingthelonemorebrilliant.Me"uresl39and

140bothemployextensionfingerings,avoidingsomeoftheshinsolherfingeringsター方一．豆．グ ー■吾一 一一 五一一

’ す

篝三雲 霊rEqulre･

一一ロー■■■|■■■■■－-ﾛ■■I』■■■■■■■J■■ﾛ■■■

＝q■二一_旦二■■一■■■■･■■■!■■』■，■■0■■■q■■，ロ0．．，■■■■■ﾛ■■■■■ﾛ■！■■一一三■■ﾛ■■■■'■■一■・一'■■■，■■画一＝I■■■■一＝．ロﾛ■ﾛ■■■■。■■0■■■－■－一I■■I■■ヨ■■■I■|■■可■■■■■■■■■■■■■■■■F～。■■■■■■ﾛ■■■■■■■ロ■■■■■■■■■■■■

■■■■一

』m-Q命

霊蓑 P ‐ 壱 四Fig.28.J.S､BaCh,ConcertoinEMajor,thirdmovement.

Fig.30.EugeneYsaye･0.Szigeti''Sonata,F廼回“

InlhefbllowingexamplelakennomlheSainl-SaensBMino｢Concerto､Ysaye

againusestheiburthfingerexlensionIoplayapassagethatcouldeasilybeplayedinthe

firstposition(mm.21/4-22/1).ThisisanolherillustmtionwhereamoIedifWcult

nn"ringaddStolhevirtuosochmacにrofthephmse,makingthepassageseemeven

mombrilliant.

AnotherexampleoccursnearthemiddleoftheCF回ve.Here,hechoosesafIngeringKhat

ismoredimculthighupontheAstring(Fig.31,m.27/3).Thisgivesamorecovered

andmellowsoundthanthebrighにrEsuing.

mm24h一一

篝 …’－

-1_8。、

‘ ． ， － － ． 胃 一 一

タツ●

ロ ‐ゴmm27mdl

p■ー■■■■■■■■■■■■■■■q■■■■■■■■■■F■■■■！■■

ー■■■■■ロー■■■■■■■ﾛ■』 ■ _ ｰ 房 － 1 ■ ■ ■ ■ ■ ■

ー

弓 弓q

■■■■＝＝二一訂一一一 一 一

Fig.31．Eug@neYsaye,･｡Szigeti''S⑥nata･a画睦

Fig.29．Sain･Sagn9,ConcertoinBMin0nnmtmovement.

’ThethirdfingeringprincipleinvolvesYsaye'sIEeofpoFmme""toconnectnotes

togcther,andisoneofhismostdefinablefingenngsWles．・rhe4"egre"opocosche"oso

ofrierssomeexcellentexamples.

】BBariolage:Frenchfbr･｡oddmixtureofEolours.･･ApassageplayedallmlatingktwEustoppedandopensbingnotes･orusingo〆nSmngSwhereyoUwouldnOnnallyuSefm摩『竃dnotesandviccve応a

3332

l、A一一

～_d一一

＝ ＝一一『

周・ロ

一一『 三 ‐ － ＝三

国字二

－ 里H里一一一 三 一 三 ー

一一一、~’‐‐L 一

ロ■ ■一一 ＝｛ﾛ･！‐･、‐

＝

一一 一

－ ＝一一 －

一一 臣

、

ー

Fig.32．EugをneYsaye,･4Szigeti''Sonata,"4雌『e"opocoscherZoso

InthcfirstmeaSUrelhelasttwodoublestopscouldeasilybefingeredinfI応【position.

YsayechoSethe3-2,3-2fingering(Fig.33,m．1/3)､whichpermiRsasmallslidebetween

thedoublestopsixteenlhnoにS.ThisnngeringiSemployedagaininthefburthmeasure

withthe2-2fingeringonthethirly-secondnctes.Anolherexampleofthisfingeringis

fbundinmeasure32ﾉ2-3.

重重重重Judgingfromhisrecordings,whichIhavediscussedonpp.7-8,thisisverycharacにristic

ofhisstyleofplaying.

QuarteretoneswereanotherareaoflekhandtechniqueinwhichYsayewas

progressive.Becauscheaddedquarter-tonesmthemiddleofasequemialpassage(Fig.

34,SymboIsFig.l9),itisalmostimpossibletohearthemassoundinganydifferenthom

halfstepmovement・nleonlyexampleappearingmthe..乾辱"’・釦"aqisinmeasuI巳

34

I

1

44ofthe細んgrE"Opocoschgrznso(Fig.34).YsayemrelyusedtheqIErter-tcne;

however､otherexamplesdooccurintheothernveSblbSb"＠r"(""αmNb.3．Dα砥e

rlas"9"e-m.57,SD""αNb.3~tOPOf3rdpage).

Fig.34．Eug@neYsafe,"Szigeti''Sonata,'d"壇g『暦mpoeo死ん日"Z”⑥

IhavediscussedYsaye､sindividualandinvenlivedoubleandmultiplestopstyle

onPP.17-18.Oneofhismoslnotablcleft-handachievementsinmulliplestoppingwas

lhesolutiontotheproblcmofplayingwhole-tonescalesinsixlhs.Ysayewasthefirst

per5ontodeViSea爬西onablesolution,andusedthisPanicularefYbctineachmovement

oftheS言砕〃Sk"mm.･nlisfingeringrequiresagEaldealofhandcompression(m.15one

c

thefirsttwosixteenthnoにs､Fig.35)andverypreciseshifting.●

TheFi4gWogivesaperfectexampleofYsaye'sfingeringfbrawholetonescalepassageD

(m.67),whichinvolvestheuseofextensions(Csharp-Enan).ThisisthesametyPeof

extensionfingeringasintheBachEMajorConcerto(Fig.28)andisthefingeringextensionfingenngasintheBaEhEMajorConcerto(Fig.28)andisthefingenng●

solutionfbrscalesofwholetonethirds(m.68).Atmeasure71thesixihsreappear,and

35

~ ~＝－

匙i､

I

一

一ー ~~一一一一

－－＝

二一

thelenhandisagainrequiredtocompress.Passagessuchaslhesedemonstraにthe

eXtremenexibilityofYSaye'Shand.

一

一Fig.36.EugdneYsaye,"Szigeti"Sonata,f聴画”

cONCLUSION

EugeneYsaye'smullifhcctcdcarccrasaconcertmaster.soloist,chambermusician、

conductorandieacherpmfbundlyinnuenccdthemusicalworldduringhisliに【ime.

Responsivetothechangesaroundhim,hemodemiZdtheBeigianviolinschoolfToma

traditionknownfbritselegance､charm,andmusicaIsuperficiality(accordingtolhe

Germans)looneofSeriousmusicianshipandinnovation.Hislegacyhascominuedto

touchevenmygenemlionlhroughoneofhislaslstudenis.JosefOingold.Inl999.

allhoughallofYsaye'sstudenlShaveregrenablypassedaway､Iheprofbmdimplintthat

thesesludentsleftonsubsequentgenerationsofviolinistsProvideseassuranceof

Ysaye'slegacy

HisownworksoiYbrinsightsintothehisioryofviolinplayingthroughhis

compositionaldeveloPmentimmtheA"z"ms卜咋〃tothe泥阿Pre/脚叱s,".".TT'e

abiliWtoadapttothenewhannoniesoftheFrenchimpressionistswhilemaintaininghis

own"rsonalstyleismostclearlydisplayedinhis""釦""","271andhis

creativitymwritingpolyphomcchodalmusicibrlheviolinraisedthepossibilitiesoflhe

36

－

1..4

instrumenttoanewlevel.Thescpiecesarenotonlydeservingofstudybecauseoflhe●

technicalinnovaqlonstheyrepresent・butalsobecauselheyar巳inlerestingworksto●

●

programandperfiormintheirownrigh!.Finally､seventy-6veyearsaftertheywere

written,theyarebecomingaccepledassolidrecitalpieces､andarebeingrecordedwith･

morerequencythaninthepast.

Ysaye'sinnuencehasbecnIEllbolhbyviolinistsandthemusicalworldatlarge.

DuetohisuntiringleadershipincommissioningandPerformingwcrksofallgenresbyC■

manylaに19u,centuryandearly20thcenturycomposers､wenowhavethese－－．－8．8一一・"､一;"､.,垂匡w,g,oTnf.oursfandardreFIToire・Perhaps山isw=hismostG● ●

compositionsloenjoyaspartofoursiandardrepeIToire.G● ●

importantgifttomusic.

37

Tl

l

I

P－~二一‘ 〃 － － －－~~~~＝

’I

’

’

’

、､"04--1

一 一 一 一 －

BIBLIOGRAPHY

Bach,J.S.7Wr"釦"a"α"‘〃肘“伽"j""r釦んIﾉﾘDﾉ伽,β〃〃ﾉ00ﾉ.K"sel:Barenreiter,1958.

Boyden.DavidD..､Bariolage,､，乃ど雌wOrpwD花"O"α〃q/""icq"αMELFjc"ns.EdiにdbyStanicySmaie.NcwYork:MacmillanPublishersLimited,1980(Vol.II,p.159).

Chausson､Emesl.Poさ胴どんrl/io/j"q""Orch""q.".23.NewYork:Kalmus.

Ginsburg,Lev.ltfリピ.NeptuneCily,NewJersey:PaganimanaPublications,Inc.、1980.

Martens､FrederickH.Wt》"〃ん北&＄舵〃－7M"w"んA血5にr脚o""芯Isq"d淀αCherStNewYork:FrederickA.Stokes・Co.，1919.

SchwarZBoris・or“『ﾙ化zsIど廓〃吹EIfo/m.NewYork:SimonandSchusler・l983.

Stolba.K.Maie.mgDg肥伽me〃〃暁slern"""Dubuque,IA:Wm.CBrownPublishers.1990.

Szigeti・joseph.&Wefio"Iﾙピ脚pl"London:Cassell&ComPany､1969.

Szigeli,Joseph.〃"AMrj"gs""ched-Remi"is""cEsα"dRg"""o"s.NewYork:AlfrcdA.Knopfl967.

Wood､HenryJ."Lj/@qf""iC.London:VictorCollancz､LTD,1938.

Ysaye.Antoine."siorimMcco"''Iq/7Wemx"""""4ﾉhqccompα"花dWo"",の．27qrEmgj"ど臓mje.Brussels:EditionsYsaye･1968.

Ysaye,AntoineandBertramRatclifYb.lt(〃噌一〃応L推,"orkα"d刎凹e"".London:WilliamHeinemann,LTD..1947.

Ysaye,Antoine.lt"e,b)'h応”"伽loj"e.England:W､E.Hill&SOnS,I980.

YSaye,Eugene.Diverrj"12"10.印.24.BruSzIs:SchottFreres,1921.

Ysaye,Eugene.""I"極Ⅳb.ノ,．,Dq"LeLo"ﾛ加，..St・Peにrsburg,Russia:P.Jurgenson.

Ysaye,Eugene.R§贈D'E"〃1I.BocaRalon､Florida:MastersMusicPublications,Inc.

Ysaye,Eugene・mx釦"aW伽附olinSblb,".27.NewYork:G.Schirmer,Inc.,1924

38

一

－ 1－

Ysaye､Eugene.た〃PだI凹土＄ん『崎⑥ﾉ加釦わ･伽35.Brussels:SchottFrees.

DISCOGRAPHY

､ﾉb3”ん､ﾉbαご〃碗－7wiecb"'p/efeRecordrng3"90".PQ6ゎ生s画rasαに一所eCOmﾉEfeRecordi阿摩〃9"Jﾉ.E皿gど"eXrqjje-'4"lec"⑨"〃HIsRecor""gs(ﾉ，ﾉ〃・OpalCD9851.

7WeCreqII/io/加応心馳〃“－脆zPje.Priho".RjCcj.One-Eleven､Ltd.,URS-50100.

､ﾉりぷ”ﾉb"堰αj,-.ﾉ:SBQcﾉj6SonqIzEsα"‘ﾉPα""“ん『ﾘﾉrO""ﾉfﾉo"e.VanguardClassicsCDOVE8021/22.Recordedl955-56.

7W,”〃A"I／R鐸函〆磁"ﾛF－．ん"OffiJ6fJyy.[br/FYesどん.BiddulphLabO45.Recordedl928-7乃eHﾙﾚRgE@F“"g写－ん"｡〃”の4[br/FYesどん29

39

」