Scribd Logo
Upload

Welcome to Scribd!

  • 429 views

    Eugène Ysaÿe - Sonata No. 4 in E Minor For Solo Violin Op. 27

    Uploaded by

    Sorin Alexandru Horlea
    The document provides information on Eugène Ysaÿe's Sonata No. 4 in E minor for solo violin, op. 27 and J. S. Bach's 2nd Sonata in A minor for violin solo, BWV 1003. It discusses Ysaÿe's dedication to Fritz Kreisler and how the sonata draws influence from Bach in its movement titles and polyphonic style. It also gives background on Bach's solo violin sonatas and partitas being written in 1720 and describing the structure and technical challenges in the works, including the complex fugue in the second movement of the 2nd Sonata in A minor.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Eugène Ysaÿe - Sonata No. 4 in E Minor For Solo Violin Op. 27

    Uploaded by

    Sorin Alexandru Horlea
    429 views1 page
    The document provides information on Eugène Ysaÿe's Sonata No. 4 in E minor for solo violin, op. 27 and J. S. Bach's 2nd Sonata in A minor for violin solo, BWV 1003. It discusses Ysaÿe's dedication to Fritz Kreisler and how the sonata draws influence from Bach in its movement titles and polyphonic style. It also gives background on Bach's solo violin sonatas and partitas being written in 1720 and describing the structure and technical challenges in the works, including the complex fugue in the second movement of the 2nd Sonata in A minor.

    Original Description:

    programme notes

    Original Title

    Eugène Ysaÿe

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    The document provides information on Eugène Ysaÿe's Sonata No. 4 in E minor for solo violin, op. 27 and J. S. Bach's 2nd Sonata in A minor for violin solo, BWV 1003. It discusses Ysaÿe's dedication to Fritz Kreisler and how the sonata draws influence from Bach in its movement titles and polyphonic style. It also gives background on Bach's solo violin sonatas and partitas being written in 1720 and describing the structure and technical challenges in the works, including the complex fugue in the second movement of the 2nd Sonata in A minor.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    429 views1 page

    Eugène Ysaÿe - Sonata No. 4 in E Minor For Solo Violin Op. 27

    Uploaded by

    Sorin Alexandru Horlea
    The document provides information on Eugène Ysaÿe's Sonata No. 4 in E minor for solo violin, op. 27 and J. S. Bach's 2nd Sonata in A minor for violin solo, BWV 1003. It discusses Ysaÿe's dedication to Fritz Kreisler and how the sonata draws influence from Bach in its movement titles and polyphonic style. It also gives background on Bach's solo violin sonatas and partitas being written in 1720 and describing the structure and technical challenges in the works, including the complex fugue in the second movement of the 2nd Sonata in A minor.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 1

    Eugne

    Ysae - Sonata No. 4 in E minor for solo violin op. 27



    Violinist, composer, and conductor Eugne Ysae was undoubtedly among the most eminent
    practitioners of his instrument throughout the last four decades of the nineteenth and first two of the
    twentieth centuries. He is still rated one of the greatest exemplars of the Franco-Belgian violin school,
    and his enduring influence is reflected by the fact that his Sonatas for Solo Violin continue to be
    regarded as some of the most influential works of their genre ever devised, standing alongside the
    solo violin works of Bach and Paganini in musical stature and technical difficulty. The solo sonatas
    were all written in 1924. Each work in the series was dedicated to a fellow virtuoso, all of whom were
    close personal friends of the composer. That the set is made up of six works in all is also undeniably
    significant. Outwardly, this fact reflects Ysae's lifelong veneration of Bach's Sonatas and Partitas,
    whose stern counterpoint and rhetoric is a constant feature of Ysae's idiom.
    Perhaps it is the Sonata No. 4, dedicated to Fritz Kreisler, that most immediately suggests Bach's influence.
    This is even evident in the titles of its three movements, the first two being taken from the traditional
    nomenclature of a Baroque suite. An opening Allemande, marked Lento maestoso, contains noble, austere
    themes deployed against a backdrop of rich, multiple-stopped chording. So advanced is the polyphony that
    the music often conveys to the listener the illusion of full harmonization. Then follows a slow Sarabande
    tinged with an almost Viennese nostalgia (another apt tribute to Kreisler's Austrian heritage) and a
    bravura Finale Presto ma non troppo, in which the violinist plays rapid, unrelenting figurations of
    enormous technical difficulty, again in a style instantly suggestive of Bach.

    J. S. Bach - 2nd Sonata in A minor for violin solo BWV 1003
    According to the manuscripts of Bach's Sonatas and Partitas for Solo Violin, BWV 1001-06, the six
    pieces were completed in 1720, while the composer was employed at the Cthen court. At Cthen,
    Bach devoted himself primarily to the composition of instrumental music; this period saw the
    composition of the Brandenburg Concertos, the violin and keyboard concertos, the orchestral suites
    and the first part of the Well-Tempered Clavier, among other works. Often Bach composed works of
    each genre in cycles, with six works in each.
    In the case of the Sonatas and Partitas for Solo Violin, Bach alternated three sonatas with three
    partitas. The partitas consist of between five and eight dance movements, while the sonatas are in four
    movements, none of which is a dance except the third movement of the first sonata, in G minor, which
    is a Siciliana. Throughout these six works there is evidence of not only Bach's knowledge of the
    technical capabilities of the violin, but also of his ability to create dense counterpoint and effective
    harmony with one stringed instrument. The solo violin sonatas were first published between 1817
    and 1828.
    A rhapsodic Grave opens the second Sonata in A minor, BWV 1003. At such a slow tempo, the highly
    ornamented melody seems to meander at will, navigating a course of highly contrasting rhythms and
    decorative flourishes that release the melodic potential of the minor mode. The overall "free" nature of
    the Grave makes it sound like a prelude to the ensuing movement. As in all three of the violin sonatas,
    the second movement, the central point of the piece, is a Fugue. Daunting in both size and complexity,
    the Fugue pushes forward relentlessly, creating a dense contrapuntal web. Bach sets the third
    movement apart from the others through both an Andante tempo and contrasting key. The writing is
    more homophonic here, with a calm melody that provides a needed foil to the harsh energy of the
    preceding Fugue. A lively, lighthearted Allegro, rich with rhythmic and melodic variations, returns to
    A minor and closes the piece.

    You might also like