Sonata No. 2 was dedicated to Jacques Thibaud, a friend of Eugène Ysaÿe's. The fact that Thibaud had lived in Ysaÿe's home, and the fact that Ysaÿe once lent his Guarnerius and Stradivarius to Thibaud when Thibaud's violin adjustment was not ready for concert, show Ysaÿe's admiration for his friend. This sonata greatly resembles the style of Johann Sebastian Bach, and includes direct quotations of his music within. [1]
At the very beginning of the movement, Ysaÿe directly quotes the beginning of Prelude from J. S. Bach's Partita No. 3 in E major for solo violin. Much like Bach's E major Prelude, the movement consists of virtuosic sixteenth notes throughout, yet Ysaÿe's use of chromatic tonality clearly sets the piece in the genre of early 20th century music. Direct quotes from Bach's Prelude appear frequently, showing Ysaÿe's "obsession" with Bach's work. Another prominent theme is the "Dies Irae", a plainchant from the Catholic Mass for the Dead. Ysaÿe often employed his own symbols to indicate specific directions to players; for example, in the 74th bar of this movement, he uses one of his symbols over the first note of each beat to indicate that these notes should be played by the whole bow.
The Malinconia contrapuntally resembles the style of Bach, perhaps most of any of the movements of the second sonata. It employs the siciliano rhythm, found in the first solo sonata for violin by Bach. It specifies the violinist to play with a mute, to dampen the tone and volume, something fairly unusual for a solo sonata. The Dies irae is not stated within the movement until the final few bars, where it is played uninterrupted on top of a drone.
The sarabande is based on a theme-and-variation pattern. The theme itself is again a variation of Dies irae. In the first few bars, the theme is played with pizzicato, making it sound as if played by guitar or lute. The movement consists of six variations, and each variation develops gradually to the end. In the first variation, for example, Ysaÿe instructs the player not to use vibrato, in order to maintain a simple tone. The last variation is composed of technically demanding thirty-second notes, all played forte. Then, the theme is repeated, but this time, it is played with the bow.
The Dies Irae melody appears recurrently throughout the movement. Some of the Dies Irae figures are played sul ponticello, for instance in measures 41 and 58.
Referencesedit
^Ysaye, Antoine. Ysaÿe, by his son Antoine. England: W.E.Hill and Sons, 1980.p.142
Bibliographyedit
Hoaston, Karen D. Culmination of the Belgian Violin Tradition—The Innovative Style of Eugène Ysaÿe. 1999.
Martens, Frederick H. Violin Mastery – Talks with Master Violinists and /teachers. New York: Frederick A. Stokes, Co.,1919.
Ysaye, Antoine. Ysaye, by his son Antoine. England: W.E.Hill and Sons, 1980.
November 01, 2023
violin, sonata, ysaÿe, sonata, solo, violin, jacques, thibaud, sonata, four, movements, from, sonatas, solo, violin, eugène, ysaÿe, each, dedicated, ysaÿe, contemporary, violinists, contents, characteristics, thibaud, sonata, obsession, prelude, poco, vivace, . The Sonata for Solo Violin Op 27 No 2 Jacques Thibaud is a sonata in four movements from Six sonatas for solo violin by Eugene Ysaye each one dedicated to one of Ysaye s contemporary violinists Contents 1 Characteristics of the Thibaud sonata 1 1 I Obsession Prelude Poco vivace 1 2 II Malinconia Poco lento 1 3 III Danse des ombres Sarabande Lento 1 4 IV Les Furies Allegro furioso 2 References 3 BibliographyCharacteristics of the Thibaud sonata editObsession Prelude Malinconia Danse des Ombres Sarabande Les furiesSonata No 2 was dedicated to Jacques Thibaud a friend of Eugene Ysaye s The fact that Thibaud had lived in Ysaye s home and the fact that Ysaye once lent his Guarnerius and Stradivarius to Thibaud when Thibaud s violin adjustment was not ready for concert show Ysaye s admiration for his friend This sonata greatly resembles the style of Johann Sebastian Bach and includes direct quotations of his music within 1 I Obsession Prelude Poco vivace edit At the very beginning of the movement Ysaye directly quotes the beginning of Prelude from J S Bach s Partita No 3 in E major for solo violin Much like Bach s E major Prelude the movement consists of virtuosic sixteenth notes throughout yet Ysaye s use of chromatic tonality clearly sets the piece in the genre of early 20th century music Direct quotes from Bach s Prelude appear frequently showing Ysaye s obsession with Bach s work Another prominent theme is the Dies Irae a plainchant from the Catholic Mass for the Dead Ysaye often employed his own symbols to indicate specific directions to players for example in the 74th bar of this movement he uses one of his symbols over the first note of each beat to indicate that these notes should be played by the whole bow II Malinconia Poco lento edit The Malinconia contrapuntally resembles the style of Bach perhaps most of any of the movements of the second sonata It employs the siciliano rhythm found in the first solo sonata for violin by Bach It specifies the violinist to play with a mute to dampen the tone and volume something fairly unusual for a solo sonata The Dies irae is not stated within the movement until the final few bars where it is played uninterrupted on top of a drone III Danse des ombres Sarabande Lento edit The sarabande is based on a theme and variation pattern The theme itself is again a variation of Dies irae In the first few bars the theme is played with pizzicato making it sound as if played by guitar or lute The movement consists of six variations and each variation develops gradually to the end In the first variation for example Ysaye instructs the player not to use vibrato in order to maintain a simple tone The last variation is composed of technically demanding thirty second notes all played forte Then the theme is repeated but this time it is played with the bow IV Les Furies Allegro furioso edit The Dies Irae melody appears recurrently throughout the movement Some of the Dies Irae figures are played sul ponticello for instance in measures 41 and 58 References edit Ysaye Antoine Ysaye by his son Antoine England W E Hill and Sons 1980 p 142Bibliography editHoaston Karen D Culmination of the Belgian Violin Tradition The Innovative Style of Eugene Ysaye 1999 Martens Frederick H Violin Mastery Talks with Master Violinists and teachers New York Frederick A Stokes Co 1919 Ysaye Antoine Ysaye by his son Antoine England W E Hill and Sons 1980 Retrieved from https en wikipedia org w index php title Violin Sonata No 2 Ysaye amp oldid 1123054352, wikipedia, wiki, book, books, library,
