Culmination of the Belgian Violin Tradition the Innovative Style of Eugene Ysaye
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Transcript of Culmination of the Belgian Violin Tradition the Innovative Style of Eugene Ysaye
UMINumber:9952496
矼爪Ⅲ.UMIMicmfom9952496
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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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;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.
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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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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■。
…4
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.
1514
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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
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27AntoineYsaye,f佑胞"ml""o"I"7WESE""nmsprum"。"狸"彪伽'1。伽の.27,Bmssels,1968,P.6.
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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.
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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
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