LDV77

24 YSAŸE ∙ SIX SONATAS FOR SOLO VIOLIN OP.27 Does this mean that the performer has to take into account the specific compositional or interpretative style of each dedicatee? I don’t think that’s essential. Each performer must embody the works with what he or she is. The music is extremely precise in its writing and notation. Ysaÿe knew exactly what he wanted to hear. Once you immerse yourself in the text, the musical material, once the architecture is in place, then the evocation emerges by itself. We find ourselves here in the crucible of the modern violin, which produced the mother tongue of today’s violinists. I remember my lessons at the Paris Conservatoire with Régis Pasquier, who was the first to record these works on a magnificent disc released by Harmonia Mundi, and at the Brussels Conservatoire with Philippe Hirschhorn. Régis Pasquier was a student of Isaac Stern, whose teacher was Persinger, a student of Ysaÿe himself. The spirit of those great violinists is still present today.