Yasÿe Sonatas for Violin (CD review)

by Bill Heck

Eugène Yasÿe: Six Sonatas for Violin Solo, Op 27. Hilary Hahn, violin. DG 486 4176

One of the fun aspects of writing these reviews for Classical Candor is being able to tell you, our readers, about new music. In this case, I don't necessarily mean music that is new, as in newly created, but rather music that is new to us individually, usually off the beaten path, but still worthy of attention and a joy to hear. 

You can guess where this is going: until a few weeks ago, I was unfamiliar with the compositions of Eugène Yasÿe. But Hilary Hahn has introduced us, so to speak, through her newest release, and a fine acquaintance he turns out to be.

Yasÿe was born in Hungary in 1858, proved to be a violin prodigy (taught originally by his father, apparently quite an accomplished violinist in his own right), and soon was performing and teaching not just in his native land but in a widening range across Europe. His technique was hugely influential, and he is widely considered, according to Hilary Hahn’s own liner notes for this album, the “first modern violinist.” In contrast, his composing career started relatively late: I was unable to find any information at all on his Op. 1 – 9, but Op. 10 (2 Mazurkas) was written in 1884 and he did not get to Op. 16 until 1910 or so. These dates are relevant, I think, because they help us to understand that Yasÿe’s works are in more modern styles than his age might suggest. This certainly applies in the case of Op. 27, which comprises the six sonatas that are the works on this CD.

Eugène Yasÿe

Yasÿe’s inspiration for the sonatas seems to have been a performance of Bach’s Partitas and Sonatas for Solo Violin by Joseph Szigeti. Although probably not written in a week as legend would have it, all of the sonatas were sketched out by July of 1923; Hahn’s recording is thus a centenary tribute. (You really do want to read her liner notes for details on the genesis of this recording.) Each of the sonatas is dedicated to a contemporary violinist, such as Szigeti, George Enescu and Fritz Kreisler, several of whom were themselves composers as well. There are multiple parallels to Bach’s work, such as rotation of keys and structural elements. However, the overall styles remind one more of the likes of Stravinsky and Bartok than of old J. S.

Even a non-violinist like I can tell immediately that these are virtuoso works, often leaping through the registers and demanding both quickness and flexibility, showing off the possibilities of the instrument. Meanwhile, the sonatas vary widely – one might even say wildly – in style, in length, and in structure, and at the same time (or perhaps in part because of all the changes), consistently maintaining musical interest. Just as one indicator of that variation, the number of movements with each sonata ranges from one to four. For example, number 2 is in four movements entitled “Obsession”, “Malinconia”, “Danse des ombres” (with six variations, no less), and “Les Furies”, while number 5 is in two movements, “L’Aurore” and “Danse rustique”. You quickly get the idea that we’re doing some exploring here!

Frankly, I’ve never been that wild about a lot of solo violin works, often finding such things one-dimensional and ultimately rather boring. (Naturally I’m excepting Bach here.) But these works really caught my fancy; they are anything but mere showpieces; modern in conception but eminently listenable.I would love to provide more description here, but short of describing the individual movements, which would make this review intolerably long, I'm at a loss to tell you "what to expect" or "how they sound". Fortunately, I can recommend in good conscience that you find out for yourself.

Hilary Hahn

As to the performances themselves, it’s no surprise that Hilary Hahn plays the sonatas with intensity and energy, and, of course, with technique to burn; the evident enthusiasm, indeed, the love with which she discusses these works in the liner notes is simply a reflection of her playing.

DG’s recorded sound here is first rate: close enough for the clarity that allows the listener to follow the intricacies of the playing, but just far enough away to allow a bit of natural reverberation, with a solid stereo image that brings the performer into the room. I’ve already mentioned Hahn’s liner notes that discuss her connections and experience with these works; additional notes by Robert Kirzinger provide more historical and musical details. An excellent production all the way around.