Page 99 - PDF Flip TR Program Demo

who became the great performers and teachers of the last generation. Their playing was elegant and full-toned, made possible by the invention of the modern bow by François Tourte. They drew the full length of the bow smoothly across the strings, using the whole forearm while keeping both the wrist and upper arm quiet, as opposed to the Russian school of Leopold Auer (and later David Oistrakh and Itzhak Perlman) which used the whole arm, and the German style of using the wrist and Cramer’s Mannheim School bow.
The bow you used told musicians who you were, and which composers you preferred (Beethoven instead of Debussy, for instance).
Debussy, Saint-Saëns, Franck, and Chausson dedicated pieces to Ysaÿe. Ysaÿe used Chopin’s ideas of rubato. As Sir Henry Wood said, “Whenever he stole time from one note, he faithfully paid it back within four bars.” Wood also noted that his “quality of tone was ravishingly beautiful. . . .
He seemed to get more color out of a violin than any of his contemporaries.”
In the first movement, dawn leads gradually to the full light of day, through the quavering ostinatos of waking insects and wind in the bushes. Sforzando octaves and fourths intrude on the gradual pastoral crescendo of the light.
This sonata was dedicated to Jacques Thibaud and written in his style. Thibaud played in a legendary trio with the cellist Pablo Casals and the pianist Alfred Cortot, which was noted for its grace, lightness, passion, fire, and legato.
Caroline Goulding excels in the onomatopoeia of nature, translating notes into the genuine frissons of a cicada’s tymbals or a leafy whirlwind of fourths in the rustic dance.
2018 Summer Season 99