26 for two violins and orchestra, Poème nocturne, Op. 21 for violin and orchestra Les neiges d'antan, Op. 15 for violin and orchestra Méditation, Op. 13 for violin and orchestra, Chant d'hiver in B minor, Op. 12 for violin and orchestra Au rotet, Op. Throughout his life, Ysaÿe wrote nine poems: Poème élégiaque in D minor, Op. Ysaÿe had always been attracted to the 'poem' form and states himself that "it is more receptive to emotion and is not constrained by the restrictions imposed by the hallowed form of the concerto it can be dramatic and lyrical it is essentially romantic and impressionistic." He continues by explaining that "(the poem) weeps and sings, it is shadow and light and has a changing prism it is free and needs only its title to guide the composer and make him paint feelings, images, abstractions without a literary canvas in a word, it is a picture painted without a model." To Ysaÿe, the poem is a progression in his musical writing and an experiment to associate musical interest with that of true and great virtuosity, which he felt had been neglected by instrumental players. Combining aesthetic considerations and virtuosity, Ysaÿe's poems become a special place for the evocation of different images and emotions, without ever turning into program music. Without any real formal constraints, this genre usually consists of a single movement, alternating different sections with clearly contrasted characters, sometimes melancholy, sometimes turbulent, but always of a basically lyrical nature (even sentimental at times). He then turned to the poem for string instruments, a genre in which it seems he created himself. However, from the 1890s on, Ysaÿe reflected on his youthful compositions and felt that they were devoid of any originality or value. He never stopped composing, even when his career as a traveling virtuoso gave him respite. The birth of Ysaÿe's poems īy the time of Ysaÿe's second stay in Paris around 1885, he had prided himself on having written several polonaises, mazurkas, and concertos without ever having taken harmony and musical composition lessons. Dedicated to Gabriel Fauré, it served as an inspiration for Ernest Chausson's own Poème, Op. The piece first took shape around 1892-1896, but achieved its final orchestrated form in 1902-1903. ![]() 12 for violin and orchestra (or piano) is the first of Eugène Ysaÿe's poems for string instruments and orchestra. Solo violin (tuned FDAE), 2 flutes, 3 oboes (3rd doubling English horn), 3 clarinets (3rd doubling bass clarinet) 2 bassoons, 4 horns, 3 trumpets (3rd doubling piccolo trumpet) 3 trombones, 1 tuba, timpani, 2 percussion (cymbals and bass drum), harp, and strings
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