Ysaye's Secret Sonata (English, Long Version)
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- Опубліковано 9 лют 2020
- Upon the discovery of an unknown solo Sonata by Ysaÿe, this documentary follows violinist Philippe Graffin as he searches for traces of Ysaÿe around the world. Released in February 2020, this film was made with the contribution of the commune of Knokke-Heist, The Koninklijk Conservatorium Brussel, les Amis du Zoute, and with the help of my students. Thanks to the KCB library, Royal Nothern College of Music library, CBC archives, KBR, Mme Milagros Bara-Ponte, Pontevedra, Allegro films.
Special thanks to Clara Vorfeld, Aude Pétiard and Stephanie Michel .
© Philippe Graffin
I absolutely love this documentary and the wonderful violinist Phillipe Graffin!
Авторам фильма и французам огромное спасибо за тепло и любовь к своим кумирам и таким великим артистам, как Эжен Изаи - это чудесный фильм, наполненный редчайшими фото и уникальными видео-материалами и лишний раз напоминающий всем нам о европейских исполнителях прошлого века.
Merci à tous, et en particulier à Philippe Graffin, pour ce merveilleux documentaire!
This is great important and wonderful Compliments I was student in the Queen Elizabeth Cappelle in the 60th and even played for the queen Yair Kless
Passionnant !!! Merci beaucoup 🙏
great documentary film, thank you so much
Félicitations Philippe ! Un documentaire sensible et attachant. Une belle réussite ! Merci.
Fascinating, merci Philippe.
Brilliant work Philippe, bravo and again bravo! Always a trailblazer, this is just one more of your wonderful projects combining artistry, research, art and history, always with such a profound appreciation for the human spirit in music. Marvellous!
Das ist aber Wunderschön. Congratulacion. Vielen Dank
merci pour ce merveilleux film! A bientôt j'espère...
Grand merci pour ce magnifique reportage .l'attrait pour la côte Belge était indéniable pour ce grand artiste .D"ailleurs ,si l'on s'en réfère aux mémoires
écrites par son condisciple Ovide Musin, lorsqu'ils étaient jeunes à peine sortis du conservatoire ,ils se produisaient dejà régulièrement ensemble à Ostende au
Kursaal en musique de chambre .
Insightful Ysaye documentary
I would like to thank everyone for watching this film, and for all your comments !!
I have made, with Clara Vorfeld, another documentary about another unknown work by Ysaye, his “Poéme concertant “ (you can find it on my channel), to accompany yet another release - “Reves “ for Avie Records.
Philippe Graffin
24:58 - That's a very clever solution.
I think it is a misconception that Joachim and Sarasate played without vibrato. They used some, but definitely less than later performers did. (I've also heard that vibrato sometimes doesn't show up on early acoustic recordings.) Also, cantabile has ALWAYS been the essence of good violin playing. It does not depend solely upon vibrato; it also depends on the use of the bow and on legato.
Bravo Philippe pour ce magnifique film, poignant de la première à la dernière minute.
On te sent totalement imprégné, dans le verbe comme dans le jeu, de cette esthétique, de cet univers, et d’Ysaye bien sûr, l’homme comme le musicien.
C’est vraiment très, très émouvant.
Petit détail insignifiant mais: est-ce une totale hérésie, que de trouver à 27’18’’, que Manuel Quiroga ressemble quand même beaucoup à un autre Philippe, le grand Hirschhorn ? 😊😉
Merci Mr. Graffin pour votre travail de recherche musicale et documentaire. J'etais en train de lire une biographie du violoniste Joseph Hassid, malheureusement décédé très jeune mais très prometteur et mûr artistiquement et je constate que en étant élève de Flesch pendent les années 1937-39, il à passé plusieurs étés de "summer course" à Knokke où Flesch avait l'habitude de se rendre avec ses élèves.
Ils serait intéressant pour moi d'en savoir plus à propos de la relation entre Ysaye, Flesch et Knokke… (et aussi de l'influence de la technique et art du violon de l'un sur l'autre et, pourquoi pas, sur la formation de Josef Hassid aussi…). Vous relevés de la contribution de Ysaye par rapport au vibrato et au rubato, avec un musicalité "qui chante" ("fraseggio")… je retrouve bcp de ces characteristiques parfaitement réalisées dans le jeux de Josef Hassid comme l'on peut écouter ici aussi, sur youtube, dans le peu d'enregistrements dont nous disposons.
Cher Monsieur Graffin, merci pour cette documentaire fascinant. Vers 32/33 minutes, c'est quel beau arrangement de 'Clair de Lune'? Est-ce que c'est nouveau ou par Ysaÿe?
How do we know that the secret sonata was intended for the same violinist as the formal sixth sonata player? Couldn't it have been intended for another player given its different character? Perhaps Ysaÿe changed his mind about his choice of violinist, hence left it and then composed the official sixth sonata?
At 14:24 is a video of Ysaye himself playing??? I know theres a different piece over it, but it is that actually a video of him??
yes.I believe he's playing mendelssohn concerto 3rd movement in that video
where is the english ?? dont tell me its just the subtitles .
Does anyone know who arranged the solo violin version of Clair de lune? It started playing at 26:35
Possibly David Matthews and Philippe Graffin ua-cam.com/video/Z8wzwsvaFM4/v-deo.html&ab_channel=PhilippeGraffin-Topic
@@ibealgoody2666 Thank you so much!
5:52 - that sounds like Maxim Vengerov... but I've never heard him play that piece. Does anyone know the violinist playing there?
As from ~ Elisabeth Matesky, Carrier of the Heifetz-Milstein Legacy of Violin Playing & Mentoring
@Philippe Graffin ~
In English, I was very interested in many of your comments re Ysaye's possible new Seventh Solo Violin
Sonata, but must draw your attention to errors re my close friend & private violin mentor (after studying
with Mr. Heifetz in his Original Jascha Heifetz Violin Master Class @USC's Institute for Special Music
Studies as only 1 of 7 chosen artist-pupil's of Jascha Heifetz & subsequently filmed, now available on
UA-cam)*Nathan Milstein, whom I met whilst under the same Concert Artist Management in London &
thru Sascha Lasserson, (whom Mr. Heifetz RX'd I study with on my Fulbright to London's RCM in English
Violin Repertoire Advanced Studies), who invited me to play Bach's Chaconne at his Chester Square SW1 home in London. I came to be Mr. Milstein's first artist pupil & his coined term for me, "my Guinea Pig" a pupil of Heifetz"! Mr. Graffin, film footage of Mr. Milstein from Christopher Nupen's 2 plus hour Film on Mr.
Milstein, used in your documentary is taken during a long interview of NM at his Gstaad Summer home,
and a bit out of context re Ysaye, his initial meeting of Ysaye, minus details of the Chamber Music Evening
at Ysaye's Summer Villa in Zoot in Summer 1926. NM told me much about that evening, & as used in your
film, only touches of witnessing Ysaye's familiarity w/his adoring violin pupil, HRH, The Queen Elisabeth of Belgium, & in her role in the String Quartet Evening, etc., which I'm not revealing any more here, but I must
draw your attention to the completely incorrect Year of Milstein's Birth as mis represented on your film as
circa 1901 - 1997. Dear Sir, *Mr. Heifetz was born in Vilna, Lithuania, in 1901 & passed in 1987! In fact, on
The Terrible Day of Jascha Heifetz's passing in Los Angeles, December 10, 1987, Nathan Milstein had just
returned from Washington, D.C.., honoured by President Reagan with the Kennedy Center Honour, & training
it back to NYC, to go for a procedure on the Day Heifetz Passed. Mr. Milstein lived until December 21, 1992,
Not 1997. That would have been a further Joy to be able to continue visiting N. & T. Milstein in London, but
it could Not be . . . To use incorrect dates indicates to me, a pupil of both Heifetz & Nathan Milstein, some
"Smoozy" inaccurate 'research' & I suspect, you may not have had the pleasure of knowing either of my Icon
Mentors/also friend's ~ As neither is here on Earth, as an authentic pupil & over decades friend of both JH &
NM, plus members of their respective Families, It is upsetting to view incorrect facts & possibly cut footage of Christopher Nupen's Film on Nathan Milstein ~ NM shared quite a bit with me regarding Eugen Ysaye as
Grand Artist whom he was attracted to by Ysaye's magnetic personae & playing!! The connection to Ysaye
on my own part was through my father, acclaimed String Educator in America, who had studied w/authentic
'Apostle' of Ysaye at The Juilliard School, Prof Eduoard Dethier, for 3 of Father's 4 years w/ the other year
under Michel Piastro, whom my father was very close to ~ With my Russian born Grandfather sharing a San
Francisco Teaching Studio w/Naom Blinder, teacher of Isaac Stern, & my Grandfather of Grisha Gulaboff, &
coaching the young Menuhin on occasion, I have the great benefit of knowing quite a bit about the Links of
Violinists & violin playing style/s vis a vie Franco-Belgium (exemplified in Ysaye's Approach to Musical and
Technical Musical Violinistic Playing) fused with rare teachings of both Mister's Heifetz & Nathan Milstein, &
I might add, expressed to me personal/professional impressions of Ysaye From Nathan Milstein!!! If you are
interested enough to reply about my well meant factual accounts here, I would be happy to hear from you,
and in so doing send compliment's re your beautiful playing (!!) & will post a Link to an American website which reasonably presents (by my Concert Representative & Artist Management) a Profile on Violinist.com at ~
www.violinist.com/directory/bio.cfm?member=Milstein and another site w/touches of 'bling' at~
facebook.com/elisabeth.anne.775?fref=nf
Thanking you for your passion and devotion in highlighting Ysaye for younger generations, I remain
Yours musically from America with Best Wishes for Good Health amid this global pandemic ~
🎻Elisabeth Matesky (aka, Elisabeth Anne Matesky on Facebook) / Chicago 🇺🇸 (8.6.2020)
Elisabeth matesky Comment section is not intended for self promotion/aggrandisement. Hire a hall.
@@debwagner7505 I didn't consider Elisabeth Matesky's comment an exercise in self-aggrandizement at all. She simply corrected, and justly so, a couple of wrong dates and gave us a wonderful account of her years of study with masters like Jascha Heifetz and Nathan Milstein, and much more. I am grateful to her for her effort to set things straight. I thought her erudite commentary was totally fascinating. Burlington ON Canada, April 1, 2021.
이자이가 작곡한 곡들을 예전부터 좋아했지만 그의 사진을 본 것은 오늘이 처음이다.
알렉 볼드윈이 갑자기 생각나네.
Sarasate & Joachim didn't have good vibrato???? 🤦🏼
What we consider modern vibrato was not developed until late 19th century
Maybe they just didn't use it. You can listen recording of Joachim playing, it's on UA-cam
Some of Ysaye's work is hard to listen to.
well, you have to listen to it over and over to get used to it, butterflybeatles. Try to have an open mind. When Ysaye's music is played by such an amazing violinist as Philippe Graffin, it can't be anything but beautiful.
@@nadinemclean1671 Well, depending on what piece. Ysaye is included in violinists' repertory because of its difficulty. If you can play Ysaye you are a master.
@@butterflybeatles That may be true, but a piece's difficulty doesn't necessarily mean it's beautiful to listen to, as you alluded to, previously. Massenet's Meditation, for example, seems fairly simple to me (I'm not a violinist, but I'm assuming it's not that difficult), but it has a truly beautiful and memorable melody. I don't think that there's a single melody you could sing from Ysaye's works, except the Dies Irae (from Sonata #2) which he borrowed from the Catholic musical liturgy's Missa pro Defunctis (requiem mass).
@@nadinemclean1671 Sonata form is generally this way.
@@nadinemclean1671U are just very ignorant about music in general and your taste is so subpar 😢
Reptilians have good taste on music...