This article deals with Eugine Ysaÿe’s Six Sonatas for Solo Violin, op. 27 in terms of repertoire, technical, intepretational and methodical point of view. This cycle, by itself a synthesis of Bach’s Six Sonatas and Partitas, musical and technical preferences of “portrayed” performers and Ysaÿe’s own “portrait”, reflecting performance novelties of his epoque, reveals violin technique’s specific possibilities – in terms of polyphony, expressiveness, speed, brilliance, sparkling and somber sound, left-hand pizzicati, harmonics and even quarter-tones.
In addition to the rich pallet of harmonic colors, Ysaÿe innovates various sound articulations and dynamics, meaning precise dynamic nuances, combined with technical aspects in the left hand.
While deriving sonatas’ performance problems, methodical instructions are given, concerning their mastering and interpretation.