This article deals with Eugine Ysaяe’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 Ysaye’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, Ysaяe innovates various sound articulations and dynamics, meaning precise dynamic nuances, combined with technical aspects in the left hand.
While deriving sonatas’ performance problems, methodic instructions are given, concerning their mastering and interpretation.