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forts are made so that the art, thought, spirit, and emotion in music can
be transferred from its amorphous state into a more durable form, and
made available for later study and enjoyment.
Classical music, in particular, owes much of its existence and development to the permanent and portable medium of printed music. As such,
we spend much effort in interpreting - and learning how to interpret musical works that have been encapsulated by composers in musical and
verbal notation. And we find that, depending on the amount and specificity of detail provided by the composer, the art of interpretation is
guided by what the interpreter perceives as the intention of the composer. Whether an artist chooses to follow or rebel against a composer's
intention is a discussion deserving of an entirely separate focus. But for
Ray Iwazumi is a violinist, composer, and writer who currently leads the Violin Seminar at the Juilliard
School. His doctoral research on the Six Sonatas of Ysaye was awarded Juilliard 's Richard French Prize in
2004. As an expert in the works of Eugne Ysaye, the author frequently performs, and presents lecturerecitals centering on the works of Ysaye, and also currently authors a monthly series about Ysaye research, in Japanese, for the Japanese music journal, String. The author wishes to thank Jane Gottlieb for
her expertise and guidance in cataloging the Louis Persinger and Viola Mitchell collections, and for support in creating this article.
68
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How can one grasp the inner intuitive and abstract thoughts and physical
mechanics of a master's interpretation? And can these elements actually be
accurately communicated in detail, at both a visceral and intellectual level?
Is it possible to precisely study and absorb a particular way of artistic thinking from a master who is no longer with us?
Standard musical notation does not necessarily convey either the minutest nuances in a phrase, or the esoteric and individual playing techniques required in making a specific interpretation happen. When taken
alone, spoken and written language is often at a loss for accurately transmitting the abstract, yet precise thoughts and sensations that occur in
the mind of the interpreter. Meanwhile, recorded sound and video give
us the possibility of dissecting fairly accurate accounts of an interpretive
event. But audio and visual records are still third-person perspective doc-
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70
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and other violinists' interpretations of those works via live and recorded
performance, and printed performing editions. In a sense, the approach
instilled in me by Miss DeLay is essentially scientific, in that one attempts
to break down (or sometimes build up) an interpretive vision through
the combination and recombination of all the various technical elements
needed to produce the desired sound and effect on the violin. With
Mr. Oistrakh, the approach stemmed from a much more hands-on perspective. A performing artist of the top rank, Mr. Oistrakh was particularly
generous in allowing his students to examine and learn from his own personal scores that contained years upon years of onstage experience. In his
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Critical misunderstandings can (and will) occur if the process is unguided or careless or both. The need for personal instruction, of both
technical and artistic nature, still remains, and one has to accept that
there are no absolute answers. That caveat said, for the patient and
thoughtful performer-researcher, the marked-up score of a great artist
will prove to be a tremendous resource.
In the following discussion, "marked-up scores" include, among other
items: manuscripts with performer's markings, the personal performing
materials of the artist; the teaching materials the artist used in guiding
In connection with Eugne Ysaye (1858-1931), the immensely influential Belgian violinist, who dominated and revolutionized violin playing at
the turn of the twentieth century, an exemplary resource for studying
marked-up violin scores exists at the Juilliard School. Describing Ysaye 's
many and significant achievements is outside the intent and scope of this
article, but let us say that violin playing would not be as expressive nor as
versatile today if it were not for Ysaye. Already known to some scholars is
that the Juilliard School houses several of Ysaye's important manuscripts
(notably, the manuscripts to the Sonatas nos. 2, 3, and 6, which come
from the Louis Persinger Collection).1 Along with the resources of the
Jeannette Dincin Ysaye Collection, the Juilliard School most likely houses
the largest collection of significant Ysaye materials outside of Belgium.2
However, the focus for this particular article is the materials that belonged to two of his favored, and successful, American students: Louis
1. The collections at the Juilliard School, and of the Ysaye manuscripts in particular, are discussed in:
Jane Gottlieb, "The Juilliard School Library and its Special Collections," Notes 56, no. 1 (September
1999): 11-26.
2. Jeannette Uincin was a violinist Irom Brooklyn, JNY, wno studied witn and eventually Decame Ysaye s
second wife in 1927. Her collection of materials is housed at the Juilliard School.
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Louis Persinger
splendid young violinist, one of the most talented pupils the Leipzig Con-
servatory has ever had," - a compliment of signal meaning. Years of study and
experience with Eugene Ysaye, in Brussels, and Jacques Thibaud, in Paris, fur-
ther rounded out the young virtuoso's musical conceptions and technical
mastery, and Louis Persinger was able to step forth on the notable career
which has been the means of placing him among the important figures in the
musical world of our day.3
Persinger was also a very capable pianist. Notably, he accompanied Menuhin and
Ricci early in their respective careers, in both public concerts and recordings.
Viola Mitchell
4. Louis Persinger, Why The Violin? (Massapequa, NY: Cor, 1957; repnnt, 1965). The manuscnpt of this
book is found in Persinger Collection, box 5, folder 1.
5. Mitchell s dates were discovered through her married name of Fearnside (b. 11 July 1911,
Pittsburgh, PA; d. 6 April 2002, Moore, NC).
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have written on them the place and date, with many mentioning, for
example, "1924 Bruxelles, Belgique" or "Bruxelles, 1928."7
Corollary documentation of Mitchell is found in Nathan Milstein's autobiography, where he compliments her in passing while describing his
own studies with Ysaye during the summer of 1926.8 In addition, there
Brussels.9
In America Viola Mitchell was engaged as soloist with the Boston, Chicago,
Minneapolis, Detroit, Washington, Toronto, Ottawa and Pittsburgh Symphony Orchestras, and she also toured extensively throughout America,
8. "Others showed up for lessons with Ysaye - a violinist from Odessa whose name was Volchikis, a very
good American woman violinist named Mitchell, and William Primrose, the famous future violist."
Nathan Milstein and Solomon Volkov, From Russia to the West: The Musical Memoirs and Reminiscences of
Nathan Milstein, trans, from the Russian by Antonina W. Bouis (New York: Henry Holt, 1990), 99.
9. "Le cher troupeau de 1 ete 1926, photograph, Bibliothque royale de Belgique, Music Section,
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and Berlin would contain some examples of what may possibly be Ysaye's
handwritten markings.12 Meanwhile, in tracing places and dates, there
Mitchell - London 1936."14 However, for the years after 1932-33, an article in the New York Times dated 28 October 1934 states: "Viola Mitchell,
21 year-old American violinist, due to arrive in this country last week, will
make her American dbut this season."15 (Note that this implies a discrepancy in Mitchell's age - but adjustments in age for young virtuosos is
nothing new.) Likewise, a review of her 1935 concert with the Boston
Symphony under Koussevitzky,16 her recital in New York in 1936,17 and
her name listed in radio broadcasts in the later 1930s,18 also published in
the New York Times, suggest that Mitchell may have returned to the U.S.
by that time. Therefore, Mitchell seems to have been studying in Brussels
and Paris until at least 1930, and perhaps moved to Italy in the early
11. The sketches for Pier li Houye are also held at the Juilliard School in: Eugne Ysaye, "Deux trios
pour violon, alto, violoncello; Pierre li Houyeux, esquisse," The Juilliard School, Lila Acheson Wallace
Library, ML225.Ys89 A4 v.l.
12. For example: W. A. Mozart, Konzert Nr. 7, ed. by Hans Sitt (Leipzig: Breitkopf & Hartel, 1907),
signed "Paris 1930," Mitchell Collection, box 11, folder 3. Bela Bartk, Rumnische Volkstnze, transcribed
for violin and piano by Zoltn Szkely (Vienna: Universal Edition, 1926), signed "Berlin - 1930,"
13. Karol Szymanowski, Chanson polonaise, transcribed for violin and piano by Paul Kochnski (Vienna:
Universal Edition, 1931), Mitchell Collection, box 20, folder 6.
14. Jean Baptiste Leclair, Sarbande et tambourin de la Sonate HI (London: Schott, n.d.), Mitchell
16. Olin Downes, "Bostonians Offer a Malipiero Work; Four Seasons' Symphony Adds Modern Note to
Program Given by Koussevitzky," New York Times, 6January 1935.
17. N. S., "Other Music; Viola Mitchells Recital," New York limes, 4January 193b.
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ing, along with his efforts as a composer. The scores dating from
Persinger's early career are those from which he most likely had performed. For example, there is a score of Gabriel Faur's Violin Sonata in
the new Temple Emanu-el, May 7th, '26, with Ernest Bloch at the
piano."20 Worth mentioning here is that, in the late 1890s, Bloch studied
violin with Ysaye. In regard to the Baal Shem example, though Bloch was
19. Gabriel Faur, Sonate, op. 13 (Leipzig: Breitkopf & Hrtel, n.d.), Persinger Collection, box 1,
folder 1.
20. Ernest Bloch, Baal Shem: I. Vidui (New York: Carl Fischer, 1924), Persinger Collection, box 11,
folder 4. Ernest Bloch, Baal Shem: II. Nigun (New York: Carl Fischer, 1924), Persinger Collection, box 11,
folder 5.
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Francisco, it is quite likely (even though their years of study with Ysaye
probably did not overlap), that Persinger would have met, or been introduced to, Bloch through Ysaye.
Persinger's performing repertoire appears to have been comprehensive. Almost all of the well-known standard concertos are represented,
and included are several pieces that were better known in his day, such
as Bruch's Violin Concerto no. 2 in D Minor, op. 44, and Lalo's Concerto
in F Major, op. 20, among others.21 His meticulous nature is also reflected in how, in some cases, several concertos are collected and neatly
sewn and bound together with leather covers into a single volume, with a
custom table of contents. This suggests, then, that by the time he had
bound the concertos together into a single volume, the intent was to preserve the scores rather than to use them for performance; the size and
heft of the volumes would have been a disadvantage for an actively touring performer.
A fairly wide range of three-part and four-part chamber music is also
part of Persinger's library, including among more familiar works, such
rare items as Dohnnyi's Serenade for violin, viola, and cello, op. 10.22
Often, all parts of a chamber work are marked up. There are also instances of passages added in by hand to facilitate easier page turns. This
strongly suggests that the study of many of these chamber works were in
preparation for concert performances.
In addition, the collection contains Persinger's own compositional ef-
21. Max Bruch, Violin Concerto No. 2 in D minor, op. 44 (Berlin: Simrock, [1878]), Persinger Collection,
box 14, folder 9. Edouard Lalo, Concerto in F major, op. 20 (Paris: A. Durand, n.d.), Persinger Collection,
zz. trno Donnanyi, serenade jor violin, viola, ana violoncello, op. lu { Vienna: Luawig uoDiinger, iyu^;,
folder 50.
24. Louis Persinger, Metronomic Nightmare (Perpetual Motion), manuscript, 1945 & 1958,
Persinger Collection, box 4, folder 29.
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Markings in the many editions of Bach show the basis of his study and
25. The manuscripts for this particular transcription are unsigned. However, the score used as the
basis of this particular transcription is dated 1939, so we may at least assume the transcription was made
in that year or later. Frederic Mompou, Can i dansa No. 1, edited by Paul Kay (Providence, RI: MusicArt Publications, 1939), Persinger Collection, box 4, folder 18. Louis Persinger, arrangement of Frederic
Mompou's Can i dansa, no. 1, manuscript, Persinger Collection, box 4, folders 19-21.
26. Frederic Knight Logan, Pale Moon (An Indian Love Song), transcribed for violin and piano by Fritz
Kreisler (Chicago: Forster Music, 1920), Persinger Collection, box 7, folder 50.
27. Ottokar Novcek, Cadenzas to Beethoven's Violin Concerto, Op. 61 (Leipzig: Breitkopf & Hrtel, 1899),
Persinger Collection, box 16, folder 14. Manuel Quiroga, Cadenzas to Mozart Concerto (Paris: Salabert,
1939), Persinger Collection, box 16, folder 23.
28. J. S. Bach, Sonaten und Partiten fr Violine solo, ed. by Carl Flesch (Leipzig: C. F. Peters, 1930),
Persinger Collection, box 8, folder 2; and Persinger Collection, box 9, folder 13. Six Sonatas and Partitas
for violin solo, ed. by Joseph Joachim and Andreas Moser (New York: International Music, n.d.), Persinger
Collection, box 8, folder 15. Sonaten und Partiten fr Violine allein, ed. by Joseph Joachim and Andreas
Moser (Berlin: Editions Bote & G. Bock, 1908), Persinger Collection, box 9, folders 8-10. Sechs Sonaten
fr Violine solo, ed. by Joseph Hellmesberger, piano accompaniment by Robert Schumann (Leipzig: C. F.
Peters, n.d.), Persinger Collection, box 8, folders 8-9. Sechs Sonaten fr Violine solo, edited by Joseph
Hellmesberger (Leipzig: C. F. Peters, n.d.) [i.e., the Hellmesberger edition without the Schumann accompaniment], Persinger Collection, box 8, folder 10; and box 9, folder 12. Sechs Sonaten fr Violine solo,
ed. by Joseph Hellmesberger, rev. by Carl Herrmann (Leipzig: C. F. Peters, n.d.), Persinger Collection,
box 8, folder 12. Sonates pour le violon, ed. by Hubert Lonard (Paris: Costallat, n.d.), Persinger
Collection, box 8, folder 4. Sonatas ? Partitas for Solo Violin, ed. by Jan Hambourg (London: Oxford Uni-
versity Press, 1934), Persinger Collection, box 9, folder 2. Violin Sonatas, ed. by Arnold Ros (Vienna:
Universal, n.d.), Persinger Collection, box 9, folder 3. Sonaten; violon seul, ed. by Jen Hubay (Vienna:
Universal-Edition, n.d.), Persinger Collection, box 9, folder 6.
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78
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interpretation of these works. He had also formulated, and in some instances typed up as a text manuscript, comparisons between the various
editions of Bach's Sonatas and Partitas, and also coupled this with his
own suggestions for performance.29 Also extant are several exercises of
his own creation, some designed specifically for Menuhin and Ricci.30
Further, there are exercises by Ysaye and Csar Thomson that Persinger
had probably copied out by hand for himself during his studies with
Ysaye.31
Persinger was often meticulous with his markings. Some of his scores
have extensive remarks about how a certain artist played a particular passage. One hypothesis would be that Persinger had critically listened to
several live performances, and made "notes" about certain key passages.
For example, in a copy of Wieniawski's Violin Concerto no. 2 in D Minor,
op. 22, Persinger writes in several alterations to specific passages, attributed to Willy Bermester, Ysaye, and others.32 In this particular score, of
special interest is a unique alteration attributed to Ysaye in the interpretation and preparation of the notorious high G-string B harmonic in the
third movement (see fig. 1). Persinger's meticulous "notes" not only reveal his acute powers of observation, but consequently also give us the
names of several artists whom he had listened to. For example, a particu-
29. Louis Persinger, "The Bach Sonatas and Partitas for Solo Violin; Foreword," typewritten manuscript, Persinger Collection, box 4, folder 22. Louis Persinger, "Persinger, D minor Sonata (Partita II)
(Sonata no. 4, D minor); suggestions for performance," manuscript, Persinger Collection, box 4, folder
26. Louis Persinger, "Persinger, G minor sonata; suggestions for performance. . . other eds.," manuscript,
Persinger Collection, box 4, folder 27. Louis Persinger, "Persinger, G minor sonata; suggestions for performance," manuscript, Persinger Collection, box 4, folder 28. J. S. Bach, 6 Sonaten fr Violine, ed. by
Friedrich Hermann (Leipzig: Breitkopf & Hrtel, n.d.) [This copy contains Persinger's markings that
correspond to his notes in box 4, folders 4, 22, 26, 27, and 28], Persinger Collection, box 8, folder 13.
30. Louis Persinger, A Daily Study in Thirds, written for Yehudi Menuhin, manuscript, Persinger
Collection, box 1, folder 2. Louis Persinger, "Berkley 22-11.28 (for Ruggiero Ricci)," manuscript,
by de Grom, Persinger Collection, box 11, folder 6. Csar Thomson (1857-1931) was a Belgian violinist
and contemporary of Ysaye. Both Ysaye and Thomson were from Lige, and were rivals from an early
age. Thomson was particularly known for his outstanding technical virtuosity, and taught at the Lige
Royal Conservatory, Brussels Royal Conservatory, Paris Conservatory, Ithaca Conservatory, and Juilliard
(1924-27).
32. Henryk Wieniawski, Violin Concerto No. 2 in D minor, op. 22, ed. by A. Pollitzer (Mainz: B. Schott s
Shne, [1879]), Persinger Collection, box 14, folder 7.
33. Peter Ilyich Tchaikovsky, Violin Concerto in D major, op. 35 (Leipzig: Steingrber Verlag, n.d.),
Persinger Collection, box 14, folder 9.
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Fig. 1. Detail from Wieniawski's Concerto No. 2 in D Minor, 3d movement, taken from
Persinger Collection, box 14, folder 7. Note the special preparation for the harmonic B
attributed to Ysaye, and a separate annotation for an interpretation turning that harmonic
into a chord, attributed possibly to Fabian Kehfeld (then-concertmaster of the Berlin
Philharmonic). By permission of thejuilliard School Library.
Mitchell's collection contains a significant number of Ysaye 's compositions, and numerous other scores that carry Ysaye 's markings. Among
the highlights of the collection is the manuscript, in Ysaye's hand, of the
Pasquali-Ysaye Sonata in A minor dated in August of 1926 at Zoute-surMer (Ysaye's summer residence, and most likely the location of the 1926
2 and 3.
3b. Lugene Ysaye, ix onates pour violon seul, op. J (Brussels: ditions Ysaye, iyz4), Mitcnell
Collection, box 1, folder 14.
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Likewise, the scores of most of the violinist's virtuoso pomes and shorter
works are also represented in Mitchell's collection, many of which have
Ysaye's markings as well. Among the more unusual of these works is the
rare Paraphrase, op. 30 for voice and piano.37
Many of Mitchell's other scores also have markings that are by or attributed to Ysaye, or both. The extraordinary value of these particular
scores is that they cover important repertoire. Included are eye-opening
scores of Bach's Six Sonatas and Partitas (using the Maurice Senart edition by Lucien Capet; fig. 2),38 and the concerto that was so successful
for Ysaye in the final years of his concert career: Elgar's Violin Concerto,
op. 61. 39
of the concerto has markings that may be in Ysaye's hand. Though the
later opuses of Ysaye, such as his Six Sonatas for solo violin, op. 27, obviously show a familiarity with developments in contemporary classical art
music, we do not have much documentation on which particular contemporary works Ysaye may have been familiar with. Considering that
Prokofiev's Violin Concerto in D Major was written in 1916-17 - while
Mitchell was studying the work in 1927 during her studies with Ysaye this implies that, after retiring from the concert stage, Ysaye was still interested in contemporary music, and that Prokofiev was a composer who
38. J. S. Bach, 6 Sonates, ed. by Lucien Capet (Pans: Maurice Senart, 1915), Mitchell Collection, box 3,
folder 1.
39. Edward Elgar, Concerto for Violin and Orchestra, op. 61 (London: Novello & Co., 1910), Mitchell
40. Ysaye studied with Wieniawski, and considered him, along with Vieuxtemps, to be one ot his masters. Henryk Wieniawski, Polonaise in D major, op. 4, ed. by Henri Marteau (Leipzig: C. F. Peters, n.d.),
Mitchell Collection, box 5, folder 8. Henryk Wieniawski, Polonaise in A major, op. 21, ed. by Henri
Marteau (Leipzig: C. F. Peters, n.d.), Mitchell Collection, box 5, folder 9.
41. Sergey Prokofiev, Violin Concerto in D major, op. 19 (Leipzig: Breitkopf & Hrtel, 1921), Mitchell
42. Rodolphe Kreutzer, 42 Etudes (Leipzig: C. F. Peters, n.d.), Mitchell Collection, box 16, folder 5.
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Fig. 2. Detail of the opening of Bach's Ciaccona from the Partita in D Minor, BWV 1004,
with Ysaye's markings, from Mitchell Collection, box 3, folder 1. Note the "doigts d'E.Y."
in the upper left corner. By permission of thejuilliard School Library.
in other scores, Berlin43 and West Virginia44 (not with full addresses), ap-
44. Johannes Brahms, Trio in Es dur fr Pianoforte, Violine und Waldhorn, op. 40 (Berlin: N. Simrock,
n.d.), Mitchell Collection, box 13, folder 9.
45. Philip Newman, "Dedicated to Viola, manuscript exercises, 19b, Mitchell Collection, box b,
folder 14. Philip Newman, manuscript exercises, Mitchell Collection, box 6, folder 15.
46. Eugne Ysaye, Exercises et gammes (Brussels: Editions Ysaye, 1967), Mitchell Collection, box 2,
folder 5.
47. Eugne Ysaye, tantaisie pour violon et orchestre, op. JZ (Brussels: ditions Ysaye, iyz/J, Mitcnen
Collection, box 2, folder 2. In another copy of this work found in Mitchell Collection, box 2, folder 1,
Ysaye inscribes that Mitchell gave the premiere with orchestra of this particular work.
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As popular as Coca-Cola!
In Bocca al Lupo and all that sort of stuff from Albert Spalding.48
and Partitas for solo violin are represented, including those edited by
Lucien Capet, Edouard Nadaud, Hellmesberger, and Ferdinand David.52
In addition, the Bach concertos and sonatas for violin and keyboard are
collected in multiple editions as well.
48. Arcangelo Corelli, Sonata in A major, op. 5, no. 6, transcribed with free accompaniment to the original figured bass by Albert Spalding (New York: Carl Fischer, 1930), Mitchell Collection, box 3, folder 13.
49. Gian Francesco Malipiero, Concerto per violino e orchestra (1932), dedicated to Elisabeth S. Coolidge
(Milan: A. & G. Carisch, 1933), Mitchell Collection, box 7, folders 1-3. Concerto per violino e orchestra
(1932), reduction for violin and piano (Milan: A. & G. Carisch, 1933), Mitchell Collection, box 7, folder
5. Concerto per violino e orchestra (1932), orchestral parts (Milan: A. & G. Carisch, 1933), Mitchell
Collection, box 7, folder 7. Concerto per violino e orchestra (1932), reduction for violin and piano, facsimile
in negative black and white (Milan: A. & G. Carisch, 1933), Mitchell Collection, box 7, folder 6.
50. Gian Francesco Malipiero, "Concerto per violino e orchestra" (1932), violin solo part manuscript,
52. J. S. Bach, Six Sonates pour violon seul, ed. by Lucien Capet (Paris: Editions Salabert, Collection
Maurice Senart, 1915), Mitchell Collection, box 3, folder 1; and box 9, folder 6. Six Sonates pour le violon,
ed. by Edouard Nadaud (Paris: Costallat et Cie, n.d.), Mitchell Collection, box 9, folder 7. Sechs Sonaten
fr Violine solo, ed. by Joseph Hellmesberger (Leipzig: Edition Peters, n.d.), Mitchell Collection, box 9,
folder 8. J. S. Bach and Robert Schumann, Klavierbegleitung zu den Sonaten fr Violine solo, violin part ed. by
J. Hellmesberger (Leipzig: C. F. Peters, n.d.), Mitchell Collection, box 9, folder 10. Sechs Sonaten fr die
Violine allein, vol. 2, ed. by Ferdinand David (Leipzig: Kistner, n.d.), Mitchell Collection, box 9, folder 9.
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Fig. 3. Photo of the handmade facsimile score of Gian Francesco Malipiero's Concerto
per violino e orchestra (1932), reduction for violin and piano. The facsimile is in negative
black and white, from Mitchell Collection, box 7, folder 6. By permission of the
Louis Persinger's scores clearly reflect the influence of Ysaye, and may
have Ysaye's markings in spots. However, there is a striking difference in
the level of detail Ysaye gives in many of Viola Mitchell's scores that are
virtually covered with his markings. One reason for the difference may
be that Ysaye was indeed fond of Mitchell. The photos, the dedication of
the Pasquali-Ysaye sonata, and the many ebullient remarks Ysaye wrote
for Mitchell in her scores, demonstrate this.
53. Rudolf Mengelberg, Konzert fr Violine und Orchester, op. 18, arr. for violin and piano (Vienna:
Universal Edition, 1934), Mitchell Collection, box 16, folder 16. Emanuel Mor, Conzertfr Violine, op. 62
(Berlin: N. Simrock, 1905), Mitchell Collection, box 16, folder 18.
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The other fact is the possible different level of development that each
performer was at when beginning study with Ysaye. The kind of instruction frequently found in Mitchell's scores shows that she probably commenced her studies with Ysaye at just that ideal point of development
when technical issues were very much under control, and matters of interpretation were the greatest priority. Persinger, however, as deduced
from his meticulous scores, may have been more determined to find his
own way with things, seeking from Ysaye technical principles and artistic
elements that he could absorb as desired into his own approach. Many of
Persinger's scores convey an independent and erudite spirit, with a free
mingling of English, French, and German indications and comments.
Persinger and Mitchell owned, for example, the edition with Schu-
which, by the early twentieth century, arguably would have been becoming more anachronistic. As previously mentioned, Mitchell owned a copy
of Bach's Sonatas and Partitas with Ysaye's markings. Had Mitchell felt
that Ysaye's suggestions alone would suffice in her study of Bach's works,
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lation, one could roughly fathom where Ysaye's essence might be, and
where Persinger 's and Mitchell's individual adaptations take off.
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For example, both Persinger and Mitchell have extensively marked vi-
olin parts for Saint-Sans's Violin Concerto no. 3 in B Minor, op. 61.
Persinger's score of this piece54 is marked up in French, with some
English and German, suggesting his mix of influences from studies in
Leipzig combined with his studies with Ysaye (see fig. 4). Some of the
markings may actually be in Ysaye's hand. At the top of the first movement
"Doightes [sic] d'E.Y." ("Fingerings by Eugne Ysaye"). Many of the markings are most likely in Ysaye's hand, or copied by Mitchell to a degree of
54. Camille Saint-Sans, 3e Concerto pour violon et orchestre, op. 61 (Paris: A. Durand & Fils, n.d.),
Persinger Collection, box 14, folder 9.
55. Ibid., Mitchell Collection, box 5, folder 5.
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Fig. 4. Detail from Camille Saint-Sans's Violin Concerto in B Minor, op. 61, 3d movement
(Paris: A. Durand 8c Fils, undated), from Persinger Collection, box 14, folder 9. By
permission of thejuilliard School Library.
Fig. 5. Detail from Camille Saint-Sans's Violin Concerto in B Minor, op. 61, 3d movement
(Paris: A. Durand 8c Fils, undated), from Mitchell Collection, box 5, folder 5. Note in
particular the similar alteration, among other similar markings, of the fourth line first
measure, in both Mitchell's and Persinger's scores. In Mitchell's score, the alteration
is written out, probably in Ysaye's hand, at the top of the page. By permission of the
Juilliard School Library.
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88
Notes,
September
2010
ABSTRACT
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