Final Paper

Quarter Tones in Sonatas for Violin by Eugene Ysaÿe and George Enescu

Therese Slatter

CONSVTY 5593 Introduction to Research and Bibliography in Music

December 7th, 2019

 Eugene Ysaÿe wrote his Six Sonatas for Solo Violin in 1923, and he dedicated his Sonata

No. 3 in D minor, op. 27, “Ballade” to the Romanian composer and violinist George Enescu.

Three years after receiving Ysaÿe’s sonata, Enescu wrote his Violin Sonata No. 3 in A minor, op.

25, and, in January 1927, premiered it with the pianist Nicolae Caravia.1 Both compositions

contain quarter-tones and employ them similarly. Few well-known compositions written prior to

the twentieth century contain quarter-tones, and Ysaÿe and Enescu likely did not know the

composers who wrote music with quarter tones before they wrote their own sonatas. Given

Ysaÿe and Enescu’s personal and professional relationship, it seems likely that they collaborated

to develop this new technique for the violin.

Eugene Ysaye (1858-1931)

Eugene Ysaye was born in Liege, Belgium, into a musical family. His first violin teacher

was his father Nicholas, and he taught him how to position the hands naturally, correct bowing

technique, and developed his taste for a singing and expressive tone.2 Ysaye was a gifted

improvisor, and he would often play his own short compositions. He completed his early studies

at the Liege Conservatory, co-winning the Conservatory’s silver medal and a cash prize in 1874.3

This prize allowed him to study with Wieniawski in Brussels and with Vieuxtemps in Paris

between 1876 and 1879. After graduating from the Liege Conservatory in 1879, he moved to

Berlin to serve as the concertmaster of the Benjamin Bilse orchestra until 1882.4 In 1883 Ysaye

returned to Paris, where he developed lasting friendships with renowned French composers

Saint-Saens, Franck, and Faure, as well as with rising composers such as d’Indy and Chausson.

Ysaye enjoyed an active career as a soloist, frequently performing in concerts of avant-garde

1
Pascal Bentoiu, Masterworks of George Enescu (Lanham: The Scarecrow Press, Inc., 2010), 286, 305.
2
Lev Ginsburg, Prof. Lev Ginsburg’s Ysaye, ed. Dr. Herbert R. Axelrod, trans. X. M. Danko (Neptune City, NJ:
Paganiniana Publications, 1980), 24.
3
Ibid., 23, 25.
4
Ibid., 32.
chamber music in Paris and Brussels. He became internationally famous, and he used this fame

to further his professional endeavors. His first American tour took place in 1894.5Along with

Maurice Kufferath, Ysaye founded the Societe Symphonique des Concerts Ysaye in 1895, a

large orchestra which performed mainly modern music under his management and baton.6 A few

months later, Ysaye and pianist Raoul Pugno formed a new duo, and they collaborated until

Pugno’s death in 1914. Together they created a new standard for performances by programming

almost exclusively sonatas, which was unusual for the time.7 Ysaye served as music director of

the Cincinnati Symphony Orchestra from 1918 until 1922, where he programmed mainly modern

French music. He then returned to Belgium, where he continued giving private lessons and the

Concerts Ysaÿe, and he died in 1931.8

Ysaye was known for his ability to create a singing tone quality on the instrument at any

dynamic level. His playing style was passionate and expressive, and he possessed unmatched

left-hand agility and clarity. He was able to build roundness and warmth of tone using only the

bow, and this gave him command of a wide variety of tone colors. Violinists who knew Ysaye

admired his artistry and technical mastery of the instrument, and composers who knew him were

eager to have him perform their works. Both as a composer and violinist, Ysaye modernized the

Belgian violin school from a tradition known for its elegance and charm to one of serious

musicianship and innovation. Ysaye’s compositions employ double and multiple stops

extensively to create unusual harmonies previously unseen in polyphonic writing for the violin.

Joseph Szigeti was quoted saying, “He (Ysaye) was well aware of the importance of his intensely

individual double-stop, chord and ‘across-the-strings sweep’ techniques in the history of violin

5
Michel Stockhem, “Ysaÿe, Eugène(-Auguste),” in Grove Music Online, https://doi-
org.proxy.library.umkc.edu/10.1093/gmo/9781561592630.article.30732.
6
Ibid., 128.
7
Ysaye, Ysaye, by his son Antoine, 548.
8
Stockhem
playing . . . I felt that these sonatas (Solo Sonatas, Op. 27) were more to Ysaye than yet another

work would be to a composer whose prime function was creating. They were, perhaps, a

subconscious attempt on his part to perpetuate his own elusive playing style.”9

George Enescu (1881-1955)

Romanian composer, violinist, pianist, and conductor George Enescu was a child

prodigy. Before beginning his formal studies at the Vienna Conservatory at the age of seven, the

young Enescu studied violin with a Gypsy violinist.10 He developed a deep and lingering

fascination with the folk music of his home country, and many of his compositions are heavily

influenced by this style. After completing his studies at the Vienna Conservatory in 1894, Enescu

moved to Paris to continue his studies at the Paris Conservatoire. There he studied composition

with Jules Massenet and Gabriel Fauré and studied violin with Belgian violinist Martin Pierre

Marsick.11 Although he was exceptionally talented, Enescu found practicing violin to be tedious

and a waste of time, and he preferred composing and conducting. He nearly quit violin after

failing to win the conservatory’s first prize in 1898, but Saint-Saëns encouraged him to try again;

Enescu won the first prize the next year.12 Enescu led a successful career as a violinist, and he

was well-known throughout Europe and the United States. His first American tour took place in

1923, when he appeared as violinist, composer, and conductor with the Philadelphia Orchestra;

he made fourteen visits to the United States between 1923 and 1946, and he played a farewell

9
Bertram Greenspan, “The Six Sonatas for Unaccompanied Violin and Musical Legacy of Eugene Ysaye”
(DMA diss., Indiana University, 1969), 59.
10
Boris Schwarz, Great Masters of the Violin: From Corelli and Vivaldi to Stern, Zukerman and Perlman (New York:
Simon and Schuster, 1983), 360.
11
Noel Malcolm, “Enescu, George [Enesco, Georges],” in Grove Music Online, https://doi-
org.proxy.library.umkc.edu/10.1093/gmo/9781561592630.article.08793.
12
Schwarz, 361.
concert in New York in 1950.13 Enescu lived in Paris in poor health for the final years of his life,

and he died in 1955.14

As a violinist, Enescu was known for his unconventional technique and interpretation.15

His fellow student Carl Flesch remembered him as a “highly attractive combination of gypsy

daredevilry and cultivated artistry, based on an extraordinary talent for the instrument.”16 Yehudi

Menuhin described his playing by saying, “He had the most expressively varied vibrato and the

most wonderful trills of any violinist I have ever known. Depending on the speed and lightness

of a trill, his trilling finger struck the fingerboard higher than the actual note, thus keeping in

tune although the light, fast motion of the finger did not push the string to its full depth on the

fingerboard.”17 Today, Enescu is considered by many to be Romania’s most important

musician.18

Quarter-Tones

A quarter-tone is an interval half the size of a semitone. While quarter-tones already

existed as part of ancient Greek music theory and medieval plainsong, they were seldom used

outside of these contexts before Heinrich Richter published his 1823 treatise, in which he

proposed the quarter-tone scale. 19 Composers became increasingly interested in quarter-tones

throughout the 19th and 20th century.

Other 20th Century Quarter-Tone Composers

13
Schwarz, 361-362.
14
Ibid., 363.
15
Ibid., 363.
16
Ibid., 361.
17
Ibid., 363.
18
Malcolm
19
Julian Rushton, “Quarter-tone,” in Grove Music Online, https://doi-
org.proxy.library.umkc.edu/10.1093/gmo/9781561592630.article.22645.
 Prior to the composition of Ysaÿe and Enescu’s sonatas, a number of composers

throughout Europe were composing works containing quarter-tones. The true origins of quarter-

tone music are unclear. French composer Fromental Halévy’s 1849 cantata Prométhée enchaîné

is considered to be the first mainstream western orchestral composition to employ quarter-

tones.20 German composer Richard Stein’s Zwei Konzertstucke, op. 26 for cello and piano are

reputed to be the first published quarter-tone music.21 20th century Czech composer Alois Hába is

said to have originated the use of quarter- and sixth-tones in Western art music. Hába

commissioned the construction of three different quarter-tone pianos, a quarter-tone and a sixth-

tone harmonium, and a quarter-tone clarinet, trumpet, and guitar, to make it possible for his

works to be performed. His 1917 Suite for string orchestra is his first composition to use quarter-

tones, and he also composed several fantasies for quarter-tone piano, string quartets “in quarter-

tone system”, and suites for quarter-tone piano.22

In the United States, Ernest Bloch and Charles Ives were also writing quarter-tone music,

but neither completed their first work containing quarter-tones prior to 1923, when Ysaÿe wrote

his Sonata No. 3 in D minor, op. 27, “Ballade”. Bloch’s Piano Quintet No. 1 (1923) contains

quarter-tones in the first and third movements.23 Ives completed his Three Quarter-Tone Pieces

for Piano in 1924. His Symphony No. 4 was also most likely completed in 1924, and its second

movement contains quarter-tones; however, this piece was not premiered until 1965.24

Possible Sources of Inspiration for Ysaÿe and Enescu’s Quarter-Tones

20
Hugh Macdonald, “Halévy, (Jacques-François-)Fromental(-Elie) [Fromentin(-Elias)],” in Grove Music Online,
https://doi-org.proxy.library.umkc.edu/10.1093/gmo/9781561592630.article.12213.
21
Matthias Schmidt, “Stein, Richard Heinrich,” in Grove Music Online, https://doi-
org.proxy.library.umkc.edu/10.1093/gmo/9781561592630.article.26636.
22
Jiří Vysloužil, “Hába, Alois,” in Grove Music Online, https://doi-
org.proxy.library.umkc.edu/10.1093/gmo/9781561592630.article.12113.
23
David Z. Kushner, “Bloch, Ernest (USA),” in Grove Music Online, https://doi-
org.proxy.library.umkc.edu/10.1093/gmo/9781561592630.article.A2257441.
24
J. Peter Burkholder, James B. Sinclair, and Gayle Sherwood Magee, “Ives, Charles (Edward),” in Grove Music
Online, https://doi-org.proxy.library.umkc.edu/10.1093/gmo/9781561592630.article.A2257441.
 It is plausible that Vienna and the Vienna Conservatory may have hosted the beginnings

of the rise in popularity of quarter-tone music. Alois Hába wrote his first quarter-tone

composition, Suite for string orchestra, in 1917 while living in Vienna.25 Polish composer of

quarter-tone music Karol Szymanowski spent much of 1911 and 1912 in Vienna and composed

his first quarter-tone piece in 1915.26 The Second Viennese School, whose members were Arnold

Schoenberg, Alban Berg, and Anton Webern, are all famed composers of quarter-tone music;

however, quarter-tone music was not prominent in Vienna until after Ysaye and Enescu left.27

Alban Berg’s Chamber Concerto for violin, piano, and 13 winds was his first composition to

include quarter-tones, and this piece was not completed until 1925. It seems likely that Ysaye

and Enescu had little exposure to quarter-tone music for the violin prior to writing their sonatas.

In addition, Ysaye had been living in the United States for several years before composing his

Sonata No. 3, op. 27, and no well-known American composers wrote quarter-tone music prior to

Charles Ives’s Symphony No. 4 in 192428 and Ernest Bloch’s Piano Quintet No. 1 in 1923.29

Therefore, it seems likely that Ysaye and Enescu collaborated to develop their quarter-tone

techniques for the violin.

Sonata No. 3 in D minor, Op. 27, “Ballade”, by Eugene Ysaye

Ysaye wrote his Sonata No. 3 in D minor, op. 27, “Ballade”, in 1923 and dedicated it to the

Romanian composer and violinist George Enescu. Enescu studied with a Gypsy violinist during

his youth, and Ysaye’s Sonata No. 3 displays Gypsy-like rhapsodic and improvisational

qualities. Quarter-tones appear in the sonata, and it is likely that Ysaye and Enescu collaborated
25
Vysloužil
26
Jim Samson, “Szymanowski, Karol (Maciej),” in Grove Music Online. https://doi-
org.proxy.library.umkc.edu/10.1093/gmo/9781561592630.article.27328.
27
“Second Viennese School,” in Grove Music Online, https://doi-
org.proxy.library.umkc.edu/10.1093/gmo/9781561592630.article.53872.
28
Burkholder, Sinclair, and Magee
29
David Z. Kushner, “Bloch, Ernest (USA),” in Grove Music Online, https://doi-
org.proxy.library.umkc.edu/10.1093/gmo/9781561592630.article.A2257441.
to develop this new technique for violin playing. Enescu said, “For anyone who heard Ysaye

play, this sonata would come closest to showing his approach to the violin. It is titled “Ballade”,

and its single movement opens with an introduction in the style of a recitative which is typical

both of the way in which Ysaye would improvise and of the improvisatory quality he would

bring to the music of other composers, making it sound new and fresh at every performance. The

main movement shows the strong rhythmic impact of his playing, and the whole work is

characteristic of his beauty and grace, the ease with which he could encompass the fingerboard

and bring out inner voices.”30

Quarter-tones in Sonata No. 3 in D minor, Op. 27, “Ballade”, by Eugene Ysaye

Eugene Ysaye was well-known as a composer for his meticulously marked scores. His

Six Sonatas for Solo Violin, op. 27, contain a one-page guide to the symbols that appear

throughout the score. To denote quarter-tones, Ysaye invented a symbol of an “x” in a small

square, with a dot above or below the square to denote whether the pitch should be played one

quarter-tone higher or lower; this symbol has not been found in any other composer’s music.

Fig. 1, Ysaye’s Quarter-Tone Notation System31

Quarter-tones appear on three pitches in Ysaye’s sonata, and they are used to enhance the

chromatic motive that pervades the work as a whole. The first quarter-tone appears during the

slow introduction, on the fifth beat of the fifth measure of the section marked molto moderato

quasi lento.

30
Ginsburg, 531.
31
Eugene Ysaye, Six Sonates pour Violon Seul, Op. 27 (New York: G Schirmer, 1986), 4.
Fig. 2, First quarter-tone in Ysaye’s Sonata No. 3 in D minor, op. 27, “Ballade”32

This quarter-tone appears during a series of alternating sixths that construct a chromatic ascent

from F-natural to A-natural. The symbol indicates that the G-sharp and E-natural sixth be played

a quarter-tone higher, creating an additional interval between G-sharp and A-natural in this

chromatic ascent.

The second and third quarter-tones in Ysaye’s sonata appear during what can be

considered the sonata’s development section.

Fig. 3, Second quarter-tone in Ysaye’s Sonata No. 3 in D minor, op. 27, “Ballade”33

These quarter-tones appear during a series of triplets comprised of an ascending third and

descending fourth of some kind. The first and last notes of these triplets form ascending and

descending chromatic lines. The second quarter-tone indicates that the E-natural should be

played one quarter-tone lower, creating an additional interval between E-natural and E-flat in this

chromatic descent. Similarly, the third quarter-tone (not pictured) indicates that a B-natural

should be lowered by one quarter-tone, creating an additional interval between B-natural and B-

flat in this chromatic descent.

Violin Sonata No. 3 in A minor, Op. 25, by George Enescu

Enescu wrote his Sonata No. 3 for Violin and Piano in 1926. The premiere took place in

1927, and Enescu played the violin part with the composer and pianist Nicolae Caravia. The

32
Eugene Ysaye, Six Sonates pour Violon Seul, Op. 27, 24.
33
Ibid., 26.
sonata was well-received both in Romania and in Paris, and it remains one of his most frequently

performed works.34

Enescu subtitled his sonata, ”dans le caractère populaire roumain”, or “in Romanian folk

character”. The violin and piano imitate the lautari, Romanian bands that featured instruments

like the cimbalom, kobza, and violin. The violin acts as a gypsy fiddle, and the piano imitates the

cimbalom, a type of hammered dulcimer.35 The score includes detailed instructions to indicate

precisely when and how to execute vibrato, rubato, and various extended left-hand and bow

techniques on the violin. These instructions result in a work that sounds fully improvised and

authentic to the Romanian folk tradition.36 The three-movement work takes the listener on a

rhapsodic journey, with writing that resembles a work of folklore. The first movement is subdued

and pensive, and the violin and piano create an exotic atmosphere through heavily ornamented

oriental scales. The celestial music of the first movement transforms into dreamlike nostalgia in

the second movement, which opens and closes with harmonics played by the violin and contains

sweeping chromatic gestures in the contrasting middle section. The third movement is a rustic

and fiery dance, and the work concludes with dramatic percussive effects from both instruments.

Quarter-Tones in Violin Sonata No. 3 in A minor, Op. 25, by George Enescu

Similarly to Ysaye, George Enescu’s compositions boasted meticulously marked scores

with special symbols used to denote performance directions unique to his compositions. The

score to his Violin Sonata No. 3 in A minor, Op. 25, contains a key to the symbols that appear

throughout the work. Enescu’s quarter-tone notation system more closely resembles what is

commonly used today.

34
Midori, “George Enescu: Sonata No. 3 in A minor, “Dans le caractere populaire roumain” Program Notes,”
Gotomidori.com, http://www.gotomidori.com/program-notes-2/.
35
Bentoiu, 286.
36
Midori
Fig. 4, Enescu’s Quarter-Tone Notation System37

Quarter-tones appear on twenty-four pitches throughout Enescu’s sonata, and they are

employed to enhance a chromatic line, to create a special musical color, or to emphasize the note

that follows. The first and second movements each contain three quarter-tones, and the third

movement contains eighteen quarter-tones.

Fig. 5, Quarter-Tones #4 and #5 in Enescu’s Violin Sonata No. 3 in A minor, op. 2538

The fourth and fifth quarter-tones in Enescu’s sonata appear near the end of the second

movement. These four pitches form a descending chromatic gesture from the pitch one quarter-

tone above C-natural to a B-natural. The notation indicates that the violinist should play glissandi

between the pitches, suggesting that Enescu wanted the quarter-tones to be emphasized.

Fig. 6, Quarter-Tones #13-18 in Enescu’s Violin Sonata No. 3 in A minor, op. 2539

The thirteenth quarter-tone in Enescu’s sonata appears approximately one minute into the third

movement, and it indicates that the violinist should play the pitch that is one quarter-tone higher

than a C-natural. This quarter-tone is used to create an unusual musical color, evidenced by

Enescu’s choice to sustain this pitch for eight and a half beats. Quarter-tones #14-18 once again

enhance a chromatic gesture.

37
Georges Enesco, 3e Sonate pour Piano et Violon dans le caractère populaire roumain, Op. 25 (Paris: Enoch & Cie,
1933), 2.
38
Ibid., 10.
39
Ibid., 11.
Fig. 7, Quarter-Tone #24 in Enescu’s Violin Sonata No. 3 in A minor, op. 2540

The final quarter-tone in Enescu’s sonata in the fourth-to-last measure of the piece. This quarter-

tone functions as a grace note that anticipates the forte-fortissimo A-natural, and it appears

immediately after a breath mark. It seems Enescu wanted to emphasize this A-natural, as it is the

first of a series of repeated notes that lead to the harmonic gesture that concludes the piece.

Concluding Remarks and Areas for Further Research

A careful analysis of the quarter-tones in Eugene Ysaye’s Sonata No. 3 in D minor, op.

27, “Ballade” and George Enescu’s Violin Sonata No. 3 in A minor, op. 25 “dans le caractere

populaire roumain” shows that the two composers intended their quarter-tones to function

similarly. The three quarter-tones that appear in Ysaye’s sonata are used to enhance chromatic

gestures, and over half of the quarter-tones in Enescu’s sonata have the same function. Perhaps

Enescu was inspired to include quarter-tones in his compositions after receiving the sonata

dedicated to him by Ysaye. If that is the case, it is understandable that Enescu’s sonata would

contain more quarter-tones and more functions for these quarter-tones, given that he completed

his sonata three years after Ysaye completed his “Ballade”.

It seems likely that the two composers discussed this compositional technique while

Ysaye was writing his “Ballade”; however, further research is needed to provide sufficient

evidence to fully support this claim. The area where information is most lacking is in regards to

Ysaye and Enescu’s personal and professional relationship. Knowing more about the nature of

their relationship would provide meaningful insight to their possible collaboration. Further

research should examine the letters and photographs housed in the Eugene Ysaye Collection in

the Music Division of the Royal Library of Belgium.

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Ibid., 15.
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