Ysaÿe – Six Sonatas for Solo Violin

with world première of Étude-Poème

Eugène Ysaÿe (1858–1931)
Six Sonatas for Solo Violin, Op. 27
Étude-Poème in G minor ‘Sérénade’ (with Mario Häring, piano)
The Strad Recommended Recording March 2020
Opus Klassik 2020 nomination

Noé: ‘Eugène Ysaÿe’s six sonatas for solo violin have accompanied me in my musical education since I was 14 years old. Born in Brussels and having acquired my basic instrumental technique in direct succession from Ysaÿe, via Carlo Van Neste and Jacques Dupriez, this link seems to increase in symbolic significance for me the more I travel around the world to share my music.

Ysaÿe left us a priceless treasure in the form of his works for solo violin, which are often undervalued because of their use as a measure of technical accomplishment in the great international competitions.

As I myself have participated in this ‘circus’, I am delighted to have the opportunity now to present a more personal approach to this set of works, free of any pressure to conform.

For this recording, I was allowed to use a Sartory bow that was a gift to Eugène Ysaÿe from Elisabeth, Queen of Belgium, in 1929. The recording also makes use of the ‘Ysaÿe’ E-string (called ‘chanterelle’) that has been reproduced on the basis of the spools found in the Corelli factories in France. The Royal Library of Belgium made it possible to select the Étude Poème op. 9 to accompany the six sonatas; a world première recording.’

– From the booklet notes

(Interview auf Deutsch) Angelina Reusch spricht mit Noé über Eugène Ysaÿe

‘The G minor is beautifully played: after the first movement the Fugato almost steals in, developing with naturalness; there is chiaroscuro in the Allegretto; the finale is forceful but not stressful. And so it goes on, through the other sonatas.’

The Strad

‘Inui plays exceptionally cool and accurate, gives every note sound and expressiveness and at the same time keeps an eye on the storyline of the complicated scores. It is a feast to hear how exact the double stops are and how he combines movement and tranquility with great force and gentle intuition.’

Luister 10/10

‘Inui convinces by an overall mastery which places it among the most important versions among modern references.’

Crescendo Magazine

‘Noé Inui not only “courts” these beautiful pieces, he makes a deep bow to them, at the same time creating excitement and deeply felt emotion. An interpretation that reaches far beyond the technique. A seamless interplay between spirit and matter.’

Opus Klassiek