Ysaye 2

THE LEGACY OF EUGNE YSAE: TRANSMITTED, ADAPTED, AND REINTERPRETED
Author(s): Ray Iwazumi

Source: Notes, Second Series, Vol. 67, No. 1 (September 2010), pp. 68-88
Published by: Music Library Association
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THE LEGACY OF EUGNE YSAYE:

TRANSMITTED, ADAPTED, AND
REINTERPRETED
By Ray Iwazumi
The study of interpretation, in all varying depths of detail, is of course
paramount for any performing artist. Nonetheless, a methodical and

research-based study of the extremely fine artistic and technical details
of interpretation is rarely isolated as a separate field of study. This may
be partly due to this area of study not really lending itself easily to text,
pictorial, or even video explanations. Proof of this lies in the dichotomy
between the existence of many written, photographed, and video "manuals" of instruction that cater to all varying levels, and the yet perpetual
need for tailored one-on-one instruction in the journey to attaining instrumental and artistic proficiency.
As we know, music exists in the temporal domain, and in itself has no
physical form. Yet, by advances in codes and symbols (i.e., musical notation), specialized terminology (i.e., written indications), and sound and
video technology (i.e., recorded sound and video), we try to capture the
abstract essence and nuances of music. And it can be said that such ef-
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
The Legacy of Eugne Ysaye 69

the performer intent on learning how other artists have grappled with the
interpretation of the same or similar work, there are some inevitable questions. Some of these questions often may not be voiced, perhaps because
they are more of a philosophical than practical nature. For example:
How can one go about studying the minute inner aesthetic and artistic details of a specific work?
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-
uments that do not necessarily reveal either the indescribable human

feelings inside the artist's heart, or the muscular reactions and paths of
neurons in the interpreter's brain. Live performance might indeed convey to us "something more," especially if the artist is attuned to communing in the moment. And acutely attuned observers and listeners can
grasp many fine intangible details from a live performance. But a sure
analysis of a recording or live performance in search of an interpreter's
precise inner intention, methods, and psyche remains an elusive feat.
Indeed, if such a feat were possible, the word "secret" would have to be
expelled from our dictionaries!
Thus, for performing artists wishing to learn and absorb from a certain approach to interpretation and technique, private lessons and apprenticeships have been, and remain, the most efficient means in trying
to grasp the essence of a tradition and culture. Spending time with masters and fellow colleagues, along with sensitivity to contemporary paradigms and the human experience, are essential ingredients of refined
and informed art. And even for iconoclasts who break away from tradition, learning from tradition has always been a key to enriching and developing new ideas.
Given that the bulk of classical music is connected to a sophisticated
notation-based tradition, there is one avenue of research that can possibly inform and connect us to the legacy of a past master-interpreter, and
allow such studies with remarkable precision: the marked-up score.
70
Notes,
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2010
Ironically, to study a marked-up score, a profound familiarity with the in-
strument and its works is often a prerequisite, since learning from a

marked-up score requires being able to make intuitive comparisons
against some preexisting understanding or approach to the given work.
Therefore, the process may be far from simple or quick. The study of
marked-up scores, however, can reward the researcher with insights and
ideas, including some that may be elusive precisely because of influences
like contemporary paradigms and fashionable trends.
Personal Experiences with Marked-up Scores
With the privilege of having both Dorothy DeLay (1917-2002) and

Igor Oistrakh (b. 1931) as mentors, my violin studies have been guided
by two very different approaches to using marked-up scores. With

Miss DeLay, an emphasis was placed on identifying and tweaking the various elements of basic technique needed for achieving a given interpretation. Combined with this was research and awareness of various works
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
scores, embedded in the many markings for fingerings and bowings,

were ideas that combined brilliant intuition with practical solutions.
While never forced to necessarily adhere to his interpretations, I would
prepare from Mr. Oistrakh's scores for lessons at the Koninklijk Conservatorium Brussels. With some adjustments as needed (partly because my
small hands were nowhere near the shape and size of his) , he would guide
my absorption of his markings. Most of the time, I believe I was able to
grasp the ideas presented by his markings accurately on my own, and this
was probably in no small part due to the attitudes to study I received from
Miss DeLay. However, there were still times when I misinterpreted the
artistic meaning of a certain bowing, fingering, or articulation - and sometimes grossly so. Thankfully, Mr. Oistrakh was there to correct my misunderstandings. With experience and greater familiarity with Mr. Oistrakh's
style, the frequency with which I misinterpreted his markings decreased.
The study of a marked-up score is incredibly rewarding. In my own experience, however, as rich as it is, it still cannot be the exclusive means of

absorbing a great artist's aesthetics, thoughts, and technical preferences.
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
students; personal cadenzas; and the adaptations and alterations made

by students and disciples.
The Louis Persinger and Viola Mitchell Collections
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
Persinger (1887-1966) and Viola Mitchell (1911-2002). I have had the

privilege of sorting and cataloging these collections for the Juilliard
School. On the surface, the majority of the materials in these collections

might seem to be a lesser treasure compared to the obviously precious
primary sources: the Ysaye manuscripts. In reality, especially as housed in
one repository, for the particular study of this important playing tradition that reached its peak with Ysaye, they are arguably of equal, if not
greater, value.
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.
72
Notes,
September
2010
Louis Persinger
Louis Persinger, an outstanding violinist and pianist, was especially

influential as a violin pedagogue. His contributions to the music world
are most notable in his many outstanding pupils, including Yehudi

Menuhin, Ruggiero Ricci, Isaac Stern, Dorothy DeLay, Sylvia Rosenberg,
Beri Senofsky, and other excellent violinists and teachers. A press pamphlet, found in the Louis Persinger Collection bequeathed to the Juilliard
School (where he had taught from 1930 until his death), attests to his instrumental and artistic attainments early in his career as a performer:
Louis Persinger's early musical studies were begun in the inspiring atmosphere of Leipzig, where he studied violin (with Hans Becker) , piano, theory,
and conducting. The young artist's extraordinary promise was recognized at
that time by no less a person than Arthur Nikisch, who wrote of him as "the
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.
Persinger's most lasting contributions to the violin world are as a

teacher. In his book, Why The Violin?4 (a short volume in which Persinger
outlines, with generous doses of humor, many common fallacies and

questions regarding violin playing) , he gives us a glimpse of his sharp
mind as he openly poses the paradox between pedagogic instruction and
the wide range of ever-changing valid ideas and opinions. Persinger's

philosophical yet practical knowledge, and rational yet humorous character that is so evident in Why The Violin?, is also amply reflected in his
collection.
Viola Mitchell
Unfortunately, little of Viola Mitchell's career has been documented.

According to David Ewen in Living Musicians, Viola Mitchell "was born
in Pittsburgh, Pennsylvania, on July 11, 191 1,"5 and, "[i]n her fourteenth
3. "Louis Persinger, violinist," pamphlet, The Juilliard School, Library 8c Archives, Persinger Col-
lection, box 4, folder 1.
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).

year she became the youngest (and favorite) pupil of Eugne Ysaye in
Brussels. She remained with Ysaye for three years."6 This means that, according to Ewen, Mitchell studied with Ysaye during the years 1924-25
and 1927-28. The dates and written comments marked on many of her
scores corroborate this fact. For example, there are several scores that
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
are several photographs of Mitchell with Ysaye, although Mitchell is

often not documented as being in the photograph. One in particular
that is notable is a photo of Ysaye's summer class, dated 1926, where
Ysaye is in the center, with his hands on Viola Mitchell's shoulders in
front. To Mitchell's right is Milstein, and right beside Ysaye, standing behind and between Mitchell and Milstein, is Jeannette Dincin. This partic-
ular photograph is preserved at the Bibliothque royale de Belgique in
Brussels.9
Meanwhile, Mitchell's promotional flyer, found in the Viola Mitchell

Collection at the Juilliard School, gives these biographical details:
A native of Pittsburgh, and a pupil of Margaret Home, Viola Mitchell's gifts
were apparent at an early age. She appeared as soloist with major symphony
orchestras in America when she was nine years old.
Later she went abroad for further study under Eugene Ysaye who devoted
much of his time to her and guided her career until 1931. The gifted young
violinist appeared with the Amsterdam Concertgebouw, Paris Symphony,
Budapest Symphony, London Symphony, Rome Augusteo, Marseille,
Bordeaux, Brussels, Antwerp, and many other European orchestras.
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,
Canada and Europe in recital, winning glowing press opinions.10
6. David Ewen, Living Musicians (New York: H. W. Wilson, 1940), 249-50.

7. For example: J. S. Bach, Fifteen Two-Part Inventions for Piano, edited by Carl Czerny (New York: Carl
Fischer, 1903), signed in 1924, The Juilliard School, Library & Archives, Mitchell Collection, box 8,
folder 4. Edward Elgar, Concerto for Violin and Orchestra, op. 61 (London: Novello, 1910), signed in 1928,
Mitchell Collection, box 3, folder 14.
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,
Mus. Ms. 161/96.
10. Viola Mitchell testimonial flyer, Mitchell Collection, box 6, folder 4.
74
Notes,
September
2010
Here, we have a disagreement between the information found in this

press release and Ewen's biographical sketch regarding the length of
Mitchell's studies with Ysaye. The truth may lie somewhere in-between.
Ysaye was suffering from diabetes in his final days leading up to his death
on 12 May 1931. It would be unlikely that even Viola Mitchell, who was
known to be one of Ysaye's favorite students, would have been studying
regularly with him in 1931 when Ysaye was physically weak and yet intensely working on finishing his final opus, the opera, Pier li Houye
(Peter the Miner; an opera sung in Ysaye's native Walloon language).11

We should also note that Ysaye taught in Paris as well, and it is plausible
that the few scores in Mitchell's collection that date from 1930 in Paris
and Berlin would contain some examples of what may possibly be Ysaye's
handwritten markings.12 Meanwhile, in tracing places and dates, there
is a copy of Szymanowski's Chanson polonaise (transcribed by Paul

Kochnski) dated in Paris in 1932, 13 and Mitchell's scores by Gian
Francesco Malipiero, whose works she championed, are dated in Asolo,
Italy, in various months of 1932 and 1933. There is also a score of the
Sarabande and Tambourin from Leclair's Sonata no. 3, dated "Viola
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
Collection, box 16, folder 8.

15. "Other Notes Here, Afield," New York Times, 28 October 1934.
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.
18. Today on the Radio, New York Times, lOJanuary 1939.
1930s. The 1936 London date may possibly be in connection to an

England or European tour, though no record that verifies such a tour
can be found in her collection.
The Approximate Size of the Two Collections
Performing artists typically maintain extensive working libraries, and

each collection under discussion in this article, represents a large - if not
reasonably complete - sum of Persinger's and Mitchell's respective holdings, and each contains a range and variety of printed scores and manuscript items. Each collection occupies a different amount of space: the
Louis Persinger Collection, approximately five linear feet, and the Viola
Mitchell Collection, approximately seven linear feet. As such, it would
be impossible to list, or meaningfully describe, the entire catalog of either
collection here. Rather, I will provide an overview of these collections,
with some thoughts as to how the collections could be useful to the inquisitive performer-scholar.
Notable Materials in the Louis Persinger Collection
In addition to a wide performing repertory, the Persinger Collection

contains items that reflect his many years of research, writing, and teach-
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
A Major, op. 13, inscribed by Faur in 1908.19 The part is marked as

would be in preparation for a concert, and the first movement in particular is marked up in both the violin and piano score, suggesting the possibility that the first movement was especially prepared either for a per-
formance under Faur's supervision, or simply in his presence. There

are other scores of this significance. A copy of Ernest Bloch's Baal Shem,
inscribed by the composer, has a note on the cover of "Nigun" (the second piece in Baal Shew): "Played for the first time in San Francisco, at
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
director at the San Francisco Conservatory of Music at the same time

that Persinger was associated with the Chamber Music Society of San
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.
76
Notes,
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2010
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-
forts from a variety of periods. Here may be found a "Song without

Words" that he composed in 1907 in Brussels.23 Other pieces include a
humorous moto perpetuo work titled Metronomic Nightmare, that has passages taken from works ranging from Kreutzer to Wagner (with remarks
acknowledging this). This particular piece carries a likewise joking dedication "To the Juilliard Cafeteria," and the composition dates, "Started
on May 5th 1945. Continued and Finished in late December, 1958.
N.Y.C."24 Persinger also worked on transcriptions, including several of

works by Haydn, Dvorak, Tchaikovsky, Dlibes, Weingartner, and others.
Most notable is a transcription of Mompou's Can i dansa, no. 1, which
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,
box 15, folder 1.
zz. trno Donnanyi, serenade jor violin, viola, ana violoncello, op. lu { Vienna: Luawig uoDiinger, iyu^;,
Persinger Collection, box 16, folder 1.

z. Louis rersinger, 5ong witnout words, manuscript, iyu/, rersinger collection, new dox ii,
folder 50.
24. Louis Persinger, Metronomic Nightmare (Perpetual Motion), manuscript, 1945 & 1958,

is preserved in various stages of the arrangement process, clearly outlined through several manuscripts.25
Persinger also had some extensive collections in focused areas. He col-
lected a significant number of Fritz Kreisler arrangements, including

repertoire that is seldom heard today, such as Kreisler's arrangement of
Frederic Logan's Pale Moon.26 In addition, he also collected cadenzas
for various concertos. Included, among many others, are rarities such
as Ottokar Novcek's cadenzas for the Beethoven Violin Concerto,
and Manuel Quiroga's cadenzas to the Mozart Violin Concerto no. 3 in

GMajor,K.216.27
The six Sonatas and Partitas for solo violin of J. S. Bach hold a special
place in Persinger's collection. Several editions of the work - some in

multiple copies - were collected by him. Contained here are several of
the well-known editions, such as those edited by Carl Flesch, Joseph
Joachim and Andreas Moser, and the version with Robert Schumann's
accompaniment edited by Joseph Hellmesberger. Some are relatively unusual, such as the editions by Hubert Lonard, Jan Hambourg, Arnold
Ros, and Jen Hubay.28 Notable is the aforementioned edition by Jan
Hambourg, which carries an inscription celebrating a friendship formed
during their mutual years studying with Ysaye, and also includes notes
concerning ideas about trills in Bach, all of which is written, most likely,
in Hambourg's hand.
The pedagogic side of Persinger is also evident in the collection.
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.
78
Notes,
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2010
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-
lar copy of Tchaikovsky's Violin Concerto has "notes" attributed to

"Piastro" (most likely Michel Piastro), "Parlow" (most likely Kathleen
Parlow), and "Thomson" (most likely Csar Thomson).33
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,

31. Eugne Ysaye, "Passage des cordes," manuscript written by Louis Persinger, Persinger Collection,
new box 11, folder 4. Csar Thomson, "Exercises Thomson pour le violon," manuscript probably written
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.),
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.
Notable Materials in the Viola Mitchell Collection
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
photograph of him and his students).34 This piece is dedicated to
Mitchell, and documents how favorably Ysaye thought of his student.

The glowing inscription on the published score of this piece in Ysaye's
hand is dated "Bruxelles - 1927." However, the copyright date printed
on this score, and the date written after Viola Mitchell's signature on the
cover, is 1928. 35 However, on the inside cover of the score (also with
Mitchell's signature), the last digit in 1928 seems to be overwritten with a
"7" to suggest 1927. The variety of dates noted in this score remains a
topic for further research.
There are other Ysaye scores in Mitchell's library. Of particular note is

Mitchell's limited-edition copy of the Six Sonatas for solo violin, op. 27. 36
This score has a variety of markings, many of which are most likely in
Ysaye's hand - but there are markings in a different hand as well. Whatever the identity of the second annotator, the flexibility demonstrated in
the suggested bowings and fingerings, and even revisions of some passages, gives us a glimpse of the aesthetic that was part of Ysaye's world.
34. Nicolo Pasquali, "Sonate en la mineur pour violon solo et basse," harmonized by Eugne Ysaye,
manuscript, 1926, Mitchell Collection, box 1, folder 1.
35. Nicolo Pasquali, Sonate en la mineur pour violon solo et basse, harmonise d apres la basse chiffre de
l'auteur, harmonized by Eugne Ysaye (Brussels: Editions Ysaye, 1928), Mitchell Collection, box 1, folders
2 and 3.
3b. Lugene Ysaye, ix onates pour violon seul, op. J (Brussels: ditions Ysaye, iyz4), Mitcnell
80
Notes,
September
2010
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
There are also popular shorter works, including, for example,

Wieniawski's polonaises.40 Interesting to note is repertory such as
Prokofiev's Violin Concerto in D major, op. 19, dated with Mitchell's
name: "Viola Blanche Mitchell Le Zoute s. Mer. Oct. 1927."41 This score
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
attracted his attention.
Many of the scores in Mitchell's collection have the name "Margaret

Home" written on them - the name of her teacher in Pittsburgh before
she went to Europe for further study. The significant number of scores
bearing the name of Margaret Home (or M. W. Home), is probably a

sign of the great care she received from Home in her days in Pittsburgh,
and possibly afterwards as well. A full Pittsburgh address for Margaret
Home also appears on one of her copies of the Kreutzer etudes,42 while
37. Eugne Ysaye, Paraphrase (Mendelssohn), op. 30 (Brussels: Editions Ysaye, 1927), Mitchell Collection,
box 11, folder 13.
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.
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-
pear as locations for Home. The appearance of Home's name on several

chamber music scores suggests that Mitchell and Home may have played
ensemble music together as well. A more detailed investigation of this
teacher-student relationship is worthy of future research, which may un-
cover important aspects of classical music and violin teaching in
Pittsburgh at the turn of the twentieth century.
Mitchell's scores also reveal several of her acquaintances. For example,

she has manuscripts of exercises dedicated to her from Philip Newman,
a violinist with a close tie to Ysaye.45 A copy of Ysaye's Exercises et gammes
is inscribed by both Antoine Ysaye (Eugne Ysaye's son), and Joseph

Szigeti.46 A playful inscription by Jacques Thibaud, praising Mitchell as
one "who plays like an angel!" is found on a copy of Ysaye's Fantaisie,
op. 32, that is dated by Mitchell as "Le Zoute 1927."47 The American violinist, Albert Spalding, also a fine writer, inscribes his arrangement of
Corelli's Sonata in A Major, op. 5, no. 6, with the following words:
43. Johannes Brahms, Sonata for Violin and Piano in A major, op. 100 (Berlin: N. Simrock, [1887]),
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.
82
Notes,
September
2010
There was a young lady named Viola,
The antithesis of a Pianola!
Whatever she played

Was instantly made
As popular as Coca-Cola!
In Bocca al Lupo and all that sort of stuff from Albert Spalding.48
This particular score is dated "The Hague 1930."
The Italian composer Gian Francesco Malipiero (1882-1973) figures
prominently in Mitchell's collection. In particular, his 1932 Concerto for

Violin and Orchestra suggests a close communication between Mitchell
and Malipiero. Mitchell's collection holds, in addition to a published full
score and solo violin part with piano reduction, a full set of orchestral
parts, and a facsimile of the manuscript for the violin and piano reduction (see fig. 3). 49
There is also a manuscript solo violin part, possibly in Viola Mitchell's

hand, that contains markings that would have been made in preparation
for performance.50 Other Malipiero works in Mitchell's collection include the Variazioni senza tema, Canto nell'infinito, and Lamento d'Ariana del
signor Claudio Monteverdi.51
Similar to the contents of the Persinger Collection, works by Johann

Sebastian Bach are also well represented. Mitchell had collected multiple
editions of the same works. Indeed, several editions of the Six Sonatas
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,
possibly in the hand of Viola Mitchell, Mitchell Collection, box 7, folder 4.

51. Gian Francesco Malipeiro, Variazioni senza tema per pianoforte e orchestra, reduction for two pianos
(Milan: Ricordi, 1924), Mitchell Collection, box 7, folder 8. Variazioni senza tema per pianoforte e orchestra,
study score (Milan: Ricordi, 1925), Mitchell Collection, box 7, folder 9. Canto nell'infinito pour violon et
piano (Paris: Alphonse Leduc, 1925), Mitchell Collection, box 7, folder 10. Lamento d'Arianna del signor
Claudio Monteverdi (publisher unknown), Mitchell Collection, box 7, folder 11.
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.
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
Juilliard School Library.
In addition to the above, repertories that cover a wide range, from

baroque works to compositions written in Mitchell's time, are represented. There are the large-scale concertos and shorter works of virtuoso
and of light nature, as well as trios, quartets, and quintets of Beethoven,
Brahms, Schubert, and Schumann. Included in the collection are also

works that would be considered highly unusual today; for example,
Rudolf Mengelberg's Violin Concerto, op. 18, and Emanuel Mor's
Violin Concerto, op. 62.53

What Can Be Gleaned from These Materials?
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.
84
Notes,
September
2010
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.
Meanwhile, we should note similarities in the repertoire between

Persinger and Mitchell. Concertos and several shorter pieces by Henri
Vieuxtemps (1820-1881) are represented in both collections. Interestingly, Vieuxtemps was Ysaye 's most significant mentor, so the concentration of works by Vieuxtemps is especially understandable given Ysaye 's attachment to, and admiration for, his teacher. These scores also provide a
close link to Vieuxtemps himself. Vieuxtemps 's compositions are an important testament to the French and Belgian violin tradition, and their
inclusion in the repertoire and libraries of both Persinger and Mitchell
gives a clear indication as to how Ysaye viewed their importance. As for
the multiple editions of Bach, this pattern of collecting easily fits in with
the inquisitive and scholarly attitude that defines Persinger. Nonetheless,
it may seem a bit surprising for Mitchell to have also acquired multiple
editions of Bach, although it is in line with the earnest and serious attitude to her art that strongly permeates her collection. Noting that both
Persinger and Mitchell owned, for example, the edition with Schu-
mann's piano accompaniment as edited by Hellmesberger, it is possible

to hypothesize that the study of multiple Bach editions may have been at
Ysaye's suggestion. Another possibility, however, is that Persinger and
Mitchell may have wanted to look beyond Ysaye's approach to Bach,
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,
there probably would have been no need to acquire other editions. In

any case, the variety of Bach editions that Persinger and Mitchell held is
incredibly valuable.
For the researcher, marked-up scores can present a much deeper dimension of study compared to resources such as readily available, published performing editions. Performing editions, scores that usually fea-
ture (particularly for string players) the fingerings and bowings of a

renowned interpreter, are often concise, designed to minimize confu-

sion for the performer. By nature, the interpretations suggested in a performing edition are inflexible and intended, to some extent, to be accessible to as large an audience as possible (i.e., any musician technically capable of studying the given work) .
In comparison to performing editions, which may leave finer details

undefined, the informal comments and self-directed remarks found
in marked-up scores provide an added dimension. In the personal

marked-up score is the possibility of encountering esoteric customizations or secrets in fingering and bowing. Unlike a performing edition,
where the editor may choose to share a more generally acceptable and
understandable bowing and fingering, a personal marked-up score can
demonstrate idiosyncrasies that simply are not intended for the uninitiated. There is always the possibility that a performing edition created by
an artist may rightfully withhold a particularly clever fingering or bowing
in order to protect certain ingredients of an individual interpretation.
The marked-up score also holds fascinating dimensions of the mental
processes captured in revisions, use of multiple types of pen and pencil,
and erasures. In some cases, complete reworkings of interpretation are
marked-up in a separate copy of the same work. These sources can show
the development of a particular interpretation, its technical and artistic
challenges, and the solutions wrought by the artist searching for the best
way to realize a particular vision. Indeed, troublesome spots are bound
to have reworkings. Other times, different approaches to a passage are
written in at the same time, as a way to keep the performer's options
open. The peculiar nature of a marked-up score is that it often shows
traces of the journey and struggle of the interpreter, and this thought
process is in many ways a key to understanding the aesthetic and technical preferences and priorities of an artist.
Thus, to return to the questions posed in the first part of this article,
the marked-up score does provide an unparalleled means to study the

inner aesthetic and artistic details of a specific work. The informal comments and ways in which the fingerings and bowings are specified can indeed convey the inner intuitive and abstract thoughts, as well as physical
mechanics of an interpretation. By immersing one's self into the
marked-up scores of a given artist, it is possible to study and absorb, with

a high degree of precision, the intangible yet certain particulars of a specific artistic way of thinking.
In the case of having the comprehensive resources of two excellent

students of a master, a rare additional dimension of study becomes theoretically possible. With the working libraries of Persinger and Mitchell as
a frame of reference, the possibility exists that by way of a sort of triangu-
lation, one could roughly fathom where Ysaye's essence might be, and
where Persinger 's and Mitchell's individual adaptations take off.
86
Notes,
September
2010
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
are some notes of particular interest, with references to Csar Thomson

and Ostende (a city close to Ysaye's summer retreat). Also marked in the
score are interpretive indications attributed to Jacques Thibaud.
Meanwhile, in Mitchell's score of this same piece,55 dated "Bruxelles.

1927," the violin part has written in the upper left corner of the first page:
"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
exactness that replicates Ysaye's handwriting. Found also in Mitchell's

score is a separate piece of manuscript, probably in Mitchell's hand, detailing a particular outline for the artificial harmonics at the end of the second movement. On page 10 of the violin part (fig. 5), a manuscript nota-
tion in purple crayon, probably in Ysaye's hand, proposes an alternate

passage for the first measure of the fourth line of this page.
While Persinger and Mitchell studied with Ysaye at different times,
there are common elements to be found in both. It would be interesting
to compare fingerings, bowings, articulations, and tempos, with the dif-
ferences between the two being invaluable points of study. Mitchell's

scores of Ysaye's own works show that he was ready to adapt a work to
best suit the strengths of a particular student-performer. From this, we
may glean important lessons in interpretation, and at the same time, we
may learn about the particular technical and artistic strengths of
Persinger and Mitchell.

It is a rare privilege and opportunity to compare the study materials of
these two distinguished students of Ysaye. For the performer-scholar, the
Louis Persinger and Viola Mitchell collections at the Juilliard School

provide a remarkably clear insight into the aesthetic and mindset of
Persinger, Mitchell, and of course, Eugne Ysaye, the master violinist
who represents for us today the undisputed pinnacle of violin playing
and musical art at the turn of the twentieth century.
54. Camille Saint-Sans, 3e Concerto pour violon et orchestre, op. 61 (Paris: A. Durand & Fils, n.d.),
55. Ibid., Mitchell Collection, box 5, folder 5.
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.
88
Notes,
September
2010
ABSTRACT
The study of interpretation is paramount for any performing artist.
Given that the bulk of classical music is connected to a sophisticated

notation-based tradition, the marked-up score can possibly inform and
connect us, with remarkable precision, to the legacy of a past masterinterpreter. Manuscripts with performer's markings, the personal performing scores of the artist, the teaching materials the artist used in
guiding students, personal cadenzas, and the adaptations and alterations
made by students and disciples, are all materials that can show traces of
the journey and struggle of the interpreter. The thought process that
may be revealed from these materials can help us understand the aesthetic and technical preferences and priorities of an artist. In connection
with Eugne Ysaye, 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 thejuilliard School: the materials that belonged to two of his favored,
and successful, American students, Louis Persinger and Viola Mitchell.
For the performer-scholar, the Louis Persinger Collection and Viola

Mitchell Collection provide a remarkably clear view into the aesthetic
and mindset of Persinger, Mitchell, and Eugne Ysaye.

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THE LEGACY OF EUGNE YSAE: TRANSMITTED, ADAPTED, AND REINTERPRETED

Author(s): Ray Iwazumi

THE LEGACY OF EUGNE YSAYE:

The study of interpretation, in all varying depths of detail, is of course

paramount for any performing artist. Nonetheless, a methodical and

The Legacy of Eugne Ysaye 69

uments that do not necessarily reveal either the indescribable human

allow such studies with remarkable precision: the marked-up score.

Ironically, to study a marked-up score, a profound familiarity with the in-

strument and its works is often a prerequisite, since learning from a

With the privilege of having both Dorothy DeLay (1917-2002) and

by two very different approaches to using marked-up scores. With

scores, embedded in the many markings for fingerings and bowings,

The Legacy of Eugne Ysaye 71

students; personal cadenzas; and the adaptations and alterations made

Persinger (1887-1966) and Viola Mitchell (1911-2002). I have had the

School. On the surface, the majority of the materials in these collections

Louis Persinger, an outstanding violinist and pianist, was especially

are most notable in his many outstanding pupils, including Yehudi

Persinger's most lasting contributions to the violin world are as a

outlines, with generous doses of humor, many common fallacies and

the wide range of ever-changing valid ideas and opinions. Persinger's

Unfortunately, little of Viola Mitchell's career has been documented.

lection, box 4, folder 1.

The Legacy of Eugne Ysaye 73

are several photographs of Mitchell with Ysaye, although Mitchell is

ular photograph is preserved at the Bibliothque royale de Belgique in

Meanwhile, Mitchell's promotional flyer, found in the Viola Mitchell

violinist appeared with the Amsterdam Concertgebouw, Paris Symphony,

Budapest Symphony, London Symphony, Rome Augusteo, Marseille,

Bordeaux, Brussels, Antwerp, and many other European orchestras.

Canada and Europe in recital, winning glowing press opinions.10

6. David Ewen, Living Musicians (New York: H. W. Wilson, 1940), 249-50.

Mus. Ms. 161/96.

10. Viola Mitchell testimonial flyer, Mitchell Collection, box 6, folder 4.

Here, we have a disagreement between the information found in this

(Peter the Miner; an opera sung in Ysaye's native Walloon language).11

is a copy of Szymanowski's Chanson polonaise (transcribed by Paul

Mitchell Collection, box 9, folder 11.

Collection, box 16, folder 8.

18. Today on the Radio, New York Times, lOJanuary 1939.

The Legacy of Eugne Ysaye 75

1930s. The 1936 London date may possibly be in connection to an

can be found in her collection.

The Approximate Size of the Two Collections

Performing artists typically maintain extensive working libraries, and

In addition to a wide performing repertory, the Persinger Collection

A Major, op. 13, inscribed by Faur in 1908.19 The part is marked as

formance under Faur's supervision, or simply in his presence. There

director at the San Francisco Conservatory of Music at the same time

forts from a variety of periods. Here may be found a "Song without

on May 5th 1945. Continued and Finished in late December, 1958.

N.Y.C."24 Persinger also worked on transcriptions, including several of

box 15, folder 1.

Persinger Collection, box 16, folder 1.

The Legacy of Eugne Ysaye 77

lected a significant number of Fritz Kreisler arrangements, including

and Manuel Quiroga's cadenzas to the Mozart Violin Concerto no. 3 in

place in Persinger's collection. Several editions of the work - some in

The pedagogic side of Persinger is also evident in the collection.

lar copy of Tchaikovsky's Violin Concerto has "notes" attributed to

Persinger Collection, box 1, folder 3.

The Legacy of Eugne Ysaye 79