Viola Sonata in A Minor

for solo violin Eugène Ysaÿe

Op. 27, No. 2

I. Obsession
Prélude
  
             
   
  
Poco vivace

   
          
        
court

 leggiero  (brutalement) 
     
    
à la pointe

 
                               
 
 
5

        
  
      

   
         

         
à la pointe

   
  

9

   
 
 
     

      
              
               
        
12


          
   
             

                


15

   0 
    
                                      
    
18

 
 marc. 
   
                               
dim.

         
21

    0
 
                                   
    
0

 
0 4 0

 
24

      
 marc.
 
  
2


                
2 0

  
0

 
0 4 0 4

    
27

     


              legg.
               
 
30

               

                    4 0 4    


      
33

  
 
 
        
             
36

      
 
                 
         
39

       
 
   
 
                 
cresc.

            
42

 marc. 
                           
        

45

 dolce con espress.

           
                 
          
48

  
                        
      
51

 
   
                                 

 
0 4 0

          
54 0 4 0


Sonata in A Minor – E. Ysaÿe, Op. 27, No. 2
           
                          
3

   
57


    
   0 2   0 2   0 2   0 2     0 2     0 2  
poco a poco cresc.


60 0 1


2  0      

dim.


             4                  
à la pointe

     
2 0 2

    
63

 
0 2 0 2 0 0 2 0

  
 3  0      
2  0
  
(dim.)

0         3            1       
     
1 0 1

    
66

0   
                     
0    
       
          

69 2

  


dim.

            
     
Meno mosso

              
73 6

  
tout l’archet tout l’ar.  tout l’ar. 

  
        
           
75

    
  
  
        

                 
 
77

   
 
            
             

79


  
Sonata in A Minor – E. Ysaÿe, Op. 27, No. 2
        
         
4

             

Tempo vivo

           
80 rit.

  
  

 
                     
         
       
82


  
  

   

     
    
85

   
II. Malinconia

       
                               
Poco lento
(con sordino)

   
 

   

       
poco

    
                

      
             
5


   
 
cresc.

      cédez    
                  
   
  
                   
     
    
9

 

        
   
dim.

              
           

                  
cresc.

  
14

 
    
dim.


(sensible)

         
                  
 

                            


18

 
cresc.
dim.  
Sonata in A Minor – E. Ysaÿe, Op. 27, No. 2
      

5

                
      
ad lib.

      
22

 

  
smorz. smorz.
25



  
III. Danse des Ombres
             
Sarabande (lento)

     
                                 
         
pizz.

      
  
        cédez 
       
                       

(senza sord.)

        
6

  







 
marc.

    3 
                                   
Var. 1

      
10 arco 3 sans vibrer calando

 dolce e semplice 0
        calando   espress.
 

 
     
                               
15

  

0
calando


dim.

        
         
Var. 2 (Musette)

            
19

   
 dolce  
    
                         
cédez

 
23

  cresc.     
    
             
(sensible)

 
Var. 3


             
    
          
Minore


27

  dim.  
Sonata in A Minor – E. Ysaÿe, Op. 27, No. 2
 

   rit. 
6

                                      
cédez

      
31



      
  
Var. 4 tranquillo

                            
     
               
35

   
 dolce


    
  
                                        
   
38

 
     
                               
              
  
41


  
        
    
                                           
Var. 5 (non più vivo)

        
44 à la pointe

 3 3 3 3 3 3
         
                 
       
calando

  
47

     
               
                
         
49

                  
          
      

 
51

 
    
        
         

  
 
53

Sonata in A Minor – E. Ysaÿe, Op. 27, No. 2

 Var. 6 
           
7


             
55

   
             
       
   
56

                      
     
57

      
                 
       
58

          
       
      

59


           
       
        

60

  
        
  
        
tout l’ar.

    
  
61

 
     
 
     
     
       
62

  

         
              
         
 
      
63


 
   
                  

                             
                 
66

  
Sonata in A Minor – E. Ysaÿe, Op. 27, No. 2
       
  
8

    
   
  
rit.

    
      
72

    

                  
IV. Les Furies
 
               
Allegro furioso

               
  
 
  
                  
                             
au talon

   
7

        marc.
   
  
      
   
 
      
     
    
   
              
    
11

     

   
       
                
 
   
                            
 
15


     
    
                 
  
  
  
   
 
 
  
   

                 
          
 
19


      
                
   
  
   marc. 
                             
 
23

   


              
   
                         
    
28



    
               
  
           
         
  
31

 

Sonata in A Minor – E. Ysaÿe, Op. 27, No. 2
 
      
         
9

    
 
     
                 
   sempre   
35

 

                       
arco

     
(sul ponticello)

  
39
pizz.


                 (ponticello)
                         
(ord.)
43

                                  
46

     
    0               

        
 
48

  
3    
  
                
3

 
         
50

  
 
  
                         
       
52


 4 1                                      
poco a poco dim.

    
54

             
                      
(ponticello)
57

Sonata in A Minor – E. Ysaÿe, Op. 27, No. 2

   
        
10

                         
      
60
(ord.)

   
(ponticello)     
                 (ord.)     

 


         
63

  

(ponticello)      
                 (ord.)     
         
65

  

   
          
67

       
4 1

  
                     
poco a poco dim.

    
         
70


       
                   
        
 

73


         
             
          
cresc.


                      
       
76

  

 marc.

        
                
                  
           
  
80


        
                
       
                               
84



Sonata in A Minor – E. Ysaÿe, Op. 27, No. 2
    
         
       
11

                             
 
88

  
 marc.

    
 0    
                    
                                      
allarg. poco
sul G e D

     
93

  2 0

           Tempo   

               
       
Lento I

                   
                     
95





         
         
sec.

            

98




Sonata in A Minor – E. Ysaÿe, Op. 27, No. 2