Content

In the first place, the Lavergne manuscript contains the earliest sketches for the 6 solo sonatas opus 27 and a page with Ysaÿe's corrections of the proof print of sonatas 1, 2, 3 and 5. It also contains the first sketch for the sonata for solo cello opus 28, which shows relatively little differences with the eventual version. The numerous sketches in alto clef in the manuscript indicate that Ysaÿe had the intention of writing a work for the viola as well.

 
Een fragment voor altviool solo uit het manuscript (p.66).
 
A fragment for solo viola from the manuscript (p. 66).

Unknown until now and making the manuscript invaluable, is the neat copy of an incomplete seventh sonata in C Major for solo violin found in the notebook. The sonata consists of a first movement, Allegro molto moderato ma con brio, which Ysaÿe originally completed, but in which he later crossed out a few bars, probably intending to rewrite them later on. It is followed by a beautiful Canzona (Lento e mesto), an intimate composition that hopefully will receive its deserved place in the concert repertoire. Unfortunately, the last movement, Finale (Giocoso) has remained unfinished, it breaks off after 12 staves of music.

A few sketches of the first movement of this sonata are to be found in the manuscript as well. It is impossible to determine with certainty why Ysaÿe never completed this sonata. It seems very likely that Ysaÿe wanted his cycle to refer more obviously to the cycle of his model, that of Johann Sebastian Bach. Bach's cycle of six sonatas and partitas for the solo violin happens to start with a sonata in g minor and ends with a partita in E Major. By replacing the original sixth sonata in C Major by another one in E Major, Ysaÿe's homage to Bach became more obvious. However, it had the unfortunate consequence that the sonata in C Major was never completed by Ysaÿe.

 
De eerste maten van de tweede beweging van de zevende vioolsonate.
 
The first bars of the seventh sonata's second movement

Below, one can find an alphabetical overview of the works contained in the manuscript, some of them consist of no more than a few bars, some of them are more elaborate:

 
• Annotations for an unidentified work for orchestra (d minor): p. 5-7:


• Amitié (opus 26): p. 93, 138-140:

Ciaconna
 
• Ciaconna, a short sketch for a work for solo instrument and probably orchestra: p.128:

 
• Fantaisie (opus 32): p. 80-81, 93, 100-117, 119-123, 129:

 
• Fragments for solo viola. Ysaÿe likely intended to write a work for solo viola as well: p. 28, 58, 66-67, 72-73, 75:

 
• Fugue on “O Haupt voll Blut und Wunden” (5/4, b minor, probably intended for one of the violin sonatas, but rejected): p. 65:

 
• Introd[uction] et caprice, a short sketch for solo violin and probably orchestra: p. 124:

 
• Poème nocturne (opus 29): p. 76-77, 79:

 
• Sonata for solo cello (opus 28): p. 22-28:

 
• Sonatas for solo violin (opus 27)
  • Notes on the performance: p. 12, 21
  • Corrections of the proof print of the sonatas 1, 2, 3 & 5: p. 141
  • Sonata 1:
    • 1-version 1: p. 14-16
    • 1-version 2: p. 8, 20-21
    • 2: p. 12, 16-19
    • 3: p. 12
    • 4: p. 8-13
  • Sonata 2:
    • 1: p. 40-41
    • 2: p. 42
    • 3: p. 42-45, 65
    • 4: p. 45-47
  • Sonata 3:
    • 1: p. 35
    • 2: p. 34-35
    • 3: p. 36-39
  • Sonata 4:
    • 1: p. 28-31, 62
    • 2: p. 30-32, 51
    • 3: p. 32-34
  • Sonata 5:
    • sketches eventually not used by Ysaÿe: p. 54-58
    • 1: p. 48-50, 53, 68-69
    • 2: p. 48-52, 60-61
  • Sonata 6: p. 94-99

• Sonata for solo violin (opus posthumous)

  • Unfinished sonata:
    • 1: p. 58-60, 63 (?), 84-86
    • 2: p. 87-88
    • 3: p. 89-90

The unknown canzona from the unfinished sonata, op. posth.