par Staruch-Smolec, Joanna
Référence Music – Musicology – Interpretation. (21-23 octobre 2021: en ligne, organisé par l’Université de Belgrade)
Publication Non publié, 2021-10-22
Communication à un colloque
Résumé : The researchers in early music field have long shown the utopic aspect of historical authenticity in performance (for example, Fabian, 2001: 153–167). A reflection on the approach to the historical sources is widely present in the current discussion in Artistic Research with numerous ideas arising over past 20 years. Some performers-researchers speak of ‘emulation’ (for example, da Costa, 2012), some of learning from a historicalperformer like from a teacher (for example, ter Haar, 2019), while others propose a concept of historically ‘formed’ performance (Chapuis, 2019). This paper explores the relation between musical interpretation and musicological study, using the example of my research on violinistic gesture of Eugène Ysaÿe (1858–1931). Trying to establish a methodological approach, I’m constantly confronted with the dual, artistic and scientific, nature of this work. As a violinist-researcher, I combine a detailed analysis of Ysaÿe’s recordings (1912) and the expressive annotations from hismusical library with violinistic experimentation. On the one hand, I use computational tools to gather and analyse a great number of phrases where Ysaÿe uses certain gestures (focusing on portamento, rubato and bow expression). On the other hand, I experiment every example on the violin in order to better interpret its artistic meaning as well as to integrate it onto my personal dictionary of violinistic gestures.This evolving approach allows to uncover some early 20th century violinistic gestures which were later modified or even completely abandoned and offers a better understanding of their expressive meaning in Ysaÿe’s playing. The theoretical outcomes as well as the process itself enrich my violinistic practice and, potentially, the general performance practice nowadays.

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