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Review: Roman Simović – Ysaÿe, Sonatas for Solo Violin
The concertmaster of the London Symphony Orchestra, Roman Simović, recently recorded a compact disc for the London Symphony Live record label, on which masterfully performed Six Sonatas for solo violin by Eugène Ysaÿe. This exceptional album was released on August 29
For any violinist, recording Ysaÿe’s works represents one of the greatest challenges. Written in 1923 and modeled after Johann Sebastian Bach’s Six Partitas, the pieces are intended for solo violin. On stage or in the studio, the performer is completely alone, and every tonal detail is flawlessly audible and cannot be hidden. In each of the sonatas, the composer used Bach’s architectonics as a model but enriched it with complex chords, fast passages, and specific bowing techniques that demand absolute virtuosity. For this reason, it is clear why mastering these works is the ultimate test of artistic maturity.
Given all of the above, Roman Simović has shown on his album that he is in peak physical and mental form. More importantly, he has demonstrated the ability to penetrate the very core of each work, bringing to life a multitude of characters. In doing so, it seems he has succeeded in capturing the spirit of each of the six great violinists of Ysaÿe’s time: Joseph Szigeti, Jacques Thibaud, Georges Enescu, Fritz Kreisler, Mathieu Crickboom, and Manuel Quiroga, to whom each individual sonata is dedicated.
What makes this edition special is that Simović has understood Ysaÿe’s music in such a way that he has managed to harmonize a multitude of disparate influences that at first glance seem incompatible. In this sense, the composer’s use of Bach as a model and framework for expressing emotion and passion proves that his work truly represents a transitional figure between modernism and romanticism.
Simović is one of those artists who approaches interpretation with a complete openness. As a result, his lyrical melodies lack no cantability and emotionality, while in demanding passages he reveals a nearly wild side of his artistic personality. Nevertheless, when listening to Simović’s interpretations, the listener never loses awareness of the clear formal frameworks and structural coherence. Dissonant chords and modernist passages are treated expressionistically by this violinist, whereby the performer himself unequivocally shows that he possesses a full awareness of the historical significance of Ysaÿe’s personality.
Essentially, through his interpretation of the six sonatas, Simović is not merely a violin virtuoso but changes his artistic personality, moving through different psychological profiles—from obsessive and tragic, to passionate and unrestrained, to charming and elegant. In the first sonata in G minor, Simović is at his most intellectual, building a solid formal architectonics through its four movements. In Sonata No. 2 in A minor, this artist creates a dramatic arc permeated with conflicts, with fascinatingly played hidden double-stops—the deepest basses and high-register passages are flawlessly audible. The third sonata in D minor is played with great passion, as befits a single-movement sonata that acts like a large cadenza of a violin concerto. The fourth sonata in E minor is predominantly lyrical, and what could be particularly highlighted is the second movement, the Sarabande, in which Simović precisely uses pizzicato as a rhythmically precise introduction to a nostalgic memory of a Baroque dance. The fifth sonata in G major is unique for its rustic content, and in terms of performance, it requires the violinist to emphasize color more than in any other of Ysaÿe’s sonatas. In Simović’s hands, the pastorale is lavishly expressed with colorism, from high tones that evoke dawn to crisp, rhythmic sequences that invite dance. And finally, in the single-movement sixth sonata in E major, Simović has fascinatingly expressed the passion of flamenco melodies, as well as the perfect rhythm of the pizzicato accompaniment.
Judging by everything said, this album is much more than a mere technical demonstration of virtuosity. By showcasing unrestrained passion, dedication, and deep musicality, Roman Simović has not only brought the Six Sonatas to life but has also reinterpreted them for new generations of violinists. His approach allows listeners to experience Ysaÿe as an original composer, unique precisely for his two faces—romantic and modern. Most importantly, the shift in characters, which Simović further psychologically deepens, helps listeners focus on the artistic essence, and not just on the technical aspects of the performance. It is a release that comes highly recommended.
