Alina Ibrag­i­mova

BBC Music Magazine - - Reviews -

What was your vi­sion for this en­tic­ing pro­gramme?

We came up with the idea that Ysaÿe should be the cen­tral fig­ure; he was a very im­por­tant com­poser in the vi­o­lin reper­toire. There are so many con­nec­tions to him and these were only a few that we found; there’s also the Chaus­son Poème and other works that we just couldn’t fit on the disc, so we had to make a choice. The Vierne sonata is so rarely played and the Boulanger was just a lit­tle en­core that we did in con­cert when we played this pro­gramme. It seems to have be­come a tra­di­tion now to find lit­tle pieces like that – ac­tu­ally it’s Cé­dric who finds them. We al­ways en­joy them so much that it’s a shame not to put them on the disc at the end. So, it’s like a lit­tle dessert!

Ysaÿe was a vi­olin­ist him­self, but he didn’t write the eas­i­est mu­sic for the in­stru­ment did he?

Well I guess not, but he also knew how to make things sound more dif­fi­cult than they re­ally are; it ac­tu­ally fits very well on the hand. His lan­guage is so com­plete; that’s why he was so im­por­tant. He had such a unique style of writ­ing for the vi­o­lin and it’s not just vir­tu­oso stuff, but it’s also his own lan­guage. I find that his mu­sic re­ally sounds like noth­ing else; he had his own take on things, his colours and his imag­i­na­tion. I think it’s very spe­cial mu­sic.

How has your part­ner­ship with Cé­dric evolved?

I don’t think we talk very much in re­hearsal now; we just play. Af­ter so many years you get to know each other so well and you have so much trust and sup­port for one an­other that it feels very nat­u­ral to play to­gether now.

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