ISAI (Ysaye) Eugene (16 VII 1858, Liege – 12 V 1931, Brussels) – Belgian violinist, composer, conductor, teacher and music community. figure. Rod in the family of a musician. He studied the violin from the age of 4 under the arms. father – violinist and theater. conductor, from 7 years old – at the Liege Conservatory at D. Heinberg. Playing simultaneously in orchestras, in 1869 he was forced to leave classes at the conservatory. After several. years, with the assistance of A. Vyotana, was again admitted to the class of R. Massard. From 1874 he studied at the Brussels Conservatory with G. Venyavsky, in 1876-79 – in Paris with A. Vyotan. Already in these years the characteristic features were performed. Art I. – fiery temperament, power and beauty of tone. In 1879-83 accompanist symph. B. Bilze Orchestra in Berlin, where in 1881 A.G. Rubinstein heard his play (met him earlier in Paris). Carried away by I.’s extraordinary talent, Rubinstein made an end with him. a trip to Norway and Sweden and in 1882 he came with I. to Russia. In St. Petersburg, I. first made a stand-alone. recitals, toured in Moscow, Kiev, Odessa. Close communication with the great Russian. pianist had a decisive influence on the formation of artistic. I.’s personalities, which resembled Rubinshtein, will not only be “lion” in appearance, but also will fulfill their character. talents. He called him his “true teacher in the art of interpretation.” Love for the country where he started artistic. career, I. retained for life. Almost every year he gave concerts in Russia (the last time in 1912), friendly relations connected him with many others. Russian muses figures (a number of Russian violinists also studied with I.: M.I. Press, M.G. Erdenko, N.S. Milshtein, and others). Since 1886, after triumphant performances in Paris, the most intense period of versatile muses begins. activities of I. He draws closer to a group of French composers (S. Frank, E. Chausson, C. Debussy and others), becoming a propagandist of their work. Since 1886, I. – professor of the Brussels Conservatory, in 1888 founded his famous string. quartet, since 1895 conductor and director of the Izaya Concertos organized by him, which were of great importance for the development of muses. Belgian culture (existed until 1940), In 1918-22, I. lived in the United States, led by symph. Orchestra in Cincinnati. As a violinist, he performed until 1928. In the last years of his life, I. was busy with a project to organize the Intern. muses fund, international contests, which were, in his opinion, to promote the nomination of young talented artists. I.’s project was carried out only after his death. In 1937, the first international event took place in Brussels. violin competition to them. Eugene Izai, in 1938 – 1st international piano competition. I. belonged to the triad of great violinists reigning at the end. stage in the late 19th and early. 20th centuries Along with the classic. the grandeur and pathos of J. Joachim, the magical lightness and insinuating sensitivity of P. Sarasate, the art of I. personified the spirit of free poetry. improvisation. Last time violinist is romantic. directions, he captured the deep expression of the game, the mesmerizing power of rhythm, the expressiveness and brilliance of technology, the brightness of the muses he creates. images Free from narrowly interpreted traditionalism, Spanish. I. introduced a fresh stream into the violin. art, had a strong influence on F. Kreisler, J. Thibault, J. Enescu, who considered themselves his students. The importance of I. as a chamber performer, who asserted in conc. violinist repertoire sonata genre. In collaboration with pianist R. Pyuno, he gave a new interpretation to the violin genre. sonatas from J.S. Bach to S. Frank, which became a model for subsequent generations of violinists. I. was the inspirer and first performer of many. production modern him french. and Belgian composers. For him are written and dedicated. “Poem” for violin and orchestra and a concert by E. Shausson, sonata for violin and piano. and strings. Quartet of S. Frank, strings. Quartet C. Debussy, sonata G. Lekoe et al. I. was a talented composer, violinist. production Starting with the imitation of A. Vietan, over the years he came to the creation of property. a style in which the influences of Frank and Franz are peculiarly translated. impressionists. The B. ch. Of I.’s writings is programmatic and written in a free “poem” form, such are “The Winter’s Tale” (“Chant d’hiver”), “Ecstasy” (“Extase”), “Elegistic Poem” (“Poeme andlegiaque”) and others. In his sonatas for violin solo I. applied a number of technicals. simplifications, versatile use the sound of open strings, revealing with unheard of completeness and brilliance the sound of the violin. Creat. I. principles were developed by F. Kreisler. I. also owns a number of transcriptions (including C. Saint-Saens’s Etude in the Form of a Waltz), editions of the classic. cadence for concerts by J. B. Viotti, V. A. Mozart and others. He is the author of the opera “Miner Pierre” (“Pier li Houyeux”, 1931, Liege).