And when in 1937 Queen Elizabeth of Belgium – whose “maître de chapelle” Ysaÿe had become after his return from America – instituted the “Concours International Eugène Ysaÿe” it was fitting that the statutes of the competition should specify that each violin contestant must present one of these sonatas [Ysaÿes's violin sonatas] along with the regular violin classics. Thus Ysaÿe’s dream did come true to a great extent: the youngsters whose playing we were judging at that 1937 “Concours” (Carl Flesh and Thibaud were co-judges) and who had never heard the master were yet, in the very nature of things, by the reproduction of those sinuous, baroque, nervous Ysaÿen passages, arabesques, and whimsical musical ideas, perpetuating something of his essence. << less