NOTATIO

I think you are probably right, David. In which case, wouldn't the following be clearer:
But maybe it is obvious to a violinist.

John Ruggero wrote: ↑01 Oct 2021, 13:08 Or is the Ysaye chord a double stop open G-B and then the rest as a quadruple stop?

Exactly!
It is not so difficult chord actually. In the third position it is played this way, as quick as possible (grace notes): The piece is indeed beautiful, David, and I have performed it numerous times. It is both joy and challenging. I would suggest another solo sonata, No 6 (also by Ysaye, from his "Six Solo Sonatas"), fantastic music.

the main reason I wrote the chord as specifically a "grace" not preparation to a double-stop is that I DON'T want the violinist to attack the chord rapidly, I really want to hear the grace preparation, and then the conclusion of the chord.

The soloist and I had a long chat about the performance of the chords in question, and she preferred that I specify which chords had to have that "slow-ish" approach, and which ones were meant to be attacked as more of a single unit.

Thanks, OCTO. In that case, wouldn't this be clearer:
Or is it obvious to a proficient violinist?

John, I am impressed by your understanding of this complex (for non string players) violin chord, bravo!
Your example above is indeed clear and "valid", and perhaps easier to understand at the first look, then the original by Ysaye. The only thing is that it includes two voices distributed differently from Ysaye, where the original is meant to be one single voiced chord with separate held top note (voice).

MichelRE wrote: ↑03 Oct 2021, 02:14 the main reason I wrote the chord as specifically a "grace" not preparation to a double-stop is that I DON'T want the violinist to attack the chord rapidly, I really want to hear the grace preparation, and then the conclusion of the chord.

Yes, understand, then with the slur is totally fine, with some "warnings":
in your case there is no indication that it should be played "slower" since there are numerous examples similar to yours in the violin literature where it is played at the original speed of a broken chord. Perhaps, using acciaccatura that is not of eighth note but quarter note would be more clarifying. Also, acciaccatura tends to be played before the beat, so if it is of a longer value it will change the rhythm.
Perhaps not acciaccatura but appoggiatura and as quarter note?

Thanks, OCTO. Please don't read too much understanding into it; I taught myself to "play" the violin but then stopped many years ago after realizing that mastering one instrument is enough for a lifetime. In any case, perhaps then, Ysaye's is or your notation with the small notes would be the best one.

Maybe the small notes in Michel's situation could be written as small eighth notes without a slash to show that they are appoggiaturas rather than acciaccaturas.

thank-you for the suggestions, I'll definitely look at changing those.