FAMOUS VIOLINISTS 
 
 HENRY C. LAHEE 
 
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 University of California 
 Department of University Extension 
 
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 Extension 
 
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FAMOUS VIOLINISTS OF TO-DAY 
 AND YESTERDAY 
 
Music Lovers' Series 
 
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 Great Composers and Their Work 
 
 Contemporary American Composers 
 
 Famous Singers of To-day and Yesterday 
 
 The National Music of America and Its 
 Sources 
 
 Famous Pianists of To-day and Yester- 
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 Shakespeare in Music 
 
 Famous Violinists of To-day and Yes- 
 terday 
 
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 A Critical History of Opera 
 
 The Organ and Its Masters 
 
 Orchestral Instruments and Their Use 
 
 Woman's Work in Music 
 
 The Love Affairs of Great Musicians 
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 L. C. PAGE & COMPANY, 
 200 Summer St., Boston, Mass. 
 
OLE BULL. 
 
 « * • » • "• • 
 
1 
 
 Famous Violinists 
 of To-day and Yesterday 
 
 By 
 Henry C. Lahee 
 
 ILLUSTRATED 
 
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 L. C. Page and Company 
 
 (Incorporated) 
 
 1899 
 

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 Copyright^ i8gg 
 By L. C. Page and Company 
 
 (incorporated) 
 
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 Electrotyped and Printed by C. H. Simonds & Co. 
 
 Boston, Mass., U. S. A. 
 
PREFACE. 
 
 In " Famous Violinists " the writer has 
 endeavoured to follow the same general 
 plan as in "Famous Singers," viz., to give 
 a ** bird's-eye view" of the most celebrated 
 violinists from the earliest times to the pres- 
 ent day rather than a detailed account of 
 a very few. Necessarily, those who have 
 been prominently before the public as per- 
 formers are selected in preference to those 
 who have been more celebrated as teachers. 
 
 It was at first intended to arrange the 
 chapters according to " schools," but it soon 
 became evident that such a plan would lead 
 to inextricable confusion, and it was found 
 best to follow the chronological order of 
 birth. 
 
 366170 
 
X Preface. 
 
 The "Chronological Table" is compiled 
 from the best existing authorities, and is 
 not an effort to bring together a large num- 
 ber of names. If such were the desire, there 
 would be no difficulty in filling up a large 
 volume with names of the violinists of good 
 capabilities, who are well known in their 
 own cities. 
 
 Henry C. Lahee. 
 
CONTENTS. 
 
 :haptbr 
 
 
 
 
 PAGE 
 
 
 Preface . 
 
 
 
 
 ix 
 
 I. 
 
 Introductory . 
 
 
 
 
 II 
 
 II. 
 
 1650 TO 1750 
 
 
 
 
 . 30 
 
 III. 
 
 1750 TO 1800 
 
 
 
 
 . 60 
 
 IV. 
 
 Paganini . 
 
 
 
 
 . 104 
 
 V. 
 
 1800 TO 1830 
 
 
 
 
 . 135 
 
 VI. 
 
 OLE Bull . 
 
 
 
 
 . 172 
 
 VII. 
 
 1830 TO 1850 
 
 
 
 
 . 204 
 
 VIII. 
 
 Joachim 
 
 
 
 
 . 244 
 
 IX. 
 
 Violinists of To-day 
 
 
 . 261 
 
 X. 
 
 Women as Violinists 
 
 
 . 300 
 
 XI. 
 
 Famous Quarti 
 
 ITS 
 
 . 
 
 
 . 345 
 
ILLUSTRATIONS. 
 
 OLE Bull 
 
 Arcangelo Corelli 
 NiCOLO Paganini . 
 Camillo Sivori . 
 Martin Pierre Joseph 
 Joseph Joachim . 
 Emil Sauret 
 Eugene Ysaye 
 Maud Powell 
 Franz Kneisel 
 
 Marsick 
 
 PAGE 
 
 Frontispiece 
 
 . 30 
 . 104 
 
 . 154 
 
 . 238 
 
 . 244 
 
 . 265 
 
 . 274 
 
 . 340 
 
 . 362 
 
FAMOUS VIOLINISTS OF TO-DAY 
 AND YESTERDAY. 
 
 CHAPTER I. 
 
 INTRODUCTORY. 
 
 There is no instrument of music made by 
 the hands of man that holds such a powerful 
 sway over the emotions of every living thing 
 capable of hearing, as the violin. The singu- 
 lar powers of this beautiful instrument have 
 been eloquently eulogised by Oliver Wendell 
 Holmes, in the following words : 
 
 "Violins, too. The sweet old Amati! the 
 
 divine Stradivari ! played on by ancient ma- 
 
 estros until the bow hand lost its power, and 
 
 the flying fingers stiffened. Bequeathed to 
 
 II 
 
'^ ,iZl) Famous Violinists. 
 
 the passionate young enthusiast, who made 
 it whisper his hidden love, and cry his in- 
 articulate longings, and scream his untold 
 agonies, and wail his monotonous despair. 
 Passed from his dying hand to the cold 
 virtuoso, who let it slumber in its case for 
 a generation, till, when his hoard was broken 
 up, it came forth once more, and rode the 
 stormy symphonies of royal orchestras, be- 
 neath the rushing bow of their lord and 
 leader. Into lonely prisons with improvi- 
 dent artists ; into convents from which arose, 
 day and night, the holy hymns with which 
 its tones were blended ; and back again to 
 orgies, in which it learned to howl and laugh 
 as if a legion of devils were shut up in it ; 
 then, again, to the gentle dilettante^ who 
 calmed it down with easy melodies until 
 it answered him softly as in the days of 
 the old maestros ; and so given into our 
 hands, its pores all full of music, stained 
 like the meerschaum through and through 
 
Introductory. 1 3 
 
 with the concentrated hue and sweetness of 
 all the harmonies which have kindled and 
 faded on its strings." 
 
 Such, indeed, has been the history of 
 many a noble instrument fashioned years 
 and years ago, in the days when violin 
 playing did not hold the same respect and 
 admiration that it commands at the present 
 time. 
 
 The evolution of the violin is a matter 
 which can be traced back to the dark ages, 
 but the fifteenth century may be considered 
 as the period when the art of making instru- 
 ments of the viol class took root in Italy. 
 It cannot be said, however, that the violin, 
 with the modelled back which gives its 
 distinctive tone, made its appearance until 
 the middle of the sixteenth century. In 
 France, England, and Germany, there was 
 very little violin making until the beginning 
 of the following century. Andrea Amati 
 was born in 1520, and he was the founder 
 
14 Famous Violinists. 
 
 of the great Cremona school of violin makers, 
 of which Nicolo Amati, the grandson of 
 Andrea, was the most eminent. The art 
 of violin making reached its zenith in Italy 
 at the time of Antonio Stradivari, who lived 
 at Cremona. He was born in 1644, and 
 lived until 1737, continuing his labours al- 
 most to the day of his death, for an instru- 
 ment is in existence made by him in the 
 year in which he died. It is an interesting 
 fact that the art of violin making in Italy 
 developed at the time when the painters 
 of Italy displayed their greatest genius, and 
 when the fine arts were encouraged by the 
 most distinguished patronage. 
 
 As the art of violin making developed, so 
 did that of violin playing, but, whereas the 
 former reached its climax with Stradivari, 
 the latter is still being developed, as new 
 writers and players find new difficulties and 
 new effects. While there are many proofs 
 that orchestras existed, and that violins of 
 
Introductory. 1 5 
 
 all sizes were used in ecclesiastical music, 
 there is still some doubt as to who was 
 the first solo violinist of eminence. The 
 earliest of whom we have any account 
 worthy of mention, was Baltazarini, a native 
 of Piedmont, who went to France in 1577 
 to superintend the music of Catharine de 
 Medici. In 1581 he composed the music for 
 the nuptials of the Duke de Joyeuse with 
 Mile, de Vaudemont, sister of the queen, 
 and this is said to have been the origin of 
 the heroic and historical ballet in France. 
 
 The progress of violin playing can also 
 be judged somewhat by the compositions 
 written for the instrument. Of these the 
 earliest known is a " Romanesca per violone 
 Solo e Basso se piaci," and some dances, by 
 Biagio Marini, published in 1620. This con- 
 tains the "shake." Then there is a "Toc- 
 cata" for violin solo, by Paolo Quagliati, 
 published in 1623, and a collection of violin 
 pieces by Carlo Farina, published in 1627 
 
1 6 Famous Violinists. 
 
 at Dresden, in which the variety of bowing, 
 double stopping, and chords shows a great 
 advance in the demands upon the execution. 
 
 Farina held the position of solo violinist at 
 the Court of Saxony, and has been called the 
 founder of the race of violin virtuosi. One 
 of his compositions, named " Cappriccio Stra- 
 vagante," requires the instrument to imitate 
 the braying of an ass, and other sounds 
 belonging to the animal kingdom, as well 
 as the twanging of guitars and the fife 
 and drum of the soldier. 
 
 Eighteen sonatas composed by Giovanni 
 Battista Fontana, and published at Venice in 
 1 64 1, show a distinct advance in style, and 
 Tomasso Antonio Vitali, himself a famous 
 violinist, wrote a " Chaconne " of such merit 
 that it was played by no less a virtuoso than 
 Joachim, at the Monday popular concerts 
 in London, in 1870, nearly two hundred 
 years after its composition. 
 
 Italy was the home of the violin, of com- 
 
Introductory. 1 7 
 
 position for the violin, and of violin playing, 
 for the first school was the old Italian school, 
 and from Italy, by means of her celebrated 
 violinists, who travelled and spread through- 
 out Europe, the other schools were estab- 
 lished. 
 
 Violin playing grew in favour in Italy, 
 France, Germany, and England at about 
 the same time, but in England it was 
 many years before the violinist held a 
 position of any dignity. The fiddle, as it 
 was called, was regarded by the gentry 
 with profound contempt. Butler, in " Hudi- 
 bras," refers to one Jackson, who lost a 
 leg in the service of the Roundheads, and 
 became a professional " fiddler : " 
 
 " A squeaking engine he apply'd 
 Unto his neck, on northeast side, 
 Just where the hangman does dispose, 
 To special friends, the knot or noose ; 
 For 'tis great grace, when statesmen 
 
 straight 
 Dispatch a friend, let others wait. 
 
1 8 Famous Violinists. 
 
 His grisly beard was long and thick, 
 With which he strung his fiddle-stick ; 
 For he to horse-tail scorned to owe, 
 For what on his own chin did grow." 
 
 Many years later Purcell, the composer, 
 wrote a catch in which the merits of a violin 
 maker named Young, and his son, a violin 
 player, are recorded. The words are as 
 follows : 
 
 " You scrapers that want a good fiddle, well strung, 
 You must go to the man that is old while he's 
 
 Young ; 
 But if this same Fiddle, you fain would play bold, 
 You must go to his son, who'll be Young when he's 
 
 old. 
 There's old Young and young Young, both men of 
 
 renown, 
 Old sells and young plays the best Fiddle in town, 
 Young and old live together, and may they live 
 
 long, 
 Young to play an old Fiddle; old to sell a new 
 
 song." 
 
 In the course of time the English learned 
 to esteem all arts more highly, and in no 
 
Introductory. 19 
 
 country was a great musician more sure of 
 a warm welcome. 
 
 Two celebrated violinists were born in the 
 year 1630, Thomas Baltzar, and John Banis- 
 ter, the former in Germany, at Lubec, and 
 the latter in London. 
 
 Baltzar was esteemed the finest performer 
 of his time, and is said to have been the first 
 to have introduced the practice of " shifting." 
 In 1656 Baltzar went to England, where he 
 quite eclipsed Davis Mell, a clockmaker, who 
 was considered a fine player, and did much 
 to give the violin an impetus toward popu- 
 larity. The wonder caused by his perform- 
 ances in England, shortly after his arrival, is 
 best described in the quaint language of 
 Anthony Wood, who ''did, to his very 
 great astonishment, hear him play on the 
 violin. He then saw him run up his 
 Fingers to the end of the Fingerboard of 
 the Violin, and run them back insensibly, 
 and all with alacrity, and in very good 
 
20 Famous Violinists. 
 
 tune, which he nor any in England saw the 
 like before." 
 
 At the Restoration Baltzar was appointed 
 leader of the king's celebrated band of 
 twenty -four violins, but, sad to relate, 
 " Being much admired by all lovers of mu- 
 sick, his company was therefore desired ; 
 and company, especially musical company, 
 delighting in drinking, made him drink more 
 than ordinary, which brought him to his 
 grave." And he was buried in the cloister 
 of Westminster Abbey. 
 
 John Banister was taught music by his 
 father, one of the waits of the parish of St. 
 Giles, and acquiring great proficiency on the 
 violin was noticed by King Charles II., who 
 sent him to France for improvement. On 
 his return he was appointed chief of the 
 king's violins. King Charles was an admirer 
 of everything French, and he appears, accord- 
 ing to Pepys, to have aroused the wrath of 
 Banister by giving prominence to a French 
 
Introductory. 2 1 
 
 fiddler named Grabu, who is said to have 
 been an ''impudent pretender." Banister 
 lost his place for saying, either to or in the 
 hearing of the king, that English performers 
 on the violin were superior to those of 
 France. 
 
 John Banister lived in times when fiddle 
 playing was not highly esteemed, if we may 
 judge by the following ordinance, made in 
 1658: "And be it further enacted by the 
 authority aforesaid, that if any person or 
 persons, commonly called Fiddlers, or min- 
 strels, shall at any time after the said first 
 day of July be taken playing, Fiddling, or 
 making music in any inn, alehouse, or tavern 
 or shall be proffering themselves, or desir- 
 ing, or entreating any person or persons to 
 hear them play . , . shall be adjudged . . . 
 rogues, vagabonds, and sturdy beggars." 
 
 John Banister seems to have been a some- 
 what ''sturdy beggar," though not exactly 
 in the sense meant by the ordinance, for he 
 
22 Famous Violinists. 
 
 established regular concerts at his house, 
 '' now called the Musick-school, over against 
 the George Tavern in Whitefriars." These 
 concerts began in 1672, and continued till 
 near his death, which occurred in 1679. H^' 
 too, was buried in the cloister of Westmin- 
 ster Abbey. His son, also, was an excellent 
 performer on the violin, and played first vio- 
 lin in the Italian opera when it was first 
 introduced into England. He was one of the 
 musicians of Charles H., James II., William 
 and Mary, and of Queen Anne. 
 
 Henry Eccles, who lived about the end 
 of the seventeenth century, went to France, 
 where he became a member of the king's 
 band, and William Corbett, who went to 
 Italy to study the violin in 17 10, was a player 
 of much ability ; but one of the most eminent 
 of English violinists was Matthew Dubourg, 
 born 1703, who played at a concert when he 
 was so small that he was placed on a stool 
 in order that he might be seen. At eleven 
 
Introductory. 23 
 
 years of age he was placed under Geminiani, 
 who had recently established himself in Lon- 
 don. Dubourg was appointed, in 1728, 
 Master and Composer of State-Music in 
 Ireland, and on the death of Festing, in 
 1752, he became leader of the king's band 
 in London, and held both posts until his 
 death in 1767. 
 
 An amusing incident is related of Dubourg 
 and Handel. The latter visited Dublin and 
 presided at a performance of the " Messiah." 
 A few evenings later, Dubourg, who was 
 leader of the band at the Theatre, had to 
 improvise a "close," and wandered about in 
 a fit of abstract modulation for so long that 
 he forgot the original key. At last, how- 
 ever, after a protracted shake, he landed 
 safely on the key-note, when Handel called 
 out in a voice loud enough to be heard in 
 the remotest parts of the theatre, " Welcome 
 home, welcome home, Mr. Dubourg." 
 
 Dubourg' s name is the first on record in 
 
24 Famous Violinists. 
 
 connection with the performance of a con- 
 certo in an English theatre. 
 
 John Clegg, a pupil of Dubourg, was a 
 violinist of great ability, whom Handel placed 
 at the head of the opera band, but his facul- 
 ties became deranged by intense study and 
 practice, and he died at a comparatively early 
 age, in 1742, an inmate of Bedlam. 
 
 Another very promising young English 
 violinist was Thomas Linley, who exhibited 
 great musical powers, and performed a con- 
 certo in public when eight years old. He 
 was sent to Italy to study under Nardini, and 
 through the mediation of that artist he be- 
 came acquainted with Mozart, who was about 
 the same age. Linley's career was prema- 
 turely closed, for at the age of twenty-two 
 he was drowned through the capsizing of a 
 pleasure-boat. 
 
 This completes the list of English violin- 
 ists of note who were born previous to the 
 nineteenth century. The later ones we shall 
 
Introductory. 25 
 
 find in their place in succeeding chapters, 
 but there have been very few vioHnists of 
 EngUsh birth who have followed the career 
 of the "virtuoso." Even Antonio James 
 Oury, who made a series of concert tours 
 lasting nine years, during which he occasion- 
 ally appeared in conjunction with De Beriot 
 and Malibran, is hardly known as a "■ vir- 
 tuoso," and was not all English. But there 
 are pathetic circumstances in regard to the 
 career of Oury. He was the son of an 
 Italian of noble descent, who had served as 
 an officer in the army of Napoleon, and had 
 been taken prisoner by the English. Mak- 
 ing the best of his misfortunes the elder 
 Oury settled in England, married a Miss 
 Hughes, and became a professor of dancing 
 and music. 
 
 The son, Antonio, began to learn the violin 
 at the age of three, in which he was a year 
 or two ahead of the average virtuoso, and 
 he made great progress. By and by he 
 
26 Famous Violinists. 
 
 heard Spohr, and after that his diligence 
 increased, for he practised, during seven 
 months, not less than fourteen hours a day. 
 Even Paganini used to sink exhausted after 
 ten hours' practice. In 1820, we are told, 
 he went to Paris and studied under Baillot, 
 Kreutzer, and Lafont, receiving from each 
 two lessons a week for several successive 
 winters. With such an imposing array of 
 talent at his service much might be expected 
 of Mr. Oury, and he actually made his debut 
 at the Philharmonic concerts in London. 
 
 There was another unfortunate officer of 
 Napoleon who became tutor to the Prin- 
 cesses of Bavaria. His name was Belleville. 
 Mr. Oury met his daughter, and, there being 
 naturally a bond of sympathy between them, 
 they married. She was an amiable and ac- 
 complished pianist, and together they made 
 the nine years' concert tour. 
 
 During the period in which the art of 
 violin playing was being perfected on the 
 
Intro dice to ly. 2 7 
 
 Continent, the English were too fully occu- 
 pied with commercial pursuits to foster and 
 develop the art. Up to the present day the 
 most eminent virtuoso is commonly spoken 
 of as a "fiddler." Even Joachim, when he 
 went to a barber's shop in High Street, 
 Kensington, and declined to accept the 
 advice of the tonsorial artist, and have his 
 hair cropped short, was warned that " he'd 
 look like one o' them there fiddler chaps." 
 The barber apparently had no greater esti- 
 mation of the violinist's art than the latter 
 had of the tonsorial profession, and the situa- 
 tion was sufficiently ludicrous to form the 
 subject of a picture in Punch, and thus the 
 matter assumed a serious aspect. 
 
 England has not been the home of any 
 particular school of violin playing, but has 
 received her stimulus from Continental 
 schools, to which her sons have gone to 
 study, and from which many eminent violin- 
 ists have been imported. 
 
28 Famous Violinists. 
 
 The word '* school," so frequently used 
 in connection with the art of violin playing, 
 seems to lead to confusion. The Italian 
 school, established by Corelli, appears to 
 have been the only original school. Its 
 pupils scattered to various parts of Europe, 
 and there established other schools. To 
 illustrate this statement, we will follow in a 
 direct line from Corelli, according to the 
 table given in Grove's Dictionary. 
 
 The pupils of Corelli were Somis, Loca- 
 telli, Geminiani (Italians), and Anet (a 
 Frenchman), whose pupil Senaille was also 
 French. The greatest pupil of Somis was 
 Pugnani, an Italian, and his greatest pupil 
 was Viotti, a Piedmontese, who founded the 
 French school, and from him came Rober- 
 rechts, his pupil De Beriot and his pupil 
 Vieuxtemps, the two latter Belgians, also 
 Baillot, etc., down to Marsick and Sarasate, 
 a Spaniard, while through Rode, a French- 
 man, we have Bohm (school of Vienna) 
 
Introductory. 29 
 
 and his pupil Joachim, a Hungarian (school 
 of Berlin). 
 
 Several violinists are found under two 
 schools, as for instance, Pugnani, who was 
 first a pupil of Tartini and later of Somis, 
 and Teresa Milanollo, pupil of Lafont and 
 of De Beriot, who appear under different 
 schools. 
 
 The only conclusion to be drawn is that 
 the greatest violinists were really indepen- 
 dent of any school, and, by their own genius, 
 broke loose from tradition and established 
 schools of their own. Some of them, on 
 the other hand, had but few pupils, as for 
 instance, Paganini, who had but two, and 
 Sarasate. Many also were teachers rather 
 than performers. We have to deal chiefly 
 with the virtuosi. 
 
CHAPTER 11. 
 
 1650 TO 1750. 
 
 Arcangelo Corelli, whose name is recog- 
 nised as one of the greatest in the history 
 of violin playing and composition, and who 
 laid the foundation for all future develop- 
 ment of technique, was born in 1653, at 
 Fusignano, near Imola, in the territory of 
 Bologna. 
 
 He showed an early propensity for the 
 violin, and studied under Bassani, a man 
 of extensive knowledge and capabilities, 
 while Mattel Simonelli was his instructor 
 in counterpoint. 
 
 Corelli at one time sought fame away 
 from home, and he is said to have visited 
 Paris, where Lulli, the chief violinist of 
 
 30 
 
> > > > 1 
 
 CORELLI. 
 
1 6^0 to 1750. 3 1 
 
 that city, exhibited such jealousy and vio- 
 lence that the mild-tempered Corelli with- 
 drew. In 1680 he went to Germany, where 
 he was well received, and entered the ser- 
 vice of the Elector of Bavaria, but he soon 
 returned to Roine. His proficiency had 
 now become so great that his fame extended 
 throughout Europe, and pupils flocked to 
 him. His playing was characterised by 
 refined taste and elegance, and by a firm 
 and even tone. 
 
 When the opera was well established in 
 Rome, about 1690, Corelli led the band. 
 His chief patron in Rome was Cardinal 
 Ottoboni, and it was at his house that an 
 incident occurred which places Corelli at 
 the head of those musicians who have from 
 time to time boldly maintained the rights 
 of music against conversation. He was 
 playing a solo when he noticed the cardinal 
 engaged in conversation with another person. 
 He immediately laid down his violin, and, 
 
32 Famous Violmists. 
 
 on being asked the reason, answered that 
 "he feared the music might interrupt the 
 conversation." 
 
 Corelli was a man of gentle disposition 
 and simple habits. His plainness of dress 
 and freedom from ostentation gave the 
 impression that he was parsimonious, and 
 Handel says of him that "he liked nothing 
 better than seeing pictures without paying 
 for it, and saving money." He was also 
 noted for his objection to riding in carriages. 
 
 He lived on terms of intimacy with the 
 leading artists of his time, and had a great 
 fondness for pictures, of which he had a 
 valuable collection. These he left at his 
 death to Cardinal Ottoboni. 
 
 It was at Cardinal Ottoboni' s that Corelli 
 became acquainted with Handel, and at one 
 of the musical evenings there a " Serenata," 
 written by the latter, was performed. Corelli 
 does not seem to have played it according 
 to the ideas of the composer, for Handel, 
 
1 6 so to I J so. 33 
 
 giving way to his impetuous temper, snatched 
 the fiddle out of Correlli's hand. Corelli 
 mildly remarked, '* My dear Saxon, this 
 music is in the French style, with which I 
 am not acquainted." 
 
 For many years Corelli remained at Rome, 
 but at last he yielded to temptation and 
 went to Naples, where Scarlatti induced 
 him to play some of his concertos before the 
 king. This he did in great fear, for he 
 had not his own orchestra with him. He 
 found Scarlatti's musicians able to play at 
 first sight as well as his own did after re- 
 hearsals, and, the performance going off well, 
 he was again admitted to play, this time 
 one of his sonatas, in the royal presence. 
 The king found the adagio so long and dry 
 that he quitted the room, much to Corelli's 
 mortification. But greater trouble was in 
 store for the virtuoso. Scarlatti had written 
 a masque, which was to be played before 
 the king, but owing to the composer's 
 
34 Famous Violinists. 
 
 limited knowledge of the violin, Corelli's 
 part was very awkward and difficult, and 
 he failed to execute it, while the Neapolitan 
 violinists played it with ease. To make 
 matters worse, Corelli made an unfortunate 
 mistake in the next piece, which was written 
 in the key of C minor, and led off in C 
 major. The mistake was repeated, and 
 Scarlatti had to call out to him to set him 
 right. His mortification was so great that 
 he quietly left Naples and returned to Rome. 
 He found here a new violinist, Valentini, 
 who had won the admiration of the people, 
 and he took it so much to heart that his 
 health failed, and he died in January, 171 3. 
 
 Corelli was buried in princely style in the 
 Pantheon, not far from Raphael's tomb, and 
 Cardinal Ottoboni erected a monument over 
 his grave. During many years after his 
 death a solemn service, consisting of selec- 
 tions from his own works, was performed in 
 the Pantheon on the anniversary of his 
 
j6^o to IJS^' 35 
 
 funeral. On this occasion, the works were 
 performed in a slow, firm, and distinct man- 
 ner, just as they were written, without chang- 
 ing the passages in the way of embellishment, 
 and this is probably the way in which he 
 himself played them. 
 
 Corelli's compositions are remarkable for 
 delicate taste and pleasing melodies and har- 
 monies. He must be considered as the 
 author of the greatest improvement which 
 violin music underwent at the beginning of 
 the eighteenth century. These compositions 
 are regarded as invaluable for the instruction 
 of young players, and some of them may be 
 frequently heard in the concert-room at the 
 present day, two hundred years since they 
 were written. Corelli's most celebrated 
 pupils, Somis, Locatelli, Geminiani, and Anet, 
 settled respectively in Italy, Holland, Eng- 
 land, and Poland. 
 
 Giovanni Battista Somis was born in Pied- 
 mont, and, after studying under Corelli, he 
 
36 Famous Violinists. 
 
 went to Venice and studied under Vivaldi. 
 He was appointed solo violinist to the king 
 at Turin and leader of the royal band, and 
 seems scarcely ever to have left Turin after 
 these appointments. Little is known of his 
 playing or his compositions, but, by the work 
 of his pupils, it is evident that he possessed 
 originality. He formed a style more brilliant 
 and more emotional, and caused a decided 
 step forward in the art of violin playing. 
 He was the teacher of Leclair, Giardini, and 
 Chiabran, as well as Pugnani, and he forms 
 a connecting link between the classical 
 schools of Italy and France. 
 
 Pietro Locatelli was born at Bergamo, and 
 became a pupil of Corelli at a very early age. 
 He travelled considerably, and was undoubt- 
 edly a great and original virtuoso. He has 
 been accused of charlatanism, inasmuch as 
 he overstepped all reasonable limits in his 
 endeavours to enlarge the powers of execu- 
 tion of the violin, and has, on that account, 
 
i6so to ly^o. 37 
 
 been called the grandfather of our modern 
 " finger-heroes." 
 
 Locatelli settled in Amsterdam, where he 
 died in 1764. There he established regular 
 public concerts, and he left a number of com- 
 positions, some of which are used at the 
 present day. 
 
 Jean Baptiste Lulli, one of the earliest 
 violinists in France, is perhaps associated with 
 the violin in a manner disproportionate to 
 the part he actually played in its progress. 
 He was a musician of great ability, and his 
 compositions are occasionally heard even to 
 this day. Lulli was born near Florence about 
 1633. When quite young he was taken to 
 France by the Chevalier de Guise, and 
 entered the service of Mile, de Montpensier. 
 He was employed in the kitchen, where he 
 seems to have lightened his burdens by play- 
 ing tricks on the cook and tunes on the 
 stewpans. He also beguiled his leisure hours 
 by playing the violin, in which art he made 
 
38 Famojis Violinists, 
 
 such progress that the princess engaged a 
 regular instructor for him. Fortunately, as 
 it turned out, his wit led him into composing 
 a satirical song on his employer, and he was 
 sent off, but shortly afterwards secured a post 
 as one of the king's violinists in the cele- 
 brated band of the twenty-four violins. Soon 
 after this a special band called Les Petits 
 Violons was formed with Lulli at their head, 
 and under his direction it surpassed the band 
 of twenty-four. 
 
 Lulli found great favour at court, and, 
 indeed, astonished the world with his ex- 
 quisite taste and skill. That he was firmly 
 established in the favour of the king is 
 shown by the story that, when Corelli came 
 to France and played one of his sonatas. 
 King Louis listened without showing any 
 sign of pleasure, and, sending for one of his 
 own violinists, requested him to play an aria 
 from Lulli's opera of " Cadmus et Hermione," 
 which, he declared, suited his taste. 
 
i6^o to ly^o. 39 
 
 There is little doubt that the principles of 
 the great Italian school of violin playing 
 were, some years later, brought into France 
 by Anet, who was born in 1680, and returned 
 from Italy about 1700, but owing to the 
 jealousies of his colleagues, he found it ad- 
 visable to leave France in a short time, and 
 he is said to have spent the rest of his life as 
 conductor of the private band of a nobleman 
 in Poland. 
 
 LuUi is said to have been very avaricious, 
 and his wealth included four houses, all in 
 the best quarters of Paris, together with 
 securities and appointments worth about 
 $70,000. His death, in 1687, was caused 
 by a peculiar accident. While conducting 
 a performance of his orchestra he struck his 
 foot with the cane which he used for mark- 
 ing the time. The bruise gradually assumed 
 such a serious condition that it ended his 
 life. 
 
 Jean Baptiste Senaille, who was a pupil of 
 
40 Famous Violinists. 
 
 Anet, was born in 1687, and turned to the 
 Italian school. In 1719 he entered the ser- 
 vice of the Duke of Orleans. 
 
 Francesco Geminiani was considered the 
 ablest of the pupils of Corelli, and was born 
 about 1680. When about twenty-four years 
 of age he went to England, where his talent 
 secured a great reputation for him, some 
 people even declaring him to be superior, as 
 a player, to Corelli. He lived to an advanced 
 age, and was in Dublin visiting his pupil Du- 
 bourg at the time of his death. He was a 
 man of unsettled habits, and was frequently 
 in dire necessity, caused chiefly by his love 
 of pictures, which led him into unwise pur- 
 chases, and thus frequently into debt. 
 
 About the year 1650 three violinists were 
 born in Italy, who all left their mark upon 
 the history of violin playing. 
 
 Tommaso Vitali was born at Bologna, and 
 was leader of the orchestra in that city, and 
 later in Modena. 
 
i6jO to ly^o. 41 
 
 Giuseppe Torelli was leader of a church 
 orchestra in Bologna, and afterwards accepted 
 the post of leader of the band of the Mark- 
 graf of Brandenburg-Anspach, at Anspach, 
 in Germany. To him is generally ascribed 
 the invention of the " Concerto." 
 
 Antonio Vivaldi was the son of a violin- 
 ist, and sought his fortune in Germany, but 
 returned to his native city in 1713. He 
 wrote extensively for the violin, and is said 
 to have added something to the development 
 of its technique. An anecdote is told of him 
 to the effect that one day during mass a 
 theme for a fugue struck him. He immedi- 
 ately quitted the altar at which he was offici- 
 ating, for he united clerical with musical 
 duties, and, hastening to the sacristy to write 
 down the theme, afterwards returned and 
 finished the mass. For this he was brought 
 before the Inquisition, but being considered 
 only as a '' musician," a term synonymous 
 with *' madman," the sentence was mild, 
 
42 Famous Violinists. 
 
 — he was forbidden to say mass in the 
 future. 
 
 The most illustrious pupil of Vivaldi was 
 Francesco Maria Veracini, who was born 
 about 1685. He is said to have been a 
 teacher of Tartini, who, if he did not actually 
 receive instruction from him, at least profited 
 by his example. 
 
 Veracini' s travels were extensive, for he 
 visited London in 17 14 and remained there 
 two years, during which time he was very 
 successful. He then went to Dresden, where 
 he was made composer and chamber virtuoso 
 to the King of Poland. 
 
 While in Dresden he threw himself out of 
 a window and broke his leg, an injury from 
 which he never entirely recovered. This act 
 is said to have been caused by his mortifica- 
 tion at a trick which was played upon him 
 for his humiliation by Pisendel, an eminent 
 violinist, but this story is discredited by 
 some of the best authorities. 
 
i6^o to 1730. 43 
 
 He left Dresden and went to Prague, where 
 he entered the service of Count Kinsky. In 
 1736 he again visited London, but met with 
 little success, owing to the fact that Gemi- 
 niani had ingratiated himself with the public. 
 In 1847 Veracini returned to Pisa. 
 
 Veracini has been sometimes ranked with 
 Tartini as a performer. He was also a com- 
 poser of ability. In making a comparison of 
 him with Geminiani it has been said that 
 Geminiani was the spirit of Corelli much 
 diluted, while Veracini was the essence of 
 the great master fortified with Veau de vie. 
 
 Veracini was conceited and vainglorious, 
 and these traits of his character have given 
 rise to a number of rather inconsequential 
 stories. He was a most excellent conductor 
 of orchestra, and Doctor Burney mentions 
 having heard him lead a band in such a bold 
 and masterly manner as he had never before 
 witnessed. Soon after leaving London Vera- 
 cini was shipwrecked, and lost his two Stainer 
 
44 Famous Violinists. 
 
 violins, which he stated were the best in the 
 world. These instruments he named St. 
 Peter and St. Paul. 
 
 The name of Giuseppe Tartini will ever 
 live as that of one of the greatest performers 
 on, and composers for, the violin. Born at 
 Pirano, in 1692, his career may be said to 
 have commenced with the eighteenth century. 
 He was not only one of the greatest violinists 
 of all time, and an eminent composer, but he 
 was a scientific writer on musical physics, 
 and was the first to discover the fact that, 
 in playing double stops, their accuracy can 
 be determined by the production of a third 
 sound. He also wrote a little work on the 
 execution and employment of the various 
 kinds of shakes, mordents, cadenzas, etc., 
 according to the usage of the classical 
 Italian school. 
 
 Tartini' s father, who was an elected 
 Nobile of Parenzo, being a pious Church 
 benefactor, intended his son for the Church, 
 
i6^o to iJS^' 45 
 
 and sent him to an ecclesiastical school at 
 Capo d'Istria, where he received his first 
 instruction in music. Finding himself very 
 much averse to an ecclesiastical career, 
 Tartini entered the University of Padua to 
 study law, but this also proved distasteful 
 to him. He was a youth of highly impul- 
 sive temperament, and became so much 
 enamoured of the art of fencing that he, 
 at one time, seriously contemplated adopting 
 it as a profession. This very impulsive 
 nature caused him to fall in love with a 
 niece of the Archbishop of Padua, to whom 
 he was secretly married before he was 
 twenty years of age. 
 
 The news of this marriage caused Tartini's 
 parents to withdraw their support from him, 
 and it so enraged the archbishop that the 
 bridegroom was obliged to fly from Padua. 
 After some wanderings he was received into 
 a monastery at Assisi, of which a relative 
 was an inmate. Here he resumed his mu- 
 
46 Famous Violmists. 
 
 sical studies, but though he learned com- 
 position of Padre Boemo, the organist of 
 the monastery, he was his own teacher on 
 the violin. The influence of the quiet monas- 
 tic life caused a complete change in his 
 character, and he acquired the modesty of 
 manner and serenity of mind for which he 
 was noted later in life. 
 
 One day, during the service, a gust of 
 wind blew aside the curtain behind which 
 Tartini was playing, and a Paduan, who 
 remembered the archbishop's wrath and 
 recognised the object of it, carried the 
 news of his discovery to the worthy prelate. 
 Time had, however, mollified him, and instead 
 of still further persecuting the refugee, he 
 gave his consent to the union of the young 
 couple, and Tartini and his wife went to 
 Venice, where he intended to follow the 
 profession of a violinist. 
 
 Here he met and heard Francesco Maria 
 Veracini, who was some seven years his 
 
i6^o to I J SO' 47 
 
 senior, and whose style of playing made 
 such a deep impression on him that he at 
 once withdrew to Ancona, to correct the 
 errors of his own technique, which, as he 
 was self-taught, were not a few. 
 
 After some years of study and retirement, 
 he reappeared at Padua, where he was 
 appointed solo violinist in the chapel of 
 San Antonio, the choir and orchestra of 
 which already enjoyed a high reputation. 
 It is said that the performance of Veracini 
 had an effect upon Tartini beyond that of 
 causing him to quit Venice. It made him 
 dream, and the dream as told by Tartini 
 himself to M. de Lalande is as follows : 
 
 "He dreamed one night (in 171 3) that 
 he had made a compact with the devil, who 
 promised to be at his service on all occa- 
 sions ; and, during this vision, everything 
 succeeded according to his mind ; his wishes 
 were anticipated, and his desires always sur- 
 passed, by the assistance of his new servant. 
 
48 Famous Violinists. 
 
 In short, he imagined that he presented the 
 devil with his violin, in order to discover 
 what kind of a musician he was, when, to 
 his great astonishment, he heard him play 
 a solo so singularly beautiful, which he exe- 
 cuted with such superior taste and precision, 
 that it surpassed all the music he had ever 
 heard or conceived in his life. So great was 
 his surprise, and so exquisite his delight 
 upon this occasion, that it deprived him of 
 the power of breathing. He awoke with the 
 violence of his sensations, and instantly 
 seized his fiddle in hopes of expressing what 
 he had just heard ; but in vain. He, how- 
 ever, directly composed a piece, which is 
 perhaps the best of all his works, and called 
 it the ' Devil's Sonata ; ' he knew it, how- 
 ever, to be so inferior to what his sleep had 
 produced, that he stated he would have 
 broken his instrument, and abandoned music 
 for ever, if he could have subsisted by 
 other means." 
 
i6^o to iJS^' 49 
 
 This composition is said to have secured 
 for him the position in the chapel of San 
 Antonio, where he remained until 1723, in 
 which year he was invited to play at the 
 coronation festivities of Charles VI. at 
 Prague. On this occasion he met Count 
 Kin sky, a rich and enthusiastic amateur, 
 who kept an excellent private orchestra. 
 Tartini was engaged as conductor and re- 
 mained in that position three years, then 
 returning to his old post at Padua, from 
 which nothing induced him to part, except 
 for brief intervals. At Padua Tartini carried 
 on the chief work of his life and established 
 the Paduan school of violin playing. His 
 ability as a teacher is proved by the large 
 number of excellent pupils he formed. 
 Nardini, Bini, Manfredi, Ferrari, Graun, and 
 Lahoussaye are among the most eminent, 
 and were attached to him by bonds of most 
 intimate friendship to his life's end. 
 
 Tartini's contemporaries all agree in credit- 
 
50 Famous Violinists. 
 
 ing him with those quaHties which make a 
 great player. He had a fine tone, unhmited 
 command of fingerboard and bow, enabling 
 him to overcome the greatest difficulties 
 with remarkable ease, perfect intonation in 
 double stops, and a most brilliant shake 
 and double-shake, which he executed equally 
 well with all fingers. The spirit of rivalry 
 had no place in his amiable and gentle dis- 
 position. Both as a player and composer 
 Tartini was the true successor of Corelli, 
 representing in both respects the next step 
 in the development of the art. 
 
 Tartini lived until the year 1770. He had, 
 as Doctor Burney says, "no other children 
 than his scholars, of whom his care was 
 constantly paternal." Nardini, his first and 
 favourite pupil, came from Leghorn to see 
 him in his sickness and attend him in his 
 last moments with true filial affection and 
 tenderness. He was buried in the Church 
 of St. Catharine, a solemn requiem being 
 
i6^o to 17^0. 51 
 
 held in the chapel of San Antonio, and at a 
 later period his memory was honoured by a 
 statue which was erected in the Prato della 
 Valle, a public walk at Padua, where it may 
 be seen among the statues of the most 
 eminent men connected with that famous 
 university. 
 
 Jean Marie Leclair, a pupil of Somis, 
 was a Frenchman, born at Lyons, and he 
 began life as a dancer at the Rouen The- 
 atre. He went to Turin as ballet master 
 and met Somis, who induced him to take 
 up the violin and apply himself to serious 
 study. On returning to Paris, he was ap- 
 pointed ripieno-violinist at the Opera, and 
 in 1 73 1 became a member of the royal 
 band, but he, although undoubtedly su- 
 perior to any violinist in Paris at that 
 time, never seems to have made much of a 
 success, for he resigned his positions and 
 occupied himself exclusively with teaching 
 and composition, and it is on the merits of 
 
52 Famous Violinists. 
 
 his works that he occupies a high place 
 among the great classical masters of the 
 violin. Leclair was murdered late one night 
 close to the door of his own house, shortly 
 after his return from Amsterdam, to which 
 place he had gone solely for the purpose of 
 hearing Locatelli. No motive for the crime 
 was ever discovered, nor was the murderer 
 found. 
 
 Gaetano Pugnani was a native of Turin, 
 and to him more than to any other master 
 is due the preservation of the pure, grand 
 style of Corelli, Tartini, and Vivaldi, for he 
 combined the prominent qualities of style 
 and technique of all three. He became 
 first violin to the Sardinian court in 1752, 
 but travelled extensively. He made long 
 stays in Paris and London, where he was 
 for a time leader of the opera band, and 
 produced an opera of his own, also publish- 
 ing a number of his compositions. In 1770 
 he was at Turin, where he remained to the 
 
1 6 so to ly^o. 53 
 
 end of his life as teacher, conductor, and 
 composer. 
 
 Felice Giardini, another pupil of Somis, 
 was bom at Turin and became one of the 
 foremost violinists in Europe. In 1750 he 
 went to England where he made his first 
 appearance at a benefit concert for Cuzzoni, 
 the celebrated opera singer, then in the sere 
 and yellow leaf of her career. His perform- 
 ance was so brilliant that he became estab- 
 lished as the best violinist who had yet 
 appeared in England, and in 1754 he was 
 placed at the head of the opera orches- 
 tra, succeeding Festing. Soon afterwards 
 he joined with the singer Mingotti in the 
 management of opera, but the attempt was 
 not a financial success. Notwithstanding his 
 excellence as a performer and composer and 
 the fine appointment which he held, Giardini 
 died in abject poverty at Moscow, to which 
 place he had gone after finding himself 
 superseded in England by newcomers. 
 
54 Famous Violinists. 
 
 Among the pupils of Tartini the most 
 eminent was Pietro Nardini, who was born 
 at Fibiano, a village of Tuscany, in 1722. 
 He became solo violinist at the court of 
 Stuttgart and remained there fifteen years. 
 In 1767 he went to Leghorn for a short 
 time, and then returned to Padua, where he 
 remained with his old master Tartini until 
 the latter' s death, when he was appointed 
 director of music to the court of the Duke of 
 Tuscany, in whose service he remained many 
 years. 
 
 Of his playing, Leopold Mozart, himself 
 an eminent violinist, writes : " The beauty, 
 purity and equality of his tone, and the taste- 
 fulness of his cantabile playing, cannot be 
 surpassed ; but he does not execute great 
 difficulties." His compositions are marked 
 by vivacity, grace, and sweet sentimentality, 
 but he has neither the depth of feeling, the 
 grand pathos, nor the concentrated energy of 
 his master Tartini. 
 
1 6 so to ijso. 55 
 
 Antonio Lolli, who was born at Bergamo 
 about 1730, appears to have been some- 
 what of a charlatan. He was self-taught, 
 and, though a performer of a good deal of 
 brilliancy, was but a poor musician. He was 
 restless, vain, and conceited, and addicted to 
 gambling. He is said to have played the 
 most difficult double-stops, octaves, tenths, 
 double-shakes in thirds and sixths, harmon- 
 ics, etc., with the greatest ease and cer- 
 tainty. At one time he appeared as a rival 
 of Nardini, with whom he is said to have 
 had a contest, and whom he is supposed to 
 have defeated. According to some accounts, 
 he managed to excite such universal admira- 
 tion in advance of the contest that Nardini 
 withdrew. 
 
 Lolli was so eccentric that he was con- 
 sidered by many people to be insane, and 
 Doctor Burney, in writing of him, says, 
 " I am convinced that in his lucid inter- 
 vals, he was in a serious style a very great, 
 
56 Famous Violinists. 
 
 expressive, and admirable performer ; " but 
 Doctor Burney does not mention any lucid 
 interval. 
 
 Early in the eighteenth century Franz 
 Benda was born in Bohemia at the village of 
 Altbenatky, and Benda became the founder 
 of a German school of violin playing. In 
 his youth he was a chorister at Prague and 
 afterward in the Chapel Royal at Dresden. 
 At the same time he began to study the 
 violin, and soon joined a company of stroll- 
 ing musicians who attended fetes, fairs, etc. 
 At eighteen years of age Benda abandoned 
 this wandering life and returned to Prague, 
 going thence to Vienna, where he pursued 
 his study of the violin under Graun, a pupil 
 of Tartini. After two years he was ap- 
 pointed chapel master at Warsaw, and eventu- 
 ally he became a member of the Prince Royal 
 of Prussia's band, and then concert master 
 to the king. 
 
 Benda was a master of all the difficulties 
 
1 6^0 to ly^o. 57 
 
 of violin playing, and the rapidity of his 
 execution and the mellow sweetness of his 
 highest notes were unequalled. He had 
 many pupils and wrote a number of works, 
 chiefly exercises and studies for the violin. 
 
 A violinist whose career had a great influ- 
 ence on musical life in England was Johann 
 Peter Salomon, a pupil of Benda, and it is 
 necessary to speak of him because his name 
 is so frequently mentioned in connection 
 with other artists during the latter half of 
 the eighteenth century. 
 
 Salomon was born at Bonn in the same 
 house in which Beethoven was born, and of 
 Salomon, after his death, Beethoven wrote : 
 ** Salomon's death grieves me much, for he 
 was a noble man, and I remember him ever 
 since I was a child." 
 
 Salomon became an expert violinist at an 
 early age, and travelled a good deal in Eu- 
 rope before he settled in England, which was 
 in 1 78 1, when he made his appearance at 
 
58 Famous Violinists. 
 
 Covent Garden Theatre. He was criticised 
 thus : " He does not play in the most 
 graceful style, it must be confessed, but his 
 tone and execution are such as cannot fail 
 to secure him a number of admirers in the 
 musical world." 
 
 He established a series of subscription 
 concerts at the Hanover Square rooms, and 
 produced symphonies of Mozart and Haydn. 
 In fact, he was connected with almost every 
 celebrity who appeared in England for many 
 years. He was instrumental in bringing 
 Haydn to England, and toward the end of 
 his career he was actively interested in the 
 foundation of the Philharmonic Society. He 
 was noted more as a quartet player than as 
 a soloist, and Haydn's last quartets were 
 composed especially to suit his style of play- 
 ing. He was a man of much cultivation and 
 moved in distinguished society. His death 
 was caused by a fall from his horse. He 
 was the possessor of a Stradivarius violin 
 
i6so to ly^o. 59 
 
 which was said to have belonged to Corelli 
 and to have had his name upon it. This he 
 bequeathed to Sir Patrick Blake of Bury St. 
 Edmunds. 
 
CHAPTER III. 
 
 1750 TO 1800. 
 
 Giovanni Baptiste Viotti has been 
 called the last great representative of the 
 classical Italian school, and it is also stated 
 that with Viotti began the modern school of 
 the violin. In whatever light he may be 
 regarded, he was undoubtedly one of the 
 greatest violinists of all. He retained in his 
 style of playing and composing the dignified 
 simplicity and noble pathos of the great mas- 
 ters of the Italian school, treating his instru- 
 ment above all as a singing voice, and keeping 
 strictly within its natural resources. Accord- 
 ing to Baillot, one of his most distinguished 
 pupils, his style was " perfection," a word 
 which covers a host of virtues. 
 
 60 
 
i^jO to 1800. 61 
 
 Viotti was born in 1753 at Fontanetto, a 
 village in Piedmont. His first musical in- 
 struction was received from his father, who 
 is severally mentioned as a blacksmith and 
 as a horn player. His musical talent being 
 early noticeable, he was sent to Turin and 
 placed by Prince Pozzo de la Cisterna under 
 the tutelage of Pugnani, and was soon re- 
 ceived into the royal band. In 1780 he 
 travelled extensively, visiting Germany, Po- 
 land, and Russia, and meeting with great 
 success. The Empress Catharine endeav- 
 oured to induce him to remain at St. Peters- 
 burg, but without success, and he proceeded 
 to London, where he soon eclipsed all other 
 violinists. In 1782 he went to Paris and 
 made his debut at the celebrated Concert 
 Spirituels. He was at once acknowledged 
 as the greatest living violinist, but soon after 
 this he ceased altogether to play in public. 
 This decision seems to have been caused by 
 the fact that an inferior player once achieved 
 
62 Famous Violinists, 
 
 a greater success than he. He was evidently 
 of a sensitive nature, and there is an anecdote 
 told of him which is amusing even if its 
 authenticity is open to question. Viotti was 
 commanded to play a concerto at the Court 
 of Louis XVL, at Versailles, and had pro- 
 ceeded through about half of his perform- 
 ance, when the attention of the audience 
 was diverted by the arrival of a distinguished 
 guest. Noise and confusion reigned where 
 silence should have been observed, and Viotti, 
 in a fit of indignation, removed the music 
 from the desk and left the platform. 
 
 In 1783 Viotti returned to Italy for a 
 short time, but the following year he was 
 back in Paris teaching, composing, and bene- 
 fiting the art of music in every way except 
 by public performance. He became the 
 artistic manager of the Italian Opera, and 
 brought together a brilliant number of singers. 
 In this business he came in contact with 
 Cherubini, the composer, with whom he was 
 
ly^o to 1800. 63 
 
 on great terms of friendship. This enter- 
 prise was suddenly stopped by the revolution, 
 and Viotti was obliged to leave France, 
 having lost almost everything that he pos- 
 sessed. 
 
 He went to London and renewed his 
 former successes, playing again in public at 
 Salomon's concerts, and in the drawing-rooms 
 of the aristocracy. But here his ill-luck 
 followed him, for London being full of French 
 refugees, and the officials being suspicious of 
 them all, he was warned to leave England, as 
 it was feared that he was connected with 
 some political conspiracy. 
 
 This misfortune occurred in 1798, and 
 Viotti retired to a small village called Schoen- 
 feld, not far from Hamburg, where he lived 
 in strict seclusion. During this time he 
 was by no means idle, for he composed some 
 of his finest works, notably the six duets for 
 violins, which he prefaced by these words : 
 " This book is the fruit of leisure afforded me 
 
64 Famous Violinists. 
 
 by misfortune. Some of the pieces were 
 dictated by trouble, others by hope." It was 
 also during this period of retirement that he 
 perfected his pupil Pixis, who, with his father, 
 lived at Schoenfeld a whole summer for the 
 express purpose of receiving Viotti's instruc- 
 tion. 
 
 In 1 80 1 Viotti found himself at liberty to 
 visit England once more, but when he re- 
 turned he astonished the world by going into 
 the wine business, in which he succeeded in 
 getting rid of the remainder of his fortune. 
 As a man of business the strictest integ- 
 rity and honour regulated his transactions, 
 and his feelings were kind and benevolent, 
 whilst as a musician, he is said never to have 
 been surpassed in any of the highest qualities 
 of violin playing. 
 
 At the close of his career as a wine mer- 
 chant, he returned to Paris to resume his 
 regular profession, and was appointed director 
 of the Grand Op6ra, but he failed to rescue 
 
//JO to 1800, 65 
 
 the opera from its state of decadence, and, 
 finding the duties too arduous for one of his 
 age and state of health, he retired on a small 
 pension. In 1822 he returned once more to 
 England, where he passed the remainder of 
 his life in quietude. 
 
 While travelling in Switzerland, and enjoy- 
 ing the beauties of the scenery, Viotti heard 
 for the first time the plaintive notes of the 
 Ranz des Vaches given forth by a mountain 
 horn, and this melody so impressed him that 
 he learned it and frequently played it on his 
 violin. The subject was referred to by him 
 with great enthusiasm in his letters to his 
 friends. 
 
 There are numerous anecdotes about Viotti 
 in reference to his ready repartee and to his 
 generous nature. One of the most interest- 
 ing is that concerning a tin violin. He had 
 been strolling one evening on the Champs 
 Elysees, in Paris, with a friend (Langle), when 
 his attention was arrested by some harsh. 
 
66 Famous Violinists. 
 
 discordant sounds, which, on investigation, 
 proved to be the tones of a tin fiddle, played 
 by a blind and aged street musician. Viotti 
 offered the man twenty francs for the curious 
 instrument, which had been made by the old 
 man's nephew, who was a tinker. Viotti 
 took the instrument and played upon it, pro- 
 ducing some most remarkable effects. The 
 performance drew a small crowd, and Langl6, 
 with true instinct, took the old man's hat and, 
 passing it round, collected a respectable sum, 
 which was handed to the aged beggar. 
 
 When Viotti got out his purse to give the 
 twenty francs the old man thought better of 
 his bargain, for, said he, " I did not know the 
 violin was so good. I ought to have at least 
 double the amount for it." 
 
 Viotti, pleased with the implied compli- 
 ment, did not hesitate to give the forty francs, 
 and then walked off with his newly acquired 
 curiosity. The nephew, however, who 
 now arrived to take the old man home, on 
 
ij^o to j8oo. 67 
 
 hearing the story ran after Viotti, and offered 
 to supply him with as many as he would like 
 for six francs apiece. 
 
 Violin literature owes much to Viotti, for 
 his compositions are numerous and contain 
 beauties that have never been surpassed. 
 His advice was sought by many young musi- 
 cians, and among these was Rossini, who was 
 destined to become great. De Beriot also 
 sought out Viotti and played before him, but 
 the old violinist told him that he had already 
 acquired an original style which only re- 
 quired cultivating to lead to success, and that 
 he could do nothing for him. 
 
 Viotti was one of the first to use the 
 Tourte bow, and he studied its effects closely, 
 so that the sweep of his bow became his 
 great characteristic, and was alike the ad- 
 miration of his friends and the despair of 
 his rivals. He died in 1824, after about 
 two years of retirement. 
 
 Among Viotti' s most prominent pupils 
 
68 Famous Violinists. 
 
 were Roberrechts, Pixis, Alday le jeune, 
 Cartier, Rode, Mori, Durand, and Baillot, 
 also Mile. Gerbini and Madame Paravicini. 
 Roberrechts became the teacher of De Be- 
 riot, who in turn taught Vieuxtemps, Teresa 
 Milanollo, and Lauterbach. Baillot taught 
 Habeneck, who taught Alard, Leonard, 
 Prume, Cuvillon, and Mazas. From Alard 
 we have Sarasate, and from Leonard, Mar- 
 sick and Dengremont, while through Rode 
 we have Bohm, and from him a large 
 number of eminent violinists, including G. 
 Hellmesberger, Ernst, Dont, Singer, L. 
 Strauss, Joachim, Rappoldi. Some of them 
 we shall refer to at length as great perform- 
 ers, others were celebrated more as teachers. 
 Rodolphe Kreutzer, who was born at Ver- 
 sailles in 1766, is the third in order of de- 
 velopment of the four great representative 
 masters of the classical violin school of 
 Paris ; the others being Viotti, first. Rode, 
 second, and Baillot, fourth. With Baillot he 
 
Jj^o to 1800. 69 
 
 compiled the famous '' Methode de Violon " 
 for the use of the students at the Con- 
 servatoire. Kreutzer's first teacher was his 
 father, who was a musician in the king's 
 chapel, but he was soon placed under Anton 
 Stamitz, and at the age of thirteen he 
 played a concerto in public, with great suc- 
 cess. This is said by some writers to have 
 been his own composition, though by others 
 it was attributed to his teacher. 
 
 Kreutzer made a tour through the north 
 of Italy, Germany, and Holland, during which 
 he acquired the reputation of being one of 
 the first violinists in Europe. On his return 
 to Paris, he turned his attention to dramatic 
 music, and composed two grand operas, 
 which were performed before the court, and 
 secured for him the patronage of Marie 
 Antoinette. He also became first violin 
 at the Opera Comique, and professor at the 
 Conservatoire, where he formed some ex- 
 cellent pupils, among them being D'Artot, 
 
JO Famous Violinists. 
 
 Rovelli, the teacher of Molique, Massart, 
 the teacher of Wieniawski and Teresina Tua, 
 and Lafont, who also became a pupil of De 
 B^riot. On Rode's departure for Russia, 
 Kreutzer succeeded him as solo violin at 
 the Opera, later becoming Chef d'Orchestre, 
 and after fourteen years' service in this 
 capacity he was decorated with the insignia 
 of the Legion of Honour, and became Gen- 
 eral Director of the Music at the Opera. 
 In 1826 he resigned his post and retired 
 to Geneva, where he died in 1831. Kreut- 
 zer was a prolific composer, and his com- 
 positions include forty dramatic works and 
 a great number of pieces for the violin. 
 
 In 1798, when Kreutzer was at Vienna 
 in the service of the French ambassador, 
 Bernadotte, he made the acquaintance of 
 Beethoven, and was afterwards honoured by 
 that great composer with the dedication to 
 him of the famous Sonata, Op. 47, which 
 was first played by Beethoven and the vio- 
 
ly^o to t8oo. 71 
 
 linist Bridgetower, at the Augarten, in May, 
 1803, either the 17th or the 24th. This 
 is the sonata the name of which Count Leo 
 Tolstoi took for his famous book, though to 
 the vast majority of hearers it will always 
 remain a mystery how the classical har- 
 monies of the sonata could have aroused the 
 passions which form the raison d'etre of 
 the book. 
 
 Kreutzer was noted for his style of bow- 
 ing, his splendid tone, and the clearness of 
 his execution. 
 
 With three such masters as Baillot, Rode, 
 and Kreutzer, besides Viotti, who was fre- 
 quently in Paris, the French school of violin 
 playing had now superseded the Italian. 
 
 Pierre Marie Francois de Sales Baillot, 
 who was associated with Rode and Kreut- 
 zer in the compilation of the celebrated 
 " Methode du Violon," was born at Passy, 
 near Paris, in 1771, and became one of the 
 most excellent violinists that France ever 
 
72 Famotis Violinists. 
 
 produced. His eminence in his profession 
 was not obtained without a long struggle 
 against great difficulties, for at the age of 
 twelve he lost his father, who had kept a 
 school, and became dependent upon friends 
 for his education. His musical talent was 
 remarkable at an early age, and he re- 
 ceived his first instruction from an Italian 
 named Polidori. At the age of nine he was 
 placed under a French teacher named Sainte- 
 Marie, whose training gave him the severe 
 state and methodical qualities by which his 
 playing was always distinguished. 
 
 His love for his instrument was greatly 
 augmented when, at the age of ten, he heard 
 Viotti play one of his concertos, and from 
 that day the great violinist became his 
 model. 
 
 When his father died a year or two later, 
 a government official, M. de Boucheporn, 
 sent him, with his own children, to Rome, 
 where he was placed with Pollani, a pupil of 
 
7750 to 1800. 73 
 
 Nardini, under whom he made rapid progress, 
 and soon began to play in public. He was, 
 however, unable to follow directly in the 
 path of his profession, and for five years he 
 travelled with his benefactor, acting as pri- 
 vate secretary, and securing but little time 
 for his violin playing. 
 
 In 1 79 1 he returned to Paris, and Viotti 
 secured a place for him in the opera orches- 
 tra, but on being offered a position in the 
 Ministere des Finances, he gave up his 
 operatic work, and for some years devoted 
 only his leisure to the study of the violin. 
 He now had to serve with the army for 
 twenty months, at the end of which time he 
 once more determined to take up music as 
 a profession, and soon appeared in public 
 with a concerto of Viotti. This perform- 
 ance established his reputation, and he was 
 offered a professorship of violin playing at 
 the Conservatoire, then recently opened. 
 
 His next appointment was to the private 
 
74 Famous Violinists. 
 
 band of Napoleon, after which he travelled 
 for three years in Russia with the violoncello 
 player Lemare, earning great fame. 
 
 Returning to Paris, he established concerts 
 for chamber music, which proved successful, 
 and built up for him a reputation as an 
 unrivalled quartet player. He travelled 
 again, visiting Holland, Belgium, and Eng- 
 land, and then he became leader of the 
 opera band in Paris and of the royal band. 
 He made a final tour in Switzerland in 1833, 
 and died in 1842. 
 
 Baillot is considered to have been the 
 last distinguished representative of the great 
 classical school of violin playing in Paris. 
 In his " L'Art du Violon " he points out 
 the chief distinction between the old and 
 the modern style of violin playing to be the 
 absence of the dramatic element in the 
 former, and its predominance in the latter, 
 thus enabling the executive art to follow the 
 progress marked out by the composer, and 
 
7 /JO to t8oo. 75 
 
 to bring out the powerful contrasts and en- 
 larged ideas of the modern musical compo- 
 sitions. After the time of Baillot and his 
 contemporaries the style of Paganini be- 
 came predominant in Paris, but the influence 
 of the Paris school extended to Germany, 
 where Spohr must be considered the direct 
 descendant artistically of Viotti and Rode. 
 Perhaps the most illustrious pupil of 
 Viotti was Pierre Rode, who was born at 
 Bordeaux in 1774, and exhibited such excep- 
 tional talent that at the age of sixteen he 
 was one of the violins at the Theatre Fey- 
 deau in Paris. He had made his debut in Paris 
 at the Theatre de Monsieur, when he played 
 Viotti's thirteenth concerto with complete 
 success. In 1794 he began to travel, and 
 made a tour through Holland and North 
 Germany, visiting England, driven there by 
 stress of weather, on his way home. He 
 appeared once in London, and then left for 
 Holland and Germany again. On his return 
 
'j^ Famous Violinists. 
 
 to France he was appointed professor of the 
 violin at the Conservatoire, then newly estab- 
 lished. In 1799 he made a trip to Spain, 
 where he met Boccherini. The following 
 year he returned to Paris, where he was made 
 solo violinist to the First Consul, and it was 
 at this period that he gained his greatest 
 success, when he played with Kreutzer a 
 duo concertante of the latter's composition. 
 After this he went to Russia, where he was 
 enthusiastically received, and was appointed 
 one of the emperor's musicians. The life in 
 Russia, however, overtaxing his strength, 
 from that time his powers began to fail, 
 and he met with many disappointments. In 
 1 814 he married, and, although he made an 
 unsuccessful attempt to renew his public 
 career, he may be said to have retired. He 
 died at Bordeaux in 1830. 
 
 Of Rode's playing in his best days we are 
 told that he displayed all the best qualities of 
 a grand, nob3i^, pure, and thoroughly musical 
 
//JO to 1800. y7 
 
 style. His intonation was perfect, his tone 
 large and pure, and boldness, vigour, deep 
 and tender feeling characterised his per- 
 formances. In fact he was no mere virtuoso 
 but a true artist. His musical nature shows 
 itself in his compositions, which are thor- 
 oughly suited to the nature of the violin, and 
 have a noble, dignified character and consid- 
 erable charm of melody, though they show 
 only moderate creative power. He had few 
 pupils, but his influence through his example 
 during his travels, and through his composi- 
 tions, was very great indeed. 
 
 Beethoven wrote for Rode, after hearing 
 him play in Vienna, the famous violin Ro- 
 mance in F, Op. 50, one of the highest pos- 
 sible testimonials to Rode's ability as a 
 violinist. It is known, however, that he 
 was obliged to seek assistance in scoring his 
 own compositions, and therefore lacked an 
 important part of a musical education. 
 
 The most celebrated pupil of Baillot was 
 
yS Famous Violinists. 
 
 Francois Antoine Habeneck, the son of a 
 musician in a French regimental band. 
 During his early youth Habeneck was 
 taught by his father, and at the age of ten 
 played concertos in public. He visited many 
 places with his father's regiment, which was 
 finally stationed at Brest. At the age of 
 twenty he went to Paris and entered the 
 Conservatoire, where in 1 804 he was awarded 
 first prize for violin playing, and became a 
 sub-professor. 
 
 The Empress Josephine, on hearing him 
 play, was so pleased that she granted him a 
 pension of twelve hundred francs. He be- 
 came one of the first violins at the Opera, but 
 his special forte was as leader of orchestras, 
 and he held that post at the Conservatoire, 
 on account of his efficiency, until 181 5, when 
 the advent of the allied armies caused it to 
 be closed. 
 
 Habeneck was instrumental in bringing 
 forward the great orchestral works of Bee- 
 
IJS^ to 1800. 79 
 
 thoven. He became director of the Grand 
 Op^ra, and inspector - general of the Con- 
 servatoire. 
 
 Habeneck is said to have been greatly 
 addicted to taking snuff, and this habit led 
 to an amusing episode with Berlioz, which 
 the latter regarded in a very unfriendly light. 
 At a public performance of the Requiem of 
 Berlioz, the composer had arranged with 
 Habeneck to conduct the music, Berlioz 
 taking his seat close behind the conductor. 
 The work was commenced, and had been 
 proceeded with some little time, when Habe- 
 neck (presumably taking advantage of what 
 seemed to him a favourable moment) placed 
 his baton on the desk, took out his snuff- 
 box, and proceeded to take a pinch. Berlioz, 
 aware of the breakers ahead, rushed to the 
 helm and saved the wreck of his composition 
 by beating time with his arm. Habeneck, 
 when the danger was passed, said, '' What 
 a cold perspiration I was in ! Without you 
 
8o Famotis Violinists. 
 
 we should assuredly have been lost." " Yes," 
 said the composer, '' I know it well," accom- 
 panying his words with an expression of 
 countenance betokening suspicion of Habe- 
 neck's honesty of purpose. The violinist 
 little dreamed that this gratification of his 
 weakness for snuff-taking would be regarded 
 in the pages of Berlioz's Memoirs as having 
 been indulged in from base motives. 
 
 Habeneck died in 1849. He published 
 only a few of his compositions. 
 
 One of the most eminent violinists of the 
 French school, who flourished during the 
 early part of the nineteenth century, was 
 Charles Philippe Lafont. Besides brilliant 
 technical capabilities he had a sympathetic 
 tone and a most elegant style, and these 
 qualities gave him a very high position in 
 the ranks of performers. 
 
 Lafont was born at Paris, December 7, 
 1 78 1, and received his first lessons from his 
 mother, who afterward placed him under her 
 
ij^o to 1800. 81 
 
 brother, Berthaume. Under his care he 
 made a successful concert tour through 
 Germany and other countries as early as 
 1792, after which he returned to Paris 
 and settled down to study under Rudolf 
 Kreutzer. 
 
 For a time his studies were interrupted 
 by an attempt to become a singer, and he 
 appeared at the Theatre Feydeau, which had 
 then been opened by Viotti. This diversion 
 being soon at an end, he returned to the vio- 
 lin, but on the outbreak of the revolution 
 in France he left the country and travelled 
 throughout Europe, being absent from Paris, 
 with the exception of a short visit in 1805, 
 until 1 81 5. 
 
 During his travels he was made chamber 
 virtuoso to the Czar Alexander, and on his 
 return to France he became first violinist 
 of the royal chamber musicians of Louis 
 XVIII. , and musical accompanist to the 
 Duchesse de Berry. 
 
82 Famous Violinists. 
 
 Lafont's career came to a sudden end by 
 the overturning of a carriage while on a 
 concert tour in the south of France in 
 
 1839. 
 
 He was one of the numerous vioHnists 
 who challenged Paganini to an artistic duel, 
 in which he got the worst of it, though his 
 admirers accounted for his defeat by the fact 
 that the contest took place at La Scala, in 
 Milan, where the sympathy of the audience 
 was in favour of the Italian virtuoso. 
 
 Lafont was a prolific composer, but few of 
 his works have survived. He was also the 
 owner of a magnificent Guarnerius violin, 
 which is now said to be the property of 
 Adolf Brodsky. 
 
 As a composer Spohr probably influenced 
 the modern style of violin playing even more 
 than as a player, for he lifted the concerto to 
 the dignity of a work of art, whereas it had 
 formerly been simply a show piece, though 
 not always without merit. He set a great 
 
ij^o to 1800. 83 
 
 example of purity of style and legitimate 
 treatment of the instrument, and is consid- 
 ered to have had a more beneficial effect 
 on violin playing than Paganini, who was born 
 in the same year, 1 784. 
 
 Louis Spohr was the son of a physician, 
 who, two years after Louis was born at 
 Brunswick, took up his residence at Seesen, 
 where the childhood of the future virtuoso 
 was passed. Both father and mother were 
 musical, the former playing the flute, while 
 the latter was a pianist and singer. It is 
 said that young Spohr showed his talents 
 remarkably early, and was able to sing duets 
 with his mother when only four years of age. 
 At five he began to learn the violin and at 
 six he could take part in Kalkbrenner's trios. 
 He also began to compose music, and under 
 his father's methodical guidance acquired the 
 habit of finishing everything that he began 
 to write, without erasure or alteration. His 
 instruction in the art of composition was 
 
84 Famous Violmists. 
 
 confined to the mere rudiments, and he 
 acquired the art chiefly by studying the 
 scores of the great composers. 
 
 Spohr's first public appearance was at a 
 school concert, and such was his success that 
 he was asked to repeat the performance at 
 a concert given by the duke's band. More 
 study ensued, and then, at the age of four- 
 teen, he undertook to make his first artistic 
 tour, and set out for Hamburg, carrying with 
 him some letters of introduction. 
 
 It seems that the people of Hamburg did 
 not show much enthusiasm over the young 
 artist, for he was unable to arrange a hearing, 
 and, having exhausted his funds, he returned 
 to Brunswick in the time-honoured manner of 
 unsuccessful artists, — on foot. Spohr's ex- 
 perience seems to have produced upon him 
 the same effect that many aspiring young 
 players have since felt, viz., that he had 
 better go on with his studies. He accord- 
 ingly presented a petition to the Duke of 
 
ijS^ /^ J 800. 85 
 
 Brunswick asking for means to carry out his 
 desires. The duke was pleased with hini, 
 and not only gave him a place in his band, 
 but also agreed to pay his expenses while he 
 studied with one of the most eminent teach- 
 ers of the day. 
 
 Neither Viotti nor Ferdinand Eck could 
 receive him as a pupil, but by the advice of 
 the latter, young Spohr was placed under his 
 brother, Franz Eck, who was then travelling 
 in Germany. With Franz Eck an agreement 
 was made by the duke, under which Spohr 
 should travel with him, and study €7i route. 
 During the continuance of this agreement 
 Spohr practised sometimes ten hours a day, 
 and being so constantly with his teacher he 
 made great progress. On his return to 
 Brunswick he was appointed first violinist 
 in the duke's band, and the follov^'ing year he 
 once more undertook a concert tour on his 
 own account, travelling through Saxony and 
 Prussia, and meeting with great enthusiasm. 
 
S6 Famous Violinists. 
 
 While in Russia he met Clementi and 
 Field, and he was presented with a most 
 valuable Guarnerius violin by an enthusiast. 
 This instrument he lost while on the way to 
 France, where he intended to make a concert 
 tour. Just before entering Gottingen the 
 portmanteau which contained the violin was 
 taken from the coach, and owing to the 
 delays of officialism it was never recovered. 
 The thieves had been seen with the booty in 
 their possession, but m order to arrest them 
 it was necessary to travel some nine miles 
 for the necessary warrant and officer. In 
 the meantime they had disappeared, as 
 thieves occasionally do. 
 
 In 1805 Spohr was appointed concert- 
 master in the band of the Duke of Gotha, 
 and while holding this position he met, 
 wooed, and wedded the Fraulein Dorothea 
 Scheidler, an excellent harp player, who for 
 many years afterwards appeared with him in 
 aU his concerts, and for whom he wrote 
 
//JO to 1800. 87 
 
 many solo pieces as well as some sonatas for 
 violin and harp. In view of this important 
 step the following description of Spohr's 
 personal appearance may be interesting : 
 "The front of Jove himself is expressed in 
 the expansive forehead, massive, high, and 
 broad ; the speaking eyes that glance stead- 
 fastly and clearly under the finely pencilled 
 arches of the eyebrows, which add a new 
 grace to their lustrous fire ; the long, straight 
 nose with sharply curved nostrils, imperial 
 with the pride of sensibility and spiritual 
 power ; the firm, handsome mouth, and the 
 powerful chin, with its strong outlines melted 
 into the utter grace of oval curves. In its 
 calmness and repose, in its subdued strength 
 and pervading serenity, it is the picture of 
 the man's life in little." Spohr seems to 
 have been somewhat attractive. 
 
 Another authority tells us, in less flowery 
 language, that he was of herculean frame and 
 very strong constitution. 
 
88 Famous Violinists. 
 
 In 1807 he made a tour, with his wife, 
 through Germany, and while at Munich the 
 king showed his gallantry to Madame Spohr 
 in a most gracious manner. The usher had 
 neglected to place a chair on the platform 
 for her, and the king handed up his own 
 gilded throne chair, in spite of her protesta- 
 tions. The anecdote would be more satis- 
 factory if it stated what the king sat upon 
 during the concert, but that is left to the 
 imagination. The king had some bad habits, 
 and, we are told, was very fond of playing 
 cards during the concerts. Spohr was not 
 accustomed to having his audiences indulge 
 in cards, and so informed the chamberlain, 
 absolutely declining to play unless the cards 
 were put aside for the time being. It was 
 a delicate task that fell to the lot of the 
 chamberlain, but he carried it through with 
 the greatest diplomacy, each side making 
 a slight concession : the king on his part 
 promising to abstain from card playing during 
 
//JO to t8oo. 89 
 
 Spohr's performance on condition that the 
 violinist's two pieces should immediately 
 follow each other on the program, and Spohr 
 withdrawing his embargo from the whole 
 concert on condition that the king would 
 abstain from his favourite amusement during 
 his particular performance. The king, how- 
 ever, seems to have put in the last blow, for 
 on the conclusion of the violin solos he gave 
 no signal for applause, and as it would be 
 a breach of court manners for any one to 
 applaud without his Majesty's consent, the 
 artist was obliged to make his bow and retire 
 amidst deathly silence. 
 
 In 1808 Spohr wrote his first opera, but 
 although it was accepted for representation, 
 it was never performed in public. 
 
 During this year Napoleon held his cele- 
 brated congress of princes at Erfurt. Spohr 
 was consumed by a burning desire to behold 
 Napoleon and the surrounding princes, and 
 went to Erfurt. Here he found that a 
 
90 Famous Violinists. 
 
 French theatrical troupe was performing 
 every evening before the august assembly, 
 but only the privileged few could by any 
 possibility gain admittance to the theatre. 
 Spohr's ingenuity was equal to the emer- 
 gency, and making friends with the second 
 horn player, he induced that artist to allow 
 him to substitute for him one night. Spohr 
 had never in his life attempted to play the 
 horn, but it was now necessary for him to 
 acquire the art before night, and he set to 
 work with such vim that by the time of the 
 performance his lips were swollen and black, 
 but he was able to produce the requisite 
 tones. The orchestra having received strict 
 injunctions to sit with their backs to the 
 brilliant assembly, probably to protect their 
 eyesight from its dazzling effects, Spohr 
 fitted himself out with a small mirror, and 
 placing this upon his music-rack, he was 
 able to enjoy for a couple of hours the vision 
 of the great Napoleon, who, with his most 
 
//JO to 1800. 91 
 
 distinguished guests, occupied the front row 
 of the stalls. 
 
 Spohr remained at Gotha until 181 3, when 
 he was offered and accepted the post of the 
 leadership at the Theatre an der Wien at 
 Vienna, and while here he composed his 
 opera of " Faust," which, however, was not 
 produced at that time. He also wrote a 
 cantata in celebration of the battle of Leip- 
 zig, which he did not succeed in producing, 
 and not feeling satisfied with his position, 
 and having various disagreements with the 
 management, the engagement was cancelled 
 by mutual consent. During his stay in 
 Vienna Spohr was frequently in contact 
 with Beethoven, and though he admired that 
 great master he criticised some of his com- 
 positions very severely, and is said to have 
 remarked that " Beethoven was wanting in 
 aesthetic culture and sense of beauty," a 
 remark difficult to understand in these later 
 days. It is the more incomprehensible from 
 
92 Famous Violinists. 
 
 the fact that Spohr in after years was the 
 very first musician of eminence to interest 
 himself in Wagner's talent, for he brought 
 out at Cassel " Der Fliegende Hollander," 
 and continued with " Tannhauser," notwith- 
 standing the opposition of the court. He 
 considered Wagner to be by far the greatest 
 of all dramatic composers living at that time. 
 
 In 1 8 1 5 he made a concert tour in France 
 and Italy, during which he met Rossini and 
 Paganini, playing at Venice a sinfonia concer- 
 tante of his own composition, with the latter. 
 
 On his return to Germany in 1817 Spohr 
 was appointed conductor of the Opera at 
 Frankfort - on - the - Main, where his opera 
 "Faust" was now produced, also '' Zemire 
 and Azor." Owing to difficulties with man- 
 agers again he left Frankfort after a stay of 
 only two years, and his next venture was 
 a visit to England, where he appeared at 
 the concerts of the Philharmonic Society in 
 London. His success was brilliant, for his 
 
iJS^ /^ t8oo. 93 
 
 clear style and high artistic capacity, added 
 to his reputation as a composer, carried him 
 into popularity, and the artistic world vied 
 with the public in doing honour to him. At 
 his farewell concert, his wife made her last 
 appearance as a harp player, for on account 
 of ill-health she was obliged to give it up, 
 and thereafter she played only the piano- 
 forte. 
 
 On his way home from England Spohr 
 visited Paris for the first time, and made the 
 personal acquaintance of Kreutzer, Viotti, 
 Habeneck, Cherubini, and other eminent 
 musicians, who received him with the great- 
 est cordiality. But the public did not seem 
 to appreciate his merits, for his quiet, unpre- 
 tentious style was not quite in keeping with 
 the taste of the French. 
 
 On his return to Germany Spohr settled 
 in Dresden, and remained there until 1822, 
 when he became Hofkapellmeister to the 
 Elector of Hesse-Cassel, and he remained in 
 
94 Famous Violinists. 
 
 Cassel for the rest of his life. This position 
 he obtained on the advice of Weber. 
 
 In 1 83 1 he completed his great "Violin 
 School," which has ever since its publication 
 been considered a standard work. The fol- 
 lowing year the political disturbances inter- 
 fered with the opera performances at Cassel, 
 and caused him much annoyance. In 1834 
 he lost his wife, but his work of composition 
 proceeded with vigour. 
 
 In 1839 ^^ again visited England, where 
 his music had become very popular, and 
 during the remainder of his career he re- 
 peated his visit several times, many of his 
 works being produced by the various socie- 
 ties. 
 
 His life at Cassel was not free from cares 
 and friction, and he was subjected to many 
 indignities and annoyances by the elector. 
 Perhaps his sympathy with the revolutionists 
 of 1848 was the chief cause of these petty 
 persecutions. When Spohr married his 
 
second wife, Marianne Pfeiffer, the elector 
 objected, and only gave his reluctant consent 
 when Spohr agreed to waive the right of his 
 wife to a pension. All his proposals were 
 met with opposition. '* Tannhauser " was 
 produced and well received, but a repetition 
 of the performance was not allowed, and 
 *' Lohengrin " was ordered to be withdrawn 
 from rehearsal, for Wagner was one of the 
 revolutionists and was obliged to live in 
 seclusion. 
 
 America is indebted to this revolution of 
 1848 for some excellent musicians, for the 
 Germania Orchestra, an organisation of young 
 revolutionists, sought these shores, and after 
 a prosperous career, begun under great trials 
 and discouragements, the various members 
 settled in different cities and became identi- 
 fied with the musical life of the nation. 
 
 In 185 1 the elector refused to sign the 
 permit for Spohr' s two months' leave of 
 absence, to which he v.-as entitled under his 
 
g6 Famotis Violinists. 
 
 contract, and when the musician departed 
 without the permit, a portion of his salary 
 was deducted. In 1857 he was pensioned 
 off, much against his own wish, and in the 
 winter of the same year he had the misfor- 
 tune to break his arm, an accident which put 
 an end to his violin playing. Nevertheless 
 he conducted his opera "Jessonda" at the 
 fiftieth anniversary of the Prague Conserva- 
 torium in the following year, with all his old- 
 time energy. In 1859 he ^i^^ ^^ Cassel. 
 
 Through all his long career Spohr had 
 lived up to the ideal he had conceived in his 
 youth. He was a man of strong individu- 
 ality, and invariably maintained the dignity 
 of his art with unflinching independence. 
 Even the mistakes that he made, as for 
 instance his criticism of Beethoven, bore the 
 strongest testimony to his manly straight- 
 forwardness and sincerity in word and deed. 
 He was a most prolific composer, leaving 
 over two hundred works in all. His violin 
 
//JO to 1800. 97 
 
 concertos stand foremost among his works, 
 and are distinguished as much by noble and 
 elevated ideas as by masterly thematic treat- 
 ment, yet there is a certain monotony of 
 treatment in all, and his style and manner 
 are entirely his own. 
 
 As an executant Spohr stands among the 
 greatest of all time. In slow movements he 
 played with a breadth and beauty of tone, 
 and a delicacy and refinement of expression 
 almost unequalled. His hands w^ere of ex- 
 ceptional size and strength, and enabled him 
 to execute the most difficult double stops and 
 stretches with the greatest facility. Even in 
 quick passages he preserved a broad, full 
 tone, and his staccato was brilliant and effect- 
 ive. He disliked the use of the " spring- 
 ing bow," which came with the modern style 
 of playing. 
 
 Spohr had a great many pupils, of whom 
 the best known were Ries, Ferd. David, 
 Blagrove, Bargheer, Hompel, and Henry 
 
98 Famous Violinists. 
 
 Holmes. He was also considered one of 
 the best conductors of his time, and intro- 
 duced into England the custom of conducting 
 with a baton. 
 
 Amongst the amusing episodes in the life 
 of Spohr was one which took place in Lon- 
 don, when a servant brought him a letter 
 desiring M. Spohr to "• be present at four 
 o'clock to-morrow evening at the closet 
 of the undersigned." Spohr had not the 
 faintest idea as to the identity of **the 
 undersigned," nor the least inkling of that 
 gentleman's design. He therefore replied 
 that he had an engagement at that time. 
 To this note he received another polite epistle 
 asking him to be good enough to honour 
 the " undersigned " with an interview, and 
 to choose his own time. He therefore made 
 an appointment, which he kept punctually, 
 and on arriving at the house to which he was 
 directed, he found an old gentleman, who 
 was very genial, but who could speak neither 
 
//JO to 1800. 99 
 
 French nor German. As Spohr spoke no 
 English the communication between them 
 was of necessity carried on by pantomine. 
 The old gentleman led the way into a room, 
 the walls of which were literally covered with 
 violins, from which Spohr gathered the idea 
 that he was to pick out that which he consid- 
 ered the best. After trying them all he had 
 to decide between the merits of half a dozen, 
 and, when he finally gave his opinion, the 
 gentleman seemed delighted, and offered him 
 a five pound note to compensate him for his 
 trouble. This the violinist declined to accept, 
 for he had found as much enjoyment as his 
 host, and considered it a privilege to be able 
 to examine such a fine collection of beautiful 
 instruments. The gentleman found a way 
 of satisfying his ideas of compensation by 
 buying tickets to the value of ten pounds, for 
 one of Spohr's concerts. 
 
 Among the most talented violinists of the 
 early part of the nineteenth century was 
 
lOO Famous Violinists. 
 
 Karl Joseph Lipinski, the son of a Polish 
 violin player whose gifts were uncultivated. 
 He was born in Poland, in 1 790, at a small 
 town named Radzyn. After learning, with 
 the aid of his father, to play the violin, he 
 took up the 'cello, and taught himself to play 
 that instrument, and in later days he attrib- 
 uted his full tone on the violin to the power 
 which his 'cello practice gave to his bow 
 arm. 
 
 Lipinski seems to have been an energetic 
 and original man. He was in the habit of 
 appearing at concerts both as violinist and 
 'cellist. He was unable to play the piano, 
 so when he was conductor of the opera at 
 Lemberg he directed with the violin, and 
 frequently had to play two parts, which gave 
 him great command over his double stops. 
 When the fame of Paganini reached him he 
 set forth to Italy, that he might profit by 
 hearing the great virtuoso, and when the 
 opportunity came at Piacenza, he distin- 
 
//JO to 1800. 10 I 
 
 guished himself by being the only person 
 in the audience to applaud the first adagio. 
 After the concert he was introduced to 
 Paganini, and he did not fail to improve the 
 acquaintance, frequently visiting Paganini and 
 playing with him, sometimes even in his 
 concerts. 
 
 Lipinski declined the honour of going on 
 a concert tour with Paganini, as he wished 
 to return to his home. On stopping at 
 Trieste he heard of an old man, over ninety 
 years of age, who had once been a pupil of 
 Tartini, and sought him out in order to " get 
 some points " on Tartini's style. The old 
 man. Doctor Mazzurana, declared himself 
 too old to play the violin, but suggested that 
 if Lipinski would play a Tartini sonata he 
 would tell him if his style reminded him of 
 the great master. It did not, but Doctor 
 Mazzurana brought out of a cupboard a 
 volume of Tartini's sonatas having letter- 
 press under the music, and this Lipinski was 
 
 
I02 Famous Violinists. 
 
 ordered to read in a loud tone and with all 
 possible expression. Then he had to play 
 the sonata, and after numerous attempts and 
 corrections, the old man began to applaud 
 his efforts. Lipinski ever afterwards profited 
 by these lessons. 
 
 Later on he met Paganini again at War- 
 saw, where they were rivals, for the time 
 being, and different factions waxed warm 
 over their respective merits. Paganini him- 
 self, who is said to have been asked whom 
 he considered to be the greatest violinist, 
 replied, with conscious modesty, *' The second 
 greatest is certainly Lipinski." 
 
 Lipinski travelled throughout Europe, 
 meeting with great success, until in 1839 
 he was appointed concert-meister at the 
 Royal Opera in Dresden, where he remained 
 for many years. He also organised a string 
 quartet, and was considered a most excellent 
 performer of chamber-music. He wrote a 
 large quantity of music for the violin, but 
 
ly^o to 1800. 103 
 
 little of it was of a lasting quality. In 1861 
 he was pensioned, and retired to Urlow, near 
 Lemberg, where he had some property, and 
 there he died in December of the same 
 year. 
 
CHAPTER IV. 
 
 PAGANINI. 
 
 The name Paganini stands for the quintes- 
 sence of eccentric genius, — one of the most 
 remarkable types of mankind on record. 
 Paganini was able to excite wonder and 
 admiration by his marvellous technical skill, 
 or to sway the emotions of his hearers by his 
 musical genius, while his peculiar habits, 
 eccentric doings, and weird aspect caused 
 the superstitious to attribute his talent to 
 the power of his Satanic Majesty. Yet 
 Paganini was not only mortal, but in many 
 respects a weak mortal, although the most 
 extraordinary and the most renowned violin- 
 ist of the nineteenth century. 
 
 104 
 
>»J»>, >', >, > 
 
 PAGANINL 
 
 
Paganini. 105 
 
 Nicolo Paganini was the son of a commer^ 
 cial broker, Antonio Paganini, and was born 
 at Genoa, February 18, 1784. He was a 
 child of nervous and delicate constitution, 
 and the harsh treatment accorded to him 
 by his father tended to accentuate and de- 
 velop the peculiarities of his character. He 
 was a good violinist at the age of six, and 
 before he was eight years of age he had out- 
 grown, not only his father's instruction, but 
 also that of one Servetto, a musician at the 
 theatre, and that of Costa, the director of 
 music and principal violinist to the churches 
 of Genoa. He had also written a sonata for 
 violin, which was afterwards lost. At the age 
 of nine he appeared in his first concert, given 
 by Marchesi and Albertinatti in a large the- 
 atre at Genoa. At the age of twelve he was 
 taken to Rolla, the celebrated violinist and 
 composer at Parma, upon whom he made a 
 great impression. When Paganini arrived 
 with his father at Rolla's house they found 
 
io6 Famous Violiiiists. 
 
 him ill in bed, and not at all disposed to 
 receive them. Whilst awaiting him, young 
 Paganini found on the table a copy of Rolla's 
 last concerto, and a violin. Taking up the 
 violin, he played the piece off at first 
 sight. This brought Rolla out of bed, for 
 he would not believe, without seeing, tha^ 
 such a feat could be accomplished by s^ 
 young a boy. Rolla said that he could teacl" 
 him nothing, and advised him to go to Paer, 
 but Paer was then in Germany, and the boy 
 went to Ghiretti. 
 
 Although Paganini denied ever having 
 taken lessons with Rolla, he nevertheless 
 had frequent discussions with him concern- 
 ing the new effects which he was continually 
 attempting, and which did not always meet 
 with the unqualified approval of the older 
 musician. 
 
 The music which he wrote for his instru- 
 ment contained so many difficulties that he 
 had to practise unremittingly to overcome 
 
Paganini. 107 
 
 them, often working ten or twelve hours a 
 day and being overwhelmed with exhaus- 
 tion. 
 
 In 1797 Paganini made his first tour, with 
 his father, through the chief towns of Lom- 
 bardy, and now he determined to release 
 himself, on the first opportunity, from the 
 bondage in which he was held by his father. 
 This opportunity presented itself when the 
 fete of St. Martin was celebrated at Lucca, 
 and after much opposition he at last obtained 
 the consent of his father to attend the cele- 
 bration. Meeting with much success, he went 
 on to Pisa, and then to other places, in all of 
 which he was well received. Being now free 
 from the restraint of his home he fell into 
 bad company, and took to gambling and other 
 vices, the most natural result of his father's 
 harsh training showing itself in lack of moral 
 stamina. 
 
 For a time his careless life had its allure- 
 ments, but the young virtuoso v/as frequently 
 
io8 Fmnous Violinists. 
 
 reduced to great straits, and on one occasion, 
 if not more, pawned his violin. This hap- 
 pened at Leghorn, where he was to play at a 
 concert, and it was only through the kindness 
 of a French merchant, M. Livron, who lent 
 him a beautiful Guarnieri, that he was able 
 to appear. When the concert was over, and 
 Paganini brought back the instrument, its 
 owner was so delighted with what he had 
 heard that he refused to receive it. " Never 
 will I profane strings which your fingers have 
 touched," he said, "the instrument is now 
 yours." And Paganini used that violin after- 
 wards in all his concerts. 
 
 This violin was, some time later, the means 
 by which he was cured of gambling, for hav- 
 ing been reduced to extreme poverty, he was 
 tempted to sell it. The price offered was a 
 large one. At this juncture he won one 
 hundred and sixty francs, which saved the 
 violin, but the mental agony he endured 
 through the affair convinced him that a 
 
Pagan 2 71 2. 109 
 
 gamester is an object of contempt to all well 
 regulated minds. 
 
 Paganini won another violin by his abilit}' 
 to read music at sight. Pasini, an eminent 
 painter and an amateur violinist, refused to 
 believe the wonderful faculty for playing at 
 sight, which had been imputed to Paganini, 
 and in order to test it brought him a manu- 
 script concerto containing some difficulties 
 considered as insurmountable. " This in- 
 strument shall be yours," said Pasini, plac- 
 ing in his hands an excellent Stradivari, '' if 
 you can play, in a masterly manner, this 
 concerto, at first sight." Paganini accepted 
 the challenge, threw Pasini into ecstasies, 
 and became the owner of the instru- 
 ment. 
 
 The severe course of dissipation in which 
 Paganini indulged during these days of his 
 youth ruined his health, and caused him fre- 
 quently to disappear from the public gaze for 
 long periods, throughout his career. With 
 
no Famous Violinists. 
 
 the fair sex he had more than one romantic 
 episode. At one time a lady of high rank 
 fell in love with him and led him captive to 
 her castle in Tuscany. Here the lovers 
 solaced themselves with duets on the guitar, 
 and the violinist attained a proficiency, on 
 that instrument, equal to the expression of 
 the tenderest passion. This adventure brought 
 retribution in after days, and in a most unex- 
 pected manner, for as his genius began to 
 excite the wonder of the world, sundry mali- 
 cious stories concerning him were invented 
 and circulated. One of these stories was to 
 the effect that he had been imprisoned for 
 stabbing one of his friends, another rumour 
 said that he strangled his wife, and that dur- 
 ing his imprisonment he had been allowed only 
 the solace of playing his violin with but one 
 string. This story was told in order to account 
 for his wonderful one-stringed performances, 
 and it was absolutely untrue, but the time 
 allotted by rumour to his supposed imprison- 
 
Paganiiii. 1 1 1 
 
 ment coincided with the period which was 
 really occupied with this romance. 
 
 At the end of three years he resumed 
 his travels and his violin playing, returning 
 to Genoa in 1804, where he set to work on 
 some compositions. At this time he be- 
 came interested in a little girl, Catarina 
 Calcagno, to whom he gave lessons on the 
 violin. She was then about seven years of 
 age, and a few years later she became well 
 known as a concert violinist. 
 
 Paganini did not remain long in Genoa, for 
 the following year found him wandering 
 again, and another love affair in Lucca led 
 to the composition of a piece to be played on 
 two strings, the first and the fourth : the first 
 to express the sentiments of a young girl, and 
 the fourth the passionate language of her 
 lover. The performance of this extremely 
 expressive composition was rewarded by the 
 most languishing glances from his lady-love 
 in the audience, but the most important 
 
112 Famotis Violinists. 
 
 result was that the Princess Elise Bacchiochi, 
 sister of Napoleon, declared to him that he 
 had performed impossibilities. " Would not 
 a single string suffice for your talent ? " she 
 asked. Paganini was delighted, and shortly 
 afterward composed his military sonata en- 
 titled " Napoleon," which is performed on 
 the G string only. 
 
 At Ferrara he once nearly lost his life 
 through unwittingly trampling upon the sus- 
 ceptibilities of the people, in the following 
 manner. It appears, that the peasantry in 
 the suburbs of Ferrara bore ill-will toward 
 the citizens of that town and called them 
 "asses." This little pleasantry was mani- 
 fested by the suburbanites in " hee-hawing " 
 at the citizens when fitting opportunity pre- 
 sented itself. Now it happened that Paga- 
 nini played at a concert, and some of the 
 audience expressed dissatisfaction with the 
 singer, Madame Pallerini, and hissed her. 
 Paganini decided to have revenge, and when 
 
Paganini. 113 
 
 about to commence his last solo, he amused 
 the public by giving an imitation of the notes 
 and cries of various animals. The chirping 
 of various birds, the crowing of the chanti- 
 cleer, the mewing of cats, the barking of 
 dogs were all imitated and the audience v/as 
 delighted. Now was the time to punish the 
 reprobates who hissed. Paganini advanced 
 to the footlights exclaiming, '' This for the 
 men who hissed," and gave a vivid imitation 
 of the braying of an ass. Instead of exciting 
 laughter and thus causing the confusion of 
 the enemy as he expected, the whole audi- 
 ence rose as one man, scaled the orchestra 
 and footlights, and swore they would have 
 his blood. Paganini sought safety in flight. 
 He was eventually enlightened as to the 
 mistake he had made. 
 
 Once, when he was at Naples, Paganini 
 was taken ill, and in his desire to secure 
 lodgings where the conditions would be fa- 
 vourable for his recovery, he made a mistake 
 
114 Famous Violinists. 
 
 and soon became worse. It was said that 
 he was consumptive, and consumption being 
 considered a contagious disease, his landlord 
 put him out in the street, with all his posses- 
 sions. Here he was found by Ciandelli, the 
 violoncellist, who, after giving the landlord a 
 practical and emphatic expression of his opin- 
 ion by means of a stick, conveyed his friend 
 Paganini to a comfortable lodging, where 
 he was carefully attended until restored to 
 health. 
 
 In 1817 Paganini was urged by Count 
 Metternich and by Count de Kannitz, the 
 Austrian ambassador to Italy, to visit Vienna, 
 but several times he was prevented from 
 carrying out his plans by illness, and it was 
 not until 1828 that he reached Vienna and 
 gave his first concert. His success was pro- 
 digious. " He stood before us like a miracu- 
 lous apparition in the domain of art," wrote 
 one of the critics. The public seemed to 
 be intoxicated. Hats, dresses, shoes, every- 
 
Paga7imi. 1 1 5 
 
 thing bore his name. His portrait was to 
 be found everywhere, he was decorated and 
 presented with medals and honours. 
 
 He continued his tour through Germany, 
 being received everywhere with the utmost 
 enthusiasm, and he visited England, after a 
 sojourn in Paris, in 1831. 
 
 When he reached home after an absence 
 of six years, he was the possessor of a con- 
 siderable fortune, part of which he lost by 
 injudicious investments. Some friends in- 
 duced him to join them in the establishment 
 of a casino in a fashionable locality in Paris. 
 It was called the Casino Paganini, and was 
 intended to be a gambling-house. The au- 
 thorities, however, refused to grant a license, 
 and it was found impossible to support it by 
 concerts only. After some vicissitudes a law- 
 suit was established against Paganini, who 
 was condemned to pay fifty thousand francs, 
 and to be imprisoned until the amount was 
 paid, but this decision was not reached until 
 
1 16 Famous Violinists. 
 
 Paganini was in a dying condition, and he 
 went, by the advice of his physicians, to 
 Marseilles, where he remained but a short 
 time. Finding that his health did not im- 
 prove, he decided to pass the winter at 
 Nice, but the progress of his ailment was 
 not checked, and on May 27, 1840, he expired. 
 
 By his will, made three years previously, 
 he left an immense fortune and the title of 
 baron, which had been conferred on him in 
 Germany, to his son Achille, — the fruit of a 
 liaison with the singer Antonia Bianchi of 
 Como, — whose birth had been legitimised 
 by deeds of law. His fortune amounted to 
 about four hundred thousand dollars, besides 
 which he had a valuable collection of musical 
 instruments. His large Guarnieri violin he 
 bequeathed to the town of Genoa, that no 
 artist might possess it after him. 
 
 During his last illness Paganini, not real- 
 ising that death w^as so near, devoted himself 
 to music and to arranging for another con- 
 
Paganini. 1 1 7 
 
 cert tour. During his lifetime he had never 
 paid much attention to religion and there 
 were some doubts as to his belief. Although 
 he expressed his adherence to the Roman 
 Church, yet he dallied with its formalities, 
 and when the priest visited him three days 
 before his death to administer the final con- 
 solations of religion, the dying man put him 
 off on the ground that he was not yet ready, 
 and would send for him when the time came. 
 Death prevented this, and burial in conse- 
 crated ground was therefore denied him. An 
 appeal was made to the spiritual tribunal and 
 in the meantime the body was embalmed 
 and kept in a hall in the palace of the 
 Conte di Cessole, whose guest he was during 
 his last illness. 
 
 People now began to come from all parts 
 of Italy to pay honour to the dead artist, and 
 this so angered the bishop and priests that an 
 order was obtained for the removal of the 
 body. Under military escort the remains of 
 
1 1 8 Famous Violinists. 
 
 the great violinist were taken to Villafranca 
 and placed in a small room, which was then 
 sealed up. And now Paganini became a ter- 
 ror to the ignorant peasants and fishermen, 
 who crossed themselves as they hurried past 
 the spot where the excommunicated remains 
 lay. It was said that in the dead of night 
 the spectre of Paganini appeared and played 
 the violin outside his resting-place. 
 
 In the meantime every effort was being 
 made to secure Christian burial. The spirit- 
 ual tribunal decided that Paganini had died a 
 good Catholic. The bishop refused to accept 
 the decision, and an appeal to the archbishop 
 was unavailing. Eventually the case was 
 brought before the Pope himself by the 
 friends of the dead man, and the Pope over- 
 ruled the decision of the archbishop and 
 ordained that Christian burial should be 
 accorded to the artist. On the 2ist of 
 August, 1843, the Conte di Cessole took 
 away the coffin from Villafranca, and interred 
 
Pagajiini. 119 
 
 it in the churchyard near Paganini's old 
 residence at Villa Gavona, near Parma. 
 Thus even after death he was the victim of 
 superstition, as he had been during his life- 
 time. 
 
 Paganini resolved not to publish his com- 
 positions until after he had ceased to travel, 
 for he was aware that his performances would 
 lose much of their interest if his works were 
 available to everybody. He seldom carried 
 with him the solo parts, but only the 
 orchestral scores of the pieces that he played. 
 His studies were pronounced impossible by 
 some of the best violinists of the day, so 
 great were the difficulties which they con- 
 tained, and in his mastery of these difficulties, 
 which he himself created, may be found the 
 true secret of his success. People accounted 
 for it in many ways, one man declaring that 
 he saw the devil standing at his elbow, and 
 others stating that he was a child of the 
 devil, and that he was bewitched. 
 
120 Famous Violinists. 
 
 His compositions are remarkable for 
 novelty in ideas, elegance of form, richness 
 of harmony, and variety in the effects of 
 instrumentation. Few compositions ever at- 
 tained such fame as the ''Streghe," of which 
 the theme was taken from the music of 
 Sussmayer to the ballet of " II Noce di Bene- 
 vento." 
 
 While it may be readily admitted that 
 many of the effects with which Paganini 
 dazzled the multitude were tainted with char- 
 latanism, yet the fact remains that no one 
 ever equalled him in surmounting difficulties, 
 and it is doubtful if, among all the excellent 
 violinists of the present day, any of them 
 compares with that remarkable man. 
 
 Some of his studies have been adapted to 
 the pianoforte by Schumann and by Liszt, 
 and of the collection arranged by Liszt, 
 consisting of five numbers from the Caprices, 
 Schumann says : '' It must be highly interest- 
 ing to find the compositions of the greatest 
 
Paganini. 12 1 
 
 violin virtuoso of this century in regard to 
 bold bravura — Paganini — illustrated by the 
 boldest of modern pianoforte virtuosi — 
 Liszt." This collection is probably the 
 most difficult ever written for the piano- 
 forte, as its original is the most difficult work 
 that exists for the violin. Paganini knew 
 this well, and expressed it in his short 
 dedication, *'Agli Artisti," that is to say, 
 " I am only accessible to artists." 
 
 It is doubtful whether any violinist ever 
 lived concerning whom more fantastic stories 
 were told. His gruesome aspect, his frequent 
 disappearances from public life, his peculiar 
 habits, all tended to make him an object of 
 interest, — and interest is sometimes shown 
 in eagerness to hear anything at all about 
 the subject. 
 
 He enjoyed conversation when he was in 
 the company of a small circle of friends. He 
 was cheerful at evening parties, — if music 
 was not mentioned. He had an excellent 
 
122 Famous Violinists. 
 
 memory for features and names of persons 
 whom he had met, but it is said that he never 
 remembered the names of towns at which he 
 had given concerts. He was very severe 
 with orchestras, and any mistakes made by 
 them would bring forth a tempest of rage, 
 though satisfactory work would be rewarded 
 with expressions of approval. When he 
 came to a pause for the introduction of a 
 cadenza, at rehearsal, the musicians would 
 frequently rise, eager to watch his perform- 
 ance, but Paganini would merely play a few 
 notes, and then stopping suddenly would smile 
 and say, " Et cetera, messieurs ! " and reserve 
 his strength for the public performance. 
 
 His peculiarities were shown strongly in 
 his arrangements for personal comfort while 
 travelling, for his constant suffering pre- 
 cluded the enjoyment of the beauties of 
 nature. He was always cold, and even in 
 summer kept a large cloak wrapped around 
 him, and the windows of the carriage care- 
 
Pagajiini. 123 
 
 fully closed. Before starting he took merely 
 a basin of soup or a cup of chocolate, and 
 though he frequently remained nearly the 
 whole day without further refreshment, he 
 slept a great deal and thus escaped some 
 of the pain which the jolting of the carriage 
 caused him. His luggage consisted of a 
 small dilapidated trunk, which contained 
 his violin, his jewels, his money, and a few 
 fine linen articles. Besides this he had only 
 a hat-case and a carpet-bag, and frequently 
 a napkin would contain his entire wardrobe. 
 In a small red pocketbook he kept his ac- 
 counts and his papers, which represented an 
 immense value, and nobody but himself could 
 decipher the hieroglyphics which indicated 
 his expenses and receipts. He cared not 
 whether his apartment, at the inns on the 
 road, was elegantly furnished or a mere 
 garret, but he always kept the windows open 
 in order to get an " air-bath," contrary to his 
 custom while in a carriage. 
 
124 Famous Violinists. 
 
 While the secret of Paganini's marvellous 
 technique was incessant hard work, to which 
 he was urged not less by his own ambition 
 than by his father's cruelty, yet in later 
 years he seldom practised, and his playing 
 was chiefly confined to his concerts and 
 rehearsals. There are several good stories 
 dealing with this peculiarity. One man is 
 said to have followed him around for months, 
 taking the adjoining room at hotels, in order 
 to find the secret of his success by hearing 
 him practise. Once, when looking through 
 the keyhole, he saw the virtuoso go to the 
 violin case, take out the instrument, and 
 after seeing that it was in tune, — put it 
 back again. 
 
 Sir Charles Halle tells about seeing Pa- 
 ganini in Paris, where he used to spend an 
 hour every day sitting in a publisher's shop, 
 "a striking, awe-inspiring, ghostlike figure." 
 Hall6 was introduced to him, but conversa- 
 tion was difficult, for Paganini sat there taci- 
 
Paganini. 125 
 
 turn, rigid, hardly ever moving a muscle of 
 his face. He made the young pianist play 
 for him frequently, indicating his desire by 
 pointing at the piano with his long, bony 
 hand, without speaking. Halle was dying 
 to hear the great violinist play, and one day, 
 after they had enjoyed a long silence, Paga- 
 nini rose and went to his violin case. He 
 took the violin out, and began to tune it 
 carefully with his fingers, without using the 
 bow. Halle's agitation was becoming intol- 
 erable, for he thought that the moment had 
 arrived at which his desire was to be grati- 
 fied. But when Paganini had satisfied him- 
 self that his violin was all right, he carefully 
 put it back in the case and shut it up. 
 
 Paganini was notoriously parsimonious, 
 and it was related that one evening in 
 Florence he left his hotel rather late, jumped 
 into a coach and ordered the man to drive 
 him to the theatre. The distance was short, 
 but he felt that it would not do to keep the 
 
126 Factious Violinists. 
 
 public waiting. He was to play the prayer 
 from " Moses " on one string. On arrival 
 at the theatre he asked the driver, " How 
 much?" "For you," replied the Jehu, 
 "ten francs." "What? Ten francs? You 
 joke," replied the virtuoso. " It is only the 
 price of a ticket to your concert," was the 
 excuse. Paganini hesitated a moment, and 
 then handed to the man what he considered 
 to be a fair remuneration, saying, " I will pay 
 you ten francs when you drive me on one 
 wheel." 
 
 At one time Paganini astonished the world 
 by making to Hector Berlioz the magnificent 
 present of twenty thousand francs. Berlioz 
 was at that time almost in a state of despair. 
 His compositions were not appreciated, and 
 he was at a loss to know which way to turn. 
 He made a final effort and gave a last con- 
 cert, at which Paganini was present and 
 congratulated him. 
 
 Jules Janin, the celebrated critic and 
 
Paganini. 127 
 
 writer, went into ecstasies over the affair. 
 Paganini, he said, who had been attacked 
 for hard-heartedness and avarice, was pres- 
 ent at the concert, and at the end prostrated 
 himself before Berhoz, and shed tears. Hope 
 returned and Berlioz went home in triumph, 
 for he had satisfied one great musical critic. 
 The next day he received a note from Paga- 
 nini enclosing twenty thousand francs, to 
 be devoted to three years of repose, study, 
 liberty, and happiness. 
 
 In Sir Charles Halle's biography, however, 
 this story receives important modifications. 
 It appears that Armand Bertin, the wealthy 
 proprietor of the Joitrnal des Debates, had 
 a high regard for Berlioz, who was on his 
 staff, and knew of his struggles, which he 
 was anxious to lighten. He resolved, there- 
 fore, to make him a present of twenty thou- 
 sand francs, and to enhance the moral effect 
 of this gift he persuaded Paganini to appear 
 as the donor of the money. What would 
 
128 Famous Violinists. 
 
 have appeared as a simple gratuity from 
 a rich and powerful editor toward one of 
 his staff, became a significant tribute from 
 one genius to another. The secret was well 
 kept and was never divulged to Berlioz. It 
 was known only to two of Bertin's friends, 
 and Halle learned it about seven years later, 
 when he had become an intimate friend of 
 Madame Bertin, and she had been for years 
 one of his best pupils. 
 
 Paganini created the difficulties which he 
 performed. He had a style of his own, and 
 was most successful in playing his own com- 
 positions. In Paris, when, out of respect to 
 the Parisians, he played a concerto by Rode, 
 and one by Kreutzer, he scarcely rose above 
 mediocrity, and he was well aware of his fail- 
 ure. He adopted the ideas of his predeces- 
 sors, resuscitated forgotten effects and added 
 to them, and the chief features of his per- 
 formance were, the diversity of tones pro- 
 duced, the different methods of tuning his 
 
Pagatiini. 1 29 
 
 instrument, the frequent employment of 
 double and single harmonics, the simul- 
 taneous use of pizzicato and bow passages, 
 the use of double and triple notes, the vari- 
 ous staccati, and a wonderful facility for 
 executing wide intervals with unerring accu- 
 racy, together with a great variety of styles 
 of bowing. The quality of tone which he 
 produced was clear and pure, but not exces- 
 sively full, and, according to Fetis, he was a 
 master of technique and phrasing rather than 
 a pathetic player, — there was no tenderness 
 in his accents. 
 
 It is said that Baillot used to hide his face 
 when Paganini played a pizzicato with the 
 left hand, harmonics, or a passage in stac- 
 cato. Dancla, in his recollections, says : '' I 
 had noticed in Paganini his large, dry hand, 
 of an astonishing elasticity ; his fingers long 
 and pointed, which enabled him to make 
 enormous stretches, and double and triple 
 extensions, with the utmost facility. The 
 
130 Famous Violinists. 
 
 double and triple harmonics, the successions 
 of harmonics in thirds and sixths, so difficult 
 for small hands, owing to the stretch they 
 require, were to him as child's play. When 
 playing an accentuated pizzicato with the left 
 hand, while the melody was played by the 
 hand of the bow, the fourth finger pinched 
 the string with prodigious power even when 
 the other three fingers were placed." 
 
 There are anecdotes told of Paganini's 
 artistic contests with rival violinists, chief 
 among whom were Lafont and Lipinski, both 
 of whom he eclipsed, and of his playing a 
 concerto in manuscript at sight, with the 
 music upside down on the rack. 
 
 Of his appearance we are told, in an 
 account of a concert in London : " A tall, 
 haggard figure, with long, black hair, 
 strangely falling down to his shoulders, slid 
 forward like a spectral apparition. There 
 was something awful, unearthly in that coun- 
 tenance ; but his play ! our pen seems invol- 
 
Paga7iini. 131 
 
 untarily to evade the difficult task of giving 
 utterance to sensations which are beyond the 
 reach of language.'' After detailing the per- 
 formance, the account continues: "These 
 excellencies consist in the combination of 
 absolute mechanical perfection of every 
 imaginable kind, perfection hitherto un- 
 known and unthought of, with the higher 
 attributes of the human mind, inseparable 
 from eminence in the fine arts, intellectual 
 superiority, sensibility, deep feeling, poesy, 
 genius." 
 
 In regard to this accomplishment of 
 playing on one string, a critic said : *' To 
 effect so much on a single string is truly 
 wonderful ; nevertheless any good player 
 can extract more from two than from one. 
 If Paganini really produces so much effect 
 on a single string, he would certainly obtain 
 more from two. Then why not employ 
 them ? We answer, because he is waxing 
 exceedingly wealthy by playing on one." 
 
132 Famous Violinists. 
 
 Paganini seems to have reasoned from the 
 opposite point, viz., that if the retention of 
 two strings be regarded with such wonder, 
 how much greater the marvel will be if only 
 one is used. 
 
 To offset these suggestions of charlatan- 
 ism, or perhaps rather to show that, with 
 all his charlatanism, Paganini was a marvel, 
 we may see what effect his playing had 
 upon some men who were not likely to be 
 caught by mere trickery. Rossini, upon 
 being asked how he liked Paganini, replied : 
 " I have wept but three times in my life ; 
 the first, on the failure of my earliest opera ; 
 the second time, when, in a boat with some 
 friends, a turkey stuffed with truffles fell 
 overboard ; and thirdly, when I heard Paga- 
 nini play for the first time." 
 
 Spohr, after hearing him play, in 1830, 
 said : " Paganini came to Cassel and gave 
 two concerts, which I heard with great 
 interest. His left hand and his constantly 
 
Paganini, 133 
 
 pure intonation were, to me, astonishing ; 
 but in his compositions and his execution I 
 found a strange mixture of the highly genial 
 and the childishly tasteless, by which one 
 felt alternately charmed and disappointed." 
 
 George Hogarth, the musical critic, writes 
 about Paganini's '' running up and down a 
 single string, from the nut to the bridge, 
 for ten minutes together, or playing with 
 the bow and the fingers of his right hand, 
 mingling pizzicato and arcato notes with 
 the dexterity of an Indian juggler." It was 
 not, however, by such tricks as these, but 
 in spite of them, that he gained the suf- 
 frages of those who were charmed by his 
 truly great qualities, — his soul of fire, his 
 boundless fancy, his energy, tenderness, and 
 passion ; these are the qualities which give 
 him a claim to a place among the greatest 
 masters of the art. 
 
 Perhaps the finest description of Paganini 
 is the one written by Leigh Hunt : 
 
134 Famous Violinists. 
 
 " So play'd of late to every passing thought 
 With finest change (might I but half as well 
 So write) the pale magician of the bow, 
 Who brought from Italy the tales, made true, 
 Of Grecian lyres ; and on his sphery hand, 
 Loading the air with dumb expectancy, 
 Suspended, ere it fell, a nation's breath ; 
 
 <' Of witches' dance, ghastly with whinings thin, 
 And palsied nods — mirth, wicked, sad, and weak ; 
 And then with show of skill mechanical. 
 Marvellous as witchcraft he would overthrow 
 That vision with a show'r of notes like hail ; 
 Flashing the sharp tones now. 
 In downward leaps like swords ; now rising fine 
 Into some utmost tip of minute sound, 
 From whence he stepp'd into a higher and higher 
 On viewless points, till laugh took leave of him. 
 
 " Then from one chord of his amazing shell 
 Would he fetch out the voice of quires, and weight 
 Of the built organ ; or some twofold strain 
 Moving before him like some sweet-going yoke, 
 Ride like an Eastern conqueror, round whose state 
 Some light Morisco leaps with his guitar ; 
 And ever and anon o'er these he'd throw 
 Jets of small notes like pearl." 
 
CHAPTER V. 
 
 1800 TO 1830. 
 
 Paganini was an epoch-making artist. 
 He revolutionised the art of viohn playing, 
 and to his influence, or through his example, 
 were developed the modern French and 
 Belgian schools. While Paganini was a 
 genius, a great musician, and a wonderful 
 violinist, he combined with these qualities 
 that of a trickster, and the exponents of 
 the modern French school adopted some 
 of the less corhmendable features of Paga- 
 nini' s playing, while the Belgian school fol- 
 lowed the more serious lines, and became 
 a much sounder school. 
 
 Alard, Dancla, and Maurin were expo- 
 nents of the French school, while in that 
 
 135 
 
136 . Famous Violinists. 
 
 of Belgium we have De Beriot, Massart, 
 Vieuxtemps, Leonard, Wieniawski. 
 
 Lambert Joseph Massart was born at 
 Liege in 181 1, and was first taught by an 
 amateur named Delavau, who, dehghted with 
 the remarkable talent displayed by his young 
 pupil, succeeded in securing for him, from 
 the municipal authorities of Liege, a schol- 
 arship which enabled him to go to Paris. 
 
 On his arrival at the Conservatoire, Che- 
 rubini, who was splenetive and rash, refused 
 him admission without assigning any reason 
 for his decision, but Rudolph Kreutzer took 
 upon his shoulders the task of forming the 
 future artist. 
 
 Notwithstanding Massart's great talent 
 and excellent capabilities as an artist, he 
 never became a success as a concert player, 
 because of his inordinate shyness, but as a 
 teacher few have equalled him. 
 
 Sir Charles Halle, in his autobiography, 
 Jells a good anecdote concerning Massart's 
 
i8oo to 1 8 JO. 137 
 
 shyness and modesty. Massart was to play, 
 with Franz Liszt, a program which included 
 the Kreutzer sonata. Just as the sonata was 
 begun a voice from the audience called out 
 *' Robert le Diable," referring to Liszt's bril- 
 liant fantasia on themes from that opera, 
 which he had recently composed, and had 
 played several times with immense success. 
 The call was taken up by other voices, and 
 the sonata was drowned. Liszt rose and 
 bowed, and presently, in response to the con- 
 tinued applause, he said : *' I am always the 
 humble servant of the public. But do you 
 wish to hear the fantasia before or after the 
 sonata } " 
 
 Renewed cries of " Robert " were the only 
 reply, upon which Liszt turned half around to 
 Massart and dismissed him with a wave of 
 the hand, but without a word of excuse or 
 apology. Liszt's performance roused the 
 audience to a perfect frenzy, but Massart 
 nevertheless most dutifully returned and 
 
138 Famous Violinists. 
 
 played the Kreutzer sonata, which fell 
 entirely flat after the dazzling display of the 
 great pianist. 
 
 Few teachers have formed as many distin- 
 guished pupils as Massart, for in 1843 he was 
 appointed professor of violin at the Paris 
 Conservatoire, where his energy, care, exact- 
 ness, and thoroughness brought him an im- 
 mense reputation. Lotto, Wieniawski, 
 Teresina Tua, and a host of other distin- 
 guished violinists studied under him : among 
 them also was Charles M. Loeffler, of the 
 Boston Symphony Orchestra. 
 
 Massart was also an excellent quartet 
 player and gave many delightful chamber 
 concerts, with his wife, who was a pianist. 
 He died in Paris, February 13, 1892. 
 
 Charles Auguste de Beriot, who holds a 
 position of great importance in the history of 
 violin playing and composition, was born in 
 1802 at Louvain. He had the misfortune to 
 be left an orphan at the age of nine. His 
 
i8oo to i8jo. 139 
 
 parents were of noble extraction, but at 
 their death he was left entirely without 
 fortune, and was taken in charge by M. Tiby, 
 a professor of music, who had noticed the 
 little boy's love of the musical art, and had 
 already taught him to such good purpose 
 that he was able even at that time to play 
 one of Viotti's concertos in public so skilfully 
 that he received the hearty applause of the 
 audience. He also took lessons of Rober- 
 rechts, one of Viotti's most noted pupils. 
 
 De Beriot was a youth of contemplative 
 mind and of high moral character. He 
 formed the acquaintance of the scholar and 
 philosopher Jacotot, who imbued him with 
 principles of self-reliance, and exerted an 
 influence over him which lasted throughout 
 his life. 
 
 De Beriot learned from his guide, philoso- 
 pher, and friend that *' perseverance triumphs 
 over all obstacles," and that "we are not 
 willing to do all that we are able to do." 
 
140 Famous Violinists. 
 
 At the age of nineteen De Beriot went to 
 Paris, taking with him a letter of introduction 
 to Viotti, who was then the director of music 
 at the Opera, and he succeeded in gratifying 
 his greatest ambition, which was to be heard 
 by that illustrious violinist. 
 
 Viotti gave him the following advice : 
 " You have a fine style. Give yourself up to 
 the business of perfecting it. Hear all men 
 of talent, profit by everything, but imitate 
 nothing." 
 
 De Beriot applied himself assiduously to 
 his studies, entering the Paris Conservatoire 
 and taking lessons of Baillot. In a few 
 months, however, he withdrew from the Con- 
 servatoire and relied upon his own resources. 
 He soon began to appear in concerts, gener- 
 ally playing compositions of his own, which 
 won him universal applause by their freshness 
 and originality as much as by his finished 
 execution and large style of cantabile. 
 
 In 1826 he went to London from Paris, 
 
i8oo to i8jo. 141 
 
 his first appearance taking place on May ist, 
 before the Philharmonic Society. Wherever 
 he appeared, either in London or the prov- 
 inces, he was greeted with enthusiasm, and he 
 established a lasting reputation. 
 
 His appearance in England antedated that 
 of Paganini by about five years, and it has 
 been questioned whether the impression 
 which he made would have been less if he 
 had appeared after instead of before the great 
 Italian. It seems, however that De Beriot 
 continued to meet with success even after the 
 advent of Paganini. His playing was distin- 
 guished by unfailing accuracy of intonation, 
 great neatness and facility of bowing, grace, 
 elegance, and piquancy. 
 
 After travelling for some years he returned 
 to Belgium, where he was appointed solo vio- 
 lin to the King of the Netherlands. He had 
 held the position but a short time when the 
 revolution of 1830 broke out and deprived 
 him of it. 
 
142 Famous Violinists. 
 
 He returned to Paris, and now began the 
 most romantic portion of his life. Madame 
 Malibran, whose brilliant career was then at 
 its height, was singing in opera, and De 
 Beriot became acquainted with her. The 
 acquaintance ripened into the most intimate 
 friendship, and in 1832 a concert company 
 was formed, consisting of Malibran, De 
 Beriot, and Luigi Lablache, the celebrated 
 and gigantic basso. They made a tour of 
 Italy, meeting with the most extraordinary 
 success. 
 
 De Beriot and the beautiful Madame Mali- 
 bran were now inseparable. Malibran had 
 for some years been living apart from her 
 husband, an American merchant, who, with 
 the view of supporting himself by her talents, 
 had married her when on the brink of finan- 
 cial collapse. In 1835 she succeeded in se- 
 curing a divorce from him, and then she 
 married De Beriot. 
 
 A few months after their marriage Mali- 
 
i8oo to 1 8 JO. 143 
 
 bran was thrown from her horse and sus- 
 tained internal injuries of such severity that 
 she died after an illness of nine days, and De 
 Beriot became frantic with grief. 
 
 More than a year elapsed before he could 
 at all recover from the effects of his irrepara- 
 ble loss, and his first appearance in concert, 
 after this tragic event, was when Pauline 
 Garcia, the sister of Madame Malibran, made 
 her first debut in a concert at Brussels given 
 for the benefit of the poor. 
 
 In 1 84 1 De Beriot married Mile. Huber, 
 daughter of a magistrate of Vienna. He 
 returned to Brussels, and became director of 
 the violin classes at the Conservatoire, after 
 which he ceased giving concerts. He re- 
 mained in this position until 1852, when fail- 
 ing eyesight caused him to retire, and he 
 died at Louvain in 1870. 
 
 Before his acquaintance with Madame 
 Malibran, De Beriot was a suitor for the 
 hand of Mile. Sontag, and her rejection of 
 
144 Famous Violinists. 
 
 him threw him into a state of despondency, 
 from which it required the brilliancy and wit 
 of Malibran to rouse him. 
 
 De Beriot left a number of compositions 
 which abound in pleasing melodies, have a 
 certain easy, natural flow, and bring out the 
 characteristic effects of the instrument in 
 the most brilliant manner. There are seven 
 concertos, eleven "airs varices," several 
 books of studies, four trios and a number of 
 duets for piano and violin. His " Violin 
 School " has been published in many lan- 
 guages and used a great deal by students. 
 
 Delphin Jean Alard was at one time a 
 favourite violinist in France. In 1842 he 
 succeeded Baillot as professor of violin at 
 the Conservatoire in Paris. He was first 
 soloist in the royal band, to which post he 
 was appointed in 1858, and he was presented 
 with the Cross of the Legion of Honour. 
 
 Alard was born at Bayonne in March, 
 181 5, and was well taught from his earliest 
 
i8oo to t8jo. 145 
 
 youth. He appeared in concerts at the age 
 of ten, and at twelve entered the Paris Con- 
 servatoire, where he became a pupil of Habe- 
 neck, while Fetis taught him composition. 
 He was the winner of numerous prizes, and 
 he also wrote a great deal of music for the 
 violin. His greatest pupil was Sarasate. 
 
 Alard married the daughter of Vuillaume, 
 one of the best violin makers of France, and 
 through him became the owner of one of the 
 most beautiful Stradivarius violins. Alard 
 died in Paris, February 22, i88r. 
 
 Hubert Leonard was born at Bellaire, near 
 Liege, in 18 19, but unlike the majority of 
 violinists he did not appear in concerts at an 
 early age, nor did he enter the Paris Conser- 
 vatoire until he was seventeen. At this 
 time the wife of a wealthy merchant in 
 Brussels took interest in him and provided 
 the means necessary for him to go to Paris. 
 In 1844 he appeared at Leipzig, and created 
 a deep impression by the beauty of his tone 
 
146 Famous Violinists. 
 
 and his elegant performance. He travelled 
 through Europe and played chiefly his own 
 compositions, of which there are a great 
 many, but his greatest fame was earned after 
 he was appointed professor at the Brussels 
 Conservatoire, where he had many pupils, 
 of whom the most celebrated is, perhaps, 
 Martin Marsick. 
 
 Concerning the merits of Heinrich Wil- 
 helm Ernst there seems to be a wide differ- 
 ence of opinion between various commenta- 
 tors. He was a man of warm, impulsive 
 nature, whose playing was distinguished by 
 great boldness in the execution of technical 
 difficulties of the most hazardous nature. 
 His tone had a peculiar charm, and at the 
 same time his fiery, impetuous nature and 
 uneven disposition led to certain occasional 
 errors in technique and faulty intonation. 
 Nevertheless, he was one of the most wel- 
 come performers in the concert halls of 
 Europe for a number of years. He was a 
 
i8oo to 1 8 JO. 147 
 
 thorough musician and a good composer, 
 though his works are so full of technical 
 difficulties as to be almost impossible of per- 
 formance. Indeed it is said that some of 
 them contained difficulties which even he 
 could not always overcome. 
 
 Born in Moravia at the town of Briinn in 
 1 8 14, he entered the Vienna conservatory, 
 and in 1830 made his first concert tour 
 through Munich and Paris. Paganini was at 
 that time travelling in Europe, and Ernst, in 
 the desire to learn something from this great 
 artist, followed him from town to town, and 
 endeavoured to model his own playing upon 
 the style of the Italian virtuoso, an effort 
 which seems to have brought down upon 
 him the censure of some critics, but which 
 others have considered highly praiseworthy. 
 
 In 1832 he settled in Paris, where he 
 studied hard under De Beriot, and played in 
 concerts frequently. After 1844 he lived 
 chiefly in England, where he was highly ap- 
 
148 Famous Violinists. 
 
 predated, until the approach of his fatal dis- 
 ease made it necessary for him to give up, 
 first, public performances, and then violin 
 playing of any kind. He died at Nice 
 after eight years of intense suffering, in 
 1865. 
 
 When Ernst died the critic of the Atke- 
 neum compared him with other players of his 
 day in the following words : " Less perfec- 
 tion in his polish, less unimpeachable in the 
 diamond lustre and clearness of his tone, 
 than De Beriot, Ernst had as much elegance 
 as that exquisite violinist, with greater depth 
 of feeling. Less audaciously inventive and 
 extravagant than Paganini, he was sounder 
 in taste, and, in his music, with no lack of 
 fantasy, more scientific in construction. . . . 
 The secret, however, of Ernst's success, 
 whether as a composer or a virtuoso, lay in 
 his expressive power and accent. There has 
 been nothing to exceed these as exhibited by 
 him in his best days. The passion was car- 
 
i8oo to 1 8 JO. 149 
 
 ried to its utmost point, but never torn to 
 tatters, the freest use of tempo rubato per- 
 mitted, but always within the limits of the 
 most just regulation." 
 
 Among the violinists of this period (those 
 who were born between 1800 and 1830) will 
 be found those who first visited the United 
 States. In 1843 Ole Bull found his way to 
 these shores, and in the following year both 
 Vieuxtemps and Artot were giving concerts 
 in New York. A kind of triangular duel 
 took place, for the admirers of Artot and 
 Vieuxtemips, who were chiefly the French 
 residents of the city, endeavoured to belittle 
 the capabilities of Ole Bull, who nevertheless 
 appears to have been very successful, and if 
 anything, to have benefited by the competi- 
 tion. Musical culture was, at that time, in a 
 very low state in America, and one may judge 
 somewhat of its progress by the press criti- 
 cisms of the artists who visited the country 
 from time to time. It will be seen that those 
 
150 Famous Violmists. 
 
 who, like Ole Bull, Sivori, and Remenyi, ap- 
 plied their talents to the elaboration of popu- 
 lar airs and operatic themes were able to 
 elicit the warmest praise. Vieuxtemps ap- 
 pears to have appealed to the cultured 
 minority and was understood and appreciated 
 by very few. 
 
 Flowery language was used without stint, 
 and was frequently misapplied in the most 
 ludicrous manner, as will be seen by the fol- 
 lowing extract : 
 
 " Since the death of his great master, the weird 
 Pa£:anini, Ole Bull had been left without a rival in 
 Europe. Herwig, Nagel, Wallace, Aitot, and De 
 Beriot can only ' play second fiddle ' to this king of 
 the violin. His entrance upon the stage is remark- 
 ably modest, and after the Parisian graces of Artot 
 seems a little awkward ; a tip of his bow brings a 
 crash from the orchestra. He then lays his cheek 
 caressingly on the instrument, which gradually awakes, 
 and wails, and moans, like an infant broken of its 
 slumber. Every tone seems fraught with human 
 passion. At one time he introduces a dialogue, in 
 which a sweet voice complains so sadly that it makes 
 the heart ache with pity, which is answered from 
 
i8oo to 1 8 JO. 1 5 1 
 
 another string with imprecations so violent and 
 threatening that one almost trembles with fear. 
 We fancied that a young girl was pleading for the 
 life of her lover, and receiving only curses in reply. 
 At the close of the first piece, the ' Adagio Maestoso,' 
 there was one universal shout of applause, which 
 afforded an infinite relief to a most enthusiastic house 
 that had held its breath for fifteen minutes. Ole Bull 
 came before the curtain and bowed, with his hand 
 upon his heart. There is something different in his 
 performance from that of any other artist, and yet it 
 is difficult to describe the peculiarity of his style, ex- 
 cept that he touches all the strings at once, and plays 
 a distinct accompaniment with the fingers of his right 
 hand. But the charm is in the genius of the man 
 and the grandeur of his compositions. He knows 
 how to play upon the silver cord of the heart which 
 binds us to a world of beauty, and vibrates only when 
 touched by a master hand." 
 
 The sentiments and emotions aroused in 
 the breast of this critic appear to have been 
 those with which Paganini inspired his audi- 
 ence, when he played a duet on two strings, 
 as related in an earlier chapter. Ole Bull 
 was a child of nature, he gave his audience 
 a description of the beauties of nature, and 
 
152 Famous Violinists. 
 
 behold ! it is interpreted as a story of human 
 passions, — a high tribute to descriptive 
 music. 
 
 The following criticism seems more in 
 keeping with the ideas known to have been 
 held by the violinist, and almost leads one to 
 imagine that the critic was fortunate enough 
 to obtain an interview with the virtuoso be- 
 fore writing his account : 
 
 " February, 1844. 
 "To what shall we compare Ole Bull's playing? 
 Was it like some well-informed individual who has 
 seen the world and who spices his tales of men and 
 things with song and story — now describing the 
 beauties of Swiss scenery, now repeating the air 
 which he caught up one moonlight night on the 
 Bosphorus, and anon relating a stirring joke which 
 he gleaned on the Boulevard. Such a man would 
 create an impression on any small tea-party, but that 
 violin did more — the comparison fails. There might 
 be to him who chose to give rein to his fancy a 
 vision at one moment of the old ivy-covered church 
 and the quiet graveyard, the evening sun streaming 
 through the rich stained glass, the organ faintly heard 
 through the long aisles and the deep chancel, and 
 around and about the singing of some bird of late 
 
i8oo to 1 8 JO. 153 
 
 hours, and the hum of the bee as he flew by, well 
 laden, to his storehouse of sweets. 
 
 " Then the clouds flew fearfully, and the wind 
 moaned through the boughs of the old oak-tree in its 
 winter dishabille, and so down to the seashore, when 
 it rushed over cliffs and crags and knocked off the caps 
 of the mad waves and sped on like a t^Tant, crashing 
 everything in its way and rejoicing in its might. And 
 so we glided oddly but easily enough into the ball- 
 room, where mirth and laughter, bright eyes, fairy 
 feet, and all that was good and pleasant to behold 
 flitted by. It was not all music that Ole Bull's violin 
 gave out. There were old memories and pleasant 
 ones, ideas which shaped themselves into all man- 
 ners of queer visions ; and the main difference be- 
 tween Ole Bull and those I have heard before him 
 seemed to me to consist in this ^— that whereas 
 many others may excite and hold by the button, as 
 it were, the organ of hearing and the mind therewith 
 immediately connected, Ole Bull awakens the other 
 senses along with it and occupies them in the field of 
 imagination." 
 
 In 1846 came Sivori, and in 1848 Remenyi, 
 both artists whose desire to please their audi- 
 ences took them far from the path of the 
 highest musical standard. It may be said 
 with truth that the country was hardly ready 
 
154 Famous Violinists. 
 
 for musicianship of the highest quality, and 
 even in 1872, when Wieniawski came with 
 the great pianist and composer, Rubinstein, 
 the two were accepted on their reputation 
 rather than on their merits, which were 
 understood by a comparatively small propor- 
 tion of their audiences. 
 
 Although several violinists endeavoured 
 to copy Paganini's style, or at least to learn 
 as much as possible from hearing and see- 
 ing him play, there was only one, excepting 
 Catarina Calcagno, who received direct in- 
 struction from him, and on whom his mantle 
 was said, by his admirers, to have fallen. 
 That one was Camillo Sivori, born at Genoa, 
 June 6, 1 81 7. 
 
 The connecting link between Sivori and 
 Paganini began very early in the career of 
 the former. Indeed it is said that the excite- 
 ment of his mother, on hearing Paganini play 
 at a concert, caused the premature birth of 
 the future disciple of the great artist. Mar- 
 
5iV0RL 
 
 #^ 
 
 «^v" 
 
i8oo to 1 8 JO. 155 
 
 vellous stories are told of Sivori's infancy. 
 At the age of eighteen months, before he 
 had ever seen or heard a violin player, he 
 continually amused himself by using two 
 pieces of stick after the manner of the violin 
 and bow, and singing to himself. It is fair 
 to say that similar precocity in other children 
 has not always resulted in virtuosity. A 
 case might be cited of a very young person 
 who amused himself by inverting a small 
 chair, and imagining that he was a street 
 organist, but he grew to maturity without 
 adopting that profession. 
 
 At two years of age, the account con- 
 tinues, he cried out lustily for a violin, and 
 when his father, reduced to submission by 
 the boy's importunity, bought him a child's 
 violin, he at once began to apply himself, 
 morning, noon, and night, to practising on 
 this instrument, and without any aid he was 
 able in a short time to play many airs he 
 had heard his sisters play or sing. His 
 
156 Famous Violmists. 
 
 renown spread through Genoa, and he was 
 invited everywhere. At concerts and parties 
 he was placed upon a table to play, and he 
 was frequently called upon to perform before 
 the king and the queen-dowager. He must 
 have been a most wilful and embarrassing 
 child, for the account goes on to say that he 
 would not enter a church unless he heard 
 music ; but on the other hand, if he did hear 
 music he insisted on going in, or else he 
 would scream and make a terrible scene. 
 
 These anecdotes, told by an effusive ad- 
 mirer, seem rather ridiculous, but when Pa- 
 ganini visited Genoa, and Sivori was six 
 years old, the virtuoso took a great deal of 
 interest in the little fellow and gave him 
 lessons. He also wrote a concerto for him, 
 and six short sonatas with accompaniment 
 for guitar, tenor, and 'cello, and these the 
 young artist soon played in public. In six 
 months Paganini left Genoa and desired to 
 take his young pupil with him, but this was 
 
i8oo to 1 8 JO. 157 
 
 not allowed by the parents, and Sivori was 
 placed under the tuition of Costa. Three 
 years later Paganini returned to Genoa, and 
 by his advice his protege was placed under 
 M. Dellepaine, who taught him taste and 
 expression, his lessons with Costa in tech- 
 nique continuing. In 1827 Sivori made a 
 concert tour with M. Dellepaine, and visited 
 Paris, where his playing at the Conservatoire 
 won him great applause. He also appeared 
 in England, after which he entered upon 
 another serious course of study for several 
 years, and perfected the tone which enrap- 
 tured the world for so long, and at the same 
 time he studied composition under Serra. 
 
 In 1839 his concert tours began again, 
 and he visited Germany, Russia, Belgium, 
 and Paris, where he played at the Conserva- 
 toire concerts and received the medal of 
 honour. 
 
 Sivori now set out on extensive travels, 
 and, after visiting England, proceeded, in 
 
158 Famous Violinists. 
 
 1846, to America, travelling through the 
 United States, Mexico, and various parts of 
 South America, spending eight years in 
 these peregrinations, and amassing a con- 
 siderable fortune. During this great tour 
 he met with many adventures, frequently 
 travelling on horseback, and at one time 
 being at death's door with yellow fever. On 
 his return to Europe he shared the fate of 
 many musicians who have achieved financial 
 success, and lost his money by unfortunate 
 investment, which made it necessary for him 
 to resume his travels. He therefore visited 
 Great Britain, Switzerland, Germany, Spain, 
 Portugal, etc. 
 
 He was, of course, compared to many of 
 the great violinists of his time, who al] had 
 their special merits. One criticism, in which 
 Sivori is compared with Spohr, may be inter- 
 esting : " Spohr is of colossal stature, and 
 looks more like an ancient Roman than a 
 Bruns wicker ; Sivori is the antithesis of 
 
i8oo to 1 8 JO. 159 
 
 Spohr in stature. Spohr has the severe 
 phlegmatic Teutonic aspect ; Sivori has the 
 flashing Italian eye and variability of feature. 
 Spohr stands firm and still ; Sivori' s body is 
 all on the swing, he tears the notes, as it 
 were, from his instrument. Spohr's refine- 
 ment and polish have been the characteris- 
 tics of his playing ; in Sivori it is wild energy 
 — the soul in arms — the determination to 
 be up and doing — the daring impulse of 
 youthful genius. Spohr's playing is remark- 
 able for its repose and finish ; Sivori electri- 
 fies by the most powerful appeals to the 
 affections." 
 
 Sivori was a man of generous impulses, 
 and was seldom appealed to in vain to assist 
 in a good cause. When his teacher, M. 
 Dellepaine, was taken ill and was unable 
 temporarily to fill his post of first violin at 
 the theatre, and of director of the conserva- 
 toire at Genoa, Sivori replaced him in both 
 and gave him the entire benefit of his ser- 
 
i6o Famous Violinists. 
 
 vices. After two years the teacher died, and 
 Sivori still held the two places an entire year 
 for the benefit of the widow, until a situation 
 was procured for her which enabled her to 
 live without further assistance. 
 
 At one time Sivori felt that the instru- 
 ment which he played was not so perfect as 
 to satisfy him. He asked Paganini to sell 
 him one, and the reply was, " I will not sell 
 you the violin, but I will present it to you 
 in compHment to your high talents." Sivori 
 travelled to Nice to receive the instrument 
 from his master's own hands. Paganini was 
 then — it was in 1840 — in a deplorable con- 
 dition, and could hardly speak. He signified 
 a desire to hear his pupil play once more, 
 and Sivori, withdrawing to a room a little 
 way off, so that the sound of the instrument 
 would not be too loud, played whatever Pa- 
 ganini called for. About two weeks later 
 Paganini died. 
 
 In 185 1 Halle wrote of him as follows: 
 
j8oo to 1 8 JO. i6i 
 
 " Sivori was here lately, but caused little 
 furore ; such rubbish as the man plays now 
 I had never heard, and really, as an artist, 
 felt ashamed of him." 
 
 Sivori continued to play in public until 
 1864, when he visited London and played 
 at the Musical Union and elsewhere, but his 
 triumph in Paris in 1862 must not be forgot- 
 ten. On that occasion he executed Paganini's 
 B minor concerto, and aroused immense en- 
 thusiasm, although he played immediately 
 after Alard, who was at that time a prime 
 favourite. During his later years Sivori 
 lived in retirement, and he died February 1 8, 
 1894. 
 
 He was the first person allowed to play 
 on the celebrated violin which Paganini be- 
 queathed to the city of Genoa. He was also 
 the first to play, with orchestra, Mendels- 
 sohn's Violin Concerto in England. This 
 performance was at the Philharmonic Society 
 concert, June 29, 1846. 
 
1 62 Famotcs Violinists. 
 
 Henry Vieuxtemps was one of the great- 
 est violinists of his time. He was born at 
 Verviers, in Belgium, in 1820, and was 
 brought up in a musical atmosphere. So 
 early did his talent develop, that he played 
 a concerto of Rode in public at the age of six, 
 and the following year made a tour with his 
 father and his teacher, Lecloux, during which 
 he had the good fortune to meet De Beriot, 
 before whom he played. During four years 
 he remained a pupil of De Beriot, and when 
 that artist left Paris, in 1831, Vieuxtemps 
 went to Brussels, where he practised hard, 
 but without a teacher, until 1833, when he 
 again set out on a prolonged concert tour. 
 
 From this time on he seems to have spent 
 the greater part of his time in travelling, for 
 which he had a passion. He visited all parts 
 of Europe and met most of the celebrated 
 musicians of the day. Spohr, Molique, 
 Schumann, Paganini, Henselt, and Richard 
 Wagner were among the celebrities whom 
 
i8oo to J 8 JO. 163 
 
 he met, and in his tours he was associated 
 with Servais, Thalberg, and other well-known 
 artists. 
 
 Not content with Europe as a field for 
 conquest, he visited America in 1844, and 
 again in 1857 and in 1870. 
 
 He was offered many excellent positions, 
 some of which he held for a time and others 
 he declined. In 1845 he married Josephine 
 Eder, an eminent pianist of Vienna, and 
 shortly after was appointed solo violinist to 
 the Emperor of Russia, relinquishing that 
 post six years later in order to travel again. 
 He was professor at the Brussels conserva- 
 toire from 187 1 to 1873, and in 1872 he was 
 elected a member of the Academic Royale 
 of Belgium, on which occasion he read a 
 memoir of fitienne Jean Soubre. 
 
 In 1868 he suffered a double bereavement 
 through the deaths, first of his father, and a 
 short time later of his wife, and, to divert his 
 mind from these troubles, he undertook a tour 
 
164 Famous Violinists. 
 
 which lasted three years. During 1873 his 
 active career was cut short by a stroke of 
 paralysis which disabled his left side. He 
 now travelled for health's sake, and went to 
 Algiers, where he lived quietly for several 
 years. His life was brought to an end by 
 a drunken Arab, who threw a large stone at 
 him while he was riding in his carriage one 
 day, striking him on the head. 
 
 As a violinist Vieuxtemps possessed a 
 wonderful staccato, both on the up and 
 down bow. His intonation was perfect. He 
 was fond of strong dramatic accents and 
 contrasts. As a composer for the violin he 
 had wider success than any one since Spohr, 
 but while some of his works contain really 
 fine ideas worked out with much skill, others 
 are merely show pieces of no particular 
 value. 
 
 As a man Vieuxtemps had a gay and 
 restless disposition. He was not easily 
 depressed by trifles, and he enjoyed the 
 
i8oo to 1 8 JO. 165 
 
 freedom of a life of constant change and 
 travel, and it was during his travels that 
 most of his best compositions were written. 
 
 During the last few years of his active 
 life, after his paralytic stroke had prevented 
 his playing, he suffered much from his ina- 
 bility to demonstrate to his pupils the way 
 in which certain passages should be played. 
 Frequent outbursts of rage ensued, of which 
 his pupils were obliged to bear the brunt, 
 even to being prodded with his iron-shod 
 stick. Sometimes scenes more amusing 
 would occur, as when some grandees would 
 visit the class, and Vieuxtemps would 
 change his manner from smiles and affa- 
 bility while addressing them, to scowls and 
 grimaces while talking to his pupils, the 
 latter, of course, being invisible to the vis- 
 itors. 
 
 When Vieuxtemps visited America in 
 1857, he was associated with Thalberg, the 
 pianist, and together they visited many 
 
1 66 Famous Violinists. 
 
 towns and cities. Amongst the gems of 
 American newspaper criticism they no doubt 
 took with them several copies of the follow- 
 ing, which appeared in the local paper of a 
 town in Tennessee, and was headed *'Thal- 
 berg and Vieuxtemps :" 
 
 " These distinguished individuals are now at Nash- 
 ville, giving high pressure concerts, and selling tickets 
 at two dollars apiece, when convenient. A stage-load 
 and a half or two stage-loads of ladies and gentlemen 
 went down from this place to hear them. Thalberg 
 is said to be death, in its most horried shape, on the 
 piano, and it is probably true ; while Vieuxtemps is 
 represented as a fiddler of considerable skill, consid- 
 ering his opportunities, which he no doubt is. We 
 haven't heard either of them since they were quite 
 small, and unless they come out here and reduce the 
 price of their tickets to their value, — say about sixty- 
 two and a half cents a dozen, — it is possible that we 
 sha'n't hear them any more. When we ride forty 
 miles, at an expense of at least ten dollars, extras not 
 included, to hear a couple of itinerant Dutchmen tor- 
 ture a brace of unoffending instruments into fits, until 
 the very spirit of music howls in sympathy, if some 
 one will cave in our head with a brickbat, we will 
 feel greatly obliged. 
 
 "But seriously, Thalberg and Vieuxtemps have 
 
i8oo to 1 8 JO. 167 
 
 never done us any harm that we know of, and we 
 don't suppose they intend to. We wouldn't much 
 mind hearing their music, for no doubt it is nearly, 
 if not quite, as good as that of the average common 
 run of Dutchmen, which, as the latter will tell you, is 
 saying a good deal." 
 
 And yet musical culture was said to be in 
 its infancy in America at that time ! 
 
 In Boston, Vieuxtemps, after an absence 
 of fourteen years, was criticised thus: "We 
 cannot see in M. Vieuxtemps the spark of 
 genius, but he is a complete musician, and 
 the master of his instrument. Tone so rich, 
 so pure, so admirably prolonged and nour- 
 ished, so literally drawn from the instrument, 
 we have scarcely heard before; nor such 
 vigour, certainty, and precision, such nobility 
 and truth in every motion and effect. We 
 recognise the weakness for sterile difificulties 
 of extreme harmonics." 
 
 Vieuxtemps was also subject to compari- 
 son with Sivori, rather to the former's dis- 
 paragement. ''The one plays the violin like 
 
1 68 Famous Violinists. 
 
 a great musician, the other like a spoiled 
 child of nature, who has endowed him with 
 the most precious gifts. Intrepid wrestlers, 
 both, and masters of their instrument, they 
 each employ a different manner. M. Vieux- 
 temps never lets you forget that he plays the 
 violin, that the wonders of mechanism which 
 he accomplishes under your eye are of the 
 greatest difficulty and have cost him immense 
 pains, whereas M. Sivori has the air of being 
 ignorant that he holds in his hands one of 
 the most complicated instruments that exists, 
 and he sings to you like Malibran. He sings, 
 he weeps, he laughs on the violin like a very 
 demon." 
 
 The following paragraph is a good sample 
 of New York musical journalism in the year 
 
 1844: 
 
 " Vieuxtemps's first concert on Monday night was 
 a very stylish jam. He is a small, puny-built man, 
 with gold rings in his ears, and a face of genteel 
 ugliness, but touchingly lugubrious in its expression. 
 With his violin at his shoulder, he has the air of a 
 
i8oo to 1 8 JO. 169 
 
 husband undergoing the nocturnal penance of walk- 
 ing the room with 'the child' — and performing it, 
 too, with unaffected pity. He plays with the purest 
 and coldest perfection of art, and is doubtless more 
 learned on the violin than either of the rival perform- 
 ers [Ole Bull and Artot], but there is a vitreous clear- 
 ness and precision in his notes that would make them 
 more germane to the humour of before breakfast than 
 to the warm abandon of vespertide. His sister travels 
 with him (a pretty blonde, very unlike him), and ac- 
 companies him on the piano." 
 
 Vieuxtemps also visited America in 1870, 
 with the celebrated singer Christine Nilsson. 
 
 Among the celebrated violinists of this 
 period must be mentioned Bernhard Mo- 
 lique, of whom Sir Charles Halle says that 
 he was a good executant, knowing no diffi- 
 culties, but his style was polished and cold, 
 and he never carried his public with him. 
 "Ernst," he continues, "was all passion and 
 fire, regulated by reverence for and clear 
 understanding of the masterpieces he had 
 to interpret. Sainton was extremely elegant 
 and finished in his phrasing, but vastly in- 
 
I/O Famous Violinists. 
 
 ferior to the others. Vieuxtemps was an 
 admirable violinist and a great musician, 
 whose compositions deserve a much higher 
 rank than it is the fashion to accord them." 
 
 Molique was the son of a town musician 
 of Nuremberg, and became a composer whose 
 works have stood the test of time. He was 
 a pupil of Kreutzer and of Spohr, and held 
 the position of director and first violinist 
 of the royal band at Stuttgart. He had a 
 number of excellent pupils, of whom John T. 
 Carrodus was the best known. He died at 
 Stuttgart in 1869. 
 
 Henry Gamble Blagrove was a musical 
 prodigy, who began the study of the violin 
 at the age of four, and appeared in public a 
 year later. He was born at Nottingham in 
 181 1, and at six years of age played at 
 Drury Lane. He studied abroad with 
 Spohr, and appeared in Vienna in 1836, 
 but the greater part of his life was spent 
 in England, where he was soloist in several 
 
i8oo to 1 8 JO. 171 
 
 of the best orchestras. He was a man of 
 refreshing modesty, and was held in high 
 esteem. He died in London in 1872. 
 
 Jacob Dont, of Vienna, and Jean Dancla, 
 a French violinist, both belong to this period, 
 and were teachers of reputation. 
 
CHAPTER VI. 
 
 OLE BULL. 
 
 " A TYPICAL Norseman, erect of bearing, 
 with a commanding presence and mobile, 
 kindly face, from which the eyes shone clear 
 and fearless as the spirits of old Norway 
 hovering over his native mountains. He was 
 a man to evoke respect and love under all 
 conditions, and, when he stepped before an 
 audience, roused an instantaneous throb of 
 sympathy, of interest, before the sweep of 
 his magical bow enthralled their souls with 
 its melodious measures." Such is an excel- 
 lent pen picture of Ole Bull, who during the 
 middle of the nineteenth century was known 
 far and wide as a great violinist. 
 
 172 
 
Ole Bull. 173 
 
 Among the celebrated musicians of all 
 nations, Ole Bull will always remain a strik- 
 ing figure. As a musician, none so eminent 
 has been so essentially a self-made man, none 
 has grown up with so little influence from 
 outside, none with a technique so essentially 
 self-discovered. As a son of his country, 
 none has retained so sturdy a sense of patriot- 
 ism ; none has, amid the more brilliant sur- 
 roundings of a life spent in the gayest cities 
 of the world, refused to be weaned from the 
 poor northern, half-dependent state from 
 which he issued a penniless lad. 
 
 Olaus Borneman Bull was bom at Bergen, 
 in Norway, February 5, 18 10, and was the 
 eldest of ten children. His father was a 
 physician and apothecary. He was musical, 
 as were several other members of his family, 
 and little Ole's love for music was fostered 
 to a great degree at home by the Tuesday 
 quartet meetings, at which his Uncle Jens 
 plaved the 'cello. 
 
174 Famous Violinists, 
 
 In the early part of the century, the prov- 
 erb, '* Spare the rod and spoil the child," 
 was regarded as the foundation of education 
 in most countries, and few children were 
 allowed to spoil. All childish desires which 
 conflicted with parental ideas were promptly 
 suppressed by " the rod," until by sheer 
 strength they proved to be unsuppressible. 
 Then they became great virtues. It was 
 thus with Ole Bull. His first desire to hear 
 the quartet music, which he gratified by hid- 
 ing under sofas or behind curtains, was 
 rewarded with the rod, — for he should have 
 been in bed. After a time a concession was 
 made through the intervention of Uncle Jens, 
 and Ole was allowed to become familiar with 
 the best music of the day. 
 
 Uncle Jens used to amuse himself with the 
 small boy's susceptibility to music, and would 
 sometimes shut him up in the 'cello case, 
 promising him some candy if he would stay 
 there while he (Uncle Jens) played. But 
 
Ole Bull. 175 
 
 Ole could never endure the ordeal for long. 
 He had to come out where he could see and 
 hear. 
 
 His first violin was given him by Uncle 
 Jens when he was five years old, and he soon 
 learned to play it well without any instructor. 
 He was not allowed to practise music until 
 his study hours were over, and occasional 
 breaches of this rule kept *'the rod" active. 
 Ole Bull's first instructor was a violinist 
 named Paulsen, a man of convivial tempera- 
 ment, who used to come and enjoy the hospi- 
 tality of Ole's father and play " as long as 
 there was a drop in the decanter," with a 
 view to educating the young artist, as he 
 said. But Ole's parents were thinking of 
 prohibiting the violin altogether on the plea 
 that it interfered too much with his studies, 
 when the tide of affairs was changed by the 
 following incident. 
 
 One Tuesday evening, Paulsen, who 
 played first violin in the quartet, had been so 
 
176 Fmnoiis Violinists. 
 
 convivial that he was unable to continue. In 
 this unfortunate dilemma Uncle Jens called 
 upon Ole, saying, " Come, my boy, do your 
 best, and you shall have a stick of candy." 
 Ole quickly accepted the challenge, and as 
 the quartet was one which he had several 
 times heard, he played each movement cor- 
 rectly, much to the astonishment of all 
 present. 
 
 This happened on his eighth birthday, and 
 the event marked an epoch in his life, for he 
 was elected an active member of the Tues- 
 day club, and began to take lessons regularly 
 of the convivial Paulsen. 
 
 There is a pathetic story of how Ole 
 induced his father to buy a new violin for 
 him, and, unable to restrain his desire to play 
 it, he got up in the night, opened the case, 
 and touched the strings. This furtive touch 
 merely served to whet his appetite, and he 
 tried the bow. Then he began to play very 
 softly ; then, carried away with enthusiasm, 
 
Ole Bull. I jj 
 
 he played louder and louder, until suddenly 
 he felt the sharp sting of his father's whip 
 across his shoulders, and the little violin fell 
 to the floor and was broken. 
 
 From 1819 to 1822 Ole Bull received no 
 violin instruction, for Paulsen had left Bergen 
 without explanation, though it has been 
 hinted that Ole Bull had outgrown him, 
 and on that account he thought it wise to 
 depart. 
 
 In 1822 a Swedish violinist came to Bergen, 
 and Ole took lessons of him. His name was 
 Lundholm, and he was a pupil of Baillot. 
 Lundholm was very strict and would admit of 
 no departure from established rules. He 
 quite failed to make the boy hold his instru- 
 ment according to the accepted method, but 
 his custom of making his pupil stand upright, 
 with his head and back against the wall while 
 playing, no doubt gave to him that repose 
 and grace of bearing which was so noticeable 
 in later years. Lundholm was, however, 
 
178 Famous Violinists. 
 
 quite unable to control his precocious pupil 
 and a coolness soon sprung up between them, 
 which appears to have culminated in the 
 following incident. 
 
 On a Tuesday evening, at one of the 
 regular meetings, Lundholm played Baillot's 
 " Caprizzi," but Ole Bull was much dis- 
 appointed at the pedantic, phlegmatic manner 
 in which he rendered the passionate phrases. 
 When the company went to supper Ole 
 found on the leader's music-rack a concerto 
 of Spohr's, and began to try it over. 
 Carried away with the music, he forgot 
 himself, and was discovered by Lundholm on 
 his return, and scolded for his presumption. 
 
 *'What impudence!" said the violinist. 
 ** Perhaps you think you could play this at 
 sight, boy.?" "Yes," was the reply, "I 
 think I could." His remark was heard by 
 the rest of the company, who were now 
 returning, and they all insisted that he 
 should try it. He played the allegro, and 
 
Ole Bull. 179 
 
 all applauded except Lundholm, who looked 
 angry. "You think you can play anything," 
 he said, and, taking a caprice of Paganini's 
 from the stand, he added, ''Try this." It 
 happened that this caprice was a favourite 
 of the young violinist, who had learned it 
 by heart. He therefore played it in fine 
 style, and received the hearty applause of 
 the little audience. Lundholm, however, 
 instead of raving, was more polite and kind 
 than he had ever been before, and told Ole 
 that with practice he might hope to equal 
 him (Lundholm) some day. 
 
 Years afterwards, when Ole Bull was 
 making a concert tour through Norway, and 
 was travelling in a sleigh over the snow- 
 covered ground, he met another sleigh 
 coming from the opposite direction, of which 
 the occupant recognised him, and made 
 signs to him to stop. It was Lundholm. 
 ''Well," shouted he, "now that you are a 
 famous violinist, remember that when I 
 
i8o Famous Violinists. 
 
 heard you play Paganini I predicted that 
 your career would be a remarkable one." 
 
 "Oh," exclahned Ole Bull, ''you were 
 mistaken, for I did not read that piece, I 
 knew it before." " It makes no difference," 
 was the reply, as the sleighs parted. 
 
 As young Ole approached manhood, and 
 developed in strength and stature, we find 
 him asserting his independence. His father, 
 who intended him to be a clergyman, en- 
 gaged a private tutor named Musaeus, who, 
 when he found that Ole's musical tastes 
 conflicted with his studies, forbade him to 
 play the violin, so that the boy could only 
 indulge at night in an inclination which, 
 under restraint, became a passion. Ole and 
 his brothers had long and patiently borne 
 both with cross words and blows from this 
 worthy pedagogue, and at length decided to 
 rebel. Accordingly when one morning at 
 half-past four the tutor appeared and 
 dragged out the youngest from his warm 
 
Ole Btdl. i8i 
 
 bed, Ole sprang upon him and a violent 
 struggle ensued. The household was 
 aroused, and in a few moments the parents 
 appeared on the spot in time to see Musaeus 
 prostrate upon the floor and suing for 
 peace. Contrary to his expectations, Ole 
 found himself taken more into his father's 
 confidence, and as a result he became more 
 desirous than ever of carrying out his father's 
 wishes. 
 
 In 1828 he went to the university in 
 Christiania, where, in spite of the best inten- 
 tions, he soon found himself musical director 
 of the Philharmonic and Dramatic Societies, 
 a position which gave him independence, 
 and somewhat consoled him for his failure 
 to pass his entrance examinations for the 
 university. His father reluctantly forgave 
 him, and he was now, in spite of everything, 
 fairly launched upon a musical career. 
 
 He was not long contented to remain in 
 Christiania. His mind was in a state of 
 
1 82 Famous Violinists. 
 
 restless agitation, and he determined to go 
 to Cassel, and seek out Spohr, whose opinion 
 he desired to secure. He accordingly left 
 Christiania on May i8, 1829. His departure 
 was so hurried that he left his violin behind, 
 and it had to be forwarded to him by his 
 friends. This suddenness was probably 
 caused by the fact that he had taken part 
 in the observance of Independence Day on 
 May 17th, a celebration which had been 
 interdicted by the government. 
 
 On reaching Cassel he went to Spohr, 
 who accorded him a cold reception. " I have 
 come more than five hundred miles to hear 
 you," said Ole Bull, wishing to be polite. 
 '' Very well," was the reply, " you can now 
 go to Nordhausen ; I am to attend a musical 
 festival there." Bull therefore went to 
 Nordhausen, where he heard a quartet by 
 Maurer, of which Spohr played the first 
 violin part. He was so overwhelmed with 
 disappointment at the manner in which the 
 
Olc Bull. 183 
 
 quartet was played by the four masters that 
 he came to the conclusion that he was de- 
 ceived in his aspirations, and had no true 
 calling for music. 
 
 Spohr was a most methodical man, and 
 had no appreciation for wild genius. He saw 
 only the many faults of the self-taught youth, 
 and coldly advised him to give up his idea of 
 a musical career, declining to accept him as a 
 pupil. Some five years later. Bull having in 
 the meantime refused to accept this advice, 
 which did not coincide with his own inclina- 
 tions, Spohr heard him play, and wrote thus 
 of him : '' His wonderful playing and sureness 
 of his left hand are \vorthy of the highest 
 admiration, but, unfortunately, like Paganini, 
 he sacrifices what is artistic to something 
 that is not quite suitably to the noble instru- 
 ment. His tone, too, is bad, and since he 
 prefers a bridge that is quite plain, he can 
 use A and D strings only in the lower posi- 
 tions, and even then pianissimo. This ren- 
 
184 Faniotts Violinists. 
 
 ders his playing (when he does not let himself 
 loose with some of his own pieces) monoto- 
 nous in the extreme. We noticed this par- 
 ticularly in two Mozart quartets he played 
 at my house. Otherwise he plays with a good 
 deal of feeling, but without refined taste." 
 
 After his discouraging interview with 
 Spohr, Ole Bull returned to Norway, making, 
 on the way, a short visit to Gottingen, where 
 he became involved in a duel. 
 
 Feeling that his own capabilities were 
 worth nothing, after what he had seen and 
 heard in Germany, Ole Bull returned home 
 in a despondent state of mind, but, on passing 
 through a town where he had once led the 
 theatre orchestra, he was recognised, wel- 
 comed, and compelled to direct a perform- 
 ance, and thus he o;ice more fell under the 
 influence of music, and began to apply him- 
 self vigorously to improvement. 
 
 In 1 83 1 he went to Paris in order to hear 
 Paganini, and if possible to find some oppor- 
 
Ole Bull. 185 
 
 tunity to improve himself. He failed to 
 enter , the Conservatoire, but he succeeded 
 in hearing Paganini, and this, according to 
 his own account, was the turning-point of 
 his life. Paganini' s playing made an immense 
 impression on him, and he threw himself 
 with the greatest ardour into his technical 
 studies, in order that he might emulate the 
 feats performed by the great Italian. 
 
 His stay in Paris was full of adventure. He 
 was hampered by poverty, and frequently in 
 the depths of despair. At one time he is said 
 to have attempted suicide by drowning in 
 the Seine. There is also a story told to the 
 effect that the notorious detective, Vidocq, 
 who lived in the same house with him, and 
 knew something of his circumstances, pre- 
 vailed upon him to risk five francs in a 
 gambling saloon. Vidocq stood by and 
 watched the game, and Ole Bull came away 
 the winner of eight hundred francs, presum- 
 ably because the detective was known, and 
 
1 86 Famous Violinists, 
 
 the proprietors of the saloon considered dis- 
 cretion to be the better part of valour. It 
 was a delicate method of making the young 
 man a present in a time of difficulty, but one 
 of which the moral effect could hardly fail to 
 be injurious. 
 
 At one time, when he was ill and homeless, 
 he entered a house in the Rue des Martyrs 
 in which there were rooms to let. He was 
 received and treated kindly, and was nursed 
 through a long illness by the landlady and 
 her granddaughter. 
 
 He tried to secure a place in the orchestra 
 of the Opera Comique, but his arrogance lost 
 him the position, for when he was requested 
 to play a piece at sight, it seemed to him so 
 simple that he asked at which end he should 
 begin. This offence caused him to be rejected 
 without a hearing. 
 
 Fortune, however, began at last to smile 
 upon him when he made the acquaintance of 
 M. Lacour, a violin maker, who conceived 
 
Ole Bull. 187 
 
 the idea of engaging him to show off his 
 violins. Ole Bull accordingly played on one of 
 them at a soiree given by the Duke of Riario, 
 Italian charge d'affaires in Paris. He was 
 almost overcome by the smell of assafoetida 
 which emanated from the varnish, and which 
 was caused by the heat. Neverthless, he 
 played finely, and as a result was invited 
 to breakfast the next morning by the Duke 
 of Montebello, Marshal Ney's son. This 
 brought him into contact with Chopin, and 
 shortly afterwards he gave his first concert 
 under the duke's patronage, and with the 
 assistance of Ernst, Chopin, and other cele- 
 brated artists. 
 
 He now made a concert tour through 
 Switzerland to Italy, and on reaching Milan 
 he played at La Scala, where he made an 
 immense popular success, but drew from one 
 of the journals a scathing criticism, which, 
 however humiliating it may have been, struck 
 him by its truth. 
 
1 88 Famous Violinists. 
 
 " M. Bull played compositions by Spohr, May- 
 seder, and Paganini without understanding the true 
 character of the music, which he marred by adding 
 something of his own. It is quite obvious that what 
 he adds comes from genuine and original talent, from 
 his own musical individuality ; but he is not master 
 of himself ; he has no style ; he is an untrained musi- 
 cian. If he be a diamond, he is certainly in the rough 
 and unpoHshed." 
 
 Ole Bull sought out the writer of this criti- 
 cism, who gave him valuable advice, and for 
 six months he devoted himself to ardent 
 study under the guidance of able masters. 
 In this way he learned to know himself, the 
 nature and limitations of his own talent. 
 
 We now arrive at the point in Ole Bull's 
 career at which he became celebrated, and 
 this was due to accident. He was at Bologna, 
 where De Beriot and Malibran were to appear 
 at one of the Philharmonic concerts. By 
 chance Malibran heard that De Beriot was to 
 receive a smaller sum than that which had 
 been agreed upon for her services, and in a 
 moment of pique she sent word that she was 
 
Olc BttlL 189 
 
 unable to appear on account of indisposition. 
 De Beriot also declared himself to be suffer- 
 ing from a sprained thumb. 
 
 It happened that Madame Colbran (Ros- 
 sini's first wife) had one day heard Ole Bull 
 practising as she passed his window, and now 
 she remembered the fact, and advised the 
 Marquis Zampieri, who was the director of 
 the concerts, to hunt up the young violinist. 
 Accordingly, Ole Bull, who had gone to bed 
 very early, was roused by a tap on the door, 
 and invited to improvise on the spot for 
 Zampieri. Bull was then hurried off, with- 
 out even time to dress himself suitably for 
 the occasion, and placed before a most dis- 
 tinguished audience, which contained the 
 Duke of Tuscany and other celebrities, 
 besides De Beriot, with his arm in a sling. 
 
 His playing charmed and captivated the 
 audience, although he was almost overcome 
 with exhaustion. After taking some food 
 and wine he appeared again, and this time he 
 
190 Famous Violinists. 
 
 asked for a theme on which to improvise. 
 He was given three, and, instead of making a 
 selection, he took all three and interwove 
 them in so brilliant a manner that he carried 
 the audience by storm. He was at once 
 engaged for the next concert, and made such 
 success that he was accompanied to his hotel 
 by a torchlight procession, and his carriage 
 drawn home by the excited people. 
 
 Ole Bull continued his triumphant course 
 through Italy. At Lucca he played at the 
 duke's residence, where the queen-dowager 
 met with a surprise, as Ole refused to begin 
 playing until she stopped talking. At Naples 
 he experienced the misfortune of having his 
 violin stolen, and he was obliged to buy a 
 Nicholas Amati, for which he paid a very 
 high price. After playing and making a great 
 success in Rome, he returned to Paris, where 
 he now found the doors of the Grand Opera 
 open to him, and he gave several concerts 
 there. 
 
Ole Bull. 191 
 
 In 1836 he married Felicie Villernot, the 
 granddaughter of the lady in whose house he 
 had met with so much kindness during his 
 first stay in Paris. 
 
 Following the advice of Rossini, he went 
 to London, where he made his usual success, 
 notwithstanding the intrigues of certain 
 musicians, who endeavoured to discredit 
 him. Such was his popularity in England 
 that he received for one concert, at Liverpool, 
 the sum of p{^8oo, and in sixteen months' 
 time he gave two hundred and seventy-four 
 concerts in the United Kingdom. 
 
 He now decided to visit Germany, and on 
 his way through Paris he made the acquaint- 
 ance of Paganini, who greeted him with the 
 utmost cordiality. He went through Ger- 
 many giving many concerts, and visited 
 Cassel, where he was now received by Spohr 
 with every mark of distinction. He played 
 in Berlin, v/here his success was great, not- 
 withstanding some adverse criticism. He 
 
192 Famous Violinists. 
 
 also played in Vienna and Buda-Pesth, and 
 so on through Russia. At St. Petersburg he 
 gave several concerts before audiences of 
 five thousand people. He now went through 
 Finland and so on to Sweden and Norway, 
 where he was feted. 
 
 Although closely followed by Vieuxtemps 
 and Artot, Ole Bull was the first celebrated 
 violinist to visit America, and in 1843 he made 
 his first trip, landing in Boston in November 
 of that year and proceeding directly to New 
 York, playing for the first time on Evacuation 
 Day. " John Bull went out on this day," he 
 said, "and Ole Bull comes in." He remained 
 two years in the United States, during which 
 time he played in two hundred concerts and 
 met with many remarkable adventures. 
 During his sojourn he wrote a piece called 
 ** Niagara," which he played for the first time 
 in New York, and which became very popular. 
 He also wrote "The Solitude of the Prairies," 
 which won more immediate success. 
 
Ole Bull. 193 
 
 He travelled during these two years more 
 than one hundred thousand miles, and played 
 in every city of importance. He is estimated 
 to have netted by his trip over $80,000, be- 
 sides which he contributed more than $20,000, 
 by concerts, to charitable institutions. No 
 artist ever visited the United States and 
 received so many honours. 
 
 In 1852 he returned to America, and this 
 time he was destined to meet with tribulation. 
 It was his desire to aid the poor of his coun- 
 try by founding a colony. He therefore 
 bought a tract of land of 125,000 acres in 
 Potter County, Pennsylvania, on the inaugura- 
 tion of which he stated his purpose : " We 
 are to found a New Norway, consecrated to 
 liberty, baptised with independence, and pro- 
 tected by the Union's mighty flag." Some 
 three hundred houses were built, with a store 
 and a church, and a castle on a mountain, 
 which was designed for his permanent home. 
 Hundreds flocked to the new colony, and 
 
194 Famous Violinists. 
 
 the scheme took nearly the whole of his 
 fortune. 
 
 Ole Bull now started on a concert tour 
 together with little Adelina Patti, her sister 
 Amalia Patti Strakosch, and Mr. Maurice 
 Strakosch. Patti was then only eight years 
 old, and was already exciting the wonder of 
 all who heard her. 
 
 When crossing the Isthmus of Panama his 
 violin was stolen by a native porter, and Ole 
 Bull was obliged to remain behind to find his 
 instrument, while the company went on to 
 California. He was now taken down with yel- 
 low fever, and owing to a riot in the town he 
 was entirely neglected, and was obliged to 
 creep off his bed on to the floor in order to 
 escape the bullets which were flying about. 
 On his recovery he set out for San Francisco, 
 but the season was too late for successful con- 
 certs. He was miserably weak, and when he 
 played his skin would break and bleed as he 
 pressed the strings. 
 
Ole BtilL 195 
 
 He now heard that there was some trouble 
 in regard to his title to the land in Pennsyl- 
 vania, and, hastening to Philadelphia, he was 
 legally notified that he was trespassing. 
 
 It transpired that the man who had sold 
 the land to Ole Bull had no claim to it what- 
 ever, and had perpetrated a barefaced swindle, 
 and now, having the money, he dared his vic- 
 tim to do his worst. The actual owner of the 
 land, who had come forward to assert his 
 rights, became interested in the scheme, and 
 was willing to sell the land at a low price, but 
 Ole now had no money. He instituted legal 
 proceedings against the swindler, who, in 
 return, harassed the violinist as much as 
 possible, trying to prevent his concerts by 
 arrests, and bringing suits against him for 
 services supposed to have been rendered. 
 It is even stated that an attempt was made 
 to poison him, which only failed because the 
 state of excitement in which he was at the 
 time prevented his desire for food. 
 
196 Fmnous Violinists. 
 
 Ole Bull now set to work to retrieve his 
 fortunes, but ill luck still followed him, and 
 he fell a victim to chills and fever, was aban- 
 doned by his manager, and taken to a farm- 
 house on a prairie in Illinois, where he 
 endured a long illness. For five years he 
 continued his struggle against misfortune, 
 and during that period he made hosts of 
 friends who did much to help him in one 
 way and another. Nevertheless, when he 
 gave his last concerts in New York, in 1857, 
 he was still so ill that he had to be helped on 
 and off the stage. 
 
 He now returned to Bergen, where the air 
 of his native land soon restored him to health. 
 On his arrival, however, he found that the 
 report had been circulated that he had been 
 speculating at the expense of his countrymen, 
 and that they were the only sufferers by his 
 misfortunes. 
 
 For a short time he assumed control of 
 the National Theatre, but before long he 
 
Ole Bull. 197 
 
 was again on the road, giving concerts in 
 various parts of Europe. While he was 
 in Paris, in 1862, his wife died. 
 
 The year 1867 found him again in the 
 United States, and during this tour he met 
 at Madison, Wis., Miss Sara C. Thorpe, the 
 lady who was to become his second wife. 
 He also took part in the Peace Jubilee in 
 Boston, in 1869. 
 
 When he sailed for Norway, in April, 1870 
 (he was to be married on his arrival), the 
 New York Philharmonic Society presented 
 him with a beautiful silken flag. This flag 
 — the Norwegian colours with the star- 
 spangled banner inserted in the upper staff 
 section — was always carried in the seven- 
 teenth of May processions in Bergen, and 
 floated on the fourth of July. 
 
 The remaining years of Ole Bull's life 
 were spent in comparative freedom from 
 strife and struggle. He spent much of 
 his time in Norway, but also found time for 
 
198 Famous Violinists. 
 
 many concert tours. His sixty-sixth birthday 
 was spent in Egypt, and he solemnised the 
 occasion by ascending the Pyramid of Cheops 
 and playing, on its pinnacle, his " Saeter- 
 besog." This performance took place at 
 the suggestion of the King of Sweden, to 
 whom the account was duly telegraphed the 
 next morning from Cairo. 
 
 In Boston Ole Bull was always a great 
 favourite and had many friends. He felt 
 much interest in the Norsemen's discovery 
 of America, and took steps to bring the sub- 
 ject before the people of Boston. The result 
 of his efforts is to be seen in the statue of 
 Lief Ericsson, commemorative of the event, 
 which adorns the Public Gardens. 
 
 In March and April, 1880, Ole Bull ap- 
 peared at a few concerts in the Eastern cities, 
 with Miss Thursby, and in June he sailed, for 
 the last time, from America. He was in 
 poor health, but, contrary to all hopes, the 
 sea voyage did not improve his condition, 
 
Olc Bull. 199 
 
 and much anxiety was felt until his home 
 was reached. A few weeks later he died, 
 and, at the funeral, honours more than royal 
 were shown. In the city of Bergen all busi- 
 ness was suspended, and the whole popula- 
 tion of the city stood waiting to pay their 
 last respects to the celebrated musician and 
 patriot. 
 
 Ole Bull was a man of remarkable charac- 
 acter and an artist of undoubted genius. All 
 who heard him, or came in contact with him, 
 agree that he was far from being an ordinary 
 man. Tall, of athletic build, with large blue 
 eyes and rich flaxen hair, he was the very 
 type of the Norseman, and there was some- 
 thing in his personal appearance and conver- 
 sation which acted with almost magnetic 
 power on those who approached him. He 
 was a prince of story-tellers, and his fascina- 
 tion in this respect was irresistible to young 
 and old alike, and its effect not unlike his 
 violin playing. 
 
200 Famous Violinists. 
 
 In regard to his playing, his technical pro- 
 ficiency was such as very few violinists have 
 ever attained to. His double stopping was 
 perfect, his staccato, both upward and down- 
 ward, of the utmost brilliancy, and though he 
 cannot be considered a serious musician in 
 the highest sense of the word, he played 
 with warm and poetical, if somewhat senti- 
 mental, feeling. He has often been described 
 as the "flaxen-haired Paganini," and his style 
 was to a great extent influenced by Paganini, 
 but only so far as technicalities are concerned. 
 In every other respect there was a wide differ- 
 ence, for while Paganini's manner was such 
 as to induce his hearers to believe that they 
 were under the spell of a demon, Ole Bull 
 took his hearers to the dreamy moonlit 
 regions of the North. It is this power of 
 conveying a highly poetic charm which en- 
 abled him to fascinate his audiences, and it is 
 a power far beyond any mere trickster or char- 
 Jatan. He was frequently condemned by the 
 
Ole Bull. 201 
 
 critics for playing popular airs, which indeed 
 formed his greatest attraction for the masses 
 of the people. He seldom played the most 
 serious music, in fact, he confined himself 
 almost entirely to his own compositions, most 
 of which were of a nature to meet the de- 
 mand of his American audiences. 
 
 When Ole Bull played in Boston in 1852, 
 after having been absent for several years, 
 during which time other violinists had been 
 heard, John S. Dwight wrote of his perform- 
 ance thus : '* We are wearied and confused 
 by any music, however strongly tinged with 
 any national or individual spirit, however 
 expressive in detail, skilful in execution, and 
 original or bold, or intense in feeling, if it does 
 not at the same time impress us by its 
 unity as a whole, by its development from 
 first to last of one or more pregnant themes., 
 As compositions, therefore, we do not feel 
 reconciled to what Ole Bull seems fond of 
 playing. . . . He cannot be judged by the 
 
202 Famous Violinists, 
 
 usual standards, his genius is exceptional, 
 intensely individual in all its forms and 
 methods, belongs to the very extreme of the 
 romantic as distinguished from the classical 
 in art. He makes use of the violin and of 
 the orchestra, in short of music, simply and 
 mainly to impress his own personal moods, 
 his own personal experience, upon the audi- 
 ences. You go to hear Ole Bull, rather 
 than to hear and feel his music. It is emi- 
 nently a personal matter. . . . Considered 
 simply as an executive power, he seems, after 
 hearing so many good violinists for years 
 past, to exceed them all — always excepting 
 Henri Vieuxtemps." 
 
 It may be said with truth that Ole Bull 
 achieved his reputation at a time when it was 
 comparatively easy to do so. There was 
 very little musical cultivation in this country 
 when he first appeared here, as may be easily 
 imagined by a glance at the extracts from 
 criticisms, given here and there. By his 
 
Ole Bull. 203 
 
 strong personality, apparent mastery of his 
 instrument, and by being practically the sole 
 occupant of the field, he became famous and 
 popular. He prided himself on the fact 
 that his playing was addressed rather to the 
 hearts than to the sensitive ears of his audi- 
 ences, and during his later years he adopted 
 certain mannerisms by way of distracting 
 attention from his somewhat imperfect 
 performances. He never made any preten- 
 sion to being a musician of the modern 
 school, nor of any regularly recognised school 
 of music, but his concert pieces were his own 
 compositions, of no great merit, and he still 
 more delighted his audiences by playing 
 national airs as no one had ever played them 
 before. He was a minstrel rather than a 
 musician in the broad sense of the word, but 
 he held the hearts of the people as few, if 
 any, minstrels had previously done. 
 
CHAPTER VII. 
 
 1830 TO 1850. 
 
 One of the most noticeable features of the 
 biography of the violin virtuoso is that he 
 invariably displays great talent at an early 
 age and plays in public at any time from 
 eight to twelve years old. There are doubt- 
 less more who do this than are ever heard 
 of at a later day, for the idea of the infant 
 phenomenon is alluring. The way of the 
 viohnist is hard. He has many years of 
 study and self-denial before him, if he is to 
 excel as a musician. Therefore the infant 
 who can be exploited in such a manner as to 
 make money provides for his future education, 
 unless hard work or flattery kill him physi- 
 cally or intellectually before he is ripe. Many 
 prodigies sink into oblivion, — some few rise 
 
 204 
 
i8jo to 18^0. 205 
 
 to celebrity. It will be noticed that the vio- 
 linists who played in public while very young 
 have invariably settled down afterward to 
 serious study, and at a more mature age have 
 thus been able to take their place in the 
 musical world. 
 
 Year by year, too, the demands upon the 
 violinist have been greater. A virtuoso is 
 judged rather by the standard of Beethoven's 
 concerto than by his ability to perform mu- 
 sical gymnastics with operatic selections. 
 Nevertheless, it is a fact that many of the 
 best known violinists were those who catered 
 to the taste of the multitude, while many 
 better musicians have been comparatively 
 unknown. 
 
 Among celebrated violinists few have led 
 more romantic or adventurous lives than 
 Edouard Remenyi, whose name is not yet for- 
 gotten in this country. Born at Hewes, in 
 Hungary, in 1830, he possessed the restless 
 spirit of his race, fought in the insurrection 
 
2o6 Famous Violinists. 
 
 of 1 848, escaped to the United States when 
 the insurrection was crushed, but was 
 received into favour again a few years later, 
 on his return to his native land. 
 
 From his twelfth to his fifteenth year he 
 studied the violin at the Vienna Conservatoire 
 under Bohm, who was also the teacher of 
 Joachim. In 1848 he became adjutant to 
 the distinguished General Gorgey, and 
 fought under Kossuth and Klapka in the war 
 with Austria. Then came the flight to 
 America, where he made a tour as a virtuoso, 
 but in 1853 he visited Weimar, and sought 
 out Franz Liszt, who at once recognised his 
 genius and became his friend and guide. 
 
 In 1854 he went to London and was ap- 
 pointed solo violinist in the queen's band, but 
 when in i860 he obtained his amnesty and re- 
 turned to Hungary he was created solo violin- 
 ist in the band of the Emperor of Austria. 
 
 His restless disposition would not allow 
 him to remain long in one place, and in 1 865 
 
j8jo to 18^0. 207 
 
 he once more began to travel. He visited 
 Paris, where he created a perfect furore, and 
 then continued his triumphant course through 
 Germany, Holland, and Belgium. After set- 
 tling in Paris for about two years, he returned 
 in 1877 to London, where he repeated his 
 Parisian successes, appearing, as in Paris, 
 chiefly in the salons of wealthy patrons. 
 During this visit to London he appeared in 
 public only once, at Mapleson's benefit at the 
 Crystal Palace, when he played a fantasia on 
 themes from the " Huguenots," The follow- 
 ing year he went once more to the United 
 States, and on his way played at the prome- 
 nade concerts in London. In America he 
 remained for some years, and then proceeded 
 in 1887 to the Cape of Good Hope and 
 Madagascar. While on this voyage it was 
 reported that his ship was wrecked and 
 that he was drowned, and numerous obituary 
 notices of him appeared in the newspapers 
 throughout the world. 
 
2o8 Famous Violinists. 
 
 In 1 89 1 he was once more in London, and 
 played at the house of the late Colonel 
 North, "the Nitrate King." He now re- 
 turned to the United States, where he passed 
 the remainder of his days. His powers were, 
 however, failing, and other violinists had 
 brought new and perhaps higher interest to 
 American audiences. 
 
 When Remenyi visited the United States 
 in 1878, he arrived a few weeks after Wil- 
 helmj, and notwithstanding the fact that the 
 two violinists were widely different in tem- 
 perament, ideas, musicianship, in fact in every 
 particular, they were frequently made the 
 subjects of comparison. At this time 
 Remenyi played an ** Otello Fantaisie," 
 "Suwanee River," "Grandfather's Clock," 
 etc. He was well sketched in a journal of 
 the time, which said : 
 
 " Remenyi is gifted with a vivacious, generous, 
 rather mocking disposition which rebels against mo- 
 notony, and whose originality shines through every- 
 
i8^o to t8^o. 209 
 
 thing, and in spite of everything. He is fluent in 
 five or six languages, and entertains with droll con- 
 ceits, or with reminiscences of famous artists and 
 composers. ... In the wild rhythms of the gypsy 
 dance, in the fierce splendour of the patriotic hymn, 
 the player and audience alike are fired with excite- 
 ment. The passion rises, the tumult waxes furious ; 
 a tremendous sweep of the bow brings the music to 
 an end ; and then we can say that we have heard 
 Remenyi." 
 
 The gypsy dance and the patriotic hymn ! 
 And yet he was weighed in the balance with 
 Wilhelmj, who played the grandest and best 
 music in the most refined, musicianly manner, 
 and whose tour in America marked an epoch 
 in the musical life of the country. 
 
 In his prime Remenyi was the master of 
 an enormous technique, and the possessor 
 of a strongly pronounced poetic individuality. 
 His whole soul was in his playing, and his 
 impulse carried him away with it as he 
 warmed to his task, and it carried the audi- 
 ence too. His greatest success was in the 
 
2IO Famous Violinists. 
 
 playing of Hungarian music, some of which 
 he adapted for his instrument, but the storm- 
 ier pieces of Chopin which he arranged for 
 the violin were given by him with tremen- 
 dous effect. In the more tender pieces, such 
 as the nocturnes of Field and of Chopin, he 
 played with the utmost dreaminess. 
 
 His individuality showed in his playing. 
 He was impulsive and uncertain, — a wander- 
 ing musician, who, when the whim took him, 
 would disappear from public view altogether. 
 When he made a success in any place his 
 restless nature would not allow him to 
 follow it up, so that when his prime was 
 past, instead of having formed connec- 
 tions which should have lasted him for the 
 rest of his life, he was still the wandering 
 musician, but without the marvellous powers 
 which he had wielded only a few years 
 before. 
 
 During his long career he toured Australia 
 and almost all the islands of the Pacific, also 
 
i8jo to 18^0. 21 1 
 
 Java, China, and Japan ; in fact, he went where 
 few, if any, violinists of his ability had been 
 before. 
 
 Once upon a time the representative of a 
 London newspaper went to interview Re- 
 menyi, and was surprised to find that the vio- 
 linist was not only willing to tell him much, 
 but even proposed questions which he should 
 answer. He said that he had played in the 
 6o's before the natives of South Africa, and 
 had been shipwrecked, after which he had 
 the pleasure of reading some very fine obit- 
 uary notices. In New Zealand he found 
 the Maoris perfectly reckless in their demand 
 for encores, and instead of playing six pieces, 
 as announced on his programmes, he fre- 
 quently had to play sixteen. 
 
 In South Africa he discovered thirty out of 
 his collection of forty-seven old and valuable 
 violins. Most of them were probably the 
 property of the Huguenots, who after the 
 edict of Nantes went to Holland and thence 
 
212 Famous Violinists. 
 
 to South Africa, to which place they were 
 banished by the Dutch government. 
 
 It was related by Remenyi that when he 
 was a young man in Hamburg, in 1853, he 
 was to appear at a fashionable soiree one 
 night, but at the last moment his accom- 
 panist was too ill to play. Remenyi went 
 to a music store and asked for an accom- 
 panist. The proprietor sent Johannes 
 Brahms, then a lad of sixteen, who was 
 struggling for existence and teaching for 
 a very small sum. Remenyi and Brahms 
 became so interested in each other that they 
 forgot all about the soiree, and sat up till 
 four the next morning chatting and playing 
 together. Remenyi's negligence of his en- 
 gagement resulted in the loss of any further 
 business in Hamburg, and together with 
 Brahms he set out for Hanover, giving con- 
 certs as they went, and thus earning suffi- 
 cient funds to carry them on their way. 
 
 At Hanover they called upon Joachim, 
 
i8jo to i8jO. 213 
 
 who arranged for them to play before the 
 court. After this they proceeded to the 
 Altenburg to see Liszt, who received them 
 warmly, and offered them a home. During 
 all this time Brahms received little or no 
 recognition, in spite of Remenyi's enthusiasm 
 in his cause, neither did he find very much 
 favour with Liszt, although the latter recog- 
 nised his talent. He therefore returned to 
 Hanover, where Joachim gave him a letter 
 to Schumann, and it was Schumann's enthu- 
 siastic welcome and declaration that a new 
 genius had arisen that established Brahms's 
 reputation in musical circles. 
 
 Remenyi said that Brahms, shortly after 
 his arrival at the Altenberg, offended Liszt 
 and his pupils by comfortably sleeping during 
 one of the famous lessons, which were in the 
 nature of a general class. This breach of 
 manners Brahms justified on the score of 
 being exhausted by his previous journey. 
 
 The death of Remenyi, which occurred on 
 
 
214 Famous Violinists. 
 
 May 15, 1898, created a sensation through- 
 out the country. He had, after many mis- 
 givings, consented to appear in "vaudeville." 
 The financial inducement was large, and he 
 soothed his artistic conscience with the argu- 
 ment that his music would tend to elevate 
 the vaudeville rather than that the vaude- 
 ville would tend to degrade him. It was at 
 the Orpheus Theatre in San Francisco, and 
 it was his first appearance. He played one 
 or two selections, and being tremendously 
 applauded, and correspondingly gratified, he 
 returned and answered the encore with 
 the well-known *' Old Glory." He was in 
 his best vein, and played as one inspired. 
 The audience literally rose with him, leaving 
 their seats in their excitement, and the 
 applause lasted several minutes. He came 
 forward, and in response to another burst 
 of applause commenced to play Delibes's 
 "Fizzicati." He had played but a few 
 measures when he leaned over as if to 
 
1 8 JO to J 8 JO. 215 
 
 speak to one of the musicians in the orches- 
 tra. He paused a moment, and then fell 
 slowly forward on his face. One of the musi- 
 cians caught him before he touched the stage, 
 and thus prevented his rolling off. All was 
 over. 
 
 Remenyi left a widow, a son, and a daugh- 
 ter, who lived in New York. His health had 
 been failing for some time, for in 1896, for 
 the first time in thirty years, he had, while 
 in Davenport, Iowa, been compelled to can- 
 cel all his engagements and rest. It is said 
 that Remenyi's real name was Hoffmann. 
 
 The name of Miska Hauser is seldom men- 
 tioned in these days, and yet it was once 
 known all over the world. No virtuoso of 
 his time travelled more extensively, and few 
 created more enthusiasm than did Hauser. 
 He was born in Pressburg, Hungary, in 1822, 
 and became a pupil of Bohm and of Mayse- 
 der at Vienna, also of Kreutzer and Sechter. 
 He is said to have acquired m.ore of Mayse- 
 
2i6 Famous Violinists. 
 
 der's elegant style and incisive tone than of 
 the characteristics of his other teachers, but 
 his talent was devoted to the acquisition of 
 virtuoso effects, which appeal to the majority 
 rather than to the most cultivated. 
 
 As a boy of tv/elve Hauser made an ex- 
 tensive and successful concert tour. In 
 1840 he toured Europe, and ten years later 
 went to London, and thence to the West 
 Indies and the United States, where he made 
 quite a sensation, and was a member of 
 Jenny Lind's company. He afterwards 
 visited San Francisco, where he got himself 
 into difficulties on account of Lola Montes. 
 Then he went to South America, visiting 
 Lima, where passionate Creoles languished 
 for him, Santiago, where a set of fanatics 
 excited the mob against him, declaring that 
 he was charmed by the devil, and Valparaiso, 
 where he suffered shipwreck. 
 
 He then proceeded to the Sandwich Is- 
 lands, where he played before the royal family 
 
i8jo to 18^0. 217 
 
 and all the dusky nobles. They listened 
 solemnly, but made no sign of approbation, 
 and Hauser felt that he was sinking into a 
 mere nothing in their esteem. In despera- 
 tion he tore the strings from his violin and 
 played, with all his power, several sentimen- 
 tal songs on the G string only. Then he 
 gave them Paganini's witches' dance. This 
 succeeded, and they gave a yell of joy 
 and wanted more. They particularly delighted 
 in harmonic effects, and before long were 
 willing to do anything for the foreigner who 
 could pipe on the wood as well as any bird. 
 He became a hero at Otaheite, but was 
 obliged to continue on his journey. He 
 next visited Australia, and while in Sydney 
 he made such a success that he was pre- 
 sented with the freedom of the city and 
 thanked by the government for his playing. 
 In i860 he reached Turkey, where he 
 played before the Sultan, who beat time to 
 his music and seemed highly delighted. 
 
21 8 Famous Violinists. 
 
 Hauser had many amusing stories to tell of 
 his travels, and especially of his experiences 
 in the Sandwich Islands and Turkey, Cairo 
 and Alexandria. His adventures, which 
 were numerous and thrilling, were published 
 in two volumes, in Vienna. 
 
 Hauser was not the possessor of a great 
 technique, but there was something charac- 
 teristic and charming in his tone and manner- 
 isms, which were especially pleasing to the 
 fair sex. He was a man of restless, and, in 
 some respects, dissatisfied nature. Some of 
 his compositions are still to be found on 
 concert programmes, and these he used to 
 play exquisitely. Hauser lived in retirement 
 in Vienna after concluding his travels, and in 
 1887 he died practically forgotten. 
 
 Few violinists succeeded more completely 
 in captivating their audiences than Henri 
 Wieniawski, whose impetuous Slavonic tem- 
 perament, with its warm and tender feeling, 
 gave a colour to his playing, which placed 
 
iSjo to 1850. 219 
 
 his hearers entirely under his control, went 
 straight to their hearts, and enlisted their 
 sympathy from the very first note. Both 
 fingering and bowing were examples of the 
 highest degree of excellence in vioHn tech- 
 nique, and difficulties did not exist for him. 
 At times his fiery temperament may have led 
 him to exaggeration, and to a step beyond 
 the bounds of good taste, but this was lost 
 sight of in the peculiar charm of his playing, 
 its gracefulness and piquancy. 
 
 Wieniawski's tour in America, which took 
 place in 1872, when he accompanied Rubm- 
 stein, may be said to mark an era in the 
 musical life of this nation. These two great 
 artists revealed the possibilities of the musi- 
 cal art to a people who, while loving music, 
 were still in their infancy as far as musi- 
 cal development is concerned. 
 
 Wieniawski, like nearly all the great per- 
 formers, showed his talent while very young. 
 He was born in 1835 at Lublin, in Poland, 
 
220 Famous Violinists, 
 
 where his father was a medical man. He 
 was taken to Paris by his mother when he 
 was only eight years old, and he entered the 
 Conservatoire, where he soon joined Mas- 
 sart's class, and when only eleven gained the 
 first prize for violin playing. 
 
 After this he made a concert tour in 
 Poland and Russia, but soon returned to 
 Paris to renew his studies, especially com- 
 position. In 1850 he went again on the 
 road, and with his brother Joseph, a pianist, 
 he gave concerts in most of the principal 
 towns in the Netherlands, France, England, 
 and Germany. In i860 he was appointed 
 solo violinist to the Emperor of Russia, and 
 held that position for twelve years, residing 
 chiefly at St. Petersburg. 
 
 It was at the conclusion of this engage- 
 ment that he made his tour in the United 
 States with Rubinstein, who was his intimate 
 friend, and when the great pianist returned 
 to Europe Wieniawski remained in America 
 
i8jo to t8^o. " 221 
 
 and succeeded in making a large fortune, trav- 
 elling all over the country and creating a 
 furore by his performances. This tour was 
 cut short toward the end of 1874 by a tele- 
 gram from Brussels offering him the position 
 of professor of violin at the Conservatoire, 
 during the illness of Vieuxtemps. 
 
 He remained in Brussels until 1877, when, 
 Vieuxtemps becoming convalescent, Wie- 
 niawski set forth once more on his travels. 
 
 At this time his health was failing, and an 
 incident took place at Berlin which is well 
 worth recording. During a concert he was 
 seized with a sudden spasm, and was com- 
 pelled to stop in the middle of a concerto. 
 Joachim was amongst the audience, and 
 came to the rescue, taking up Wieniawski's 
 violin and finishing the programme, thus 
 showing his friendship for the sufferer and 
 earning the enthusiastic applause of an 
 appreciative audience. 
 
 Notwithstanding his sufferings, Wieniawski 
 
222 Famous Violinists, 
 
 continued his tour, but at Odessa he broke 
 down altogether. 
 
 It has been stated that he died unknown 
 and friendless in the hospital at Moscow, 
 and was buried by public charity ; but his son, 
 Jules Wieniawski, has contradicted this, and 
 states that he died in the house of the Count- 
 ess of Meek, and was buried by the Czar 
 Alexander III., of whom he was the friend 
 as well as the favourite violinist. 
 
 Wieniawski was a man of somewhat enthu- 
 siastic nature, and his actions were not always 
 tempered by the most perfect wisdom. It 
 was said that just before his marriage to Miss 
 Hampton he took a run up the Rhine, not, 
 like a wise man, waiting until he had some 
 one to take proper care of him. The con- 
 sequence was that he must just take an hour's 
 look into Wiesbaden to see several old 
 friends, and this led naturally to passing an 
 idle moment looking at the green table doings. 
 Here the excitement became too great for 
 
J 8 JO to 1 8 JO. 223 
 
 one of his temperament, and he felt com- 
 pelled to stake a small smii. A small sum 
 led to a larger amount, and when he left the 
 place he was poorer to the tune of forty 
 thousand francs, and he came away to his 
 bride a sadder and wiser man. 
 
 Although a great gambler, Wieniawski 
 owed the loss of a large part of his fortune to 
 the failure of a New York banking firm in 
 1873, rather than to his favourite propensity. 
 
 The friendship between him and Vieux- 
 temps was very strong, in fact it was 
 described as being ideal. Once, while Wie- 
 niawski was playing at a concert, Vieuxtemps 
 was among the audience, and, at the conclu- 
 sion of one of the violinist's solos, Vieux- 
 temps called, at the top of his voice, " Bravo, 
 Wieniawski ! " This drew attention to 
 Vieuxtemps, who was immediately recog- 
 nised by the audience and enthusiastically 
 welcomed. 
 
 Wieniawski's compositions number two and 
 
224 Famous Violinists, 
 
 twenty. As a proof of the old adage that 
 *< doctors do not always agree," we are told by 
 one excellent authority that his D minor con- 
 certo, the two polonaises, and his " Legende " 
 will probably never vanish from the violinist's 
 repertoire, and by another that Wieniawski's 
 compositions are not of much importance. 
 Both statements are no doubt true, for there 
 are many fascinating concert pieces which, 
 from the strictly classical point of view, are 
 not important additions to musical literature. 
 
 An American critic wrote of him, after his 
 first appearance : "In Wieniawski we have 
 the greatest violinist who has yet been heard 
 in America. ... Of all now living Joachim 
 alone can claim superiority over him." 
 
 This sweeping enthusiasm was not univer- 
 sal, for a critic more difficult to please wrote 
 as follows : " Wieniawski's playing is as per- 
 fect as a faultless technique, artistic culture, 
 great aesthetic sensibility, and perfect mastery 
 over himself and his instrument can make it. 
 
1 8 JO to 18^0. 225 
 
 But with all its perfection we cannot but feel 
 that the great original, heaven-and-earth-mov- 
 ing master-soul is wanting." 
 
 He was also severely scathed by a critic in 
 New York in 1872, who wrote: "Some peo- 
 ple like pure, clear tone, — others don't. 
 Those who admire scratching and false 
 stopping, together with sundry other things 
 of the same nature, would have experienced 
 wild joy upon hearing Beethoven's ''Violin 
 Concerto" as it was played by Wieniawski ; 
 but for those who regard a correct intona- 
 tion as a thing of primal importance, it could 
 not have been pleasing. Wieniawski belongs 
 to that school of which Ole Bull is a promi- 
 nent member, whose first article of belief is 
 that genuine passion and fervour is signified 
 by rasping the strings." 
 
 Other criticisms of the same concert, how- 
 ever, were of a very different tenor, and when, 
 a week or two later, Wieniawski played the 
 same concerto in Boston, John S. D wight 
 
226 Famous Violinists, 
 
 praised the performance highly, and took 
 occasion to specially record his disagreement 
 with the eminent critic in New York. 
 
 While not technically the equal of one or 
 two of his contemporaries, Wieniawski played 
 with so much fire, and knew so well how to 
 reach the heart of his audience by methods 
 perfectly legitimate, that he must be ranked 
 among the greatest violinists. 
 
 Don Pablo Martin Meliton de Sarasate is a 
 name known throughout Europe and America, 
 if not throughout the civilised world. Sarasate 
 was born in Spain, in Pampeluna, the chief 
 city of Navarre. He was a youthful prodigy, 
 and played before the court of Madrid at the 
 age of ten, when Queen Isabella was so de- 
 lighted with him that she presented him with 
 a fine Stradivarius violin. 
 
 A couple of years later he was sent to 
 Paris, where he entered the Conservatoire, 
 and was admitted into Alard's class, while 
 M. Lassabathie, who vv^as then administrator 
 
1 8 JO to 1 8 JO. 227 
 
 of the institution, took him into his house 
 and boarded him. This arrangement con- 
 tinued until the death, about ten years later, 
 of M. Lassabathie. 
 
 In the course of a year after entering the 
 Conservatoire, Sarasate won the first prize 
 for violin playing. From the first he 
 manifested remarkable facility in mechanical 
 execution, and his playing was distinguished 
 for elegance and delicacy, though nothing 
 mdicated that his talent would become 
 extraordinary. 
 
 For ten years after gaining the prize Sara- 
 sate remained a salon violinist, of amiable dis- 
 position, a ladies' virtuoso, with a somewhat 
 mincing style, who played only variations 
 on opera motives, and who was an entire 
 stranger to classical music. 
 
 Then came a complete change ; the char- 
 acter of his playing becoming serious, a large 
 and noble style replaced the mincing manner 
 which he had previously affected, and, instead 
 
228 Famous Violinists. 
 
 of the showy trifles which had filled his 
 repertoire, he took to the works of the great 
 masters. By hard work he developed his 
 technical ability, so that he reached the limit 
 beyond which few, if any, violinists succeed 
 in passing. And all this he accomplished 
 without losing anything of the elegance of 
 his phrasing or of the infinite charm of his 
 tone. 
 
 Although Sarasate made Paris his home, 
 he began to travel as early as 1859, ^"^^ i^^ 
 1872, when he played in Paris, he was wel- 
 comed as a new star. When his prestige 
 was well established in Paris his friends 
 advised him to go to Germany, but he feared 
 that so soon after the Franco-German war he, 
 who by long residence was practically a 
 Frenchman, would not be welcome. At last, 
 however, the entreaties of his friends pre- 
 vailed, and when Sarasate appeared at Leip- 
 zig he produced an immense sensation. Then 
 followed a series of tours in Germany, Russia, 
 
1 8 JO to 1 8 JO. 229 
 
 Austria, England, and Belgium, which lasted 
 three years, and brought him much glory 
 and pecuniary gain. 
 
 In Vienna the celebrated critic, Hanslick, 
 wrote of him as follows : " There are few 
 violinists whose playing gives such unalloyed 
 enjoyment as the performance of this Span- 
 iard. His tone is incomparable, — not power- 
 fully or deeply affecting, but of enchanting 
 sweetness. The infallible correctness of the 
 player contributes greatly to the enjoyment. 
 The moment the bow touches the Stradivarius 
 a stream of beautiful sound flows toward the 
 hearer. A pure tone seems to me the prime 
 quality of violin playing — unfortunately, 
 also, it is a rare quality. Sarasate's virtuosity 
 shines and pleases and surprises the audience 
 continually. He is distinguished, not because 
 he plays great difhculties, but because he 
 plays with them." 
 
 Both in France and Germany Sarasate has 
 always been a great favourite, and is always 
 
230 Famous Violinists. 
 
 sure of a large and enthusiastic audience, 
 even though he has passed the zenith 
 of his powers. He has never taken pupils, 
 but has confined himself to concert play- 
 ing only, and he has been called the 
 highest-priced player in Germany, where it 
 was said that he received three thousand 
 marks for a concert, while even Joachim 
 received only one thousand. He has received 
 many valuable gifts during his career, and 
 these he has presented to his native city, 
 Pampeluna, where they have been placed in 
 a museum by the municipal council. The 
 collection includes articles of great worth 
 from the Emperor William I. of Germany, 
 Napoleon HI., the Emperor of Brazil, and 
 the Queen of Spain, and its value is esti- 
 mated at one hundred thousand francs. 
 
 Sarasate has visited the United States 
 twice, and won great favour, for his playing 
 is of the kind which appeals to the fancy, 
 graceful, vivacious, and pure toned, and he 
 
i8^o to 18^0. 231 
 
 plays Spanish dances in a manner never to 
 be surpassed. 
 
 He has been compared with some of the 
 most eminent violinists thus: — Vieuxtemps 
 was an artist with an ardent mind, and a mag- 
 nificent interpreter of Beethoven ; Joachim 
 towers aloft in the heights of serene poetry, 
 upon the Olympic summits inaccessible to 
 the tumults of passion ; Sivori was a daz- 
 zling virtuoso ; Sarasate is an incomparable 
 charmer. 
 
 There are doubtless many who remember 
 the tour of August Wilhelmj, the celebrated 
 violinist, who visited the United States about 
 twenty years ago. He was considered sec- 
 ond to no artist then living in his general 
 command over the resources of his instru- 
 ment, and he excelled in the purity and vol- 
 ume of his tone, no less than in the brilliancy 
 of his execution. He did not possess the 
 warmth and impulsiveness which constituted 
 the charm of Wieniawski, but his perform- 
 
232 Famous Violinists. 
 
 ances appealed to his audiences in a different 
 and more legitimate manner. He was even 
 a greater traveller than Remenyi, and visited 
 almost, if not quite, every civilised country. 
 His travels took him throughout Europe, 
 America, Australia, and Asia. He was, in 
 1885, invited by the Sultan of Turkey to 
 perform in his seraglio, the only violinist to 
 whom such a compliment had ever been paid. 
 The Sultan on this occasion decorated him 
 with the Order of the Medjidie, second class, 
 and presented him with some beautiful dia- 
 monds. 
 
 August Wilhelmj was born in 1845 ^^ 
 Usingen, in the Duchy of Nassau, and, show- 
 ing his aptitude, was placed under Konrad 
 Fischer, a violinist of Wiesbaden, at the age 
 of six. His progress was so rapid that when 
 nine years old he played in a concert in 
 Limburg and received great applause. Wil- 
 helmj 's father was a lawyer of distinction 
 and a wealthy vine-grower, and, in spite of 
 
1 8 JO to 18^0. 233 
 
 the boy's progress, he did not favour the 
 idea of allowing him to take to the violin as 
 a profession, for he felt that the majority of 
 infant prodigies fail as they reach manhood. 
 But the boy had received much encourage- 
 ment, and persisted in his desire. Henrietta 
 Sontag, the celebrated singer, heard him play 
 Spohr's ninth concerto and "The Carnival of 
 Venice," and was so charmed that she said he 
 would become the German Paganini. 
 
 In the course of time Wilhelmj succeeded 
 in obtaining a concession from his father : — 
 he was to get the judgment of a musical 
 authority on his capabilities, and, if favour- 
 able, no objection should be made to his 
 becoming a virtuoso. On the recommenda- 
 tion of Prince Emil of Wittgenstein, the 
 young violinist went in i86r to Liszt at 
 Weimar, and after playing to him Spohr's 
 *' Scena Cantante " and the Hungarian fan- 
 tasia by Ernst, he was asked to play several 
 pieces at sight. At the end of this trial 
 
234 Famous Violinists. 
 
 Liszt sprang from his seat, calling out in a 
 loud voice, " Ay ! indeed you are predesti- 
 nated to become a violinist — so much so 
 that for you the violin must have been in- 
 vented if it had not already existed." This 
 judgment satisfied the father, and a few days 
 later Liszt himself took the boy to Leipzig 
 and introduced him to Ferdinand David, say- 
 ing, " Let me present to you a future Paga- 
 nini. Look well to him ! " For three years 
 Wilhelmj was a pupil of David, and at the 
 same time studied the theory of music with 
 Richter and Hausmann. In due course he 
 passed his examinations at the Leipzig Con- 
 servatory, playing Joachim's Hungarian 
 concerto. 
 
 In 1865 he began his concert tours, travel- 
 ling through Switzerland and Holland to 
 England, and from this time he seems 
 to have been almost continually travelling. 
 During 1869, 1870, and 1871 he made a 
 long tour in England with Charles Santley, 
 
i8jo to i8so. 235 
 
 the great singer. In 1876 he led the vioHns 
 at the Nibelungen performance at Bayreuth, 
 and the Wagner concerts in London, at the 
 Albert Hall, in 1877, were due to his repre- 
 sentations. In 1882, after travelling all over 
 the globe, he spent some time in Russia, but 
 presently returned to Germany and estab- 
 lished a violin school at Biberich, which, 
 however, he abandoned after a time. 
 
 From time to time he continued to play in 
 public, but gradually withdrew and lived 
 in retirement at Blasewitz, near Dresden. 
 Eventually he went to London, where he was 
 appointed professor at the Guildhall School 
 of Music. Unfortunately, his powers have 
 been on the wane for some years past, but 
 though the days of his public performances 
 are past, he is known as a most patient and 
 painstaking teacher. The high esteem in 
 which he has been held was quaintly ex- 
 pressed by an eminent musician, who referred 
 to his decadence in these words : '' Ah, if 
 
236 Famous Violinists, 
 
 Wilhelmj had not been what he is, Joachim 
 would never have been what he is." By 
 which one may infer that Wilhelmj was, in 
 some respects, a greater man than Joachim. 
 
 In 1894 Wilhelmj married Marcella 
 Mausch-Jerret, of Dresden, a distinguished 
 pianist. 
 
 Wilhelmj 's first appearance in America took 
 place on September 26, 1878, in New York, 
 and his playing caused an unusual demonstra- 
 tion. He was described in the following 
 words : "His figure is stately, his face and 
 attitude suggest reserve force and that 
 majestic calm which seems to befit great 
 power. ... A famous philosopher once said 
 that beauty consists of an exact balance be- 
 tween the intellect and the imagination. The 
 violin performance of Wilhelmj exhibits this 
 just proportion more perfectly than the work 
 of any other artist of whom we have personal 
 knowledge. Wilhelmj himself has said, 
 * After all, what the people want is intel- 
 
i8jo to iSjO. 237 
 
 lectual playing,' that is, playing with a clear 
 understanding." 
 
 Neither his character nor his playing was 
 of such a nature as to appeal to the great 
 mass of people in the w^ay in which Remenyi 
 and Ole Bull won their hearts. Wilhelmj 
 was massive in person and in tone. He 
 stood for dignity in his actions, appearance, 
 and playing, and was honoured by the more 
 cultivated and educated portion of the people. 
 
 He is regarded by musicians as one of the 
 greatest violinists who ever visited America, 
 and at the present day visiting artists are 
 spoken of as '' one of the best since Wil- 
 helmj," or, " not to be compared with Wil- 
 helmj," and by many Ysaye is regarded as 
 *' the best — since Wilhelmj." 
 
 Martin Pierre Joseph Marsick, who was 
 born at Jupille, near Liege, on March 9, 1 848, 
 is one of the foremost solo and quartet violin- 
 ists of the day, with a remarkable technique 
 and admirable intelligence, power, and fire. 
 
238 Famous Violinists. 
 
 When eight years of age he was placed at 
 the music school at Liege, where in two 
 years he gained the first prize in the prepara- 
 tory classes. In 1864 he secured the gold 
 medal, which is awarded only to pupils of 
 extraordinary talent. 
 
 He now entered the Brussels Conserva- 
 toire, where his expenses were met by a 
 lady who was a musical enthusiast, and he 
 studied for two years under Leonard, work- 
 ing at the same time in composition under 
 Kufferath. In 1868 he went to Paris, where 
 he studied for a season under Massart. 
 
 In 1870 Marsick proceeded to Berlin, 
 where, through the instrumentality of a 
 government subvention, he was enabled to 
 study under Joachim. After that he began 
 to travel, and soon acquired a great reputa- 
 tion. He was said to equal, if not exceed, 
 Sarasate in the wonderful celerity of his 
 scales, and in lightness and certainty. His 
 tone is not very full, but is sweet and clear. 
 
MARSICK 
 
 til 
 
iSjo to j8^o. 239 
 
 His playing is also marked by exceptional 
 smoothness, scholarly phrasing, and graceful 
 accentuation, but, in comparison with some 
 of the other great players, he lacks breadth 
 and passion. He appeals rather to the edu- 
 cated musician than to the general public, 
 and for that reason many people were some- 
 what disappointed when he played in the 
 United States in 1896. He was compared 
 with Ysaye, a player of an entirely different 
 stamp, and he suffered in popular estimation 
 by the comparison. 
 
 To this period also belong a number of 
 excellent violinists whose names are seldom 
 heard in America. Edmund Singer, a Hun- 
 garian, born in 1 831, by dint of hard work 
 and talent reached a high position. He 
 became celebrated as a teacher, and was for 
 years professor of violin at the conservatory 
 in Stuttgart. He was also largely instru- 
 mental in the establishment of the Musical 
 Artists' Society of that place. 
 
240 Famous Violinists. 
 
 Ferdinand Laub was a virtuoso of high 
 rank who was born in Prague in 1832. He 
 succeeded Joachim at Weimar, but two years 
 later became violin teacher at the Stern-Marx 
 conservatory in Berlin, also concert-master 
 of the royal orchestra and chamber vir- 
 tuoso. 
 
 Heinrich Karl de Ahna was an excellent 
 artist, and was for some years second violin 
 in the famous Joachim quartet. At the age 
 of fourteen he had already made a success- 
 ful concert tour, and become chamber vir- 
 tuoso to the Duke of Coburg-Gotha. He 
 then abandoned the musical profession and 
 entered the army, fighting in the Italian 
 campaign as lieutenant. After the war he 
 returned to his profession, and became leader 
 of the royal band in Berlin and professor 
 at the Hochschule. He died in 1892. 
 
 Russia also produced an excellent vio- 
 linist, Wasil Wasilewic Besekirskij, who was 
 born at Moscow, and after a career as vir- 
 
i8jo to 18^0. 241 
 
 tuoso in the west of Europe returned to his 
 native city. He is the composer of some 
 good violin music and has formed some ex- 
 cellent pupils, of whom Gregorowitsch is 
 perhaps best known. 
 
 In England, John Tiplady Carrodus and 
 the Holmes brothers attained high rank. 
 Carrodus was a native of Keighley, York- 
 shire. His father was a barber, and it was 
 only by the most constant self-denial and 
 incessant hard work that the boy succeeded 
 in securing his education. He walked with 
 his father twelve miles in order to hear 
 Vieuxtemps play, and to take his lessons he 
 walked each week ten miles to Bradford, 
 usually getting a ride back in the carrier's 
 cart. He became a pupil of Molique, and 
 eventually one of the best known violinists 
 of England, where his character as a man was 
 always highly respected. 
 
 Alfred Holmes was born in 1837 and his 
 brother Henry in 1839. They appeared to- 
 
242 Famous Violinists. 
 
 gether at the Haymarket Theatre in 1847, 
 but immediately withdrew from pubhc life 
 and continued their studies for six more 
 years. In 1853 they again appeared in 
 London, and then made a long concert tour 
 through the north of Europe. Finally they 
 settled in Paris, where, nine years later, 
 Alfred died. Henry Holmes became the 
 chief professor of violin at the Royal Col- 
 lege of Music in London, and has been also 
 active as a composer and editor of violin 
 works. 
 
 Jacob Griin, too, who was born in 1837 at 
 Buda-Pesth, and who, after a career as con- 
 cert soloist in Europe, became a teacher in 
 the Vienna conservatory, should not be for- 
 gotten. Several of his pupils are now hold- 
 ing valuable positions in the United States, 
 and he is an excellent teacher, besides being 
 popular and kind-hearted. 
 
 Eduard Rappoldi, the leader of the Royal 
 Court Orchestra at Dresden, has a high 
 
1 8^0 to 18^0. 243 
 
 reputation as a sound and earnest player 
 and excellent teacher. He was born in 
 Vienna in 1839, ^^^ ^^^^ ^^ ^^^ XAXCiO, a 
 teacher in the Hochschule at Berlin, but 
 went to Dresden in 1877. 
 
CHAPTER VIII. 
 
 JOACHIM. 
 
 Joseph Joachim is one of the musical 
 giants of the nineteenth century. He will 
 be remembered as one whose life has been 
 interwoven with the lives of the greatest 
 musicians of his day, as one of the great- 
 est educators in his line who ever lived, and 
 as the embodiment of the purest and highest 
 ideas in public performance. 
 
 Joachim is called the greatest violinist of 
 modern times, and no better words can be 
 found to describe his characteristics than 
 those of Wasielewski, who says : " Joachim's 
 incomparable violin playing is the true chef- 
 d'oeuvre, the ideal of a perfect violinist (so 
 far as we present-day critics can judge). Less 
 
 244 
 
' ' , ' :> 
 
 JOACHIM, 
 
 W^ 
 
Joachim. 245 
 
 cannot, dare not, be said, but, at the same 
 time, more cannot be said of him or of any 
 one, and it is enough. But that which raises 
 him above all other contemporary violinists 
 and musicians generally is the line he takes 
 in his professional life. He is no virtuoso in 
 the ordinary sense, for he is far more, — before 
 all he will be a musician. And that he un- 
 questionably is, — a magnificent example to 
 young people, who are to some extent pos- 
 sessed of the demon of vanity, of what they 
 should do and what they should leave 
 undone. Joachim makes music, and his 
 preeminent capabilities are directed toward 
 the serving one true, genuine art, and he is 
 right." 
 
 Joachim was born on June 28, 183 1, in 
 the village of Kittsee, in Hungary, within 
 the small radius which has produced three 
 other great musicians, — Haydn, Hummel, 
 and Liszt. He began to study the violin 
 when he was five years old, and was placed 
 
246 Famous Violinists. 
 
 under Servaczinski, leader of the opera or- 
 chestra at Pesth. In two years he made his 
 first public appearance at a concert at Pesth, 
 when he played a duet concerto for two vio- 
 lins and orchestra with his master, and a solo 
 on a theme by Schubert, with variations. He 
 was now (1841) sent to Vienna, where he 
 entered the conservatoire and studied under 
 Bohm for two years. At the end of this time 
 he went to Leipzig, where he met with Men- 
 delssohn and played in a concert of Madame 
 Viardot's. A few months later he appeared 
 as a finished artist in a Gewandhaus con- 
 cert, and played Ernst's " Otello Fantasie." 
 Leipzig was then, under Mendelssohn's 
 guidance, in the zenith of its fame, and for 
 a boy of twelve to appear in a Gewandhaus 
 concert and earn, not only the applause of 
 the audience, but also the praise of the critics, 
 was something very unusual. But a still 
 greater honour was in store for him, — the 
 following year he took part, in a Gewand- 
 
Joachim. 247 
 
 haus concert, in a concertante for four vio- 
 lins by Maurer, the other performers being 
 Ernst, Bazzini, and David, all violinists of 
 renown and very much his seniors. 
 
 Joachim remained in Leipzig until 1850, 
 studying with Ferdinand David, while Haupt- 
 mann gave him instruction in composition, 
 though during this time he occasionally trav- 
 elled in Germany and elsewhere to play in 
 concerts. Thus in 1 844 Mendelssohn brought 
 him to England, where he played in public 
 for the first time at a benefit concert of Mr. 
 Bunn's at Drury Lane, in March, 1844, and 
 in May of the same year he appeared at the 
 fifth Philharmonic concert and played Bee- 
 thoven's concerto with very great success. In 
 this year two other violinists of note made 
 their first appearance at the Philharmonic 
 concerts, — Ernst and Sainton, also Piatti, 
 the great violon^cellist. Joachim visited Eng- 
 land again in 1847, and since that time so 
 frequently that he became one of the regular 
 
248 Famous Violinists. 
 
 features of musical life in that country, where 
 he has been so highly honoured. 
 
 Joachim's first appearance in Paris was 
 made in 1849, when he spent two months in 
 that city, and began his successes by playing 
 in an orchestral concert given by Hector 
 Berlioz. About this time P'^ranz Liszt, who 
 had heard of Joachim's rapidly increasing 
 reputation, invited him to go to Weimar 
 and lead the orchestra which he conducted. 
 Joachim accepted the invitation and remained 
 in Weimar two years. He could never be 
 brought to see the beauty of the new school 
 of music, and while he recognised the extraor- 
 dinary gifts, and admired the personality 
 and brilliant qualities of Liszt, he could 
 not be prevailed upon to remain in Weimar 
 longer than two years. 
 
 In 1854 he accepted the post of conductor 
 and solo violinist to the King of Hanover, a 
 position which he retained for twelve years, 
 during which time he enhanced his reputa- 
 
Joachim. 249 
 
 tion as a musician, and married Amalia 
 Weiss, a celebrated contralto singer. In 
 1866 the troubles which enveloped Germany 
 brought Joachim's engagement in Hanover to 
 an end, but two years later he entered upon 
 what has proved to be the most important 
 part of his career, when he was appointed 
 professor of violin at the Hochschule for 
 music in Berlin. This school was a new 
 branch of the already existing Academy of 
 Arts, and was to be a high school for 
 musical execution, as apart from composi- 
 tion. 
 
 Joachim threw his whole heart into the 
 new work before him, and the branch of 
 the school under his direction soon rivalled 
 any similar school. Various branches were 
 added to the school, — in 1871 a class for 
 organ, in 1872 classes for brass instruments, 
 double-bass, and solo vocalists, in 1873 a 
 chorus class. In 1875 the Royal Academy 
 of Arts was reorganised and became the 
 
250 Famous Violinists. 
 
 Royal High School for Music, with Joachim 
 as director. 
 
 That Joachim had earned a very high posi- 
 tion as early as 1859 is shown by an extract 
 from the Musical World of London, in that 
 year. 
 
 " So long as virtuosi walked (or galloped) 
 in their proper sphere, they amused by their 
 mechanical tours de force, charmed by their 
 finesse and did no great harm to musical 
 taste. They were accepted cum grano salis, 
 applauded for their dexterity, and admired 
 for the elegance with which they were able 
 to elaborate thoughts in themselves of every 
 slight artistic worth. But recently our ' vir- 
 tuosi ' have been oppressed with a notion 
 that, to succeed in this country, they must 
 invade and carry by storm the * classics ' of 
 the art, instead of adhering exclusively as 
 of old to their own fantasies and jeux de 
 marteaux. One composition after another by 
 the great masters is seized upon and worried. 
 
Joachim. 251 
 
 If they were things of flesh and blood, and 
 could feel the gripe, be conscious of the 
 teeth, and appreciate the fangs of these rapid- 
 devouring ' virtuosi,' concertos, sonatas, trios, 
 etc., would indeed be in a pitiable condition. 
 Happily, being of the spirit, they bleed not, 
 but are immortal. 
 
 " One great result attending Herr Joa- 
 chim's professional visit to London is, that it 
 enables both professors and amateurs oppor- 
 tunity after opportunity of studying his man- 
 ner of playing the works of the giants of 
 music. How Herr Joachim executes these 
 compositions — how differently from the self- 
 styled * virtuosi,' how purely, how modestly, 
 how wholly forgetful of himself in the text he 
 considers it an honour being allowed to 
 interpret to the crowd — we need scarcely 
 remind our readers. Not a single eccentri- 
 city of carriage or demeanour, not a moment 
 of egotistical display, to remind his hearers 
 that, although Beethoven is being played, it 
 
252 Famous Violinists. 
 
 is Joachim who is playing, ever escapes this 
 truly admirable and (if words might be al- 
 lowed to bear their legitimate signification) 
 most accomplished of 'virtuosi.' " 
 
 As an example of Joachim's conscientious- 
 ness, the following little anecdote will serve 
 to give an idea. Joachim once introduced 
 into the point d'orgiie of Beethoven's con- 
 certo a cadence terminated by a trait en 
 octave, which caused an extraordinary effect. 
 People spoke only of this cadence ; it was the 
 event of the evening wherever he played. 
 This success wounded his feelings of artistic 
 probity ; he considered it unbecoming that 
 people should be more taken up with the 
 skill of the executant than with the beauties 
 of the music, and the cadence was sup- 
 pressed. 
 
 During the many years of his connection 
 with the Hochschule, Joachim's personal 
 influence has been exerted upon a large num- 
 ber of pupils, in fact almost every well-known 
 
Joachim. 253 
 
 violin player has been to Berlin to seek his 
 advice and instruction, and the players he has 
 perfected are almost without number. Many 
 anecdotes are told concerning his kindness to 
 his pupils, but so greatly is he sought after 
 that comparatively few of the hundreds who 
 flock to Berlin are able to reach him. 
 
 Joachim's early training and education 
 developed his character both as a musician 
 and as a man. The influence of Mendels- 
 sohn, whose friendship ended only with his 
 death, of David, Schumann, Liszt, Berlioz, 
 and Brahms, who was largely indebted to 
 Joachim for the introduction of many of his 
 works to the public, brought out the thor- 
 ough uprightness, firmness of character and 
 earnestness of purpose, and that intense dis- 
 like of all that is artificial or untrue in art, 
 which have made him a great moral power in 
 the musical world. 
 
 He combines in a unique degree the 
 highest executive powers with the most 
 
254 Famous Violhiists. 
 
 excellent musicianship. Unsurpassed as a 
 master of the instrument, he uses his powers 
 of execution in the services of art, and repre- 
 sents the perfection of a pure style and legiti- 
 mate school, with breadth and fidelity of 
 interpretation. His performances undoubt- 
 edly derive their charm and merit from the 
 strength of his talent and of his artistic 
 character, and are stamped with a striking 
 originality of conception ; at the same time 
 fidelity to the text, and careful endeavour 
 to enter into the spirit and feeling of the 
 composer, are the principles of executive art 
 which Joachim has invariably practised. 
 
 In the rendering of Bach's solos, Beetho- 
 ven's concertos and quartets, he has no 
 rival, and for the revival of many great works 
 the musical world is indebted to him. Of 
 these, one instance may be cited, viz., the vio- 
 lin concerto (Op. 6i) of Beethoven, which was 
 first played by Clement, December 23, 1806. 
 This concerto bears evidence of having been 
 
Joachim. 255 
 
 written in a hurry. Clement played it at 
 sight without rehearsal, and, as a conse- 
 quence of its being brought forward in such 
 a slipshod manner, it was very seldom heard 
 until its revival by Joachim. The MS. 
 shows that the solo part was the object 
 of much thought and alteration by the 
 composer, but evidently after the first per- 
 formance. 
 
 As a composer, Joachim has contributed 
 work of value to the literature of the violin. 
 His " Hungarian Concerto " is a creation of 
 real grandeur, built up in noble symphonic 
 proportions. Most of his works are of a 
 grave, somewhat melancholy character, and 
 all of them are marked by earnestness of 
 purpose and a high ideal. 
 
 The jubilee of Joachim's life as a violin 
 player was celebrated in Berlin with great 
 ceremony and with unusual honour, and in 
 England a demonstration was made in his 
 honour by the public, who subscribed a sum 
 
256 Famoiis Violinists. 
 
 of about $6,000, with which was purchased 
 an instrument of wonderful beauty, a cele- 
 brated **Red Strad,'* which was presented 
 to him at a public meeting held at the con- 
 clusion of the Monday Popular Concerts, in 
 1888. 
 
 This celebration was, however, quite 
 eclipsed by that of the sixtieth anniversary 
 of his first public appearance, which was 
 held at Berlin on April 22, 1899. ^ grand 
 concert was given at the Philharmonic, with 
 an orchestra consisting of two hundred per- 
 formers. There were ninety violins, thirty 
 violas, twenty-one 'celli, and twenty double- 
 basses, and of these all except the double- 
 basses had been pupils of Joachim, the violas 
 and 'celli having been his pupils in chamber 
 music. They had come from all over Europe 
 to take part in the festival. Nearly half of 
 the violins were concert-masters, and many 
 of them famous soloists, as Carl Halir, Henri 
 Petri, Jeno Hubay, Willy Hess, Gustav Hoi- 
 
JoacJiim. 257 
 
 laender, Gabrielle Wietrowitz, Marie Soldat, 
 and others. 
 
 Joachim entered the hall at half-past six, 
 and was greeted with a deafening fanfare 
 played by the combined trumpeters of the 
 military bands stationed in Berlin. The 
 audience rose in a body and added its cheers 
 to the noise of the trumpets. A large arm- 
 chair, beautifully decorated with flowers and 
 wreaths, was reserved as a seat of honour 
 for the great musician. 
 
 The seventh number on the programme 
 was left vacant, but when it was reached the 
 orchestra began the introduction to Beetho- 
 ven's concerto. No soloist was in sight, 
 but Gabrielle Wietrov/itz and Marie Soldat, 
 his most celebrated women pupils, came 
 slowly down toward Joachim's chair, one 
 carrying a violin and the other a bow, which 
 they placed in his hands. Joachim, however, 
 did not wish to play, and did not yield ex- 
 cept under the force of persuasion, and then 
 
258 Famous Violinists. 
 
 he said : " I have not had a violin in my 
 hands for three days ; I am in no mood to 
 play ; moreover, there are many in the or- 
 chestra who can play it better than I, but 
 I don't want to refuse." So Joachim played 
 the great concerto, and received an ovation 
 such as had probably never been accorded 
 to him before. Then he conducted Bach's 
 concerto in G major for strings, which 
 was played by sixty-six violins, fifty-seven 
 violas, twenty-four 'celli, and twenty double- 
 basses, and this brought the concert to a 
 close. 
 
 The concert was followed by a banquet 
 at which there were eight hundred guests, 
 and the festivities lasted until four o'clock 
 the next morning. No violinist was ever 
 more respected or beloved by his pupils, 
 nor did one ever wield a more powerful 
 influence in the musical world. To be put 
 forward by Joachim gives one a high stand- 
 ing in the musical world to begin with, but 
 
Joachim, 259 
 
 few indeed are those who receive this priv- 
 ilege in comparison with those who desire it. 
 Joachim is not a builder of technique 
 or a teacher of beginners. Pupils who are 
 accepted by him must be already proficient 
 technicians, and it may be stated that the 
 teacher who can prepare pupils for Joachim 
 stands high in the profession. Joachim is 
 a great adviser, a former of style, and a 
 master of interpretation, to whom pupils 
 flock two or three years too early, and feel 
 aggrieved if they are not at once accepted. 
 
 " What else can you do ? " he once asked 
 of a young man who desired to become a 
 great violinist, and had sought Joachim's 
 advice. 
 
 "I think I would like to study for the 
 ministry," was the reply. 
 
 " It is much better to be a good minister 
 than a poor violinist," said Joachim, looking 
 him full in the face. 
 
 His liberality is proverbial, and after a 
 
26o Famous Violinists. 
 
 long and successful life, during which he 
 has received high salaries, he is not rich. 
 He seldom refuses to play gratis for any 
 really worthy object, and the anecdotes of 
 his kindness toward his pupils are without 
 number. 
 
 Few men have shone with such an even, 
 steady lustre, through a long life. Others 
 have come up, flourished, and sunk into 
 oblivion, but the light of Joachim has shone 
 steadily for more than sixty years, and as 
 an interpreter of the classics he has never 
 been excelled, and perhaps never will be. 
 
CHAPTER IX. 
 
 VIOLINISTS OF TO - DAY. 
 
 In these latter days the number of good 
 vioHnists seems to have increased greatly. A 
 season seldom passes without witnessing the 
 debut of some half-dozen aspirants for public 
 approbation, but the great majority of them 
 settle down into some special field of labour, 
 and do not acquire world-wide fame as vir- 
 tuosi. 
 
 Virtuosity to-day depends very largely on 
 the art of advertising. In the old days of 
 Viotti and Spohr, the violinist would remain 
 in a city for months, make acquaintances, 
 and gradually acquire a reputation which 
 would justify his giving some concerts. A 
 
 261 
 
262 Famous Violinists. 
 
 tour lasting from three to six years would 
 cover a comparatively small amount of 
 territory. 
 
 To-day the concert agent searches among 
 the new lights for one or two who seem, in 
 his judgment, likely to please the audiences 
 to whom he caters, and who will justify the 
 curiosity roused by the wholesale advertising 
 done in their behalf. 
 
 The violinist is rushed from one place to 
 another with mechanical precision, and flits 
 from Maine to California and from Canada 
 to the Gulf in a few short weeks. There 
 are more soloists, more concerts, more musi- 
 cal organisations than ever before. 
 
 It does not follow by any means that the 
 travelling virtuoso is one of the greatest 
 violinists of his time. There are, in every 
 city of Europe and in many cities of Amer- 
 ica, violinists who equal or even excel many 
 of those who are exploited as virtuosi. The 
 great violinists are not to be found every 
 
Violinists of To-day. 263 
 
 day. In the past twenty years, perhaps, not 
 more than two can be recalled who have 
 visited the United States as mature, great 
 artists, — Wilhelmj and Ysaye. Many vio- 
 linists of excellent ability have been heard, 
 and to some of them some day the adjective 
 great may be applied. The fact that they 
 have devoted their energies to concert work, 
 and have been favourably received by the 
 most important musical organisations, makes 
 them celebrated, but the word great can 
 apply but to few. 
 
 Adolf Brodsky, who came to America in 
 1892, and who is a violinist of much ability, 
 with a beautiful tone, facile and brilliant 
 technique, but somewhat lacking in elegance 
 and polish, did not come to tour the country 
 as a virtuoso. He was engaged by Mr. 
 Walter Damrosch as concert-master for 
 the New York orchestra, but during his 
 stay in this country he appeared in many 
 of the most important concerts, and was 
 
264 Famous Violinists, 
 
 considered one of the best violinists who 
 had ever come to live in America. 
 
 Brodsky was born in 185 1 at Taganrog, 
 in Southern Russia, and was one of those 
 who found his profession at the age of four, 
 when he bought a violin at a fair, and began 
 to pick out Russian folk-tunes. 
 
 For four years he was taught music at 
 home, and made good progress. Then a 
 wealthy gentleman was attracted by his 
 talent, hearing him play at a concert at 
 Odessa, and provided the funds necessary 
 for him to go to Vienna and study under 
 Hellmesberger. He became second violin in 
 the celebrated Hellmesberger Quartet, and 
 thus gained a great reputation as a quartet 
 player. 
 
 After travelling all over Europe for four 
 years, he was appointed second professor of 
 the violin at the Conservatory of Moscow, 
 where he remained another four years. Then 
 followed more study and more travel until, 
 
SAURET. 
 
Violinists of To-day. 265 
 
 when Schradieck accepted the position of 
 violin teacher at the Cincinnati conservatory, 
 Brodsky was appointed to fill his place at 
 Leipzig. In 1892 he was called to New 
 York, but, owing to troubles which arose in 
 the musical profession, he returned to Eu- 
 rope the following year, and, after a short 
 sojourn in Berlin, received the appointment 
 of director of the Royal College of Music 
 at Manchester, England, where he succeeded 
 Sir Charles Halle. 
 
 Emil Sauret is well known in America, 
 for he visited the United States in 1872- 
 73, and made a tour which was so suc- 
 cessful, that it was repeated in 1874, 
 when he travelled with lima di Murska, the 
 great singer, and his wife, Teresa Careno, 
 the pianist. 
 
 Sauret began his public career at the age 
 of eight. He was born at Dun-le-Roi, in the 
 department of Cher, in France, in 1852, and 
 at the age of six entered the conservatory at 
 
266 Famous Violinists. 
 
 Strasburg, after some preliminary instruc- 
 tion at home. In two years he began his 
 travels, and for several years he divided his 
 time between study and travel. 
 
 As a boy he was taken up by De Beriot, 
 who was much interested in his welfare. 
 He studied under Vieuxtemps in Paris, and 
 in 1872 was one of the artists engaged for 
 the tour organised by the President of the 
 French Republic for the relief of the suf- 
 ferers by the Franco-German war. 
 
 In 1879 he was appointed teacher at the 
 Stern Conservatory in Berlin, a post which 
 he relinquished on being offered the position 
 made vacant in the Royal Academy of Music, 
 London, by the death of Sainton. 
 
 M. Sauret is pronounced conservative and 
 conscientious to the last degree in handling 
 the classics, and, although he has great 
 individuality, passion, and fire, he would 
 consider it a sacrilege to obtrude his own 
 personality upon the listener. He is distin. 
 
Violinists of To-day. 267 
 
 guished for elegance rather than perfection 
 of technique. He may be considered a rep- 
 resentative of the extreme French school. 
 
 In temperament he is quick and somewhat 
 impatient. He expects much of his pupils, 
 and is the very opposite of the painstaking, 
 phlegmatic Wilhelmj. 
 
 In 1896 M. Sauret again visited the 
 United States, when it was admitted by 
 those who had heard him twenty years 
 before that he had grown to a consummate 
 and astounding virtuoso. His tone was firm, 
 pure, and beautiful, though not large. Mar- 
 sick and Ondricek had preceded him by a 
 few weeks, but Sauret did not suffer by 
 comparison. 
 
 One of the most remarkable violinists of 
 the present day is Cesar Thomson, who was 
 born at Liege in 1857. He entered the 
 conservatory of his native place, after re- 
 ceiving some instruction from his father, 
 and had completed the regular course by the 
 
268 Famous Violinists. 
 
 time he was twelve years of age, after which 
 he became a pupil of Leonard. 
 
 At the age of eighteen he made a concert 
 tour through Italy, and while there became 
 a member of the private orchestra of the 
 Baron de Derwies. In 1879 ^^ became a 
 member of the Bilse Orchestra, and in 1882, 
 having won distinction at the musical festival 
 at Brussels, he was appointed professor of 
 the violin in the Liege conservatory. 
 
 Most of his travelling has been done since 
 that time, and he has acquired an immense 
 reputation in Europe. In Leipzig, at a 
 Gewandhaus concert in 1891, he made a 
 phenomenal success, and in 1898 at Brussels 
 he received five enthusiastic recalls from a 
 cold and critical audience, for his magnificent 
 performance of the Brahms concerto. 
 
 M. Thomson's command of all the tech- 
 nical resources of the violin is so great that 
 he can play the most terrific passages with- 
 out sacrificing his lone or clearness of phras- 
 
Violhiists of To-day. 269 
 
 ing, and his octave playing almost equals 
 that of Paganini himself. Yet he is lacking 
 in personal magnetism, and is a player for 
 the musically cultivated rather than for the 
 multitude, though his technique fills the 
 listener with wonder. He visited the United 
 States in 1896, and was, like Marsick, com- 
 pared with Ysaye, who at that time swept 
 everything before himx and carried the 
 country by storm. 
 
 In 1897 Cesar Thomson left Liege, owing, 
 it is said, to disagreements at the Conser- 
 vatoire, and made his home at Brussels. 
 
 The greatest of Belgian violinists of to- 
 day is Eugene Ysaye, who possesses that 
 magnetism which charms alike the musician 
 and the amateur, because of his perfect 
 musical expression. He possesses the in- 
 explicable and inexpressible something which 
 takes cold judgment off its feet and leads 
 criticism captive. 
 
 Ysaye was born at Liege in 1858, and. 
 
270 Famous Violinists. 
 
 after studying at the conservatories of his 
 native town under his father and at Brussels, 
 entered that of Paris, where he completed 
 the course in 1881, and immediately after- 
 ward started on a series of concert tours. 
 Ysaye's eminence as a violinist has been 
 gained by hard work. He did not burst 
 meteor-like upon the world, but he earned 
 his position in the violin firmament by ten 
 years of concert touring, during which time 
 he passed successively through the stages 
 of extreme sentimentality until he reached 
 the " sea " of real sentiment. 
 
 It was in 1873 that Ysaye, after prepara- 
 tion given chiefly by his father, made his 
 way to Brussels and sought out Wieniawski, 
 then professor at the Conservatoire. Wie- 
 niawski was teaching, when a note was 
 brought to him marked "private and im- 
 portant." The servant was told to show 
 the bearer in, and Ysaye, then about fifteen 
 years of age, timidly entered the room carry- 
 
Violinists of To-day. 271 
 
 ing his violin. After a little preliminary 
 conversation which allowed the youth to tell 
 his history, Wieniawski asked him what he 
 would play, and in reply he placed on the 
 piano desk a concerto of Vieuxtemps. The 
 result of his performance was that he at 
 once became a pupil of Wieniawski, with 
 whom he remained some three years, during 
 the period in which Vieuxtemps was recov- 
 ering from his paralytic shock. In 1876 
 Vieuxtemps heard him at Antwerp, and 
 through his influence the Belgian govern- 
 ment was induced to grant Ysaye a stipend 
 in order to allow him to pursue his studies 
 at Paris. There he was the pupil of Massart, 
 who had also been the teacher of Wieniawski, 
 Ysaye's master at Brussels. Vieuxtemps 
 is said to have expressed the desire, while 
 in Algiers during his latter years, to have 
 Ysaye stay with him to play his composi- 
 tions, but Ysaye was at that time in St. 
 Petersburg. When Vieuxtemps died and 
 
 »*t:- 
 
 of 
 
 
2/2 Famous Violinists. 
 
 his remains were brought to Verviers, his 
 birthplace, Ysaye carried in the procession 
 the violin and bow of the virtuoso on a black 
 velvet cushion fringed with silver. 
 
 When Ysaye first appeared in America 
 he was a mature artist, the recognised leader 
 of the Belgian school of violinists, the first 
 professor of violin at the Brussels Conser- 
 vatoire, and the possessor of many decora- 
 tions and honours bestowed upon him by 
 various royalties. 
 
 Before he had been in America a month 
 he was acknowledged to be the greatest 
 violinist who had visited this country for 
 many years. 
 
 A man of large and powerful physique, 
 he plays with a bold and manly vigour, and 
 yet with exquisite delicacy. He is a master 
 of phrasing and of all beauties of detail, 
 has a wonderfully perfect technique, but 
 that quality which places him at the head 
 of all rivals is his musical feeling, his tem- 
 
Violinists of To-day. 273 
 
 perament. He has been compared to Rubin- 
 stein and to Paderewski. He inspires his 
 hearers, or, as it was once expressed, very 
 neatly, *'he creeps up under your vest." 
 He disarms criticism, and he seems to be 
 more completely part of his violin and his 
 violin of him than has been the case with 
 any other player who has visited these 
 shores for some years. He has given the 
 greatest performance of the celebrated Bach 
 chaconne ever heard in America. He has 
 been declared to be not inferior to Joachim 
 in his performance of this work, though he 
 has not so broad a tone as the latter, nor 
 as Wieniawski. He combines Sarasate's 
 tenderness of tone and showy technique 
 with more manliness and sincerity than 
 Sarasate gives. 
 
 The student, perhaps, can learn more from 
 C^sar Thomson than from Ysaye, but he will 
 receive from the latter the greater inspira- 
 tion. 
 
2y74 Famous Violinists. 
 
 Ysaye is noted, too, for sincerity of purpose 
 and seriousness such as few of the virtuosi 
 have possessed. He is free from all traits of 
 charlatanism and trickery. Once, when in 
 California, he was asked for an autograph 
 copy of a few measures of his original ca- 
 denza to the Beethoven concerto (an embel- 
 lishment which all violinists seem obliged to 
 compose), but he declared that he did not 
 like the idea of an original cadenza to Bee- 
 thoven's work, that it was much better to 
 omit it, as it formed no part of the concerto. 
 " In original cadenzas by virtuosi," he said, 
 "we find too much violin and too little mu- 
 sic," for which confession from such an artist 
 the world may be truly grateful. 
 
 When Ysaye came to America in 1894 he 
 was prepared with a repertoire consisting of 
 ninety-one pieces. Of these, fourteen were 
 concertos, seventeen sonatas, and eleven were 
 compositions of his own. 
 
 He made a second tour in America in 
 
YSAYE. 
 
Violi7iists of To-day. 275 
 
 1898, when he confirmed the opinions al- 
 ready formed as to his wonderful qualities. 
 
 In March, 1899, he went to Berlin, which 
 city he had not visited for several years, and 
 appeared as soloist of the tenth Nik-'-ch Phil- 
 harmonic concert, when he played the E 
 major concerto by Bach, and scored an over- 
 whelming success. At the end of the con- 
 cert he was recalled some fifteen times, and 
 had completely exploded the idea so firmly 
 held in Berlin, that the Belgians cannot play 
 the classics. 
 
 Of late years M. Ysaye has made his mark 
 as a conductor, and has given a series of 
 orchestral concerts in Brussels. He organ- 
 ised and managed this enterprise entirely by 
 himself, without any guarantee fund, and the 
 concerts were so successful, financially as 
 well as artistically, that at the end of the 
 season it was found that they had paid 
 all expenses, and this, as all who know 
 anything about the financial side of or- 
 
2/6 Famous Violinists, 
 
 chestral concerts, is a most remarkable 
 showing. 
 
 Few, if any, artists have been made the 
 recipients of more ridiculous adulation from 
 women Paderewski perhaps being the only 
 exception, and at the conclusion of his con- 
 certs scenes have been witnessed which are 
 simply nauseating. This fashion is not con- 
 fined, by any means, to the United States, for 
 there are anecdotes from all countries illustra- 
 tive of the manner in which members of the 
 fair sex vie with each other in the effort to 
 do the silliest things. 
 
 Ysaye has a home near the Palais de Jus- 
 tice in Brussels. He is married to the 
 daughter of a Belgian army officer, and has 
 several children. He is a man of much 
 modesty, and is devoted to his family. As 
 a violinist he may be considered to rank next 
 to Joachim. 
 
 Carl Halir, who visited America in 1896, 
 was born in 1859 at Hohenelbe in Bohemia, 
 
Violinists of To-day. 277 
 
 and was first taught by his father. He en- 
 tered the conservatory at Prague at the age 
 of eight, and remained there until he was 
 fourteen, studying under Bennewitz, after 
 which he went to Berlin and became a 
 pupil of Joachim. 
 
 For some time he was a member of the 
 Bilse orchestra, and then went to Konigsberg 
 as concert-master, after which he held a 
 similar position for three years at Mannheim, 
 and then at Weimar, where he married the 
 well-known singer, Theresa Zerbst. 
 
 On his first appearance, at the Bach festi- 
 val at Eisenath, he played with Joachim the 
 Bach double concerto, and was very success- 
 ful. He has made concert tours throughout 
 the greater part of Europe, and while in 
 America he was recognised as a broad ar- 
 tist. He is no virtuoso in the ordinary sense 
 of the word, but a classical, non-sensational, 
 well-educated musician, whose playing was 
 not dazzling or magnetic, but delighted by its 
 
2/8 Famous Violinists. 
 
 intellectuality. He has an even and sympa- 
 thetic tone, and inspires the greatest respect 
 as an artist and as a man, and, while other 
 players may make greater popular successes, 
 Halir stands on a high artistic plane which 
 few can reach. 
 
 Franz Ondricek, who visited the United 
 States also in 1896, was born at Prague in 
 1859, the same year as Halir, but is an artist 
 of an entirely different stamp. In his early 
 youth he was a member of a dance music 
 band, and his father taught him to play the 
 violin. It was not until he was fourteen 
 years of age that he was able to enter the 
 conservatory of his native town. Three 
 years later he was sent, through the gen- 
 erosity of a wealthy merchant, to Paris, 
 where he became a pupil of Massart. He 
 shared with Achille Rivarde the honour of 
 the first prize at the Conservatoire, since 
 which time he has been a wandering star, 
 and has never sought any permanent engage- 
 
Violinists of To-day. 279 
 
 ment. His playing is marked by individuality 
 and dash, but he does not show to the best 
 advantage in the interpretation of the classics. 
 
 Charles Martin Loeffler, who shares the 
 first desk of the first violins in the Boston 
 Symphony Orchestra with Mr. Kneisel, is a 
 musician of the highest ability. 
 
 He was born in Muhlhausen, Alsace, in 
 1 86 1. He enjoyed the advantages of in- 
 struction under Joachim, in Berlin, after 
 which he continued his studies in Paris, with 
 Massart and Leonard, studying composition 
 with Guiraud. While in Paris he was a 
 member of Pasdeloup's celebrated orchestra, 
 and was afterward appointed first violin 
 and soloist in the private orchestra of Baron 
 Derwies, at Nice, of which orchestra Cesar 
 Thomson was also a member. 
 
 In 1 880 Mr. Loeflfier crossed the Atlantic, 
 and took up his residence in New York, but 
 the following year he was engaged as sec- 
 ond concert-master and soloist in the Boston 
 
28o Famous Violinists. 
 
 Symphony Orchestra, a position which he 
 has held ever since, and in which he has 
 had opportunity to display his exceptional 
 talents. 
 
 As a violinist he plays with largeness of 
 style, boldness of contrast, and exquisite 
 grace. He has a technique equalled by few, 
 and his performances have been confined to 
 music of the highest class. Mr. Loeffler has 
 never made a tour of the country as a virtu- 
 oso, but as soloist of the orchestra he has 
 been heard under the best conditions in 
 most of the large cities of the United States, 
 and has shown himself to be a virtuoso in 
 the best sense of the word. 
 
 As a composer Mr. Loeffler is distinctly 
 original and imaginative. His works are 
 both poetical and musical, and they display 
 high thought and exceptional knowledge. 
 His compositions include a sextet, a quintet, 
 and an octet, also a suite for violin and 
 orchestra, " Les Veillees de rUkraine;"a 
 
Violinists of To-day. 281 
 
 concerto for violoncello, which has been 
 played by Mr. Alwyn Schroeder ; a diverti- 
 mento for violin and orchestra, and a sym- 
 phonic poem, " La Mort de Tintagiles." Be- 
 sides these large works he has written a 
 number of songs, of which five are with 
 viola obligato. These works have, been per- 
 formed by the Kneisel Quartet and the 
 Symphony Orchestra, the solo parts of the 
 suite and divertimento by the composer him- 
 self, and they have gained for him a reputa- 
 tion as a gifted and scholarly tone artist. 
 
 One of the most promising young violin- 
 ists of the century was a native of Brazil, 
 Maurice Dengremont, who was born in Rio 
 Janeiro, in 1867. He was the son of a 
 French musician who had settled in Brazil, 
 and who gave him his first lessons to such 
 good effect that, when only e-'ght years of 
 age, he gave a concert, and the Brazilian 
 orchestra was so delighted with his playing 
 that its members presented him with a medal, 
 
282 Famous Violinists. 
 
 to which the emperor added an imperial 
 crown, as a recognition of his talent. 
 
 He now became a pupil of Leonard, and 
 after three years' study he appeared in many 
 concerts, travelling throughout Europe and 
 England, and being received with enthusiasm. 
 About 1880 he visited America, but his 
 career ended shortly after, as he fell a victim 
 to dissipation. 
 
 Dengremont was compared with Sarasate 
 and Wilhelmj, but all that could be said 
 about him was that he might have developed 
 into a player of their rank. As it was, he 
 disappointed his admirers, and died while 
 still quite young. 
 
 Of the many violinists who have made 
 their home in the United States there are 
 few whose accomplishments better entitle 
 them to a position among celebrated violin- 
 ists than Mr. Franz Kneisel. 
 
 Mr. Kneisel was called to Boston to fill 
 the position of concert-master of the Boston 
 
Violinists of To-day. 283 
 
 Symphony Orchestra in 1885, and has held 
 that place for fourteen years, during which 
 time he has done much toward the cultiva- 
 tion of musical taste in America. 
 
 He was born in Roumania, of German 
 parents, in 1865, and gained his musical 
 education at Bucharest and at Vienna, where 
 he studied under Griin and Hellmesberger. 
 He then received the appointment of concert- 
 master of the Hofburg Theatre Orchestra, 
 after which he went to Berlin to fill the same 
 position in Bilse's orchestra, following Halir, 
 Ysaye, and Cesar Thomson. 
 
 When he was called to Boston, at the 
 instance of Mr. Gericke, who was then the 
 conductor of the Symphony Orchestra, he 
 was only twenty years of age. He played, 
 on his first appearance as soloist, the Beetho- 
 ven concerto, and was at once recognised as 
 a violinist of remarkable ability. 
 
 Mr. Kneisel has never toured the country 
 as a virtuoso, but has been heard in many of 
 
284 Famous Violinists. 
 
 the great cities of America, as solo violinist 
 with the Symphony Orchestra, and as first 
 violin of the Kneisel Quartet. 
 
 He is a master of technique, and sur- 
 mounts all difficulties with ease ; his tone is 
 pure, and, though not large, is satisfying, and 
 in his interpretation of the great works he 
 never attempts to enforce his personality 
 upon the hearer, — in short, he is a true 
 artist. As a conductor he has marked ability, 
 and as a quartet player he has made a reputa- 
 tion which will live in the history of music 
 in America, if not in the whole world. 
 
 Charles Gregorowitsch, who visited Amer- 
 ica in 1898, has risen in a very short time to 
 a place among the leading violinists of the 
 world. 
 
 He was born in 1867 at St. Petersburg, 
 and, his talent making itself manifest in the 
 usual manner, he was taught by his father 
 until he was of an age to be sent to Moscow, 
 where he studied until his fifteenth year, 
 
Violinists of To-day. 285 
 
 under Beserkirskij and Wieniawski. From 
 Moscow he was sent to Vienna, where he 
 became a pupil of Dont, and finally he stud- 
 ied under Joachim in Berlin, where he gained 
 the Mendelssohn prize. 
 
 Gregorowitsch was the last pupil of Wie- 
 niawski, and that master was so impressed 
 with the great promise of the boy that on 
 first hearing him he offered to take him as 
 a pupil gratis. Few violinists have had the 
 advantage which has fallen to the lot of 
 Gregorowitsch, of receiving instruction from 
 so many great teachers. 
 
 Gregorowitsch has travelled extensively 
 throughout Europe, has been highly hon- 
 oured in Russia, where the Czar granted 
 him exemption from military service, and 
 decorated by the King of Portugal. In Lon- 
 don he made his first appearance in 1897, 
 at the Queen's Hall Symphony concerts. 
 
 M. Gregorowitsch is remarkable for a large 
 tone, and in the smoothness and finish of his 
 
286 Famous Violinists. 
 
 playing he has been compared with Sauret 
 and with Sarasate. 
 
 A far greater sensation was caused in 
 America by Willie Burm ester than by 
 Gregorowitsch. 
 
 Burmester was born in Hamburg in 1869, 
 and received his first instruction from his 
 father. He owned his first violin when he 
 was four years of age, and it came to him 
 from a Christmas tree. This served to show 
 the talent which he possessed, and the next 
 year he received a better violin, and began 
 to study in earnest. 
 
 When he was eight years old his father 
 took him to Berlin to consult Joachim, who 
 was, and is, regarded as the oracle for vio- 
 linists. Joachim gave some encouragement 
 to the parent, although he does not seem 
 to have given much to the boy, who in con- 
 sequence felt somewhat bitter. Four years 
 later he was again taken to the BerUn Hoch- 
 schule, to pass his entrance examination. 
 
Violinists of To-day. 287 
 
 On this occasion he received the recognition 
 of the jury, and was admitted to the school, 
 where he began a rigorous course of techni- 
 cal study. At the end of four years' study 
 under Joachim he was refused a certificate, 
 for some reason not stated, and he went to 
 Helsingfors in Finland, where he worked 
 according to his own ideas, which were to 
 unlearn all he had studied, and begin afresh. 
 During this period he worked with the great- 
 est perseverance, practising nine or ten hours 
 a day, and thus developed the wonderful 
 technique which has astonished the world. 
 For three years he continued this work, sup- 
 porting himself meanwhile with a modest 
 appointment which he had obtained. 
 
 Before he left Berlin he had worn down 
 the end of his first finger to the nerve. This 
 troubled him to such a degree that he had sev- 
 eral operations for the purpose of removing 
 it, but the result was not wholly satisfactory. 
 
 Emerging from his retirement in 1894, he 
 
288 Famojis Violinists. 
 
 went to Berlin again, and gave a recital in 
 which he met with the most remarkable suc- 
 cess. It was written at the time : '* Mr. 
 Burmester comes from an obscure town, 
 unheralded, and, in the face of indifference, 
 prejudice, and jealousy, conquered the me- 
 tropolis off-hand. For nearly half an hour 
 recall followed recall." 
 
 The following season he created an equal 
 impression in London, and shortly afterward 
 in America. 
 
 His technique has been described as "mar- 
 vellous, almost diabolical." Difficult pizzicato 
 passages and runs in thirds and tenths at top 
 speed are but as child's play to him. His 
 left hand pizzicato is marvellous, and he 
 makes runs in single and artificial harmonics 
 as quickly as most violinists can play an 
 ordinary scale. He plays harmonics with a 
 vibrato (Paganini played a double shake in 
 harmonics), and his staccato volante is devel- 
 oped to an astounding degree of perfection. 
 
Violinists of To-day. 289 
 
 When Burmester played in London his 
 success was at once attributed to Joachim, 
 and he resented it, in view of the fact that 
 he had been denied his certificate and had 
 narrowly escaped musical suffocation at the 
 hands of that great master. He had already 
 made the same statement in Berlin, referring 
 to the fact of his retirement to Helsingfors, 
 and the development which he had acquired 
 there in solitude. 
 
 This announcement brought forth a deluge 
 of letters from "pupils of Joachirri," and in a 
 couple of weeks Burmester wrote another 
 letter stating that he did not know the Hoch- 
 schule had as many pupils as those who had 
 claimed Joachim as their teacher, and who 
 were all unknown. "If one known pupil of 
 Joachim," he wrote, " will appoint a meeting 
 to interview me on the subject, I shall be 
 glad to continue it." But the one known 
 pupil did not come. 
 
 The complaint of Mr. Burmester, that the 
 
290 Famous Violinists. 
 
 one idea at the Hochschule is technique, 
 is not new by any means. In every school 
 there are students with great talent, who find 
 it difficult to subject themselves to the rigid 
 discipline required by the teacher. It is the 
 stumbling-block on which many fall. It is, 
 nevertheless, a fact that without a solid tech- 
 nique the highest perfection in playing cannot 
 be reached, and it is usually regarded as a 
 hopeless case when the pupil antagonises the 
 teacher. Many pupils are apt to try and run 
 ahead of their technical ability, and do not 
 find out their mistake until it is too late. 
 The argument that Paganini was self-taught 
 leads many a young violinist into error. 
 
 If Burmester is to be judged by his playing 
 of the Beethoven concerto in Boston, good 
 musicians will declare that Joachim was right 
 in refusing the certificate, for while his tech- 
 nique was brilliant it appeared to lack foun- 
 dation. Time may justify the stand which 
 the young virtuoso has taken in opposition 
 
Violinists of To-day. 291 
 
 to his teacher, for he is still young and has 
 time in which to develop. He has un- 
 doubted musical talent and great ability, but 
 while he may be a celebrated violinist he can 
 hardly yet be considered a great one, not- 
 withstanding the furore which he caused in 
 Berlin. 
 
 Burmester plays with unassuming simplic- 
 ity and without cheap display. He is sin- 
 cere, but without authority or distinction of 
 style. His tone is warm and pleasing, but 
 not large, his intonation is not always sure. 
 
 One of Burmester' s earliest musical friends 
 was Hans Von Biilow, and the friendship 
 extended over a period of three and a half 
 years, until Von Biilow went to Cairo shortly 
 before his death. 
 
 Von Biilow had inaugurated a series of 
 orchestral concerts in Berlin, and as they 
 interfered with the Philharmonic series every 
 effort was made to put a stop to them. 
 Musicians were forbidden to play for Von 
 
292 Famous Violi7iists. 
 
 Billow, and many obstacles were placed in 
 his way. Von Biilow's temperament was 
 such as to intensify the hostility rather than 
 succumb to it. Burmester was then only 
 sixteen years old, but his sympathy was with 
 Von Billow, and he wrote a letter to him 
 offering his services, and expressing his con- 
 tempt for the injustice to which he was being 
 subjected. Von Biilow invited him to attend 
 the rehearsals, and printed the letter which 
 he had received. Burmester accepted the 
 invitation, and, going to the rehearsal, found 
 vacant a seat amongst the first violins, which 
 he took. 
 
 The rehearsal was about to commence 
 when Von Biilow paused and asked, " Which 
 of you gentlemen is Burmester .-* " 
 
 The young fellow approached Von Biilow, 
 who had motioned him to come. 
 
 " Mr. Burmester," he said, " I have no 
 desk in the first row to offer you or it would 
 be yours. Gentlemen," he added, turning to 
 
Violinists of To-day. 293 
 
 the musicians, '' I wish to introduce to you 
 the guest of honour of my orchestra, Mr. 
 Burmester." 
 
 This was the beginning of a friendship, 
 through which the young vioHnist showed 
 unswerving loyalty, and it is now one of 
 his greatest desires to reach a point of inde- 
 pendence which will enable him to build a 
 monument to Von Billow's memory. 
 
 In 1893 a sensation was created in 
 America by the visit of Henri Marteau, a 
 young French violinist whose excellent play- 
 ing and charming personality delighted all 
 who heard him. Marteau was called "the 
 Paderewski of the Catgut," and he met 
 with a most cordial reception among musi- 
 cians. 
 
 Marteau was born at Reims in 1 874. His 
 father was an amateur violinist and president 
 of the Philharmonic Society of Reims. His 
 mother was an accomplished pianist, a pupil 
 of Madame Schumann. He therefore had 
 
294 Famous Violinists. 
 
 every advantage in his early youth for the 
 development of musical taste. When he 
 was about five years of age Sivori paid a visit 
 to the family, and was so charmed with the 
 little fellow that he gave him a violin, and 
 persuaded his parents to let him become a 
 professional violinist. Marteau now began 
 to take lessons of Bunzl, a pupil of Molique, 
 but three years later he went to Paris, and 
 was placed under Leonard. In 1884, when 
 ten years of age, he played in public before 
 an audience of 2,500 people, and in the fol- 
 lowing year he was selected by Gounod to 
 play the obligato of a piece composed for 
 the Joan of Arc Centenary celebration at 
 Reims, which piece was dedicated to him. 
 
 In 1892 Marteau carried off the first prize 
 for violin playing at the Paris Conservatoire, 
 and Massenet, the celebrated French com- 
 poser, wrote a concerto for him. 
 
 When Marteau played in Boston at the 
 Symphony concerts he received twelve re- 
 
Violinists of To-day. 295 
 
 calls, and immediately became the idol of the 
 hour. The concerto selected was that in G 
 minor by Bruch, and it was played without- a 
 rehearsal, a fact which reflects great credit 
 on the orchestra, which was at that time con- 
 ducted by Mr. Arthur Nikisch. 
 
 In the following year Marteau again vis- 
 ited America and brought with him a con- 
 certo composed for him by Dubois. This 
 was played for the first time by the Colonne 
 orchestra, with Marteau as soloist, at Paris, 
 on November 28, 1894, and again on the 
 following Sunday. It was next given at 
 Marseilles on December 12th, and the next 
 performances were at Pittsburg, Louisville, 
 and Nashville during the second American 
 tour. 
 
 Marteau's tone is large, brilliant, and pene- 
 trating. His technique is sure, and he plays 
 with contagious warmth of sentiment and 
 great artistic charm. 
 
 The violin which he used during his 
 
296 Famous Violinists. 
 
 American tours was a Maggini, which once 
 belonged to Maria Theresa of Austria. She 
 gave it to a Belgian musician who had 
 played chamber music with her in Vienna. 
 He took it to Belgium, where at his death it 
 became the property of Leonard, who, at his 
 death, gave it to Marteau. 
 
 Alexander Petschnikoff, the son of a Rus- 
 sian soldier, is the latest violinist who has 
 created a furore in Europe. When he was 
 quite young his parents moved to Moscow, 
 near which city he was born, and one day a 
 musician of the Royal Opera House hap- 
 pened to hear the boy, who had already 
 endeavoured to master the difficulties of the 
 instrument, and he used his influence to get 
 the lad into the conservatory. Petschnikoff 
 now became a pupil of Hrimaly, and devoted 
 himself to hard work, earning some money 
 by teaching even at the age of ten. 
 
 In due course he won the first prize and 
 the gold medal at the conservatory, and was 
 
Violinists of To-day. 297 
 
 then offered an opportunity to study in Paris, 
 which he declined. For a time he earned 
 his living by playing in a theatre orchestra, 
 but fortune smiled upon him, and he became 
 an object of interest to the Princess Ouro- 
 soff, who heard him play at a concert. Her 
 influence was exerted in his behalf, and he 
 was soon noticed and courted by the nobility. 
 The princess also made him a present of a 
 magnificent violin, which formerly belonged 
 to Ferdinand Laub, and is said to be the 
 most costly instrument in existence. 
 
 When he made his debut in Berlin, in 
 1895, his success was unprecedented, inas- 
 much as it covered four points, — the artis- 
 tic, popular, social, and financial. He has 
 created a furore wherever he has appeared, 
 and has been recalled as many as sixteen 
 times. So great has been his success that 
 he is said to have received the highest hon- 
 orarium for a single concert ever obtained by 
 a violinist in Europe. 
 
298 Famous Violinists. 
 
 He is described as a man of commonplace 
 appearance, with dull, expressionless eyes, 
 sluggish movements, and slow, affected man- 
 ner of speech. His technique is not aston- 
 ishing, but he has a full, penetrating, sympa- 
 thetic tone. There is no charlatanism or 
 trickery in his playing, nor any virtuoso 
 effects, but the charm of it rests in his glow- 
 ing temperament, ideal conception, and won- 
 derful power of expression. He has been 
 regarded as phenomenal, because he can 
 move the hearts of his hearers as few other 
 violinists are able to do. 
 
 Petschnikoff has been given an introduc- 
 tion to America, through Mr. Emil Paur, by 
 Theodor Leschetizky, couched in the most 
 glowing terms, and is called by him "an 
 artist of the very first rank and of inconceiv- 
 able versatility." 
 
 One might prolong the list of violinists to 
 a tremendous extent, and yet fail to mention 
 all those of great merit. In England, John 
 
Violinists of To-day. 299 
 
 Dunn appears to be acquiring a great repu- 
 tation. On the Continent, such names as 
 Hubay, Petri, Rose are well known. In 
 America, we have Leopold Lichtenberg, a 
 good musician of admirable qualifications. 
 Bernhard Listemann, now of Chicago, has 
 done much toward forming musical taste in 
 America, and was concert-master of the Bos- 
 ton Symphony Orchestra during the first few 
 years of its existence. But space does not 
 permit of a mention of more than has been 
 attempted, and a few pages must be given to 
 lady violinists and to a few words about 
 celebrated quartets. 
 
CHAPTER X. 
 
 WOMEN AS VIOLINISTS. 
 
 During the past forty or fifty years the 
 violin has become a fashionable instrument 
 for ladies, and has become correspondingly 
 popular as a profession for those who are 
 obliged to earn a living. 
 
 Formerly, for many years, it seems to have 
 been considered improper, or ungraceful, or 
 unladylike, — the reasons are nowhere satis- 
 factorily given, but the fact remains that 
 until recently few women played the violin. 
 
 From the year 1610 until 18 10 the list 
 of those who played in public is extremely 
 short, numbering only about twenty, and of 
 these several were gambists. 
 
 That women did, once upon a time, play 
 300 
 
Women as Violinists. 30 ^ 
 
 on the violin, or the corresponding string and 
 bow instruments which were its ancestors, 
 there is evidence. 
 
 On the painted roof of Peterborough Cathe- 
 dral, in England, which is said to have been 
 built in the year 1194 a. d., there is a pic- 
 ture of a woman seated, and holding in her 
 lap a sort of viol, with four strings and four 
 sound-holes. This seems to indicate that in 
 very early days ladies sometimes played on 
 stringed instruments, if only for their own 
 amusement. 
 
 Among the accounts of King Henry VIL, 
 dated November 2, i495. is the following 
 item, "For a womane that singeth with a 
 fiddle, 2 shillings." 
 
 Anne of Cleves after her divorce com- 
 forted herself by playing on a viol with six 
 strings. Queen Elizabeth, also, amused her- 
 self not only with the lute, the virginals, and 
 her voice, but also with the violin. 
 
 These, however, were amateurs, and the 
 
302 Famous Violinists. 
 
 earliest professional violinist known was Mrs. 
 Sarah Ottey, who was born about 1695, and 
 who about 1721-22 performed frequently at 
 concerts, giving solos on the harpsichord, vio- 
 lin, and bass viol. Previous to her there was 
 one Signora Leonora Baroni, born at Mantua 
 about 16 10, but she played the theorbo and 
 the viol di gamba. 
 
 The next is "La Diamantina," born about 
 1 71 5, who is referred to by the poet Gray in 
 1740, when he was at Rome, as "a famous 
 virtuosa, played on the violin divinely, and 
 sung angelically." 
 
 Anne Nicholl, born in England about 1728, 
 played the violin before the Duke of Cumber- 
 land at Huntley in 1746, and her granddaugh- 
 ter, Mary Anne Paton, also, who was better 
 known as a singer and who became Lady 
 Lenox, and afterwards Mrs. Wood, was a 
 violinist. 
 
 The celebrated Madame Gertrude Eliza- 
 beth Mara, one of the greatest singers of 
 
Women as Violinists. 303 
 
 her time, was a violinist when young. Her 
 father took her to England, hoping by means 
 of her playing to get sufficient money to give 
 her a thorough musical education. She was 
 then a mere child, and as she grew to woman- 
 hood her voice developed and she became 
 one of the celebrities in the history of song. 
 There is no doubt that the training in inter- 
 vals which her practice on the violin gave 
 her proved invaluable as an aid to her in 
 singing. In later days several of the most 
 celebrated singers have been also good vio- 
 linists, as, for instance, Christine Nilsson and 
 Marcella Sembrich. 
 
 Maddalena Lombardi Sirmen, born about 
 1735, had an almost European reputation 
 toward the end of the eighteenth century. 
 She visited France and England about 1 760- 
 61, and was so good a player that she was 
 looked upon almost as a rival of Nardini. 
 She will always be celebrated in history 
 because of the letter which was written to 
 
 . ^V^- 
 ^ ^'^ 
 
 
 v>^vN^;\^tts^ 
 
304 Famous Violinists. 
 
 her by Tartini, and which is not only one of 
 the rarities of musical literature, but consti- 
 tutes also a valuable treatise on the use of 
 the violin. 
 
 This letter, which has been printed in 
 almost every book on the violin, would take 
 up rather more space than can be afforded in 
 this sketch. It is admirably clear and is 
 divided into three parts, the first giving 
 advice on bowing, " pressing the bow lightly, 
 but steadily, upon the strings in such a 
 manner as that it shall seem to breathe 
 the first tone it gives, which must proceed 
 from the friction of the string, and not from 
 percussion, as by a blow given with a hammer 
 upon it, — if the tone is begun with delicacy, 
 there is little danger of rendering it after- 
 wards either coarse or harsh." The second 
 section of the letter is devoted to the finger- 
 board, or the " carriage of the left hand," and 
 the last part to the " shake." 
 
 Maddalena Sirmen received her instruc- 
 
Women as Violinists. 305 
 
 tion first at the conservatory of Mendicant! 
 at Venice, after which she took lessons from 
 Tartini. She also composed a considerable 
 quantity of violin music, much of which was 
 published at Amsterdam. About 1782 she, 
 emulating the example of Madame Mara, 
 appeared as a singer at Dresden, but with 
 comparatively small success. 
 
 Regina Sacchi, who married a noted Ger- 
 man violoncellist named Schlick, was cele- 
 brated for her performances on the violin. 
 She was born at Mantua in 1764, and edu- 
 cated at the Conservatorio della Pieta at 
 Venice. This lady was highly esteemed by 
 Mozart, who said of her, '' No human being 
 can play with more feeling." 
 
 When Mozart was in Vienna, about 1786, 
 Madame Schlick was also there, and solicited 
 him to write something for the piano and 
 violin, which they should play together at 
 a concert. Mozart willingly promised to do 
 so, and accordingly composed and arranged, 
 
3o6 Famous Violmists. 
 
 in his "tnind, his beautiful sonata in B-fiat 
 minor, for piano and violin. The time for 
 the concert drew near, but not a note was 
 put upon paper, and Madame Schlick's anx- 
 iety became painful. Eventually, after much 
 entreaty, she received the manuscript of the 
 violin part the evening before the concert, 
 and set herself to work to study it, taking 
 scarcely any rest that night. 
 
 The sonata was played before an audience 
 consisting of the rank and fashion of Vienna. 
 The execution of the two artists was perfect 
 and the applause was enthusiastic. It hap- 
 pened, however, that the Emperor Joseph 
 II., who was seated in a box just above the 
 performers, in using his opera-glass to look 
 at Mozart, noticed that there was nothing 
 on his desk but a sheet of blank paper, and, 
 afterward calling the composer to him, said : 
 " So, Mozart, you have once again trusted 
 to chance," to which Mozart, of course, gra- 
 ciously acquiesced, though the emperor did 
 
Women as Violmists. 307 
 
 not state whether he considered Mozart's 
 knowledge of his new composition, or Ma- 
 dame Schlick's ability to play with him un- 
 rehearsed, constituted the '' chance." 
 
 The next virtuosa was a Frenchwoman, 
 Louise Gautherot, who was born about 1760, 
 and who played in London and made a great 
 impression about 1780 to 1790, and about 
 the same time Signora Vittoria dall' Occa 
 played at the theatre in Milan. Signora 
 Paravicini, born about 1769, and Luigia 
 Gerbini, about 1770, were pupils of Viotti, 
 and earned fame. The former made a sen- 
 sation in 1799 by her performance of some 
 violin concertos at the Italian Theatre at 
 Lisbon, where she played between the acts. 
 
 Signora Paravicini attracted the atten- 
 tion of the Empress Josephine, who became 
 her patroness and engaged her to teach her 
 son, Eugene Beauharnais, and took her to 
 Paris. After a time, however, the Empress 
 neglected her, and she suffered from poverty. 
 
3o8 Famous Violinists, 
 
 Driven to the last resource, and having even 
 pawned her clothes, she applied for aid to 
 the Italians resident in Paris, and they en- 
 abled her to return to Milan, where her 
 ability soon gained her both competence and 
 credit. She also played at Vienna in 1827, 
 and at Bologna in 1832, where she was much 
 admired. 
 
 Catarina Calcagno, who has already been 
 mentioned as a pupil of Paganini, was a 
 native of Genoa, born about 1797, and had 
 a short but brilliant career. She disappeared 
 from before the public in 18 16. 
 
 Madame Krahmer and Miles. Eleanora 
 Neumann, and M. Schulz all delighted the 
 public in Vienna and Prague. Miss Neu- 
 mann came from Moscow, and astonished 
 the public when she had scarcely reached 
 her tenth year. Other names are Madame 
 Filipowicz, Madame Pollini, Mile. Zerchoff, 
 Eliza Wallace, and Rosina Collins, who all 
 played publicly and were well known. 
 
Women as Violinists. 309 
 
 In 1827 Teresa Milanollo was born, and 
 in 1832 her sister Marie, and these two 
 young ladies played so well, and were in 
 such striking contrast to one another, that 
 they proved very successful as concert 
 players. They were natives of Savigliano, 
 in Piedmont, where their father was a manu- 
 facturer of silk-spinning machinery. Teresa, 
 the elder, was taught by Ferrero, Caldera, 
 and Morra, but in 1836 she went to Paris 
 and studied under Lafont, and afterwards 
 under Habeneck, going still later to Brus- 
 sels, where she took lessons of De Beriot, 
 and received the finishing touch to her ar- 
 tistic education, — faultless intonation. Her 
 career as a concert player began when she 
 was about nine years of age. When Marie 
 was old enough to handle a violin Teresa 
 began to teach her, and in fact was the 
 only teacher Marie ever had. 
 
 The two sisters, who were called, on ac- 
 count of their most striking characteristics, 
 
3IO Famous Violinists. 
 
 Mile. Staccato and Mile. Adagio, travelled 
 together through France, Holland, Belgium, 
 Germany, and England, and were everywhere 
 received with the greatest interest. They 
 played before Louis Philippe at Neuilly, and 
 appeared with Liszt before the King of Prus- 
 sia. They also created a furore at Vienna 
 and Berlin. 
 
 Marie, the younger, who was of a happy 
 and cheerful disposition, was not strong, 
 and in 1848 she died in Paris. Teresa, 
 the elder, after a long retirement, re- 
 sumed her travels, and, having matured 
 and improved, she played better and excited 
 more interest than before. In 1857 she 
 married a French officer, Captain Theodore 
 Parmentier, who had seen service in the 
 Crimean War, and she abandoned the concert 
 stage. 
 
 From 1857 until 1878 she followed the 
 fortunes of her husband, who became a gen- 
 eral and a "Grand Officier de la Legion 
 
WomeJi as Violinists. 3 1 1 
 
 d'Honneiir," and her public appearances were 
 limited to such places as the vicissitudes of 
 a military life took her to. Since 1878 
 Madame Parmentier has lived quietly in 
 Paris, where she is still to be met by a few 
 fortunate persons in select musical and social 
 circles. 
 
 During the lifetime of Marie, the sisters 
 had already put themselves into direct per- 
 sonal relations with the poor of Lyons, but 
 after Teresa had roused herself from her 
 mourning for her sister she established a 
 system of '' Concerts aux Pauvres," which 
 she carried out in nearly all the chief cities 
 of France, and part of the receipts of these 
 concerts was used for the benefit of the poor. 
 Her plan was to follow up the first concert 
 with a second, at which the audience con- 
 sisted of poor school - children and their 
 parents, to whom she played in her most 
 fascinating manner, and, at the conclusion 
 of her performance, money, food, and cloth- 
 
312 Famous Violinists. 
 
 ing, purchased with the receipts of the pre- 
 vious concerts, were distributed. 
 
 From 1830 there has been a constantly 
 increasing number of ladies who have ap- 
 peared as concert violinists, but few have 
 continued long before the public, or have 
 reached such a point of excellence as 
 to be numbered amongst the great per- 
 formers. 
 
 Mile. Emilia Arditi, Fraulein Hortensia 
 Zirges, Miss Hildegard Werner, Miss Bertha 
 Brousil, and Madame Rosetta Piercy-Feeny 
 were all born during the decade 1830 to 
 1 840, and were well known, but in 1 840 and 
 1842 two violinists were born who were des- 
 tined to hold the stage for many years and 
 to exert a great influence in their profession. 
 Wilma Neruda, now known as Lady Halle, 
 and Camilla Urso are the two ladies in ques- 
 tion, the former exerting her influence chiefly 
 in England and on the Continent, and the 
 latter in America. 
 
IVomcji as Violinists. 3 1 3 
 
 Miss Werner has played an important part 
 in advancing the art amongst women, having 
 for many years conducted a school of music 
 at Newcastle-on-Tyne, in England. She was 
 also the first woman ever to address the 
 Literary and Philosophical Society, when in 
 1880 she delivered an address on the history 
 of the violin. There is little doubt, how- 
 ever, that the success of Teresa Milanollo 
 gave the first great impulse toward the study 
 of the violin by women. 
 
 Lady Halle was born at Briinn, March 21, 
 1840. Her father was Josef Neruda, a musi- 
 cian of good ability, and he gave her the first 
 instruction on the violin, and then placed her 
 under Leopold Jansa, in Vienna. Wilhelmina 
 Maria Franziska Neruda made her first ap- 
 pearance in public in 1846, at which time she 
 was not quite seven years old. On this occa- 
 sion her sister Amalie, who was a pianist, 
 accompanied her, and shortly afterwards her 
 father took her, with her sister Amalie and 
 
314 Famous Violinists. 
 
 one of her brothers, on an extended tour. 
 The family consisted of two sons — a pianist 
 and a 'cellist — and two daughters — a violin- 
 ist and a pianist. 
 
 In 1849 they reached London, where the 
 young violinist played a concerto by De 
 Beriot, at the seventh Philharmonic concert 
 of that season. By the critics at that time 
 she was said to be wonderful in bravura 
 music, in musical intelligence, and in her 
 remarkable accuracy. 
 
 As time went on, and her playing matured, 
 she became known throughout Europe. In 
 1864 she married Ludwig Norman, conductor 
 of the opera at Stockholm, and for a time she 
 remained in that city and became a teacher 
 at the Royal Music School. 
 
 Before long she was again busy with con- 
 cert playing, and in 1869 she again appeared 
 in England, where she became a great favour- 
 ite, and has appeared there regularly almost, 
 if not quite, every season since. Hans von 
 
Womeii as Violinists. 3 1 5 
 
 Billow spoke of her as Joachim's rival, and 
 called her ''the violin fairy." 
 
 Joachim has always been a great favourite 
 in England, but Madame Norman-Neruda, or 
 Lady Halle, as she became later, has fully 
 shared his popularity. What Joachim is to 
 the sterner sex, just the same is Lady Halle 
 to the gentler. 
 
 Joachim was indeed one of the first to 
 recognise the fact that he had in Mile. 
 Neruda a rival, for in the days when she 
 was earning her reputation he heard her at 
 some place on the Continent, and remarked 
 to Charles Halle, who aftenvards became her 
 husband, " I recommend this artist to your 
 careful consideration. IMark this, when 
 people have given her a fair hearing, they 
 will think more of her and less of me." 
 
 Ludwig Norman died in 1885, and three 
 years later Madame Norman-Neruda married 
 the pianist, Charles Halle, who had long been 
 identified vidth all that was best musically in 
 
3i6 Famous Violinists. 
 
 England, and who was knighted in recognition 
 of his services to the cause of art. 
 
 Sir Charles Halle established a series of 
 orchestral concerts at Manchester in 1857, 
 and by means of these concerts brought 
 before the English pubhc the works of many 
 composers who would have remained un- 
 known perhaps for years but for his efforts. 
 In this work he was ably supported by this 
 talented violinist, afterwards his wife, and 
 with her he made many tours all over the 
 British Isles. 
 
 In 1890 Sir Charles and Lady Halle made 
 a tour in Australia, which was highly suc- 
 cessful. Five years later they went to South 
 Africa, where they met with a flattering 
 reception. In his memoirs, Sir Charles 
 Halle tells of a curious compliment which 
 they received at Pietermaritzburg. The 
 mayor invited them to play at a municipal 
 concert to be given one Sunday afternoon. 
 The concert began, and after an organ solo 
 
Women as Violinists. 3^7 
 
 and a song had been given by other musi- 
 cians, they played the Kreutzer sonata. At 
 the conclusion of the sonata, a member of 
 the corporation came forward, and said that 
 after the impression just received he thought 
 it would be best to omit the remainder of the 
 programme, upon which the audience cheered 
 and dispersed. 
 
 In 1895, shortly after their return from 
 the South African tour, Sir Charles Halle 
 died, and Lady Halle went into retirement. 
 At this time her numerous admirers in Eng- 
 land presented her with a valuable testimonial 
 of their appreciation. 
 
 Throughout her career she has fulfilled 
 the prophecies made of her in her youth, for 
 her talent and musicianship developed as she 
 grew up, and her genius did not burn itself 
 out as that of many infant prodigies has 
 done. She has never endeavoured to secure 
 public applause at the expense of her real 
 artistic nature. Her performances are and 
 
3i8 Famous Violinists. 
 
 always have been synonymous with all that 
 is good in musical art, and nothing but 
 that which is of the best has ever been 
 allowed to appear upon her programmes. 
 
 She is celebrated no less as a quartet 
 player than as a soloist, and was for many 
 years first vioHn of the Philharmonic Quartet 
 in London. 
 
 In 1898, Lady Halle had the misfortune 
 to lose her son, Mr. Norman Neruda, who, 
 while scaling a difficult place in the Alps, 
 slipped and was killed. 
 
 In the following year she emerged from 
 her retirement and visited the United States, 
 where her playing was highly appreciated by 
 unbiassed critics. There was a feeling, how- 
 ever, that she might have made the journey 
 many years before, and allowed the American 
 public to hear her in her prime, when she 
 would have received not only a very warm 
 welcome, but would have been judged rather 
 by her merits than by her history, and she 
 
Women as Violinists. 3 1 9 
 
 would not have challenged comparison with 
 the violinists of the rising generation. 
 
 Camilla Urso has been for many years one 
 of the best known violinists in the United 
 States. She was born at Nantes, in France, 
 in 1842, of Italian parents. Her father was 
 Salvator Urso, a good musician, and son of a 
 good musician, so that the young violinist 
 inherited some of her talent. In 1852 the 
 family crossed the Atlantic and settled in 
 the United States, and almost immediately 
 the little girl began to appear at concerts. 
 Camilla Urso began to study the violin at 
 the age of six years, and her choice of that 
 instrument was determined by her hearing 
 the violin and being fascinated by it during 
 a celebration of the Mass of St. Cecilia. She 
 was taken to Paris for instruction, for which 
 purpose her father abandoned his position at 
 Nantes. She entered the Conservatoire and 
 became a pupil of Massart. 
 
 She made a tour through Germany, during 
 
320 Famous Violinists. 
 
 which she met with immense success, and 
 then returned to Paris to continue her 
 studies. 
 
 She was fresh from Massart's instruction 
 when, in October, 1852, she made her first 
 appearance in Boston, where her playing and 
 her style called forth eulogies from the critics 
 of those days. John S. Dwight wrote to the 
 effect that it was one of the most touching 
 experiences of his life to see and hear the 
 charming little maiden, so natural and child- 
 like, so full of sentiment and thought, so self- 
 possessed and graceful. Her tone was pure, 
 and her intonation faultless, and she played 
 with a "■ fine and caressing delicacy," and 
 gave out strong passages in chords with 
 thrilling grandeur. 
 
 For three years she continued to travel 
 and delight American audiences, and then 
 for a period of about five years she retired 
 into private life, and did not resume her pro- 
 fessional career until 1862, from which time 
 
Wofneu as Violmists. 321 
 
 she frequently made concert tours in America 
 until she returned to Paris. It was about 
 the period of these tours that her influence 
 upon young women began to be felt, for she 
 was at an age when womanly grace becomes 
 evident, and her manners and character were 
 as fascinating as her playing. 
 
 In Paris she so pleased M. Pasdeloup that 
 he begged her not to allow herself to be 
 heard in public until she had played at his 
 concerts. " You may count upon a splendid 
 triumph," he said. " It is / who tell you so. 
 Your star is in the ascendant, and soon it 
 will shine at the zenith of the artistic 
 firmament." 
 
 The result justified the prophecy, and 
 Camilla Urso was the recipient of great 
 honours in Paris. She was presented by 
 the public with a pair of valuable diamond 
 earrings, and was treated almost like a prima 
 donna. 
 
 In March, 1867, Mile. Urso received a 
 
322 Famous Violinists. 
 
 testimonial from the musical profession in 
 Boston, where a few years later she had 
 a curious experience. She was playing a 
 Mozart concerto, at a concert, when an 
 alarm of fire was given, and caused a good 
 deal of excitement. Many of the audience 
 left their seats and made for the door, but 
 the violinist stood unm.oved until the alarm 
 was subdued and the audience returned to 
 their seats, when she played the interrupted 
 movement through from the beginning. 
 
 In 1879 she made a tour to Australia, and 
 again in 1894. 
 
 In 1895 she was in South Africa, and 
 achieved great triumphs in Cape Town, 
 besides giving concerts at such out-of-the- 
 way places as Bloemfontein. She has prob- 
 ably travelled farther than any other violin 
 virtuosa. 
 
 For the past few years she has lived in 
 New York, and has practically retired from 
 the concert stage. 
 
Women as Violinists. 323 
 
 Teresina Tua, who was well known in the 
 United States about 1887, ^^as born at Turin 
 in 1867. As in the case of Wilhelmina 
 Neruda and of Camilla Urso, her father was 
 a musician, and she received her early 
 musical instruction from him. Her first 
 appearance in public was made at the age 
 of seven, and up to that time she had re- 
 ceived no instruction, except that given her 
 by her father. During her first tour she 
 played at Nice, where a wealthy Russian 
 lady, Madame Rosen, became interested in 
 her, and provided the means to go to Paris, 
 where she was placed under Massart. 
 
 In 1880 Signorina Tua won the first prize 
 for violin playing at the Paris Conservatoire, 
 and the following year made a concert tour 
 which extended through France and Spain 
 to Italy. In 1882 she appeared in Vienna, 
 and in 1883 in London, where she played 
 at the Crystal Palace. Wherever she went 
 people of wealth and distinction showed the 
 
324 Famous Violinists. 
 
 greatest interest in her, and when she came 
 to America in 1887 she appeared laden with 
 jewelry given her by royalty. Her list of 
 jewels was given in the journals of that day, 
 — *' a miniature violin and bow ablaze with 
 diamonds, given by the Prince and Princess 
 of Wales ; a double star with a solitaire pearl 
 in the centre, and each point tipped with 
 pearls, from Queen Margherita of Italy." 
 Besides these, there were diamonds from 
 the Queen of Spain and from the Empress 
 of Russia and sundry grand duchesses. No 
 lady violinist ever appeared before an Amer- 
 ican audience more gorgeously arrayed. 
 " Fastened all over the bodice of her soft 
 white woollen gown she wore these spark- 
 ling jewels, and in her hair were two or 
 three diamond stars," said the account in 
 Dwight's Journal of Mnsic. Yet with all 
 this the criticisms of her playing were some- 
 what lukewarm. The expectation of the 
 people had been wrought up to an unreas- 
 
Wome7i as Violinists. 3^5 
 
 enable pitch, and Signorina Tua, while she 
 was acknowledged to be an excellent and 
 charming violinist, was not considered great. 
 After a time, however, as she became better 
 known, she grew in popular estimation, and 
 before she left America she had hosts of 
 admirers. 
 
 On returning to Europe she made another 
 tour, but shortly afterwards she married 
 Count Franchi Verney della Valetta, a dis- 
 tinguished Italian critic, and retired into pri- 
 vate life, though from time to time she was 
 heard in concerts in Italy. 
 
 In 1897 she was again on the concert 
 stage, and played at St. James's Hall, Lon- 
 don, after an absence of eight years, and it 
 was considered that her playing had gained 
 in breadth, while her technique was as 
 perfect as ever. 
 
 Of the three hundred or more pupils of 
 Joachim, there have been several ladies who 
 have attained celebrity, of whom Miss Emily 
 
326 Famojis Violinists. 
 
 Shinner (now Mrs. A. F. Liddell) has been 
 for some years the most j^rominent in Eng- 
 land, while the names of Gabrielle Wietro- 
 witz and Marie Soldat are known throughout 
 Europe, and Maude Powell and Leonora Jack- 
 son are among the brightest lights from the 
 United States. 
 
 Miss Emily Shinner has been in many 
 respects a pioneer amongst lady violinists, for 
 in 1874, when quite young, she went to 
 BerUn to study the violin. In those days 
 pupils of the fair sex were not admitted to 
 the Hochschule, and Miss Shinner began 
 to study under Herr Jacobsen. It happened, 
 however, that a lady from Silesia arrived at 
 Berlin, intending to take lessons of Joachim, 
 but unaware of the rules against the admis- 
 sion of women to the Hochschule. Joachim 
 interested himself in her, and she was exam- 
 ined for admission. Miss Shinner at once 
 presented herself as a second candidate, and 
 the result was that both ladies were accepted 
 
Women as Violinists. 327 
 
 as probationers. In six months Miss Shin- 
 ner was allowed to become a pupil of 
 Joachim, and thus gained the distinction of 
 being the first girl violinist to study under 
 the great professor. 
 
 Again in 1884 Miss Shinner, having ac- 
 quired a great reputation in musical circles 
 in England, was called upon at very short 
 notice to take Madame Neruda's place as 
 leader to the " Pop " Quartet, on which occa- 
 sion she acquitted herself so well that an 
 encore of the second movement of the quar- 
 tet was demanded. Since that time she has 
 been always before the public, and has taken 
 special interest in chamber music and quar- 
 tet playing, the Shinner Quartet of ladies 
 having acquired a national reputation. 
 
 Her marriage to Capt. A. F. Liddell took 
 place in 1889. 
 
 Marie Soldat was born at Gratz in 1863 
 or 1864, and was the daughter of a musician, 
 who was pianist, organist, and choirmaster, 
 
328 Famous Violinists. 
 
 and who gave her instruction from her fifth 
 year on the piano. Two years later she 
 began to learn the organ, and was soon able 
 to act as substitute for her father when 
 occasion required her services. Until her 
 twelfth year she studied music vigorously, 
 taking violin lessons with Pleiner at the 
 Steier Musical Union at Gratz, and com- 
 position with Thierot, the Kapellmeister, at 
 the same time keeping on with the piano- 
 forte. 
 
 She played the phantasie-caprice by 
 Vieuxtemps in a concert at the Musical 
 Union when she was ten years of age, and 
 at thirteen she went on a tour and played 
 Bruch's G minor concerto. 
 
 Soon after this she had the misfortune to 
 lose her father, and a little later her violin 
 teacher, Pleiner, also died, so that her prog- 
 ress received a check. Joachim, however, 
 visited Gratz to play at a concert, and the 
 young girl went to him and consulted him 
 
Women as Violinists. 329 
 
 as to her future course. As a result of the 
 interview she began to take lessons of August 
 Pott, a good violinist at Gratz, and the 
 following year (1879) she again went on 
 a concert tour, visiting several cities in 
 Austria. 
 
 During this tour, she made the acquaint- 
 ance of Johannes Brahms, who took a great 
 deal of interest in her, advised her to devote 
 all her energies to the violin, and succeeded 
 in arranging for another interview with 
 Joachim, the result of which was that she 
 was enabled to enter the Berlin High School 
 for Music. Here she pursued her studies 
 until 1882, after which she still continued 
 her studies and took private lessons of 
 Joachim. 
 
 At the high school she gained the 
 Mendelssohn prize, and from that time 
 commenced her career as a virtuosa, tour- 
 ing extensively throughout Europe. One 
 of her greatest triumphs was when, in 1885, 
 
330 Famous Violinists. 
 
 at Vienna, she played Brahm's violin con- 
 certo with Richter's orchestra. 
 
 Her career has been marked by hard 
 work and continual practice, which have 
 enabled her to overcome many obstacles, 
 and have placed her on a level with the very 
 best violinists of her sex. 
 
 The Ladies' String Quartet, which she 
 formed in Berlin, consisting of herself as first 
 violin, with Agnes Tschetchulin, Gabrielle 
 Roy, and Lucie Campbell, had a creditable 
 career, and appeared in several German 
 cities. 
 
 In 1889 Marie Soldat married a lawyer 
 named Roger, but did not retire from her 
 profession. She is now known as Madame 
 Soldat-Roger. 
 
 Gabrielle Wietrowitz was born a few years 
 later, in 1866, at Laibach, and was also a 
 pupil at the Musical Institute at Gratz. 
 Her father was a military bandsman who 
 had some knowledge of the violin, which 
 
Women as Violinists. 331 
 
 enabled him to give his daughter elementary 
 instruction on that instrument. 
 
 After a few years he left Laibach to settle 
 in Gratz, and Gabrielle took violin lessons 
 from A. Geyer (some accounts say Caspar). 
 On entering the Musical Union she made 
 a sensation by playing brilliantly at a concert 
 before a large audience. She was then 
 eleven years of age, and from that time she 
 made the most rapid progress, taking first 
 prize at the annual trial concert. In con- 
 sequence of her great promise Count Aichel- 
 burg, who was a member of the Directorate 
 of the Musical Union, presented her with 
 a valuable violin, and the Directorate assigned 
 her a yearly salary which enabled her to 
 go to Berlin and enter the high school, where 
 she became a pupil of Joachim in 18 82. 
 
 At the high school her career was as 
 brilliant as it had been in Gratz, for at the 
 end of her first year she succeeded in cap- 
 turing the Mendelssohn prize, which brought 
 
332 Famous Violmists. 
 
 her 1,500 marks, and at the end of her third 
 year she took it for a second time. 
 
 She remained at the high school three 
 years, after which she began a splendid 
 career by playing the concerto by Brahms 
 at the St. Cecilia Festival at Miinster. Then 
 followed a series of concert tours, which re- 
 sulted in securing her a reputation as one 
 of the most brilliant stars amongst women. 
 
 Miss Wietrowitz plays with the most con- 
 summate ease the greatest works of the 
 modern school. She has a powerful and 
 brilliant tone, with sweet tenderness and 
 sympathy, which appeal to the soul of the 
 listener, and she confines her repertoire to 
 the highest class of musical compositions. 
 She has recently succeeded Miss Emily 
 Shinner as first violin in the quartet which 
 that talented lady established in England. 
 
 The most recent star of Europe is Madame 
 Saenger-Sethe, whose appearances are invari- 
 ably followed by eulogies from the critics. 
 
Women as Violinists. 333 
 
 In Berlin, when she appeared at the Singa- 
 kademie, in November, 1 898, where she was 
 assisted by the Philharmonic Orchestra, one 
 critic declared that no violin playing had 
 been heard to compare with it during that 
 season, with the exception of Burmester's 
 performance of the Beethoven concerto. 
 " Such wealth and sensuous beauty of tone, 
 such certainty of technique, such mental grasp 
 of the work, and at the same time such all- 
 conquering temperament have not been heard 
 in Berlin at the hands of a female violinist 
 during several years." After many recalls, 
 she gave, as an encore, a rousing performance 
 of a Bach sarabande. 
 
 Mile. Irma Sethe was born on April 2^, 
 iSy6, at Brussels, and such was her early 
 aptitude for music that at the age of five 
 she was placed under a violinist of repute, 
 named Jokisch, who in three months from 
 the start taught her to play a Mozart sonata. 
 Five years of bard study enabled her to 
 
334 Famous Violinists. 
 
 appear at a concert at Marchiennes, when 
 she played a concerto by De Beriot and the 
 rondo capriccioso by Saint-Saens. The fol- 
 lowing year she played at Aix-la-Chapelle, 
 and made such an impression that several 
 offers of concert engagements were made, 
 but were declined by her mother on the 
 score of the child's health, and for three 
 years after this she never appeared at a 
 concert. 
 
 One summer, during the holidays, she met 
 August Wilhelmj, who was charmed with 
 her talent, and devoted his mornings for two 
 months to giving her lessons daily. At the 
 end of that time he emphasised his appreci- 
 ation by making her a present of a valuable 
 violin. She still continued her regular studies 
 with Jokisch, until, acting on the advice of 
 her friends, she obtained a hearing from 
 Ysaye, and played for him Bach's prelude 
 and fugue in G minor. 
 
 Ysaye at once recognised her immense 
 
Women as Violinists. 335 
 
 ability, and advised her to enter the conser- 
 vatoire at Brussels, which she did, with the 
 result that in eight months she carried off 
 the first prize, being then only fifteen years 
 of age. She continued her studies for three 
 more years, and was frequently employed as 
 a substitute for Ysaye, as professor, to teach 
 his classes while he was absent on concert 
 tours. 
 
 In 1894 she appeared with him at a num- 
 ber of important concerts, and shortly after- 
 wards made her first concert tour, visiting 
 many of the principal towns of Germany. 
 In November, 1895, she made her first ap- 
 pearance in London, where she was pro- 
 nounced to be, with the exception of Lady 
 Halle, the most remarkable lady violinist 
 who had ever appeared before the public in 
 England, and where her excellent technique, 
 perfect intonation, warmth of feeling, and 
 musical insight were highly, almost extrava- 
 gantly, praised. 
 
336 Famous Violinists. 
 
 In August, 1898, Mile. Sethe married 
 Doctor Saenger, a litterateur, and professor 
 of philosophy at Berlin, but she continues 
 her career as a violinist, and has made sev- 
 eral tours of Europe. She has been com- 
 pared to Rubinstein, inasmuch as her 
 remarkable musical temperament and irre- 
 sistible impulsiveness carry her at times 
 almost beyond the limits of her instrument, 
 but these are the very qualities by which she 
 captivates and carries away her hearers. 
 
 Among other European ladies who have 
 made their mark as violinists, and whose 
 stars are in the ascendant, may be men- 
 tioned Sophie Jaffd, who has been called the 
 greatest of all women violinists, and Frida 
 Scotta. 
 
 Although many years behind the conti- 
 nent of Europe in musical life, and with a 
 musical atmosphere not nearly as dense as 
 that found in almost any village of Italy, 
 France, or Germany, America has contributed 
 
Women as Violinists. 337 
 
 to the musical world many shining lights 
 during the past few years. Mile. Urso 
 has been claimed as an American violinist, 
 though she was born in Europe and was a 
 good violinist before she reached these 
 shores, but in 1864, in New York, Arma 
 Senkrah was born, who for a few years 
 rivalled Teresina Tua. 
 
 The real name of Arma Senkrah was 
 Harkness, which for professional purposes 
 she " turned end for end," as the sailors 
 would say, and dropped an '* s." After Miss 
 Harkness had been taught the elements of 
 music by her mother, she went to Brussels 
 to study under Wieniawski, and then to 
 Paris, where she became a pupil of Massart„ 
 She is said also to have taken lessons of 
 Vieuxtemps and of Arno Hilf. 
 
 In 1 88 1 she won the first prize at the 
 Paris Conservatoire, a feat which always 
 stamps the winner "artist." From 1877 to 
 1880 Arma Senkrah travelled a great deal 
 
33 8 Famous Violinists. 
 
 throughout Europe, and in 1882 she played, 
 under her proper name, at the Crystal Pal- 
 ace, London. She was created, at Weimar, 
 a chamber virtuoso, by the grand duke. 
 Here she met and shortly afterwards married 
 a lawyer named Hoffman, and disappeared 
 from the concert platform. 
 
 New York has contributed other stars to 
 the violin firmament, for Nettie Carpenter 
 and Geraldine Morgan are names which have 
 become well known. 
 
 Miss Carpenter went abroad at an early 
 age, though not until she had appeared in 
 concerts in her native city, and created 
 considerable interest. 
 
 On going to Paris, she was successful in 
 passing the entrance examinations for the 
 Conservatoire, and in 1884 won the first 
 prize for vioHn playing. In 1882 she ap- 
 peared in London at the promenade concerts, 
 and again in 1884, when she confirmed the 
 reputation which she had made two years 
 
Wovie7t as Vioiifiists. 339 
 
 previously, at the same concerts. From that 
 time on she went through the usual routine 
 of the concert violinist, with considerable 
 success. 
 
 In 1894 she married Leo Stern, the violon- 
 cello player, but the union did not continue 
 for long, Mr. Stern becoming about four 
 years later the husband of Miss Suzanne 
 Adams, the opera singer. 
 
 Miss Geraldine Morgan is the daughter of 
 John P. Morgan, who was for some years 
 organist of Old Trinity Church, New York. 
 She studied in her native city under Leopold 
 Damrosch, besides which she received much 
 instruction from her father. Then she went 
 to Leipzig, where she studied with Schra- 
 dieck, after which she was the pupil in Berlin 
 of Joachim, under whose guidance she re- 
 mained eight years. She was the first 
 American who ever gained the Mendelssohn 
 prize. 
 
 Miss Morgan has made tours through the 
 
340 Famous Violinists, 
 
 Continent and Great Britain, and had the 
 honour of playing the Bach double concerto 
 with Joachim at the Crystal Palace. In 1891 
 she appeared in New York under the aus- 
 pices of Walter Damrosch. 
 
 A lady who holds a high position among 
 the violinists of the world is Miss Maud 
 Powell, who was born in Aurora, 111., in 
 1868. Her father is American and her 
 mother German. She began her musical 
 education at the age of four, by taking piano 
 lessons. At eight she took up the violin, 
 and made such excellent progress that, when 
 she was thirteen years old, she was taken to 
 Leipzig, where she studied under Schradieck, 
 and received her diploma in a year, playing 
 also at one of the Gewandhaus concerts. 
 
 She next went to Paris, where she was the 
 first selected out of eighty applicants for 
 admission to the Conservatoire. In the fol- 
 lowing year she accepted an engagement 
 for a tour in England, and had the honour 
 
> 1 
 
 » » » 
 
 »,» :» : >, 
 
 XT 
 
 MAUD POWELL, 
 
 V 
 
Wome7i as Violinists. 341 
 
 of playing before the royal family. While in 
 London Joachim heard her, and expressed 
 his approval of her capabilities by inviting 
 her to go to Berlin and become one of his 
 pupils, which she accordingly did, and re- 
 mained with him for two years. 
 
 In 1885 she made her debut in Berlin at 
 the Philharmonic concerts, when she played 
 the Bruch concerto, which she also played in 
 Philadelphia later in the same year. Her 
 performance in America brought her much 
 praise, and she was declared to be a marvel- 
 lously gifted woman, one who in every fea- 
 ture of her playing disclosed the instincts 
 and gifts of a born artist, though she had 
 not yet reached the heights of her ability. 
 Since that time she has gained in breadth, 
 and has become a mature artist. 
 
 Miss Powell has appeared in the best con- 
 certs throughout America, and has gained a 
 reputation second to no American violinist. 
 By many she is declared to be the equal of 
 
342 Famous Violinists, 
 
 Soldat and Wietrowitz in tone, technique, 
 and interpretative power. She has an im- 
 mense repertoire, and is also a student of 
 literature. She also is said to have been 
 the first to establish a female quartet in 
 America. (JUjyi^ ^ptM^ ' \ - \ ■] /~^ 
 
 The latest American lady violinist to gain 
 honours abroad is Miss Leonora Jackson, 
 w^ho won the Mendelssohn state prize at 
 Berlin, in 1 898, and who has gained a great 
 reputation by her performances before the 
 most important musical organisations in 
 Europe. 
 
 Miss Jackson was fortunate enough to 
 attract the attention of Mrs. Grover Cleve- 
 land, who admired her talent, and, with Mr. 
 George Vanderbilt, sent her abroad. For 
 two years she studied in Paris, and then went 
 to Berlin, where she became a pupil of 
 Joachim. In Berlin she made her debut in 
 1896, with the Philharmonic Orchestra, 
 which was conducted by Joachim on that 
 
Women as Violinists. 343 
 
 occasion. Shortly afterwards she was com- 
 manded by the Empress of Germany to play 
 at the Royal Opera House, in Berlin, and 
 she soon earned for herself a position 
 amongst the best of the rising violinists of 
 the day. 
 
 When she appeared in London, in 1898, 
 she surprised and delighted the audience, 
 displaying a fine tone, natural musical feel- 
 ing, and complete technique. Few violinists 
 can play with such quiet, intense sentiment. 
 Miss Jackson, though but twenty years of 
 age, is already a veteran concert player, for 
 she has appeared in many cities of Europe, 
 and was already known in America before 
 she went to Berlin. She played in July, 
 1 899, before the Queen of England at Wind- 
 sor Castle, and again in August at Osborne 
 House, in the Isle of Wight. 
 
 The time has long since gone by when 
 mere showy technique would earn a reputa- 
 tion for any violinist, male or female, and 
 
344 Famous Violinists, 
 
 she who expects to be numbered with the 
 great violinists must be first of all a musi- 
 cian, capable of interpreting the greatest 
 works. If in addition to this she has " the 
 divine spark," she will be truly great. 
 
CHAPTER XI. 
 
 FAMOUS QUARTETS. 
 
 Quartet playing is at once the delight 
 and the despair of the amateur, who finds no 
 greater pleasure than an evening spent in 
 endeavouring to unravel the intricacies of 
 chamber music, nor any keener disappoint- 
 ment than the realisation that it is capable 
 of far better interpretation. 
 
 For the professional there are many influ- 
 ences which cause him to hesitate before he 
 launches forth upon the quicksands of public 
 performance. The first necessity in profes- 
 sional quartet playing is the devotion of a 
 large amount of time to the acquisition of a 
 perfect ensemble. A quartet may be likened 
 
 345 
 
34^ Famous Violinists. 
 
 unto a family, in which the members learn to 
 know one another by being brought up to- 
 gether, and few are the professionals who can 
 sacrifice the time necessary for the acquisition 
 of this perfect ensemble. 
 
 Apparently very little was done previous to 
 the nineteenth century in the way of quartet 
 concerts, but Baillot founded a series of quartet 
 concerts in Paris, which were highly spoken 
 of, and about the same time Schuppanzigh, 
 an excellent violinist and teacher in Vienna, 
 established a quartet which became famous. 
 In this quartet Mayseder played, in his 
 younger days, second violin, Mayseder was 
 considered the foremost violinist in Vienna, 
 but he never travelled as a virtuoso. 
 
 When Spohr went first to Leipzig and was 
 unknown, he had to find a way by which he 
 could attract attention to himself, — in those 
 days the advertising agent was not much 
 in evidence, — so that he might give a con- 
 cert with a reasonable prospect of success. 
 
Famous Quartets. 347 
 
 The rich merchants, to whom he had brought 
 letters of introduction, knew nothing of him 
 and received him coldly. " I was very anx- 
 ious to be invited to play at one of their 
 music parties in order to draw attention to 
 myself," Spohr says in his autobiography, 
 "and my wish was fulfilled, for I was 
 invited to a grand party and asked to play 
 something. I chose one of the loveliest of 
 the six new quartets of Beethoven, with 
 which I had often charmed my hearers in 
 Brunswick. But after a few bars I already 
 noticed that my accompanists knew not the 
 music and were quite incapable of playing it. 
 This disturbed me, and my dismay increased 
 when I observed that the assembled com- 
 pany paid little attention to my playing. 
 Conversation became general, and ultimately 
 so loud as almost to drown the music. I 
 rose in the midst of the music, hurried to my 
 violin case without saying a word, and was on 
 the point of putting my instrument away. 
 
348 Famous Violinists. 
 
 This made quite a sensation in the company, 
 and the host approached me questioningly. 
 I met him with the remark, — which could 
 be heard everywhere, — ' I have always been 
 accustomed to be listened to with attention. 
 As it has been otherwise here, I thought 
 the company would prefer that I should 
 stop.' The host did not know at first how 
 to reply, and retired somewhat discomfited. 
 As I made preparations for leaving, after 
 having excused myself to the other musicians, 
 the host came up and said, quite amicably : 
 ' If you could but play something else, some- 
 thing more suitable to the taste and capacity 
 of the company, you would find them an 
 attentive and grateful audience.' It was 
 clear to me before that I had chosen the 
 wrong music in the first instance for such 
 a company, and I was glad enough now to 
 have an opportunity to change it. So I took 
 up my violin again and played Rode's E flat 
 quartet, which the musicians already knew 
 
Famous Qjiartcts. 349 
 
 and accompanied well enough. This time 
 there was perfect silence, and the enthusiasm 
 for my playing increased with each move- 
 ment. At the end of the quartet so much 
 flattery was heaped upon me that I trotted 
 out my hobby-horse, — the G variations of 
 Rode. With this piece I made quite a sen- 
 sation, and for the remainder of the evening: 
 I was the object of the most flattering 
 attention." 
 
 This little episode shows that Beethoven 
 was not fully appreciated, and it also shows 
 that quartet playing was regarded at that 
 time in an entirely different light from that 
 in which we are accustomed to think of it to- 
 day. We do not consider the first violinist a 
 soloist and the rest merely his accompani- 
 ment, but each member of the quartet is 
 practically of equal importance. 
 
 Lambert Joseph Massart, the eminent 
 teacher of Paris, is said to have been an ex- 
 cellent quartet player, and often, with his 
 
350 Fmnoiis Violinists. 
 
 wife, an admirable pianist, he gave delightful 
 chamber concerts. 
 
 Few violinists have been more closely 
 associated with quartet playing than Ferdi- 
 nand David, in his way one of the most 
 celebrated violinists. Little is known of his 
 early youth except that he was born at Ham- 
 burg in 1810, and was there at the time of the 
 French occupation. It has been said that he 
 played in a concert at ten years of age and at 
 thirteen became a pupil of Spohr at Cassel. 
 He made a concert tour with his sister, 
 Madame Dulcken, and in 1827 entered the 
 orchestra of the Konigstadt Theatre at Berlin. 
 Here he became acquainted with Mendels- 
 sohn, with whom he was from that time on 
 terms of the greatest intimacy. While in 
 Berlin he was heard by a wealthy musical 
 amateur named Liphart, who lived at Dorpat, 
 and who maintained a private quartet. He 
 engaged David, who eventually married his 
 daughter, to lead this quartet, and for several 
 
Famous Quartets. 351 
 
 years the young violinist remained in Dorpat, 
 though he found opportunity to make some 
 concert tours through the north of Europe. 
 
 When Mendelssohn was appointed con- 
 ductor of the Gewandhaus concerts at Leip- 
 zig, he sent for David and made him concert 
 master, which post he occupied from 1836. 
 Seven years later the conservatory was 
 founded by Mendelssohn, and David became 
 professor of violin, in which position his 
 influence became great and beneficial. 
 
 In Leipzig David established a quartet, 
 which was one of the best, if not the very 
 best, in its day, though it may have been 
 surpassed later by the Florentine Quartet 
 and those of Joachim, in London and Ber- 
 lin, and possibly by Brodsky's later Leipzig 
 quartet. 
 
 David died in 1873, beloved and respected, 
 and will be remembered as one of the most 
 refined musicians and admirable teachers of 
 the century. 
 
352 Famous Violinists. 
 
 Josef Hellmesberger, one of the most 
 brilliant violinists and noted teachers of 
 Vienna, founded, in 1849, ^ quartet which 
 achieved an immense reputation. His asso- 
 ciates were Heissler, Durst, and Schlesinger. 
 Hellmesberger made a point of finding works 
 of merit which had sunk into oblivion, but 
 which were worthy of a hearing. Hellmes- 
 berger spent the whole of his life in Vienna, 
 with the exception of a tour in 1847, "^"^^ 
 he held the highest musical office in the 
 Austrian Empire, that of director of the 
 Imperial Band. 
 
 A story which is told of him bears tes- 
 timony to his remarkable musical instinct. 
 Teresa Milanollo, in 1840, took a new man- 
 uscript by De Beriot to Vienna. She wished 
 to keep it for her own use, and did not 
 show it to anybody. Hellmesberger heard 
 it played at two rehearsals, and then went 
 home and wrote out the whole work from 
 memory. 
 
Fajnous Quartets. 353 
 
 No small portion of the immense influence 
 which Joachim has wielded in the musical 
 world has been directed toward quartet 
 playing, and he has established a quartet 
 in London and another one at Berlin, which 
 both bear an enviable reputation. His 
 chamber music classes, too, at the Berlin 
 High School, tend to develop admirable 
 quartet players ; thus we find Marie Soldat 
 organising a ladies' quartet which had a 
 good career, and Gabrielle Wietrowitz taking 
 the place of first violin in the excellent 
 ladies' quartet formed in England by Miss 
 Emily Shinner.' Miss Shinner, whose efforts 
 in the artistic world have been of great value, 
 and whose quartet has an immense reputa- 
 tion in England, was also a pupil of Joachim. 
 
 The "Florentine Quartet" was founded 
 by Jean Becker, a violmist of excellent ability, 
 
 * The Shinner Quartet consisted of Miss Emily Shin- 
 ner (Mrs. F. Liddell), first violin, Miss Lucy H. Stone, 
 second violin, Miss Cecilia Gates, viola, and Miss Flor- 
 ence Hemmings, violoncello. 
 
354 Famous Violinists. 
 
 who made his mark in Europe about the 
 middle of the nineteenth century. Becker 
 was travelUng in Italy in 1865, and settled 
 in Florence for a time, during which he 
 organised the above-mentioned quartet, with 
 Masi, second violin, Chiostri, viola, and Hil- 
 pert, violoncello. In Florence there existed 
 a society for the performance of chamber 
 music, which had been established by a 
 wealthy professor named Bazzini, a violinist 
 and composer who travelled much, and whose 
 influence in Italy, in the cause of German 
 music, was of great value. Bazzini was born 
 in 18 1 8 and died in 1897. 
 
 From time to time this society gave sub- 
 scription concerts, and Becker was invited 
 to lead ten such concerts during the winter 
 of 1865-66. He consented to do so, but 
 found the quartet in a state of dissolution. 
 He brought Hilpert with him, and engaged 
 Masi as second violin, Chiostro being the 
 only member of the original quartet. Masi 
 
Famous Quartets. 355 
 
 was not accustomed to chamber music, but 
 Becker took him in hand and he improved 
 rapidly. In order to still enhance his value 
 in the quartet, Becker presented him with 
 a Stradivarius violin. They remained in 
 Florence until their ensemble was absolutely 
 perfect, and then began a series of tours 
 which took them all over Europe. In Vienna 
 the quartet was subjected to comparison with 
 those of Hellmesberger and of Joachim, for 
 the former had just given sLx chamber con- 
 certs, and the latter three. The first concert 
 given by the Florentine Quartet was thinly 
 attended, but the report of its excellence 
 brought an overflowing audience to the 
 second concert, and in all ten were given 
 during the remainder of the season. 
 
 About 1875 Hilpert withdrew, and his 
 place was filled by Hegyesi, who remained 
 with the quartet until it was disbanded in 
 1880. 
 
 An excellent series of quartet concerts 
 
356 Famous Violinists. 
 
 was founded in Stuttgart by Edmund Singer, 
 who was appointed professor of violin in 
 the Conservatorium, leader of the court 
 music, and chamber musician, in 1861, after 
 a distinguished career of some ten or more 
 years as a virtuoso. These concerts met 
 with triumphant success. 
 
 Georg J. R. Heckmann founded a quartet 
 at Cologne and travelled through Europe, 
 but it was surpassed by the Florentine 
 Quartet, and did not gain the highest repu- 
 ation. 
 
 A quartet which has been pronounced to 
 be one of the best in existence is that which 
 is led by Jeno Hubay, in Pesth, and in which 
 Hegyesi, formerly of the Florentine Quartet, 
 is the 'cellist. 
 
 Adolf Brodsky, who for a time resided in 
 New York, founded a string quartet at Leip- 
 zig, with Hans Becker, son of the founder 
 of the Florentine Quartet, Hans Sitt, and 
 Julius Klengel, the 'ceUist, and this quartet 
 
Famous Quartets. 357 
 
 was said to have no superior in Europe, and 
 not more than one equal, — the Joachim 
 Quartet of Berlin. In 1891 Brodsky went 
 to New York, where he also established a 
 quartet, but with little success. The organisa- 
 tion was received with respect, owing to Mr. 
 Brodsky's European reputation, but it was 
 admitted on all hands that superior organ- 
 isations existed in America. Before Mr. 
 Brodsky had time to bring his quartet to 
 a high degree of proficiency, he returned 
 to Europe, and, after a brief stay in Ger- 
 many, accepted a position in England, where 
 he has established another quartet. 
 
 He was succeeded in the quartet at Leip- 
 zig and at the conservatory by Arno Hilf, a 
 distinguished violinist with an enormous 
 technique, who was bom in 1858 and was 
 taught by David, Rontgen, and Schradieck. 
 
 Quartet playing in public was established 
 in England in 1835, when the admirers of 
 Joseph Dando, an excellent violinist, opened 
 
358 Famous Violinists, 
 
 a subscription for the purpose of giving 
 some concerts in which the chamber music, 
 and especially the quartets of Haydn, Mozart, 
 Beethoven, Spohr, etc., should be performed. 
 The first concert was given at the Horn 
 Tavern, Doctors'-Commons, in London, on 
 September 23d of that year, and being highly 
 successful, a second was given on Octo- 
 ber 1 2th, and a third on the 26th, each 
 proving more attractive than its predecessor. 
 These concerts lasted for two seasons, when 
 a new quartet was formed, with H. G. Bla- 
 grove and Henry Gattie as first and second 
 violins, Mr. Dando, viola, and Mr. Lucas, 
 'cello, for the more perfect study and presen- 
 tation of quartets and other chamber music. 
 These concerts were given at the Hanover 
 Square rooms, and on account of the care 
 bestowed upon the rehearsals (of which they 
 held seven or eight for each concert), they 
 threw all previous performances into the 
 shade. 
 
FamoiLS Quartets. 359 
 
 The tide of public favour had now set in, 
 and other quartets were formed, but none 
 reached such excellence as that headed by 
 BlagrovCj which was invited to play at the 
 Philharmonic concerts, where it produced a 
 great sensation. 
 
 About the end of the seventh season 
 Blagrove withdrew, but the quartet con- 
 tinued in existence for many years, Mr. 
 Dando playing first violin, and Mr. Loder, 
 the viola, and the concerts were given at 
 Crosby Hall in the city, instead of the 
 Hanover Square rooms. 
 
 At St. Petersburg a quartet was formed 
 by Leopold Auer, an excellent violinist, who 
 at the death of Wieniawski was appointed 
 professor of violin at the Conservatoire. 
 Auer was born in Hungary, and became 
 a pupil of Dont at Vienna, after which he 
 had a brilliant career as a virtuoso in Europe. 
 His St. Petersburg quartet was founded in 
 1868, and became one of the leading musical 
 
360 Famous Violinists. 
 
 organisations of the Russian capital, until the 
 death of Davidoff, the violoncellist, who was 
 one of its members, in 1890. 
 
 Auer has been very active in the musical 
 life of St. Petersburg, and is very highly 
 esteemed both as a man and as a musician, 
 teacher, and performer. 
 
 A quartet which has gained a great reputa- 
 tion in Europe during recent years is the 
 Bohemian Quartet, consisting of Carl Hoff- 
 mann, first violin, Joseph Suk, second violin, 
 Oscar Nedbal, viola, and Hanus Wihom, 
 violoncello. They play with a great deal 
 of vim and abandon, and the ensemble is 
 remarkable. 
 
 At Hanover Richard Sahla has established 
 a quartet, with Meneke, Kugler, and Loele- 
 berg, and Arnold Rosa's quartet, of Vienna, 
 has travelled in Hungary, Italy, and other 
 countries, gaining a good reputation. 
 
 In the United States there have been well 
 meant efforts to found good quartets, and 
 
Famous Quartets. 361 
 
 these have all had a beneficial influence. 
 In Boston Mr. Bernhard Listemann, some 
 twenty years ago, established a quartet which 
 gave some very delightful concerts, but the 
 past decade has witnessed the rise of an 
 organisation which is able to bear comparison 
 with any quartet in the world. 
 
 The Kneisel Quartet was organised in 
 1885, the year in which Mr. Franz Kneisel 
 accepted the position of concert-master to 
 the Boston Symphony Orchestra. Mr. Henry 
 L. Higginson invited him at the same time 
 to organise a quartet, and a series of con- 
 certs was given that season in Chickering 
 Hall. While the excellence of the quartet 
 was apparent from the start, there were com- 
 paratively few people in Boston who took 
 much interest in chamber music, and the 
 audiences were, as a rule, small. Year by 
 year they have increased, and for the past 
 few years it has been necessary to give the 
 concerts in Association Hall, which has a 
 
362 Famous Violinists. 
 
 seating capacity about twice as large as that 
 of the original hall. 
 
 The second violin is Mr. Otto Roth/ a 
 native of Vienna, who played for three years 
 under the baton of Hans Richter, and came 
 to Boston to play first vioUn in the Symphony 
 Orchestra. 
 
 Mr. Louis Svecenski, an excellent artist, 
 who studied in the Vienna Conservatory, 
 under Hellmesberger and Griin, plays the 
 viola, and the 'cellist is Alwyn Schroeder, 
 an artist, who had achieved a high reputa- 
 tion as a 'cello virtuoso, before he came to 
 America. 
 
 After a few years the Kneisel Quartet 
 began to appear in other cities, and now 
 gives regular series of subscription concerts 
 in New York, Washington, Baltimore, Hart- 
 ford, and Worcester, also Harvard, Yale, 
 and Princeton Universities, besides occasional 
 
 * Mr. Roth retired from the quartet in 1899 and his 
 place was filled by Mr. Karl Ondricek. 
 
> 1 >^ > » » » 
 
 ' ' > 
 
 kneise; 
 
 #v^^ 
 
 v.- 
 
Famous Quartets. 363 
 
 performances in more remote cities. In 
 1896 the quartet had given over eight hun- 
 dred concerts since its formation. 
 
 At the end of the Symphony season in Bos- 
 ton, in 1 896, the Kneisel Quartet made a visit 
 to London and gave several concerts. In 
 London it was obliged to stand comparison 
 with the finest quartets in existence. The 
 Joachim Quartet and the Bohemian Quartet 
 gave concerts the same season, but the 
 unanimous verdict was to the effect that 
 none could equal the Kneisel Quartet in 
 absolute ensemble and perfection of detail. 
 While the Bohemian Quartet played with a 
 great deal of abandon and enthusiasm, and 
 the Joachim Quartet contained players of 
 a greater reputation in Europe, yet the 
 Kneisel Quartet simply confirmed the repu- 
 tation it had acquired in America. " It 
 would, indeed, be impossible to conceive 
 greater perfection in the matter of en- 
 semble, precision, delicacy, and all the qaal- 
 
364 Famous Violinists. 
 
 ities requisite for the proper interpretation 
 of chamber music." 
 
 In the spring of 1899 the Kneisel Quartet 
 made an extended tour in America, and 
 found the musical condition of the great 
 cities in the United States, as evidenced by 
 the appreciation of music, fully equal to that 
 of the European centres. Brahms and Bee- 
 thoven were played in Denver and in San 
 Francisco to audiences who were fully equal 
 to the enjoyment of the highest class of 
 music, and everywhere the quartet was 
 greeted with enthusiasm. 
 
 The success of the Kneisel Quartet is due 
 to the long and arduous practice which the 
 members have enjoyed together, for perfec- 
 tion in quartet playing is only possible 
 through long association. 
 
 While virtuosity is not essential for quar- 
 tet playing, good musicianship is very neces- 
 sary. Patient and self-denying practice are 
 absolute requisites, 
 
Famous Quartets. 365 
 
 The love of chamber music is apparently 
 growing in the United States, for in many 
 of the large cities quartets have been estab- 
 lished by good musicians, and the oppor- 
 tunities for hearing fine interpretations of 
 the best chamber music are increasing each 
 year. It is a branch of musical art which 
 appeals only to cultivated taste, for it is 
 necessarily free from sensationalism and 
 individual display. Therefore, the love 
 of quartet playing may be considered to be 
 a true index of the growth of musical 
 culture. 
 
 THE END. 
 
CHRONOLOGICAL TABLE OF 
 FAMOUS VIOLINISTS. 
 
 "C" indicates that the date given is only approximate. 
 
 Name. 
 
 Place and Date of 
 Birth. 
 
 Place and Date of 
 Death. 
 
 Alessandro, Romano . 
 
 Italy 
 
 <:i53o 
 
 > 
 
 
 Baltazarini . 
 
 
 Italy 
 
 ^1550 
 
 
 
 
 Farina, Cario 
 
 
 Italy 
 
 cisSo 
 
 
 
 
 Alberghi, Paolo . 
 
 
 Italy 
 
 £■1600 
 
 
 
 
 Biber, Henry J. . 
 
 
 England 
 
 <:i6oo 
 
 
 
 ? 
 
 Cortellini, Camillo 
 
 
 Italy 
 
 cri6oo 
 
 
 
 
 Madorus, Giovanni 
 
 
 Venice 
 
 C1600 
 
 
 
 
 Manoir, Guillaume 
 
 
 > 
 
 fi6oo 
 
 
 
 
 Baltzar, Thomas . 
 
 
 Lubec 
 
 1630 
 
 London 
 
 1663 
 
 Bannister, John . 
 
 
 England 
 
 1630 
 
 London 
 
 1679 
 
 LuUi, Jean Baptiste de 
 
 Florence 
 
 1633 
 
 Paris 
 
 1687 
 
 Strunck, Nicolas Adam 
 
 Germany 
 
 1640 
 
 ? 
 
 1700 
 
 Laurenti, Bartolomeo G. 
 
 Bologna 
 
 1644 
 
 ? 
 
 1726 
 
 Vitali, Tomasso . 
 
 Bologna 
 
 CI 650 
 
 j> 
 
 ? 
 
 Eccles, John .... 
 
 London 
 
 1650 
 
 London 
 
 1735 
 
 Marini, Carlo Antonio . 
 
 Bergamo 
 
 <:i65o 
 
 5 
 
 ? 
 
 Corelli, Arcangelo 
 
 Italy 
 
 1653 
 
 Rome 
 
 1713 
 
 Aschenbrunner, Christian H. 
 
 Alstettin 
 
 1654 
 
 Jena 
 
 1732 
 
 Bassani, Giovanni B. . 
 
 Padua 
 
 1657 
 
 Ferrara 
 
 1716 
 
 Vivaldi, Antonio . 
 
 Venice 
 
 <:i66o 
 
 ■> 
 
 1743 
 
 Eccles, Henry 
 
 ' London 
 
 1660 
 
 London 
 
 > 
 
 Bannister, John, Jr. 
 
 England 
 
 1673 
 
 London 
 
 1735 
 
 Albinoni, Thomas 
 
 Venice 
 
 1674 
 
 Venice 
 
 1745 
 
 Hesse, Ernest Christian 
 
 1 Germany 
 
 1676 
 
 Darmstadt 
 
 1762 
 
 Somis, Lorenzo 
 
 Piedmont 
 
 1676 
 
 > 
 
 1763 
 
 Aubert, Jacques . 
 
 ? 
 
 1678 
 
 Paris 
 
 1753 
 
 Geminiani, Francesco . 
 
 Lucca 
 
 1680 
 
 Dublin 
 
 1762 
 
 Alberti, Guiseppe Matteo . 
 
 Bologna 
 
 1685 
 
 ? 
 
 > 
 
 Veracini, Francesco 
 
 Florence 
 
 C1685 
 
 
 1750 
 
 SenaUl^, Jean Baptiste 
 
 Paris 
 
 1687 
 
 ? 
 
 1730 
 
 Pisendel, Johann Georg 
 
 Karlsburg 
 
 1687 
 
 Dresden 
 
 1755 
 
 Birckenstock, Johann P 
 
 \.. 
 
 Hesse 
 
 1687 
 
 Eisena 
 
 ich 
 
 1733 
 
 367 
 
368 
 
 Chro7io logical Table. 
 
 
 Place and Date of 1 
 
 Place and Date ol 
 
 Name. 
 
 Birth. 
 
 
 Death. 
 
 
 Montanari, Francesco . 
 
 Padua 
 
 ? 
 
 Rome 
 
 1730 
 
 Matheis, Nicola . 
 
 ? 
 
 > 
 
 
 1749 
 
 Gentili, Georges . 
 
 Venice 
 
 1688 
 
 
 ? 
 
 Valentini, Guiseppe 
 
 Florence 
 
 1690 
 
 
 ? 
 
 Castrucci, Pietro . 
 
 Rome 
 
 1690 
 
 London 
 
 1769 
 
 Tartini, Guiseppe . 
 
 Pirano 
 
 1692 
 
 Padua 
 
 1770 
 
 Locatelli, Pietro . 
 
 Bergamo 
 
 1693 
 
 Amsterdam 
 
 1764 
 
 Rothe, August Friedrich 
 
 Sonderhausen 
 
 1696 
 
 ? 
 
 1784 
 
 Leclair, Jean Marie 
 
 Lyons 
 
 1697 
 
 Paris 
 
 1764 
 
 Graun, Jean G. . . . 
 
 Germany 
 
 1698 
 
 Berlin 
 
 1771 
 
 Francoer, Francois 
 
 Paris 
 
 1698 
 
 
 1787 
 
 Abaco, Evaristo F. Dall 
 
 Verona 
 
 CI 700 
 
 
 > 
 
 Anderle, F. J. 
 
 ? 
 
 C1700 
 
 
 ? 
 
 Bitti, Martini 
 
 ? 
 
 1700 
 
 
 ? 
 
 Borghi, Luigi 
 
 ? 
 
 > 
 
 
 ? 
 
 Brown, Abram 
 
 ? 
 
 > 
 
 
 ? 
 
 Carbonelli, Stefano 
 
 Rome 
 
 CI 700 
 
 London 
 
 ? 
 
 Dalloglio, Domenico • 
 
 Venice 
 
 CI 700 
 
 Russia 
 
 1764 
 
 Guignon, Jean Pierre . 
 
 Turin 
 
 1702 
 
 Versailles 
 
 1775 
 
 Dubourg, Matthew 
 
 England 
 
 1703 
 
 London 
 
 1767 
 
 De Croes, Henri Jacques . 
 
 Antwerp 
 
 1705 
 
 Brussels 
 
 1786 
 
 Guillemain, Gabriel 
 
 Paris 
 
 1 70s 
 
 > 
 
 1770 
 
 Czarth, Georg C. 
 
 Deutschbrod 
 
 1708 
 
 Mannheim 
 
 1774 
 
 Benda, Franz 
 
 Albenatky 
 
 1709 
 
 Potsdam 
 
 1786 
 
 Girauek, Femandino . 
 
 Bohemia 
 
 I7I2 
 
 Dresden 
 
 1761 
 
 Benda, Johann 
 
 Albenatky 
 
 I7I3 
 
 Potsdam 
 
 1752 
 
 D'Auvergne, Antoine 
 
 France 
 
 I7I3 
 
 Lyons 
 
 1797 
 
 Clegg, John 
 
 Ireland 
 
 I7I4 
 
 ? 
 
 C1750 
 
 Hempel, George C. 
 
 Gotha 
 
 I7I5 
 
 Gotha 
 
 1801 
 
 Fritz, Caspar 
 
 Geneva 
 
 1716 
 
 Geneva 
 
 1782 
 
 Giardini, Felice 
 
 Turin 
 
 I7I6 
 
 Moscow 
 
 1796 
 
 Mozart, Leopold . 
 
 Augsburg 
 
 I7I9 
 
 Salzburg 
 
 1787 
 
 Stamitz, Johann Carl . 
 
 Bohemia 
 
 I7I9 
 
 Mannheim 
 
 1761 
 
 Bini, Pasqualino . 
 
 Pesaro 
 
 1720 
 
 ? 
 
 ? 
 
 Morigi, Angelo . 
 Lemiere .... 
 
 ? 
 
 ? 
 
 Parma 
 
 17S8 
 
 ? 
 
 ? 
 
 Paris 
 
 1771 
 
 Pagin, Andre Noel 
 
 Paris 
 
 I72I 
 
 ? 
 
 > 
 
 Abel, Leopold A. 
 
 Cothen 
 
 CI 700 
 
 ? 
 
 ? 
 
 Festing, Michael C. 
 
 London 
 
 ? 
 
 London 
 
 1752 
 
 Ferrari, Domenico 
 
 Piacenza 
 
 ? 
 
 Paris 
 
 1780 
 
 Enderle, Wilhelm G. . 
 
 Bajo-euth 
 
 1722 
 
 Darmstadt 
 
 1793 
 
 Nardini, Pietro 
 
 Tuscany 
 
 1722 
 
 Florence 
 
 1793 
 
 Lefebre, Jacques . 
 
 Prinzlow 
 
 1723 
 
 ? 
 
 1777 
 
 Van Malder, Pierre 
 
 Bi-ussels 
 
 1724 
 
 Brussels 
 
 1768 
 
 Glaser, John Michel 
 
 Erlangen 
 
 1725 
 
 ? 
 
 ? 
 
 Hattasch, Dismas 
 
 Hohenmant 
 
 1725 
 
 Gotha 
 
 1777 
 
 Gavinies, Pierre . 
 
 Bordeaux 
 
 1726 
 
 Paris 
 
 1800 
 
 Gow, Neil .... 
 
 Strathband 
 
 1727 
 
 Invar 
 
 1787 
 
 Pugnani, Gaetano 
 
 Turin 
 
 1727 
 
 Turin 
 
 1803 
 
 Manfredi, Filippo 
 
 Lucca 
 
 1729 
 
 Madrid 
 
 C1780 
 
Chronological Table. 
 
 369 
 
 Name. 
 
 Gall , Domenico 
 Cai.uabich, Christian 
 Lulli, Antonio 
 \ aciion, Pierre 
 Ciceptert, Charles F. 
 Uaunondi, Ignazio 
 Lahoussaye, Pierre 
 Haranc, Louis Andre 
 Celestine, Eligio . 
 \\'eigl, Franz J. . 
 Tomasini, Luigi . 
 Godecharle, Eugene C. J. 
 Miiiler, Thomas . 
 Cramer, Wilhelm 
 Ernst, Franz Anton 
 Jamo-nick, Giovanni M. 
 Navoigille, Guillaume J. 
 Paisible 
 
 Salomon, Johann Peter 
 Cambini, Giovanni G. 
 Ger\'ais, Pierre Noel 
 Stamitz, Carl 
 Ghirett, Gaspar . 
 Leduc, Simon 
 Mestrino, Niccolo 
 Guerillot, Henri . 
 Navoigille, Herbert J. 
 Obermeyer, Joseph 
 Bagatella, Antonio 
 Almeyda, C. F. 
 Fuchs, Peter 
 Henry, Bonaventure 
 Kriegck, J. J. 
 Sirmen, Maddalena 
 Woldemar, Michael 
 
 Uarthelemon, Francois H. 
 Campagnoli. Bartolomeo 
 Lamotte, Francois 
 Berthaume, Isidore 
 Kasska, Wilhelm 
 brunetti, Gaetano 
 Janitsch, Anton . 
 '-em, Pierre . 
 Fiorillo, Federigo 
 Stamitz, Anton 
 Viotti, Giovanni B. 
 Kranz, Johann F. 
 Mosel, Giovanni F. 
 Leduc, Pierre 
 
 Place and Date of 
 Birth. 
 
 Venice 
 
 Mannheim 
 
 Bergamo 
 
 Aries 
 
 Weissenstein 
 
 Naples 
 
 Paris 
 
 Paris 
 
 Rome 
 
 Bavaria 
 
 Pesaro 
 
 Brussels 
 
 Bohemia 
 
 Mannheim 
 
 Bohemia 
 
 Palermo 
 
 Givet 
 
 Paris 
 
 Bonn 
 
 Leghorn 
 
 Mannheim 
 
 Mannheim 
 
 Naples 
 
 Paris 
 
 MUan 
 
 Bordeaux 
 
 Givet 
 
 Bohemia 
 
 Padua 
 
 Bohemia 
 
 Bebra 
 
 Venice 
 Orleans 
 
 Bordeaux 
 
 Cento 
 
 Vienna 
 
 Paris 
 
 Ratisbon 
 
 Pisa 
 
 Switzerland 
 
 Copenhagen 
 
 Brunswick 
 
 Mannheim 
 
 Piedmont 
 
 Weimar 
 
 Florence 
 
 Paris 
 
 Place and Date ot 
 Death. 
 
 1730 
 
 3 
 
 1730 
 
 Frankfort 
 
 1730 
 
 Sicily 
 
 I73I 
 
 Beriin 
 
 1733 
 
 Weimar 
 
 1733 
 
 London 
 
 1735 
 
 Pans 
 
 1738 
 
 Paris 
 
 1739 
 
 > 
 
 1740 
 
 Vienna 
 
 I74I 
 
 Hungary 
 
 1742 
 
 Brussels 
 
 1744 
 
 Sw-itzerland 
 
 1745 
 
 London 
 
 1745 
 
 Gotha 
 
 1745 
 
 St. Petersburg 
 
 1745 
 
 Paris 
 
 1745 
 
 St. Petersburg 
 
 1745 
 
 London 
 
 1746 
 
 Bicetre 
 
 1746 
 
 Bordeaux 
 
 1746 
 
 Jena 
 
 1747 
 
 Parma 
 
 I74S 
 
 Paris 
 
 1748 
 
 Paris 
 
 1749 
 
 Paris 
 
 1749 
 
 ? 
 
 1749 
 
 ■> 
 
 1750 
 
 •i 
 
 <ri750 
 
 ? 
 
 1750' 
 
 Vienna 
 
 ^1750 ' 
 
 > 
 
 1750 1 
 
 Meiningen 
 
 <:i750 • 
 
 3 
 
 1750 
 
 Clermont- 
 
 
 Ferrand 
 
 1751 
 
 3 
 
 1751 
 
 Neustrelitz 
 
 1751 
 
 Holland 
 
 1752 , 
 
 St. Petersburg 
 
 1752 ; 
 
 Ratisbon 
 
 1753 
 
 Madrid 
 
 1753 ' 
 
 Westphaha 
 
 1753 
 
 3 
 
 1753 
 
 ? 
 
 1753 
 
 Paris 
 
 1753 
 
 London 
 
 1754 1 
 
 Stuttgart 
 
 1754 ! 
 
 i 
 
 1755 ! 
 
 HoUand 
 
 1793 
 1802 
 1802 
 1798 
 
 1802 
 1^18 
 1805 
 
 1820 
 1808 
 1S14 
 
 1799 
 1805 
 1804 
 
 iSn 
 17S1 
 1S15 
 1825 
 1805 
 i!;oi 
 1827 
 17S7 
 1790 
 1805 
 
 1804 
 181? 
 
 1816 
 
 ito8 
 1827 
 17S1 
 1S02 
 1806 
 iSoS 
 1812 
 •> 
 
 ciSoo 
 ? 
 
 1S24 
 1807 
 
 1816 
 
370 
 
 Chr 0710 logical Table. 
 
 Name. 
 
 Fauvel, Andr^ Joseph 
 Lacroix, Antoine . 
 Wranitzky, Paul . 
 Haack, Karl 
 Rolla, Alessandro 
 Galeazzi, Francesco 
 Liber, Wolfgang . 
 Weberlin, Jean F. 
 Bruni, Antonio B. 
 Gautherot, Louise 
 Guiliani, Francois 
 Haack, Friedrich 
 Krommer, Franz 
 Neubauer, Franz C. 
 Jamewicz, Felix . 
 Wranitzky, Anton 
 Wessely, Johann . 
 Bonnet, Jean Baptiste 
 Danzi, Franz 
 Peshatschek, Francois 
 Alday, P. 
 Lorenziti, Bemado 
 Schlick, Regina (Sacchi) 
 Cartier, Jean Baptiste 
 LaCroix, Antoine . 
 Hampeln, Karl von 
 Eck, Johann F. . 
 Hunt, Karl . 
 Kreutzer, Rudolph 
 De Voider, Pierre Jean 
 Romberg, Andreas 
 Pauwels, Jean E. 
 Spagnoletti, P. 
 Valmalete, Louis de 
 Grasset, Jean J. . 
 Paravicini, Signora 
 Boucher, Alexandre Jean 
 Gerbini, Luigia 
 Girault, August 
 Hoffmann, Heinrich Anton , 
 Baillot, Pierre M. F. de Sales 
 Festa, Guiseppe M. 
 Labarre, Louis J. C. 
 Vacher, Pierre Jean 
 Lottini, Denis 
 Vaccaro, Francesco 
 Eck, Franz . 
 Rode, Pierre 
 
 Eberwen, Traugott M. 
 
 Place and Date of 
 Birth. 
 
 Bordeaux 
 
 Remberville 
 
 Moravia 
 
 Potsdam 
 
 Pavia 
 
 Turin 
 
 Donanworth 
 
 Stuttgart 
 
 Piedmont 
 
 Florence 
 Potsdam 
 Kamenitz 
 Bohemia 
 Wilna 
 Moravia 
 Bohemia 
 Montauban 
 Mannheim 
 Bohemia 
 Perpignan 
 Wiirtemburg 
 Mantua 
 Avignon 
 ? 
 
 Mannheim 
 
 Mannheim 
 
 Dresden 
 
 Versailles 
 
 Antwerp 
 
 Vechta 
 
 Brussels 
 
 Cremona 
 
 Rieux 
 
 Paris 
 
 Turin 
 
 Paris 
 
 Paris 
 
 Mainz 
 
 Passy 
 
 Naples 
 
 Paris 
 
 Paris 
 
 Orleans 
 
 Modena 
 
 Mannheim 
 
 Bordeaux 
 
 Weimar 
 
 1756 
 1756 
 1756 
 1757 
 1757 
 1758 
 1758 
 1758 
 1759 
 1760 
 1760 
 1760 
 1760 
 1760 
 1761 
 1761 
 1762 
 1763 
 1763 
 1763 
 1764 
 1764 
 1764 
 1765 
 1765 
 1765 
 1766 
 1766 
 1766 
 1767 
 1767 
 1768 
 1768 
 1768 
 1769 
 1769 
 1770 
 1770 
 1770 
 1770 
 1771 
 1771 
 1771 
 1772 
 1773 
 1773 
 1774 
 1774 
 
 1775 
 
 Place and Date of 
 Death. 
 
 Lubeck 
 Vienna 
 Potsdam 
 Milan 
 Rome 
 Ratisbon 
 Stuttgart 
 ? 
 
 Vienna 
 Biickeburg 
 Edinburgh 
 Vienna 
 
 Carlsruhe 
 Vienna 
 
 ? 
 
 ? 
 
 ? 
 
 Paris 
 ? 
 
 Stuttgart 
 Bamberg 
 ? 
 
 Geneva 
 
 Brussels 
 
 Gotha 
 
 Brussels 
 
 London 
 
 Paris 
 
 Paris 
 
 Paris 
 
 Mainz 
 
 Paris 
 
 ? 
 
 ? 
 Paris 
 Orleans 
 Portugal 
 Strasburg 
 Loire -et - Ga- 
 ronne 
 Rudolstadt 
 
 I»I2 
 
 1808 
 1819 
 1841 
 1819 
 1817 
 1825 
 
 1819 
 
 ? 
 
 183 1 
 
 1795 
 1848 
 1819 
 
 ? 
 
 > 
 182& 
 1816 
 
 1813 
 
 1841 
 
 ? 
 
 1834 
 
 1809 
 
 ? 
 
 1831 
 1841 
 1821 
 1804 
 1834 
 
 1839 
 
 1861 
 > 
 
 1806 
 1842 
 1842 
 
 1839 
 ? 
 
 1819 
 1826 
 1823 
 
 1804 
 
 183 1 
 1831 
 
Chronological Table. 
 
 371 
 
 Name. 
 
 Libon, Philippe 
 Schuppanzigh, Ignace 
 Dobrynski, Ignace 
 Giorgis, Joseph 
 Kieserwetter, Cristophe 
 Moralt, Johann B. 
 Paravicini, Mme. . 
 Blanchard, Henri L. 
 Radicati, Felice A. 
 Weiss, Franz 
 Bridgetower, George A. 
 Miiller, John Henry 
 Habeneck, Fran(pois A. 
 Lafont, Charles Philippe 
 PoUedro, Giovanni B. 
 Mazas, Jacques F. 
 Puppo, Felice A. . 
 Bohrer, Anthony . 
 Linke, Joseph 
 Paganini, Nicolo . 
 Spohr, Louis . 
 Zocca 
 
 Fontaine, Antoine N. M. 
 Lafonde . 
 Eberwen, Karl 
 Granafond, Eugene 
 Pixis, Friedrich, Wilhelm 
 Cudmore, Richard 
 Guhr, Charles 
 Berwald, Johann F. 
 Fesca, Friedrich E. 
 Maurer, Ludwig . 
 Mayseder, Joseph. 
 Wery, Nicolas L. . 
 Femy, Frangois . 
 Klose, J. 
 
 Lipinski, Karl Joseph 
 Goetz, Jean N. C. 
 Benesch, Joseph . 
 Pichatschek, Francois 
 Filipowicz, Elizabeth M. 
 Jansa, Leopold 
 Krahmer, Mme. Caroline 
 Parmy, Joseph 
 Batta, Pierre 
 Bohm, Joseph 
 Drin, Finlay . 
 Lacy, Michael R. 
 (jiorgetti, Fernandino 
 Mori, Nicolas . 
 
 Place and Date of 
 Birth. 
 
 Cadiz 
 Vienna 
 Volhyna 
 Turin 
 Anspach 
 Mannheim 
 Milan 
 Bordeaux 
 Turin 
 Silesia 
 Poland 
 Kbnigsberg 
 Mezieres 
 Paris 
 Turin 
 Beziers 
 Turin 
 Munich 
 Silesia 
 Genoa 
 Brunswick 
 Ferrara 
 Paris 
 ? 
 
 Weimar 
 
 Compiegne 
 
 Mannheim 
 
 Chichester 
 
 Militsch 
 
 Stockholm 
 
 >775 
 1776 
 
 •777 
 '777 
 1777 
 '777 
 '77» 
 1778 
 1778 
 1778 
 i779(?) 
 1780 
 1781 
 17S1 
 1781 
 1782 
 1778 
 1783 
 1783 
 T784 
 ^784 
 1784 
 1785 
 1785 
 1786 
 17S6 
 1786 
 
 1757 
 1787 
 
 Place and Date of 
 Death. 
 
 Magdeburg 
 
 1789 
 
 Potsdam 
 
 1789 
 
 Vienna 
 
 1789 
 
 Liege 
 
 1789 
 
 Ghent 
 
 1790 
 
 London 
 
 1790 
 
 Poland 
 
 1790 
 
 Weimar 
 
 1791 
 
 Batelow 
 
 1793 
 
 Vienna 
 
 1793 
 
 > 
 
 1794 
 
 Bohemia 
 
 1794 
 
 > 
 
 1794 
 
 Austria 
 
 1794 
 
 Maastricht 
 
 1795 
 
 Pesth 
 
 »795 
 
 Aberdeen 
 
 1795 
 
 Bilbao 
 
 1795 
 
 Florence 
 
 1796 
 
 London 
 
 1796 
 
 Paris 
 
 Vienna 
 
 Warsaw 
 
 London 
 Munich 
 
 Paris 
 
 Paris 
 
 Tarbes 
 
 Turin 
 
 > 
 
 > 
 Hanover 
 Vienna 
 Nice 
 Cassel 
 
 > 
 
 St. Cloud 
 ? 
 
 Weimar 
 
 ? 
 
 Prague 
 
 Manchester 
 
 Frankfurt 
 
 Stockholm 
 
 Carlsruhe 
 
 St. Petersburg 
 
 Vienna 
 
 Luxemburg 
 
 London 
 Urlow 
 
 ? 
 
 ■> 
 
 Carlsnihe 
 > 
 
 Vienna 
 
 Mainz 
 
 Brussels 
 
 Vienna 
 
 Edinburgh 
 
 London 
 
 Florence 
 
 London 
 
 1838 
 
 1830 
 
 184 1 
 
 > 
 
 1827 
 1825 
 
 > 
 
 1858 
 
 1823 
 
 > 
 
 £■1850 
 > 
 
 1849 
 1839 
 1853 
 1849 
 1823 
 1852 
 
 '837 
 
 1840 
 
 1859 
 
 > 
 
 1866 
 ? 
 
 1868 
 > 
 
 1842 
 184 1 
 1848 
 1861 
 1826 
 1878 
 1863 
 1867 
 p 
 
 1830 
 
 1861 
 
 1861 
 
 > 
 
 1840 
 
 1875 
 > 
 
 1835 
 1876 
 1876 
 1853 
 1867 
 1867 
 1839 
 
372 
 
 Chronological Table. 
 
 Name, 
 
 Calcagno, Catarina 
 Collins, Isaac 
 Girard, Narcisse . 
 Miiller, Karl Friedrich 
 Roberrechts, Andre 
 Rolla, Antoine 
 Tolberque, Jean B. J. . 
 Coronini, Paolo . 
 Batta, Pantaleon . 
 Rudersdorff, J. . 
 Gattie, Henry 
 Hellmesberger, Georg . 
 Meerts, Lambert . 
 Miiller, Theodore Heinrich 
 Nohr, Christian F. 
 Schulz, Mile. L. . . , 
 Wanski, Johann N. 
 Kalliwoda, Johann W. 
 Saint Lubin, Leon de . 
 De Beriot, Charles 
 Ella, John ... 
 Labitzky, Joseph . 
 Molique, Wilhelm Bernard 
 Ries, Hubert ... 
 Lomagne, Joseph . 
 Magnien, Victor . 
 Kudelski, Karl Matthias 
 Pollini, Mme. 
 Dando, Joseph H. B. . 
 Hartmann, Franz . 
 Panofka, Heinrich 
 Sauzay, Moritz 
 Bessems, Antoine 
 Miiller, Franz F. G, . 
 Bull, Ole Borneman 
 David, Ferdinand . 
 Ganz, Leopold 
 Ghys, Joseph 
 Blagrove, Henry Gamble 
 Hamm, Johann V. 
 Sainton, Prosper Philippe . 
 Ernst, Heinrich Wilhelm 
 Alard, Delphine J. 
 Artot, Alexandre J. M. 
 Dent, Jacob . . . . 
 Sivori, Ernest Camillo . 
 Zerchoff, Mile. 
 Batta, Alexandre . 
 Prume, Frangois Herbert 
 Deldevez, Ernest . 
 
 Place and Date of 
 
 Place and Date of 
 
 Birth. 
 
 
 Death. 
 
 
 Italy 
 
 1797 
 
 ? 
 
 ? 
 
 ? 
 
 1797 
 
 London 
 
 1871 
 
 Nantes 
 
 1797 
 
 Paris 
 
 i860 
 
 Brunswick 
 
 1797 
 
 ? 
 
 1873 
 
 Brussels 
 
 1797 
 
 Paris 
 
 i860 
 
 Parma 
 
 1797 
 
 Dresden 
 
 1837 
 
 Belgium 
 
 1797 
 
 Paris 
 
 1869 
 
 Vincenza 
 
 1798 
 
 ? 
 
 1875 
 
 Paris 
 
 1799 
 
 Paris ' 
 
 1870 
 
 Amsterdam 
 
 1799 
 
 Konigsberg 
 
 1866 
 
 ? 
 
 1800 
 
 ? 
 
 ? 
 
 Vienna 
 
 1800 
 
 Newaldegg 
 
 1873 
 
 Brussels 
 
 1800 
 
 Brussels 
 
 1863 
 
 Brunswic 
 
 1800 
 
 ? 
 
 1855 
 
 Thuringia 
 
 1800 
 
 Meiningen 
 
 1875 
 
 ? 
 
 1800 
 
 ? 
 
 > 
 
 Posen 
 
 ciSoo 
 
 ? 
 
 ? 
 
 Prague 
 
 1801 
 
 Carlsruhe 
 
 1866 
 
 Turin 
 
 1801 
 
 Beriin 
 
 1856 
 
 Louvain 
 
 1802 
 
 Brussels 
 
 1870 
 
 England 
 
 1802 
 
 London 
 
 J 888 
 
 Schonfeld 
 
 1802 
 
 Carlsbad 
 
 1881 
 
 Nuremburg 
 
 1802 
 
 Stuttgart 
 
 1869 
 
 Bonn 
 
 1802 
 
 Beriin 
 
 1886 
 
 Perpignan 
 
 1804 
 
 Perpignan 
 
 1868 
 
 Epinal 
 
 1804 
 
 Lille 
 
 1885 
 
 Beriin 
 
 1S05 
 
 Baden-Baden 
 
 1877 
 
 ? 
 
 1805 
 
 ? 
 
 > 
 
 London 
 
 1 80b 
 
 ? 
 
 1894 
 
 Coblentz 
 
 1807 
 
 Cologne 
 
 1857 
 
 Breslau 
 
 1807 
 
 Florence 
 
 1887 
 
 Moravia 
 
 1808 
 
 Breslau 
 
 1885 
 
 Antwerp 
 
 1809 
 
 Antwerp 
 
 1868 
 
 Brunswick 
 
 1809 
 
 > 
 
 > 
 
 Bergen 
 
 1810 
 
 Bergen 
 
 1880 
 
 Hamburg 
 
 1810 
 
 Switzerland 
 
 1873 
 
 Mainz 
 
 1810 
 
 Beriin 
 
 1869 
 
 Ghent 
 
 1810 
 
 ? 
 
 1848 
 
 Nottingham 
 
 1811 
 
 London 
 
 1872 
 
 Winterhausen 
 
 1811 
 
 Stuttgart 
 
 1834 
 
 Toulouse 
 
 1813 
 
 London 
 
 1890 
 
 Briinn 
 
 1814 
 
 Nice 
 
 1865 
 
 Bayonne 
 
 1815 
 
 Paris(?) 
 
 1888 
 
 Brussels 
 
 1815 
 
 Paris 
 
 1845 
 
 Vienna 
 
 1815 
 
 Vienna 
 
 1888 
 
 Genoa 
 
 1815 
 
 Paris 
 
 1894 
 
 ) 
 
 1815 
 
 > 
 
 ? 
 
 Maastricht 
 
 1816 
 
 ? 
 
 ? 
 
 Liege 
 
 1816 
 
 Li^ge 
 
 1849 
 
 Pans 
 
 1817 
 
 Paris 
 
 1897 
 
Chronological Table. 
 
 373 
 
 Name. 
 
 Gobel, Johann Ferdinand 
 Bazzini, Antonio . 
 Dancla, Jean B. C. 
 
 Kramer, Traugott . 
 Eller, Louis . 
 Hering, Karl 
 Leonard, Hubert . 
 Batta, Joseph 
 Dreyschock, Raimund 
 Keler-Bela . 
 Neumann, Louise . 
 Vieuxtemps, Henri 
 Wallace, Eliza 
 Gautier, Karl 
 Hauser, Miska 
 Dancla, Leopold . 
 Gaertner, Karl 
 Hermann, Constant 
 Eichberg, Julius . 
 HuUweck, Ferdinand 
 De Kontski, Apollinari 
 Bott, Jean Joseph 
 Collins, Rosina 
 Hauser, Maurice . 
 Kundinger, August 
 MilanoUo, Teresa. 
 Mollenhauer, Edward 
 Hellmesberger, Georg 
 Hermann, Frederick 
 Huber, Karl . 
 Hellmesberger, Joseph 
 Rontgen, Engelbert 
 Adelburg, August R. Von 
 Arditi, Emilia 
 Garcin, Jules A. S. 
 Hennen, Friedrich 
 Remenyi, Edouard 
 Zirges, Hortensia . 
 Bargheer, Karl Louis 
 Joachim, Joseph . 
 Kassmayer, Moritz 
 Kompel, August . 
 Singer, Edmund . 
 Laub, Ferdinand . 
 Lauterbach, Johann C. 
 Milanollo, Maria . 
 Becker, Jean 
 Bennewitz, Anton . 
 Graff, Carl 
 
 Place and Date of 
 
 Place and Date of 
 
 Birth. 
 
 
 Death. 
 
 
 Baumgarten 
 
 1817 
 
 ? 
 
 ? 
 
 Brescia 
 
 1818 
 
 Milan 
 
 1897 
 
 Bagnieres de 
 
 
 
 
 Bignon 
 
 1818 
 
 ? 
 
 ? 
 
 Coburg 
 
 1818 
 
 ? 
 
 i> 
 
 Graz 
 
 1819 
 
 Pau 
 
 1862 
 
 Berlin 
 
 1819 
 
 ? 
 
 1889 
 
 Bellaire 
 
 1819 
 
 Paris 
 
 1890 
 
 Maastricht 
 
 1820 
 
 
 
 Bohemia 
 
 1820 
 
 Leipzig 
 
 1869 
 
 Himgary 
 
 1820 
 1820 
 
 Wiesbaden 
 
 1882 
 
 Verviers 
 
 1820 
 
 Algiers 
 
 1881 
 
 England 
 
 1820 
 
 
 
 Vaugirard 
 
 1822 
 
 Vaugirard 
 
 1878 
 
 Presburg 
 
 1822 
 
 Vienna 
 
 1887 
 
 France 
 
 1823 
 
 
 189s 
 
 Stralsund 
 
 1823 
 
 
 
 Douai 
 
 1823 
 
 
 
 Diisseldorf 
 
 1824 
 
 Boston 
 
 1893 
 
 Dessau 
 
 1824 
 
 Blasewdtz 
 
 1887 
 
 Warsaw 
 
 1825 
 
 Warsaw 
 
 1879 
 
 Cassel 
 
 1826 
 1826 
 
 
 189s 
 
 Berlin 
 
 1826 
 
 Kbnisberg 
 
 1857 
 
 Kitzengen 
 
 1827 
 
 
 
 Turin 
 
 1827 
 
 
 
 Erfurt 
 
 1827 
 
 
 
 Vienna 
 
 1828 
 
 Hanover 
 
 1853 
 
 Frankfort 
 
 1828 
 
 
 
 Varjas 
 
 1828 
 
 Pesth 
 
 T885 
 
 Vienna 
 
 1829 
 
 Vienna 
 
 1893 
 
 Holland 
 
 1829 
 
 
 
 ? 
 
 1830 
 
 •i 
 
 1873 
 
 p 
 
 1830 
 
 
 
 Bourges 
 
 1830 
 
 ? 
 
 1896 
 
 Heerlen 
 
 1830 
 
 
 
 Hungary 
 
 1830 
 1830 
 
 San Francisco 
 
 1898 
 
 Biickeburg 
 
 1831 
 
 
 
 Kitsee 
 
 1831 
 
 
 
 Vienna 
 
 1S31 
 
 Vienna 
 
 1S84 
 
 Bavaria 
 
 1831 
 
 Weimar 
 
 1891 
 
 Hungary 
 
 183 1 
 
 
 
 Prague 
 
 1832 
 
 Tyrol 
 
 1875 
 
 Bavaria 
 
 1832 
 
 
 
 Turin 
 
 1832 
 
 
 1848 
 
 Mannheim 
 
 1833 
 
 Mannheim 
 
 1884 
 
 Privat 
 
 1833 
 
 
 
 Hungary 
 
 18331 
 
 
 
374 
 
 Chronological Table. 
 
 Name. 
 
 Place and Date of 
 Birth. 
 
 Place and Date of 
 Death. 
 
 Filby, Heinrich . 
 
 Vienna 
 
 1834 
 
 
 De Ahna, Heinrich K. H. . 
 
 Vienna 
 
 1835 
 
 Vienna 1892 
 
 Jaflfe, Moritz. 
 
 Posen 
 
 1835 
 
 
 Monasterio, Jesus 
 
 Potes (Spain) 
 
 1835 
 
 
 Strauss, Ludvvig . 
 
 Pressburg 
 
 1835 
 
 
 Wieniawski, Henry 
 
 Poland 
 
 1835 
 
 Moscow 1880 
 
 Besekirjsky, Wasil W. . 
 
 Moscow 
 
 1836 
 
 
 Carrodus, John T. 
 
 Keighley 
 
 1836 
 
 London 1895 
 
 Holmes, Alfred . 
 
 London 
 
 1837 
 
 Paris 1876 
 
 Griin, Jacob .... 
 
 Buda-Pesth 
 
 1837 
 
 
 Brousil, Bertha 
 
 ? 
 
 1838 
 
 
 Piercy-Feeny, Mme. 
 
 
 1838 
 
 
 Neruda, Wilhelmina (Lady 
 
 
 
 
 Halld) . . . . 
 
 Briinn 
 
 1838 
 
 
 Werner, Hildegard 
 
 
 1838 
 
 
 Holmes, Henry 
 
 London 
 
 1839 
 
 
 Jacobsohn, Simon 
 
 Mittau 
 
 1839 
 
 
 Rappoldi, Edouard 
 
 Vienna 
 
 1839 
 
 
 Bargheer, Adolph 
 
 
 1840 
 
 
 David, Peter P. . . . 
 
 Leipzig 
 
 1840 
 
 
 Lotto, Isidor 
 
 Warsaw 
 
 1840 
 
 
 Gobbi, Aloys 
 
 Pesth 
 
 1844 
 
 
 Heermann, Hugo . 
 
 Hulbrbnn 
 
 1844 
 
 
 Sarasate, Pablo de 
 
 Pampeluna 
 
 1844 
 
 
 Auer, Leopold 
 
 Hungary 
 
 1845 
 
 
 Singelee, Louise . 
 
 
 1845 
 
 
 Castellan, Mile. . 
 
 
 1845 
 
 
 Wilhelmj, August . 
 
 Usingen 
 
 1845 
 
 
 Courvoisier, Carl . 
 
 Basle 
 
 1846 
 
 
 Schradieck, Henry 
 
 Hamburg 
 
 1846 
 
 
 Papini, Guido 
 
 Florence 
 
 1847 
 
 
 Walter, Benno 
 
 Munich 
 
 1847 
 
 
 De Bono, Victoria 
 
 
 1848 
 
 
 Heckmann, Georg J. R. 
 
 Mannheim 
 
 1848 
 
 Glasgow 1891 
 
 Marsick, Martin P. J. . 
 
 Jupille 
 
 1848 
 
 
 Drechsler-Adamson, Mme. . 
 
 
 1849 
 
 
 Gibson, Alfred 
 
 Nottingham 
 
 1849 
 
 
 Drechsler-Woycke, Mme. . 
 
 ? 
 
 1850 
 
 
 Brodsky, Adolph . 
 
 Taganrog 
 
 1851 
 
 
 Hagen, Adolph . 
 
 Bremen 
 
 185 1 
 
 
 Sauret, Emil .... 
 
 Dun-le-Roi 
 
 1852 
 
 
 Boulanger, Mile. . 
 
 
 1853 
 
 
 Meyer, Waldemar . 
 
 Beriin 
 
 1853 
 
 
 Zajic, Florian 
 
 Bohemia 
 
 1853 
 
 
 Ferrari, Signora Elvira 
 
 
 1854 
 
 
 Hermant, Mile. . 
 
 
 1854 
 
 
 Drechsler - Hamilton, Mme. 
 
 
 
 
 Agnes . . . . 
 
 
 1855 
 
 
 Hollander, Gustav 
 
 Silesia 
 
 185s 
 
 
 Sahla, Richard 
 
 Graz 
 
 1855 
 
 
Chronological Table. 
 
 2>7. 
 
 Name. 
 
 Place and Date of 
 Birth. 
 
 Place and Date of 
 Death. 
 
 Kess, Wilhelm . 
 
 Dordrecht 
 
 1856 
 
 
 Petri, Henri Wilhelm . 
 
 Utrecht 
 
 1856 
 
 
 Thomsou, C^sar . 
 
 Li^ge 
 
 1857 
 
 
 Barcevicz, Stanislaus . 
 
 Warsaw 
 
 1858 
 
 
 Hilf, Amo .... 
 
 Saxony 
 
 1858 
 
 
 Huber, Eugen (Jeno Hubay) 
 
 Budapest 
 
 1858 
 
 
 Halir, Karl .... 
 
 Hohenlohe 
 
 1850 
 
 
 Hess, Willie .... 
 
 Mannheim 
 
 1859 
 
 
 Ondricek, Franz . 
 
 Prague 
 
 1859 
 
 
 Ysaye, Eugene 
 
 Liege 
 
 1859 
 
 
 Loeffler, Charles Martin 
 
 Alsace 
 
 186 1 
 
 
 Rossi, Marcello . 
 
 Vienna 
 
 1862 
 
 
 Wolff, Johannes . 
 
 Hague 
 
 1862 
 
 
 Rose, Arnold 
 
 Roumania 
 
 1863 
 
 
 Soldat, Marie 
 
 Gratz 
 
 1863 
 
 
 Prill, Carl .... 
 
 Berlin 
 
 1864 
 
 
 Senkrah, Arma 
 
 New York 
 
 1864 
 
 
 Eissler, Marianne . 
 
 Briinn 
 
 1865 
 
 
 Kneisel, Franz 
 
 Roumania 
 
 1865 
 
 
 Carpenter, Nettie . 
 
 New York 
 
 1865 
 
 
 Dunn, John .... 
 
 Hull 
 
 1866 
 
 
 Wietrowitz, Gabrielle . 
 
 Laibach 
 
 1866 
 
 
 Dengremont, Maurice . 
 
 Rio Janeiro 
 
 1867 
 
 ? C1887 
 
 Gregoro^^ntsch, Charles 
 
 St. Petersburg 
 
 1867 
 
 
 Tua, Teresina 
 
 Turin 
 
 1867 
 
 
 Powell, Maud 
 
 Aurora, 111. 
 
 1868 
 
 
 Sapellnikoff .... 
 
 Odessa 
 
 1868 
 
 
 Burmester, Willy . 
 
 Hamburg 
 
 1869 
 
 
 Petschnikoff, Alexander 
 
 Moscow 
 
 1^73 
 
 
 Marteau, Henri . 
 
 Reims 
 
 1S74 
 
 
 Saenger-Sethe, Irma 
 
 Brussels 
 
 1876 
 
 
 Jackson, Leonora . 
 
 Boston 
 
 1879 
 
 
INDEX. 
 
 Adams, Suzanne, 339. 
 Ahna, H. K. de, 240. 
 Aichelburg, Count, 331. 
 Alard, D., 68, 135, 144, 145, 
 
 161, 226. 
 Albertinatti, 105. 
 Alday le jeune, 68. 
 Alexander, Czar, 81. 
 Alexander III., 222. 
 Amati, Andrea, 13. 
 Amati, Nicolo, 14. 
 Anet, B., 28, 35, 39, 40. 
 Arditi, Emilia, 312. 
 Artot, 149, 150, 169, 192. 
 Auer, Leopold, 359, 360. 
 Austria, Emperor of, 206. 
 
 Bacchiochi, Princess Elise, 
 
 112. 
 Bach, J. S., 254, 275, 277, 
 
 334, 340. 
 Baillot, P. M. F. de S., 26, 
 
 68, 7i-75» 129, 144, 177, 
 
 346. 
 Baltizarini, 15. 
 Baltzar, Thomas, 19, 20. 
 Banister, John, 19, 20, 21. 
 
 Bargheer, C. L., 97. 
 Baroni, Leonora, 302. 
 Bassani, G. B., 30. 
 Bazzini, 247, 354. 
 Beauhamais, Eugene, 307. 
 Becker, Hans, 356. 
 Becker, Jean, 353, 354, 
 
 355- 
 Beethoven, L. von, 57, 77, 
 
 91, 205, 225,231,352,254, 
 
 290. 333y 347, 258, 364. 
 
 Benda, Franz, 56, 57. 
 
 Bennewitz, 277. 
 
 Beriot, Charles A. de, 25, 
 28, 29, 67, 68, 136, 138- 
 144, 147, 148, 150, 162, 
 188, 266, 309, 334, 352. 
 
 Berlioz, Hector, 79, 80, 126, 
 127, 128, 248, 253. 
 
 Berry, Duchesse de, 81. 
 
 Berthaume, 81. 
 
 Bertin, Armand, 127. 
 
 Besekirskij, Wasil W.. 240, 
 285. 
 
 Bianchi, Antonia, 116. 
 
 Bilse Orchestra, 277, 283. 
 
 Bini, P., 49. 
 
 377 
 
378 
 
 Index. 
 
 Blagrove, H. G., 97, 170, 
 
 358- . . 
 Bocchenni, L., 70. 
 
 Bohemian Quartet, 360, 363. 
 
 Bohm, J., 28, 68, 206, 215. 
 
 Brahms, Johannes, 212, 253, 
 
 329, 332, 364- 
 Brazil, Emperor of, 230. 
 Brodsky, Adolf, 82, 263-265, 
 
 356, 357- 
 Brousil, Bertha, 312. 
 Bruch, Max, 295, 328, 341. 
 Brunswick, Duke of, 85. 
 Bull, Ole, 149, 150, 151, 152, 
 
 153, 169, 172-203, 225, 
 
 237- 
 Biilow, Hans Von, 291, 292, 
 
 293*31 5- 
 Bunn, 247. 
 Bunzl, 294. 
 Burmester, Willy, 286-293, 
 
 Burney, Doctor, 43, 55, 56. 
 
 Calcagno, Caterina, in, 1 54, 
 
 308. 
 Caldera, 309. 
 Campbell, Lucie, 330. 
 Careno, Theresa, 265. 
 Carpenter, Nettie, 338. 
 Carrodus, John T., 170, 241. 
 Cartier, 68. 
 
 Cessole, Conte di, 117, 118. 
 Cherubini, 62, 93, 136. 
 Chiabran, F., 36. 
 Chiostri, 354. 
 Chopin, F., 187, 210. 
 Ciandelli, 114. 
 Clegg, John, 24. 
 Clement, 254, 255. 
 CJementi. 36. 
 
 Cleveland, Mrs. G., 342. 
 Cleves, Anne of, 301. 
 Coburg-Gotha, Duke of, 240. 
 Colbran, Madame, 189. 
 Collins, Rosina, 308. 
 Colonne, 295. 
 Corbett, William, 22. 
 Corelli, A., 28, 30, 31-35, 36, 
 
 38, 40, 50, 52, 59. 
 Costa, G., 105, 157. 
 Cumberland, Duke of, 302. 
 Cuvillon, 68. 
 Cuzzoni, F., 53. 
 
 Damrosch, Leopold, 339. 
 Damrosch, Walter, 263, 
 
 340. 
 Dancla, C, 129, 135, 171. 
 Dando, J., 357, 358, 359. 
 D'Artot, 69. 
 David, Ferd., 97, 234, 247, 
 
 253. 350. 35i> 357- 
 Davidoff, 360. 
 Delavan, 136. 
 Delibes, 214. 
 Dellepaine, 157, 159. 
 Dengremont, M., 68, 281, 
 
 282. 
 Derwies, Baron, 268, 279. 
 Diamantina, La, 302. 
 Dont, Jacob, 68, 171, 285, 
 
 359- 
 Dubois, 295. 
 
 Dubourg, M., 22, 23, 40. 
 Dulcken, Madame, 350. 
 Dunn, John, 299. 
 Durand, 68. 
 Durst, 352. 
 Dwight, J. S., 201, 225, 320, 
 
 324- 
 Eccles, Henry, 22. 
 
Index, 
 
 379 
 
 Eck, Ferdinand, 85. 
 Eck, Franz, 85. 
 Eder, Josephine, 163. 
 Elizabeth, Queen, 301. 
 England, Queen of, 343. 
 Ericsson, Lief, 198. 
 Ernst, H., 68, 146-149, 169, 
 187, 233, 246, 247. 
 
 Farina, Carlo, 15, 16. 
 Ferrari, 49. 
 
 Ferrero, 309. 
 Testing, M., 53. 
 Fetis, 129, 145. 
 Field, 86, 210. 
 Filipowicz, Madame, 308. 
 Fischer, Konrad, 232. 
 Florentine Quartet, 353-355, 
 
 356. 
 Fontana, Giovanni B., 16. 
 
 Garcia, Pauline, 143. 
 Gattie, Henry, 358. 
 Gautherst, Louise, 307. 
 Geminiani, F., 23, 24, 28, 35, 
 
 40, 43- 
 Gerbini, Luigia, 68, 307. 
 Gericke, W., 283. 
 Germany, Empress of, 343. 
 Geyer, A., 331. 
 Ghiretti, 106. 
 Giardini, F., 36, 53. 
 Gorgey, General, 206. 
 Gotha, Duke of, 86. 
 Gounod, C, 294. 
 Graun, 49, 56. 
 GregoroM-itsch, C, 241, 284, 
 
 286. 
 Griin, Jacob, 242, 283, 
 
 362. 
 Guiraud, 279. 
 
 Habeneck, 68, 78-80, 93' 
 
 145' 309- 
 Halir, Carl, 256, 276-278, 
 
 283. 
 Halle, Lady (Mme. Norman- 
 
 Nenida), 312-319, 323, 
 
 327, 335- 
 Halle, Sir Charles, 124, 125, 
 127, 136, 160, 169, 265, 
 
 315-317- 
 Hampton, Miss, 222. 
 Handel, G. F., 23, 32. 
 Hanover, King of, 248. 
 Hanslick, E., 229. 
 Harkness, A., ^yi- 
 Hauptmann, 247. 
 Hauser, Miska, 215-218. 
 Hausmann, 234. 
 Haydn, J., 58, 245, 358. 
 Heckmann, G. J. R., 356. 
 Hegyesi, 356. 
 Heissler, 352. 
 Hellmesberger, G., 68. 
 Hellmesberger, J., 264, 283, 
 
 352, 355' 362. 
 Henry VII., King, 301. 
 Henselt, 162. 
 Herwig, 150. 
 Hess, Willy, 256. 
 Higginson, H. L., 361. 
 Hilf, A., 357. 
 Hilpert, 354. 
 Hoffmann, 215, 360. 
 Hogarth, G., 133. 
 Hollaender, G., 256. 
 Holmes, Henry, 98, 241. 
 Holmes, Alfred, 241. 
 Hrimaly, 296. 
 Hubay, J., 256, 299, 356. 
 Huber, Mile., 143. 
 Hummel, 245. 
 
38o 
 
 Index, 
 
 Hunt, L., 133. 
 Isabella, Queen, 226. 
 
 Jackson, 17. 
 
 Jackson, Leonora, 326, 342, 
 343. 
 
 Jacobsen, 326. 
 
 Jacotot, 139. 
 
 Jaffe, Sophie, y}^^. 
 
 Janin, Jules, 126. 
 
 Jansa, L., 313. 
 
 Joachim, J., 16, 27, 29, 68, 
 206, 212, 213, 224, 231, 
 234. 236, 238, 240, 244- 
 260, 277, 279, 285, 286, 
 287,289,290,315,325,326, 
 328, 329, 331, 341, 351, 
 
 353» 355- 
 Joachim Quartet, 357, 363. 
 Jokisch, 334. 
 
 Joseph II., Emperor, 306. 
 Josephine, Empress, 78, 307. 
 
 Kalkbrenner, Zt,. 
 
 Kannitz, Count de, 114. 
 
 Kinsky, Count, 43, 49. 
 
 Klapka, 206. 
 
 Klengel, J., 356. 
 
 Kneisel, F., 279, 282, 361- 
 
 364- 
 Kneisel Quartet, 281, 284, 
 
 361-364. 
 Kompel, 97. 
 Kossuth, 206. 
 Kralmer, Madame, 308. 
 Kreutzer, Rodolphe, 26, 68- 
 
 71. 76, 93, 128, 136, 170, 
 
 215- 
 Kreutzer Sonata, 137, 138. 
 Kufferath, 238. 
 
 Kugler, 360. 
 
 Lablache, L., 142. 
 
 Lacour, 186. 
 
 Lafont, C. F., 26, 29, 70, 80- 
 
 82, 130, 309. 
 Lahoussaye, 49. 
 Lassabathie, M., 226, 227. 
 Laub, F., 240, 297. 
 Lauterbach, 68. 
 Leclair, J. M., 36, 51, 52. 
 Lecloux, 162. 
 Lenox, Lady, 302. 
 Leonard, H., 68, 136, 145, 
 
 238, 268, 282, 294, 296. 
 Leschetizky, Th., 298. 
 Lichtenberg, L., 299. 
 Liddell, Capt. A. F., 327. 
 Lind, Jenny, 216. 
 Linley, Thomas, 24. 
 Liphart, 350. 
 
 Lipinski, K. J., 100-103, 130. 
 Listemann, B., 299, 361. 
 Liszt, F., 120, 137, 206, 213, 
 
 233» 234, 245, 248, 253, 
 
 310. 
 Livron, M., 108. 
 Locatelli, 28, 35, 2t^. 
 Loder, 359. 
 Loeffler, C. M., 138, 279- 
 
 281. 
 Loeleberg, 360. 
 Lolli, A., 55. 
 Lotto, L, 138. 
 Louis Philippe, 310. 
 Lucas, 358. 
 Lulli, J. B., 30, 37-39- 
 Lundholm, 177, 178, 179. 
 
 Malibran, 25, 142, 143, 144, 
 168, 188. 
 
Index. 
 
 38< 
 
 Manfredi, 49. 
 Mapleson, 207. 
 Mara, G. E., 302, 305. 
 Marches!, 105. 
 Margherita, Queen, 324. 
 Maria Theresa, 296. 
 Marini, B., 15. 
 Marsick, M., 28, 6S, 146, 
 
 237-239. 267, 269. 
 Marteau, H., 293-296. 
 Masi, 354. 
 Massart, 70, 136-138, 238, 
 
 278, 320, 323, 349. 
 Massenet, 294. 
 Maurer, 182, 247. 
 Maurin, 135. 
 Mausch-Jerret, M., 236. 
 Mayseder, 188, 215, 346. 
 Mazas, 68. 
 
 Mazzurana, Doctor, loi. 
 Meek, Countess of, 222. 
 Mell, D., 19. 
 Mendelssohn, 161, 246, 247, 
 
 278,279,329,331,342,351. 
 Meneke, 360. 
 Mettemich, Count, 114. 
 Milanollo. M., 310. 
 Milanollo, T., 29. 68, 309, 
 
 3^3^ 352- 
 Mingotti, 53. 
 Molique, B, H., 70, 162, 169, 
 
 241, 294. 
 Montes, Lola. 216. 
 Montebello, Duke of, 187. 
 Morgan, Geraldine, 2,2,^y 339, 
 
 340. 
 Mori, 68. 
 Morra, 309. 
 Mozart, L., 54. 
 Mozart, W., 24, 58,306, 307, 
 
 322, 323, 358. 
 
 Murska, Tlma di, 265. 
 Musa^us, 180, 181. 
 
 Nagel, 150. 
 Napoleon, 89, 90, 112. 
 Napoleon III., 230. 
 Nardini, P., 24, 49, 50, 54, 
 
 55' 73^ 3^3- 
 Nedbal, 360. 
 Neruda, J., 313. 
 Neruda, Norman, 318. 
 Neumann, E., 308. 
 Nicholl, Anne, 302. 
 Nickisch, A., 275, 295. 
 Nilsson, C, 169, 303. 
 Norman, L., 314, 315. 
 North, Colonel, 20S. 
 
 Occa, Victoria dall', 307. 
 Ondricek, F., 267, 278. 
 Ottey, Sarah, 302. 
 Ottoboni. Cardinal. 31. 
 Ouronoff, Princess, 297. 
 Oury, A. J., 25. 
 
 Paderewski. I., 273, 276. 
 
 Paer, 106. 
 
 Paganini, Achille. 116. 
 
 Paganini, Antonio, 105. 
 
 Paganini, Nicolo, 26, 29, 75, 
 82, 92, ioc^i34, 135' 141. 
 147, 148, 150, 151, 154, 
 156, 157, 160, 161, 162, 
 180, 183, 184, 185, 188, 
 191, 200, 217, 233, 269, 
 288, 308. 
 
 Pallerini, Mme., 112. 
 
 Para\'icini, Mme., 68, 307. 
 
 Parmentier. Captain, 310. 
 
 Pasdeloup, 280, 321. 
 
 Pasini, 109. 
 
382 
 
 Index. 
 
 Paton, Mary Ann, 302. 
 
 Patti, Adelina, 194. 
 
 Patti, Amalia S., 194. 
 
 Paulsen, 175. 
 
 Paur, Emil, 298. 
 
 Petri, Henri, 236, 299. 
 
 Petschnikoff, A., 296-298. 
 
 Pfeiffer, Marianne, 95. 
 
 Piatti, 247. 
 
 Piercy-Feeny, Mme., 312. 
 
 Pisendel, 42. 
 
 Pixis, 64, 68. 
 
 Pleiner, 328. 
 
 Polidori, 72. 
 
 Pollani, 72. 
 
 Pollini, 308. 
 
 Portugal, King of, 285. 
 
 Pott, A., 329. 
 
 Powell, Maude, 326, 340- 
 
 342. 
 Prume, 68. 
 
 Prussia, King of, 310. 
 Pugnani, G., 28, 29, -^^^^ 52, 
 
 61. 
 Purcell, 18. 
 
 Quagliati, P., 15. 
 
 Rappoldi, E., 68, 242. 
 Remenyi, E., 150, 154, 205- 
 
 215, 232. 
 Riario, Duke of, 187. 
 Richter, Hans, 234, 330, 
 
 362. 
 Rivarde, A., 278. 
 Roberrechts, 28, 68, 139. 
 Rode, Pierre, 28, 68, 70, 71, 
 
 75-77, 120, 162,348,349. 
 Roger, 330. 
 RoUa, 105, 106, 
 Rontgen, 357, 
 
 Rose, A., 299, 360. 
 
 Rossini, 67, 92, 191. 
 
 Roth, O., 362. 
 
 Rovelli, 70. 
 
 Roy, Gabrielle, 330. 
 
 Rubinstein, Anton, 154, 219, 
 
 220, 273. 
 Russia, Czar of, 285. 
 Russia, Empress of, 324. 
 
 Sacchi, R. (Schlick), 305, 
 
 306, 307. 
 Saenger-Sethe, I., 332-336. 
 Sahla, R., 360. 
 Saint-Saens, C, 334. 
 Sainte-Marie, 72. 
 Sainton, C. P., 169, 247. 
 Salomon, J. P., 57, 63. 
 Santley, C, 234. 
 Sarasate, P., 28, 29, 68, 226- 
 
 231, 238. 
 Sauret, E., 265-267. 
 Scarlatti, A., ■^'}^^ 34. 
 Scheidler, D., 86. 
 Schlesinger, 352. 
 Schradieck, H., 265, 357. 
 Schroeder, A., 281, 362, 
 Schubert, F., 246. 
 Schulz, M., 308. 
 Schumann, 120, 162, 213, 
 
 253- 
 Schumann, Mme., 293. 
 
 Schuppanzigh, 346. 
 
 Scotta, Frida, 336. 
 
 Sechter, 215. 
 
 Sembrich, M., 303. 
 
 Senaille, J. B.,!28, 39. 
 
 Senkrah, A., 337. 
 
 Servaczinski, 246. 
 
 Servais, 163. 
 
 Servetto, 105. 
 
Index. 
 
 383 
 
 Shinner, E. (Mrs. Liddell), 
 
 325-327. 332, 353- 
 Shinner Quartet, 327, 
 
 353- 
 Simonelli, 30. 
 Singer, E., 68, 239. 
 Sirmen, Maddalena, 303. 
 Sitt, Hans, 356. 
 Sivori, C, 150,153,154-16!' 
 
 167, 168, 231, 294. 
 Soldat, M., 257, 326, 327- 
 
 330. 342, 353- 
 Somis, 28, 29, 35, 51, 53- 
 Sontag, H., i43' 233- 
 Soubre, E. J., 163. 
 Spain, Queen of, 230, 324. 
 Spohr, L., 26,7 5'82-99>i58. 
 159, 162, 170, 178' 1^2, 
 183, 184, 188, 191, 233, 
 261, 346-349. 358- 
 Stamitz, A., 69. 
 Stern, Leo, 339. 
 Stradivari, A., 14- 
 Strakosch, M., 194- 
 Strauss, L., 68. 
 Suk, J., 360. 
 Siissmayer, 120. 
 Svecenski, L., 362. 
 Sweden, King of, 198. 
 
 Tartini, G., 29, 43. 44-5^' 
 
 52, 54, loi, 304- 
 Thalberg, 163, 165, 166. 
 Thierot, 328. 
 Thomson, C, 267-269, 273, 
 
 279. 283. 
 Thorpe, S. C, 197- 
 Thursby, Emma, 198. 
 Tiby, M., 139- 
 Torelli, G., 41- 
 Tschetchulin, Agnes, 330. 
 
 Tua, Teresina, 70, 138, 323- 
 
 325. 337- 
 Turkey, Sultan of, 217, 232. 
 Tuscany, Duke of, 189. 
 
 Urso, Camilla, 312,319-322, 
 
 323. 337- 
 Urso, Salvator, 319. 
 
 Valentini, 34. ^ ^, , „ 
 Valetta, Count F. V. della, 
 
 325- 
 Vanderbilt, G., 342. 
 
 Veracini, F. M., 42, 43. 46, 
 
 47- , . 
 
 Viardot, Madame, 240. 
 
 Vidocq, 185- 
 
 Vieuxtemps, H., 28, 68, 136, 
 149, 162-169, 192, 202, 
 221, 223, 231, 241, 271, 
 
 328, 337- 
 Villermot, F., 191. 
 Viotti, G. B., 28, 56-68, 72, 
 
 73.75.81,85,93,140, 261, 
 
 307- 
 Vitali, T., 16, 40. 
 Vivaldi, A., 36, 41. 42, 52- 
 Vuillaume, 145. 
 
 Wagner, R., 92, 162. 
 
 Wales, Prince of, 324. 
 
 Wales, Princess of, 324. 
 
 Wallace, 1 50. 
 
 Wallace, Eliza, 308. 
 
 Wasielewski, 244. 
 
 Weber, 94- 
 
 Weiss, A., 249. 
 
 Werner, H., 312, 313. 
 Wieniawski, 70, 136, 
 154, 218-226, 231, 
 271, 273, 285, 337- 
 
 I JO. 
 
 270, 
 
3B4 
 
 Index. 
 
 Wietrowitz, G., 257, 326, 
 
 330-332, 342, 353. 
 Wihom, H., 360. 
 Wilhelmj, A., 208, 209, 231- 
 
 237, 263, 267, 282, 334. 
 William I, Emperor, 230. 
 Wittgenstein, Prince Emil 
 
 of, ^ZZ- 
 Wood, Mrs., 302. 
 
 Young, 18. 
 
 Ysaye, 237, 239, 263, 269- 
 276, 334, 335. 
 
 Zampieri, Marquis, 189. 
 Zerbst, Theresa, 277. 
 Zerchoff, Mile., 308. 
 
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