initial commit of ebook 14884HEADmain

18 files changed, 30314 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/14884-8.txt b/14884-8.txt
new file mode 100644
index 0000000..21455ae
--- /dev/null
+++ b/14884-8.txt
@@ -0,0 +1,6997 @@
+The Project Gutenberg EBook of Famous Violinists of To-day and Yesterday
+by Henry C. Lahee
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Famous Violinists of To-day and Yesterday
+
+Author: Henry C. Lahee
+
+Release Date: February 2, 2005 [EBook #14884]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK FAMOUS VIOLINISTS ***
+
+
+
+
+Produced by Juliet Sutherland, Chuck Greif, Leonard Johnson and the
+Online Distributed Proofreading Team.
+
+
+
+
+
+
+[Illustration: OLE BULL]
+
+
+
+
+Famous Violinists of To-day and Yesterday
+
+By
+
+Henry C. Lahee
+
+_ILLUSTRATED_
+
+Boston
+The Page Company
+Publishers
+
+1899
+L.C. PAGE AND COMPANY
+(INCORPORATED)
+
+Ninth Impression, February, 1912
+Tenth Impression, January, 1916
+
+THE COLONIAL PRESS
+C.H. SIMONDS CO., BOSTON, 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 present
+day rather than a detailed account of a very few. Necessarily, those who
+have been prominently before the public as performers 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.
+
+The "Chronological Table" is compiled from the best existing
+authorities, and is not an effort to bring together a large number 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.
+
+
+CHAPTER                                  PAGE
+
+         PREFACE                          ix
+
+      I. INTRODUCTORY                     11
+     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 QUARTETS                 345
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+                                          PAGE
+OLE BULL                        _Frontispiece_
+ARCANGELO CORELLI                          30
+NICOLO PAGANINI                           104
+CAMILLO SIVORI                            154
+MARTIN PIERRE JOSEPH MARSICK              238
+JOSEPH JOACHIM                            244
+EMIL SAURET                               264
+MAUD POWELL                               340
+FRANZ KNEISEL                             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 singular 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 maestros until the bow hand lost its power, and the flying
+fingers stiffened. Bequeathed to the passionate young enthusiast, who
+made it whisper his hidden love, and cry his inarticulate 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, beneath the
+rushing bow of their lord and leader. Into lonely prisons with
+improvident 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 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 instruments 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 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 almost
+to the day of his death, for an instrument 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 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 Mlle.
+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 contains the "shake." Then there
+is a "Toccata" for violin solo, by Paolo Quagliati, published in 1623,
+and a collection of violin pieces by Carlo Farina, published in 1627 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 Stravagante," 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 1641, 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 composition 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 throughout Europe, the other schools were established.
+
+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
+"Hudibras," 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.
+
+  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 country was a great musician more sure of a warm
+welcome.
+
+Two celebrated violinists were born in the year 1630, Thomas Baltzar,
+and John Banister, 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 popularity. The wonder caused by his
+performances 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 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 musick, 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, according to Pepys,
+to have aroused the wrath of Banister by giving prominence to a French
+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 minstrels, 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
+desiring, 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 somewhat "sturdy beggar," though not
+exactly in the sense meant by the ordinance, for he 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. He too, was
+buried in the cloister of Westminster Abbey. His son, also, was an
+excellent performer on the violin, and played first violin in the
+Italian opera when it was first introduced into England. He was one of
+the musicians of Charles II., 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 1710, 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
+years of age he was placed under Geminiani, who had recently established
+himself in London. 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, however, 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 connection with the
+performance of a concerto 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 faculties 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 concerto in public when
+eight years old. He was sent to Italy to study under Nardini, and
+through the mediation of that artist he became acquainted with Mozart,
+who was about the same age. Linley's career was prematurely closed, for
+at the age of twenty-two he was drowned through the capsizing of a
+pleasure-boat.
+
+This completes the list of English violinists of note who were born
+previous to the nineteenth century. The later ones we shall find in
+their place in succeeding chapters, but there have been very few
+violinists of English 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 occasionally appeared in conjunction
+with De Bériot and Malibran, is hardly known as a "virtuoso," 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. Making 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 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
+début at the Philharmonic concerts in London.
+
+There was another unfortunate officer of Napoleon who became tutor to
+the Princesses 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 accomplished 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 Continent, the English were too fully occupied 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 estimation of the violinist's art
+than the latter had of the tonsorial profession, and the situation 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
+violinists have been imported.
+
+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, Locatelli, Geminiani (Italians), and
+Anêt (a Frenchman), whose pupil Senaillé 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
+Roberrechts, his pupil De Bériot and his pupil Vieuxtemps, the two
+latter Belgians, also Baillot, etc., down to Marsick and Sarasate, a
+Spaniard, while through Rode, a Frenchman, we have Böhm (school of
+Vienna) 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 Bériot, who appear under different
+schools.
+
+The only conclusion to be drawn is that the greatest violinists were
+really independent 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 II.
+
+1650 TO 1750.
+
+
+Arcangelo Corelli, whose name is recognised as one of the greatest in
+the history of violin playing and composition, and who laid the
+foundation for all future development 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 Mattei 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 that city,
+exhibited such jealousy and violence that the mild-tempered Corelli
+withdrew. In 1680 he went to Germany, where he was well received, and
+entered the service of the Elector of Bavaria, but he soon returned to
+Rome. 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.
+
+[Illustration: ARCHANGE CORELLI]
+
+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, 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, 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 rehearsals, 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 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,
+1713.
+
+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
+selections from his own works, was performed in the Pantheon on the
+anniversary of his funeral. On this occasion, the works were performed
+in a slow, firm, and distinct manner, just as they were written, without
+changing 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 harmonies. 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 Anêt, settled respectively in Italy, Holland, England,
+and Poland.
+
+Giovanni Battista Somis was born in Piedmont, and, after studying under
+Corelli, he 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 undoubtedly 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 execution of the violin, and has, on that account, 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
+compositions, 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 Mlle. de
+Montpensier. He was employed in the kitchen, where he seems to have
+lightened his burdens by playing tricks on the cook and tunes on the
+stewpans. He also beguiled his leisure hours by playing the violin, in
+which art he made 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
+celebrated 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 exquisite 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.
+
+There is little doubt that the principles of the great Italian school
+of violin playing were, some years later, brought into France by Anêt,
+who was born in 1680, and returned from Italy about 1700, but owing to
+the jealousies of his colleagues, he found it advisable 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.
+
+Lulli 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 marking the time. The
+bruise gradually assumed such a serious condition that it ended his
+life.
+
+Jean Baptiste Senaillé, who was a pupil of Anêt, was born in 1687, and
+turned to the Italian school. In 1719 he entered the service 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 Dubourg
+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 purchases, 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.
+
+Giuseppe Torelli was leader of a church orchestra in Bologna, and
+afterwards accepted the post of leader of the band of the Markgraf of
+Brandenburg-Anspach, at Anspach, in Germany. To him is generally
+ascribed the invention of the "Concerto."
+
+Antonio Vivaldi was the son of a violinist, 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 immediately quitted the
+altar at which he was officiating, 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,--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 1714 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 mortification 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.
+
+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 Geminiani 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 composer 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 _l'eau
+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 Veracini was
+shipwrecked, and lost his two Stainer 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, 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
+impulsive 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 musical studies, but though he learned composition of Padre
+Boemo, the organist of the monastery, he was his own teacher on the
+violin. The influence of the quiet monastic 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 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 1713) that he had made a compact with the
+devil, who promised to be at his service on all occasions; and, during
+this vision, everything succeeded according to his mind; his wishes were
+anticipated, and his desires always surpassed, by the assistance of his
+new servant. 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 executed 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, however, directly
+composed a piece, which is perhaps the best of all his works, and called
+it the 'Devil's Sonata;' he knew it, however, 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."
+
+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 Kinsky, a rich and enthusiastic
+amateur, who kept an excellent private orchestra. Tartini was engaged as
+conductor and remained 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 crediting him with those
+qualities which make a great player. He had a fine tone, unlimited
+command of finger-board 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 disposition. 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 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 Theatre. 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 appointed
+ripieno-violinist at the Opéra, and in 1731 became a member of the royal
+band, but he, although undoubtedly superior 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 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 publishing a number of his
+compositions. In 1770 he was at Turin, where he remained to the end of
+his life as teacher, conductor, and composer.
+
+Felice Giardini, another pupil of Somis, was born 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 performance was so brilliant that he became established as the best
+violinist who had yet appeared in England, and in 1754 he was placed at
+the head of the opera orchestra, 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.
+
+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 tastefulness 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.
+
+Antonio Lolli, who was born at Bergamo about 1730, appears to have been
+somewhat 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, harmonics, etc., with the greatest ease and
+certainty. 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
+admiration in advance of the contest that Nardini withdrew.
+
+Lolli was so eccentric that he was considered by many people to be
+insane, and Doctor Burney, in writing of him, says, "I am convinced that
+in his lucid intervals, he was in a serious style a very great,
+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 strolling musicians who
+attended fêtes, 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 appointed chapel master at Warsaw, and
+eventually 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 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 influence 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 Europe before he settled in England, which was in 1781, when he
+made his appearance at 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 playing. 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 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 masters of the Italian school, treating
+his instrument above all as a singing voice, and keeping strictly within
+its natural resources. According to Baillot, one of his most
+distinguished pupils, his style was "perfection," a word which covers a
+host of virtues.
+
+Viotti was born in 1753 at Fontanetto, a village in Piedmont. His first
+musical instruction 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 received into the
+royal band. In 1780 he travelled extensively, visiting Germany, Poland,
+and Russia, and meeting with great success. The Empress Catharine
+endeavoured to induce him to remain at St. Petersburg, but without
+success, and he proceeded to London, where he soon eclipsed all other
+violinists. In 1782 he went to Paris and made his début 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 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 XVI., at
+Versailles, and had proceeded through about half of his performance,
+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 benefiting 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 on great terms of friendship. This
+enterprise was suddenly stopped by the revolution, and Viotti was
+obliged to leave France, having lost almost everything that he
+possessed.
+
+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 Schoenfeld, 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
+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 instruction.
+
+In 1801 Viotti found himself at liberty to visit England once more, but
+when he returned 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 integrity 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 merchant, he returned to Paris to
+resume his regular profession, and was appointed director of the Grand
+Opéra, but he failed to rescue 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 enjoying 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 interesting is that
+concerning a tin violin. He had been strolling one evening on the Champs
+Elysées, in Paris, with a friend (Langlé), when his attention was
+arrested by some harsh, 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, producing some
+most remarkable effects. The performance drew a small crowd, and Langlé,
+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 compliment, 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
+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 musicians, and among these was Rossini, who was
+destined to become great. De Bériot also sought out Viotti and played
+before him, but the old violinist told him that he had already acquired
+an original style which only required 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 admiration 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 were Roberrechts, Pixis, Alday le
+jeune, Cartier, Rode, Mori, Durand, and Baillot, also Mlle. Gerbini and
+Madame Paravicini. Roberrechts became the teacher of De Bériot, who in
+turn taught Vieuxtemps, Teresa Milanollo, and Lauterbach. Baillot taught
+Habeneck, who taught Alard, Léonard, Prume, Cuvillon, and Mazas. From
+Alard we have Sarasate, and from Léonard, Marsick and Dengremont, while
+through Rode we have Böhm, 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
+performers, others were celebrated more as teachers.
+
+Rodolphe Kreutzer, who was born at Versailles in 1766, is the third in
+order of development 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 compiled the famous
+"Methode de Violon" for the use of the students at the Conservatoire.
+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 success. 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 Opéra Comique, and professor at the
+Conservatoire, where he formed some excellent pupils, among them being
+D'Artot, Rovelli, the teacher of Molique, Massart, the teacher of
+Wieniawski and Teresina Tua, and Lafont, who also became a pupil of De
+Bériot. On Rode's departure for Russia, Kreutzer succeeded him as solo
+violin at the Opéra, 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 General Director of the Music at the
+Opéra. In 1826 he resigned his post and retired to Geneva, where he died
+in 1831. Kreutzer was a prolific composer, and his compositions 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
+violinist 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 harmonies of the sonata could
+have aroused the passions which form the _raison d'être_ of the book.
+
+Kreutzer was noted for his style of bowing, his splendid tone, and the
+clearness of his execution.
+
+With three such masters as Baillot, Rode, and Kreutzer, besides Viotti,
+who was frequently in Paris, the French school of violin playing had now
+superseded the Italian.
+
+Pierre Marie François de Sales Baillot, who was associated with Rode and
+Kreutzer 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 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 received 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 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 private secretary, and securing
+but little time for his violin playing.
+
+In 1791 he returned to Paris, and Viotti secured a place for him in the
+opera orchestra, but on being offered a position in the Ministère 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 performance 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 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
+England, 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 to
+bring out the powerful contrasts and enlarged ideas of the modern
+musical compositions. After the time of Baillot and his contemporaries
+the style of Paganini became 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 exceptional talent that at
+the age of sixteen he was one of the violins at the Théâtre Feydeau in
+Paris. He had made his début in Paris at the Théâtre 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 to France he was appointed professor of the violin at the
+Conservatoire, then newly established. In 1799 ne 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 1814 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, noble, pure, and thoroughly musical style.
+His intonation was perfect, his tone large and pure, and boldness,
+vigour, deep and tender feeling characterised his performances. In fact
+he was no mere virtuoso but a true artist. His musical nature shows
+itself in his compositions, which are thoroughly suited to the nature of
+the violin, and have a noble, dignified character and considerable 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 compositions, was very great indeed.
+
+Beethoven wrote for Rode, after hearing him play in Vienna, the famous
+violin Romance in F, Op. 50, one of the highest possible 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 François 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 1804 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 became one of the
+first violins at the Opéra, but his special forte was as leader of
+orchestras, and he held that post at the Conservatoire, on account of
+his efficiency, until 1815, when the advent of the allied armies caused
+it to be closed.
+
+Habeneck was instrumental in bringing forward the great orchestral works
+of Beethoven. He became director of the Grand Opéra, and
+inspector-general of the Conservatoire.
+
+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 Habeneck
+(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 we should assuredly have been lost." "Yes," said
+the composer, "I know it well," accompanying his words with an
+expression of countenance betokening suspicion of Habeneck'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, 1781, and received his first
+lessons from his mother, who afterward placed him under her 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 Théâtre Feydeau, which had then been
+opened by Viotti. This diversion being soon at an end, he returned to
+the violin, 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 1815.
+
+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.
+
+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 violinists 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 example of
+purity of style and legitimate treatment of the instrument, and is
+considered to have had a more beneficial effect on violin playing than
+Paganini, who was born in the same year, 1784.
+
+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 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
+fourteen, 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 experience 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
+accordingly presented a petition to the Duke of Brunswick asking for
+means to carry out his desires. The duke was pleased with him, 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 teachers 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 _en 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 following year he
+once more undertook a concert tour on his own account, travelling
+through Saxony and Prussia, and meeting with great enthusiasm.
+
+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 Göttingen 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 in 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
+Fraülein Dorothea Scheidler, an excellent harp player, who for many
+years afterwards appeared with him in all his concerts, and for whom he
+wrote 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 steadfastly 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.
+
+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
+protestations. The anecdote would be more satisfactory 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 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, however, 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 celebrated 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
+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 emergency,
+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 distinguished guests, occupied the
+front row of the stalls.
+
+Spohr remained at Gotha until 1813, 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
+Leipzig, 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
+compositions 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 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 Holländer," and continued with
+"Tannhäuser," notwithstanding the opposition of the court. He considered
+Wagner to be by far the greatest of all dramatic composers living at
+that time. In 1815 he made a concert tour in France and Italy, during
+which he met Rossini and Paganini, playing at Venice a sinfonia
+concertante 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 managers
+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
+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
+pianoforte.
+
+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 greatest
+cordiality. But the public did not seem to appreciate his merits, for
+his quiet, unpretentious 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 Cassel for the rest of his life. This
+position he obtained on the advice of Weber.
+
+In 1831 he completed his great "Violin School," which has ever since its
+publication been considered a standard work. The following year the
+political disturbances interfered 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 he again visited England, where his music had become very
+popular, and during the remainder of his career he repeated his visit
+several times, many of his works being produced by the various
+societies.
+
+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. "Tannhäuser" 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 identified with the musical life
+of the nation.
+
+In 1851 the elector refused to sign the permit for Spohr's two months'
+leave of absence, to which he was entitled under his 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 misfortune 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
+Conservatorium in the following year, with all his old-time energy. In
+1859 he died at 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 individuality, 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
+straightforwardness and sincerity in word and deed. He was a most
+prolific composer, leaving over two hundred works in all. His violin
+concertos stand foremost among his works, and are distinguished as much
+by noble and elevated ideas as by masterly thematic treatment, 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 were of
+exceptional 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 effective. He disliked the use of the "springing 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, Kömpel, and Henry Holmes. He was also
+considered one of the best conductors of his time, and introduced into
+England the custom of conducting with a baton.
+
+Amongst the amusing episodes in the life of Spohr was one which took
+place in London, 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 French nor
+German. As Spohr spoke no English the communication between them was of
+necessity carried on by pantomime. 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 considered
+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 Karl Joseph Lipinski, the son of a Polish violin player
+whose gifts were uncultivated. He was born in Poland, in 1790, 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 attributed 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 distinguished 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 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 Warsaw, where they were rivals, for
+the time being, and different factions waxed warm over their respective
+merits. Paganini himself, 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 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 quintessence 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 violinist
+of the nineteenth century.
+
+[Illustration: NICCOLO PAGANINI]
+
+Nicolo Paganini was the son of a commercial 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 develop 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 outgrown, 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 theatre 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 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, that such a feat could
+be accomplished by so young a boy. Rolla said that he could teach 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 concerning 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 instrument contained so many
+difficulties that he had to practise unremittingly to overcome them,
+often working ten or twelve hours a day and being overwhelmed with
+exhaustion.
+
+In 1797 Paganini made his first tour, with his father, through the chief
+towns of Lombardy, 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 fête of St. Martin was
+celebrated at Lucca, and after much opposition he at last obtained the
+consent of his father to attend the celebration. 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 allurements, but the young virtuoso
+was frequently reduced to great straits, and on one occasion, if not
+more, pawned his violin. This happened 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 afterwards in all his concerts.
+
+This violin was, some time later, the means by which he was cured of
+gambling, for having 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 gamester is an
+object of contempt to all well regulated minds.
+
+Paganini won another violin by his ability 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 manuscript concerto
+containing some difficulties considered as insurmountable. "This
+instrument shall be yours," said Pasini, placing 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 instrument.
+
+The severe course of dissipation in which Paganini indulged during these
+days of his youth ruined his health, and caused him frequently to
+disappear from the public gaze for long periods, throughout his career.
+With 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 unexpected manner, for as his
+genius began to excite the wonder of the world, sundry malicious 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 during 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 imprisonment 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 became 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 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 entitled "Napoleon," which is performed on
+the G string only.
+
+At Ferrara he once nearly lost his life through unwittingly trampling
+upon the susceptibilities 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 manifested by the suburbanites in "hee-hawing" at the
+citizens when fitting opportunity presented itself. Now it happened that
+Paganini 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 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
+chanticleer, the mewing of cats, the barking of dogs were all imitated
+and the audience was 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 audience 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 favourable for his
+recovery, he made a mistake 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 possessions. Here
+he was found by Ciandelli, the violoncellist, who, after giving the
+landlord a practical and emphatic expression of his opinion 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 prodigious. "He stood before us like a miraculous apparition
+in the domain of art," wrote one of the critics. The public seemed to be
+intoxicated. Hats, dresses, shoes, everything 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 considerable fortune, part of which he lost by injudicious
+investments. Some friends induced 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 authorities,
+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 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 improve, 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 realising that death was so near,
+devoted himself to music and to arranging for another concert 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 consolations 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 consecrated 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 the great violinist were taken to Villafranca and placed in
+a small room, which was then sealed up. And now Paganini became a terror
+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 spiritual 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 overruled the
+decision of the archbishop and ordained that Christian burial should be
+accorded to the artist. On the 21st of August, 1843, the Conte di
+Cessole took away the coffin from Villafranca, and interred it in the
+churchyard near Paganini's old residence at Villa Gavonà, near Parma.
+Thus even after death he was the victim of superstition, as he had been
+during his lifetime.
+
+Paganini resolved not to publish his compositions 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 contained, 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.
+
+His compositions are remarkable for novelty in ideas, elegance of form,
+richness of harmony, and variety in the effects of instrumentation. Few
+compositions ever attained such fame as the "Streghe," of which the
+theme was taken from the music of Süssmayer to the ballet of "Il Noce di
+Benevento."
+
+While it may be readily admitted that many of the effects with which
+Paganini dazzled the multitude were tainted with charlatanism, 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 interesting
+to find the compositions of the greatest 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 pianoforte, 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 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
+performance, 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 precluded 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 carefully 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
+accounts 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.
+
+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 Hallé tells about seeing Paganini in Paris, where he used to
+spend an hour every day sitting in a publisher's shop, "a striking,
+awe-inspiring, ghostlike figure." Hallé was introduced to him, but
+conversation was difficult, for Paganini sat there taciturn, 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. Hallé was dying to hear the great
+violinist play, and one day, after they had enjoyed a long silence,
+Paganini 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.
+Hallé's agitation was becoming intolerable, for he thought that the
+moment had arrived at which his desire was to be gratified. But when
+Paganini had satisfied himself 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 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 concert, at which Paganini was present and
+congratulated him.
+
+Jules Janin, the celebrated critic and writer, went into ecstasies over
+the affair. Paganini, he said, who had been attacked for
+hard-heartedness and avarice, was present at the concert, and at the end
+prostrated himself before Berlioz, 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 Paganini enclosing twenty
+thousand francs, to be devoted to three years of repose, study, liberty,
+and happiness.
+
+In Sir Charles Hallé's biography, however, this story receives important
+modifications. It appears that Armand Bertin, the wealthy proprietor of
+the _Journal 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, therefore, to make him a present of twenty thousand francs,
+and to enhance the moral effect of this gift he persuaded Paganini to
+appear as the donor of the money. What would 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 Hallé 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 compositions. 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 failure. He adopted the ideas of his predecessors,
+resuscitated forgotten effects and added to them, and the chief features
+of his performance were, the diversity of tones produced, the different
+methods of tuning his instrument, the frequent employment of double and
+single harmonics, the simultaneous use of pizzicato and bow passages,
+the use of double and triple notes, the various staccati, and a
+wonderful facility for executing wide intervals with unerring accuracy,
+together with a great variety of styles of bowing. The quality of tone
+which he produced was clear and pure, but not excessively full, and,
+according to Fétis, 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 staccato.
+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 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 countenance; but his play! our pen
+seems involuntarily to evade the difficult task of giving utterance to
+sensations which are beyond the reach of language." After detailing the
+performance, the account continues: "These excellencies consist in the
+combination of absolute mechanical perfection of every imaginable kind,
+perfection hitherto unknown 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." 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 charlatanism, 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
+Paganini 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 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 suffrages 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:
+
+  "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 violin
+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 commendable features of Paganini's
+playing, while the Belgian school followed the more serious lines, and
+became a much sounder school.
+
+Alard, Dancla, and Maurin were exponents of the French school, while in
+that of Belgium we have De Bériot, Massart, Vieuxtemps, Léonard,
+Wieniawski.
+
+Lambert Joseph Massart was born at Liège in 1811, and was first taught
+by an amateur named Delavau, who, delighted with the remarkable talent
+displayed by his young pupil, succeeded in securing for him, from the
+municipal authorities of Liège, a scholarship which enabled him to go to
+Paris.
+
+On his arrival at the Conservatoire, Cherubini, 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 Hallé, in his autobiography, tells a good anecdote
+concerning Massart's 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 brilliant 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
+continued 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 played the Kreutzer sonata, which fell entirely flat after
+the dazzling display of the great pianist.
+
+Few teachers have formed as many distinguished pupils as Massart, for in
+1843 he was appointed professor of violin at the Paris Conservatoire,
+where his energy, care, exactness, and thoroughness brought him an
+immense reputation. Lotto, Wieniawski, Teresina Tua, and a host of other
+distinguished 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 Bériot, 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 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 Roberrechts, one of Viotti's most noted pupils.
+
+De Bériot 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 Bériot learned from his guide, philosopher, and friend that
+"perseverance triumphs over all obstacles," and that "we are not willing
+to do all that we are able to do."
+
+At the age of nineteen De Bériot went to Paris, taking with him a letter
+of introduction to Viotti, who was then the director of music at the
+Opéra, 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 Bériot applied himself assiduously to his studies, entering the Paris
+Conservatoire and taking lessons of Baillot. In a few months, however,
+he withdrew from the Conservatoire and relied upon his own resources. He
+soon began to appear in concerts, generally 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, his first appearance taking place
+on May 1st, before the Philharmonic Society. Wherever he appeared,
+either in London or the provinces, 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 Bériot continued to meet with
+success even after the advent of Paganini. His playing was distinguished
+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 violin 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.
+
+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 Bériot became acquainted with her. The
+acquaintance ripened into the most intimate friendship, and in 1832 a
+concert company was formed, consisting of Malibran, De Bériot, and Luigi
+Lablache, the celebrated and gigantic basso. They made a tour of Italy,
+meeting with the most extraordinary success.
+
+De Bériot and the beautiful Madame Malibran 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 financial collapse. In
+1835 she succeeded in securing a divorce from him, and then she married
+De Bériot.
+
+A few months after their marriage Malibran was thrown from her horse
+and sustained internal injuries of such severity that she died after an
+illness of nine days, and De Bériot became frantic with grief.
+
+More than a year elapsed before he could at all recover from the effects
+of his irreparable loss, and his first appearance in concert, after this
+tragic event, was when Pauline Garcia, the sister of Madame Malibran,
+made her first début in a concert at Brussels given for the benefit of
+the poor.
+
+In 1841 De Bériot married Mlle. 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
+remained in this position until 1852, when failing eyesight caused him
+to retire, and he died at Louvain in 1870.
+
+Before his acquaintance with Madame Malibran, De Bériot was a suitor for
+the hand of Mlle. Sontag, and her rejection of him threw him into a
+state of despondency, from which it required the brilliancy and wit of
+Malibran to rouse him.
+
+De Bériot 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 variées," several books of
+studies, four trios and a number of duets for piano and violin. His
+"Violin School" has been published in many languages 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, 1815, and was well taught from his
+earliest youth. He appeared in concerts at the age of ten, and at
+twelve entered the Paris Conservatoire, where he became a pupil of
+Habeneck, while Fétis 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, 1881.
+
+Hubert Léonard was born at Bellaire, near Liège, in 1819, but unlike the
+majority of violinists he did not appear in concerts at an early age,
+nor did he enter the Paris Conservatoire 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 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 Wilhelm Ernst there seems to be a wide
+difference of opinion between various commentators. 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 welcome performers in the concert halls of Europe
+for a number of years. He was a thorough musician and a good composer,
+though his works are so full of technical difficulties as to be almost
+impossible of performance. Indeed it is said that some of them contained
+difficulties which even he could not always overcome.
+
+Born in Moravia at the town of Brünn in 1814, 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 Bériot, and
+played in concerts frequently. After 1844 he lived chiefly in England,
+where he was highly appreciated, until the approach of his fatal
+disease 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 _Atheneum_ compared him with other
+players of his day in the following words: "Less perfection in his
+polish, less unimpeachable in the diamond lustre and clearness of his
+tone, than De Bériot, 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 carried to its
+utmost point, but never torn to tatters, the freest use of _tempo
+rubato_ permitted, 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 Vieuxtemps,
+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
+competition. Musical culture was, at that time, in a very low state in
+America, and one may judge somewhat of its progress by the press
+criticisms of the artists who visited the country from time to time. It
+will be seen that those who, like Ole Bull, Sivori, and Remenyi,
+applied their talents to the elaboration of popular airs and operatic
+themes were able to elicit the warmest praise. Vieuxtemps appears 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 following extract:
+
+     "Since the death of his great master, the weird Paganini, Ole Bull
+     had been left without a rival in Europe. Herwig, Nagel, Wallace,
+     Artot, and De Bériot can only 'play second fiddle' to this king of
+     the violin. His entrance upon the stage is remarkably 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 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, except 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 audience, 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 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
+before 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 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 tyrant, crashing
+     everything in its way and rejoicing in its might. And so we glided
+     oddly but easily enough into the ballroom, 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 manners of queer visions; and the
+     main difference between 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 audiences took them far from the path of the highest
+musical standard. It may be said with truth that the country was hardly
+ready 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 proportion of their audiences.
+
+Although several violinists endeavoured to copy Paganini's style, or at
+least to learn as much as possible from hearing and seeing him play,
+there was only one, excepting Catarina Calcagno, who received direct
+instruction 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,
+1817.
+
+[Illustration: CAMILLO SIVORI]
+
+The connecting link between Sivori and Paganini began very early in the
+career of the former. Indeed it is said that the excitement of his
+mother, on hearing Paganini play at a concert, caused the premature
+birth of the future disciple of the great artist. Marvellous 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 continues, 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 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 admirer, seem rather ridiculous,
+but when Paganini 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 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 protégé was placed
+under M. Dellepaine, who taught him taste and expression, his lessons
+with Costa in technique 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 enraptured 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 Conservatoire concerts and
+received the medal of honour.
+
+Sivori now set out on extensive travels, and, after visiting England,
+proceeded, in 1846, to America, travelling through the United States,
+Mexico, and various parts of South America, spending eight years in
+these peregrinations, and amassing a considerable 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 all had their special merits. One criticism, in which Sivori is
+compared with Spohr, may be interesting: "Spohr is of colossal stature,
+and looks more like an ancient Roman than a Brunswicker; Sivori is the
+antithesis of 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 refinement
+and polish have been the characteristics 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 remarkable for its
+repose and finish; Sivori electrifies 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 conservatoire at Genoa, Sivori
+replaced him in both and gave him the entire benefit of his services.
+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 instrument 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 compliment 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 condition, 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 Paganini called for. About two weeks later
+Paganini died.
+
+In 1851 Hallé wrote of him as follows:
+
+"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 forgotten. On that occasion he executed Paganini's B
+minor concerto, and aroused immense enthusiasm, 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 18,
+1894.
+
+He was the first person allowed to play on the celebrated violin which
+Paganini bequeathed to the city of Genoa. He was also the first to play,
+with orchestra, Mendelssohn's Violin Concerto in England. This
+performance was at the Philharmonic Society concert, June 29, 1846.
+
+Henry Vieuxtemps was one of the greatest 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 Bériot, before whom he played. During four years he
+remained a pupil of De Bériot, 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 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
+conservatoire from 1871 to 1873, and in 1872 he was elected a member of
+the Academic Royale of Belgium, on which occasion he read a memoir of
+Étienne 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 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 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 inability 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 affability while addressing them, to scowls and grimaces
+while talking to his pupils, the latter, of course, being invisible to
+the visitors.
+
+When Vieuxtemps visited America in 1857, he was associated with
+Thalberg, the pianist, and together they visited many towns and cities.
+Amongst the gems of American newspaper criticism they no doubt took with
+them several copies of the following, which appeared in the local paper
+of a town in Tennessee, and was headed "Thalberg and Vieuxtemps:"
+
+     "These distinguished individuals are now at Nashville, 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, considering 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 torture 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 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 nourished, 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 difficulties of extreme
+harmonics."
+
+Vieuxtemps was also subject to comparison with Sivori, rather to the
+former's disparagement. "The one plays the violin like 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. Vieuxtemps
+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
+     husband undergoing the nocturnal penance of walking 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 performers [Ole
+     Bull and Artot], but there is a vitreous clearness 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
+     accompanies 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 Molique, of whom Sir Charles Hallé says that he was a good
+executant, knowing no difficulties, 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 inferior 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 1811, 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 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 excellent pen picture of Ole
+Bull, who during the middle of the nineteenth century was known far and
+wide as a great violinist.
+
+Among the celebrated musicians of all nations, Ole Bull will always
+remain a striking 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 patriotism;
+none has, amid the more brilliant surroundings 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 born at Bergen, in Norway, February 5, 1810, 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 played the
+'cello.
+
+In the early part of the century, the proverb, "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 hiding 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
+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 temperament, who used to come and enjoy the hospitality 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 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 correctly, 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 Tuesday 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, 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 instrument 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, 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 disappointed 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 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 heard you play Paganini I predicted that your career would be a
+remarkable one."
+
+"Oh," exclaimed 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, engaged 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 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 intentions, 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 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 18, 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 quartet was played by the four masters that
+he came to the conclusion that he was deceived 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
+inclinations, Spohr heard him play, and wrote thus of him: "His
+wonderful playing and sureness of his left hand are worthy of the
+highest admiration, but, unfortunately, like Paganini, he sacrifices
+what is artistic to something that is not quite suitable to the noble
+instrument. 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 positions, and
+even then pianissimo. This renders his playing (when he does not let
+himself loose with some of his own pieces) monotonous in the extreme. We
+noticed this particularly 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 Göttingen, 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, welcomed, and compelled to direct
+a performance, and thus he once more fell under the influence of music,
+and began to apply himself vigorously to improvement.
+
+In 1831 he went to Paris in order to hear Paganini, and if possible to
+find some opportunity 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, prevailed
+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, presumably because the detective was known, and the proprietors
+of the saloon considered discretion 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 Opéra 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 the idea of
+engaging him to show off his violins. Ole Bull accordingly played on one
+of them at a soirée given by the Duke of Riario, Italian chargé
+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.
+Nevertheless, 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 celebrated 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.
+
+     "M. Bull played compositions by Spohr, Mayseder, 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 musician. If he be a diamond, he is
+     certainly in the rough and unpolished."
+
+Ole Bull sought out the writer of this criticism, 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
+Bériot and Malibran were to appear at one of the Philharmonic concerts.
+By chance Malibran heard that De Bériot 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 unable to appear on account of
+indisposition. De Bériot also declared himself to be suffering from a
+sprained thumb.
+
+It happened that Madame Colbran (Rossini'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, without
+even time to dress himself suitably for the occasion, and placed before
+a most distinguished audience, which contained the Duke of Tuscany and
+other celebrities, besides De Bériot, 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 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 Opéra open to him, and
+he gave several concerts there.
+
+In 1836 he married Félicie 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 £800, 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 acquaintance of Paganini, who greeted him with the utmost
+cordiality. He went through Germany giving many concerts, and visited
+Cassel, where he was now received by Spohr with every mark of
+distinction. He played in Berlin, where his success was great,
+notwithstanding some adverse criticism. He 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 fêted.
+
+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.
+
+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, besides 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 country by
+founding a colony. He therefore bought a tract of land of 125,000 acres
+in Potter County, Pennsylvania, on the inauguration of which he stated
+his purpose: "We are to found a New Norway, consecrated to liberty,
+baptised with independence, and protected 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 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 yellow 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
+concerts. He was miserably weak, and when he played his skin would break
+and bleed as he pressed the strings.
+
+He now heard that there was some trouble in regard to his title to the
+land in Pennsylvania, 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 whatever, and had perpetrated a barefaced swindle, and now,
+having the money, he dared his victim 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.
+
+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 abandoned 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 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 seventeenth 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 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-besög." 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 subject 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 appeared 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, 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
+business was suspended, and the whole population of the city stood
+waiting to pay their last respects to the celebrated musician and
+patriot.
+
+Ole Bull was a man of remarkable character 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 something in his personal appearance and conversation
+which acted with almost magnetic power on those who approached him. He
+was a prince of story-tellers, and his fascination in this respect was
+irresistible to young and old alike, and its effect not unlike his
+violin playing.
+
+In regard to his playing, his technical proficiency was such as very few
+violinists have ever attained to. His double stopping was perfect, his
+staccato, both upward and downward, 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 sentimental,
+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 difference, 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 enabled him to fascinate
+his audiences, and it is a power far beyond any mere trickster or
+charlatan. He was frequently condemned by the 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 demand 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 performance 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 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
+audiences. You go to hear Ole Bull, rather than to hear and feel his
+music. It is eminently 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 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 audiences, and during his later years he adopted certain mannerisms
+by way of distracting attention from his somewhat imperfect
+performances. He never made any pretension 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
+doubtless 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 violinist
+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 physically or intellectually before he is
+ripe. Many prodigies sink into oblivion,--some few rise to celebrity.
+It will be noticed that the violinists 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 musical 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 forgotten in this
+country. Born at Hewes, in Hungary, in 1830, he possessed the restless
+spirit of his race, fought in the insurrection of 1848, 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 Böhm, who was also the teacher of Joachim. In
+1848 he became adjutant to the distinguished General Görgey, 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 appointed solo violinist in the
+queen's band, but when in 1860 he obtained his amnesty and returned to
+Hungary he was created solo violinist in the band of the Emperor of
+Austria.
+
+His restless disposition would not allow him to remain long in one
+place, and in 1865 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 settling 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 following year he went once
+more to the United States, and on his way played at the promenade
+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.
+
+In 1891 he was once more in London, and played at the house of the late
+Colonel North, "the Nitrate King." He now returned 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 Wilhelmj, and notwithstanding the fact that the two violinists
+were widely different in temperament, 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 monotony, and whose originality
+     shines through everything, and in spite of everything. He is
+     fluent in five or six languages, and entertains with droll
+     conceits, 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
+     excitement. 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 audience too. His greatest
+success was in the playing of Hungarian music, some of which he adapted
+for his instrument, but the stormier pieces of Chopin which he arranged
+for the violin were given by him with tremendous 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 wandering 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 connections 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 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 Remenyi, and was surprised to find that the violinist was not
+only willing to tell him much, but even proposed questions which he
+should answer. He said that he had played in the 60's before the natives
+of South Africa, and had been shipwrecked, after which he had the
+pleasure of reading some very fine obituary 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
+frequently 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 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 soirée one night, but at the
+last moment his accompanist was too ill to play. Remenyi went to a music
+store and asked for an accompanist. 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 soirée, and sat up till four the next
+morning chatting and playing together. Remenyi's negligence of his
+engagement resulted in the loss of any further business in Hamburg, and
+together with Brahms he set out for Hanover, giving concerts as they
+went, and thus earning sufficient funds to carry them on their way.
+
+At Hanover they called upon Joachim, who arranged for them to play
+before the court. After this they proceeded to the Altenberg 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 recognised his talent. He therefore
+returned to Hanover, where Joachim gave him a letter to Schumann, and it
+was Schumann's enthusiastic 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 May 15, 1898, created a
+sensation throughout the country. He had, after many misgivings,
+consented to appear in "vaudeville." The financial inducement was large,
+and he soothed his artistic conscience with the argument that his music
+would tend to elevate the vaudeville rather than that the vaudeville
+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 speak to one of the musicians in the orchestra. He paused a moment,
+and then fell slowly forward on his face. One of the musicians caught
+him before he touched the stage, and thus prevented his rolling off. All
+was over.
+
+Remenyi left a widow, a son, and a daughter, 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
+cancel all his engagements and rest. It is said that Remenyi's real name
+was Hoffmann.
+
+The name of Miska Hauser is seldom mentioned 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 Böhm and
+of Mayseder at Vienna, also of Kreutzer and Sechter. He is said to have
+acquired more of Mayseder'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 twelve Hauser made an extensive 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 Islands, where he played before the
+royal family 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 desperation he tore the strings from his
+violin and played, with all his power, several sentimental 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 presented with the freedom of the city and thanked
+by the government for his playing.
+
+In 1860 he reached Turkey, where he played before the Sultan, who beat
+time to his music and seemed highly delighted. 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 characteristic and charming in his tone and mannerisms, 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 temperament, with its
+warm and tender feeling, gave a colour to his playing, which placed 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 violin
+technique, 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 Rubinstein, may be said to mark an era in the musical life
+of this nation. These two great artists revealed the possibilities of
+the musical art to a people who, while loving music, were still in their
+infancy as far as musical development is concerned.
+
+Wieniawski, like nearly all the great performers, showed his talent
+while very young. He was born in 1835 at Lublin, in Poland, 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 Massart'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 composition. 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 1860 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 engagement 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 and
+succeeded in making a large fortune, travelling all over the country and
+creating a furore by his performances. This tour was cut short toward
+the end of 1874 by a telegram 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, Wieniawski 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 compelled 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 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 Countess 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 enthusiastic 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 consequence 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 one of his temperament, and he felt compelled to
+stake a small sum. 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 Vieuxtemps was very strong, in fact it
+was described as being ideal. Once, while Wieniawski was playing at a
+concert, Vieuxtemps was among the audience, and, at the conclusion of
+one of the violinist's solos, Vieuxtemps called, at the top of his
+voice, "Bravo, Wieniawski!" This drew attention to Vieuxtemps, who was
+immediately recognised by the audience and enthusiastically welcomed.
+
+Wieniawski's compositions number two and 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 concerto, 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 universal, for a critic more difficult
+to please wrote as follows: "Wieniawski's playing is as perfect as a
+faultless technique, artistic culture, great aesthetic sensibility, and
+perfect mastery over himself and his instrument can make it But with
+all its perfection we cannot but feel that the great original,
+heaven-and-earth-moving master-soul is wanting."
+
+He was also severely scathed by a critic in New York in 1872, who wrote:
+"Some people 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 intonation as a thing of primal importance, it could
+not have been pleasing. Wieniawski belongs to that school of which Ole
+Bull is a prominent member, whose first article of belief is that
+genuine passion and fervour is signified by rasping the strings."
+
+Other criticisms of the same concert, however, were of a very different
+tenor, and when, a week or two later, Wieniawski played the same
+concerto in Boston, John S. Dwight 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 delighted 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 was then administrator of the institution, took him
+into his house and boarded him. This arrangement continued 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 indicated that
+his talent would become extraordinary.
+
+For ten years after gaining the prize Sarasate remained a salon
+violinist, of amiable disposition, 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 character of his playing becoming
+serious, a large and noble style replaced the mincing manner which he
+had previously affected, and, instead 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, and in 1872, when he played in Paris, he was welcomed 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
+prevailed, and when Sarasate appeared at Leipzig he produced an immense
+sensation. Then followed a series of tours in Germany, Russia, 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 Spaniard. His tone is incomparable,--not
+powerfully 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
+difficulties, but because he plays with them."
+
+Both in France and Germany Sarasate has always been a great favourite,
+and is always 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 playing 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 III., the Emperor of Brazil, and the Queen of Spain, and its
+value is estimated 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 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 magnificent
+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 dazzling 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 second to no artist then living in his general
+command over the resources of his instrument, and he excelled in the
+purity and volume 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 performances 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 diamonds.
+
+August Wilhelmj was born in 1845 at Usingen, in the Duchy of Nassau,
+and, showing 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. Wilhelmj's father was a lawyer of distinction and a wealthy
+vine-grower, and, in spite of 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 encouragement, 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 favourable, no objection should be made to his
+becoming a virtuoso. On the recommendation of Prince Emil of
+Wittgenstein, the young violinist went in 1861 to Liszt at Weimar, and
+after playing to him Spohr's "Scena Cantante" and the Hungarian fantasia
+by Ernst, he was asked to play several pieces at sight. At the end of
+this trial Liszt sprang from his seat, calling out in a loud voice,
+"Ay! indeed you are predestinated to become a violinist--so much so that
+for you the violin must have been invented 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,
+saying, "Let me present to you a future Paganini. Look well to him!" For
+three years Wilhelm; 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 Conservatory, playing Joachim's
+Hungarian concerto.
+
+In 1865 he began his concert tours, travelling 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, the great singer. In 1876 he led the
+violins at the Nibelungen performance at Bayreuth, and the Wagner
+concerts in London, at the Albert Hall, in 1877, were due to his
+representations. In 1882, after travelling all over the globe, he spent
+some time in Russia, but presently returned to Germany and established 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 expressed by an eminent musician,
+who referred to his decadence in these words: "Ah, if 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 demonstration. 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 between 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 intellectual playing,' that is, playing with a clear under
+standing."
+
+Neither his character nor his playing was of such a nature as to appeal
+to the great mass of people in the way 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 Wilhelmj," or, "not to be compared with
+Wilhelmj," and by many Ysaye is regarded as "the best--since Wilhelmj."
+
+Martin Pierre Joseph Marsick, who was born at Jupille, near Liège, on
+March 9, 1848, is one of the foremost solo and quartet violinists of the
+day, with a remarkable technique and admirable intelligence, power, and
+fire.
+
+When eight years of age he was placed at the music school at Liège,
+where in two years he gained the first prize in the preparatory classes.
+In 1864 he secured the gold medal, which is awarded only to pupils of
+extraordinary talent.
+
+[Illustration: MARTIN PIERRE JOSEPH MARSICK]
+
+He now entered the Brussels Conservatoire, where his expenses were met
+by a lady who was a musical enthusiast, and he studied for two years
+under Léonard, working 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 reputation. 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. 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 educated musician than to the general
+public, and for that reason many people were somewhat 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 Hungarian, born in 1831,
+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 instrumental in the
+establishment of the Musical Artists' Society of that place.
+
+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 virtuoso.
+
+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 successful concert tour, and become chamber virtuoso
+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 violinist, Wasil Wasilewic
+Besekirskij, who was born at Moscow, and after a career as virtuoso in
+the west of Europe returned to his native city. He is the composer of
+some good violin music and has formed some excellent 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, Yorkshire. 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 together at the Haymarket Theatre in 1847, but immediately
+withdrew from public 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 College of Music in London, and has
+been also active as a composer and editor of violin works.
+
+Jacob Grün, too, who was born in 1837 at Buda-Pesth, and who, after a
+career as concert soloist in Europe, became a teacher in the Vienna
+conservatory, should not be forgotten. Several of his pupils are now
+holding 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 reputation as a sound and earnest player and excellent teacher.
+He was born in Vienna in 1839, and was at one time 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 greatest
+educators in his line who ever lived, and as the embodiment of the
+purest and highest ideas in public performance.
+
+[Illustration: JOSEPH JOACHIM]
+
+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 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 unquestionably
+is,--a magnificent example to young people, who are to some extent
+possessed of the demon of vanity, of what they should do and what they
+should leave undone. Joachim makes music, and his preëminent
+capabilities are directed toward the serving one true, genuine art, and
+he is right."
+
+Joachim was born on June 28, 1831, 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 under Servaczinski, leader of the
+opera orchestra at Pesth. In two years he made his first public
+appearance at a concert at Pesth, when he played a duet concerto for two
+violins 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 Böhm for two years. At the
+end of this time he went to Leipzig, where he met with Mendelssohn and
+played in a concert of Madame Viardot's. A few months later he appeared
+as a finished artist in a Gewandhaus concert, 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 Gewandhaus
+concert, in a concertante for four violins 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 Hauptmann gave him instruction in composition, though during this
+time he occasionally travelled in Germany and elsewhere to play in
+concerts. Thus in 1844 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 Beethoven'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 violoncellist. Joachim visited England again in 1847,
+and since that time so frequently that he became one of the regular
+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 Franz 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 extraordinary 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 reputation 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 composition.
+
+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 Royal High School for Music, with Joachim as
+director. That Joachim had earned a very high position 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 'virtuosi' 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. 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 Joachim's professional visit to London
+is, that it enables both professors and amateurs opportunity after
+opportunity of studying _his_ manner 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 eccentricity of carriage or demeanour, not a
+moment of egotistical display, to remind his hearers that, although
+Beethoven is being played, it is Joachim who is playing, ever escapes
+this truly admirable and (if words might be allowed to bear their
+legitimate signification) most accomplished of 'virtuosi.'"
+
+As an example of Joachim's conscientiousness, the following little
+anecdote will serve to give an idea. Joachim once introduced into the
+_point d'orgue_ of Beethoven's concerto 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
+suppressed.
+
+During the many years of his connection with the Hochschule, Joachim's
+personal influence has been exerted upon a large number of pupils, in
+fact almost every well-known 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 Mendelssohn, 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 thorough uprightness,
+firmness of character and earnestness of purpose, and that intense
+dislike 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 excellent musicianship. Unsurpassed as a master of the instrument,
+he uses his powers of execution in the services of art, and represents
+the perfection of a pure style and legitimate school, with breadth and
+fidelity of interpretation. His performances undoubtedly 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, Beethoven'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
+violin concerto (Op. 61) of Beethoven, which was first played by
+Clement, December 23, 1806. This concerto bears evidence of having been
+written in a hurry. Clement played it at sight without rehearsal, and,
+as a consequence 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 performance.
+
+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 of about $6,000, with which was purchased an instrument of
+wonderful beauty, a celebrated "Red Strad," which was presented to him
+at a public meeting held at the conclusion 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. A grand concert was given at the Philharmonie, with an
+orchestra consisting of two hundred performers. 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 Hollaender,
+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 armchair, 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 Beethoven's concerto. No
+soloist was in sight, but Gabrielle Wietrowitz 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 except
+under the force of persuasion, and then 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 orchestra 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 standing in the musical world to
+begin with, but few indeed are those who receive this privilege 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 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 violinists seems to have
+increased greatly. A season seldom passes without witnessing the début
+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 virtuosi.
+
+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 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
+musical 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 America, violinists who equal or even excel
+many of those who are exploited as virtuosi. The _great_ violinists are
+not to be found every 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 violinists 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
+considered one of the best violinists who had ever come to live in
+America.
+
+Brodsky was born in 1851 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,
+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 Europe 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 Hallé.
+
+Emil Sauret is well known in America, for he visited the United States
+in 1872-73, and made a tour which was so successful, that it was
+repeated in 1874, when he travelled with Ilma di Murska, the great
+singer, and his wife, Teresa Careño, the pianist.
+
+[Illustration: EMIL SAURET]
+
+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 Strasburg, after some
+preliminary instruction 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 Bériot, 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 sufferers by the Franco-German
+war.
+
+In 1879 ne 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 distinguished for
+elegance rather than perfection of technique. He may be considered a
+representative 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. Marsick 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 César
+Thomson, who was born at Liège in 1857. He entered the conservatory of
+his native place, after receiving some instruction from his father, and
+had completed the regular course by the 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 he 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 Liège 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 technical resources of the violin is so
+great that he can play the most terrific passages without sacrificing
+his tone or clearness of phrasing, 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, compared with Ysaye, who
+at that time swept everything before him and carried the country by
+storm.
+
+In 1897 César Thomson left Liège, owing, it is said, to disagreements at
+the Conservatoire, 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
+inexplicable and inexpressible something which takes cold judgment off
+its feet and leads criticism captive.
+
+Ysaye was born at Liège in 1858, and, 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 afterward 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 preparation given chiefly by his
+father, made his way to Brussels and sought out Wieniawski, then
+professor at the Conservatoire. Wieniawski was teaching, when a note was
+brought to him marked "private and important." The servant was told to
+show the bearer in, and Ysaye, then about fifteen years of age, timidly
+entered the room carrying 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 recovering from his
+paralytic shock. In 1876 Vieuxtemps heard him at Antwerp, and through
+his influence the Belgian government 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 compositions, but Ysaye was at that time in St.
+Petersburg. When Vieuxtemps died and 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 Conservatoire, and the possessor of
+many decorations 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 temperament. He has been compared to Rubinstein 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 César Thomson than from Ysaye,
+but he will receive from the latter the greater inspiration.
+
+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 cadenza to the
+Beethoven concerto (an embellishment which all violinists seem obliged
+to compose), but he declared that he did not like the idea of an
+original cadenza to Beethoven'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 music," 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 1898, when he confirmed the
+opinions already 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 Nikisch Philharmonic
+concert, when he played the E major concerto by Bach, and scored an
+overwhelming success. At the end of the concert 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 organised 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
+orchestral 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 concerts scenes have been witnessed which are
+simply nauseating. This fashion is not confined, by any means, to the
+United States, for there are anecdotes from all countries illustrative
+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 Justice 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, and was first taught by his father. He entered 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
+Königsberg 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 festival at Eisenath, he played
+with Joachim the Bach double concerto, and was very successful. He has
+made concert tours throughout the greater part of Europe, and while in
+America he was recognised as a broad artist. 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 intellectuality. He has an even and sympathetic 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 generosity
+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 engagement. 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 1861. He enjoyed the advantages of
+instruction 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 César
+Thomson was also a member.
+
+In 1880 Mr. Loeffler crossed the Atlantic, and took up his residence in
+New York, but the following year he was engaged as second concert-master
+and soloist in the Boston 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 virtuoso, 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 Veillées de
+l'Ukraine;" a concerto for violoncello, which has been played by Mr.
+Alwyn Schroeder; a divertimento for violin and orchestra, and a
+symphonic poem, "La Mort de Tintagiles." Besides these large works he
+has written a number of songs, of which five are with viola obligato.
+These works have been performed by the Kneisel Quartet and the Symphony
+Orchestra, the solo parts of the suite and divertimento by the composer
+himself, and they have gained for him a reputation as a gifted and
+scholarly tone artist.
+
+One of the most promising young violinists 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 eight 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, 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 violinists than Mr. Franz Kneisel.
+
+Mr. Kneisel was called to Boston to fill the position of concert-master
+of the Boston Symphony Orchestra in 1885, and has held that place for
+fourteen years, during which time he has done much toward the
+cultivation 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
+Grün 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 César 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 Beethoven
+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 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 surmounts 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
+reputation which will live in the history of music in America, if not in
+the whole world.
+
+Charles Gregorowitsch, who visited America 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, under Besekirskij and Wieniawski. From Moscow he was sent to
+Vienna, where he became a pupil of Dont, and finally he studied under
+Joachim in Berlin, where he gained the Mendelssohn prize.
+
+Gregorowitsch was the last pupil of Wieniawski, 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 honoured in Russia, where the Czar granted him exemption from
+military service, and decorated by the King of Portugal. In London 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 playing he has been compared with Sauret and with
+Sarasate.
+
+A far greater sensation was caused in America by Willie Burmester 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 violinists. Joachim
+gave some encouragement to the parent, although he does not seem to have
+given much to the boy, who in consequence felt somewhat bitter. Four
+years later he was again taken to the Berlin Hochschule, to pass his
+entrance examination. On this occasion he received the recognition of
+the jury, and was admitted to the school, where he began a rigorous
+course of technical 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 greatest 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, supporting
+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 several
+operations for the purpose of removing it, but the result was not wholly
+satisfactory.
+
+Emerging from his retirement in 1894, he went to Berlin again, and gave
+a recital in which he met with the most remarkable success. 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 metropolis 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 "marvellous, 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 developed to an astounding degree of perfection.
+
+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
+Joachim," and in a couple of weeks Burmester wrote another letter
+stating that he did not know the Hochschule 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 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
+technique 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 technique was brilliant it appeared to
+lack foundation. Time may justify the stand which the young virtuoso has
+taken in opposition to his teacher, for he is still young and has time
+in which to develop. He has undoubted musical talent and great ability,
+but while he may be a celebrated violinist he can hardly yet be
+considered a great one, notwithstanding the furore which he caused in
+Berlin.
+
+Burmester plays with unassuming simplicity and without cheap display. He
+is sincere, 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 Bülow, and the
+friendship extended over a period of three and a half years, until Von
+Bülow went to Cairo shortly before his death.
+
+Von Bülow 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 Büllow,
+and many obstacles were placed in his way. Von Büllow'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 Büllow,
+and he wrote a letter to him offering his services, and expressing his
+contempt for the injustice to which he was being subjected. Von Büllow
+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 Büllow paused and asked,
+"Which of you gentlemen is Burmester?"
+
+The young fellow approached Von Büllow, 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 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
+violinist showed unswerving loyalty, and it is now one of his greatest
+desires to reach a point of independence which will enable him to build
+a monument to Von Bülow's memory.
+
+In 1893 a sensation was created in America by the visit of Henri
+Marteau, a young French violinist whose excellent playing 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 musicians.
+
+Marteau was born at Reims in 1874. 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
+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 following 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 composer, wrote
+a concerto for him.
+
+When Marteau played in Boston at the Symphony concerts he received
+twelve recalls, 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 conducted by Mr. Arthur Nikisch.
+
+In the following year Marteau again visited America and brought with him
+a concerto 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 penetrating. His technique is
+sure, and he plays with contagious warmth of sentiment and great
+artistic charm.
+
+The violin which he used during his 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 Russian 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 happened 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 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 Ourosoff, 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 début in Berlin, in 1895, his success was
+unprecedented, inasmuch as it covered four points,--the artistic,
+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 honorarium
+for a single concert ever obtained by a violinist in Europe.
+
+He is described as a man of commonplace appearance, with dull,
+expressionless eyes, sluggish movements, and slow, affected manner of
+speech. His technique is not astonishing, but he has a full,
+penetrating, sympathetic tone. There is no charlatanism or trickery in
+his playing, nor any virtuoso effects, but the charm of it rests in his
+glowing temperament, ideal conception, and wonderful 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 introduction 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 inconceivable
+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 Dunn appears
+to be acquiring a great reputation. On the Continent, such names as
+Hubay, Petri, Rosé 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 Boston 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 satisfactorily
+given, but the fact remains that until recently few women played the
+violin.
+
+From the year 1610 until 1810 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 on the violin, or the
+corresponding string and bow instruments which were its ancestors, there
+is evidence.
+
+On the painted roof of Peterborough Cathedral, in England, which is said
+to have been built in the year 1194 A.D., there is a picture 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 VII., dated November 2, 1495, is the
+following item, "For a womane that singeth with a fiddle, 2 shillings."
+
+Anne of Cleves after her divorce comforted herself by playing on a viol
+with six strings. Queen Elizabeth, also, amused herself not only with
+the lute, the virginals, and her voice, but also with the violin.
+
+These, however, were amateurs, and the 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, violin, and bass viol. Previous to her there was one
+Signora Leonora Baroni, born at Mantua about 1610, but she played the
+theorbo and the viol di gamba.
+
+The next is "La Diamantina," born about 1715, 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 Cumberland at Huntley in 1746, and her granddaughter, 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 Elizabeth Mara, one of the greatest
+singers of 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 womanhood her voice developed and she became one of the
+celebrities in the history of song. There is no doubt that the training
+in intervals 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 violinists, 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 1760-61, 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 her by Tartini, and
+which is not only one of the rarities of musical literature, but
+constitutes 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
+afterwards 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 instruction first at the conservatory of
+Mendicanti 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 German violoncellist named Schlick,
+was celebrated for her performances on the violin. She was born at
+Mantua in 1764, and educated at the Conservatorio della Pietà 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, _in his mind_, his beautiful
+sonata in B-flat minor, for piano and violin. The time for the concert
+drew near, but not a note was put upon paper, and Madame Schlick's
+anxiety 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 happened, 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, graciously acquiesced, though the emperor did not
+state whether he considered Mozart's knowledge of his new composition,
+or Madame Schlick's ability to play with him unrehearsed, 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 sensation 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 attention 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. Driven to the last
+resource, and having even pawned her clothes, she applied for aid to the
+Italians resident in Paris, and they enabled 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 1816.
+
+Madame Krahmer and Mlles. Eleanora Neumann, and M. Schulz all delighted
+the public in Vienna and Prague. Miss Neumann came from Moscow, and
+astonished the public when she had scarcely reached her tenth year.
+Other names are Madame Filipowicz, Madame Pollini, Mlle. Zerchoff, Eliza
+Wallace, and Rosina Collins, who all played publicly and were well
+known.
+
+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 manufacturer 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 Brussels, where she took lessons of De Bériot, and received the
+finishing touch to her artistic 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 account of their most striking
+characteristics, Mlle. Staccato and Mlle. 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 Prussia.
+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, resumed her travels, and, having matured and improved, she
+played better and excited more interest than before. In 1857 she married
+a French officer, Captain Théodore 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 general and a "Grand Officier de la Legion d'Honneur," 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 personal 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 consisted 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 clothing, purchased with the receipts of the previous
+concerts, were distributed.
+
+From 1830 there has been a constantly increasing number of ladies who
+have appeared 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 performers.
+
+Mlle. Emilia Arditi, Fraülein Hortensia Zirges, Miss Hildegard Werner,
+Miss Bertha Brousil, and Madame Rosetta Piercy-Feeny were all born
+during the decade 1830 to 1840, and were well known, but in 1840 and
+1842 two violinists were born who were destined to hold the stage for
+many years and to exert a great influence in their profession. Wilma
+Neruda, now known as Lady Hallé and Camilla Urso are the two ladies in
+question, the former exerting her influence chiefly in England and on
+the Continent, and the latter in America.
+
+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, however, that the success of Teresa Milanollo gave the first
+great impulse toward the study of the violin by women.
+
+Lady Hallé was born at Brünn, March 21, 1840. Her father was Josef
+Neruda, a musician 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 appearance in
+public in 1846, at which time she was not quite seven years old. On this
+occasion her sister Amalie, who was a pianist, accompanied her, and
+shortly afterwards her father took her, with her sister Amalie and one
+of her brothers, on an extended tour. The family consisted of two
+sons--a pianist and a 'cellist--and two daughters--a violinist and a
+pianist.
+
+In 1849 they reached London, where the young violinist played a concerto
+by De Bériot, 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 concert playing, and in 1869 she
+again appeared in England, where she became a great favourite, and has
+appeared there regularly almost, if not quite, every season since. Hans
+von Bülow 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 Hallé, as she became later, has fully shared his
+popularity. What Joachim is to the sterner sex, just the same is Lady
+Hallé to the gentler.
+
+Joachim was indeed one of the first to recognise the fact that he had in
+Mlle. 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 Hallé, who afterwards became her husband, "I recommend this
+artist to your careful consideration. Mark 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 Hallé, who had long been identified with
+all that was best musically in England, and who was knighted in
+recognition of his services to the cause of art.
+
+Sir Charles Hallé established a series of orchestral concerts at
+Manchester in 1857, and by means of these concerts brought before the
+English public the works of many composers who would have remained
+unknown 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 Hallé made a tour in Australia, which was
+highly successful. Five years later they went to South Africa, where
+they met with a flattering reception. In his memoirs, Sir Charles Hallé
+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 and a song
+had been given by other musicians, 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 Hallé died, and Lady Hallé went into retirement. At this time
+her numerous admirers in England 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 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 violin of the Philharmonic Quartet in London.
+
+In 1898, Lady Hallé 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, however, 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 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 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
+childlike, 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 professional career until 1862, from which time
+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 _I_ 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, Mlle. Urso received a 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 unmoved 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 probably 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.
+
+Teresina Tua, who was well known in the United States about 1887, was
+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 received 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 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 American audience
+more gorgeously arrayed. "Fastened all over the bodice of her soft white
+woollen gown she wore these sparkling jewels, and in her hair were two
+or three diamond stars," said the account in Dwight's _Journal of
+Music_. Yet with all this the criticisms of her playing were somewhat
+lukewarm. The expectation of the people had been wrought up to an
+unreasonable 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 distinguished Italian
+critic, and retired into private 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, London, 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 Shinner (now
+Mrs. A. F. Liddell) has been for some years the most prominent in
+England, while the names of Gabrielle Wietrowitz and Marie Soldat are
+known throughout Europe, and Maude Powell and Leonora Jackson 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 Berlin 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
+admission of women to the Hochschule. Joachim interested himself in her,
+and she was examined for admission. Miss Shinner at once presented
+herself as a second candidate, and the result was that both ladies were
+accepted as probationers. In six months Miss Shinner 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 acquired 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 occasion
+she acquitted herself so well that an encore of the second movement of
+the quartet was demanded. Since that time she has been always before the
+public, and has taken special interest in chamber music and quartet
+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, 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 composition with Thierot, the
+Kapellmeister, at the same time keeping on with the pianoforte.
+
+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 progress
+received a check. Joachim, however, visited Gratz to play at a concert,
+and the young girl went to him and consulted him 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 acquaintance 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, touring extensively throughout
+Europe. One of her greatest triumphs was when, in 1885, at Vienna, she
+played Brahm's violin concerto 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 Röger, but did not retire
+from her profession. She is now known as Madame Soldat-Röger.
+
+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 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 consequence of her great promise Count Aichelburg, 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 1882.
+
+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 capturing the
+Mendelssohn prize, which brought 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 Münster. Then followed a series of concert tours, which
+resulted in securing her a reputation as one of the most brilliant stars
+amongst women.
+
+Miss Wietrowitz plays with the most consummate 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 invariably followed by eulogies from the critics. In
+Berlin, when she appeared at the Singakademie, in November, 1898, 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.
+
+Mlle. Irma Sethe was born on April 28, 1876, 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 hard study
+enabled her to appear at a concert at Marchiennes, when she played a
+concerto by De Bériot and the rondo capriccioso by Saint-Saëns. The
+following 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
+appreciation 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 ability, and advised her to enter
+the conservatoire 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 number of important concerts, and
+shortly afterwards made her first concert tour, visiting many of the
+principal towns of Germany. In November, 1895, she made her first
+appearance in London, where she was pronounced to be, with the exception
+of Lady Hallé, 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
+extravagantly, praised.
+
+In August, 1898, Mlle. Sethe married Doctor Saenger, a _littérateur_,
+and professor of philosophy at Berlin, but she continues her career as a
+violinist, and has made several tours of Europe. She has been compared
+to Rubinstein, inasmuch as her remarkable musical temperament and
+irresistible 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 mentioned Sophie Jaffé, who has
+been called the greatest of all women violinists, and Frida Scotta.
+
+Although many years behind the continent 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 to
+the musical world many shining lights during the past few years. Mlle.
+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, Anna 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 1881 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 throughout Europe, and in 1882 she played, under
+her proper name, at the Crystal Palace, 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
+violin playing. In 1882 she appeared in London at the promenade
+concerts, and again in 1884, when she confirmed the reputation which she
+had made two years 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 violoncello 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 Schradieck, after which she was the pupil in Berlin of Joachim,
+under whose guidance she remained eight years. She was the first
+American who ever gained the Mendelssohn prize.
+
+Miss Morgan has made tours through the 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 auspices 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, Ill., 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.
+
+[Illustration: MAUD POWELL]
+
+She next went to Paris, where she was the first selected out of eighty
+applicants for admission to the Conservatoire. In the following year she
+accepted an engagement for a tour in England, and had the honour 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
+remained with him for two years.
+
+In 1885 she made her début 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 marvellously gifted woman, one who
+in every feature 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 concerts throughout America, and
+has gained a reputation second to no American violinist. By many she is
+declared to be the equal of Soldat and Wietrowitz in tone, technique,
+and interpretative power. She has an immense repertoire, and is also a
+student of literature. She also is said to have been the first to
+establish a female quartet in America.
+
+The latest American lady violinist to gain honours abroad is Miss
+Leonora Jackson, who won the Mendelssohn state prize at Berlin, in 1898,
+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 Cleveland, 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 début in 1896, with the Philharmonic Orchestra, which was
+conducted by Joachim on that occasion. Shortly afterwards she was
+commanded 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 feeling, 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,
+1899, before the Queen of England at Windsor 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
+reputation for any violinist, male or female, and she who expects to be
+numbered with the great violinists must be first of all a musician,
+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 disappointment
+than the realisation that it is capable of far better interpretation.
+
+For the professional there are many influences which cause him to
+hesitate before he launches forth upon the quicksands of public
+performance. The first necessity in professional quartet playing is the
+devotion of a large amount of time to the acquisition of a perfect
+ensemble. A quartet may be likened unto a family, in which the members
+learn to know one another by being brought up together, 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
+concert with a reasonable prospect of success. The rich merchants, to
+whom he had brought letters of introduction, knew nothing of him and
+received him coldly. "I was very anxious 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 company 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. 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, something
+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 and accompanied well enough. This time there was perfect
+silence, and the enthusiasm for my playing increased with each movement.
+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 sensation, 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 accompaniment, 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 excellent quartet player, and often, with his wife, an
+admirable pianist, he gave delightful chamber concerts.
+
+Few violinists have been more closely associated with quartet playing
+than Ferdinand David, in his way one of the most celebrated violinists.
+Little is known of his early youth except that he was born at Hamburg 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
+Königstadt Theatre at Berlin. Here he became acquainted with
+Mendelssohn, 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 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 conductor of the Gewandhaus concerts at
+Leipzig, 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 Berlin,
+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.
+
+Josef Hellmesberger, one of the most brilliant violinists and noted
+teachers of Vienna, founded, in 1849, a quartet which achieved an
+immense reputation. His associates 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.
+Hellmesberger spent the whole of his life in Vienna, with the exception
+of a tour in 1847, and 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 testimony to his remarkable musical
+instinct. Teresa Milanollo, in 1840, took a new manuscript by De Bériot
+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.
+
+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.[1]
+Miss Shinner, whose efforts in the artistic world have been of great
+value, and whose quartet has an immense reputation in England, was also
+a pupil of Joachim.
+
+[Footnote 1: The Shinner Quartet consisted of Miss Emily Shinner (Mrs. F.
+Liddell), first violin, Miss Lucy H. Stone, second violin, Miss Cecilia
+Gates, viola, and Miss Florence Hemmings, violoncello.]
+
+The "Florentine Quartet" was founded by Jean Becker, a violinist of
+excellent ability, who made his mark in Europe about the middle of the
+nineteenth century. Becker was travelling 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 Hilpert,
+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 1818 and died in 1897.
+
+From time to time this society gave subscription 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 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 six chamber concerts, 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 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 reputation.
+
+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 Leipzig, with Hans Becker, son of the founder of the
+Florentine Quartet, Hans Sitt, and Julius Klengel, the 'cellist, and
+this quartet 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
+organisation was received with respect, owing to Mr. Brodsky's European
+reputation, but it was admitted on all hands that superior organisations
+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 Germany, accepted a position in England, where he has
+established another quartet.
+
+He was succeeded in the quartet at Leipzig and at the conservatory by
+Arno Hilf, a distinguished violinist with an enormous technique, who was
+born in 1858 and was taught by David, Röntgen, and Schradieck.
+
+Quartet playing in public was established in England in 1835, when the
+admirers of Joseph Dando, an excellent violinist, opened 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 October 12th, 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. Blagrove and Henry Gattie as first and second violins, Mr. Dando,
+viola, and Mr. Lucas, 'cello, for the more perfect study and
+presentation 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.
+
+The tide of public favour had now set in, and other quartets were
+formed, but none reached such excellence as that headed by Blagrove,
+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
+continued 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 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 reputation in Europe during recent
+years is the Bohemian Quartet, consisting of Carl Hoffmann, 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 Loeleberg, and Arnold Rosé'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 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 concerts was given that season in
+Chickering Hall. While the excellence of the quartet was apparent from
+the start, there were comparatively 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 seating
+capacity about twice as large as that of the original hall.
+
+The second violin is Mr. Otto Roth,[2] a native of Vienna, who played
+for three years under the baton of Hans Richter, and came to Boston to
+play first violin in the Symphony Orchestra.
+
+[Footnote 2: Mr. Roth retired from the quartet in 1899 and his place
+was filled by Mr. Karl Ondricek.]
+
+Mr. Louis Svecenski, an excellent artist, who studied in the Vienna
+Conservatory, under Hellmesberger and Grün, plays the viola, and the
+'cellist is Alwyn Schroeder, an artist, who had achieved a high
+reputation 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, Hartford, and Worcester, also Harvard,
+Yale, and Princeton Universities, besides occasional performances in
+more remote cities. In 1896 the quartet had given over eight hundred
+concerts since its formation.
+
+[Illustration: FRANZ KNEISEL]
+
+At the end of the Symphony season in Boston, in 1896, 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
+reputation it had acquired in America. "It would, indeed, be impossible
+to conceive greater perfection in the matter of ensemble, precision,
+delicacy, and all the qualities 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 Beethoven 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 perfection in
+quartet playing is only possible through long association.
+
+While virtuosity is not essential for quartet playing, good musicianship
+is very necessary. Patient and self-denying practice are absolute
+requisites.
+
+The love of chamber music is apparently growing in the United States,
+for in many of the large cities quartets have been established by good
+musicians, and the opportunities 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    | Place and Date   |
+                           |    of Birth.      |    of Death.     |
+-------------------------------------------------------------------
+Alessandro, Romano         | Italy       c1530 |    ?         ?   |
+Baltazarini                | Italy       c1550 |    ?         ?   |
+Farina, Carlo              | Italy       c1580 |    ?         ?   |
+Alberghi, Paolo            | Italy       c1600 |    ?         ?   |
+Biber, Henry J.            | England     c1600 |    ?         ?   |
+Cortellini, Camillo        | Italy       c1600 |    ?         ?   |
+Madorus, Giovanni          | Venice      c1600 |    ?         ?   |
+Manoir, Guillaume          |    ?        c1600 |    ?         ?   |
+Baltzar, Thomas            | Lubec        1630 | London      1663 |
+Bannister, John            | England      1630 | London      1679 |
+Lulli, Jean Baptiste de    | Florence     1633 | Paris       1687 |
+Strunck, Nicolas Adam      | Germany      1640 |    ?        1700 |
+Laurenti, Bartolomeo G.    | Bologna      1644 |    ?        1726 |
+Vitali, Tomasso            | Bologna     c1650 |    ?         ?   |
+Eccles, John               | London       1650 | London      1735 |
+Marini, Carlo Antonio      | Bergamo     c1650 |    ?         ?   |
+Corelli, Arcangelo         | Italy        1653 | Rome        1713 |
+Aschenbrunner, Christian H.| Alstettin    1654 | Jena        1732 |
+Bassani, Giovanni B.       | Padua        1657 | Ferrara     1716 |
+Vivaldi, Antonio           | Venice       1660 |    ?        1743 |
+Eccles, Henry              | London       1660 | London       ?   |
+Bannister, John, Jr.       | England      1673 | London      1735 |
+Albinoni, Thomas           | Venice       1674 | Venice      1745 |
+Hesse, Ernest Christian    | 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 |
+Senaillé, Jean Baptiste    | Paris        1687 |    ?        1730 |
+Pisendel, Johann Georg     | Karlsburg    1687 | Dresden     1755 |
+Birckenstock, Johann A.    | Hesse        1687 | Eisenach    1733 |
+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, François         | Paris        1698 |    ?        1787 |
+Abaco, Evaristo F. Dall    | Verona      c1700 |    ?         ?   |
+Anderle, F.J.              |     ?       c1700 |    ?         ?   |
+Bitti, Martini             |     ?        1700 |    ?         ?   |
+Borghi, Luigi              |     ?          ?  |    ?         ?   |
+Brown, Abram               |     ?          ?  |    ?         ?   |
+Carbonelli, Stefano        | Rome        c1700 | London       ?   |
+Dalloglio, Domenico        | Venice      c1700 | 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        1705 |    ?        1770 |
+Czarth, Georg C.           | Deutschbrod  1708 | Mannheim    1774 |
+Benda, Franz               | Albenatky    1709 | Potsdam     1786 |
+Girauek, Fernandino        | Bohemia      1712 | Dresde      1761 |
+Benda, Johann              | Albenatky    1713 | Potsdam     1752 |
+D'Auvergne, Antoine        | France       1713 | Lyons       1797 |
+Clegg, John                | Ireland      1714 |    ?       c1750 |
+Hempel, George C.          | Gotha        1715 | Gotha       1801 |
+Fritz, Caspar              | Geneva       1716 | Geneva      1782 |
+Giardini, Felice           | Turin        1716 | Moscow      1796 |
+Mozart, Leopold            | Augsburg     1719 | Salzburg    1787 |
+Stamitz, Johann Carl       | Bohemia      1719 | Mannheim    1761 |
+Bini, Pasqualino           | Pesaro       1720 |    ?         ?   |
+Morigi, Angelo             |     ?          ?  | Parma       1788 |
+Lemière                    |     ?          ?  | Paris       1771 |
+Pagin, André Noel          | Paris        1721 |    ?         ?   |
+Abel, Leopold A.           | Cothen      c1700 |    ?         ?   |
+Festing, Michael C.        | London         ?  | London      1752 |
+Ferrari, Domenico          | Piacenza       ?  | Paris       1780 |
+Enderle, Wilhelm C.        | Bayreuth     1722 | Darmstadt   1793 |
+Nardini, Pietro            | Tuscany      1722 | Florence    1793 |
+Lefêbre, Jacques           | Prinzlow     1723 |    ?        1777 |
+Van Malder, Pierre         | Brussels     1724 | Brussels    1768 |
+Glaser, John Michel        | Erlangen     1725 |    ?         ?   |
+Hattasch, Dismas           | Hohenmant    1725 | Gotha       1777 |
+Gavinies, Pierre           | Bordeaux     1726 | Paris       1800 |
+Gow, Neil                  | Strathband   1727 | Inver       1787 |
+Pugnani, Gaetano           | Turin        1727 | Turin       1803 |
+Manfredi, Filippo          | Lucca        1729 | Madrid     c1780 |
+Gallo, Domenico            | Venice       1730 |    ?         ?   |
+Cannabich, Christian       | Mannheim     1730 | Frankfort   1798 |
+Lolli, Antonio             | Bergamo      1730 | Sicily      1802 |
+Vachon, Pierre             | Arles        1730 | Berlin      1802 |
+Goepfert, Charles F.       | Weissenstein 1733 | Weimar      1798 |
+Raimoni, Ignazio           | Naples       1733 | London      1802 |
+Lahoussaye, Pierre         | Paris        1735 | Paris       1818 |
+Haranc, Louis André        | Paris        1738 | Paris       1805 |
+Celestine, Eligio          | Rome         1739 |    ?          ?  |
+Weigl, Franz J.            | Bavaria      1740 | Vienna      1820 |
+Tomasini, Luigi            | Bohemia      1745 | Gotha       1805 |
+Jarnowick, Giovanni M.     | Palermo      1745 | St.              |
+                           |                   | Petersburg  1804 |
+Navoigille, Guillaume J.   | Givet        1745 | Paris       1811 |
+Paisible                   | Paris        1745 | St.              |
+                           |                   | Petersburg  1781 |
+Salomon, Johann Peter      | Bönn         1745 | London      1815 |
+Cambini, Giovanni G.       | Leghorn      1746 | Bicêtre     1825 |
+Gervais, Pierre Noel       | Mannheim     1746 | Bordeaux    1805 |
+Stamitz, Carl              | Mannheim     1746 | Jena        1801 |
+Ghirett, Gaspar            | Naples       1747 | Parma       1827 |
+Leduc, Simon               | Paris        1748 | Paris       1787 |
+Mestrino, Niccolo          | Milan        1748 | Paris       1790 |
+Guerillot, Henri           | Bordeaux     1749 | Paris       1805 |
+Navoigille, Herbert J.     | Givet        1749 |    ?          ?  |
+Obermeyer, Joseph          | Bohemia      1749 |    ?          ?  |
+Bagatella, Antonio         | Padua        1750 |    ?          ?  |
+Almeyda, C.F.              |     ?       c1750 |    ?          ?  |
+Fuchs, Peter               | Bohemia      1750 | Vienna      1804 |
+Henry, Bonventure          |     ?       c1750 |    ?          ?  |
+Kriegck, J.J.              | Bebra        1750 | Meiningen   1813 |
+Sirmen, Maddalena          | Venice      c1750 |    ?          ?  |
+Woldemar, Michael          | Orleans      1750 | Clermont-        |
+                           |                   |  -Ferrand   1816 |
+Barthelemon, François H.   | Bordeaux     1751 |    ?        1808 |
+Campagnoli, Bartolomeo     | Cento        1751 | Neustrelitz 1827 |
+Lamotte, François          | Vienna       1751 | Holland     1781 |
+Berthaume, Isidore         | Paris        1752 | St.              |
+                           |                   | Petersburg  1802 |
+Kasska, Wilhelm            | Ratisbon     1752 | Ratisbon    1806 |
+Brunetti, Gaetano          | Pisa         1753 | Madrid      1808 |
+Janitsch, Anton            | Switzerland  1753 | Westphalia  1812 |
+Lem, Pierre                | Copenhagen   1753 |    ?          ?  |
+Fiorillo, Federigo         | Brunswick    1753 |    ?       c1800 |
+Stamitz, Anton             | Mannheim     1753 | Paris         ?  |
+Viotti, Giovanni B.        | Piedmont     1753 | London      1824 |
+Kranz, Johann F.           | Weimar       1754 | Stuttgart   1807 |
+Mosel, Giovanni F.         | Florence     1754 |    ?          ?  |
+Leduc, Pierre              | Paris        1755 | Holland     1816 |
+Fauvel, André Joseph       | Bordeaux     1756 |    ?          ?  |
+Lacroix, Antoine           | Remberville  1756 | Lubeck      1812 |
+Wranitzky, Paul            | Moravia      1756 | Vienna      1808 |
+Haack, Karl                | Potsdam      1757 | Potsdam     1819 |
+Rolla, Alessandro          | Pavia        1757 | Milan       1841 |
+Galeazzi, Francesco        | Turin        1758 | Rome        1819 |
+Liber, Wolfgang            | Donanworth   1758 | Ratisbon    1817 |
+Weberlin, Jean F.          | Stuttgart    1758 | Stuttgart   1825 |
+Bruni, Antonio B.          | Piedmont     1759 |    ?         ?   |
+Gautherot, Louise          |     ?        1760 |    ?         ?   |
+Guiliani, François         | Florence     1760 |    ?        1819 |
+Haack, Friedrich           | Potsdam      1760 |    ?         ?   |
+Krommer, Franz             | Kamenitz     1760 | Vienna      1831 |
+Neubauer, Franz C.         | Bohemia      1760 | Bückeburg   1795 |
+Jarnewicz, Felix           | Wilna        1761 | Edinburgh   1848 |
+Wranitzky, Anton           | Moravia      1761 | Vienna      1819 |
+Wessely, Johann            | Bohemia      1762 |    ?         ?   |
+Bonnet, Jean Baptiste      | Montauban    1763 |    ?         ?   |
+Danzi, Franz               | Mannheim     1763 | Carlsruhe   1826 |
+Peshatschek, François      | Bohemia      1763 | Vienna      1816 |
+Alday, P                   | Perpignan    1764 |    ?         ?   |
+Lorenziti, Bernado         | Würtemburg   1764 |    ?        1813 |
+Schlick, Regina (Sacchi)   | Mantua       1764 |    ?         ?   |
+Cartier, Jean Baptiste     | Avignon      1765 | Paris       1841 |
+LaCroix, Antoine           |     ?        1765 |    ?         ?   |
+Hampeln, Karl von          | Mannheim     1765 | Stuttgart   1834 |
+Eck, Johann F.             | Mannheim     1766 | Bamberg     1809 |
+Hunt, Karl                 | Dresden      1766 |    ?         ?   |
+Kreutzer, Rudolph          | Versailles   1766 | Geneva      1831 |
+De Volder, Pierre Jean     | Antwerp      1767 | Brussels    1841 |
+Romberg, Andreas           | Vechta       1767 | Gotha       1821 |
+Pauwels, Jean E.           | Brussels     1768 | Brussels    1804 |
+Spagnoletti, P.            | Cremona      1768 | London      1834 |
+Valmalete, Louis de        | Rieux        1768 |    ?         ?   |
+Grasset, Jean J.           | Paris        1769 | Paris       1839 |
+Paravicini, Signora        | Turin        1769 |    ?         ?   |
+Boucher, Alexandre Jean    | Paris        1770 | Paris       1861 |
+Gerbini, Luigia            |     ?        1770 |    ?         ?   |
+Girault, August            | Paris        1770 | Paris       1806 |
+Hoffmann, Heinrich Anton   | Mainz        1770 | Mainz       1842 |
+Baillot,                   |                   |                  |
+Pierre M.F. de Sales       | Passy        1771 | Paris       1842 |
+Festa, Guiseppe M.         | Naples       1771 |    ?        1839 |
+Labarre, Louis J.C.        | Paris        1771 |    ?         ?   |
+Vacher, Pierre Jean        | Paris        1772 | Paris       1819 |
+Lottini, Denis             | Orleans      1773 | Orleans     1826 |
+Vaccaro, Francesco         | Modena       1773 | Portugal    1823 |
+Eck, Franz                 | Mannheim     1774 | Strasburg   1804 |
+Rode, Pierre               | Bordeaux     1774 | Loire-et-        |
+                           |                   |     Garonne 1831 |
+Eberwen, Traugott M.       | Weimar       1775 | Rudolstadt  1831 |
+Libon, Philippe            | Cadiz        1775 | Paris       1838 |
+Schuppanzigh, Ignace       | Vienna       1776 | Vienna      1830 |
+Dobrynski, Ignace          | Volhyna      1777 | Warsaw      1841 |
+Giorgis, Joseph            | Turin        1777 |    ?         ?   |
+Kieserwetter, Cristophe G. | Anspach      1777 | London      1827 |
+Moralt, Johann B.          | Mannheim     1777 | Munich      1825 |
+Paravicini, Mme.           | Milan        1778 |    ?         ?   |
+Blanchard, Henri L.        | Bordeaux     1778 | Paris       1858 |
+Radicati, Felice A.        | Turin        1778 |    ?        1823 |
+Weiss, Franz               | Silesia      1778 |    ?         ?   |
+Bridgetower, George A.     | Poland      ?1779 |    ?       c1850 |
+Müller, John Henry         | Königsberg   1780 |    ?         ?   |
+Habeneck, François A.      | Mézières     1781 | Paris       1849 |
+Lafont, Charles Philippe   | Paris        1781 | Tarbes      1839 |
+Polledro, Giovanni B.      | Turin        1781 | Turin       1853 |
+Mazas, Jacques F.          | Beziers      1782 |    ?        1849 |
+Puppo, Felice A.           | Turin        1778 |    ?        1823 |
+Bohrer, Anthony            | Munich       1783 | Hanover     1852 |
+Linke, Joseph              | Silesia      1783 | Vienna      1837 |
+Paganini, Nicolo           | Genoa        1784 | Nice        1840 |
+Spohr, Louis               | Brunswick    1784 | Cassel      1859 |
+Zocca                      | Ferrara      1784 |    ?         ?   |
+Fontaine, Antoine N.M.     | Paris        1785 | St. Cloud   1866 |
+Lafonde                    |     ?        1785 |    ?         ?   |
+Eberwen, Karl              | Weimar       1786 | Weimar      1868 |
+Granafond, Eugene          | Compiegne    1786 |    ?         ?   |
+Pixis, Friedrich, Wilhelm  | Mannheim     1786 | Prague      1842 |
+Cudmore, Richard           | Chichester   1757 | Manchester  1841 |
+Guhr, Charles              | Militsch     1787 | Frankfurt   1848 |
+Berwald, Johann F.         | Stockholm    1788 | Stockholm   1861 |
+Fesca, Friedrich E.        | Magdeburg    1789 | Carlsruhe   1826 |
+Maurer, Ludwig             | Potsdam      1789 | St.              |
+                           |                   | Petersburg  1878 |
+Mayseder, Joseph           | Vienna       1789 | Vienna      1863 |
+Wery, Nicolas L.           | Liège        1789 | Luxemburg   1867 |
+Femy, François             | Ghent        1790 |    ?         ?   |
+Klose, J.                  | London       1790 | London      1830 |
+Lipinski, Karl Joseph      | Poland       1790 | Urlow       1861 |
+Goetz, Jean N.C.           | Weimar       1791 |    ?        1861 |
+Benesch, Joseph            | Batelow      1793 |    ?         ?   |
+Pichatschek, François      | Vienna       1793 | Carlsruhe   1840 |
+Filipowicz, Elizabeth M.   |     ?        1794 |    ?         ?   |
+Jansa, Leopold             | Bohemia      1794 | Vienna      1875 |
+Krahmer, Mme. Caroline     |     ?        1794 |    ?         ?   |
+Parmy, Joseph              | Austria      1794 | Mainz       1835 |
+Batta, Pierre              | Maastricht   1795 | Brussels    1876 |
+Bohm, Joseph               | Pesth        1795 | Vienna      1876 |
+Drin, Finlay               | Aberdeen     1795 | Edinburgh   1853 |
+Lacy, Michael R.           | Bilbao       1795 | London      1867 |
+Giorgetti, Fernandino      | Florence     1796 | Florence    1867 |
+Mori, Nicolas              | London       1796 | London      1839 |
+Calcagno, Catarina         | Italy        1797 |    ?         ?   |
+Collins, Isaac             |     ?        1797 | London      1871 |
+Girard, Narcisse           | Nantes       1797 | Paris       1860 |
+Müller, Karl Friedrich     | Brunswick    1797 |    ?        1873 |
+Roberrechts, Andre         | Brussels     1797 | Paris       1860 |
+Rolla, Antoine             | Parma        1797 | Dresden     1837 |
+Tolberque, Jean B.J.       | Belgium      1797 | Paris       1869 |
+Coronini, Paolo            | Vincenza     1798 |    ?        1875 |
+Batta, Pantaleon           | Paris        1799 | Paris       1870 |
+Rudersdorff, J.            | Amsterdam    1799 | Königsberg  1866 |
+Gattie, Henry              |     ?        1800 |    ?         ?   |
+Hellmesberger, Georg       | Vienna       1800 | Newaldegg   1873 |
+Meerts, Lambert            | Brussels     1800 | Brussels    1863 |
+Müller, Theodore Heinrich  | Brunswic     1800 |    ?        1855 |
+Nohr, Christian F.         | Thuringia    1800 | Meiningen   1875 |
+Schulz, Mlle. L.           |       ?      1800 |    ?         ?   |
+Wanski, Johann N.          | Posen       c1800 |    ?         ?   |
+Kalliwoda, Johann W.       | Prague       1801 | Carlsruhe   1866 |
+Saint Lubin, Leon de       | Turin        1801 | Berlin      1856 |
+De Bériot, Charles         | Louvain      1802 | Brussels    1870 |
+Ella, John                 | England      1802 | London      1888 |
+Labitzky, Joseph           | Schönfeld    1802 | Carlsbad    1881 |
+Molique, Wilhelm Bernard   | Nuremburg    1802 | Stuttgart   1869 |
+Ries, Hubert               | Bonn         1802 | Berlin      1886 |
+Lomagne, Joseph            | Perpignan    1804 | Perpignan   1868 |
+Magnien, Victor            | Epinal       1804 | Lille       1885 |
+Kudelski, Karl Matthias    | Berlin       1805 | Baden-Baden 1877 |
+Pollini, Mme.              |     ?        1805 |    ?         ?   |
+Dando, Joseph H.B.         | London       1806 |    ?        1894 |
+Hartmann, Franz            | Coblentz     1807 | Cologne     1857 |
+Panofka, Heinrich          | Breslau      1807 | Florence    1887 |
+Sauzay, Moritz             | Moravia      1808 | Breslau     1885 |
+Bessems, Antoine           | Antwerp      1809 | Antwerp     1868 |
+Müller, Franz F.G.         | Brunswick    1809 |    ?         ?   |
+Bull, Ole Borneman         | Bergen       1810 | Bergen      1880 |
+David, Ferdinand           | Hamburg      1810 | Switzerland 1873 |
+Ganz, Leopold              | Mainz        1810 | Berlin      1869 |
+Ghys, Joseph               | Ghent        1810 |    ?        1848 |
+Blagrove, Henry Gamble     | Nottingham   1811 | London      1872 |
+Hamm, Johann V.            | Winterhausen 1811 | Stuttgart   1834 |
+Sainton, Prosper Philippe  | Toulouse     1813 | London      1890 |
+Ernst, Heinrich Wilhelm    | Brünn        1814 | Nice        1865 |
+Alard, Delphine J.         | Bayonne      1815 | Paris?      1888 |
+Artot, Alexandre J.M.      | Brussels     1815 | Paris       1845 |
+Dont, Jacob                | Vienna       1815 | Vienna      1888 |
+Sivori, Ernest Camillo     | Genoa        1815 | Paris       1894 |
+Zerchoff, Mlle.            |     ?        1815 |    ?         ?   |
+Batta, Alexandre           | Maastricht   1816 |    ?         ?   |
+Prume, François Herbert    | Liège        1816 | Liège       1849 |
+Deldevez, Ernest           | Paris        1817 | Paris       1897 |
+Göbel, Johann Ferdinand    | Baumgarten   1817 |    ?         ?   |
+Bazzini, Antonio           | Brescia      1818 | Milan       1897 |
+Dancla, Jean B. C.         | Bagnières de      |                  |
+                           |    Bignon    1818 |    ?         ?   |
+Kramer, Traugott           | Codburg      1818 |    ?         ?   |
+Eller, Louis               | Graz         1819 | Pau         1862 |
+Hering, Karl               | Berlin       1819 |    ?        1889 |
+Léonard, Hubert            | Bellaire     1819 | Paris       1890 |
+Batta, Joseph              | Maastricht   1820 |
+Dreyschock, Raimund        | Bohemia      1820 | Leipzig     1869 |
+Kéler-Béla                 | Hungary      1820 | Wiesbaden   1882 |
+Neumann, Louise            |              1820 |                  |
+Vieuxtemps, Henri          | Verviers     1820 | Algiers     1881 |
+Wallace, Eliza             | England      1820 |                  |
+Gautier, Karl              | Vaugirard    1822 | Vaugirard   1878 |
+Hauser, Miska              | Presburg     1822 | Vienna      1887 |
+Dancla, Leopold            | France       1823 |             1895 |
+Gaertner, Karl             | Stralsund    1823 |                  |
+Hermann, Constant          | Douai        1823 |                  |
+Eichberg, Julius           | Düsseldorf   1824 | Boston      1893 |
+Hullweck, Ferdinand        | Dessau       1824 | Blasewitz   1887 |
+De Kontski, Apollinari     | Warsaw       1825 | Warsaw      1879 |
+Bott, Jean Joseph          | Cassel       1826 |             1895 |
+Collins, Rosina            |              1826 |                  |
+Hauser, Maurice            | Berlin       1826 | Königsberg   1857 |
+Kundinger, August          | Kitzengen    1827 |                  |
+Milanollo, Teresa          | Turin        1827 |                  |
+Mollenhauer, Edward        | Erfurt       1827 |                  |
+Hellmesberger, Georg       | Vienna       1828 | Hanover     1853 |
+Hermann, Frederick         | Frankfort    1828 |                  |
+Huber, Karl                | Varjas       1828 | Pesth       1885 |
+Hellmesberger, Joseph      | Vienna       1829 | Vienna      1893 |
+Röntgen, Engelbert         | Holland      1829 |                  |
+Adelburg, August R. Von    |      ?       1830 |    ?        1873 |
+Arditi, Emilia             |      ?       1830 |                  |
+Garcin, Jules A. S.        | Bourges      1830 |    ?        1896 |
+Hennen, Friedrich          | Heerlen      1830 |                  |
+Remenyi, Edouard           | Hungary      1830 | SanFrancisco1898 |
+Zirges, Hortensia          |              1830 |                  |
+Bargheer, Karl Louis       | Bückeburg    1831 |                  |
+Joachim, Joseph            | Kitsee       1831 |                  |
+Kassmayer, Moritz          | Vienna       1831 | Vienna      1884 |
+Kömpel, August             | Bavaria      1831 | Weimar      1891 |
+Singer, Edmund             | Hungary      1831 |                  |
+Laub, Ferdinand            | Prague       1832 | Tyrol       1875 |
+Lauterbach, Johann C.      | Bavaria      1832 |                  |
+Milanollo, Maria           | Turin        1832 |             1848 |
+Becker, Jean               | Mannheim     1833 | Mannheim    1884 |
+Bennewitz, Anton           | Privat       1833 |                  |
+Graff, Carl                | Hungary      1833 |                  |
+Filby, Heinrich            | Vienna       1834 |                  |
+De Ahna, Heinrich K. H.    | Vienna       1835 | Vienna      1892 |
+Jaffé, Moritz              | Posen        1835 |                  |
+Monasterio, Jesus          | Potes (Spain)1835 |                  |
+Strauss, Ludwig            | Pressburg    1835 |                  |
+Wieniawski, Henry          | Poland       1835 | Moscow      1880 |
+Besekirskij, Wasil W.      | Moscow       1836 |                  |
+Carrodus, John T.          | Keighley     1836 | London      1895 |
+Holmes, Alfred             | London       1837 | Paris       1876 |
+Grün, Jacob                | Buda-Pesth   1837 |                  |
+Brousil, Bertha            |     ?        1838 |                  |
+Piercy-Feeny, Mme.         |              1838 |                  |
+Neruda, Wilhelmina (Lady   |                   |                  |
+  Hallé)                   | Brünn        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             | Hulbrönn     1844 |                  |
+Sarasate, Pablo de         | Pampeluna    1844 |                  |
+Auer, Leopold              | Hungary      1845 |                  |
+Singelee, Louise           |              1845 |                  |
+Castellan, Mlle            |              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       1851 |                  |
+Sauret, Emil               | Dun-le-Roi   1852 |                  |
+Boulanger, Mlle.           |              1853 |                  |
+Meyer, Waldemar            | Berlin       1853 |                  |
+Zajic, Florian             | Bohemia      1853 |                  |
+Ferrari, Signora Elvira    |              1854 |                  |
+Hermant, Mlle.             |              1854 |                  |
+Drechsler-Hamilton, Mme    | Agnes        1855 |                  |
+Holländer, Gustav          | Silesia      1855 |                  |
+Sahla, Richard             | Graz         1855 |                  |
+Kess, Wilhelm              | Dordrecht    1856 |                  |
+Petri, Henri Wilhelm       | Utrecht      1856 |                  |
+Thomson, César             | Liège        1857 |                  |
+Barcevicz, Stanislaus      | Warsaw       1858 |                  |
+Hilf, Arno                 | Saxony       1858 |                  |
+Huber, Eugen (Jeno Hubay)  | Budapest     1858 |                  |
+Halir, Karl                | Hohenlohe    1859 |                  |
+Hess, Willie               | Mannheim     1859 |                  |
+Ondricek, Franz            | Prague       1859 |                  |
+Ysaye, Eugene              | Liège        1859 |                  |
+Loeffler, Charles Martin   | Alsace       1861 |                  |
+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          | Brünn        1865 |                  |
+Kneisel, Franz             | Roumania     1865 |                  |
+Carpenter, Nettie          | New York     1865 |                  |
+Dunn, John                 | Hull         1866 |                  |
+Wietrowitz, Gabrielle      | Laibach      1866 |                  |
+Dengremont, Maurice        | Rio Janeiro  1867 |    ?       c1887 |
+Gregorowitsch, Charles     | St.               |                  |
+                           | Petersburg   1867 |                  |
+Tua, Teresina              | Turin        1867 |                  |
+Powell, Maud               | Aurora, Ill. 1868 |                  |
+Sapellnikoff               | Odessa       1868 |                  |
+Burmester, Willy           | Hamburg      1869 |                  |
+Petschnikoff, Alexander    | Moscow       1873 |                  |
+Marteau, Henri             | Reims        1874 |                  |
+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.
+Anêt, 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,
+     71-75, 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.
+Beauharnais, Eugene, 307.
+Becker, Hans, 356.
+Becker, Jean, 353, 354, 355.
+Beethoven, L. von, 57, 77, 91, 205, 225,
+     231, 352, 254, 290, 333, 347, 258, 364.
+Benda, Franz, 56, 57.
+Bennewitz, 277.
+Bériot, 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.
+Blagrove, H.G., 97, 170, 358.
+Boccherini, L., 76.
+Bohemian Quartet, 360, 363.
+Böhm, 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.
+Bülow, Hans Von, 291, 292, 293, 315.
+Bunn, 247.
+Bunzl, 294.
+Burmester, Willy, 286-293, 333.
+Burney, Doctor, 43, 55, 56.
+
+Calcagno, Caterina, 111, 154, 308.
+Caldera, 309.
+Campbell, Lucie, 330.
+Careño, 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.
+Clementi, 86.
+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, 351, 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.
+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.
+Festing, M., 53.
+Fétis, 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.
+Görgey, General, 206.
+Gotha, Duke of, 86.
+Gounod, C., 294.
+Graun, 49, 56.
+Gregorowitsch, C., 241, 284, 286.
+Grün, Jacob, 242, 283, 362.
+Guiraud, 279.
+
+Habeneck, 68, 78-80, 93, 145, 309.
+Halir, Carl, 256, 276-278, 283.
+Hallé, Lady (Mme. Norman-Neruda), 312-319, 323, 327, 335.
+Hallé, 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., 337.
+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, Mlle., 143.
+Hummel, 245.
+Hunt, L., 133.
+
+Isabella, Queen, 226.
+
+Jackson, 17.
+Jackson, Leonora, 326, 342, 343.
+Jacobsen, 326.
+Jacotot, 139.
+Jaffé, Sophie, 336.
+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, 83.
+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.
+Kömpel, 97.
+Kossuth, 206.
+Krahmer, 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.
+Léonard, 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, 36.
+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.
+Manfredi, 49.
+Mapleson, 207.
+Mara, G.E., 302, 305.
+Marchesi, 105.
+Margherita, Queen, 324.
+Maria Theresa, 296.
+Marini, B., 15.
+Marsick, M., 28, 68, 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, 101.
+Meck, Countess of, 222.
+Mell, D., 19.
+Mendelssohn, 161, 246, 247, 278, 279,
+     329, 331, 342, 351.
+Meneke, 360.
+Metternich, Count, 114.
+Milanollo, M., 310.
+Milanollo, T., 29, 68, 309, 313, 352.
+Mingotti, 53.
+Molique, B.H., 70, 162, 169, 241, 294.
+Montes, Lola, 216.
+Montebello, Duke of, 187.
+Morgan, Geraldine, 338, 339, 340.
+Mori, 68.
+Morra, 309.
+Mozart, L., 54.
+Mozart, W., 24, 58, 306, 307, 322, 323, 358.
+Murska, Ilma di, 265.
+Musaeus, 180, 181.
+
+Nagel, 150.
+Napoleon, 89, 90, 112.
+Napoleon III., 230.
+Nardini, P., 24, 49, 50, 54, 55, 73, 303.
+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, 208.
+
+Occa, Victoria dall', 307.
+Ondricek, F., 267, 278.
+Ottey, Sarah, 302.
+Ottoboni, Cardinal, 31.
+Ourosoff, 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, 100-134,
+     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.
+Paravicini, Mme., 68, 307.
+Parmentier, Captain, 310.
+Pasdeloup, 280, 321.
+Pasini, 109.
+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, 36, 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.
+Röger, 330.
+Rolla, 105, 106.
+Röntgen, 357.
+Rosé, 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-Saëns, 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., 33, 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.
+Senaillé, J.B., 28, 39.
+Senkrah, A., 337.
+Servaczinski, 246.
+Servais, 163.
+Servetto, 105.
+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, 154-161, 167, 168, 231, 294.
+Soldat, M., 257, 326, 327-330, 342, 353.
+Somis, 28, 29, 35, 51, 53.
+Sontag, H., 143, 233.
+Soubre, E.J., 163.
+Spain, Queen of, 230, 324.
+Spohr, L., 26, 75, 82-99, 158, 159, 162,
+     170, 178, 182, 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.
+Süssmayer, 120.
+Svecenski, L., 362.
+Sweden, King of, 198.
+
+Tartini, G., 29, 43, 44-51, 52, 54, 101, 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, 246.
+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, 150.
+Wallace, Eliza, 308.
+Wasielewski, 244.
+Weber, 94.
+Weiss, A., 249.
+Werner, H., 312, 313.
+Wieniawski, 70, 136, 138, 154, 218-226, 231,
+     270, 271, 273, 285, 337.
+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, 233.
+Wood, Mrs., 302.
+
+Young, 18.
+Ysaye, 237, 239, 263, 269, 276, 334, 335.
+
+Zampieri, Marquis, 189.
+Zerbst, Theresa, 277.
+Zerchoff, Mlle., 308.
+
+
+
+
+
+End of the Project Gutenberg EBook of Famous Violinists of To-day and
+Yesterday, by Henry C. Lahee
+
+*** END OF THIS PROJECT GUTENBERG EBOOK FAMOUS VIOLINISTS ***
+
+***** This file should be named 14884-8.txt or 14884-8.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/4/8/8/14884/
+
+Produced by Juliet Sutherland, Chuck Greif, Leonard Johnson and the
+Online Distributed Proofreading Team.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/14884-8.zip b/14884-8.zip
new file mode 100644
index 0000000..bb3d783
--- /dev/null
+++ b/14884-8.zip
diff --git a/14884-h.zip b/14884-h.zip
new file mode 100644
index 0000000..0474acf
--- /dev/null
+++ b/14884-h.zip
diff --git a/14884-h/14884-h.htm b/14884-h/14884-h.htm
new file mode 100644
index 0000000..f335db4
--- /dev/null
+++ b/14884-h/14884-h.htm
@@ -0,0 +1,16304 @@
+<?xml version="1.0" encoding="iso-8859-1"?>
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta name="generator" content=
+    "HTML Tidy for Linux/x86 (vers 1st August 2004), see www.w3.org" />
+    <title>
+      The Project Gutenberg eBook of Famous Violinists Of To-Day And
+      Yesterday, by Henry C. Lahee.
+    </title>
+<style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         }
+    h1,h2,h3,h4,h5,h6 {
+         text-align: center; /* all headings centered */
+         clear: both;
+         }
+    hr { width: 33%;
+         margin-top: 2em;
+         margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+    table {margin-left: auto; margin-right: auto;}
+    body{margin-left: 10%;
+         margin-right: 10%;
+        }
+    ul, li {list-style-type: none;}
+    .linenum  {position: absolute; top: auto; left: 4%;} /* poetry number */
+    blockquote {margin-left: 5%; margin-right: 5%; text-align: justify;}
+    .pagenum  {position: absolute; left: 92%; font-size: smaller; text-align: right;} /* page numbers */
+    .sidenote {width: 20%; padding-bottom: .5em; padding-top: .5em;
+               padding-left: .5em; padding-right: .5em; margin-left: 1em;
+               float: right; clear: right; margin-top: 1em;
+               font-size: smaller; background: #eeeeee; border: dashed 1px;}
+    .bb       {border-bottom: solid 2px;}
+    .bl       {border-left: solid 2px;}
+    .bt       {border-top: solid 2px;}
+    .br       {border-right: solid 2px;}
+    .bbox     {border: solid 2px;}
+    .center   {text-align: center;}
+    .smcap    {font-variant: small-caps;}
+    .figcenter   {margin: auto; text-align: center;}
+    .figcenter p {text-align: center;}
+    .figleft     {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top:
+                 1em; margin-right: 1em; padding: 0; text-align: center;}
+    .figright    {float: right; clear: right; margin-left: 1em; margin-bottom: 1em;
+                 margin-top: 1em; margin-right: 0; padding: 0; text-align: center;}
+    .footnotes        {border: dashed 1px;}
+    .footnote         {margin-left: 10%; margin-right: 10%; font-size: 0.9em;}
+    .footnote .label  {position: absolute; right: 84%; text-align: right;}
+    .fnanchor         {vertical-align: super; font-size: .8em; text-decoration: none;}
+    .poem             {margin-left:10%; margin-right:10%; text-align: left;}
+    .poem p           {margin-top: 0em; margin-bottom: 0em;}
+    .poem br          {display: none;}
+    .poem .stanza     {margin: 1em 0em 1em 0em;}
+    .poem span        {display: block; margin: 0; padding-left: 3em; text-indent: -3em;}
+    .poem span.i2     {display: block; margin-left: 2em;}
+    .poem span.i4     {display: block; margin-left: 4em;}
+     span.pagenum     {position: absolute; left: 1%; right: 91%;font-size: 8pt;}
+
+              a:link {color:#0000ff;
+                              text-decoration:none}
+              link {color:#0000ff;
+                                text-decoration:none}
+              a:visited {color:#0000ff;
+                              text-decoration:none}
+              a:hover {color:#ff0000}
+
+        pre             {font-size: 8pt;}
+
+    -->
+    /* XML end  ]]>*/
+</style>
+  </head>
+  <body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Famous Violinists of To-day and Yesterday
+by Henry C. Lahee
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Famous Violinists of To-day and Yesterday
+
+Author: Henry C. Lahee
+
+Release Date: February 2, 2005 [EBook #14884]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK FAMOUS VIOLINISTS ***
+
+
+
+
+Produced by Juliet Sutherland, Chuck Greif, Leonard Johnson and the
+Online Distributed Proofreading Team.
+
+
+
+
+
+
+</pre>
+
+    <br />
+    <br />
+    <span class="pagenum"><a name="page1" id="page1"></a>{1}</span>
+    <div class="figcenter">
+      <img src="images/001.jpg" width="350" height="517" alt="OLE BULL"
+      title="Ole Bull" />
+      <p>
+        <b>OLE BULL</b>
+      </p>
+    </div>
+    <br />
+    <br />
+    <br />
+    <br />
+    <br />
+    <span class="pagenum"><a name="page2" id="page2"></a>{2}</span>
+    <h1>
+      <a name="FAMOUS_VIOLINISTS_OF_TO_DAY_AND_YESTERDAY" id=
+      "FAMOUS_VIOLINISTS_OF_TO_DAY_AND_YESTERDAY"></a>FAMOUS VIOLINISTS
+      OF TO-DAY AND YESTERDAY
+    </h1>
+    <h3>
+      By
+    </h3>
+    <h2>
+      Henry C. Lahee
+    </h2>
+    <h5>
+      <i>ILLUSTRATED</i>
+    </h5><span class="pagenum"><a name="page3" id=
+    "page3"></a>{3}</span>
+    <h5>
+      Boston The Page Company Publishers
+      <br />
+      <i>1899</i>
+      <br />
+      BY L.C. PAGE AND COMPANY (INCORPORATED)
+      <br />
+      Ninth Impression, February, 1912
+      <br />
+      Tenth Impression, January, 1916
+      <br />
+      THE COLONIAL PRESS C.H. SIMONDS CO., BOSTON, U.S.A.
+      <br />
+    </h5>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="PREFACE" id="PREFACE"></a> PREFACE.
+    </h2><span class="pagenum"><a name="page4" id=
+    "page4"></a>{4}</span>
+    <p>
+      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 present day rather than a detailed account
+      of a very few. Necessarily, those who have been prominently
+      before the public as performers are selected in preference to
+      those who have been more celebrated as teachers.
+    </p>
+    <p>
+      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.<span class="pagenum"><a name=
+      "page5" id="page5"></a>{5}</span>
+    </p>
+    <p>
+      The "Chronological Table" is compiled from the best existing
+      authorities, and is not an effort to bring together a large
+      number 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.
+    </p>
+    <p>
+      HENRY C. LAHEE.
+    </p>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CONTENTS" id="CONTENTS"></a> CONTENTS.
+    </h2><span class="pagenum"><a name="page6" id=
+    "page6"></a>{6}</span>
+    <h2>
+      <a href="#FAMOUS_VIOLINISTS_OF_TO_DAY_AND_YESTERDAY"><b>FAMOUS
+      VIOLINISTS OF TO-DAY AND YESTERDAY.</b></a>
+    </h2>&nbsp;
+    <table summary="Chapters and pages" border="0" cellpadding="3"
+    cellspacing="1">
+      <tr>
+        <td>
+          <b>PREFACE.</b>
+        </td>
+        <td>
+          <a href="#PREFACE">page 4</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>CONTENTS.</b>
+        </td>
+        <td>
+          <a href="#CONTENTS">page 6</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>LIST OF ILLUSTRATIONS</b>
+        </td>
+        <td>
+          <a href="#LIST_OF_ILLUSTRATIONS">page 7</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>CHAPTER I. Introductory</b>
+        </td>
+        <td>
+          <a href="#CHAPTER_I">page 11</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>CHAPTER II. 1650 TO 1750</b>
+        </td>
+        <td>
+          <a href="#CHAPTER_II">page 30</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>CHAPTER III. 1750 TO 1800</b>
+        </td>
+        <td>
+          <a href="#CHAPTER_III">page 60</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>CHAPTER IV. PAGANINI</b>
+        </td>
+        <td>
+          <a href="#CHAPTER_IV">page 104</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>CHAPTER V. 1800 TO 1830</b>
+        </td>
+        <td>
+          <a href="#CHAPTER_V">page 135</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>CHAPTER VI. OLE BULL</b>
+        </td>
+        <td>
+          <a href="#CHAPTER_VI">page 172</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>CHAPTER VII. 1830 TO 1850</b>
+        </td>
+        <td>
+          <a href="#CHAPTER_VII">page 204</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>CHAPTER VIII. JOACHIM</b>
+        </td>
+        <td>
+          <a href="#CHAPTER_VIII">page 244</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>CHAPTER IX. VIOLINISTS OF TO-DAY</b>
+        </td>
+        <td>
+          <a href="#CHAPTER_IX">page 261</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>CHAPTER X. WOMEN AS VIOLINI</b>
+        </td>
+        <td>
+          <a href="#CHAPTER_X">page 300</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <b>CHAPTER XI. FAMOUS QUARTETS</b>
+        </td>
+        <td>
+          <a href="#CHAPTER_XI">page 345</a>
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <a href=
+          "#CHRONOLOGICAL_TABLE_OF_FAMOUS_VIOLINISTS"><b>CHRONOLOGICAL
+          TABLE OF FAMOUS VIOLINISTS</b></a>
+        </td>
+        <td>
+          &nbsp;
+        </td>
+      </tr>
+      <tr>
+        <td>
+          <a href="#INDEX"><b>INDEX</b></a>
+        </td>
+        <td>
+          &nbsp;
+        </td>
+      </tr>
+    </table>
+    <p>
+      <br />
+      <br />
+      <br />
+    </p>
+    <p>
+      <span class="pagenum"><a name="page7" id="page7"></a>{7}</span>
+    </p>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="LIST_OF_ILLUSTRATIONS" id=
+      "LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS
+    </h2>
+    <hr style="width: 10%;" />
+    <p>
+      <span class="pagenum"><a name="page8" id="page8"></a>{8}</span>
+    </p>
+    <table border="0" cellpadding="4" cellspacing="0" summary=
+    "List of Illustrations">
+      <tr>
+        <td align='left'>
+          OLE BULL
+        </td>
+        <td align='center'>
+          <a href="#page1"><b><i>Frontispiece</i></b></a>
+          <br />
+        </td>
+      </tr>
+      <tr>
+        <td align='left'>
+          ARCANGELO CORELLI
+        </td>
+        <td align='center'>
+          <a href="#page31"><b>Page 31</b></a>
+          <br />
+        </td>
+      </tr>
+      <tr>
+        <td align='left'>
+          NICOLO PAGANINI
+        </td>
+        <td align='center'>
+          <a href="#page105"><b>Page 105</b></a>
+          <br />
+        </td>
+      </tr>
+      <tr>
+        <td align='left'>
+          CAMILLO SIVORI
+        </td>
+        <td align='center'>
+          <a href="#page154"><b>Page 154</b></a>
+          <br />
+        </td>
+      </tr>
+      <tr>
+        <td align='left'>
+          MARTIN PIERRE JOSEPH MARSICK
+        </td>
+        <td align='center'>
+          <a href="#page238"><b>Page 238</b></a>
+          <br />
+        </td>
+      </tr>
+      <tr>
+        <td align='left'>
+          JOSEPH JOACHIM
+        </td>
+        <td align='center'>
+          <a href="#page244"><b>Page 244</b></a>
+          <br />
+        </td>
+      </tr>
+      <tr>
+        <td align='left'>
+          EMIL SAURET
+        </td>
+        <td align='center'>
+          <a href="#page265"><b>Page 265</b></a>
+          <br />
+        </td>
+      </tr>
+      <tr>
+        <td align='left'>
+          MAUD POWELL
+        </td>
+        <td align='center'>
+          <a href="#page340"><b>Page 340</b></a>
+          <br />
+        </td>
+      </tr>
+      <tr>
+        <td align='left'>
+          FRANZ KNEISEL
+        </td>
+        <td align='center'>
+          <a href="#page362"><b>Page 362</b></a>
+          <br />
+        </td>
+      </tr>
+    </table>
+    <p>
+      <span class="pagenum"><a name="page9" id="page9"></a>{9}</span>
+    </p>
+    <hr style="width: 65%;" />
+    <p>
+      <span class="pagenum"><a name="page10" id=
+      "page10"></a>{10}</span>
+    </p>
+    <h2>
+      FAMOUS VIOLINISTS OF TO-DAY AND YESTERDAY.
+    </h2>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.
+    </h2><span class="pagenum"><a name="page11" id=
+    "page11"></a>{11}</span>
+    <p>
+      INTRODUCTORY.
+    </p>
+    <p>
+      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 singular powers of
+      this beautiful instrument have been eloquently eulogised by
+      Oliver Wendell Holmes, in the following words:
+    </p>
+    <p>
+      "Violins, too. The sweet old Amati! the divine Stradivari! played
+      on by ancient maestros until the bow hand lost its power, and the
+      flying fingers stiffened. Bequeathed to the <span class=
+      "pagenum"><a name="page12" id="page12"></a>{12}</span> passionate
+      young enthusiast, who made it whisper his hidden love, and cry
+      his inarticulate 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, beneath the
+      rushing bow of their lord and leader. Into lonely prisons with
+      improvident 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
+      <i>dilettante</i>, 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 <span class="pagenum"><a name=
+      "page13" id="page13"></a>{13}</span> with the concentrated hue
+      and sweetness of all the harmonies which have kindled and faded
+      on its strings."
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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 instruments 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<span class="pagenum"><a name=
+      "page14" id="page14"></a>{14}</span> 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
+      almost to the day of his death, for an instrument 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.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page15" id=
+      "page15"></a>{15}</span> 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 Mlle. de Vaudemont, sister of the queen, and
+      this is said to have been the origin of the heroic and historical
+      ballet in France.
+    </p>
+    <p>
+      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 contains
+      the "shake." Then there is a "Toccata" for violin solo, by Paolo
+      Quagliati, published in 1623, and a collection of violin pieces
+      by Carlo Farina, published in 1627 at Dresden, in<span class=
+      "pagenum"><a name="page16" id="page16"></a>{16}</span> which the
+      variety of bowing, double stopping, and chords shows a great
+      advance in the demands upon the execution.
+    </p>
+    <p>
+      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
+      Stravagante," 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.
+    </p>
+    <p>
+      Eighteen sonatas composed by Giovanni Battista Fontana, and
+      published at Venice in 1641, 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.
+    </p>
+    <p>
+      Italy was the home of the violin, of composition<span class=
+      "pagenum"><a name="page17" id="page17"></a>{17}</span> 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 throughout Europe, the other
+      schools were established.
+    </p>
+    <p>
+      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 "Hudibras," refers to one Jackson, who lost
+      a leg in the service of the Roundheads, and became a professional
+      "fiddler:"
+    </p>
+    <div class="poem">
+      <div class="stanza">
+        <p>
+          "A squeaking engine he apply'd
+        </p>
+        <p>
+          Unto his neck, on northeast side,
+        </p>
+        <p>
+          Just where the hangman does dispose,
+        </p>
+        <p>
+          To special friends, the knot or noose;
+        </p>
+        <p>
+          For 'tis great grace, when statesmen straight
+        </p>
+        <p>
+          Dispatch a friend, let others wait.
+        </p>
+      </div>
+      <p>
+        <span class="pagenum"><a name="page18" id=
+        "page18"></a>{18}</span>
+      </p>
+      <div class="stanza">
+        <p>
+          His grisly beard was long and thick,
+        </p>
+        <p>
+          With which he strung his fiddle-stick;
+        </p>
+        <p>
+          For he to horse-tail scorned to owe,
+        </p>
+        <p>
+          For what on his own chin did grow."
+        </p>
+      </div>
+    </div>
+    <p>
+      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:
+    </p>
+    <div class="poem">
+      <p>
+        "You scrapers that want a good fiddle, well strung,
+      </p>
+      <p>
+        You must go to the man that is old while he's Young;
+      </p>
+      <p>
+        But if this same Fiddle, you fain would play bold,
+      </p>
+      <p>
+        You must go to his son, who'll be Young when he's old.
+      </p>
+      <p>
+        There's old Young and young Young, both men of renown,
+      </p>
+      <p>
+        Old sells and young plays the best Fiddle in town,
+      </p>
+      <p>
+        Young and old live together, and may they live long,
+      </p>
+      <p>
+        Young to play an old Fiddle; old to sell a new song."
+      </p>
+    </div>
+    <p>
+      In the course of time the English learned to esteem all arts more
+      highly, and in no country was a great musician more sure of a
+      warm welcome.
+    </p>
+    <br />
+    <span class="pagenum"><a name="page19" id="page19"></a>{19}</span>
+    <p>
+      Two celebrated violinists were born in the year 1630, Thomas
+      Baltzar, and John Banister, the former in Germany, at Lubec, and
+      the latter in London.
+    </p>
+    <p>
+      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
+      popularity. The wonder caused by his performances 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
+      tune,<span class="pagenum"><a name="page20" id=
+      "page20"></a>{20}</span> which he nor any in England saw the like
+      before."
+    </p>
+    <p>
+      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 musick, 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.
+    </p>
+    <p>
+      John Banister was taught music by his father, one of the
+      <i>waits</i> 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, according to Pepys,
+      to have aroused the wrath of Banister by giving prominence to a
+      French fiddler named Grabu,<span class="pagenum"><a name="page21"
+      id="page21"></a>{21}</span> 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.
+    </p>
+    <p>
+      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 minstrels,
+      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 desiring, or
+      entreating any person or persons to hear them play ... shall be
+      adjudged ... rogues, vagabonds, and sturdy beggars."
+    </p>
+    <p>
+      John Banister seems to have been a somewhat "sturdy beggar,"
+      though not exactly in the sense meant by the ordinance, for
+      he<span class="pagenum"><a name="page22" id=
+      "page22"></a>{22}</span> 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. He too,
+      was buried in the cloister of Westminster Abbey. His son, also,
+      was an excellent performer on the violin, and played first violin
+      in the Italian opera when it was first introduced into England.
+      He was one of the musicians of Charles II., James II., William
+      and Mary, and of Queen Anne.
+    </p>
+    <p>
+      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 1710,
+      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<span class=
+      "pagenum"><a name="page23" id="page23"></a>{23}</span> years of
+      age he was placed under Geminiani, who had recently established
+      himself in London. 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.
+    </p>
+    <p>
+      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, however, 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."
+    </p>
+    <p>
+      Dubourg's name is the first on record in<span class=
+      "pagenum"><a name="page24" id="page24"></a>{24}</span> connection
+      with the performance of a concerto in an English theatre.
+    </p>
+    <p>
+      John Clegg, a pupil of Dubourg, was a violinist of great ability,
+      whom Handel placed at the head of the opera band, but his
+      faculties became deranged by intense study and practice, and he
+      died at a comparatively early age, in 1742, an inmate of Bedlam.
+    </p>
+    <p>
+      Another very promising young English violinist was Thomas Linley,
+      who exhibited great musical powers, and performed a concerto in
+      public when eight years old. He was sent to Italy to study under
+      Nardini, and through the mediation of that artist he became
+      acquainted with Mozart, who was about the same age. Linley's
+      career was prematurely closed, for at the age of twenty-two he
+      was drowned through the capsizing of a pleasure-boat.
+    </p>
+    <p>
+      This completes the list of English violinists of note who were
+      born previous to the nineteenth century. The later ones we
+      shall<span class="pagenum"><a name="page25" id=
+      "page25"></a>{25}</span> find in their place in succeeding
+      chapters, but there have been very few violinists of English
+      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 occasionally appeared in conjunction
+      with De Bériot and Malibran, is hardly known as a "virtuoso," 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. Making the
+      best of his misfortunes the elder Oury settled in England,
+      married a Miss Hughes, and became a professor of dancing and
+      music.
+    </p>
+    <p>
+      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<span class=
+      "pagenum"><a name="page26" id="page26"></a>{26}</span> 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 début at the Philharmonic concerts in London.
+    </p>
+    <p>
+      There was another unfortunate officer of Napoleon who became
+      tutor to the Princesses 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
+      accomplished pianist, and together they made the nine years'
+      concert tour.
+    </p>
+    <p>
+      During the period in which the art of violin playing was being
+      perfected on the<span class="pagenum"><a name="page27" id=
+      "page27"></a>{27}</span> Continent, the English were too fully
+      occupied 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 estimation of the
+      violinist's art than the latter had of the tonsorial profession,
+      and the situation was sufficiently ludicrous to form the subject
+      of a picture in <i>Punch</i>, and thus the matter assumed a
+      serious aspect.
+    </p>
+    <p>
+      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
+      violinists have been imported.<span class="pagenum"><a name=
+      "page28" id="page28"></a>{28}</span>
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      The pupils of Corelli were Somis, Locatelli, Geminiani
+      (Italians), and Anêt (a Frenchman), whose pupil Senaillé 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 Roberrechts, his pupil De Bériot
+      and his pupil Vieuxtemps, the two latter Belgians, also Baillot,
+      etc., down to Marsick and Sarasate, a Spaniard, while through
+      Rode, a Frenchman, we have Böhm (school of Vienna)<span class=
+      "pagenum"><a name="page29" id="page29"></a>{29}</span> and his
+      pupil Joachim, a Hungarian (school of Berlin).
+    </p>
+    <p>
+      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 Bériot, who appear
+      under different schools.
+    </p>
+    <p>
+      The only conclusion to be drawn is that the greatest violinists
+      were really independent 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.
+    </p>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.
+    </h2><span class="pagenum"><a name="page30" id=
+    "page30"></a>{30}</span>
+    <p>
+      1650 TO 1750.
+    </p>
+    <p>
+      Arcangelo Corelli, whose name is recognised as one of the
+      greatest in the history of violin playing and composition, and
+      who laid the foundation for all future development of technique,
+      was born in 1653, at Fusignano, near Imola, in the territory of
+      Bologna.
+    </p>
+    <p>
+      He showed an early propensity for the violin, and studied under
+      Bassani, a man of extensive knowledge and capabilities, while
+      Mattei Simonelli was his instructor in counterpoint.
+    </p>
+    <p>
+      Corelli at one time sought fame away from home, and he is said to
+      have visited Paris, where Lulli, the chief violinist of
+      <span class="pagenum"><a name="page31" id=
+      "page31"></a>{31}</span> that city, exhibited such jealousy and
+      violence that the mild-tempered Corelli withdrew. In 1680 he went
+      to Germany, where he was well received, and entered the service
+      of the Elector of Bavaria, but he soon returned to Rome. 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.
+    </p>
+    <div class="figcenter">
+      <img src="images/archange_corelli_page_30.jpg" width="350"
+      height="517" alt="ARCHANGE CORELLI" title="Archange Corelli" />
+      <p>
+        <b>ARCHANGE CORELLI</b>
+      </p>
+    </div>
+    <p>
+      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,<span class="pagenum"><a name="page32" id=
+      "page32"></a>{32}</span> on being asked the reason, answered that
+      "he feared the music might interrupt the conversation."
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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,<span class="pagenum"><a name="page33" id=
+      "page33"></a>{33}</span> 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."
+    </p>
+    <p>
+      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 rehearsals, 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<span class="pagenum"><a name="page34" id=
+      "page34"></a>{34}</span> 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, 1713.
+    </p>
+    <p>
+      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 selections from his own works, was
+      performed in the Pantheon on the anniversary of his<span class=
+      "pagenum"><a name="page35" id="page35"></a>{35}</span> funeral.
+      On this occasion, the works were performed in a slow, firm, and
+      distinct manner, just as they were written, without changing the
+      passages in the way of embellishment, and this is probably the
+      way in which he himself played them.
+    </p>
+    <p>
+      Corelli's compositions are remarkable for delicate taste and
+      pleasing melodies and harmonies. 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 Anêt, settled respectively in Italy, Holland, England, and
+      Poland.
+    </p>
+    <p>
+      Giovanni Battista Somis was born in Piedmont, and, after studying
+      under Corelli, he<span class="pagenum"><a name="page36" id=
+      "page36"></a>{36}</span> 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.
+    </p>
+    <p>
+      Pietro Locatelli was born at Bergamo, and became a pupil of
+      Corelli at a very early age. He travelled considerably, and was
+      undoubtedly 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 execution of the violin,
+      and has, on that account,<span class="pagenum"><a name="page37"
+      id="page37"></a>{37}</span> been called the grandfather of our
+      modern "finger-heroes."
+    </p>
+    <p>
+      Locatelli settled in Amsterdam, where he died in 1764. There he
+      established regular public concerts, and he left a number of
+      compositions, some of which are used at the present day.
+    </p>
+    <p>
+      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 Mlle. de Montpensier. He was employed in
+      the kitchen, where he seems to have lightened his burdens by
+      playing tricks on the cook and tunes on the stewpans. He also
+      beguiled his leisure hours by playing the violin, in which art he
+      made<span class="pagenum"><a name="page38" id=
+      "page38"></a>{38}</span> 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 celebrated band of the twenty-four
+      violins. Soon after this a special band called <i>Les Petits
+      Violons</i> was formed with Lulli at their head, and under his
+      direction it surpassed the band of twenty-four.
+    </p>
+    <p>
+      Lulli found great favour at court, and, indeed, astonished the
+      world with his exquisite 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.
+    </p>
+    <p>
+      <span class="pagenum"><a name="page39" id=
+      "page39"></a>{39}</span> There is little doubt that the
+      principles of the great Italian school of violin playing were,
+      some years later, brought into France by Anêt, who was born in
+      1680, and returned from Italy about 1700, but owing to the
+      jealousies of his colleagues, he found it advisable 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.
+    </p>
+    <p>
+      Lulli 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 marking the time. The bruise gradually assumed
+      such a serious condition that it ended his life.
+    </p>
+    <p>
+      Jean Baptiste Senaillé, who was a pupil of<span class=
+      "pagenum"><a name="page40" id="page40"></a>{40}</span> Anêt, was
+      born in 1687, and turned to the Italian school. In 1719 he
+      entered the service of the Duke of Orleans.
+    </p>
+    <p>
+      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 Dubourg 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 purchases, and thus frequently into debt.
+    </p>
+    <p>
+      About the year 1650 three violinists were born in Italy, who all
+      left their mark upon the history of violin playing.
+    </p>
+    <p>
+      Tommaso Vitali was born at Bologna, and was leader of the
+      orchestra in that city, and later in Modena.
+    </p>
+    <p>
+      <span class="pagenum"><a name="page41" id=
+      "page41"></a>{41}</span> Giuseppe Torelli was leader of a church
+      orchestra in Bologna, and afterwards accepted the post of leader
+      of the band of the Markgraf of Brandenburg-Anspach, at Anspach,
+      in Germany. To him is generally ascribed the invention of the
+      "Concerto."
+    </p>
+    <p>
+      Antonio Vivaldi was the son of a violinist, 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 immediately quitted the altar at which he
+      was officiating, 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,&mdash;<span class="pagenum"><a name="page42" id=
+      "page42"></a>{42}</span> he was forbidden to say mass in the
+      future.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Veracini's travels were extensive, for he visited London in 1714
+      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.
+    </p>
+    <p>
+      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 mortification 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.
+    </p>
+    <p>
+      <span class="pagenum"><a name="page43" id=
+      "page43"></a>{43}</span> 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 Geminiani had ingratiated himself with the public. In 1847
+      Veracini returned to Pisa.
+    </p>
+    <p>
+      Veracini has been sometimes ranked with Tartini as a performer.
+      He was also a composer 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 <i>l'eau de vie</i>.
+    </p>
+    <p>
+      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 Veracini was shipwrecked, and lost his two
+      Stainer <span class="pagenum"><a name="page44" id=
+      "page44"></a>{44}</span> violins, which he stated were the best
+      in the world. These instruments he named St. Peter and St. Paul.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Tartini's father, who was an elected Nobile of Parenzo, being a
+      pious Church benefactor, intended his son for the Church,
+      <span class="pagenum"><a name="page45" id=
+      "page45"></a>{45}</span>
+    </p>
+    <p>
+      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<span class=
+      "pagenum"><a name="page46" id="page46"></a>{46}</span> sical
+      studies, but though he learned composition of Padre Boemo, the
+      organist of the monastery, he was his own teacher on the violin.
+      The influence of the quiet monastic 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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Here he met and heard Francesco Maria Veracini, who was some
+      seven years his<span class="pagenum"><a name="page47" id=
+      "page47"></a>{47}</span> 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.
+    </p>
+    <p>
+      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:
+    </p>
+    <p>
+      "He dreamed one night (in 1713) that he had made a compact with
+      the devil, who promised to be at his service on all occasions;
+      and, during this vision, everything succeeded according to his
+      mind; his wishes were anticipated, and his desires always
+      surpassed, by the assistance of his new servant.<span class=
+      "pagenum"><a name="page48" id="page48"></a>{48}</span> 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 executed 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, however, directly composed a piece,
+      which is perhaps the best of all his works, and called it the
+      'Devil's Sonata;' he knew it, however, 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."<span class="pagenum"><a name="page49"
+      id="page49"></a>{49}</span>
+    </p>
+    <p>
+      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 Kinsky, a
+      rich and enthusiastic amateur, who kept an excellent private
+      orchestra. Tartini was engaged as conductor and remained 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.
+    </p>
+    <p>
+      Tartini's contemporaries all agree in credit<span class=
+      "pagenum"><a name="page50" id="page50"></a>{50}</span> ing him
+      with those qualities which make a great player. He had a fine
+      tone, unlimited command of finger-board 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
+      disposition. 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.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page51" id=
+      "page51"></a>{51}</span> 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.
+    </p>
+    <p>
+      Jean Marie Leclair, a pupil of Somis, was a Frenchman, born at
+      Lyons, and he began life as a dancer at the Rouen Theatre. 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 appointed ripieno-violinist at the
+      Opéra, and in 1731 became a member of the royal band, but he,
+      although undoubtedly superior 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<span class=
+      "pagenum"><a name="page52" id="page52"></a>{52}</span> 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.
+    </p>
+    <p>
+      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
+      publishing a number of his compositions. In 1770 he was at Turin,
+      where he remained to the<span class="pagenum"><a name="page53"
+      id="page53"></a>{53}</span> end of his life as teacher,
+      conductor, and composer.
+    </p>
+    <p>
+      Felice Giardini, another pupil of Somis, was born 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 performance was so
+      brilliant that he became established as the best violinist who
+      had yet appeared in England, and in 1754 he was placed at the
+      head of the opera orchestra, 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.<span class="pagenum"><a name="page54" id=
+      "page54"></a>{54}</span>
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Of his playing, Leopold Mozart, himself an eminent violinist,
+      writes: "The beauty, purity and equality of his tone, and the
+      tastefulness 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.<span class=
+      "pagenum"><a name="page55" id="page55"></a>{55}</span>
+    </p>
+    <p>
+      Antonio Lolli, who was born at Bergamo about 1730, appears to
+      have been somewhat 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, harmonics, etc., with the greatest ease and certainty. 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
+      admiration in advance of the contest that Nardini withdrew.
+    </p>
+    <p>
+      Lolli was so eccentric that he was considered by many people to
+      be insane, and Doctor Burney, in writing of him, says, "I am
+      convinced that in his lucid intervals, he was in a serious style
+      a very great,<span class="pagenum"><a name="page56" id=
+      "page56"></a>{56}</span> expressive, and admirable performer;"
+      but Doctor Burney does not mention any lucid interval.
+    </p>
+    <p>
+      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 strolling musicians who attended fêtes, 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 appointed chapel master at Warsaw, and eventually he
+      became a member of the Prince Royal of Prussia's band, and then
+      concert master to the king.
+    </p>
+    <p>
+      Benda was a master of all the difficulties<span class=
+      "pagenum"><a name="page57" id="page57"></a>{57}</span> 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.
+    </p>
+    <p>
+      A violinist whose career had a great influence 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.
+    </p>
+    <p>
+      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."
+    </p>
+    <p>
+      Salomon became an expert violinist at an early age, and travelled
+      a good deal in Europe before he settled in England, which was in
+      1781, when he made his appearance at<span class=
+      "pagenum"><a name="page58" id="page58"></a>{58}</span> 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."
+    </p>
+    <p>
+      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
+      playing. 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<span class=
+      "pagenum"><a name="page59" id="page59"></a>{59}</span> 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.
+    </p>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CHAPTER_III" id="CHAPTER_III">CHAPTER III.</a>
+    </h2><span class="pagenum"><a name="page60" id=
+    "page60"></a>{60}</span>
+    <p>
+      1750 TO 1800.
+    </p>
+    <p>
+      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 masters of the Italian school, treating his instrument
+      above all as a singing voice, and keeping strictly within its
+      natural resources. According to Baillot, one of his most
+      distinguished pupils, his style was "perfection," a word which
+      covers a host of virtues.
+    </p>
+    <p>
+      <span class="pagenum"><a name="page61" id=
+      "page61"></a>{61}</span> Viotti was born in 1753 at Fontanetto, a
+      village in Piedmont. His first musical instruction 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 received into the royal
+      band. In 1780 he travelled extensively, visiting Germany, Poland,
+      and Russia, and meeting with great success. The Empress Catharine
+      endeavoured to induce him to remain at St. Petersburg, but
+      without success, and he proceeded to London, where he soon
+      eclipsed all other violinists. In 1782 he went to Paris and made
+      his début 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<span class="pagenum"><a name="page62" id=
+      "page62"></a>{62}</span> 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 XVI., at Versailles, and had proceeded through about half
+      of his performance, 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.
+    </p>
+    <p>
+      In 1783 Viotti returned to Italy for a short time, but the
+      following year he was back in Paris teaching, composing, and
+      benefiting 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<span class="pagenum"><a name="page63" id=
+      "page63"></a>{63}</span> on great terms of friendship. This
+      enterprise was suddenly stopped by the revolution, and Viotti was
+      obliged to leave France, having lost almost everything that he
+      possessed.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      This misfortune occurred in 1798, and Viotti retired to a small
+      village called Schoenfeld, 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<span class="pagenum"><a name=
+      "page64" id="page64"></a>{64}</span> 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 instruction.
+    </p>
+    <p>
+      In 1801 Viotti found himself at liberty to visit England once
+      more, but when he returned 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
+      integrity 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.
+    </p>
+    <p>
+      At the close of his career as a wine merchant, he returned to
+      Paris to resume his regular profession, and was appointed
+      director of the Grand Opéra, but he failed to rescue<span class=
+      "pagenum"><a name="page65" id="page65"></a>{65}</span> 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.
+    </p>
+    <p>
+      While travelling in Switzerland, and enjoying 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.
+    </p>
+    <p>
+      There are numerous anecdotes about Viotti in reference to his
+      ready repartee and to his generous nature. One of the most
+      interesting is that concerning a tin violin. He had been
+      strolling one evening on the Champs Elysées, in Paris, with a
+      friend (Langlé), when his attention was arrested by some
+      harsh,<span class="pagenum"><a name="page66" id=
+      "page66"></a>{66}</span> 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, producing some most remarkable effects. The
+      performance drew a small crowd, and Langlé, with true instinct,
+      took the old man's hat and, passing it round, collected a
+      respectable sum, which was handed to the aged beggar.
+    </p>
+    <p>
+      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."
+    </p>
+    <p>
+      Viotti, pleased with the implied compliment, 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<span class="pagenum"><a name="page67" id=
+      "page67"></a>{67}</span> hearing the story ran after Viotti, and
+      offered to supply him with as many as he would like for six
+      francs apiece.
+    </p>
+    <p>
+      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 musicians, and among these was
+      Rossini, who was destined to become great. De Bériot also sought
+      out Viotti and played before him, but the old violinist told him
+      that he had already acquired an original style which only
+      required cultivating to lead to success, and that he could do
+      nothing for him.
+    </p>
+    <p>
+      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 admiration of his friends
+      and the despair of his rivals. He died in 1824, after about two
+      years of retirement.
+    </p>
+    <p>
+      Among Viotti's most prominent pupils<span class=
+      "pagenum"><a name="page68" id="page68"></a>{68}</span> were
+      Roberrechts, Pixis, Alday le jeune, Cartier, Rode, Mori, Durand,
+      and Baillot, also Mlle. Gerbini and Madame Paravicini.
+      Roberrechts became the teacher of De Bériot, who in turn taught
+      Vieuxtemps, Teresa Milanollo, and Lauterbach. Baillot taught
+      Habeneck, who taught Alard, Léonard, Prume, Cuvillon, and Mazas.
+      From Alard we have Sarasate, and from Léonard, Marsick and
+      Dengremont, while through Rode we have Böhm, 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 performers, others were
+      celebrated more as teachers.
+    </p>
+    <p>
+      Rodolphe Kreutzer, who was born at Versailles in 1766, is the
+      third in order of development 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<span class="pagenum"><a name="page69" id=
+      "page69"></a>{69}</span> compiled the famous "Methode de Violon"
+      for the use of the students at the Conservatoire. 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
+      success. This is said by some writers to have been his own
+      composition, though by others it was attributed to his teacher.
+    </p>
+    <p>
+      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
+      Opéra Comique, and professor at the Conservatoire, where he
+      formed some excellent pupils, among them being
+      D'Artot,<span class="pagenum"><a name="page70" id=
+      "page70"></a>{70}</span> Rovelli, the teacher of Molique,
+      Massart, the teacher of Wieniawski and Teresina Tua, and Lafont,
+      who also became a pupil of De Bériot. On Rode's departure for
+      Russia, Kreutzer succeeded him as solo violin at the Opéra, 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 General Director of the Music at the Opéra. In
+      1826 he resigned his post and retired to Geneva, where he died in
+      1831. Kreutzer was a prolific composer, and his compositions
+      include forty dramatic works and a great number of pieces for the
+      violin.
+    </p>
+    <p>
+      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<span class="pagenum"><a name=
+      "page71" id="page71"></a>{71}</span> 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 harmonies of the sonata could
+      have aroused the passions which form the <i>raison d'être</i> of
+      the book.
+    </p>
+    <p>
+      Kreutzer was noted for his style of bowing, his splendid tone,
+      and the clearness of his execution.
+    </p>
+    <p>
+      With three such masters as Baillot, Rode, and Kreutzer, besides
+      Viotti, who was frequently in Paris, the French school of violin
+      playing had now superseded the Italian.
+    </p>
+    <p>
+      Pierre Marie François de Sales Baillot, who was associated with
+      Rode and Kreutzer 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<span class=
+      "pagenum"><a name="page72" id="page72"></a>{72}</span> 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 received 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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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<span class=
+      "pagenum"><a name="page73" id="page73"></a>{73}</span> 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 private secretary, and securing but little
+      time for his violin playing.
+    </p>
+    <p>
+      In 1791 he returned to Paris, and Viotti secured a place for him
+      in the opera orchestra, but on being offered a position in the
+      Ministère 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 performance established his reputation, and he was
+      offered a professorship of violin playing at the Conservatoire,
+      then recently opened.
+    </p>
+    <p>
+      His next appointment was to the private<span class=
+      "pagenum"><a name="page74" id="page74"></a>{7}</span> band of
+      Napoleon, after which he travelled for three years in Russia with
+      the violoncello player Lemare, earning great fame.
+    </p>
+    <p>
+      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 England, 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.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page75" id=
+      "page75"></a>{75}</span> to bring out the powerful contrasts and
+      enlarged ideas of the modern musical compositions. After the time
+      of Baillot and his contemporaries the style of Paganini became
+      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.
+    </p>
+    <p>
+      Perhaps the most illustrious pupil of Viotti was Pierre Rode, who
+      was born at Bordeaux in 1774, and exhibited such exceptional
+      talent that at the age of sixteen he was one of the violins at
+      the Théâtre Feydeau in Paris. He had made his début in Paris at
+      the Théâtre 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<span class="pagenum"><a name="page76" id=
+      "page76"></a>{76}</span> to France he was appointed professor of
+      the violin at the Conservatoire, then newly established. In 1799
+      ne 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 1814 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.
+    </p>
+    <p>
+      Of Rode's playing in his best days we are told that he displayed
+      all the best qualities of a grand, noble, pure, and thoroughly
+      musical<span class="pagenum"><a name="page77" id=
+      "page77"></a>{77}</span> style. His intonation was perfect, his
+      tone large and pure, and boldness, vigour, deep and tender
+      feeling characterised his performances. In fact he was no mere
+      virtuoso but a true artist. His musical nature shows itself in
+      his compositions, which are thoroughly suited to the nature of
+      the violin, and have a noble, dignified character and
+      considerable 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 compositions, was
+      very great indeed.
+    </p>
+    <p>
+      Beethoven wrote for Rode, after hearing him play in Vienna, the
+      famous violin Romance in F, Op. 50, one of the highest possible
+      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.
+    </p>
+    <p>
+      The most celebrated pupil of Baillot was<span class=
+      "pagenum"><a name="page78" id="page78"></a>{78}</span> François
+      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 1804 he was awarded first prize for
+      violin playing, and became a sub-professor.
+    </p>
+    <p>
+      The Empress Josephine, on hearing him play, was so pleased that
+      she granted him a pension of twelve hundred francs. He became one
+      of the first violins at the Opéra, but his special forte was as
+      leader of orchestras, and he held that post at the Conservatoire,
+      on account of his efficiency, until 1815, when the advent of the
+      allied armies caused it to be closed.
+    </p>
+    <p>
+      Habeneck was instrumental in bringing forward the great
+      orchestral works of Bee<span class="pagenum"><a name="page79" id=
+      "page79"></a>{79}</span> thoven. He became director of the Grand
+      Opéra, and inspector-general of the Conservatoire.
+    </p>
+    <p>
+      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 Habeneck (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<span class="pagenum"><a name=
+      "page80" id="page80"></a>{80}</span> we should assuredly have
+      been lost." "Yes," said the composer, "I know it well,"
+      accompanying his words with an expression of countenance
+      betokening suspicion of Habeneck'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.
+    </p>
+    <p>
+      Habeneck died in 1849. He published only a few of his
+      compositions.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Lafont was born at Paris, December 7, 1781, and received his
+      first lessons from his mother, who afterward placed him under
+      her<span class="pagenum"><a name="page81" id=
+      "page81"></a>{81}</span> 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.
+    </p>
+    <p>
+      For a time his studies were interrupted by an attempt to become a
+      singer, and he appeared at the Théâtre Feydeau, which had then
+      been opened by Viotti. This diversion being soon at an end, he
+      returned to the violin, 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 1815.
+    </p>
+    <p>
+      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.<span class=
+      "pagenum"><a name="page82" id="page82"></a>{82}</span>
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      He was one of the numerous violinists 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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page83" id=
+      "page83"></a>{83}</span> example of purity of style and
+      legitimate treatment of the instrument, and is considered to have
+      had a more beneficial effect on violin playing than Paganini, who
+      was born in the same year, 1784.
+    </p>
+    <p>
+      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<span class=
+      "pagenum"><a name="page84" id="page84"></a>{84}</span> confined
+      to the mere rudiments, and he acquired the art chiefly by
+      studying the scores of the great composers.
+    </p>
+    <p>
+      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 fourteen, he undertook to make his first artistic
+      tour, and set out for Hamburg, carrying with him some letters of
+      introduction.
+    </p>
+    <p>
+      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,&mdash;on foot.
+      Spohr's experience 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 accordingly
+      presented a petition to the Duke of<span class="pagenum"><a name=
+      "page85" id="page85"></a>{85}</span> Brunswick asking for means
+      to carry out his desires. The duke was pleased with him, 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 teachers
+      of the day.
+    </p>
+    <p>
+      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 <i>en route</i>. 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 following year he once more
+      undertook a concert tour on his own account, travelling through
+      Saxony and Prussia, and meeting with great
+      enthusiasm.<span class="pagenum"><a name="page86" id=
+      "page86"></a>{86}</span>
+    </p>
+    <p>
+      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 Göttingen 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
+      in 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.
+    </p>
+    <p>
+      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 Fraülein Dorothea Scheidler, an excellent harp player,
+      who for many years afterwards appeared with him in all his
+      concerts, and for whom he wrote<span class="pagenum"><a name=
+      "page87" id="page87"></a>{87}</span> 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 steadfastly 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.
+    </p>
+    <p>
+      Another authority tells us, in less flowery language, that he was
+      of herculean frame and very strong constitution.<span class=
+      "pagenum"><a name="page88" id="page88"></a>{88}</span>
+    </p>
+    <p>
+      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 protestations. The anecdote would be more
+      satisfactory 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<span class=
+      "pagenum"><a name="page89" id="page89"></a>{89}</span> 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, however, 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.
+    </p>
+    <p>
+      In 1808 Spohr wrote his first opera, but although it was accepted
+      for representation, it was never performed in public.
+    </p>
+    <p>
+      During this year Napoleon held his celebrated 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<span class="pagenum"><a name="page90" id=
+      "page90"></a>{90}</span> 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 emergency, 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<span class="pagenum"><a name="page91" id=
+      "page91"></a>{91}</span> distinguished guests, occupied the front
+      row of the stalls.
+    </p>
+    <p>
+      Spohr remained at Gotha until 1813, 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 Leipzig, 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 compositions 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<span class="pagenum"><a name="page92" id=
+      "page92"></a>{92}</span> 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
+      Holländer," and continued with "Tannhäuser," notwithstanding the
+      opposition of the court. He considered Wagner to be by far the
+      greatest of all dramatic composers living at that time. In 1815
+      he made a concert tour in France and Italy, during which he met
+      Rossini and Paganini, playing at Venice a sinfonia concertante of
+      his own composition, with the latter.
+    </p>
+    <p>
+      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
+      managers 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<span class="pagenum"><a name="page93" id=
+      "page93"></a>{93}</span> 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
+      pianoforte.
+    </p>
+    <p>
+      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 greatest cordiality. But the public did not seem to
+      appreciate his merits, for his quiet, unpretentious style was not
+      quite in keeping with the taste of the French.
+    </p>
+    <p>
+      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<span class="pagenum"><a name=
+      "page94" id="page94"></a>{94}</span> Cassel for the rest of his
+      life. This position he obtained on the advice of Weber.
+    </p>
+    <p>
+      In 1831 he completed his great "Violin School," which has ever
+      since its publication been considered a standard work. The
+      following year the political disturbances interfered 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.
+    </p>
+    <p>
+      In 1839 he again visited England, where his music had become very
+      popular, and during the remainder of his career he repeated his
+      visit several times, many of his works being produced by the
+      various societies.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page95" id=
+      "page95"></a>{95}</span> 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. "Tannhäuser" 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.
+    </p>
+    <p>
+      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 identified with
+      the musical life of the nation.
+    </p>
+    <p>
+      In 1851 the elector refused to sign the permit for Spohr's two
+      months' leave of absence, to which he was entitled under
+      his<span class="pagenum"><a name="page96" id=
+      "page96"></a>{96}</span> 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 misfortune 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 Conservatorium in the following year, with all his
+      old-time energy. In 1859 he died at Cassel.
+    </p>
+    <p>
+      Through all his long career Spohr had lived up to the ideal he
+      had conceived in his youth. He was a man of strong individuality,
+      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
+      straightforwardness and sincerity in word and deed. He was a most
+      prolific composer, leaving over two hundred works in all. His
+      violin <span class="pagenum"><a name="page97" id=
+      "page97"></a>{97}</span> concertos stand foremost among his
+      works, and are distinguished as much by noble and elevated ideas
+      as by masterly thematic treatment, yet there is a certain
+      monotony of treatment in all, and his style and manner are
+      entirely his own.
+    </p>
+    <p>
+      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 were of exceptional 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 effective. He
+      disliked the use of the "springing bow," which came with the
+      modern style of playing.
+    </p>
+    <p>
+      Spohr had a great many pupils, of whom the best known were Ries,
+      Ferd. David, Blagrove, Bargheer, Kömpel, and Henry<span class=
+      "pagenum"><a name="page98" id="page98"></a>{98}</span> Holmes. He
+      was also considered one of the best conductors of his time, and
+      introduced into England the custom of conducting with a baton.
+    </p>
+    <p>
+      Amongst the amusing episodes in the life of Spohr was one which
+      took place in London, 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<span class="pagenum"><a name="page99" id=
+      "page99"></a>{99}</span> French nor German. As Spohr spoke no
+      English the communication between them was of necessity carried
+      on by pantomime. 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
+      considered 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.
+    </p>
+    <p>
+      Among the most talented violinists of the early part of the
+      nineteenth century was<span class="pagenum"><a name="page100" id=
+      "page100"></a>{100}</span> Karl Joseph Lipinski, the son of a
+      Polish violin player whose gifts were uncultivated. He was born
+      in Poland, in 1790, 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 attributed his full tone on the violin to the power which
+      his 'cello practice gave to his bow arm.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page101" id=
+      "page101"></a>{101}</span> 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.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page102" id=
+      "page102"></a>{102}</span> 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.
+    </p>
+    <p>
+      Later on he met Paganini again at Warsaw, where they were rivals,
+      for the time being, and different factions waxed warm over their
+      respective merits. Paganini himself, who is said to have been
+      asked whom he considered to be the greatest violinist, replied,
+      with conscious modesty, "The <i>second</i> greatest is certainly
+      Lipinski."
+    </p>
+    <p>
+      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[Pg 103<span class="pagenum"><a name="page103" id=
+      "page103"></a>{103}</span> 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.
+    </p>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CHAPTER_IV" id="CHAPTER_IV">CHAPTER IV.</a>
+    </h2><span class="pagenum"><a name="page104" id=
+    "page104"></a>{104}</span>
+    <p>
+      PAGANINI.
+    </p>
+    <p>
+      The name Paganini stands for the quintessence of eccentric
+      genius,&mdash;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 violinist
+      of the nineteenth century.<span class="pagenum"><a name="page105"
+      id="page105"></a>{105}</span>
+    </p>
+    <div class="figcenter">
+      <img src="images/nicolo_paganini_page_104.jpg" width="350"
+      height="360" alt="NICCOLO PAGANINI" title="Niccoilo Paganini" />
+      <p>
+        <b>NICCOLO PAGANINI</b>
+      </p>
+    </div>
+    <br />
+    <br />
+    <p>
+      Nicolo Paganini was the son of a commercial 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
+      develop 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 outgrown, 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 theatre 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<span class="pagenum"><a name="page106" id=
+      "page106"></a>{106}</span>
+    </p>
+    <p>
+      Although Paganini denied ever having taken lessons with Rolla, he
+      nevertheless had frequent discussions with him concerning the new
+      effects which he was continually attempting, and which did not
+      always meet with the unqualified approval of the older musician.
+    </p>
+    <p>
+      The music which he wrote for his instrument contained so many
+      difficulties that he had to practise unremittingly to
+      overcome<span class="pagenum"><a name="page107" id=
+      "page107"></a>{107}</span> them, often working ten or twelve
+      hours a day and being overwhelmed with exhaustion.
+    </p>
+    <p>
+      In 1797 Paganini made his first tour, with his father, through
+      the chief towns of Lombardy, 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 fête of St. Martin was celebrated at Lucca, and after much
+      opposition he at last obtained the consent of his father to
+      attend the celebration. 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.
+    </p>
+    <p>
+      For a time his careless life had its allurements, but the young
+      virtuoso was frequently<span class="pagenum"><a name="page108"
+      id="page108"></a>{108}</span> reduced to great straits, and on
+      one occasion, if not more, pawned his violin. This happened 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 afterwards in all his concerts.
+    </p>
+    <p>
+      This violin was, some time later, the means by which he was cured
+      of gambling, for having 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<span class="pagenum"><a name="page109" id=
+      "page109"></a>{109}</span> gamester is an object of contempt to
+      all well regulated minds.
+    </p>
+    <p>
+      Paganini won another violin by his ability 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 manuscript concerto containing some difficulties
+      considered as insurmountable. "This instrument shall be yours,"
+      said Pasini, placing 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 instrument.
+    </p>
+    <p>
+      The severe course of dissipation in which Paganini indulged
+      during these days of his youth ruined his health, and caused him
+      frequently to disappear from the public gaze for long periods,
+      throughout his career. With<span class="pagenum"><a name=
+      "page110" id="page110"></a>{110}</span> 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 unexpected
+      manner, for as his genius began to excite the wonder of the
+      world, sundry malicious 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 during 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
+      imprisonment<span class="pagenum"><a name="page111" id=
+      "page111"></a>{111}</span> coincided with the period which was
+      really occupied with this romance.
+    </p>
+    <p>
+      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 became 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.
+    </p>
+    <p>
+      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<span class=
+      "pagenum"><a name="page112" id="page112"></a>{112}</span> 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
+      entitled "Napoleon," which is performed on the G string only.
+    </p>
+    <p>
+      At Ferrara he once nearly lost his life through unwittingly
+      trampling upon the susceptibilities 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 manifested by the
+      suburbanites in "hee-hawing" at the citizens when fitting
+      opportunity presented itself. Now it happened that Paganini
+      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<span class=
+      "pagenum"><a name="page113" id="page113"></a>{113}</span> 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 chanticleer, the mewing of
+      cats, the barking of dogs were all imitated and the audience was
+      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 audience 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.
+    </p>
+    <p>
+      Once, when he was at Naples, Paganini was taken ill, and in his
+      desire to secure lodgings where the conditions would be
+      favourable for his recovery, he made a mistake<span class=
+      "pagenum"><a name="page114" id="page114"></a>{114}</span> 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 possessions. Here he was
+      found by Ciandelli, the violoncellist, who, after giving the
+      landlord a practical and emphatic expression of his opinion by
+      means of a stick, conveyed his friend Paganini to a comfortable
+      lodging, where he was carefully attended until restored to
+      health.
+    </p>
+    <p>
+      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 prodigious. "He stood
+      before us like a miraculous apparition in the domain of art,"
+      wrote one of the critics. The public seemed to be intoxicated.
+      Hats, dresses, shoes, every <span class="pagenum"><a name=
+      "page115" id="page115"></a>{115}</span> thing bore his name. His
+      portrait was to be found everywhere, he was decorated and
+      presented with medals and honours.
+    </p>
+    <p>
+      He continued his tour through Germany, being received everywhere
+      with the utmost enthusiasm, and he visited England, after a
+      sojourn in Paris, in 1831.
+    </p>
+    <p>
+      When he reached home after an absence of six years, he was the
+      possessor of a considerable fortune, part of which he lost by
+      injudicious investments. Some friends induced 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 authorities, 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<span class="pagenum"><a name="page116" id=
+      "page116"></a>{116}</span> 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
+      improve, he decided to pass the winter at Nice, but the progress
+      of his ailment was not checked, and on May 27, 1840, he expired.
+    </p>
+    <p>
+      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,&mdash;the fruit of a liaison with
+      the singer Antonia Bianchi of Como,&mdash;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.
+    </p>
+    <p>
+      During his last illness Paganini, not realising that death was so
+      near, devoted himself to music and to arranging for another
+      con<span class="pagenum"><a name="page117" id=
+      "page117"></a>{117}</span> 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 consolations 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 consecrated 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.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page118" id=
+      "page118"></a>{118}</span> the great violinist were taken to
+      Villafranca and placed in a small room, which was then sealed up.
+      And now Paganini became a terror 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.
+    </p>
+    <p>
+      In the meantime every effort was being made to secure Christian
+      burial. The spiritual 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 overruled the decision of the archbishop and
+      ordained that Christian burial should be accorded to the artist.
+      On the 21st of August, 1843, the Conte di Cessole took away the
+      coffin from Villafranca, and interred<span class=
+      "pagenum"><a name="page119" id="page119"></a>{119}</span> it in
+      the churchyard near Paganini's old residence at Villa Gavonà,
+      near Parma. Thus even after death he was the victim of
+      superstition, as he had been during his lifetime.
+    </p>
+    <p>
+      Paganini resolved not to publish his compositions 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 contained, 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.
+    </p>
+    <p>
+      <span class="pagenum"><a name="page120" id=
+      "page120"></a>{120}</span> His compositions are remarkable for
+      novelty in ideas, elegance of form, richness of harmony, and
+      variety in the effects of instrumentation. Few compositions ever
+      attained such fame as the "Streghe," of which the theme was taken
+      from the music of Süssmayer to the ballet of "Il Noce di
+      Benevento."
+    </p>
+    <p>
+      While it may be readily admitted that many of the effects with
+      which Paganini dazzled the multitude were tainted with
+      charlatanism, 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.
+    </p>
+    <p>
+      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 interesting to find the compositions of the
+      greatest<span class="pagenum"><a name="page121" id=
+      "page121"></a>{121}</span> violin virtuoso of this century in
+      regard to bold bravura&mdash;Paganini&mdash;illustrated by the
+      boldest of modern pianoforte virtuosi&mdash;Liszt." This
+      collection is probably the most difficult ever written for the
+      pianoforte, 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."
+    </p>
+    <p>
+      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,&mdash;and interest
+      is sometimes shown in eagerness to hear anything at all about the
+      subject.
+    </p>
+    <p>
+      He enjoyed conversation when he was in the company of a small
+      circle of friends. He was cheerful at evening parties,&mdash;if
+      music was not mentioned. He had an excellent<span class=
+      "pagenum"><a name="page122" id="page122"></a>{122}</span> 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 performance, 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.
+    </p>
+    <p>
+      His peculiarities were shown strongly in his arrangements for
+      personal comfort while travelling, for his constant suffering
+      precluded 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<span class=
+      "pagenum"><a name="page123" id="page123"></a>{123}</span> 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 accounts 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.<span class="pagenum"><a name=
+      "page124" id="page124"></a>{124}</span>
+    </p>
+    <p>
+      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,&mdash;put it back again.
+    </p>
+    <p>
+      Sir Charles Hallé tells about seeing Paganini in Paris, where he
+      used to spend an hour every day sitting in a publisher's shop, "a
+      striking, awe-inspiring, ghostlike figure." Hallé was introduced
+      to him, but conversation was difficult, for Paganini sat there
+      taci<span class="pagenum"><a name="page125" id=
+      "page125"></a>{125}</span> 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. Hallé was dying to hear
+      the great violinist play, and one day, after they had enjoyed a
+      long silence, Paganini 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. Hallé's agitation was becoming
+      intolerable, for he thought that the moment had arrived at which
+      his desire was to be gratified. But when Paganini had satisfied
+      himself that his violin was all right, he carefully put it back
+      in the case and shut it up.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page126" id=
+      "page126"></a>{126}</span> 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."
+    </p>
+    <p>
+      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
+      concert, at which Paganini was present and congratulated him.
+    </p>
+    <p>
+      Jules Janin, the celebrated critic and<span class=
+      "pagenum"><a name="page127" id="page127"></a>{127}</span> writer,
+      went into ecstasies over the affair. Paganini, he said, who had
+      been attacked for hard-heartedness and avarice, was present at
+      the concert, and at the end prostrated himself before Berlioz,
+      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 Paganini enclosing twenty thousand francs,
+      to be devoted to three years of repose, study, liberty, and
+      happiness.
+    </p>
+    <p>
+      In Sir Charles Hallé's biography, however, this story receives
+      important modifications. It appears that Armand Bertin, the
+      wealthy proprietor of the <i>Journal des Debates</i>, had a high
+      regard for Berlioz, who was on his staff, and knew of his
+      struggles, which he was anxious to lighten. He resolved,
+      therefore, to make him a present of twenty thousand francs, and
+      to enhance the moral effect of this gift he persuaded Paganini to
+      appear as the donor of the money. What would<span class=
+      "pagenum"><a name="page128" id="page128"></a>{128}</span> 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 Hallé 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.
+    </p>
+    <p>
+      Paganini created the difficulties which he performed. He had a
+      style of his own, and was most successful in playing his own
+      compositions. 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 failure. He
+      adopted the ideas of his predecessors, resuscitated forgotten
+      effects and added to them, and the chief features of his
+      performance were, the diversity of tones produced, the different
+      methods of tuning his<span class="pagenum"><a name="page129" id=
+      "page129"></a>{129}</span> instrument, the frequent employment of
+      double and single harmonics, the simultaneous use of pizzicato
+      and bow passages, the use of double and triple notes, the various
+      staccati, and a wonderful facility for executing wide intervals
+      with unerring accuracy, together with a great variety of styles
+      of bowing. The quality of tone which he produced was clear and
+      pure, but not excessively full, and, according to Fétis, he was a
+      master of technique and phrasing rather than a pathetic
+      player,&mdash;there was no tenderness in his accents.
+    </p>
+    <p>
+      It is said that Baillot used to hide his face when Paganini
+      played a pizzicato with the left hand, harmonics, or a passage in
+      staccato. 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<span class="pagenum"><a name="page130" id=
+      "page130"></a>{130}</span> 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."
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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
+      countenance; but his play! our pen seems invol<span class=
+      "pagenum"><a name="page131" id="page131"></a>{131}</span>
+      untarily to evade the difficult task of giving utterance to
+      sensations which are beyond the reach of language." After
+      detailing the performance, the account continues: "These
+      excellencies consist in the combination of absolute mechanical
+      perfection of every imaginable kind, perfection hitherto unknown
+      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."
+    </p>
+    <p>
+      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."<span class="pagenum"><a name=
+      "page132" id="page132"></a>{132}</span> 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.
+    </p>
+    <p>
+      To offset these suggestions of charlatanism, 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 Paganini
+      play for the first time."
+    </p>
+    <p>
+      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<span class="pagenum"><a name=
+      "page133" id="page133"></a>{133}</span> 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."
+    </p>
+    <p>
+      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
+      suffrages of those who were charmed by his truly great
+      qualities,&mdash;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.
+    </p>
+    <p>
+      Perhaps the finest description of Paganini is the one written by
+      Leigh Hunt:<span class="pagenum"><a name="page134" id=
+      "page134"></a>{134}</span>
+    </p>
+    <div class="poem">
+      <div class="stanza">
+        <p>
+          "So play'd of late to every passing thought
+        </p>
+        <p>
+          With finest change (might I but half as well
+        </p>
+        <p>
+          So write) the pale magician of the bow,
+        </p>
+        <p>
+          Who brought from Italy the tales, made true,
+        </p>
+        <p>
+          Of Grecian lyres; and on his sphery hand,
+        </p>
+        <p>
+          Loading the air with dumb expectancy,
+        </p>
+        <p>
+          Suspended, ere it fell, a nation's breath;
+        </p>
+      </div>
+      <div class="stanza">
+        <p>
+          "Of witches' dance, ghastly with whinings thin,
+        </p>
+        <p>
+          And palsied nods--mirth, wicked, sad, and weak;
+        </p>
+        <p>
+          And then with show of skill mechanical,
+        </p>
+        <p>
+          Marvellous as witchcraft he would overthrow
+        </p>
+        <p>
+          That vision with a show'r of notes like hail;
+        </p>
+        <p>
+          Flashing the sharp tones now,
+        </p>
+        <p>
+          In downward leaps like swords; now rising fine
+        </p>
+        <p>
+          Into some utmost tip of minute sound,
+        </p>
+        <p>
+          From whence he stepp'd into a higher and higher
+        </p>
+        <p>
+          On viewless points, till laugh took leave of him.
+        </p>
+      </div>
+      <div class="stanza">
+        <p>
+          "Then from one chord of his amazing shell
+        </p>
+        <p>
+          Would he fetch out the voice of quires, and weight
+        </p>
+        <p>
+          Of the built organ; or some twofold strain
+        </p>
+        <p>
+          Moving before him like some sweet-going yoke,
+        </p>
+        <p>
+          Ride like an Eastern conqueror, round whose state
+        </p>
+        <p>
+          Some light Morisco leaps with his guitar;
+        </p>
+        <p>
+          And ever and anon o'er these he'd throw
+        </p>
+        <p>
+          Jets of small notes like pearl."
+        </p>
+      </div>
+    </div>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CHAPTER_V" id="CHAPTER_V">CHAPTER V.</a>
+    </h2><span class="pagenum"><a name="page135" id=
+    "page135"></a>{135}</span>
+    <p>
+      1800 TO 1830.
+    </p>
+    <p>
+      Paganini was an epoch-making artist. He revolutionised the art of
+      violin 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 commendable features of Paganini's playing, while the
+      Belgian school followed the more serious lines, and became a much
+      sounder school.
+    </p>
+    <p>
+      Alard, Dancla, and Maurin were exponents of the French school,
+      while in that<span class="pagenum"><a name="page136" id=
+      "page136"></a>{136}</span> of Belgium we have De Bériot, Massart,
+      Vieuxtemps, Léonard, Wieniawski.
+    </p>
+    <p>
+      Lambert Joseph Massart was born at Liège in 1811, and was first
+      taught by an amateur named Delavau, who, delighted with the
+      remarkable talent displayed by his young pupil, succeeded in
+      securing for him, from the municipal authorities of Liège, a
+      scholarship which enabled him to go to Paris.
+    </p>
+    <p>
+      On his arrival at the Conservatoire, Cherubini, 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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Sir Charles Hallé, in his autobiography, tells a good anecdote
+      concerning Massart's<span class="pagenum"><a name="page137" id=
+      "page137"></a>{137}</span> 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 brilliant
+      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 continued
+      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?"
+    </p>
+    <p>
+      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<span class=
+      "pagenum"><a name="page138" id="page138"></a>{138}</span> played
+      the Kreutzer sonata, which fell entirely flat after the dazzling
+      display of the great pianist.
+    </p>
+    <p>
+      Few teachers have formed as many distinguished pupils as Massart,
+      for in 1843 he was appointed professor of violin at the Paris
+      Conservatoire, where his energy, care, exactness, and
+      thoroughness brought him an immense reputation. Lotto,
+      Wieniawski, Teresina Tua, and a host of other distinguished
+      violinists studied under him: among them also was Charles M.
+      Loeffler, of the Boston Symphony Orchestra.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Charles Auguste de Bériot, 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<span class="pagenum"><a name=
+      "page139" id="page139"></a>{139}</span> 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 Roberrechts, one of Viotti's most noted
+      pupils.
+    </p>
+    <p>
+      De Bériot 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.
+    </p>
+    <p>
+      De Bériot learned from his guide, philosopher, and friend that
+      "perseverance triumphs over all obstacles," and that "we are not
+      willing to do all that we are able to do."<span class=
+      "pagenum"><a name="page140" id="page140"></a>{140}</span>
+    </p>
+    <p>
+      At the age of nineteen De Bériot went to Paris, taking with him a
+      letter of introduction to Viotti, who was then the director of
+      music at the Opéra, and he succeeded in gratifying his greatest
+      ambition, which was to be heard by that illustrious violinist.
+    </p>
+    <p>
+      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."
+    </p>
+    <p>
+      De Bériot applied himself assiduously to his studies, entering
+      the Paris Conservatoire and taking lessons of Baillot. In a few
+      months, however, he withdrew from the Conservatoire and relied
+      upon his own resources. He soon began to appear in concerts,
+      generally 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.
+    </p>
+    <p>
+      In 1826 he went to London from Paris,<span class=
+      "pagenum"><a name="page141" id="page141"></a>{141}</span> his
+      first appearance taking place on May 1st, before the Philharmonic
+      Society. Wherever he appeared, either in London or the provinces,
+      he was greeted with enthusiasm, and he established a lasting
+      reputation.
+    </p>
+    <p>
+      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
+      Bériot continued to meet with success even after the advent of
+      Paganini. His playing was distinguished by unfailing accuracy of
+      intonation, great neatness and facility of bowing, grace,
+      elegance, and piquancy.
+    </p>
+    <p>
+      After travelling for some years he returned to Belgium, where he
+      was appointed solo violin 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.<span class="pagenum"><a name=
+      "page142" id="page142"></a>{142}</span>
+    </p>
+    <p>
+      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 Bériot became acquainted
+      with her. The acquaintance ripened into the most intimate
+      friendship, and in 1832 a concert company was formed, consisting
+      of Malibran, De Bériot, and Luigi Lablache, the celebrated and
+      gigantic basso. They made a tour of Italy, meeting with the most
+      extraordinary success.
+    </p>
+    <p>
+      De Bériot and the beautiful Madame Malibran 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 financial
+      collapse. In 1835 she succeeded in securing a divorce from him,
+      and then she married De Bériot.
+    </p>
+    <p>
+      A few months after their marriage Mali<span class=
+      "pagenum"><a name="page143" id="page143"></a>{143}</span> bran
+      was thrown from her horse and sustained internal injuries of such
+      severity that she died after an illness of nine days, and De
+      Bériot became frantic with grief.
+    </p>
+    <p>
+      More than a year elapsed before he could at all recover from the
+      effects of his irreparable loss, and his first appearance in
+      concert, after this tragic event, was when Pauline Garcia, the
+      sister of Madame Malibran, made her first début in a concert at
+      Brussels given for the benefit of the poor.
+    </p>
+    <p>
+      In 1841 De Bériot married Mlle. 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 remained in this position until 1852, when failing
+      eyesight caused him to retire, and he died at Louvain in 1870.
+    </p>
+    <p>
+      Before his acquaintance with Madame Malibran, De Bériot was a
+      suitor for the hand of Mlle. Sontag, and her rejection
+      of<span class="pagenum"><a name="page144" id=
+      "page144"></a>{144}</span> him threw him into a state of
+      despondency, from which it required the brilliancy and wit of
+      Malibran to rouse him.
+    </p>
+    <p>
+      De Bériot 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 variées," several
+      books of studies, four trios and a number of duets for piano and
+      violin. His "Violin School" has been published in many languages
+      and used a great deal by students.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Alard was born at Bayonne in March, 1815, and was well taught
+      from his earliest<span class="pagenum"><a name="page145" id=
+      "page145"></a>{145}</span> youth. He appeared in concerts at the
+      age of ten, and at twelve entered the Paris Conservatoire, where
+      he became a pupil of Habeneck, while Fétis 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.
+    </p>
+    <p>
+      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, 1881.
+    </p>
+    <p>
+      Hubert Léonard was born at Bellaire, near Liège, in 1819, but
+      unlike the majority of violinists he did not appear in concerts
+      at an early age, nor did he enter the Paris Conservatoire 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<span class=
+      "pagenum"><a name="page146" id="page146"></a>{146}</span> 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.
+    </p>
+    <p>
+      Concerning the merits of Heinrich Wilhelm Ernst there seems to be
+      a wide difference of opinion between various commentators. 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 welcome
+      performers in the concert halls of Europe for a number of years.
+      He was a<span class="pagenum"><a name="page147" id=
+      "page147"></a>{147}</span> thorough musician and a good composer,
+      though his works are so full of technical difficulties as to be
+      almost impossible of performance. Indeed it is said that some of
+      them contained difficulties which even he could not always
+      overcome.
+    </p>
+    <p>
+      Born in Moravia at the town of Brünn in 1814, 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.
+    </p>
+    <p>
+      In 1832 he settled in Paris, where he studied hard under De
+      Bériot, and played in concerts frequently. After 1844 he lived
+      chiefly in England, where he was highly ap<span class=
+      "pagenum"><a name="page148" id="page148"></a>{148}</span>
+      preciated, until the approach of his fatal disease 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.
+    </p>
+    <p>
+      When Ernst died the critic of the <i>Atheneum</i> compared him
+      with other players of his day in the following words: "Less
+      perfection in his polish, less unimpeachable in the diamond
+      lustre and clearness of his tone, than De Bériot, 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<span class="pagenum"><a name="page149" id=
+      "page149"></a>{149}</span> ried to its utmost point, but never
+      torn to tatters, the freest use of <i>tempo rubato</i> permitted,
+      but always within the limits of the most just regulation."
+    </p>
+    <p>
+      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 Vieuxtemps, 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
+      competition. Musical culture was, at that time, in a very low
+      state in America, and one may judge somewhat of its progress by
+      the press criticisms of the artists who visited the country from
+      time to time. It will be seen that those<span class=
+      "pagenum"><a name="page150" id="page150"></a>{150}</span> who,
+      like Ole Bull, Sivori, and Remenyi, applied their talents to the
+      elaboration of popular airs and operatic themes were able to
+      elicit the warmest praise. Vieuxtemps appears to have appealed to
+      the cultured minority and was understood and appreciated by very
+      few.
+    </p>
+    <p>
+      Flowery language was used without stint, and was frequently
+      misapplied in the most ludicrous manner, as will be seen by the
+      following extract:
+    </p>
+    <blockquote>
+      "Since the death of his great master, the weird Paganini, Ole
+      Bull had been left without a rival in Europe. Herwig, Nagel,
+      Wallace, Artot, and De Bériot can only 'play second fiddle' to
+      this king of the violin. His entrance upon the stage is
+      remarkably 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 another string with <span class=
+      "pagenum"><a name="page151" id="page151"></a>{151}</span>
+      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, except 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."
+    </blockquote>
+    <p>
+      The sentiments and emotions aroused in the breast of this critic
+      appear to have been those with which Paganini inspired his
+      audience, 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<span class=
+      "pagenum"><a name="page152" id="page152"></a>{152}</span> behold!
+      it is interpreted as a story of human passions,&mdash;a high
+      tribute to descriptive music.
+    </p>
+    <p>
+      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 before writing his account:
+    </p>
+    <blockquote>
+      <p>
+        "FEBRUARY, 1844.
+      </p>
+      <p>
+        "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
+        hours, and the hum of the bee as he flew by, well laden, to
+        <span class="pagenum"><a name="page153" id=
+        "page153"></a>{153}</span> his storehouse of sweets.
+      </p>
+      <p>
+        "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
+        tyrant, crashing everything in its way and rejoicing in its
+        might. And so we glided oddly but easily enough into the
+        ballroom, 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 manners of queer visions; and the main difference between
+        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."
+      </p>
+    </blockquote>
+    <p>
+      In 1846 came Sivori, and in 1848 Remenyi, both artists whose
+      desire to please their audiences took them far from the path of
+      the highest musical standard. It may be said with truth that the
+      country was hardly ready<span class="pagenum"><a name="page154"
+      id="page154"></a>{154}</span> 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 proportion of their audiences.
+    </p>
+    <p>
+      Although several violinists endeavoured to copy Paganini's style,
+      or at least to learn as much as possible from hearing and seeing
+      him play, there was only one, excepting Catarina Calcagno, who
+      received direct instruction 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, 1817.
+    </p>
+    <div class="figcenter">
+      <img src="images/camillo_sivori_page_154.jpg" width="350"
+      height="517" alt="Camillo Sivori" title="Camillo Sivori" />
+      <p>
+        <b>Camillo Sivori</b>
+      </p>
+    </div>
+    <p>
+      The connecting link between Sivori and Paganini began very early
+      in the career of the former. Indeed it is said that the
+      excitement of his mother, on hearing Paganini play at a concert,
+      caused the premature birth of the future disciple of the great
+      artist. Mar<span class="pagenum"><a name="page155" id=
+      "page155"></a>{155}</span> 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.
+    </p>
+    <p>
+      At two years of age, the account continues, 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<span class="pagenum"><a name="page156" id=
+      "page156"></a>{156}</span> 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.
+    </p>
+    <p>
+      These anecdotes, told by an effusive admirer, seem rather
+      ridiculous, but when Paganini 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<span class="pagenum"><a name=
+      "page157" id="page157"></a>{157}</span> 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
+      protégé was placed under M. Dellepaine, who taught him taste and
+      expression, his lessons with Costa in technique 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 enraptured the world for so long, and at
+      the same time he studied composition under Serra.
+    </p>
+    <p>
+      In 1839 his concert tours began again, and he visited Germany,
+      Russia, Belgium, and Paris, where he played at the Conservatoire
+      concerts and received the medal of honour.
+    </p>
+    <p>
+      Sivori now set out on extensive travels, and, after visiting
+      England, proceeded, in<span class="pagenum"><a name="page158" id=
+      "page158"></a>{158}</span> 1846, to America, travelling through
+      the United States, Mexico, and various parts of South America,
+      spending eight years in these peregrinations, and amassing a
+      considerable 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.
+    </p>
+    <p>
+      He was, of course, compared to many of the great violinists of
+      his time, who all had their special merits. One criticism, in
+      which Sivori is compared with Spohr, may be interesting: "Spohr
+      is of colossal stature, and looks more like an ancient Roman than
+      a Brunswicker; Sivori is the antithesis of <span class=
+      "pagenum"><a name="page159" id="page159"></a>{159}</span> 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
+      refinement and polish have been the characteristics of his
+      playing; in Sivori it is wild energy&mdash;the soul in
+      arms&mdash;the determination to be up and doing&mdash;the daring
+      impulse of youthful genius. Spohr's playing is remarkable for its
+      repose and finish; Sivori electrifies by the most powerful
+      appeals to the affections."
+    </p>
+    <p>
+      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
+      conservatoire at Genoa, Sivori replaced him in both and gave him
+      the entire benefit of his ser<span class="pagenum"><a name=
+      "page160" id="page160"></a>{160}</span> 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.
+    </p>
+    <p>
+      At one time Sivori felt that the instrument 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 compliment to your high talents."
+      Sivori travelled to Nice to receive the instrument from his
+      master's own hands. Paganini was then&mdash;it was in
+      1840&mdash;in a deplorable condition, 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 Paganini called
+      for. About two weeks later Paganini died.
+    </p>
+    <p>
+      In 1851 Hallé wrote of him as follows:<span class=
+      "pagenum"><a name="page161" id="page161"></a>{161}</span>
+    </p>
+    <p>
+      "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."
+    </p>
+    <p>
+      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 forgotten. On that occasion
+      he executed Paganini's B minor concerto, and aroused immense
+      enthusiasm, 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 18, 1894.
+    </p>
+    <p>
+      He was the first person allowed to play on the celebrated violin
+      which Paganini bequeathed to the city of Genoa. He was also the
+      first to play, with orchestra, Mendelssohn's Violin Concerto in
+      England. This performance was at the Philharmonic Society
+      concert, June 29, 1846.<span class="pagenum"><a name="page162"
+      id="page162"></a>{162}</span>
+    </p>
+    <p>
+      Henry Vieuxtemps was one of the greatest 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 Bériot,
+      before whom he played. During four years he remained a pupil of
+      De Bériot, 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.
+    </p>
+    <p>
+      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<span class=
+      "pagenum"><a name="page163" id="page163"></a>{163}</span> he met,
+      and in his tours he was associated with Servais, Thalberg, and
+      other well-known artists.
+    </p>
+    <p>
+      Not content with Europe as a field for conquest, he visited
+      America in 1844, and again in 1857 and in 1870.
+    </p>
+    <p>
+      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 conservatoire from 1871 to 1873, and in
+      1872 he was elected a member of the Academic Royale of Belgium,
+      on which occasion he read a memoir of Étienne Jean Soubre.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page164" id=
+      "page164"></a>{164}</span> 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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      As a man Vieuxtemps had a gay and restless disposition. He was
+      not easily depressed by trifles, and he enjoyed the<span class=
+      "pagenum"><a name="page165" id="page165"></a>{165}</span> freedom
+      of a life of constant change and travel, and it was during his
+      travels that most of his best compositions were written.
+    </p>
+    <p>
+      During the last few years of his active life, after his paralytic
+      stroke had prevented his playing, he suffered much from his
+      inability 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 affability
+      while addressing them, to scowls and grimaces while talking to
+      his pupils, the latter, of course, being invisible to the
+      visitors.
+    </p>
+    <p>
+      When Vieuxtemps visited America in 1857, he was associated with
+      Thalberg, the pianist, and together they visited many<span class=
+      "pagenum"><a name="page166" id="page166"></a>{166}</span> towns
+      and cities. Amongst the gems of American newspaper criticism they
+      no doubt took with them several copies of the following, which
+      appeared in the local paper of a town in Tennessee, and was
+      headed "Thalberg and Vieuxtemps:"
+    </p>
+    <blockquote>
+      <p>
+        "These distinguished individuals are now at Nashville, 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, considering
+        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 torture 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.
+      </p>
+      <p>
+        "But seriously, Thalberg and Vieuxtemps have never done us any
+        <span class="pagenum"><a name="page167" id=
+        "page167"></a>{167}</span> 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."
+      </p>
+    </blockquote>
+    <p>
+      And yet musical culture was said to be in its infancy in America
+      at that time!
+    </p>
+    <p>
+      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
+      nourished, 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 difficulties of extreme harmonics."
+    </p>
+    <p>
+      Vieuxtemps was also subject to comparison with Sivori, rather to
+      the former's disparagement. "The one plays the violin
+      like<span class="pagenum"><a name="page168" id=
+      "page168"></a>{168}</span> 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. Vieuxtemps
+      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."
+    </p>
+    <p>
+      The following paragraph is a good sample of New York musical
+      journalism in the year 1844:
+    </p>
+    <blockquote>
+      "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
+      <span class="pagenum"><a name="page169" id=
+      "page169"></a>{169}</span> husband undergoing the nocturnal
+      penance of walking 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 performers [Ole Bull and Artot], but
+      there is a vitreous clearness 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 accompanies him on
+      the piano."
+    </blockquote>
+    <p>
+      Vieuxtemps also visited America in 1870, with the celebrated
+      singer Christine Nilsson.
+    </p>
+    <p>
+      Among the celebrated violinists of this period must be mentioned
+      Bernhard Molique, of whom Sir Charles Hallé says that he was a
+      good executant, knowing no difficulties, 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<span class="pagenum"><a name="page170"
+      id="page170"></a>{170}</span> 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."
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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 1811, 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<span class=
+      "pagenum"><a name="page171" id="page171"></a>{171}</span> of the
+      best orchestras. He was a man of refreshing modesty, and was held
+      in high esteem. He died in London in 1872.
+    </p>
+    <p>
+      Jacob Dont, of Vienna, and Jean Dancla, a French violinist, both
+      belong to this period, and were teachers of reputation.
+    </p>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CHAPTER_VI" id="CHAPTER_VI">CHAPTER VI.</a>
+    </h2><span class="pagenum"><a name="page172" id=
+    "page172"></a>{172}</span>
+    <p>
+      OLE BULL.
+    </p>
+    <p>
+      "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 excellent pen picture of Ole Bull, who
+      during the middle of the nineteenth century was known far and
+      wide as a great violinist.<span class="pagenum"><a name="page173"
+      id="page173"></a>{173}</span>
+    </p>
+    <p>
+      Among the celebrated musicians of all nations, Ole Bull will
+      always remain a striking 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 patriotism; none has, amid the more
+      brilliant surroundings 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.
+    </p>
+    <p>
+      Olaus Borneman Bull was born at Bergen, in Norway, February 5,
+      1810, 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 played the 'cello.<span class=
+      "pagenum"><a name="page174" id="page174"></a>{174}</span>
+    </p>
+    <p>
+      In the early part of the century, the proverb, "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 hiding under sofas or behind
+      curtains, was rewarded with the rod,&mdash;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.
+    </p>
+    <p>
+      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<span class="pagenum"><a name=
+      "page175" id="page175"></a>{175}</span> Ole could never endure
+      the ordeal for long. He had to come out where he could see and
+      hear.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Ole Bull's first instructor was a violinist named Paulsen, a man
+      of convivial temperament, who used to come and enjoy the
+      hospitality 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.
+    </p>
+    <p>
+      One Tuesday evening, Paulsen, who played first violin in the
+      quartet, had been so<span class="pagenum"><a name="page176" id=
+      "page176"></a>{176}</span> 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
+      correctly, much to the astonishment of all present.
+    </p>
+    <p>
+      This happened on his eighth birthday, and the event marked an
+      epoch in his life, for he was elected an active member of the
+      Tuesday club, and began to take lessons regularly of the
+      convivial Paulsen.
+    </p>
+    <p>
+      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,<span class="pagenum"><a name=
+      "page177" id="page177"></a>{177}</span> 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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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
+      instrument 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,<span class="pagenum"><a name="page178" id=
+      "page178"></a>{178}</span> quite unable to control his precocious
+      pupil and a coolness soon sprung up between them, which appears
+      to have culminated in the following incident.
+    </p>
+    <p>
+      On a Tuesday evening, at one of the regular meetings, Lundholm
+      played Baillot's "Caprizzi," but Ole Bull was much disappointed
+      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.
+    </p>
+    <p>
+      "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<span class="pagenum"><a name="page179"
+      id="page179"></a>{179}</span> 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.
+    </p>
+    <p>
+      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<span class=
+      "pagenum"><a name="page180" id="page180"></a>{180}</span> heard
+      you play Paganini I predicted that your career would be a
+      remarkable one."
+    </p>
+    <p>
+      "Oh," exclaimed 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.
+    </p>
+    <p>
+      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, engaged 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<span class="pagenum"><a name="page181" id=
+      "page181"></a>{181}</span> 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.
+    </p>
+    <p>
+      In 1828 he went to the university in Christiania, where, in spite
+      of the best intentions, 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.
+    </p>
+    <p>
+      He was not long contented to remain in Christiania. His mind was
+      in a state of<span class="pagenum"><a name="page182" id=
+      "page182"></a>{182}</span> 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 18, 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.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page183" id=
+      "page183"></a>{183}</span> quartet was played by the four masters
+      that he came to the conclusion that he was deceived in his
+      aspirations, and had no true calling for music.
+    </p>
+    <p>
+      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 inclinations, Spohr heard him play, and
+      wrote thus of him: "His wonderful playing and sureness of his
+      left hand are worthy of the highest admiration, but,
+      unfortunately, like Paganini, he sacrifices what is artistic to
+      something that is not quite suitable to the noble instrument. 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 positions,
+      and even then pianissimo. This ren<span class="pagenum"><a name=
+      "page184" id="page184"></a>{184}</span> ders his playing (when he
+      does not let himself loose with some of his own pieces)
+      monotonous in the extreme. We noticed this particularly in two
+      Mozart quartets he played at my house. Otherwise he plays with a
+      good deal of feeling, but without refined taste."
+    </p>
+    <p>
+      After his discouraging interview with Spohr, Ole Bull returned to
+      Norway, making, on the way, a short visit to Göttingen, where he
+      became involved in a duel.
+    </p>
+    <p>
+      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, welcomed,
+      and compelled to direct a performance, and thus he once more fell
+      under the influence of music, and began to apply himself
+      vigorously to improvement.
+    </p>
+    <p>
+      In 1831 he went to Paris in order to hear Paganini, and if
+      possible to find some oppor<span class="pagenum"><a name=
+      "page185" id="page185"></a>{185}</span> 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.
+    </p>
+    <p>
+      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, prevailed 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, presumably
+      because the detective was known, and<span class=
+      "pagenum"><a name="page186" id="page186"></a>{186}</span> the
+      proprietors of the saloon considered discretion 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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      He tried to secure a place in the orchestra of the Opéra 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.
+    </p>
+    <p>
+      Fortune, however, began at last to smile upon him when he made
+      the acquaintance of M. Lacour, a violin maker, who
+      conceived<span class="pagenum"><a name="page187" id=
+      "page187"></a>{187}</span> the idea of engaging him to show off
+      his violins. Ole Bull accordingly played on one of them at a
+      soirée given by the Duke of Riario, Italian chargé 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.
+      Nevertheless, 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 celebrated
+      artists.
+    </p>
+    <p>
+      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.<span class="pagenum"><a name="page188" id=
+      "page188"></a>{188}</span>
+    </p>
+    <blockquote>
+      "M. Bull played compositions by Spohr, Mayseder, 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 musician. If he be a diamond, he is
+      certainly in the rough and unpolished."
+    </blockquote>
+    <p>
+      Ole Bull sought out the writer of this criticism, 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.
+    </p>
+    <p>
+      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 Bériot and Malibran were to appear at one of
+      the Philharmonic concerts. By chance Malibran heard that De
+      Bériot 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<span class="pagenum"><a name="page189" id=
+      "page189"></a>{189}</span> unable to appear on account of
+      indisposition. De Bériot also declared himself to be suffering
+      from a sprained thumb.
+    </p>
+    <p>
+      It happened that Madame Colbran (Rossini'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, without even time to dress
+      himself suitably for the occasion, and placed before a most
+      distinguished audience, which contained the Duke of Tuscany and
+      other celebrities, besides De Bériot, with his arm in a sling.
+    </p>
+    <p>
+      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<span class="pagenum"><a name=
+      "page190" id="page190"></a>{190}</span> 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.
+    </p>
+    <p>
+      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 Opéra open to him, and he gave
+      several concerts there.<span class="pagenum"><a name="page191"
+      id="page191"></a>{191}</span>
+    </p>
+    <p>
+      In 1836 he married Félicie Villernot, the granddaughter of the
+      lady in whose house he had met with so much kindness during his
+      first stay in Paris.
+    </p>
+    <p>
+      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 £800, and in sixteen months' time he gave
+      two hundred and seventy-four concerts in the United Kingdom.
+    </p>
+    <p>
+      He now decided to visit Germany, and on his way through Paris he
+      made the acquaintance of Paganini, who greeted him with the
+      utmost cordiality. He went through Germany giving many concerts,
+      and visited Cassel, where he was now received by Spohr with every
+      mark of distinction. He played in Berlin, where his success was
+      great, notwithstanding some adverse criticism. He<span class=
+      "pagenum"><a name="page192" id="page192"></a>{192}</span> 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 fêted.
+    </p>
+    <p>
+      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.<span class="pagenum"><a name="page193" id=
+      "page193"></a>{193}</span>
+    </p>
+    <p>
+      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, besides which
+      he contributed more than $20,000, by concerts, to charitable
+      institutions. No artist ever visited the United States and
+      received so many honours.
+    </p>
+    <p>
+      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
+      country by founding a colony. He therefore bought a tract of land
+      of 125,000 acres in Potter County, Pennsylvania, on the
+      inauguration of which he stated his purpose: "We are to found a
+      New Norway, consecrated to liberty, baptised with independence,
+      and protected 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<span class="pagenum"><a name=
+      "page194" id="page194"></a>{194}</span> the scheme took nearly
+      the whole of his fortune.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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 yellow 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 concerts. He was miserably
+      weak, and when he played his skin would break and bleed as he
+      pressed the strings.<span class="pagenum"><a name="page195" id=
+      "page195"></a>{195}</span>
+    </p>
+    <p>
+      He now heard that there was some trouble in regard to his title
+      to the land in Pennsylvania, and, hastening to Philadelphia, he
+      was legally notified that he was trespassing.
+    </p>
+    <p>
+      It transpired that the man who had sold the land to Ole Bull had
+      no claim to it whatever, and had perpetrated a barefaced swindle,
+      and now, having the money, he dared his victim 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.<span class="pagenum"><a name="page196" id=
+      "page196"></a>{196}</span>
+    </p>
+    <p>
+      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
+      abandoned 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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      For a short time he assumed control of the National Theatre, but
+      before long he<span class="pagenum"><a name="page197" id=
+      "page197"></a>{197}</span> was again on the road, giving concerts
+      in various parts of Europe. While he was in Paris, in 1862, his
+      wife died.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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&mdash;the Norwegian
+      colours with the star-spangled banner inserted in the upper staff
+      section&mdash;was always carried in the seventeenth of May
+      processions in Bergen, and floated on the fourth of July.
+    </p>
+    <p>
+      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<span class="pagenum"><a name=
+      "page198" id="page198"></a>{198}</span> 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-besög." This performance took place at the
+      suggestion of the King of Sweden, to whom the account was duly
+      telegraphed the next morning from Cairo.
+    </p>
+    <p>
+      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 subject 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.
+    </p>
+    <p>
+      In March and April, 1880, Ole Bull appeared 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,<span class="pagenum"><a name="page199" id=
+      "page199"></a>{199}</span> 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
+      business was suspended, and the whole population of the city
+      stood waiting to pay their last respects to the celebrated
+      musician and patriot.
+    </p>
+    <p>
+      Ole Bull was a man of remarkable character 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 something in his
+      personal appearance and conversation which acted with almost
+      magnetic power on those who approached him. He was a prince of
+      story-tellers, and his fascination in this respect was
+      irresistible to young and old alike, and its effect not unlike
+      his violin playing.<span class="pagenum"><a name="page200" id=
+      "page200"></a>{200}</span>
+    </p>
+    <p>
+      In regard to his playing, his technical proficiency was such as
+      very few violinists have ever attained to. His double stopping
+      was perfect, his staccato, both upward and downward, 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 sentimental, 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 difference, 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 enabled him to fascinate his audiences, and it is a power
+      far beyond any mere trickster or charlatan. He was frequently
+      condemned by the<span class="pagenum"><a name="page201" id=
+      "page201"></a>{201}</span> 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 demand of his American
+      audiences.
+    </p>
+    <p>
+      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 performance 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<span class="pagenum"><a name="page202" id=
+      "page202"></a>{202}</span> 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
+      audiences. You go to hear Ole Bull, rather than to hear and feel
+      his music. It is eminently a personal matter.... Considered
+      simply as an executive power, he seems, after hearing so many
+      good violinists for years past, to exceed them all&mdash;always
+      excepting Henri Vieuxtemps."
+    </p>
+    <p>
+      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<span class=
+      "pagenum"><a name="page203" id="page203"></a>{203}</span> 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
+      audiences, and during his later years he adopted certain
+      mannerisms by way of distracting attention from his somewhat
+      imperfect performances. He never made any pretension 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.
+    </p>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CHAPTER_VII" id="CHAPTER_VII">CHAPTER VII.</a>
+    </h2><span class="pagenum"><a name="page204" id=
+    "page204"></a>{204}</span>
+    <p>
+      1830 TO 1850.
+    </p>
+    <p>
+      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 doubtless 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 violinist 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 physically or intellectually
+      before he is ripe. Many prodigies sink into oblivion,&mdash;some
+      few rise<span class="pagenum"><a name="page205" id=
+      "page205"></a>{205}</span> to celebrity. It will be noticed that
+      the violinists 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.
+    </p>
+    <p>
+      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 musical
+      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.
+    </p>
+    <p>
+      Among celebrated violinists few have led more romantic or
+      adventurous lives than Edouard Remenyi, whose name is not yet
+      forgotten in this country. Born at Hewes, in Hungary, in 1830, he
+      possessed the restless spirit of his race, fought in the
+      insurrection<span class="pagenum"><a name="page206" id=
+      "page206"></a>{206}</span> of 1848, 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.
+    </p>
+    <p>
+      From his twelfth to his fifteenth year he studied the violin at
+      the Vienna Conservatoire under Böhm, who was also the teacher of
+      Joachim. In 1848 he became adjutant to the distinguished General
+      Görgey, 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.
+    </p>
+    <p>
+      In 1854 he went to London and was appointed solo violinist in the
+      queen's band, but when in 1860 he obtained his amnesty and
+      returned to Hungary he was created solo violinist in the band of
+      the Emperor of Austria.
+    </p>
+    <p>
+      His restless disposition would not allow him to remain long in
+      one place, and in 1865<span class="pagenum"><a name="page207" id=
+      "page207"></a>{207}</span> 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 settling 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 following year he
+      went once more to the United States, and on his way played at the
+      promenade 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.<span class="pagenum"><a name="page208" id=
+      "page208"></a>{208}</span>
+    </p>
+    <p>
+      In 1891 he was once more in London, and played at the house of
+      the late Colonel North, "the Nitrate King." He now returned 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.
+    </p>
+    <p>
+      When Remenyi visited the United States in 1878, he arrived a few
+      weeks after Wilhelmj, and notwithstanding the fact that the two
+      violinists were widely different in temperament, 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:
+    </p>
+    <blockquote>
+      "Remenyi is gifted with a vivacious, generous, rather mocking
+      disposition which rebels against monotony, and whose originality
+      shines through everything, and in spite of everything. He is
+      <span class="pagenum"><a name="page209" id=
+      "page209"></a>{209}</span> fluent in five or six languages, and
+      entertains with droll conceits, 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 excitement. 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."
+    </blockquote>
+    <p>
+      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.
+    </p>
+    <p>
+      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 audience
+      too. His greatest success was in the<span class=
+      "pagenum"><a name="page210" id="page210"></a>{210}</span> playing
+      of Hungarian music, some of which he adapted for his instrument,
+      but the stormier pieces of Chopin which he arranged for the
+      violin were given by him with tremendous effect. In the more
+      tender pieces, such as the nocturnes of Field and of Chopin, he
+      played with the utmost dreaminess.
+    </p>
+    <p>
+      His individuality showed in his playing. He was impulsive and
+      uncertain,&mdash;a wandering 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 connections 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.
+    </p>
+    <p>
+      During his long career he toured Australia and almost all the
+      islands of the Pacific, also<span class="pagenum"><a name=
+      "page211" id="page211"></a>{211}</span> Java, China, and Japan;
+      in fact, he went where few, if any, violinists of his ability had
+      been before.
+    </p>
+    <p>
+      Once upon a time the representative of a London newspaper went to
+      interview Remenyi, and was surprised to find that the violinist
+      was not only willing to tell him much, but even proposed
+      questions which he should answer. He said that he had played in
+      the 60's before the natives of South Africa, and had been
+      shipwrecked, after which he had the pleasure of reading some very
+      fine obituary 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 frequently
+      had to play sixteen.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page212" id=
+      "page212"></a>{212}</span> to South Africa, to which place they
+      were banished by the Dutch government.
+    </p>
+    <p>
+      It was related by Remenyi that when he was a young man in
+      Hamburg, in 1853, he was to appear at a fashionable soirée one
+      night, but at the last moment his accompanist was too ill to
+      play. Remenyi went to a music store and asked for an accompanist.
+      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 soirée, and sat up till four the next
+      morning chatting and playing together. Remenyi's negligence of
+      his engagement resulted in the loss of any further business in
+      Hamburg, and together with Brahms he set out for Hanover, giving
+      concerts as they went, and thus earning sufficient funds to carry
+      them on their way.
+    </p>
+    <p>
+      At Hanover they called upon Joachim,<span class=
+      "pagenum"><a name="page213" id="page213"></a>{213}</span> who
+      arranged for them to play before the court. After this they
+      proceeded to the Altenberg 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 recognised his talent. He
+      therefore returned to Hanover, where Joachim gave him a letter to
+      Schumann, and it was Schumann's enthusiastic welcome and
+      declaration that a new genius had arisen that established
+      Brahms's reputation in musical circles.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      The death of Remenyi, which occurred on<span class=
+      "pagenum"><a name="page214" id="page214"></a>{214}</span> May 15,
+      1898, created a sensation throughout the country. He had, after
+      many misgivings, consented to appear in "vaudeville." The
+      financial inducement was large, and he soothed his artistic
+      conscience with the argument that his music would tend to elevate
+      the vaudeville rather than that the vaudeville 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<span class="pagenum"><a name="page215" id=
+      "page215"></a>{215}</span> speak to one of the musicians in the
+      orchestra. He paused a moment, and then fell slowly forward on
+      his face. One of the musicians caught him before he touched the
+      stage, and thus prevented his rolling off. All was over.
+    </p>
+    <p>
+      Remenyi left a widow, a son, and a daughter, 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 cancel all his engagements and rest. It is said
+      that Remenyi's real name was Hoffmann.
+    </p>
+    <p>
+      The name of Miska Hauser is seldom mentioned 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 Böhm and of Mayseder at Vienna, also of
+      Kreutzer and Sechter. He is said to have acquired more of
+      Mayse<span class="pagenum"><a name="page216" id=
+      "page216"></a>{216}</span> 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.
+    </p>
+    <p>
+      As a boy of twelve Hauser made an extensive 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.
+    </p>
+    <p>
+      He then proceeded to the Sandwich Islands, where he played before
+      the royal family<span class="pagenum"><a name="page217" id=
+      "page217"></a>{217}</span> 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
+      desperation he tore the strings from his violin and played, with
+      all his power, several sentimental 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 presented with the
+      freedom of the city and thanked by the government for his
+      playing.
+    </p>
+    <p>
+      In 1860 he reached Turkey, where he played before the Sultan, who
+      beat time to his music and seemed highly delighted.<span class=
+      "pagenum"><a name="page218" id="page218"></a>{218}</span> 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.
+    </p>
+    <p>
+      Hauser was not the possessor of a great technique, but there was
+      something characteristic and charming in his tone and mannerisms,
+      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.
+    </p>
+    <p>
+      Few violinists succeeded more completely in captivating their
+      audiences than Henri Wieniawski, whose impetuous Slavonic
+      temperament, with its warm and tender feeling, gave a colour to
+      his playing, which placed<span class="pagenum"><a name="page219"
+      id="page219"></a>{219}</span> 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 violin technique,
+      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.
+    </p>
+    <p>
+      Wieniawski's tour in America, which took place in 1872, when he
+      accompanied Rubinstein, may be said to mark an era in the musical
+      life of this nation. These two great artists revealed the
+      possibilities of the musical art to a people who, while loving
+      music, were still in their infancy as far as musical development
+      is concerned.
+    </p>
+    <p>
+      Wieniawski, like nearly all the great performers, showed his
+      talent while very young. He was born in 1835 at Lublin, in
+      Poland,<span class="pagenum"><a name="page220" id=
+      "page220"></a>{220}</span> 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
+      Massart's class, and when only eleven gained the first prize for
+      violin playing.
+    </p>
+    <p>
+      After this he made a concert tour in Poland and Russia, but soon
+      returned to Paris to renew his studies, especially composition.
+      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 1860 he was
+      appointed solo violinist to the Emperor of Russia, and held that
+      position for twelve years, residing chiefly at St. Petersburg.
+    </p>
+    <p>
+      It was at the conclusion of this engagement 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<span class="pagenum"><a name="page221" id=
+      "page221"></a>{221}</span> and succeeded in making a large
+      fortune, travelling all over the country and creating a furore by
+      his performances. This tour was cut short toward the end of 1874
+      by a telegram from Brussels offering him the position of
+      professor of violin at the Conservatoire, during the illness of
+      Vieuxtemps.
+    </p>
+    <p>
+      He remained in Brussels until 1877, when, Vieuxtemps becoming
+      convalescent, Wieniawski set forth once more on his travels.
+    </p>
+    <p>
+      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 compelled 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.
+    </p>
+    <p>
+      Notwithstanding his sufferings, Wieniawski<span class=
+      "pagenum"><a name="page222" id="page222"></a>{222}</span>
+      continued his tour, but at Odessa he broke down altogether.
+    </p>
+    <p>
+      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 Countess of Meek, and was buried by the
+      Czar Alexander III., of whom he was the friend as well as the
+      favourite violinist.
+    </p>
+    <p>
+      Wieniawski was a man of somewhat enthusiastic 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 consequence 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<span class="pagenum"><a name="page223" id=
+      "page223"></a>{223}</span> one of his temperament, and he felt
+      compelled to stake a small sum. 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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      The friendship between him and Vieuxtemps was very strong, in
+      fact it was described as being ideal. Once, while Wieniawski was
+      playing at a concert, Vieuxtemps was among the audience, and, at
+      the conclusion of one of the violinist's solos, Vieuxtemps
+      called, at the top of his voice, "Bravo, Wieniawski!" This drew
+      attention to Vieuxtemps, who was immediately recognised by the
+      audience and enthusiastically welcomed.
+    </p>
+    <p>
+      Wieniawski's compositions number two and<span class=
+      "pagenum"><a name="page224" id="page224"></a>{224}</span> 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 concerto,
+      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.
+    </p>
+    <p>
+      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."
+    </p>
+    <p>
+      This sweeping enthusiasm was not universal, for a critic more
+      difficult to please wrote as follows: "Wieniawski's playing is as
+      perfect as a faultless technique, artistic culture, great
+      aesthetic sensibility, and perfect mastery over himself and his
+      instrument can make it.<span class="pagenum"><a name="page225"
+      id="page225"></a>{225}</span> But with all its perfection we
+      cannot but feel that the great original, heaven-and-earth-moving
+      master-soul is wanting."
+    </p>
+    <p>
+      He was also severely scathed by a critic in New York in 1872, who
+      wrote: "Some people like pure, clear tone,&mdash;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
+      intonation as a thing of primal importance, it could not have
+      been pleasing. Wieniawski belongs to that school of which Ole
+      Bull is a prominent member, whose first article of belief is that
+      genuine passion and fervour is signified by rasping the strings."
+    </p>
+    <p>
+      Other criticisms of the same concert, however, were of a very
+      different tenor, and when, a week or two later, Wieniawski played
+      the same concerto in Boston, John S. Dwight<span class=
+      "pagenum"><a name="page226" id="page226"></a>{226}</span> praised
+      the performance highly, and took occasion to specially record his
+      disagreement with the eminent critic in New York.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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 delighted
+      with him that she presented him with a fine Stradivarius violin.
+    </p>
+    <p>
+      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 was then administrator<span class=
+      "pagenum"><a name="page227" id="page227"></a>{227}</span> of the
+      institution, took him into his house and boarded him. This
+      arrangement continued until the death, about ten years later, of
+      M. Lassabathie.
+    </p>
+    <p>
+      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 indicated that his talent would become extraordinary.
+    </p>
+    <p>
+      For ten years after gaining the prize Sarasate remained a salon
+      violinist, of amiable disposition, a ladies' virtuoso, with a
+      somewhat mincing style, who played only variations on opera
+      motives, and who was an entire stranger to classical music.
+    </p>
+    <p>
+      Then came a complete change; the character of his playing
+      becoming serious, a large and noble style replaced the mincing
+      manner which he had previously affected, and, instead<span class=
+      "pagenum"><a name="page228" id="page228"></a>{228}</span> 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.
+    </p>
+    <p>
+      Although Sarasate made Paris his home, he began to travel as
+      early as 1859, and in 1872, when he played in Paris, he was
+      welcomed 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 prevailed, and when
+      Sarasate appeared at Leipzig he produced an immense sensation.
+      Then followed a series of tours in Germany, Russia,<span class=
+      "pagenum"><a name="page229" id="page229"></a>{229}</span>
+      Austria, England, and Belgium, which lasted three years, and
+      brought him much glory and pecuniary gain.
+    </p>
+    <p>
+      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 Spaniard. His tone
+      is incomparable,&mdash;not powerfully 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&mdash;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 difficulties, but because he plays with them."
+    </p>
+    <p>
+      Both in France and Germany Sarasate has always been a great
+      favourite, and is always<span class="pagenum"><a name="page230"
+      id="page230"></a>{230}</span> 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
+      playing 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 III., the Emperor of Brazil, and the Queen of
+      Spain, and its value is estimated at one hundred thousand francs.
+    </p>
+    <p>
+      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<span class=
+      "pagenum"><a name="page231" id="page231"></a>{231}</span> plays
+      Spanish dances in a manner never to be surpassed.
+    </p>
+    <p>
+      He has been compared with some of the most eminent violinists
+      thus:&mdash;Vieuxtemps was an artist with an ardent mind, and a
+      magnificent 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 dazzling virtuoso;
+      Sarasate is an incomparable charmer.
+    </p>
+    <p>
+      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 second to no artist
+      then living in his general command over the resources of his
+      instrument, and he excelled in the purity and volume 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<span class="pagenum"><a name=
+      "page232" id="page232"></a>{232}</span> 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
+      diamonds.
+    </p>
+    <p>
+      August Wilhelmj was born in 1845 at Usingen, in the Duchy of
+      Nassau, and, showing 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. Wilhelmj's father
+      was a lawyer of distinction and a wealthy vine-grower, and, in
+      spite of<span class="pagenum"><a name="page233" id=
+      "page233"></a>{233}</span> 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 encouragement, 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.
+    </p>
+    <p>
+      In the course of time Wilhelmj succeeded in obtaining a
+      concession from his father:&mdash;he was to get the judgment of a
+      musical authority on his capabilities, and, if favourable, no
+      objection should be made to his becoming a virtuoso. On the
+      recommendation of Prince Emil of Wittgenstein, the young
+      violinist went in 1861 to Liszt at Weimar, and after playing to
+      him Spohr's "Scena Cantante" and the Hungarian fantasia by Ernst,
+      he was asked to play several pieces at sight. At the end of this
+      trial<span class="pagenum"><a name="page234" id=
+      "page234"></a>{234}</span> Liszt sprang from his seat, calling
+      out in a loud voice, "Ay! indeed you are predestinated to become
+      a violinist&mdash;so much so that for you the violin must have
+      been invented 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, saying,
+      "Let me present to you a future Paganini. Look well to him!" For
+      three years Wilhelm; 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 Conservatory,
+      playing Joachim's Hungarian concerto.
+    </p>
+    <p>
+      In 1865 he began his concert tours, travelling 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,<span class="pagenum"><a name="page235" id=
+      "page235"></a>{235}</span> the great singer. In 1876 he led the
+      violins at the Nibelungen performance at Bayreuth, and the Wagner
+      concerts in London, at the Albert Hall, in 1877, were due to his
+      representations. In 1882, after travelling all over the globe, he
+      spent some time in Russia, but presently returned to Germany and
+      established a violin school at Biberich, which, however, he
+      abandoned after a time.
+    </p>
+    <p>
+      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 expressed by an eminent musician, who referred to
+      his decadence in these words: "Ah, if<span class=
+      "pagenum"><a name="page236" id="page236"></a>{236}</span>
+      Wilhelmj had not been what he <i>is</i>, Joachim would never have
+      been what <i>he</i> is." By which one may infer that Wilhelmj
+      was, in some respects, a greater man than Joachim.
+    </p>
+    <p>
+      In 1894 Wilhelmj married Marcella Mausch-Jerret, of Dresden, a
+      distinguished pianist.
+    </p>
+    <p>
+      Wilhelmj's first appearance in America took place on September
+      26, 1878, in New York, and his playing caused an unusual
+      demonstration. 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 between 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<span class="pagenum"><a name="page237"
+      id="page237"></a>{237}</span> lectual playing,' that is, playing
+      with a clear under standing."
+    </p>
+    <p>
+      Neither his character nor his playing was of such a nature as to
+      appeal to the great mass of people in the way 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.
+    </p>
+    <p>
+      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 Wilhelmj," or, "not to be
+      compared with Wilhelmj," and by many Ysaye is regarded as "the
+      best&mdash;since Wilhelmj."
+    </p>
+    <p>
+      Martin Pierre Joseph Marsick, who was born at Jupille, near
+      Liège, on March 9, 1848, is one of the foremost solo and quartet
+      violinists of the day, with a remarkable technique and admirable
+      intelligence, power, and fire.<span class="pagenum"><a name=
+      "page238" id="page238"></a>{238}</span>
+    </p>
+    <p>
+      When eight years of age he was placed at the music school at
+      Liège, where in two years he gained the first prize in the
+      preparatory classes. In 1864 he secured the gold medal, which is
+      awarded only to pupils of extraordinary talent.
+    </p>
+    <div class="figcenter">
+      <img src="images/marsick.jpg" alt="Martin Pierre Joseph Marsick"
+      title="Martin Pierre Joseph Marsick" />
+      <p>
+        <b>MARTIN PIERRE JOSEPH MARSICK</b>
+      </p>
+    </div>
+    <p>
+      He now entered the Brussels Conservatoire, where his expenses
+      were met by a lady who was a musical enthusiast, and he studied
+      for two years under Léonard, working at the same time in
+      composition under Kufferath. In 1868 he went to Paris, where he
+      studied for a season under Massart.
+    </p>
+    <p>
+      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 reputation. 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. <span class="pagenum"><a name="page239" id=
+      "page239"></a>{239}</span> 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
+      educated musician than to the general public, and for that reason
+      many people were somewhat 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.
+    </p>
+    <p>
+      To this period also belong a number of excellent violinists whose
+      names are seldom heard in America. Edmund Singer, a Hungarian,
+      born in 1831, 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 instrumental in the establishment of the Musical Artists'
+      Society of that place.<span class="pagenum"><a name="page240" id=
+      "page240"></a>{240}</span>
+    </p>
+    <p>
+      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 virtuoso.
+    </p>
+    <p>
+      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 successful concert tour, and
+      become chamber virtuoso 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.
+    </p>
+    <p>
+      Russia also produced an excellent violinist, Wasil Wasilewic
+      Besekirskij, who was born at Moscow, and after a career as
+      vir<span class="pagenum"><a name="page241" id=
+      "page241"></a>{241}</span> tuoso in the west of Europe returned
+      to his native city. He is the composer of some good violin music
+      and has formed some excellent pupils, of whom Gregorowitsch is
+      perhaps best known.
+    </p>
+    <p>
+      In England, John Tiplady Carrodus and the Holmes brothers
+      attained high rank. Carrodus was a native of Keighley, Yorkshire.
+      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.
+    </p>
+    <p>
+      Alfred Holmes was born in 1837 and his brother Henry in 1839.
+      They appeared to<span class="pagenum"><a name="page242" id=
+      "page242"></a>{242}</span> gether at the Haymarket Theatre in
+      1847, but immediately withdrew from public 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 College of Music in London, and has been also active as
+      a composer and editor of violin works.
+    </p>
+    <p>
+      Jacob Grün, too, who was born in 1837 at Buda-Pesth, and who,
+      after a career as concert soloist in Europe, became a teacher in
+      the Vienna conservatory, should not be forgotten. Several of his
+      pupils are now holding valuable positions in the United States,
+      and he is an excellent teacher, besides being popular and
+      kind-hearted.
+    </p>
+    <p>
+      Eduard Rappoldi, the leader of the Royal Court Orchestra at
+      Dresden, has a high<span class="pagenum"><a name="page243" id=
+      "page243"></a>{243}</span> reputation as a sound and earnest
+      player and excellent teacher. He was born in Vienna in 1839, and
+      was at one time a teacher in the Hochschule at Berlin, but went
+      to Dresden in 1877.
+    </p>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CHAPTER_VIII" id="CHAPTER_VIII">CHAPTER VIII.</a>
+    </h2><span class="pagenum"><a name="page244" id=
+    "page244"></a>{244}</span>
+    <p>
+      JOACHIM.
+    </p>
+    <p>
+      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 greatest educators in his line who ever lived, and
+      as the embodiment of the purest and highest ideas in public
+      performance.
+    </p>
+    <div class="figcenter">
+      <img src="images/joseph_joachim_page_244.jpg" alt=
+      "JOSEPH JOACHIM" title="JOSEPH JOACHIM" />
+      <p>
+        <b>JOSEPH JOACHIM</b>
+      </p>
+    </div>
+    <p>
+      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 <i>chef-d'oeuvre</i>, the ideal of a perfect
+      violinist (so far as we present-day critics can judge). Less
+      <span class="pagenum"><a name="page245" id=
+      "page245"></a>{245}</span> 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,&mdash;before all he will be a musician. And that
+      he unquestionably is,&mdash;a magnificent example to young
+      people, who are to some extent possessed of the demon of vanity,
+      of what they should do and what they should leave undone. Joachim
+      makes music, and his preëminent capabilities are directed toward
+      the serving one true, genuine art, and he is right."
+    </p>
+    <p>
+      Joachim was born on June 28, 1831, in the village of Kittsee, in
+      Hungary, within the small radius which has produced three other
+      great musicians,&mdash;Haydn, Hummel, and Liszt. He began to
+      study the violin when he was five years old, and was
+      placed<span class="pagenum"><a name="page246" id=
+      "page246"></a>{246}</span> under Servaczinski, leader of the
+      opera orchestra at Pesth. In two years he made his first public
+      appearance at a concert at Pesth, when he played a duet concerto
+      for two violins 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 Böhm
+      for two years. At the end of this time he went to Leipzig, where
+      he met with Mendelssohn and played in a concert of Madame
+      Viardot's. A few months later he appeared as a finished artist in
+      a Gewandhaus concert, 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,&mdash;the following
+      year he took part, in a Gewand<span class="pagenum"><a name=
+      "page247" id="page247"></a>{247}</span> haus concert, in a
+      concertante for four violins by Maurer, the other performers
+      being Ernst, Bazzini, and David, all violinists of renown and
+      very much his seniors.
+    </p>
+    <p>
+      Joachim remained in Leipzig until 1850, studying with Ferdinand
+      David, while Hauptmann gave him instruction in composition,
+      though during this time he occasionally travelled in Germany and
+      elsewhere to play in concerts. Thus in 1844 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 Beethoven's concerto with very great success.
+      In this year two other violinists of note made their first
+      appearance at the Philharmonic concerts,&mdash;Ernst and Sainton,
+      also Piatti, the great violoncellist. Joachim visited England
+      again in 1847, and since that time so frequently that he became
+      one of the regular<span class="pagenum"><a name="page248" id=
+      "page248"></a>{248}</span> features of musical life in that
+      country, where he has been so highly honoured.
+    </p>
+    <p>
+      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
+      Franz 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
+      extraordinary gifts, and admired the personality and brilliant
+      qualities of Liszt, he could not be prevailed upon to remain in
+      Weimar longer than two years.
+    </p>
+    <p>
+      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<span class=
+      "pagenum"><a name="page249" id="page249"></a>{249}</span> 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 composition.
+    </p>
+    <p>
+      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,&mdash;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<span class="pagenum"><a name="page250" id=
+      "page250"></a>{250}</span> Royal High School for Music, with
+      Joachim as director. That Joachim had earned a very high position
+      as early as 1859 is shown by an extract from the <i>Musical
+      World</i> of London, in that year.
+    </p>
+    <p>
+      "So long as virtuosi walked (or galloped) in their proper sphere,
+      they amused by their mechanical <i>tours de force</i>, charmed by
+      their <i>finesse</i> and did no great harm to musical taste. They
+      were accepted <i>cum grano salis</i>, 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 'virtuosi' 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 <i>jeux de
+      marteaux</i>. One composition after another by the great masters
+      is seized upon and worried.<span class="pagenum"><a name=
+      "page251" id="page251"></a>{251}</span> 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.
+    </p>
+    <p>
+      "One great result attending Herr Joachim's professional visit to
+      London is, that it enables both professors and amateurs
+      opportunity after opportunity of studying <i>his</i> manner of
+      playing the works of the giants of music. <i>How</i> Herr Joachim
+      executes these compositions&mdash;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&mdash;we need scarcely remind
+      our readers. Not a single eccentricity of carriage or demeanour,
+      not a moment of egotistical display, to remind his hearers that,
+      although Beethoven is being played, it<span class=
+      "pagenum"><a name="page252" id="page252"></a>{252}</span> is
+      Joachim who is playing, ever escapes this truly admirable and (if
+      words might be allowed to bear their legitimate signification)
+      most accomplished of 'virtuosi.'"
+    </p>
+    <p>
+      As an example of Joachim's conscientiousness, the following
+      little anecdote will serve to give an idea. Joachim once
+      introduced into the <i>point d'orgue</i> of Beethoven's concerto
+      a cadence terminated by a <i>trait en octave</i>, 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 suppressed.
+    </p>
+    <p>
+      During the many years of his connection with the Hochschule,
+      Joachim's personal influence has been exerted upon a large number
+      of pupils, in fact almost every well-known<span class=
+      "pagenum"><a name="page253" id="page253"></a>{253}</span> 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.
+    </p>
+    <p>
+      Joachim's early training and education developed his character
+      both as a musician and as a man. The influence of Mendelssohn,
+      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 thorough uprightness, firmness of character and
+      earnestness of purpose, and that intense dislike of all that is
+      artificial or untrue in art, which have made him a great moral
+      power in the musical world.
+    </p>
+    <p>
+      He combines in a unique degree the highest executive powers with
+      the most<span class="pagenum"><a name="page254" id=
+      "page254"></a>{254}</span> excellent musicianship. Unsurpassed as
+      a master of the instrument, he uses his powers of execution in
+      the services of art, and represents the perfection of a pure
+      style and legitimate school, with breadth and fidelity of
+      interpretation. His performances undoubtedly 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.
+    </p>
+    <p>
+      In the rendering of Bach's solos, Beethoven'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 violin concerto (Op. 61) of
+      Beethoven, which was first played by Clement, December 23, 1806.
+      This concerto bears evidence of having been<span class=
+      "pagenum"><a name="page255" id="page255"></a>{255}</span> written
+      in a hurry. Clement played it at sight without rehearsal, and, as
+      a consequence 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
+      performance.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page256" id=
+      "page256"></a>{256}</span> of about $6,000, with which was
+      purchased an instrument of wonderful beauty, a celebrated "Red
+      Strad," which was presented to him at a public meeting held at
+      the conclusion of the Monday Popular Concerts, in 1888.
+    </p>
+    <p>
+      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. A grand concert was given at
+      the Philharmonie, with an orchestra consisting of two hundred
+      performers. 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
+      Hol<span class="pagenum"><a name="page257" id=
+      "page257"></a>{257}</span> laender, Gabrielle Wietrowitz, Marie
+      Soldat, and others.
+    </p>
+    <p>
+      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
+      armchair, beautifully decorated with flowers and wreaths, was
+      reserved as a seat of honour for the great musician.
+    </p>
+    <p>
+      The seventh number on the programme was left vacant, but when it
+      was reached the orchestra began the introduction to Beethoven's
+      concerto. No soloist was in sight, but Gabrielle Wietrowitz 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 except under the force of
+      persuasion, and then<span class="pagenum"><a name="page258" id=
+      "page258"></a>{258}</span> 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 orchestra 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.
+    </p>
+    <p>
+      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
+      standing in the musical world to begin with, but<span class=
+      "pagenum"><a name="page259" id="page259"></a>{259}</span> few
+      indeed are those who receive this privilege in comparison with
+      those who desire it.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      "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.
+    </p>
+    <p>
+      "I think I would like to study for the ministry," was the reply.
+    </p>
+    <p>
+      "It is much better to be a good minister than a poor violinist,"
+      said Joachim, looking him full in the face.
+    </p>
+    <p>
+      His liberality is proverbial, and after a<span class=
+      "pagenum"><a name="page260" id="page260"></a>{260}</span> 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.
+    </p>
+    <p>
+      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.
+    </p>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CHAPTER_IX" id="CHAPTER_IX"></a><span class=
+      "pagenum"><a name="page261" id="page261"></a>{261}</span> CHAPTER
+      IX.
+    </h2>
+    <p>
+      VIOLINISTS OF TO-DAY.
+    </p>
+    <p>
+      In these latter days the number of good violinists seems to have
+      increased greatly. A season seldom passes without witnessing the
+      début 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 virtuosi.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page262" id=
+      "page262"></a>{262}</span> tour lasting from three to six years
+      would cover a comparatively small amount of territory.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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 musical organisations than ever before.
+    </p>
+    <p>
+      It does not follow by any means that the travelling virtuoso is
+      one of the <i>greatest</i> violinists of his time. There are, in
+      every city of Europe and in many cities of America, violinists
+      who equal or even excel many of those who are exploited as
+      virtuosi. The <i>great</i> violinists are not to be found
+      every<span class="pagenum"><a name="page263" id=
+      "page263"></a>{263}</span> day. In the past twenty years,
+      perhaps, not more than two can be recalled who have visited the
+      United States as mature, great artists,&mdash;Wilhelmj and Ysaye.
+      Many violinists of excellent ability have been heard, and to some
+      of them some day the adjective <i>great</i> 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 <i>great</i>
+      can apply but to few.
+    </p>
+    <p>
+      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<span class="pagenum"><a name=
+      "page264" id="page264"></a>{264}</span> considered one of the
+      best violinists who had ever come to live in America.
+    </p>
+    <p>
+      Brodsky was born in 1851 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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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, <span class="pagenum"><a name="page265"
+      id="page265"></a>{265}</span> 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 Europe 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 Hallé.
+    </p>
+    <p>
+      Emil Sauret is well known in America, for he visited the United
+      States in 1872-73, and made a tour which was so successful, that
+      it was repeated in 1874, when he travelled with Ilma di Murska,
+      the great singer, and his wife, Teresa Careño, the pianist.
+    </p>
+    <div class="figcenter">
+      <img src="images/emil_sauret_page_265.jpg" alt=
+      "EMIL SAURET" title="EMIL SAURET" />
+      <p>
+        <b>EMIL SAURET</b>
+      </p>
+    </div>
+    <p>
+      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<span class=
+      "pagenum"><a name="page266" id="page266"></a>{266}</span>
+      Strasburg, after some preliminary instruction at home. In two
+      years he began his travels, and for several years he divided his
+      time between study and travel.
+    </p>
+    <p>
+      As a boy he was taken up by De Bériot, 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 sufferers
+      by the Franco-German war.
+    </p>
+    <p>
+      In 1879 ne 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.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page267" id=
+      "page267"></a>{267}</span> guished for elegance rather than
+      perfection of technique. He may be considered a representative of
+      the extreme French school.
+    </p>
+    <p>
+      In temperament he is quick and somewhat impatient. He expects
+      much of his pupils, and is the very opposite of the painstaking,
+      phlegmatic Wilhelmj.
+    </p>
+    <p>
+      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. Marsick and Ondricek
+      had preceded him by a few weeks, but Sauret did not suffer by
+      comparison.
+    </p>
+    <p>
+      One of the most remarkable violinists of the present day is César
+      Thomson, who was born at Liège in 1857. He entered the
+      conservatory of his native place, after receiving some
+      instruction from his father, and had completed the regular course
+      by the<span class="pagenum"><a name="page268" id=
+      "page268"></a>{268}</span> time he was twelve years of age, after
+      which he became a pupil of Leonard.
+    </p>
+    <p>
+      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 he 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 Liège
+      conservatory.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      M. Thomson's command of all the technical resources of the violin
+      is so great that he can play the most terrific passages without
+      sacrificing his tone or clearness of phras<span class=
+      "pagenum"><a name="page269" id="page269"></a>{269}</span> 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, compared with Ysaye, who
+      at that time swept everything before him and carried the country
+      by storm.
+    </p>
+    <p>
+      In 1897 César Thomson left Liège, owing, it is said, to
+      disagreements at the Conservatoire, and made his home at
+      Brussels.
+    </p>
+    <p>
+      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 inexplicable and inexpressible something which takes cold
+      judgment off its feet and leads criticism captive.
+    </p>
+    <p>
+      Ysaye was born at Liège in 1858, and,<span class=
+      "pagenum"><a name="page270" id="page270"></a>{270}</span> 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 afterward 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.
+    </p>
+    <p>
+      It was in 1873 that Ysaye, after preparation given chiefly by his
+      father, made his way to Brussels and sought out Wieniawski, then
+      professor at the Conservatoire. Wieniawski was teaching, when a
+      note was brought to him marked "private and important." The
+      servant was told to show the bearer in, and Ysaye, then about
+      fifteen years of age, timidly entered the room carry<span class=
+      "pagenum"><a name="page271" id="page271"></a>{271}</span> 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 recovering from
+      his paralytic shock. In 1876 Vieuxtemps heard him at Antwerp, and
+      through his influence the Belgian government 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
+      compositions, but Ysaye was at that time in St. Petersburg. When
+      Vieuxtemps died and<span class="pagenum"><a name="page272" id=
+      "page272"></a>{272}</span> 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.
+    </p>
+    <p>
+      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 Conservatoire, and the
+      possessor of many decorations and honours bestowed upon him by
+      various royalties.
+    </p>
+    <p>
+      Before he had been in America a month he was acknowledged to be
+      the greatest violinist who had visited this country for many
+      years.
+    </p>
+    <p>
+      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<span class=
+      "pagenum"><a name="page273" id="page273"></a>{273}</span>
+      perament. He has been compared to Rubinstein 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.
+    </p>
+    <p>
+      The student, perhaps, can learn more from César Thomson than from
+      Ysaye, but he will receive from the latter the greater
+      inspiration.<span class="pagenum"><a name="page274" id=
+      "page274"></a>{274}</span>
+    </p>
+    <p>
+      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
+      cadenza to the Beethoven concerto (an embellishment which all
+      violinists seem obliged to compose), but he declared that he did
+      not like the idea of an original cadenza to Beethoven'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 music," for which confession from
+      such an artist the world may be truly grateful.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      He made a second tour in America in<span class="pagenum"><a name=
+      "page275" id="page275"></a>{275}</span> 1898, when he confirmed
+      the opinions already formed as to his wonderful qualities.
+    </p>
+    <p>
+      In March, 1899, he went to Berlin, which city he had not visited
+      for several years, and appeared as soloist of the tenth Nikisch
+      Philharmonic concert, when he played the E major concerto by
+      Bach, and scored an overwhelming success. At the end of the
+      concert he was recalled some fifteen times, and had completely
+      exploded the idea so firmly held in Berlin, that the Belgians
+      cannot play the classics.
+    </p>
+    <p>
+      Of late years M. Ysaye has made his mark as a conductor, and has
+      given a series of orchestral concerts in Brussels. He organised
+      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<span class=
+      "pagenum"><a name="page276" id="page276"></a>{276}</span>
+      chestral concerts, is a most remarkable showing.
+    </p>
+    <p>
+      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 concerts scenes have been
+      witnessed which are simply nauseating. This fashion is not
+      confined, by any means, to the United States, for there are
+      anecdotes from all countries illustrative of the manner in which
+      members of the fair sex vie with each other in the effort to do
+      the silliest things.
+    </p>
+    <p>
+      Ysaye has a home near the Palais de Justice 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.
+    </p>
+    <p>
+      Carl Halir, who visited America in 1896, was born in 1859 at
+      Hohenelbe in Bohemia,<span class="pagenum"><a name="page277" id=
+      "page277"></a>{277}</span> and was first taught by his father. He
+      entered 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.
+    </p>
+    <p>
+      For some time he was a member of the Bilse orchestra, and then
+      went to Königsberg 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.
+    </p>
+    <p>
+      On his first appearance, at the Bach festival at Eisenath, he
+      played with Joachim the Bach double concerto, and was very
+      successful. He has made concert tours throughout the greater part
+      of Europe, and while in America he was recognised as a broad
+      artist. 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<span class="pagenum"><a name="page278" id=
+      "page278"></a>{278}</span> intellectuality. He has an even and
+      sympathetic 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.
+    </p>
+    <p>
+      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 generosity 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<span class=
+      "pagenum"><a name="page279" id="page279"></a>{279}</span> ment.
+      His playing is marked by individuality and dash, but he does not
+      show to the best advantage in the interpretation of the classics.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      He was born in Muhlhausen, Alsace, in 1861. He enjoyed the
+      advantages of instruction 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 César Thomson was also a
+      member.
+    </p>
+    <p>
+      In 1880 Mr. Loeffler crossed the Atlantic, and took up his
+      residence in New York, but the following year he was engaged as
+      second concert-master and soloist in the Boston<span class=
+      "pagenum"><a name="page280" id="page280"></a>{280}</span>
+      Symphony Orchestra, a position which he has held ever since, and
+      in which he has had opportunity to display his exceptional
+      talents.
+    </p>
+    <p>
+      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 virtuoso, 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.
+    </p>
+    <p>
+      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 Veillées de l'Ukraine;" a<span class=
+      "pagenum"><a name="page281" id="page281"></a>{281}</span>
+      concerto for violoncello, which has been played by Mr. Alwyn
+      Schroeder; a divertimento for violin and orchestra, and a
+      symphonic poem, "La Mort de Tintagiles." Besides these large
+      works he has written a number of songs, of which five are with
+      viola obligato. These works have been performed by the Kneisel
+      Quartet and the Symphony Orchestra, the solo parts of the suite
+      and divertimento by the composer himself, and they have gained
+      for him a reputation as a gifted and scholarly tone artist.
+    </p>
+    <p>
+      One of the most promising young violinists 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 eight 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,<span class=
+      "pagenum"><a name="page282" id="page282"></a>{282}</span> to
+      which the emperor added an imperial crown, as a recognition of
+      his talent.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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 violinists than Mr. Franz Kneisel.
+    </p>
+    <p>
+      Mr. Kneisel was called to Boston to fill the position of
+      concert-master of the Boston<span class="pagenum"><a name=
+      "page283" id="page283"></a>{283}</span> Symphony Orchestra in
+      1885, and has held that place for fourteen years, during which
+      time he has done much toward the cultivation of musical taste in
+      America.
+    </p>
+    <p>
+      He was born in Roumania, of German parents, in 1865, and gained
+      his musical education at Bucharest and at Vienna, where he
+      studied under Grün 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 César Thomson.
+    </p>
+    <p>
+      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 Beethoven concerto, and was at once recognised as a
+      violinist of remarkable ability.
+    </p>
+    <p>
+      Mr. Kneisel has never toured the country as a virtuoso, but has
+      been heard in many of<span class="pagenum"><a name="page284" id=
+      "page284"></a>{284}</span> the great cities of America, as solo
+      violinist with the Symphony Orchestra, and as first violin of the
+      Kneisel Quartet.
+    </p>
+    <p>
+      He is a master of technique, and surmounts 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,&mdash;in short, he is a
+      true artist. As a conductor he has marked ability, and as a
+      quartet player he has made a reputation which will live in the
+      history of music in America, if not in the whole world.
+    </p>
+    <p>
+      Charles Gregorowitsch, who visited America in 1898, has risen in
+      a very short time to a place among the leading violinists of the
+      world.
+    </p>
+    <p>
+      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,<span class="pagenum"><a name="page285"
+      id="page285"></a>{285}</span> under Besekirskij and Wieniawski.
+      From Moscow he was sent to Vienna, where he became a pupil of
+      Dont, and finally he studied under Joachim in Berlin, where he
+      gained the Mendelssohn prize.
+    </p>
+    <p>
+      Gregorowitsch was the last pupil of Wieniawski, 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.
+    </p>
+    <p>
+      Gregorowitsch has travelled extensively throughout Europe, has
+      been highly honoured in Russia, where the Czar granted him
+      exemption from military service, and decorated by the King of
+      Portugal. In London he made his first appearance in 1897, at the
+      Queen's Hall Symphony concerts.
+    </p>
+    <p>
+      M. Gregorowitsch is remarkable for a large tone, and in the
+      smoothness and finish of his<span class="pagenum"><a name=
+      "page286" id="page286"></a>{286}</span> playing he has been
+      compared with Sauret and with Sarasate.
+    </p>
+    <p>
+      A far greater sensation was caused in America by Willie Burmester
+      than by Gregorowitsch.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      When he was eight years old his father took him to Berlin to
+      consult Joachim, who was, and is, regarded as the oracle for
+      violinists. Joachim gave some encouragement to the parent,
+      although he does not seem to have given much to the boy, who in
+      consequence felt somewhat bitter. Four years later he was again
+      taken to the Berlin Hochschule, to pass his entrance
+      examination.<span class="pagenum"><a name="page287" id=
+      "page287"></a>{287}</span> On this occasion he received the
+      recognition of the jury, and was admitted to the school, where he
+      began a rigorous course of technical 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 greatest 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,
+      supporting himself meanwhile with a modest appointment which he
+      had obtained.
+    </p>
+    <p>
+      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 several operations for the purpose of removing it, but the
+      result was not wholly satisfactory.
+    </p>
+    <p>
+      Emerging from his retirement in 1894, he<span class=
+      "pagenum"><a name="page288" id="page288"></a>{288}</span> went to
+      Berlin again, and gave a recital in which he met with the most
+      remarkable success. 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 metropolis
+      off-hand. For nearly half an hour recall followed recall."
+    </p>
+    <p>
+      The following season he created an equal impression in London,
+      and shortly afterward in America.
+    </p>
+    <p>
+      His technique has been described as "marvellous, 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
+      developed to an astounding degree of perfection.<span class=
+      "pagenum"><a name="page289" id="page289"></a>{289}</span>
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      This announcement brought forth a deluge of letters from "pupils
+      of Joachim," and in a couple of weeks Burmester wrote another
+      letter stating that he did not know the Hochschule 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.
+    </p>
+    <p>
+      The complaint of Mr. Burmester, that the<span class=
+      "pagenum"><a name="page290" id="page290"></a>{290}</span> 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 technique 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.
+    </p>
+    <p>
+      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 technique was
+      brilliant it appeared to lack foundation. Time may justify the
+      stand which the young virtuoso has taken in
+      opposition<span class="pagenum"><a name="page291" id=
+      "page291"></a>{291}</span> to his teacher, for he is still young
+      and has time in which to develop. He has undoubted musical talent
+      and great ability, but while he may be a celebrated violinist he
+      can hardly yet be considered a great one, notwithstanding the
+      furore which he caused in Berlin.
+    </p>
+    <p>
+      Burmester plays with unassuming simplicity and without cheap
+      display. He is sincere, but without authority or distinction of
+      style. His tone is warm and pleasing, but not large, his
+      intonation is not always sure.
+    </p>
+    <p>
+      One of Burmester's earliest musical friends was Hans Von Bülow,
+      and the friendship extended over a period of three and a half
+      years, until Von Bülow went to Cairo shortly before his death.
+    </p>
+    <p>
+      Von Bülow 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<span class="pagenum"><a name="page292" id=
+      "page292"></a>{292}</span> Büllow, and many obstacles were placed
+      in his way. Von Büllow'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 Büllow, and he
+      wrote a letter to him offering his services, and expressing his
+      contempt for the injustice to which he was being subjected. Von
+      Büllow 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.
+    </p>
+    <p>
+      The rehearsal was about to commence when Von Büllow paused and
+      asked, "Which of you gentlemen is Burmester?"
+    </p>
+    <p>
+      The young fellow approached Von Büllow, who had motioned him to
+      come.
+    </p>
+    <p>
+      "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<span class="pagenum"><a name="page293" id=
+      "page293"></a>{293}</span> the musicians, "I wish to introduce to
+      you the guest of honour of my orchestra, Mr. Burmester."
+    </p>
+    <p>
+      This was the beginning of a friendship, through which the young
+      violinist showed unswerving loyalty, and it is now one of his
+      greatest desires to reach a point of independence which will
+      enable him to build a monument to Von Bülow's memory.
+    </p>
+    <p>
+      In 1893 a sensation was created in America by the visit of Henri
+      Marteau, a young French violinist whose excellent playing 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 musicians.
+    </p>
+    <p>
+      Marteau was born at Reims in 1874. 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<span class="pagenum"><a name="page294" id=
+      "page294"></a>{294}</span> 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 following 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.
+    </p>
+    <p>
+      In 1892 Marteau carried off the first prize for violin playing at
+      the Paris Conservatoire, and Massenet, the celebrated French
+      composer, wrote a concerto for him.
+    </p>
+    <p>
+      When Marteau played in Boston at the Symphony concerts he
+      received twelve re<span class="pagenum"><a name="page295" id=
+      "page295"></a>{306}</span> 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 conducted
+      by Mr. Arthur Nikisch.
+    </p>
+    <p>
+      In the following year Marteau again visited America and brought
+      with him a concerto 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.
+    </p>
+    <p>
+      Marteau's tone is large, brilliant, and penetrating. His
+      technique is sure, and he plays with contagious warmth of
+      sentiment and great artistic charm.
+    </p>
+    <p>
+      The violin which he used during his<span class="pagenum"><a name=
+      "page296" id="page296"></a>{296}</span> 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.
+    </p>
+    <p>
+      Alexander Petschnikoff, the son of a Russian 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 happened 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.
+    </p>
+    <p>
+      In due course he won the first prize and the gold medal at the
+      conservatory, and was<span class="pagenum"><a name="page297" id=
+      "page297"></a>{297}</span> 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 Ourosoff, 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.
+    </p>
+    <p>
+      When he made his début in Berlin, in 1895, his success was
+      unprecedented, inasmuch as it covered four points,&mdash;the
+      artistic, 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 honorarium for a single concert ever
+      obtained by a violinist in Europe.<span class="pagenum"><a name=
+      "page298" id="page298"></a>{298}</span>
+    </p>
+    <p>
+      He is described as a man of commonplace appearance, with dull,
+      expressionless eyes, sluggish movements, and slow, affected
+      manner of speech. His technique is not astonishing, but he has a
+      full, penetrating, sympathetic tone. There is no charlatanism or
+      trickery in his playing, nor any virtuoso effects, but the charm
+      of it rests in his glowing temperament, ideal conception, and
+      wonderful 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.
+    </p>
+    <p>
+      Petschnikoff has been given an introduction 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 inconceivable versatility."
+    </p>
+    <p>
+      One might prolong the list of violinists to a tremendous extent,
+      and yet fail to mention all those of great merit. In England,
+      John<span class="pagenum"><a name="page299" id=
+      "page299"></a>{299}</span> Dunn appears to be acquiring a great
+      reputation. On the Continent, such names as Hubay, Petri, Rosé
+      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 Boston 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.
+    </p>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CHAPTER_X" id="CHAPTER_X"></a><span class=
+      "pagenum"><a name="page300" id="page300"></a>{300}</span> CHAPTER
+      X.
+    </h2>
+    <p>
+      WOMEN AS VIOLINISTS.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Formerly, for many years, it seems to have been considered
+      improper, or ungraceful, or unladylike,&mdash;the reasons are
+      nowhere satisfactorily given, but the fact remains that until
+      recently few women played the violin.
+    </p>
+    <p>
+      From the year 1610 until 1810 the list of those who played in
+      public is extremely short, numbering only about twenty, and of
+      these several were gambists.
+    </p>
+    <p>
+      That women did, once upon a time, play<span class=
+      "pagenum"><a name="page301" id="page301"></a>{301}</span> on the
+      violin, or the corresponding string and bow instruments which
+      were its ancestors, there is evidence.
+    </p>
+    <p>
+      On the painted roof of Peterborough Cathedral, in England, which
+      is said to have been built in the year 1194 A.D., there is a
+      picture 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.
+    </p>
+    <p>
+      Among the accounts of King Henry VII., dated November 2, 1495, is
+      the following item, "For a womane that singeth with a fiddle, 2
+      shillings."
+    </p>
+    <p>
+      Anne of Cleves after her divorce comforted herself by playing on
+      a viol with six strings. Queen Elizabeth, also, amused herself
+      not only with the lute, the virginals, and her voice, but also
+      with the violin.
+    </p>
+    <p>
+      These, however, were amateurs, and the<span class=
+      "pagenum"><a name="page302" id="page302"></a>{302}</span>
+      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, violin, and bass
+      viol. Previous to her there was one Signora Leonora Baroni, born
+      at Mantua about 1610, but she played the theorbo and the viol di
+      gamba.
+    </p>
+    <p>
+      The next is "La Diamantina," born about 1715, 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."
+    </p>
+    <p>
+      Anne Nicholl, born in England about 1728, played the violin
+      before the Duke of Cumberland at Huntley in 1746, and her
+      granddaughter, Mary Anne Paton, also, who was better known as a
+      singer and who became Lady Lenox, and afterwards Mrs. Wood, was a
+      violinist.
+    </p>
+    <p>
+      The celebrated Madame Gertrude Elizabeth Mara, one of the
+      greatest singers of<span class="pagenum"><a name="page303" id=
+      "page303"></a>{303}</span> 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 womanhood her voice
+      developed and she became one of the celebrities in the history of
+      song. There is no doubt that the training in intervals 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 violinists, as, for instance,
+      Christine Nilsson and Marcella Sembrich.
+    </p>
+    <p>
+      Maddalena Lombardi Sirmen, born about 1735, had an almost
+      European reputation toward the end of the eighteenth century. She
+      visited France and England about 1760-61, 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<span class="pagenum"><a name="page304" id=
+      "page304"></a>{304}</span> her by Tartini, and which is not only
+      one of the rarities of musical literature, but constitutes also a
+      valuable treatise on the use of the violin.
+    </p>
+    <p>
+      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 <i>breathe</i> 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,&mdash;if
+      the tone is <i>begun</i> with delicacy, there is little danger of
+      rendering it afterwards 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."
+    </p>
+    <p>
+      Maddalena Sirmen received her instruc<span class=
+      "pagenum"><a name="page305" id="page305"></a>{305}</span> tion
+      first at the conservatory of Mendicanti 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.
+    </p>
+    <p>
+      Regina Sacchi, who married a noted German violoncellist named
+      Schlick, was celebrated for her performances on the violin. She
+      was born at Mantua in 1764, and educated at the Conservatorio
+      della Pietà at Venice. This lady was highly esteemed by Mozart,
+      who said of her, "No human being can play with more feeling."
+    </p>
+    <p>
+      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,<span class="pagenum"><a name="page306" id=
+      "page306"></a>{306}</span> <i>in his mind</i>, his beautiful
+      sonata in B-flat minor, for piano and violin. The time for the
+      concert drew near, but not a note was put upon paper, and Madame
+      Schlick's anxiety 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.
+    </p>
+    <p>
+      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 happened, 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, graciously acquiesced, though the emperor
+      did<span class="pagenum"><a name="page307" id=
+      "page307"></a>{307}</span> not state whether he considered
+      Mozart's knowledge of his new composition, or Madame Schlick's
+      ability to play with him unrehearsed, constituted the "chance."
+    </p>
+    <p>
+      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 sensation in
+      1799 by her performance of some violin concertos at the Italian
+      Theatre at Lisbon, where she played between the acts.
+    </p>
+    <p>
+      Signora Paravicini attracted the attention 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.<span class="pagenum"><a name="page308" id=
+      "page308"></a>{308}</span> Driven to the last resource, and
+      having even pawned her clothes, she applied for aid to the
+      Italians resident in Paris, and they enabled 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.
+    </p>
+    <p>
+      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
+      1816.
+    </p>
+    <p>
+      Madame Krahmer and Mlles. Eleanora Neumann, and M. Schulz all
+      delighted the public in Vienna and Prague. Miss Neumann came from
+      Moscow, and astonished the public when she had scarcely reached
+      her tenth year. Other names are Madame Filipowicz, Madame
+      Pollini, Mlle. Zerchoff, Eliza Wallace, and Rosina Collins, who
+      all played publicly and were well known.<span class=
+      "pagenum"><a name="page309" id="page309"></a>{309}</span>
+    </p>
+    <p>
+      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 manufacturer 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 Brussels, where she took lessons of De Bériot, and
+      received the finishing touch to her artistic
+      education,&mdash;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.
+    </p>
+    <p>
+      The two sisters, who were called, on account of their most
+      striking characteristics,<span class="pagenum"><a name="page310"
+      id="page310"></a>{310}</span> Mlle. Staccato and Mlle. 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 Prussia. They also created a furore at
+      Vienna and Berlin.
+    </p>
+    <p>
+      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, resumed her travels, and, having matured
+      and improved, she played better and excited more interest than
+      before. In 1857 she married a French officer, Captain Théodore
+      Parmentier, who had seen service in the Crimean War, and she
+      abandoned the concert stage.
+    </p>
+    <p>
+      From 1857 until 1878 she followed the fortunes of her husband,
+      who became a general and a "Grand Officier de la
+      Legion<span class="pagenum"><a name="page311" id=
+      "page311"></a>{311}</span> d'Honneur," 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.
+    </p>
+    <p>
+      During the lifetime of Marie, the sisters had already put
+      themselves into direct personal 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 consisted 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<span class="pagenum"><a name="page312" id=
+      "page312"></a>{312}</span> ing, purchased with the receipts of
+      the previous concerts, were distributed.
+    </p>
+    <p>
+      From 1830 there has been a constantly increasing number of ladies
+      who have appeared 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 performers.
+    </p>
+    <p>
+      Mlle. Emilia Arditi, Fraülein Hortensia Zirges, Miss Hildegard
+      Werner, Miss Bertha Brousil, and Madame Rosetta Piercy-Feeny were
+      all born during the decade 1830 to 1840, and were well known, but
+      in 1840 and 1842 two violinists were born who were destined to
+      hold the stage for many years and to exert a great influence in
+      their profession. Wilma Neruda, now known as Lady Hallé and
+      Camilla Urso are the two ladies in question, the former exerting
+      her influence chiefly in England and on the Continent, and the
+      latter in America.<span class="pagenum"><a name="page313" id=
+      "page313"></a>{313}</span>
+    </p>
+    <p>
+      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, however, that the success of Teresa Milanollo
+      gave the first great impulse toward the study of the violin by
+      women.
+    </p>
+    <p>
+      Lady Hallé was born at Brünn, March 21, 1840. Her father was
+      Josef Neruda, a musician 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 appearance in public in 1846, at which time she was not
+      quite seven years old. On this occasion her sister Amalie, who
+      was a pianist, accompanied her, and shortly afterwards her father
+      took her, with her sister Amalie and<span class=
+      "pagenum"><a name="page314" id="page314"></a>{314}</span> one of
+      her brothers, on an extended tour. The family consisted of two
+      sons&mdash;a pianist and a 'cellist&mdash;and two
+      daughters&mdash;a violinist and a pianist.
+    </p>
+    <p>
+      In 1849 they reached London, where the young violinist played a
+      concerto by De Bériot, 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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Before long she was again busy with concert playing, and in 1869
+      she again appeared in England, where she became a great
+      favourite, and has appeared there regularly almost, if not quite,
+      every season since. Hans von<span class="pagenum"><a name=
+      "page315" id="page315"></a>{315}</span> Bülow spoke of her as
+      Joachim's rival, and called her "the violin fairy."
+    </p>
+    <p>
+      Joachim has always been a great favourite in England, but Madame
+      Norman-Neruda, or Lady Hallé, as she became later, has fully
+      shared his popularity. What Joachim is to the sterner sex, just
+      the same is Lady Hallé to the gentler.
+    </p>
+    <p>
+      Joachim was indeed one of the first to recognise the fact that he
+      had in Mlle. 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 Hallé, who afterwards became her husband, "I
+      recommend this artist to your careful consideration. Mark this,
+      when people have given her a fair hearing, they will think more
+      of her and less of me."
+    </p>
+    <p>
+      Ludwig Norman died in 1885, and three years later Madame
+      Norman-Neruda married the pianist, Charles Hallé, who had long
+      been identified with all that was best musically in<span class=
+      "pagenum"><a name="page316" id="page316"></a>{316}</span>
+      England, and who was knighted in recognition of his services to
+      the cause of art.
+    </p>
+    <p>
+      Sir Charles Hallé established a series of orchestral concerts at
+      Manchester in 1857, and by means of these concerts brought before
+      the English public the works of many composers who would have
+      remained unknown 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.
+    </p>
+    <p>
+      In 1890 Sir Charles and Lady Hallé made a tour in Australia,
+      which was highly successful. Five years later they went to South
+      Africa, where they met with a flattering reception. In his
+      memoirs, Sir Charles Hallé 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<span class=
+      "pagenum"><a name="page317" id="page317"></a>{317}</span> and a
+      song had been given by other musicians, 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.
+    </p>
+    <p>
+      In 1895, shortly after their return from the South African tour,
+      Sir Charles Hallé died, and Lady Hallé went into retirement. At
+      this time her numerous admirers in England presented her with a
+      valuable testimonial of their appreciation.
+    </p>
+    <p>
+      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<span class="pagenum"><a name=
+      "page318" id="page318"></a>{318}</span> 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.
+    </p>
+    <p>
+      She is celebrated no less as a quartet player than as a soloist,
+      and was for many years first violin of the Philharmonic Quartet
+      in London.
+    </p>
+    <p>
+      In 1898, Lady Hallé had the misfortune to lose her son, Mr.
+      Norman Neruda, who, while scaling a difficult place in the Alps,
+      slipped and was killed.
+    </p>
+    <p>
+      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, however, 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<span class=
+      "pagenum"><a name="page319" id="page319"></a>{319}</span> would
+      not have challenged comparison with the violinists of the rising
+      generation.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      She made a tour through Germany, during<span class=
+      "pagenum"><a name="page320" id="page320"></a>{320}</span> which
+      she met with immense success, and then returned to Paris to
+      continue her studies.
+    </p>
+    <p>
+      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 childlike, 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.
+    </p>
+    <p>
+      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 professional career
+      until 1862, from which time <span class="pagenum"><a name=
+      "page321" id="page321"></a>{321}</span> 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.
+    </p>
+    <p>
+      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 <i>I</i> who tell you so. Your star is in the ascendant, and
+      soon it will shine at the zenith of the artistic firmament."
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      In March, 1867, Mlle. Urso received a<span class=
+      "pagenum"><a name="page322" id="page322"></a>{322}</span>
+      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
+      unmoved until the alarm was subdued and the audience returned to
+      their seats, when she played the interrupted movement through
+      from the beginning.
+    </p>
+    <p>
+      In 1879 she made a tour to Australia, and again in 1894.
+    </p>
+    <p>
+      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 probably travelled farther than any
+      other violin virtuosa.
+    </p>
+    <p>
+      For the past few years she has lived in New York, and has
+      practically retired from the concert stage.<span class=
+      "pagenum"><a name="page323" id="page323"></a>{323}</span>
+    </p>
+    <p>
+      Teresina Tua, who was well known in the United States about 1887,
+      was 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
+      received 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.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page324" id=
+      "page324"></a>{324}</span> 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,&mdash;"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 American audience more gorgeously arrayed. "Fastened
+      all over the bodice of her soft white woollen gown she wore these
+      sparkling jewels, and in her hair were two or three diamond
+      stars," said the account in Dwight's <i>Journal of Music</i>. Yet
+      with all this the criticisms of her playing were somewhat
+      lukewarm. The expectation of the people had been wrought up to an
+      unreas<span class="pagenum"><a name="page325" id=
+      "page325"></a>{325}</span> onable pitch, and Signorina Tua, while
+      she was acknowledged to be an excellent and charming violinist,
+      was not considered <i>great.</i> After a time, however, as she
+      became better known, she grew in popular estimation, and before
+      she left America she had hosts of admirers.
+    </p>
+    <p>
+      On returning to Europe she made another tour, but shortly
+      afterwards she married Count Franchi Verney della Valetta, a
+      distinguished Italian critic, and retired into private life,
+      though from time to time she was heard in concerts in Italy.
+    </p>
+    <p>
+      In 1897 she was again on the concert stage, and played at St.
+      James's Hall, London, 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.
+    </p>
+    <p>
+      Of the three hundred or more pupils of Joachim, there have been
+      several ladies who have attained celebrity, of whom Miss
+      Emily<span class="pagenum"><a name="page326" id=
+      "page326"></a>{326}</span> Shinner (now Mrs. A. F. Liddell) has
+      been for some years the most prominent in England, while the
+      names of Gabrielle Wietrowitz and Marie Soldat are known
+      throughout Europe, and Maude Powell and Leonora Jackson are among
+      the brightest lights from the United States.
+    </p>
+    <p>
+      Miss Emily Shinner has been in many respects a pioneer amongst
+      lady violinists, for in 1874, when quite young, she went to
+      Berlin 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 admission of women to the
+      Hochschule. Joachim interested himself in her, and she was
+      examined for admission. Miss Shinner at once presented herself as
+      a second candidate, and the result was that both ladies were
+      accepted<span class="pagenum"><a name="page327" id=
+      "page327"></a>{327}</span> as probationers. In six months Miss
+      Shinner 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.
+    </p>
+    <p>
+      Again in 1884 Miss Shinner, having acquired 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 occasion she acquitted herself so well that an encore of
+      the second movement of the quartet was demanded. Since that time
+      she has been always before the public, and has taken special
+      interest in chamber music and quartet playing, the Shinner
+      Quartet of ladies having acquired a national reputation.
+    </p>
+    <p>
+      Her marriage to Capt. A. F. Liddell took place in 1889.
+    </p>
+    <p>
+      Marie Soldat was born at Gratz in 1863 or 1864, and was the
+      daughter of a musician, who was pianist, organist, and
+      choirmaster,<span class="pagenum"><a name="page328" id=
+      "page328"></a>{328}</span> 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 composition with Thierot,
+      the Kapellmeister, at the same time keeping on with the
+      pianoforte.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Soon after this she had the misfortune to lose her father, and a
+      little later her violin teacher, Pleiner, also died, so that her
+      progress received a check. Joachim, however, visited Gratz to
+      play at a concert, and the young girl went to him and consulted
+      him<span class="pagenum"><a name="page329" id=
+      "page329"></a>{329}</span> 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.
+    </p>
+    <p>
+      During this tour, she made the acquaintance 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.
+    </p>
+    <p>
+      At the high school she gained the Mendelssohn prize, and from
+      that time commenced her career as a virtuosa, touring extensively
+      throughout Europe. One of her greatest triumphs was when, in
+      1885,<span class="pagenum"><a name="page330" id=
+      "page330"></a>{330}</span> at Vienna, she played Brahm's violin
+      concerto with Richter's orchestra.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      In 1889 Marie Soldat married a lawyer named Röger, but did not
+      retire from her profession. She is now known as Madame
+      Soldat-Röger.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page331" id=
+      "page331"></a>{331}</span> enabled him to give his daughter
+      elementary instruction on that instrument.
+    </p>
+    <p>
+      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 consequence of her great promise Count Aichelburg, 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 1882.
+    </p>
+    <p>
+      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
+      capturing the Mendelssohn prize, which brought<span class=
+      "pagenum"><a name="page332" id="page332"></a>{332}</span> her
+      1,500 marks, and at the end of her third year she took it for a
+      second time.
+    </p>
+    <p>
+      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 Münster. Then followed a series of
+      concert tours, which resulted in securing her a reputation as one
+      of the most brilliant stars amongst women.
+    </p>
+    <p>
+      Miss Wietrowitz plays with the most consummate 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.
+    </p>
+    <p>
+      The most recent star of Europe is Madame Saenger-Sethe, whose
+      appearances are invariably followed by eulogies from the
+      critics.<span class="pagenum"><a name="page333" id=
+      "page333"></a>{333}</span> In Berlin, when she appeared at the
+      Singakademie, in November, 1898, 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.
+    </p>
+    <p>
+      Mlle. Irma Sethe was born on April 28, 1876, 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 hard study enabled her to<span class=
+      "pagenum"><a name="page334" id="page334"></a>{334}</span> appear
+      at a concert at Marchiennes, when she played a concerto by De
+      Bériot and the rondo capriccioso by Saint-Saëns. The following
+      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.
+    </p>
+    <p>
+      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 appreciation 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.
+    </p>
+    <p>
+      Ysaye at once recognised her immense<span class=
+      "pagenum"><a name="page335" id="page335"></a>{335}</span>
+      ability, and advised her to enter the conservatoire 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.
+    </p>
+    <p>
+      In 1894 she appeared with him at a number of important concerts,
+      and shortly afterwards made her first concert tour, visiting many
+      of the principal towns of Germany. In November, 1895, she made
+      her first appearance in London, where she was pronounced to be,
+      with the exception of Lady Hallé, 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 extravagantly,
+      praised.<span class="pagenum"><a name="page336" id=
+      "page336"></a>{336}</span>
+    </p>
+    <p>
+      In August, 1898, Mlle. Sethe married Doctor Saenger, a
+      <i>littérateur</i>, and professor of philosophy at Berlin, but
+      she continues her career as a violinist, and has made several
+      tours of Europe. She has been compared to Rubinstein, inasmuch as
+      her remarkable musical temperament and irresistible 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.
+    </p>
+    <p>
+      Among other European ladies who have made their mark as
+      violinists, and whose stars are in the ascendant, may be
+      mentioned Sophie Jaffé, who has been called the greatest of all
+      women violinists, and Frida Scotta.
+    </p>
+    <p>
+      Although many years behind the continent 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<span class="pagenum"><a name="page337" id=
+      "page337"></a>{337}</span> to the musical world many shining
+      lights during the past few years. Mlle. 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, Anna Senkrah was born, who for a few years rivalled
+      Teresina Tua.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      In 1881 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<span class="pagenum"><a name=
+      "page338" id="page338"></a>{338}</span> throughout Europe, and in
+      1882 she played, under her proper name, at the Crystal Palace,
+      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.
+    </p>
+    <p>
+      New York has contributed other stars to the violin firmament, for
+      Nettie Carpenter and Geraldine Morgan are names which have become
+      well known.
+    </p>
+    <p>
+      Miss Carpenter went abroad at an early age, though not until she
+      had appeared in concerts in her native city, and created
+      considerable interest.
+    </p>
+    <p>
+      On going to Paris, she was successful in passing the entrance
+      examinations for the Conservatoire, and in 1884 won the first
+      prize for violin playing. In 1882 she appeared in London at the
+      promenade concerts, and again in 1884, when she confirmed the
+      reputation which she had made two years<span class=
+      "pagenum"><a name="page339" id="page339"></a>{339}</span>
+      previously, at the same concerts. From that time on she went
+      through the usual routine of the concert violinist, with
+      considerable success.
+    </p>
+    <p>
+      In 1894 she married Leo Stern, the violoncello 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.
+    </p>
+    <p>
+      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 Schradieck, after which she was
+      the pupil in Berlin of Joachim, under whose guidance she remained
+      eight years. She was the first American who ever gained the
+      Mendelssohn prize.
+    </p>
+    <p>
+      Miss Morgan has made tours through the<span class=
+      "pagenum"><a name="page340" id="page340"></a>{340}</span>
+      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 auspices of Walter Damrosch.
+    </p>
+    <p>
+      A lady who holds a high position among the violinists of the
+      world is Miss Maud Powell, who was born in Aurora, Ill., 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.
+    </p>
+    <div class="figcenter">
+      <img src="images/maude_powell_page_340.jpg" alt=
+      "MAUD POWELL" title="MAUD POWELL" />
+      <p>
+        <b>MAUD POWELL</b>
+      </p>
+    </div>
+    <p>
+      She next went to Paris, where she was the first selected out of
+      eighty applicants for admission to the Conservatoire. In the
+      following year she accepted an engagement for a tour in England,
+      and had the honour <span class="pagenum"><a name="page341" id=
+      "page341"></a>{341}</span> 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 remained with him
+      for two years.
+    </p>
+    <p>
+      In 1885 she made her début 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
+      marvellously gifted woman, one who in every feature 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.
+    </p>
+    <p>
+      Miss Powell has appeared in the best concerts throughout America,
+      and has gained a reputation second to no American violinist. By
+      many she is declared to be the equal of<span class=
+      "pagenum"><a name="page342" id="page342"></a>{342}</span> Soldat
+      and Wietrowitz in tone, technique, and interpretative power. She
+      has an immense repertoire, and is also a student of literature.
+      She also is said to have been the first to establish a female
+      quartet in America.
+    </p>
+    <p>
+      The latest American lady violinist to gain honours abroad is Miss
+      Leonora Jackson, who won the Mendelssohn state prize at Berlin,
+      in 1898, and who has gained a great reputation by her
+      performances before the most important musical organisations in
+      Europe.
+    </p>
+    <p>
+      Miss Jackson was fortunate enough to attract the attention of
+      Mrs. Grover Cleveland, 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 début in 1896, with the
+      Philharmonic Orchestra, which was conducted by Joachim on
+      that<span class="pagenum"><a name="page343" id=
+      "page343"></a>{343}</span> occasion. Shortly afterwards she was
+      commanded 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.
+    </p>
+    <p>
+      When she appeared in London, in 1898, she surprised and delighted
+      the audience, displaying a fine tone, natural musical feeling,
+      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, 1899, before the Queen of
+      England at Windsor Castle, and again in August at Osborne House,
+      in the Isle of Wight.
+    </p>
+    <p>
+      The time has long since gone by when mere showy technique would
+      earn a reputation for any violinist, male or female,
+      and<span class="pagenum"><a name="page344" id=
+      "page344"></a>{344}</span> she who expects to be numbered with
+      the great violinists must be first of all a musician, capable of
+      interpreting the greatest works. If in addition to this she has
+      "the divine spark," she will be truly great.
+    </p>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CHAPTER_XI" id="CHAPTER_XI">CHAPTER XI</a>
+    </h2><span class="pagenum"><a name="page345" id=
+    "page345"></a>{345}</span>
+    <p>
+      FAMOUS QUARTETS.
+    </p>
+    <p>
+      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 disappointment than the realisation that it is capable of
+      far better interpretation.
+    </p>
+    <p>
+      For the professional there are many influences which cause him to
+      hesitate before he launches forth upon the quicksands of public
+      performance. The first necessity in professional quartet playing
+      is the devotion of a large amount of time to the acquisition of a
+      perfect ensemble. A quartet may be likened<span class=
+      "pagenum"><a name="page346" id="page346"></a>{346}</span> unto a
+      family, in which the members learn to know one another by being
+      brought up together, and few are the professionals who can
+      sacrifice the time necessary for the acquisition of this perfect
+      ensemble.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      When Spohr went first to Leipzig and was unknown, he had to find
+      a way by which he could attract attention to himself,&mdash;in
+      those days the advertising agent was not much in
+      evidence,&mdash;so that he might give a concert with a reasonable
+      prospect of success.<span class="pagenum"><a name="page347" id=
+      "page347"></a>{347}</span> The rich merchants, to whom he had
+      brought letters of introduction, knew nothing of him and received
+      him coldly. "I was very anxious 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 company 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.<span class="pagenum"><a name="page348" id=
+      "page348"></a>{348}</span> This made quite a sensation in the
+      company, and the host approached me questioningly. I met him with
+      the remark,&mdash;which could be heard everywhere,&mdash;'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, something 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<span class="pagenum"><a name="page349" id=
+      "page349"></a>{349}</span> and accompanied well enough. This time
+      there was perfect silence, and the enthusiasm for my playing
+      increased with each movement. At the end of the quartet so much
+      flattery was heaped upon me that I trotted out my
+      hobby-horse,&mdash;the G variations of Rode. With this piece I
+      made quite a sensation, and for the remainder of the evening I
+      was the object of the most flattering attention."
+    </p>
+    <p>
+      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 accompaniment,
+      but each member of the quartet is practically of equal
+      importance.
+    </p>
+    <p>
+      Lambert Joseph Massart, the eminent teacher of Paris, is said to
+      have been an excellent quartet player, and often, with
+      his<span class="pagenum"><a name="page350" id=
+      "page350"></a>{350}</span> wife, an admirable pianist, he gave
+      delightful chamber concerts.
+    </p>
+    <p>
+      Few violinists have been more closely associated with quartet
+      playing than Ferdinand David, in his way one of the most
+      celebrated violinists. Little is known of his early youth except
+      that he was born at Hamburg 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 Königstadt
+      Theatre at Berlin. Here he became acquainted with Mendelssohn,
+      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<span class=
+      "pagenum"><a name="page351" id="page351"></a>{351}</span> years
+      the young violinist remained in Dorpat, though he found
+      opportunity to make some concert tours through the north of
+      Europe.
+    </p>
+    <p>
+      When Mendelssohn was appointed conductor of the Gewandhaus
+      concerts at Leipzig, 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.
+    </p>
+    <p>
+      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 Berlin, and possibly by Brodsky's later Leipzig
+      quartet.
+    </p>
+    <p>
+      David died in 1873, beloved and respected, and will be remembered
+      as one of the most refined musicians and admirable teachers of
+      the century.
+    </p>
+    <p>
+      <span class="pagenum"><a name="page352" id=
+      "page352"></a>{352}</span> Josef Hellmesberger, one of the most
+      brilliant violinists and noted teachers of Vienna, founded, in
+      1849, a quartet which achieved an immense reputation. His
+      associates 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. Hellmesberger spent
+      the whole of his life in Vienna, with the exception of a tour in
+      1847, and he held the highest musical office in the Austrian
+      Empire, that of director of the Imperial Band.
+    </p>
+    <p>
+      A story which is told of him bears testimony to his remarkable
+      musical instinct. Teresa Milanollo, in 1840, took a new
+      manuscript by De Bériot 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.<span class="pagenum"><a name="page353"
+      id="page353"></a>{353}</span>
+    </p>
+    <p>
+      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.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href=
+      "#Footnote_1_1" class="fnanchor">[1]</a> Miss Shinner, whose
+      efforts in the artistic world have been of great value, and whose
+      quartet has an immense reputation in England, was also a pupil of
+      Joachim.
+    </p>
+    <div class="footnote">
+      <p>
+        <a name="Footnote_1_1" id="Footnote_1_1"></a><a href=
+        "#FNanchor_1_1"><span class="label">[1]</span></a> The Shinner
+        Quartet consisted of Miss Emily Shinner (Mrs. F. Liddell),
+        first violin, Miss Lucy H. Stone, second violin, Miss Cecilia
+        Gates, viola, and Miss Florence Hemmings, violoncello.
+      </p>
+    </div>
+    <p>
+      The "Florentine Quartet" was founded by Jean Becker, a violinist
+      of excellent ability,<span class="pagenum"><a name="page354" id=
+      "page354"></a>{354}</span> who made his mark in Europe about the
+      middle of the nineteenth century. Becker was travelling 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 Hilpert, 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 1818 and died in 1897.
+    </p>
+    <p>
+      From time to time this society gave subscription 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<span class="pagenum"><a name="page355" id=
+      "page355"></a>{355}</span> 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 six chamber concerts, 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.
+    </p>
+    <p>
+      About 1875 Hilpert withdrew, and his place was filled by Hegyesi,
+      who remained with the quartet until it was disbanded in 1880.
+    </p>
+    <p>
+      An excellent series of quartet concerts<span class=
+      "pagenum"><a name="page356" id="page356"></a>{356}</span> 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.
+    </p>
+    <p>
+      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 reputation.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      Adolf Brodsky, who for a time resided in New York, founded a
+      string quartet at Leipzig, with Hans Becker, son of the founder
+      of the Florentine Quartet, Hans Sitt, and Julius Klengel, the
+      'cellist, and this quartet<span class="pagenum"><a name="page357"
+      id="page357"></a>{357}</span> was said to have no superior in
+      Europe, and not more than one equal,&mdash;the Joachim Quartet of
+      Berlin. In 1891 Brodsky went to New York, where he also
+      established a quartet, but with little success. The organisation
+      was received with respect, owing to Mr. Brodsky's European
+      reputation, but it was admitted on all hands that superior
+      organisations 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 Germany, accepted a position
+      in England, where he has established another quartet.
+    </p>
+    <p>
+      He was succeeded in the quartet at Leipzig and at the
+      conservatory by Arno Hilf, a distinguished violinist with an
+      enormous technique, who was born in 1858 and was taught by David,
+      Röntgen, and Schradieck.
+    </p>
+    <p>
+      Quartet playing in public was established in England in 1835,
+      when the admirers of Joseph Dando, an excellent violinist,
+      opened<span class="pagenum"><a name="page358" id=
+      "page358"></a>{358}</span> 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 October 12th, 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. Blagrove and Henry Gattie as first
+      and second violins, Mr. Dando, viola, and Mr. Lucas, 'cello, for
+      the more perfect study and presentation 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.
+    </p>
+    <p>
+      <span class="pagenum"><a name="page359" id=
+      "page359"></a>{359}</span> The tide of public favour had now set
+      in, and other quartets were formed, but none reached such
+      excellence as that headed by Blagrove, which was invited to play
+      at the Philharmonic concerts, where it produced a great
+      sensation.
+    </p>
+    <p>
+      About the end of the seventh season Blagrove withdrew, but the
+      quartet continued 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.
+    </p>
+    <p>
+      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<span class="pagenum"><a name="page360" id=
+      "page360"></a>{360}</span> organisations of the Russian capital,
+      until the death of Davidoff, the violoncellist, who was one of
+      its members, in 1890.
+    </p>
+    <p>
+      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.
+    </p>
+    <p>
+      A quartet which has gained a great reputation in Europe during
+      recent years is the Bohemian Quartet, consisting of Carl
+      Hoffmann, 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.
+    </p>
+    <p>
+      At Hanover Richard Sahla has established a quartet, with Meneke,
+      Kugler, and Loeleberg, and Arnold Rosé's quartet, of Vienna, has
+      travelled in Hungary, Italy, and other countries, gaining a good
+      reputation.
+    </p>
+    <p>
+      In the United States there have been well meant efforts to found
+      good quartets, and<span class="pagenum"><a name="page361" id=
+      "page361"></a>{361}</span> 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.
+    </p>
+    <p>
+      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 concerts was
+      given that season in Chickering Hall. While the excellence of the
+      quartet was apparent from the start, there were comparatively 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<span class=
+      "pagenum"><a name="page362" id="page362"></a>{362}</span> seating
+      capacity about twice as large as that of the original hall.
+    </p>
+    <p>
+      The second violin is Mr. Otto Roth,<a name="FNanchor_2_2" id=
+      "FNanchor_2_2"></a><a href="#Footnote_2_2" class=
+      "fnanchor">[2]</a> a native of Vienna, who played for three years
+      under the baton of Hans Richter, and came to Boston to play first
+      violin in the Symphony Orchestra.
+    </p>
+    <div class="footnote">
+      <p>
+        <a name="Footnote_2_2" id="Footnote_2_2"></a><a href=
+        "#FNanchor_2_2"><span class="label">[2]</span></a> Mr. Roth
+        retired from the quartet in 1899 and his place was filled by
+        Mr. Karl Ondricek.
+      </p>
+    </div>
+    <div class="figcenter">
+      <img src="images/kneisel.jpg" width="350" height="517" alt=
+      "FRANZ KNEISEL" title="FRANZ KNEISEL" />
+      <p>
+        <b>FRANZ KNEISEL</b>
+      </p>
+    </div>
+    <p>
+      Mr. Louis Svecenski, an excellent artist, who studied in the
+      Vienna Conservatory, under Hellmesberger and Grün, plays the
+      viola, and the 'cellist is Alwyn Schroeder, an artist, who had
+      achieved a high reputation as a 'cello virtuoso, before he came
+      to America.
+    </p>
+    <p>
+      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, Hartford, and Worcester, also
+      Harvard, Yale, and Princeton Universities, besides
+      occasional<span class="pagenum"><a name="page363" id=
+      "page363"></a>{363}</span>
+    </p>
+    <p>
+      performances in more remote cities. In 1896 the quartet had given
+      over eight hundred concerts since its formation.
+    </p>
+    <p>
+      At the end of the Symphony season in Boston, in 1896, 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 reputation
+      it had acquired in America. "It would, indeed, be impossible to
+      conceive greater perfection in the matter of ensemble, precision,
+      delicacy, and all the qual<span class="pagenum"><a name="page364"
+      id="page364"></a>{364}</span> ities requisite for the proper
+      interpretation of chamber music."
+    </p>
+    <p>
+      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 Beethoven
+      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.
+    </p>
+    <p>
+      The success of the Kneisel Quartet is due to the long and arduous
+      practice which the members have enjoyed together, for perfection
+      in quartet playing is only possible through long association.
+    </p>
+    <p>
+      While virtuosity is not essential for quartet playing, good
+      musicianship is very necessary. Patient and self-denying practice
+      are absolute requisites.
+    </p>
+    <p>
+      <span class="pagenum"><a name="page365" id=
+      "page365"></a>{365}</span> The love of chamber music is
+      apparently growing in the United States, for in many of the large
+      cities quartets have been established by good musicians, and the
+      opportunities 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.
+    </p>
+    <p>
+      THE END.
+    </p><span class="pagenum"><a name="page366" id=
+    "page366"></a>{366}</span>
+    <hr style="width: 65%;" />
+    <h2>
+      <a name="CHRONOLOGICAL_TABLE_OF_FAMOUS_VIOLINISTS" id=
+      "CHRONOLOGICAL_TABLE_OF_FAMOUS_VIOLINISTS"></a>CHRONOLOGICAL
+      TABLE OF FAMOUS VIOLINISTS
+    </h2>
+    <center>
+      "C" indicates that the date given is only approximate
+      <table summary=
+      "Names, birth and death sites and dates of Famous Violinists"
+      border="1" cellpadding="3" cellspacing="1">
+        <tr>
+          <th>
+            NAME
+          </th>
+          <th>
+            Place of Birth
+          </th>
+          <th>
+            Date of Birth
+          </th>
+          <th>
+            Place of Death
+          </th>
+          <th>
+            Date of Death
+          </th>
+        </tr>
+        <tr>
+          <td align='left'>
+            Alessandro, Romano
+          </td>
+          <td align='center'>
+            Italy
+          </td>
+          <td align='center'>
+            c1530
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Baltazarini
+          </td>
+          <td align='center'>
+            Italy
+          </td>
+          <td align='center'>
+            c1550
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Farina, Carlo
+          </td>
+          <td align='center'>
+            Italy
+          </td>
+          <td align='center'>
+            c1580
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Alberghi, Paolo
+          </td>
+          <td align='center'>
+            Italy
+          </td>
+          <td align='center'>
+            c1600
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Biber, Henry J.
+          </td>
+          <td align='center'>
+            England
+          </td>
+          <td align='center'>
+            c1600
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Cortellini, Camillo
+          </td>
+          <td align='center'>
+            Italy
+          </td>
+          <td align='center'>
+            c1600
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Madorus, Giovanni
+          </td>
+          <td align='center'>
+            Venice
+          </td>
+          <td align='center'>
+            c1600
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Manoir, Guillaume
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            c1600
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Baltzar, Thomas
+          </td>
+          <td align='center'>
+            Lubec
+          </td>
+          <td align='center'>
+            1630
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1663
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bannister, John
+          </td>
+          <td align='center'>
+            England
+          </td>
+          <td align='center'>
+            1630
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1679
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lulli, Jean Baptiste de
+          </td>
+          <td align='center'>
+            Florence
+          </td>
+          <td align='center'>
+            1633
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1687
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Strunck, Nicolas Adam
+          </td>
+          <td align='center'>
+            Germany
+          </td>
+          <td align='center'>
+            1640
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1700
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Laurenti, Bartolomeo G.
+          </td>
+          <td align='center'>
+            Bologna
+          </td>
+          <td align='center'>
+            1644
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1726
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Vitali, Tomasso
+          </td>
+          <td align='center'>
+            Bologna
+          </td>
+          <td align='center'>
+            c1650
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Eccles, John
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1650
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1735
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Marini, Carlo Antonio
+          </td>
+          <td align='center'>
+            Bergamo
+          </td>
+          <td align='center'>
+            c1650
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Corelli, Arcangelo
+          </td>
+          <td align='center'>
+            Italy
+          </td>
+          <td align='center'>
+            1653
+          </td>
+          <td align='center'>
+            Rome
+          </td>
+          <td align='center'>
+            1713
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Aschenbrunner, Christian H.
+          </td>
+          <td align='center'>
+            Alstettin
+          </td>
+          <td align='center'>
+            1654
+          </td>
+          <td align='center'>
+            Jena
+          </td>
+          <td align='center'>
+            1732
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bassani, Giovanni B.
+          </td>
+          <td align='center'>
+            Padua
+          </td>
+          <td align='center'>
+            1657
+          </td>
+          <td align='center'>
+            Ferrara
+          </td>
+          <td align='center'>
+            1716
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Vivaldi, Antonio
+          </td>
+          <td align='center'>
+            Venice
+          </td>
+          <td align='center'>
+            1660
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1743
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Eccles, Henry
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1660
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bannister, John, Jr.
+          </td>
+          <td align='center'>
+            England
+          </td>
+          <td align='center'>
+            1673
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1735
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Albinoni, Thomas
+          </td>
+          <td align='center'>
+            Venice
+          </td>
+          <td align='center'>
+            1674
+          </td>
+          <td align='center'>
+            Venice
+          </td>
+          <td align='center'>
+            1745
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hesse, Ernest Christian
+          </td>
+          <td align='center'>
+            Germany
+          </td>
+          <td align='center'>
+            1676
+          </td>
+          <td align='center'>
+            Darmstadt
+          </td>
+          <td align='center'>
+            1762
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Somis, Lorenzo
+          </td>
+          <td align='center'>
+            Piedmont
+          </td>
+          <td align='center'>
+            1676
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1763
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Aubert, Jacques
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1678
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1753
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Geminiani, Francesco
+          </td>
+          <td align='center'>
+            Lucca
+          </td>
+          <td align='center'>
+            1680
+          </td>
+          <td align='center'>
+            Dublin
+          </td>
+          <td align='center'>
+            1762
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Alberti, Guiseppe Matteo
+          </td>
+          <td align='center'>
+            Bologna
+          </td>
+          <td align='center'>
+            1685
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Veracini, Francesco
+          </td>
+          <td align='center'>
+            Florence
+          </td>
+          <td align='center'>
+            c1685
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1750
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Senaillé, Jean Baptiste
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1687
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1730
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Pisendel, Johann Georg
+          </td>
+          <td align='center'>
+            Karlsburg
+          </td>
+          <td align='center'>
+            1687
+          </td>
+          <td align='center'>
+            Dresden
+          </td>
+          <td align='center'>
+            1755
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Birckenstock, Johann A.
+          </td>
+          <td align='center'>
+            Hesse
+          </td>
+          <td align='center'>
+            1687
+          </td>
+          <td align='center'>
+            Eisenach
+          </td>
+          <td align='center'>
+            1733
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Montanari, Francesco
+          </td>
+          <td align='center'>
+            Padua
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            Rome
+          </td>
+          <td align='center'>
+            1730
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Matheis, Nicola
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1749
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gentili, Georges
+          </td>
+          <td align='center'>
+            Venice
+          </td>
+          <td align='center'>
+            1688
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Valentini, Guiseppe
+          </td>
+          <td align='center'>
+            Florence
+          </td>
+          <td align='center'>
+            1690
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Castrucci, Pietro
+          </td>
+          <td align='center'>
+            Rome
+          </td>
+          <td align='center'>
+            1690
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1769
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Tartini, Guiseppe
+          </td>
+          <td align='center'>
+            Pirano
+          </td>
+          <td align='center'>
+            1692
+          </td>
+          <td align='center'>
+            Padua
+          </td>
+          <td align='center'>
+            1770
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Locatelli, Pietro
+          </td>
+          <td align='center'>
+            Bergamo
+          </td>
+          <td align='center'>
+            1693
+          </td>
+          <td align='center'>
+            Amsterdam
+          </td>
+          <td align='center'>
+            1764
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Rothe, August Friedrich
+          </td>
+          <td align='center'>
+            Sonderhausen
+          </td>
+          <td align='center'>
+            1696
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1784
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Leclair, Jean Marie
+          </td>
+          <td align='center'>
+            Lyons
+          </td>
+          <td align='center'>
+            1697
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1764
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Graun, Jean G.
+          </td>
+          <td align='center'>
+            Germany
+          </td>
+          <td align='center'>
+            1698
+          </td>
+          <td align='center'>
+            Berlin
+          </td>
+          <td align='center'>
+            1771
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Francoer, François
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1698
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1787
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Abaco, Evaristo F. Dall
+          </td>
+          <td align='center'>
+            Verona
+          </td>
+          <td align='center'>
+            c1700
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Anderle, F.J.
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            c1700
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bitti, Martini
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1700
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Borghi, Luigi
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Brown, Abram
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Carbonelli, Stefano
+          </td>
+          <td align='center'>
+            Rome
+          </td>
+          <td align='center'>
+            c1700
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Dalloglio, Domenico
+          </td>
+          <td align='center'>
+            Venice
+          </td>
+          <td align='center'>
+            c1700
+          </td>
+          <td align='center'>
+            Russia
+          </td>
+          <td align='center'>
+            1764
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Guignon, Jean Pierre
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1702
+          </td>
+          <td align='center'>
+            Versailles
+          </td>
+          <td align='center'>
+            1775
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Dubourg, Matthew
+          </td>
+          <td align='center'>
+            England
+          </td>
+          <td align='center'>
+            1703
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1767
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            De Croes, Henri Jacques
+          </td>
+          <td align='center'>
+            Antwerp
+          </td>
+          <td align='center'>
+            1705
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1786
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Guillemain, Gabriel
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1705
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1770
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Czarth, Georg C.
+          </td>
+          <td align='center'>
+            Deutschbrod
+          </td>
+          <td align='center'>
+            1708
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1774
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Benda, Franz
+          </td>
+          <td align='center'>
+            Albenatky
+          </td>
+          <td align='center'>
+            1709
+          </td>
+          <td align='center'>
+            Potsdam
+          </td>
+          <td align='center'>
+            1786
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Girauek, Fernandino
+          </td>
+          <td align='center'>
+            Bohemia
+          </td>
+          <td align='center'>
+            1712
+          </td>
+          <td align='center'>
+            Dresde
+          </td>
+          <td align='center'>
+            1761
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Benda, Johann
+          </td>
+          <td align='center'>
+            Albenatky
+          </td>
+          <td align='center'>
+            1713
+          </td>
+          <td align='center'>
+            Potsdam
+          </td>
+          <td align='center'>
+            1752
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            D'Auvergne, Antoine
+          </td>
+          <td align='center'>
+            France
+          </td>
+          <td align='center'>
+            1713
+          </td>
+          <td align='center'>
+            Lyons
+          </td>
+          <td align='center'>
+            1797
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Clegg, John
+          </td>
+          <td align='center'>
+            Ireland
+          </td>
+          <td align='center'>
+            1714
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            c1750
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hempel, George C.
+          </td>
+          <td align='center'>
+            Gotha
+          </td>
+          <td align='center'>
+            1715
+          </td>
+          <td align='center'>
+            Gotha
+          </td>
+          <td align='center'>
+            1801
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Fritz, Caspar
+          </td>
+          <td align='center'>
+            Geneva
+          </td>
+          <td align='center'>
+            1716
+          </td>
+          <td align='center'>
+            Geneva
+          </td>
+          <td align='center'>
+            1782
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Giardini, Felice
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1716
+          </td>
+          <td align='center'>
+            Moscow
+          </td>
+          <td align='center'>
+            1796
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Mozart, Leopold
+          </td>
+          <td align='center'>
+            Augsburg
+          </td>
+          <td align='center'>
+            1719
+          </td>
+          <td align='center'>
+            Salzburg
+          </td>
+          <td align='center'>
+            1787
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Stamitz, Johann Carl
+          </td>
+          <td align='center'>
+            Bohemia
+          </td>
+          <td align='center'>
+            1719
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1761
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bini, Pasqualino
+          </td>
+          <td align='center'>
+            Pesaro
+          </td>
+          <td align='center'>
+            1720
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Morigi, Angelo
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            Parma
+          </td>
+          <td align='center'>
+            1788
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lemière
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1771
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Pagin, André Noel
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1721
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Abel, Leopold A.
+          </td>
+          <td align='center'>
+            Cothen
+          </td>
+          <td align='center'>
+            c1700
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Festing, Michael C.
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1752
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Ferrari, Domenico
+          </td>
+          <td align='center'>
+            Piacenza
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1780
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Enderle, Wilhelm C.
+          </td>
+          <td align='center'>
+            Bayreuth
+          </td>
+          <td align='center'>
+            1722
+          </td>
+          <td align='center'>
+            Darmstadt
+          </td>
+          <td align='center'>
+            1793
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Nardini, Pietro
+          </td>
+          <td align='center'>
+            Tuscany
+          </td>
+          <td align='center'>
+            1722
+          </td>
+          <td align='center'>
+            Florence
+          </td>
+          <td align='center'>
+            1793
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lefêbre, Jacques
+          </td>
+          <td align='center'>
+            Prinzlow
+          </td>
+          <td align='center'>
+            1723
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1777
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Van Malder, Pierre
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1724
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1768
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Glaser, John Michel
+          </td>
+          <td align='center'>
+            Erlangen
+          </td>
+          <td align='center'>
+            1725
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hattasch, Dismas
+          </td>
+          <td align='center'>
+            Hohenmant
+          </td>
+          <td align='center'>
+            1725
+          </td>
+          <td align='center'>
+            Gotha
+          </td>
+          <td align='center'>
+            1777
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gavinies, Pierre
+          </td>
+          <td align='center'>
+            Bordeaux
+          </td>
+          <td align='center'>
+            1726
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1800
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gow, Neil
+          </td>
+          <td align='center'>
+            Strathband
+          </td>
+          <td align='center'>
+            1727
+          </td>
+          <td align='center'>
+            Inver
+          </td>
+          <td align='center'>
+            1787
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Pugnani, Gaetano
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1727
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1803
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Manfredi, Filippo
+          </td>
+          <td align='center'>
+            Lucca
+          </td>
+          <td align='center'>
+            1729
+          </td>
+          <td align='center'>
+            Madrid
+          </td>
+          <td align='center'>
+            c1780
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gallo, Domenico
+          </td>
+          <td align='center'>
+            Venice
+          </td>
+          <td align='center'>
+            1730
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Cannabich, Christian
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1730
+          </td>
+          <td align='center'>
+            Frankfort
+          </td>
+          <td align='center'>
+            1798
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lolli, Antonio
+          </td>
+          <td align='center'>
+            Bergamo
+          </td>
+          <td align='center'>
+            1730
+          </td>
+          <td align='center'>
+            Sicily
+          </td>
+          <td align='center'>
+            1802
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Vachon, Pierre
+          </td>
+          <td align='center'>
+            Arles
+          </td>
+          <td align='center'>
+            1730
+          </td>
+          <td align='center'>
+            Berlin
+          </td>
+          <td align='center'>
+            1802
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Goepfert, Charles F.
+          </td>
+          <td align='center'>
+            Weissenstein
+          </td>
+          <td align='center'>
+            1733
+          </td>
+          <td align='center'>
+            Weimar
+          </td>
+          <td align='center'>
+            1798
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Raimoni, Ignazio
+          </td>
+          <td align='center'>
+            Naples
+          </td>
+          <td align='center'>
+            1733
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1802
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lahoussaye, Pierre
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1735
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1818
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Haranc, Louis André
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1738
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1805
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Celestine, Eligio
+          </td>
+          <td align='center'>
+            Rome
+          </td>
+          <td align='center'>
+            1739
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Weigl, Franz J.
+          </td>
+          <td align='center'>
+            Bavaria
+          </td>
+          <td align='center'>
+            1740
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1820
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Tomasini, Luigi
+          </td>
+          <td align='center'>
+            Bohemia
+          </td>
+          <td align='center'>
+            1745
+          </td>
+          <td align='center'>
+            Gotha
+          </td>
+          <td align='center'>
+            1805
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Jarnowick, Giovanni M.
+          </td>
+          <td align='center'>
+            Palermo
+          </td>
+          <td align='center'>
+            1745
+          </td>
+          <td align='center'>
+            St. Petersburg
+          </td>
+          <td align='center'>
+            1804
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Navoigille, Guillaume J.
+          </td>
+          <td align='center'>
+            Givet
+          </td>
+          <td align='center'>
+            1745
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1811
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Paisible
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1745
+          </td>
+          <td align='center'>
+            St. Petersburg
+          </td>
+          <td align='center'>
+            1781
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Salomon, Johann Peter
+          </td>
+          <td align='center'>
+            Bönn
+          </td>
+          <td align='center'>
+            1745
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1815
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Cambini, Giovanni G.
+          </td>
+          <td align='center'>
+            Leghorn
+          </td>
+          <td align='center'>
+            1746
+          </td>
+          <td align='center'>
+            Bicêtre
+          </td>
+          <td align='center'>
+            1825
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gervais, Pierre Noel
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1746
+          </td>
+          <td align='center'>
+            Bordeaux
+          </td>
+          <td align='center'>
+            1805
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Stamitz, Carl
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1746
+          </td>
+          <td align='center'>
+            Jena
+          </td>
+          <td align='center'>
+            1801
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Ghirett, Gaspar
+          </td>
+          <td align='center'>
+            Naples
+          </td>
+          <td align='center'>
+            1747
+          </td>
+          <td align='center'>
+            Parma
+          </td>
+          <td align='center'>
+            1827
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Leduc, Simon
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1748
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1787
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Mestrino, Niccolo
+          </td>
+          <td align='center'>
+            Milan
+          </td>
+          <td align='center'>
+            1748
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1790
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Guerillot, Henri
+          </td>
+          <td align='center'>
+            Bordeaux
+          </td>
+          <td align='center'>
+            1749
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1805
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Navoigille, Herbert J.
+          </td>
+          <td align='center'>
+            Givet
+          </td>
+          <td align='center'>
+            1749
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Obermeyer, Joseph
+          </td>
+          <td align='center'>
+            Bohemia
+          </td>
+          <td align='center'>
+            1749
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bagatella, Antonio
+          </td>
+          <td align='center'>
+            Padua
+          </td>
+          <td align='center'>
+            1750
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Almeyda, C.F.
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            c1750
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Fuchs, Peter
+          </td>
+          <td align='center'>
+            Bohemia
+          </td>
+          <td align='center'>
+            1750
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1804
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Henry, Bonventure
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            c1750
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kriegck, J.J.
+          </td>
+          <td align='center'>
+            Bebra
+          </td>
+          <td align='center'>
+            1750
+          </td>
+          <td align='center'>
+            Meiningen
+          </td>
+          <td align='center'>
+            1813
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Sirmen, Maddalena
+          </td>
+          <td align='center'>
+            Venice
+          </td>
+          <td align='center'>
+            c1750
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Woldemar, Michael
+          </td>
+          <td align='center'>
+            Orleans
+          </td>
+          <td align='center'>
+            1750
+          </td>
+          <td align='center'>
+            Clermont-Ferrand
+          </td>
+          <td align='center'>
+            1816
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Barthelemon, François H.
+          </td>
+          <td align='center'>
+            Bordeaux
+          </td>
+          <td align='center'>
+            1751
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1808
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Campagnoli, Bartolomeo
+          </td>
+          <td align='center'>
+            Cento
+          </td>
+          <td align='center'>
+            1751
+          </td>
+          <td align='center'>
+            Neustrelitz
+          </td>
+          <td align='center'>
+            1827
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lamotte, François
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1751
+          </td>
+          <td align='center'>
+            Holland
+          </td>
+          <td align='center'>
+            1781
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Berthaume, Isidore
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1752
+          </td>
+          <td align='center'>
+            St. Petersburg
+          </td>
+          <td align='center'>
+            1802
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kasska, Wilhelm
+          </td>
+          <td align='center'>
+            Ratisbon
+          </td>
+          <td align='center'>
+            1752
+          </td>
+          <td align='center'>
+            Ratisbon
+          </td>
+          <td align='center'>
+            1806
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Brunetti, Gaetano
+          </td>
+          <td align='center'>
+            Pisa
+          </td>
+          <td align='center'>
+            1753
+          </td>
+          <td align='center'>
+            Madrid
+          </td>
+          <td align='center'>
+            1808
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Janitsch, Anton
+          </td>
+          <td align='center'>
+            Switzerland
+          </td>
+          <td align='center'>
+            1753
+          </td>
+          <td align='center'>
+            Westphalia
+          </td>
+          <td align='center'>
+            1812
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lem, Pierre
+          </td>
+          <td align='center'>
+            Copenhagen
+          </td>
+          <td align='center'>
+            1753
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Fiorillo, Federigo
+          </td>
+          <td align='center'>
+            Brunswick
+          </td>
+          <td align='center'>
+            1753
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            c1800
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Stamitz, Anton
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1753
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Viotti, Giovanni B.
+          </td>
+          <td align='center'>
+            Piedmont
+          </td>
+          <td align='center'>
+            1753
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1824
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kranz, Johann F.
+          </td>
+          <td align='center'>
+            Weimar
+          </td>
+          <td align='center'>
+            1754
+          </td>
+          <td align='center'>
+            Stuttgart
+          </td>
+          <td align='center'>
+            1807
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Mosel, Giovanni F.
+          </td>
+          <td align='center'>
+            Florence
+          </td>
+          <td align='center'>
+            1754
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Leduc, Pierre
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1755
+          </td>
+          <td align='center'>
+            Holland
+          </td>
+          <td align='center'>
+            1816
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Fauvel, André Joseph
+          </td>
+          <td align='center'>
+            Bordeaux
+          </td>
+          <td align='center'>
+            1756
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lacroix, Antoine
+          </td>
+          <td align='center'>
+            Remberville
+          </td>
+          <td align='center'>
+            1756
+          </td>
+          <td align='center'>
+            Lubeck
+          </td>
+          <td align='center'>
+            1812
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Wranitzky, Paul
+          </td>
+          <td align='center'>
+            Moravia
+          </td>
+          <td align='center'>
+            1756
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1808
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Haack, Karl
+          </td>
+          <td align='center'>
+            Potsdam
+          </td>
+          <td align='center'>
+            1757
+          </td>
+          <td align='center'>
+            Potsdam
+          </td>
+          <td align='center'>
+            1819
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Rolla, Alessandro
+          </td>
+          <td align='center'>
+            Pavia
+          </td>
+          <td align='center'>
+            1757
+          </td>
+          <td align='center'>
+            Milan
+          </td>
+          <td align='center'>
+            1841
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Galeazzi, Francesco
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1758
+          </td>
+          <td align='center'>
+            Rome
+          </td>
+          <td align='center'>
+            1819
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Liber, Wolfgang
+          </td>
+          <td align='center'>
+            Donanworth
+          </td>
+          <td align='center'>
+            1758
+          </td>
+          <td align='center'>
+            Ratisbon
+          </td>
+          <td align='center'>
+            1817
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Weberlin, Jean F.
+          </td>
+          <td align='center'>
+            Stuttgart
+          </td>
+          <td align='center'>
+            1758
+          </td>
+          <td align='center'>
+            Stuttgart
+          </td>
+          <td align='center'>
+            1825
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bruni, Antonio B.
+          </td>
+          <td align='center'>
+            Piedmont
+          </td>
+          <td align='center'>
+            1759
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gautherot, Louise
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1760
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Guiliani, François
+          </td>
+          <td align='center'>
+            Florence
+          </td>
+          <td align='center'>
+            1760
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1819
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Haack, Friedrich
+          </td>
+          <td align='center'>
+            Potsdam
+          </td>
+          <td align='center'>
+            1760
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Krommer, Franz
+          </td>
+          <td align='center'>
+            Kamenitz
+          </td>
+          <td align='center'>
+            1760
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1831
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Neubauer, Franz C.
+          </td>
+          <td align='center'>
+            Bohemia
+          </td>
+          <td align='center'>
+            1760
+          </td>
+          <td align='center'>
+            Bückeburg
+          </td>
+          <td align='center'>
+            1795
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Jarnewicz, Felix
+          </td>
+          <td align='center'>
+            Wilna
+          </td>
+          <td align='center'>
+            1761
+          </td>
+          <td align='center'>
+            Edinburgh
+          </td>
+          <td align='center'>
+            1848
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Wranitzky, Anton
+          </td>
+          <td align='center'>
+            Moravia
+          </td>
+          <td align='center'>
+            1761
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1819
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Wessely, Johann
+          </td>
+          <td align='center'>
+            Bohemia
+          </td>
+          <td align='center'>
+            1762
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bonnet, Jean Baptiste
+          </td>
+          <td align='center'>
+            Montauban
+          </td>
+          <td align='center'>
+            1763
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Danzi, Franz
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1763
+          </td>
+          <td align='center'>
+            Carlsruhe
+          </td>
+          <td align='center'>
+            1826
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Peshatschek, François
+          </td>
+          <td align='center'>
+            Bohemia
+          </td>
+          <td align='center'>
+            1763
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1816
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Alday, P
+          </td>
+          <td align='center'>
+            Perpignan
+          </td>
+          <td align='center'>
+            1764
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lorenziti, Bernado
+          </td>
+          <td align='center'>
+            Würtemburg
+          </td>
+          <td align='center'>
+            1764
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1813
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Schlick, Regina (Sacchi)
+          </td>
+          <td align='center'>
+            Mantua
+          </td>
+          <td align='center'>
+            1764
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Cartier, Jean Baptiste
+          </td>
+          <td align='center'>
+            Avignon
+          </td>
+          <td align='center'>
+            1765
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1841
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            LaCroix, Antoine
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1765
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hampeln, Karl von
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1765
+          </td>
+          <td align='center'>
+            Stuttgart
+          </td>
+          <td align='center'>
+            1834
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Eck, Johann F.
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1766
+          </td>
+          <td align='center'>
+            Bamberg
+          </td>
+          <td align='center'>
+            1809
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hunt, Karl
+          </td>
+          <td align='center'>
+            Dresden
+          </td>
+          <td align='center'>
+            1766
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kreutzer, Rudolph
+          </td>
+          <td align='center'>
+            Versailles
+          </td>
+          <td align='center'>
+            1766
+          </td>
+          <td align='center'>
+            Geneva
+          </td>
+          <td align='center'>
+            1831
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            De Volder, Pierre Jean
+          </td>
+          <td align='center'>
+            Antwerp
+          </td>
+          <td align='center'>
+            1767
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1841
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Romberg, Andreas
+          </td>
+          <td align='center'>
+            Vechta
+          </td>
+          <td align='center'>
+            1767
+          </td>
+          <td align='center'>
+            Gotha
+          </td>
+          <td align='center'>
+            1821
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Pauwels, Jean E.
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1768
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1804
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Spagnoletti, P.
+          </td>
+          <td align='center'>
+            Cremona
+          </td>
+          <td align='center'>
+            1768
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1834
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Valmalete, Louis de
+          </td>
+          <td align='center'>
+            Rieux
+          </td>
+          <td align='center'>
+            1768
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Grasset, Jean J.
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1769
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1839
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Paravicini, Signora
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1769
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Boucher, Alexandre Jean
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1770
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1861
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gerbini, Luigia
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1770
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Girault, August
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1770
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1806
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hoffmann, Heinrich Anton
+          </td>
+          <td align='center'>
+            Mainz
+          </td>
+          <td align='center'>
+            1770
+          </td>
+          <td align='center'>
+            Mainz
+          </td>
+          <td align='center'>
+            1842
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Baillot, Pierre M.F. de Sales
+          </td>
+          <td align='center'>
+            Passy
+          </td>
+          <td align='center'>
+            1771
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1842
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Festa, Guiseppe M.
+          </td>
+          <td align='center'>
+            Naples
+          </td>
+          <td align='center'>
+            1771
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1839
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Labarre, Louis J.C.
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1771
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Vacher, Pierre Jean
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1772
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1819
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lottini, Denis
+          </td>
+          <td align='center'>
+            Orleans
+          </td>
+          <td align='center'>
+            1773
+          </td>
+          <td align='center'>
+            Orleans
+          </td>
+          <td align='center'>
+            1826
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Vaccaro, Francesco
+          </td>
+          <td align='center'>
+            Modena
+          </td>
+          <td align='center'>
+            1773
+          </td>
+          <td align='center'>
+            Portugal
+          </td>
+          <td align='center'>
+            1823
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Eck, Franz
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1774
+          </td>
+          <td align='center'>
+            Strasburg
+          </td>
+          <td align='center'>
+            1804
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Rode, Pierre
+          </td>
+          <td align='center'>
+            Bordeaux
+          </td>
+          <td align='center'>
+            1774
+          </td>
+          <td align='center'>
+            Loire-et-Garonne
+          </td>
+          <td align='center'>
+            1831
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Eberwen, Traugott M.
+          </td>
+          <td align='center'>
+            Weimar
+          </td>
+          <td align='center'>
+            1775
+          </td>
+          <td align='center'>
+            Rudolstadt
+          </td>
+          <td align='center'>
+            1831
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Libon, Philippe
+          </td>
+          <td align='center'>
+            Cadiz
+          </td>
+          <td align='center'>
+            1775
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1838
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Schuppanzigh, Ignace
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1776
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1830
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Dobrynski, Ignace
+          </td>
+          <td align='center'>
+            Volhyna
+          </td>
+          <td align='center'>
+            1777
+          </td>
+          <td align='center'>
+            Warsaw
+          </td>
+          <td align='center'>
+            1841
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Giorgis, Joseph
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1777
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kieserwetter, Cristophe G.
+          </td>
+          <td align='center'>
+            Anspach
+          </td>
+          <td align='center'>
+            1777
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1827
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Moralt, Johann B.
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1777
+          </td>
+          <td align='center'>
+            Munich
+          </td>
+          <td align='center'>
+            1825
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Paravicini, Mme.
+          </td>
+          <td align='center'>
+            Milan
+          </td>
+          <td align='center'>
+            1778
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Blanchard, Henri L.
+          </td>
+          <td align='center'>
+            Bordeaux
+          </td>
+          <td align='center'>
+            1778
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1858
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Radicati, Felice A.
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1778
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1823
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Weiss, Franz
+          </td>
+          <td align='center'>
+            Silesia
+          </td>
+          <td align='center'>
+            1778
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bridgetower, George A.
+          </td>
+          <td align='center'>
+            Poland
+          </td>
+          <td align='center'>
+            ?1779
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            c1850
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Müller, John Henry
+          </td>
+          <td align='center'>
+            Königsberg
+          </td>
+          <td align='center'>
+            1780
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Habeneck, François A.
+          </td>
+          <td align='center'>
+            Mézières
+          </td>
+          <td align='center'>
+            1781
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1849
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lafont, Charles Philippe
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1781
+          </td>
+          <td align='center'>
+            Tarbes
+          </td>
+          <td align='center'>
+            1839
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Polledro, Giovanni B.
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1781
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1853
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Mazas, Jacques F.
+          </td>
+          <td align='center'>
+            Beziers
+          </td>
+          <td align='center'>
+            1782
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1849
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Puppo, Felice A.
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1778
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1823
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bohrer, Anthony
+          </td>
+          <td align='center'>
+            Munich
+          </td>
+          <td align='center'>
+            1783
+          </td>
+          <td align='center'>
+            Hanover
+          </td>
+          <td align='center'>
+            1852
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Linke, Joseph
+          </td>
+          <td align='center'>
+            Silesia
+          </td>
+          <td align='center'>
+            1783
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1837
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Paganini, Nicolo
+          </td>
+          <td align='center'>
+            Genoa
+          </td>
+          <td align='center'>
+            1784
+          </td>
+          <td align='center'>
+            Nice
+          </td>
+          <td align='center'>
+            1840
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Spohr, Louis
+          </td>
+          <td align='center'>
+            Brunswick
+          </td>
+          <td align='center'>
+            1784
+          </td>
+          <td align='center'>
+            Cassel
+          </td>
+          <td align='center'>
+            1859
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Zocca
+          </td>
+          <td align='center'>
+            Ferrara
+          </td>
+          <td align='center'>
+            1784
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Fontaine, Antoine N.M.
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1785
+          </td>
+          <td align='center'>
+            St. Cloud
+          </td>
+          <td align='center'>
+            1866
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lafonde
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1785
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Eberwen, Karl
+          </td>
+          <td align='center'>
+            Weimar
+          </td>
+          <td align='center'>
+            1786
+          </td>
+          <td align='center'>
+            Weimar
+          </td>
+          <td align='center'>
+            1868
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Granafond, Eugene
+          </td>
+          <td align='center'>
+            Compiegne
+          </td>
+          <td align='center'>
+            1786
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Pixis, Friedrich, Wilhelm
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1786
+          </td>
+          <td align='center'>
+            Prague
+          </td>
+          <td align='center'>
+            1842
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Cudmore, Richard
+          </td>
+          <td align='center'>
+            Chichester
+          </td>
+          <td align='center'>
+            1757
+          </td>
+          <td align='center'>
+            Manchester
+          </td>
+          <td align='center'>
+            1841
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Guhr, Charles
+          </td>
+          <td align='center'>
+            Militsch
+          </td>
+          <td align='center'>
+            1787
+          </td>
+          <td align='center'>
+            Frankfurt
+          </td>
+          <td align='center'>
+            1848
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Berwald, Johann F.
+          </td>
+          <td align='center'>
+            Stockholm
+          </td>
+          <td align='center'>
+            1788
+          </td>
+          <td align='center'>
+            Stockholm
+          </td>
+          <td align='center'>
+            1861
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Fesca, Friedrich E.
+          </td>
+          <td align='center'>
+            Magdeburg
+          </td>
+          <td align='center'>
+            1789
+          </td>
+          <td align='center'>
+            Carlsruhe
+          </td>
+          <td align='center'>
+            1826
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Maurer, Ludwig
+          </td>
+          <td align='center'>
+            Potsdam
+          </td>
+          <td align='center'>
+            1789
+          </td>
+          <td align='center'>
+            St. Petersburg
+          </td>
+          <td align='center'>
+            1878
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Mayseder, Joseph
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1789
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1863
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Wery, Nicolas L.
+          </td>
+          <td align='center'>
+            Liège
+          </td>
+          <td align='center'>
+            1789
+          </td>
+          <td align='center'>
+            Luxemburg
+          </td>
+          <td align='center'>
+            1867
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Femy, François
+          </td>
+          <td align='center'>
+            Ghent
+          </td>
+          <td align='center'>
+            1790
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Klose, J.
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1790
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1830
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lipinski, Karl Joseph
+          </td>
+          <td align='center'>
+            Poland
+          </td>
+          <td align='center'>
+            1790
+          </td>
+          <td align='center'>
+            Urlow
+          </td>
+          <td align='center'>
+            1861
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Goetz, Jean N.C.
+          </td>
+          <td align='center'>
+            Weimar
+          </td>
+          <td align='center'>
+            1791
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1861
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Benesch, Joseph
+          </td>
+          <td align='center'>
+            Batelow
+          </td>
+          <td align='center'>
+            1793
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Pichatschek, François
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1793
+          </td>
+          <td align='center'>
+            Carlsruhe
+          </td>
+          <td align='center'>
+            1840
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Filipowicz, Elizabeth M.
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1794
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Jansa, Leopold
+          </td>
+          <td align='center'>
+            Bohemia
+          </td>
+          <td align='center'>
+            1794
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1875
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Krahmer, Mme. Caroline
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1794
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Parmy, Joseph
+          </td>
+          <td align='center'>
+            Austria
+          </td>
+          <td align='center'>
+            1794
+          </td>
+          <td align='center'>
+            Mainz
+          </td>
+          <td align='center'>
+            1835
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Batta, Pierre
+          </td>
+          <td align='center'>
+            Maastricht
+          </td>
+          <td align='center'>
+            1795
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1876
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bohm, Joseph
+          </td>
+          <td align='center'>
+            Pesth
+          </td>
+          <td align='center'>
+            1795
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1876
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Drin, Finlay
+          </td>
+          <td align='center'>
+            Aberdeen
+          </td>
+          <td align='center'>
+            1795
+          </td>
+          <td align='center'>
+            Edinburgh
+          </td>
+          <td align='center'>
+            1853
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lacy, Michael R.
+          </td>
+          <td align='center'>
+            Bilbao
+          </td>
+          <td align='center'>
+            1795
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1867
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Giorgetti, Fernandino
+          </td>
+          <td align='center'>
+            Florence
+          </td>
+          <td align='center'>
+            1796
+          </td>
+          <td align='center'>
+            Florence
+          </td>
+          <td align='center'>
+            1867
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Mori, Nicolas
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1796
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1839
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Calcagno, Catarina
+          </td>
+          <td align='center'>
+            Italy
+          </td>
+          <td align='center'>
+            1797
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Collins, Isaac
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1797
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1871
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Girard, Narcisse
+          </td>
+          <td align='center'>
+            Nantes
+          </td>
+          <td align='center'>
+            1797
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1860
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Müller, Karl Friedrich
+          </td>
+          <td align='center'>
+            Brunswick
+          </td>
+          <td align='center'>
+            1797
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1873
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Roberrechts, Andre
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1797
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1860
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Rolla, Antoine
+          </td>
+          <td align='center'>
+            Parma
+          </td>
+          <td align='center'>
+            1797
+          </td>
+          <td align='center'>
+            Dresden
+          </td>
+          <td align='center'>
+            1837
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Tolberque, Jean B.J.
+          </td>
+          <td align='center'>
+            Belgium
+          </td>
+          <td align='center'>
+            1797
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1869
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Coronini, Paolo
+          </td>
+          <td align='center'>
+            Vincenza
+          </td>
+          <td align='center'>
+            1798
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1875
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Batta, Pantaleon
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1799
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1870
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Rudersdorff, J.
+          </td>
+          <td align='center'>
+            Amsterdam
+          </td>
+          <td align='center'>
+            1799
+          </td>
+          <td align='center'>
+            Königsberg
+          </td>
+          <td align='center'>
+            1866
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gattie, Henry
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1800
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hellmesberger, Georg
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1800
+          </td>
+          <td align='center'>
+            Newaldegg
+          </td>
+          <td align='center'>
+            1873
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Meerts, Lambert
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1800
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1863
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Müller, Theodore Heinrich
+          </td>
+          <td align='center'>
+            Brunswic
+          </td>
+          <td align='center'>
+            1800
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1855
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Nohr, Christian F.
+          </td>
+          <td align='center'>
+            Thuringia
+          </td>
+          <td align='center'>
+            1800
+          </td>
+          <td align='center'>
+            Meiningen
+          </td>
+          <td align='center'>
+            1875
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Schulz, Mlle. L.
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1800
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Wanski, Johann N.
+          </td>
+          <td align='center'>
+            Posen
+          </td>
+          <td align='center'>
+            c1800
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kalliwoda, Johann W.
+          </td>
+          <td align='center'>
+            Prague
+          </td>
+          <td align='center'>
+            1801
+          </td>
+          <td align='center'>
+            Carlsruhe
+          </td>
+          <td align='center'>
+            1866
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Saint Lubin, Leon de
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1801
+          </td>
+          <td align='center'>
+            Berlin
+          </td>
+          <td align='center'>
+            1856
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            De Bériot, Charles
+          </td>
+          <td align='center'>
+            Louvain
+          </td>
+          <td align='center'>
+            1802
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1870
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Ella, John
+          </td>
+          <td align='center'>
+            England
+          </td>
+          <td align='center'>
+            1802
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1888
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Labitzky, Joseph
+          </td>
+          <td align='center'>
+            Schönfeld
+          </td>
+          <td align='center'>
+            1802
+          </td>
+          <td align='center'>
+            Carlsbad
+          </td>
+          <td align='center'>
+            1881
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Molique, Wilhelm Bernard
+          </td>
+          <td align='center'>
+            Nuremburg
+          </td>
+          <td align='center'>
+            1802
+          </td>
+          <td align='center'>
+            Stuttgart
+          </td>
+          <td align='center'>
+            1869
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Ries, Hubert
+          </td>
+          <td align='center'>
+            Bonn
+          </td>
+          <td align='center'>
+            1802
+          </td>
+          <td align='center'>
+            Berlin
+          </td>
+          <td align='center'>
+            1886
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lomagne, Joseph
+          </td>
+          <td align='center'>
+            Perpignan
+          </td>
+          <td align='center'>
+            1804
+          </td>
+          <td align='center'>
+            Perpignan
+          </td>
+          <td align='center'>
+            1868
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Magnien, Victor
+          </td>
+          <td align='center'>
+            Epinal
+          </td>
+          <td align='center'>
+            1804
+          </td>
+          <td align='center'>
+            Lille
+          </td>
+          <td align='center'>
+            1885
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kudelski, Karl Matthias
+          </td>
+          <td align='center'>
+            Berlin
+          </td>
+          <td align='center'>
+            1805
+          </td>
+          <td align='center'>
+            Baden-Baden
+          </td>
+          <td align='center'>
+            1877
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Pollini, Mme.
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1805
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Dando, Joseph H.B.
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1806
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1894
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hartmann, Franz
+          </td>
+          <td align='center'>
+            Coblentz
+          </td>
+          <td align='center'>
+            1807
+          </td>
+          <td align='center'>
+            Cologne
+          </td>
+          <td align='center'>
+            1857
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Panofka, Heinrich
+          </td>
+          <td align='center'>
+            Breslau
+          </td>
+          <td align='center'>
+            1807
+          </td>
+          <td align='center'>
+            Florence
+          </td>
+          <td align='center'>
+            1887
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Sauzay, Moritz
+          </td>
+          <td align='center'>
+            Moravia
+          </td>
+          <td align='center'>
+            1808
+          </td>
+          <td align='center'>
+            Breslau
+          </td>
+          <td align='center'>
+            1885
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bessems, Antoine
+          </td>
+          <td align='center'>
+            Antwerp
+          </td>
+          <td align='center'>
+            1809
+          </td>
+          <td align='center'>
+            Antwerp
+          </td>
+          <td align='center'>
+            1868
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Müller, Franz F.G.
+          </td>
+          <td align='center'>
+            Brunswick
+          </td>
+          <td align='center'>
+            1809
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bull, Ole Borneman
+          </td>
+          <td align='center'>
+            Bergen
+          </td>
+          <td align='center'>
+            1810
+          </td>
+          <td align='center'>
+            Bergen
+          </td>
+          <td align='center'>
+            1880
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            David, Ferdinand
+          </td>
+          <td align='center'>
+            Hamburg
+          </td>
+          <td align='center'>
+            1810
+          </td>
+          <td align='center'>
+            Switzerland
+          </td>
+          <td align='center'>
+            1873
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Ganz, Leopold
+          </td>
+          <td align='center'>
+            Mainz
+          </td>
+          <td align='center'>
+            1810
+          </td>
+          <td align='center'>
+            Berlin
+          </td>
+          <td align='center'>
+            1869
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Ghys, Joseph
+          </td>
+          <td align='center'>
+            Ghent
+          </td>
+          <td align='center'>
+            1810
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1848
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Blagrove, Henry Gamble
+          </td>
+          <td align='center'>
+            Nottingham
+          </td>
+          <td align='center'>
+            1811
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1872
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hamm, Johann V.
+          </td>
+          <td align='center'>
+            Winterhausen
+          </td>
+          <td align='center'>
+            1811
+          </td>
+          <td align='center'>
+            Stuttgart
+          </td>
+          <td align='center'>
+            1834
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Sainton, Prosper Philippe
+          </td>
+          <td align='center'>
+            Toulouse
+          </td>
+          <td align='center'>
+            1813
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1890
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Ernst, Heinrich Wilhelm
+          </td>
+          <td align='center'>
+            Brünn
+          </td>
+          <td align='center'>
+            1814
+          </td>
+          <td align='center'>
+            Nice
+          </td>
+          <td align='center'>
+            1865
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Alard, Delphine J.
+          </td>
+          <td align='center'>
+            Bayonne
+          </td>
+          <td align='center'>
+            1815
+          </td>
+          <td align='center'>
+            Paris?
+          </td>
+          <td align='center'>
+            1888
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Artot, Alexandre J.M.
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1815
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1845
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Dont, Jacob
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1815
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1888
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Sivori, Ernest Camillo
+          </td>
+          <td align='center'>
+            Genoa
+          </td>
+          <td align='center'>
+            1815
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1894
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Zerchoff, Mlle.
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1815
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Batta, Alexandre
+          </td>
+          <td align='center'>
+            Maastricht
+          </td>
+          <td align='center'>
+            1816
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Prume, François Herbert
+          </td>
+          <td align='center'>
+            Liège
+          </td>
+          <td align='center'>
+            1816
+          </td>
+          <td align='center'>
+            Liège
+          </td>
+          <td align='center'>
+            1849
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Deldevez, Ernest
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1817
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1897
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Göbel, Johann Ferdinand
+          </td>
+          <td align='center'>
+            Baumgarten
+          </td>
+          <td align='center'>
+            1817
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bazzini, Antonio
+          </td>
+          <td align='center'>
+            Brescia
+          </td>
+          <td align='center'>
+            1818
+          </td>
+          <td align='center'>
+            Milan
+          </td>
+          <td align='center'>
+            1897
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Dancla, Jean B. C.
+          </td>
+          <td align='center'>
+            Bagnières de Bignon
+          </td>
+          <td align='center'>
+            1818
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kramer, Traugott
+          </td>
+          <td align='center'>
+            Codburg
+          </td>
+          <td align='center'>
+            1818
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            ?
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Eller, Louis
+          </td>
+          <td align='center'>
+            Graz
+          </td>
+          <td align='center'>
+            1819
+          </td>
+          <td align='center'>
+            Pau
+          </td>
+          <td align='center'>
+            1862
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hering, Karl
+          </td>
+          <td align='center'>
+            Berlin
+          </td>
+          <td align='center'>
+            1819
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1889
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Léonard, Hubert
+          </td>
+          <td align='center'>
+            Bellaire
+          </td>
+          <td align='center'>
+            1819
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1890
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Batta, Joseph
+          </td>
+          <td align='center'>
+            Maastricht
+          </td>
+          <td align='center'>
+            1820
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Dreyschock, Raimund
+          </td>
+          <td align='center'>
+            Bohemia
+          </td>
+          <td align='center'>
+            1820
+          </td>
+          <td align='center'>
+            Leipzig
+          </td>
+          <td align='center'>
+            1869
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kéler-Béla
+          </td>
+          <td align='center'>
+            Hungary
+          </td>
+          <td align='center'>
+            1820
+          </td>
+          <td align='center'>
+            Wiesbaden
+          </td>
+          <td align='center'>
+            1882
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Neumann, Louise
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1820
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Vieuxtemps, Henri
+          </td>
+          <td align='center'>
+            Verviers
+          </td>
+          <td align='center'>
+            1820
+          </td>
+          <td align='center'>
+            Algiers
+          </td>
+          <td align='center'>
+            1881
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Wallace, Eliza
+          </td>
+          <td align='center'>
+            England
+          </td>
+          <td align='center'>
+            1820
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gautier, Karl
+          </td>
+          <td align='center'>
+            Vaugirard
+          </td>
+          <td align='center'>
+            1822
+          </td>
+          <td align='center'>
+            Vaugirard
+          </td>
+          <td align='center'>
+            1878
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hauser, Miska
+          </td>
+          <td align='center'>
+            Presburg
+          </td>
+          <td align='center'>
+            1822
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1887
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Dancla, Leopold
+          </td>
+          <td align='center'>
+            France
+          </td>
+          <td align='center'>
+            1823
+          </td>
+          <td align='center'>
+            1895
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gaertner, Karl
+          </td>
+          <td align='center'>
+            Stralsund
+          </td>
+          <td align='center'>
+            1823
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hermann, Constant
+          </td>
+          <td align='center'>
+            Douai
+          </td>
+          <td align='center'>
+            1823
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Eichberg, Julius
+          </td>
+          <td align='center'>
+            Düsseldorf
+          </td>
+          <td align='center'>
+            1824
+          </td>
+          <td align='center'>
+            Boston
+          </td>
+          <td align='center'>
+            1893
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hullweck, Ferdinand
+          </td>
+          <td align='center'>
+            Dessau
+          </td>
+          <td align='center'>
+            1824
+          </td>
+          <td align='center'>
+            Blasewitz
+          </td>
+          <td align='center'>
+            1887
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            De Kontski, Apollinari
+          </td>
+          <td align='center'>
+            Warsaw
+          </td>
+          <td align='center'>
+            1825
+          </td>
+          <td align='center'>
+            Warsaw
+          </td>
+          <td align='center'>
+            1879
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bott, Jean Joseph
+          </td>
+          <td align='center'>
+            Cassel
+          </td>
+          <td align='center'>
+            1826
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1895
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Collins, Rosina
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1826
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hauser, Maurice
+          </td>
+          <td align='center'>
+            Berlin
+          </td>
+          <td align='center'>
+            1826
+          </td>
+          <td align='center'>
+            Königsberg
+          </td>
+          <td align='center'>
+            1857
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kundinger, August
+          </td>
+          <td align='center'>
+            Kitzengen
+          </td>
+          <td align='center'>
+            1827
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Milanollo, Teresa
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1827
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Mollenhauer, Edward
+          </td>
+          <td align='center'>
+            Erfurt
+          </td>
+          <td align='center'>
+            1827
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hellmesberger, Georg
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1828
+          </td>
+          <td align='center'>
+            Hanover
+          </td>
+          <td align='center'>
+            1853
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hermann, Frederick
+          </td>
+          <td align='center'>
+            Frankfort
+          </td>
+          <td align='center'>
+            1828
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Huber, Karl
+          </td>
+          <td align='center'>
+            Varjas
+          </td>
+          <td align='center'>
+            1828
+          </td>
+          <td align='center'>
+            Pesth
+          </td>
+          <td align='center'>
+            1885
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hellmesberger, Joseph
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1829
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1893
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Röntgen, Engelbert
+          </td>
+          <td align='center'>
+            Holland
+          </td>
+          <td align='center'>
+            1829
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Adelburg, August R. Von
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1830
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1873
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Arditi, Emilia
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1830
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Garcin, Jules A. S.
+          </td>
+          <td align='center'>
+            Bourges
+          </td>
+          <td align='center'>
+            1830
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1896
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hennen, Friedrich
+          </td>
+          <td align='center'>
+            Heerlen
+          </td>
+          <td align='center'>
+            1830
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Remenyi, Edouard
+          </td>
+          <td align='center'>
+            Hungary
+          </td>
+          <td align='center'>
+            1830
+          </td>
+          <td align='center'>
+            SanFrancisco
+          </td>
+          <td align='center'>
+            1898
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Zirges, Hortensia
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1830
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bargheer, Karl Louis
+          </td>
+          <td align='center'>
+            Bückeburg
+          </td>
+          <td align='center'>
+            1831
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Joachim, Joseph
+          </td>
+          <td align='center'>
+            Kitsee
+          </td>
+          <td align='center'>
+            1831
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kassmayer, Moritz
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1831
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1884
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kömpel, August
+          </td>
+          <td align='center'>
+            Bavaria
+          </td>
+          <td align='center'>
+            1831
+          </td>
+          <td align='center'>
+            Weimar
+          </td>
+          <td align='center'>
+            1891
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Singer, Edmund
+          </td>
+          <td align='center'>
+            Hungary
+          </td>
+          <td align='center'>
+            1831
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Laub, Ferdinand
+          </td>
+          <td align='center'>
+            Prague
+          </td>
+          <td align='center'>
+            1832
+          </td>
+          <td align='center'>
+            Tyrol
+          </td>
+          <td align='center'>
+            1875
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lauterbach, Johann C.
+          </td>
+          <td align='center'>
+            Bavaria
+          </td>
+          <td align='center'>
+            1832
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Milanollo, Maria
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1832
+          </td>
+          <td align='center'>
+            1848
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Becker, Jean
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1833
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1884
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bennewitz, Anton
+          </td>
+          <td align='center'>
+            Privat
+          </td>
+          <td align='center'>
+            1833
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Graff, Carl
+          </td>
+          <td align='center'>
+            Hungary
+          </td>
+          <td align='center'>
+            1833
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Filby, Heinrich
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1834
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            De Ahna, Heinrich K. H.
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1835
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1892
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Jaffé, Moritz
+          </td>
+          <td align='center'>
+            Posen
+          </td>
+          <td align='center'>
+            1835
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Monasterio, Jesus
+          </td>
+          <td align='center'>
+            Potes (Spain)
+          </td>
+          <td align='center'>
+            1835
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Strauss, Ludwig
+          </td>
+          <td align='center'>
+            Pressburg
+          </td>
+          <td align='center'>
+            1835
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Wieniawski, Henry
+          </td>
+          <td align='center'>
+            Poland
+          </td>
+          <td align='center'>
+            1835
+          </td>
+          <td align='center'>
+            Moscow
+          </td>
+          <td align='center'>
+            1880
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Besekirskij, Wasil W.
+          </td>
+          <td align='center'>
+            Moscow
+          </td>
+          <td align='center'>
+            1836
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Carrodus, John T.
+          </td>
+          <td align='center'>
+            Keighley
+          </td>
+          <td align='center'>
+            1836
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1895
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Holmes, Alfred
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1837
+          </td>
+          <td align='center'>
+            Paris
+          </td>
+          <td align='center'>
+            1876
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Grün, Jacob
+          </td>
+          <td align='center'>
+            Buda-Pesth
+          </td>
+          <td align='center'>
+            1837
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Brousil, Bertha
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1838
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Piercy-Feeny, Mme.
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1838
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Neruda, Wilhelmina (Lady Hallé)
+          </td>
+          <td align='center'>
+            Brünn
+          </td>
+          <td align='center'>
+            1838
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Werner, Hildegard
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1838
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Holmes, Henry
+          </td>
+          <td align='center'>
+            London
+          </td>
+          <td align='center'>
+            1839
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Jacobsohn, Simon
+          </td>
+          <td align='center'>
+            Mittau
+          </td>
+          <td align='center'>
+            1839
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Rappoldi, Edouard
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1839
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Bargheer, Adolph
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1840
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            David, Peter P.
+          </td>
+          <td align='center'>
+            Leipzig
+          </td>
+          <td align='center'>
+            1840
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Lotto, Isidor
+          </td>
+          <td align='center'>
+            Warsaw
+          </td>
+          <td align='center'>
+            1840
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gobbi, Aloys
+          </td>
+          <td align='center'>
+            Pesth
+          </td>
+          <td align='center'>
+            1844
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Heermann, Hugo
+          </td>
+          <td align='center'>
+            Hulbrönn
+          </td>
+          <td align='center'>
+            1844
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Sarasate, Pablo de
+          </td>
+          <td align='center'>
+            Pampeluna
+          </td>
+          <td align='center'>
+            1844
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Auer, Leopold
+          </td>
+          <td align='center'>
+            Hungary
+          </td>
+          <td align='center'>
+            1845
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Singelee, Louise
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1845
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Castellan, Mlle
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1845
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Wilhelmj, August
+          </td>
+          <td align='center'>
+            Usingen
+          </td>
+          <td align='center'>
+            1845
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Courvoisier, Carl
+          </td>
+          <td align='center'>
+            Basle
+          </td>
+          <td align='center'>
+            1846
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Schradieck, Henry
+          </td>
+          <td align='center'>
+            Hamburg
+          </td>
+          <td align='center'>
+            1846
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Papini, Guido
+          </td>
+          <td align='center'>
+            Florence
+          </td>
+          <td align='center'>
+            1847
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Walter, Benno
+          </td>
+          <td align='center'>
+            Munich
+          </td>
+          <td align='center'>
+            1847
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            De Bono, Victoria
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1848
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Heckmann, Georg J. R.
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1848
+          </td>
+          <td align='center'>
+            Glasgow
+          </td>
+          <td align='center'>
+            1891
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Marsick, Martin P. J.
+          </td>
+          <td align='center'>
+            Jupille
+          </td>
+          <td align='center'>
+            1848
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Drechsler-Adamson, Mme.
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1849
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gibson, Alfred
+          </td>
+          <td align='center'>
+            Nottingham
+          </td>
+          <td align='center'>
+            1849
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Drechsler-Woycke, Mme.
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            1850
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Brodsky, Adolph
+          </td>
+          <td align='center'>
+            Taganrog
+          </td>
+          <td align='center'>
+            1851
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hagen, Adolph
+          </td>
+          <td align='center'>
+            Bremen
+          </td>
+          <td align='center'>
+            1851
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Sauret, Emil
+          </td>
+          <td align='center'>
+            Dun-le-Roi
+          </td>
+          <td align='center'>
+            1852
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Boulanger, Mlle.
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1853
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Meyer, Waldemar
+          </td>
+          <td align='center'>
+            Berlin
+          </td>
+          <td align='center'>
+            1853
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Zajic, Florian
+          </td>
+          <td align='center'>
+            Bohemia
+          </td>
+          <td align='center'>
+            1853
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Ferrari, Signora Elvira
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1854
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hermant, Mlle.
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            1854
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Drechsler-Hamilton, Mme
+          </td>
+          <td align='center'>
+            Agnes
+          </td>
+          <td align='center'>
+            1855
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Holländer, Gustav
+          </td>
+          <td align='center'>
+            Silesia
+          </td>
+          <td align='center'>
+            1855
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Sahla, Richard
+          </td>
+          <td align='center'>
+            Graz
+          </td>
+          <td align='center'>
+            1855
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kess, Wilhelm
+          </td>
+          <td align='center'>
+            Dordrecht
+          </td>
+          <td align='center'>
+            1856
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Petri, Henri Wilhelm
+          </td>
+          <td align='center'>
+            Utrecht
+          </td>
+          <td align='center'>
+            1856
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Thomson, César
+          </td>
+          <td align='center'>
+            Liège
+          </td>
+          <td align='center'>
+            1857
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Barcevicz, Stanislaus
+          </td>
+          <td align='center'>
+            Warsaw
+          </td>
+          <td align='center'>
+            1858
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hilf, Arno
+          </td>
+          <td align='center'>
+            Saxony
+          </td>
+          <td align='center'>
+            1858
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Huber, Eugen (Jeno Hubay)
+          </td>
+          <td align='center'>
+            Budapest
+          </td>
+          <td align='center'>
+            1858
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Halir, Karl
+          </td>
+          <td align='center'>
+            Hohenlohe
+          </td>
+          <td align='center'>
+            1859
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Hess, Willie
+          </td>
+          <td align='center'>
+            Mannheim
+          </td>
+          <td align='center'>
+            1859
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Ondricek, Franz
+          </td>
+          <td align='center'>
+            Prague
+          </td>
+          <td align='center'>
+            1859
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Ysaye, Eugene
+          </td>
+          <td align='center'>
+            Liège
+          </td>
+          <td align='center'>
+            1859
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Loeffler, Charles Martin
+          </td>
+          <td align='center'>
+            Alsace
+          </td>
+          <td align='center'>
+            1861
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Rossi, Marcello
+          </td>
+          <td align='center'>
+            Vienna
+          </td>
+          <td align='center'>
+            1862
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Wolff, Johannes
+          </td>
+          <td align='center'>
+            Hague
+          </td>
+          <td align='center'>
+            1862
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Rose, Arnold
+          </td>
+          <td align='center'>
+            Roumania
+          </td>
+          <td align='center'>
+            1863
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Soldat, Marie
+          </td>
+          <td align='center'>
+            Gratz
+          </td>
+          <td align='center'>
+            1863
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Prill, Carl
+          </td>
+          <td align='center'>
+            Berlin
+          </td>
+          <td align='center'>
+            1864
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Senkrah, Arma
+          </td>
+          <td align='center'>
+            New York
+          </td>
+          <td align='center'>
+            1864
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Eissler, Marianne
+          </td>
+          <td align='center'>
+            Brünn
+          </td>
+          <td align='center'>
+            1865
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Kneisel, Franz
+          </td>
+          <td align='center'>
+            Roumania
+          </td>
+          <td align='center'>
+            1865
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Carpenter, Nettie
+          </td>
+          <td align='center'>
+            New York
+          </td>
+          <td align='center'>
+            1865
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Dunn, John
+          </td>
+          <td align='center'>
+            Hull
+          </td>
+          <td align='center'>
+            1866
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Wietrowitz, Gabrielle
+          </td>
+          <td align='center'>
+            Laibach
+          </td>
+          <td align='center'>
+            1866
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Dengremont, Maurice
+          </td>
+          <td align='center'>
+            Rio Janeiro
+          </td>
+          <td align='center'>
+            1867
+          </td>
+          <td align='center'>
+            ?
+          </td>
+          <td align='center'>
+            c1887
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Gregorowitsch, Charles
+          </td>
+          <td align='center'>
+            St. Petersburg
+          </td>
+          <td align='center'>
+            1867
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Tua, Teresina
+          </td>
+          <td align='center'>
+            Turin
+          </td>
+          <td align='center'>
+            1867
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Powell, Maud
+          </td>
+          <td align='center'>
+            Aurora, Ill.
+          </td>
+          <td align='center'>
+            1868
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Sapellnikoff
+          </td>
+          <td align='center'>
+            Odessa
+          </td>
+          <td align='center'>
+            1868
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Burmester, Willy
+          </td>
+          <td align='center'>
+            Hamburg
+          </td>
+          <td align='center'>
+            1869
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Petschnikoff, Alexander
+          </td>
+          <td align='center'>
+            Moscow
+          </td>
+          <td align='center'>
+            1873
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Marteau, Henri
+          </td>
+          <td align='center'>
+            Reims
+          </td>
+          <td align='center'>
+            1874
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Saenger-Sethe, Irma
+          </td>
+          <td align='center'>
+            Brussels
+          </td>
+          <td align='center'>
+            1876
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+        <tr>
+          <td align='left'>
+            Jackson, Leonora
+          </td>
+          <td align='center'>
+            Boston
+          </td>
+          <td align='center'>
+            1879
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+          <td align='center'>
+            &nbsp;
+          </td>
+        </tr>
+      </table>
+    </center>
+    <br />
+    <br />
+    <br />
+    <hr style="width: 65%;" />
+
+    <br />
+    <br />
+    <br />
+    <h2>
+      <a name="INDEX" id="INDEX"></a>INDEX
+    </h2>
+    <ul>
+      <li>Adams, Suzanne, <a href='#page339'>339</a>.
+      </li>
+      <li>Ahna, H.K. de, <a href='#page240'>240</a>.
+      </li>
+      <li>Aichelburg, Count, <a href='#page331'>331</a>.
+      </li>
+      <li>Alard, D., <a href='#page68'>68</a>, <a href=
+      '#page135'>135</a>, <a href='#page144'>144</a>, <a href=
+      '#page145'>145</a>, <a href='#page161'>161</a>, <a href=
+      '#page226'>226</a>.
+      </li>
+      <li>Albertinatti, <a href='#page105'>105</a>.
+      </li>
+      <li>Alday le jeune, <a href='#page68'>68</a>.
+      </li>
+      <li>Alexander, Czar, <a href='#page81'>81</a>.
+      </li>
+      <li>Alexander III., <a href='#page222'>222</a>.
+      </li>
+      <li>Amati, Andrea, <a href='#page13'>13</a>.
+      </li>
+      <li>Amati, Nicolo, <a href='#page14'>14</a>.
+      </li>
+      <li>Anêt, B., <a href='#page28'>28</a>, <a href='#page35'>35</a>,
+      <a href='#page39'>39</a>, <a href='#page40'>40</a>.
+      </li>
+      <li>Arditi, Emilia, <a href='#page312'>312</a>.
+      </li>
+      <li>Artot, <a href='#page149'>149</a>, <a href=
+      '#page150'>150</a>, <a href='#page169'>169</a>, <a href=
+      '#page192'>192</a>.
+      </li>
+      <li>Auer, Leopold, <a href='#page359'>359</a>, <a href=
+      '#page360'>360</a>.
+      </li>
+      <li>Austria, Emperor of, <a href='#page206'>206</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Bacchiochi, Princess Elise, <a href='#page112'>112</a>.
+      </li>
+      <li>Bach, J.S., <a href='#page254'>254</a>, <a href=
+      '#page266'>266</a>, <a href='#page277'>277</a>, <a href=
+      '#page334'>334</a>, <a href='#page340'>340</a>.
+      </li>
+      <li>Baillot, P.M.F. de S., <a href='#page26'>26</a>, <a href=
+      '#page68'>68</a>, <a href='#page71'>71</a>-<a href=
+      '#page75'>75</a>, <a href='#page129'>129</a>, <a href='#page144'>
+        144</a>, <a href='#page177'>177</a>, <a href=
+        '#page346'>346</a>.
+      </li>
+      <li>Baltizarini, <a href='#page15'>15</a>.
+      </li>
+      <li>Baltzar, Thomas, <a href='#page19'>19</a>, <a href='#page20'>
+        20</a>.
+      </li>
+      <li>Banister, John, <a href='#page19'>19</a>, <a href='#page20'>
+        20</a>, <a href='#page21'>21</a>.
+      </li>
+      <li>Bargheer, C.L., <a href='#page97'>97</a>.
+      </li>
+      <li>Baroni, Leonora, <a href='#page302'>302</a>.
+      </li>
+      <li>Bassani, G.B., <a href='#page30'>30</a>.
+      </li>
+      <li>Bazzini, <a href='#page247'>247</a>, <a href=
+      '#page354'>354</a>.
+      </li>
+      <li>Beauharnais, Eugene, <a href='#page307'>307</a>.
+      </li>
+      <li>Becker, Hans, <a href='#page356'>356</a>.
+      </li>
+      <li>Becker, Jean, <a href='#page353'>353</a>, <a href='#page354'>
+        354</a>, <a href='#page355'>355</a>.
+      </li>
+      <li>Beethoven, L. von, <a href='#page57'>57</a>, <a href=
+      '#page77'>77</a>, <a href='#page91'>91</a>, <a href=
+      '#page205'>205</a>, <a href='#page225'>225</a>, <a href=
+      '#page231'>231</a>, <a href='#page352'>352</a>, <a href=
+      '#page254'>254</a>, <a href='#page290'>290</a>, <a href=
+      '#page333'>333</a>, <a href='#page347'>347</a>, <a href=
+      '#page258'>258</a>,<a href='#page364'>364</a>.
+      </li>
+      <li>Benda, Franz, <a href='#page56'>56</a>, <a href=
+      '#page57'>57</a>.
+      </li>
+      <li>Bennewitz, <a href='#page277'>277</a>.
+      </li>
+      <li>Bériot, Charles A. de, <a href='#page25'>25</a>, <a href=
+      '#page28'>28</a>, <a href='#page29'>29</a>, <a href=
+      '#page67'>67</a>, <a href='#page68'>68</a>, <a href=
+      '#page136'>136</a>, <a href='#page138'>138</a>-<a href=
+      '#page144'>144</a>, <a href='#page147'>147</a>, <a href=
+      '#page148'>148</a>, <a href='#page150'>150</a>, <a href=
+      '#page162'>162</a>, <a href='#page188'>188</a>, <a href=
+      '#page266'>266</a>, <a href='#page309'>309</a>, <a href=
+      '#page334'>334</a>, <a href='#page352'>352</a>.
+      </li>
+      <li>Berlioz, Hector, <a href='#page79'>79</a>, <a href='#page80'>
+        80</a>, <a href='#page126'>126</a>, <a href='#page127'>127</a>,
+        <a href='#page128'>128</a>, <a href='#page248'>248</a>,
+        <a href='#page253'>253</a>.
+      </li>
+      <li>Berry, Duchesse de, <a href='#page81'>81</a>.
+      </li>
+      <li>Berthaume, <a href='#page81'>81</a>.
+      </li>
+      <li>Bertin, Armand. <a href='#page127'>127</a>.
+      </li>
+      <li>Besekirskij, Wasil W., <a href='#page240'>240</a>, <a href=
+      '#page285'>285</a>.
+      </li>
+      <li>Bianchi, Antonia, <a href='#page116'>116</a>.
+      </li>
+      <li>Bilse Orchestra, <a href='#page277'>277</a>, <a href=
+      '#page283'>283</a>.
+      </li>
+      <li>Bini, P., <a href='#page49'>49</a>.
+      </li>
+      <li>Blagrove, H.G., <a href='#page97'>97</a>, <a href='#page170'>
+        170</a>, <a href='#page358'>358</a>.
+      </li>
+      <li>Boccherini, L., <a href='#page76'>76</a>.
+      </li>
+      <li>Bohemian Quartet, <a href='#page360'>360</a>, <a href=
+      '#page363'>363</a>.
+      </li>
+      <li>Böhm, J., <a href='#page28'>28</a>, <a href='#page68'>68</a>,
+      <a href='#page206'>206</a>, <a href='#page215'>215</a>.
+      </li>
+      <li>Brahms, Johannes, <a href='#page212'>212</a>, <a href=
+      '#page253'>253</a>, <a href='#page329'>329</a>, <a href=
+      '#page332'>332</a>, <a href='#page364'>364</a>.
+      </li>
+      <li>Brazil, Emperor of, <a href='#page230'>230</a>.
+      </li>
+      <li>Brodsky, Adolf, <a href='#page82'>82</a>, <a href='#page263'>
+        263</a>-<a href='#page265'>265</a>, <a href='#page356'>356</a>,
+        <a href='#page357'>357</a>.
+      </li>
+      <li>Brousil, Bertha, <a href='#page312'>312</a>.
+      </li>
+      <li>Bruch, Max, <a href='#page295'>295</a>, <a href=
+      '#page328'>328</a>, <a href='#page341'>341</a>.
+      </li>
+      <li>Brunswick, Duke of, <a href='#page85'>85</a>.
+      </li>
+      <li>Bull, Ole, <a href='#page149'>149</a>, <a href=
+      '#page150'>150</a>, <a href='#page151'>151</a>, <a href=
+      '#page152'>152</a>, <a href='#page153'>153</a>, <a href=
+      '#page169'>169</a>, <a href='#page172'>172</a>-<a href=
+      '#page203'>203</a>, <a href='#page225'>225</a>, <a href=
+      '#page237'>237</a>.
+      </li>
+      <li>Bülow, Hans Von, <a href='#page291'>291</a>, <a href=
+      '#page292'>292</a>, <a href='#page293'>293</a>, <a href=
+      '#page315'>315</a>.
+      </li>
+      <li>Bunn, <a href='#page247'>247</a>.
+      </li>
+      <li>Bunzl, <a href='#page294'>294</a>.
+      </li>
+      <li>Burmester, Willy, <a href='#page286'>286</a>-<a href=
+      '#page293'>293</a>, <a href='#page333'>333</a>.
+      </li>
+      <li>Burney, Doctor, <a href='#page43'>43</a>, <a href='#page55'>
+        55</a>, <a href='#page56'>56</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Calcagno, Caterina, <a href='#page111'>111</a>, <a href=
+      '#page154'>154</a>, <a href='#page308'>308</a>.
+      </li>
+      <li>Caldera, <a href='#page309'>309</a>.
+      </li>
+      <li>Campbell, Lucie, <a href='#page330'>330</a>.
+      </li>
+      <li>Careño, Theresa, <a href='#page265'>265</a>.
+      </li>
+      <li>Carpenter, Nettie, <a href='#page338'>338</a>.
+      </li>
+      <li>Carrodus, John T., <a href='#page170'>170</a>, <a href=
+      '#page241'>241</a>.
+      </li>
+      <li>Cartier, <a href='#page68'>68</a>.
+      </li>
+      <li>Cessole, Conte di, <a href='#page117'>117</a>, <a href=
+      '#page118'>118</a>.
+      </li>
+      <li>Cherubini, <a href='#page62'>62</a>, <a href=
+      '#page93'>93</a>, <a href='#page136'>136</a>.
+      </li>
+      <li>Chiabran, F., <a href='#page36'>36</a>.
+      </li>
+      <li>Chiostri, <a href='#page354'>354</a>.
+      </li>
+      <li>Chopin, F., <a href='#page187'>187</a>, <a href=
+      '#page210'>210</a>.
+      </li>
+      <li>Ciandelli, <a href='#page114'>114</a>.
+      </li>
+      <li>Clegg, John, <a href='#page24'>24</a>.
+      </li>
+      <li>Clement, <a href='#page254'>254</a>, <a href=
+      '#page255'>255</a>.
+      </li>
+      <li>Clementi, <a href='#page86'>86</a>.
+      </li>
+      <li>Cleveland, Mrs. G., <a href='#page342'>342</a>.
+      </li>
+      <li>Cleves, Anne of, <a href='#page301'>301</a>.
+      </li>
+      <li>Coburg-Gotha, Duke of, <a href='#page240'>240</a>.
+      </li>
+      <li>Colbran, Madame, <a href='#page189'>189</a>.
+      </li>
+      <li>Collins, Rosina, <a href='#page308'>308</a>.
+      </li>
+      <li>Colonne, <a href='#page295'>295</a>.
+      </li>
+      <li>Corbett, William, <a href='#page22'>22</a>.
+      </li>
+      <li>Corelli, A., <a href='#page28'>28</a>, <a href=
+      '#page30'>30</a>, <a href='#page31'>31</a>-<a href=
+      '#page35'>35</a>, <a href='#page36'>36</a>, <a href=
+      '#page38'>38</a>, <a href='#page40'>40</a>, <a href=
+      '#page50'>50</a>, <a href='#page52'>52</a>, <a href=
+      '#page59'>59</a>.
+      </li>
+      <li>Costa, G., <a href='#page105'>105</a>, <a href=
+      '#page157'>157</a>.
+      </li>
+      <li>Cumberland, Duke of, <a href='#page302'>302</a>.
+      </li>
+      <li>Cuvillon, <a href='#page68'>68</a>.
+      </li>
+      <li>Cuzzoni, F., <a href='#page53'>53</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Damrosch, Leopold, <a href='#page339'>339</a>.
+      </li>
+      <li>Damrosch, Walter, <a href='#page263'>263</a>, <a href=
+      '#page340'>340</a>.
+      </li>
+      <li>Dancla, C., <a href='#page129'>129</a>, <a href=
+      '#page135'>135</a>, <a href='#page171'>171</a>.
+      </li>
+      <li>Dando, J., <a href='#page357'>357</a>, <a href=
+      '#page358'>358</a>, <a href='#page359'>359</a>.
+      </li>
+      <li>D'Artot, <a href='#page69'>69</a>.
+      </li>
+      <li>David, Ferd., <a href='#page97'>97</a>, <a href=
+      '#page234'>234</a>, <a href='#page247'>247</a>, <a href=
+      '#page253'>253</a>, <a href='#page350'>350</a>, <a href=
+      '#page351'>351</a>, <a href='#page357'>357</a>.
+      </li>
+      <li>Davidoff, <a href='#page360'>360</a>.
+      </li>
+      <li>Delavan, <a href='#page136'>136</a>.
+      </li>
+      <li>Delibes, <a href='#page214'>214</a>.
+      </li>
+      <li>Dellepaine, <a href='#page157'>157</a>, <a href=
+      '#page159'>159</a>.
+      </li>
+      <li>Dengremont, M., <a href='#page68'>68</a>, <a href='#page281'>
+        281</a>, <a href='#page282'>282</a>.
+      </li>
+      <li>Derwies, Baron, <a href='#page268'>268</a>, <a href=
+      '#page279'>279</a>.
+      </li>
+      <li>Diamantina, La, <a href='#page302'>302</a>.
+      </li>
+      <li>Dont, Jacob, <a href='#page68'>68</a>, <a href=
+      '#page171'>171</a>, <a href='#page285'>285</a>, <a href=
+      '#page359'>359</a>.
+      </li>
+      <li>Dubois, <a href='#page295'>295</a>.
+      </li>
+      <li>Dubourg, M., <a href='#page22'>22</a>, <a href=
+      '#page23'>23</a>, <a href='#page40'>40</a>.
+      </li>
+      <li>Dulcken, Madame, <a href='#page350'>350</a>.
+      </li>
+      <li>Dunn, John, <a href='#page299'>299</a>.
+      </li>
+      <li>Durand, <a href='#page68'>68</a>.
+      </li>
+      <li>Durst, <a href='#page352'>352</a>.
+      </li>
+      <li>Dwight, J.S., <a href='#page201'>201</a>, <a href='#page225'>
+        225</a>, <a href='#page320'>320</a>, <a href=
+        '#page324'>324</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Eccles, Henry, <a href='#page22'>22</a>.
+      </li>
+      <li>Eck, Ferdinand, <a href='#page85'>85</a>.
+      </li>
+      <li>Eck, Franz, <a href='#page85'>85</a>.
+      </li>
+      <li>Eder, Josephine, <a href='#page163'>163</a>.
+      </li>
+      <li>Elizabeth, Queen, <a href='#page301'>301</a>.
+      </li>
+      <li>England, Queen of, <a href='#page343'>343</a>.
+      </li>
+      <li>Ericsson, Lief, <a href='#page198'>198</a>.
+      </li>
+      <li>Ernst, H., <a href='#page68'>68</a>, <a href=
+      '#page146'>146</a>-<a href='#page149'>149</a>, <a href=
+      '#page169'>169</a>, <a href='#page187'>187</a>, <a href=
+      '#page233'>233</a>, <a href='#page246'>246</a>, <a href=
+      '#page247'>247</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Farina, Carlo, <a href='#page15'>15</a>, <a href=
+      '#page16'>16</a>.
+      </li>
+      <li>Ferrari, <a href='#page49'>49</a>.
+      </li>
+      <li>Ferrero, <a href='#page309'>309</a>.
+      </li>
+      <li>Festing, M., <a href='#page53'>53</a>.
+      </li>
+      <li>Fétis, <a href='#page129'>129</a>, <a href=
+      '#page145'>145</a>.
+      </li>
+      <li>Field, <a href='#page86'>86</a>, <a href='#page210'>210</a>.
+      </li>
+      <li>Filipowicz, Madame, <a href='#page308'>308</a>.
+      </li>
+      <li>Fischer, Konrad, <a href='#page232'>232</a>.
+      </li>
+      <li>Florentine Quartet, <a href='#page353'>353</a>-<a href=
+      '#page355'>355</a>, <a href='#page356'>356</a>.
+      </li>
+      <li>Fontana, Giovanni B., <a href='#page16'>16</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Garcia, Pauline, <a href='#page143'>143</a>.
+      </li>
+      <li>Gattie, Henry, <a href='#page358'>358</a>.
+      </li>
+      <li>Gautherst, Louise, <a href='#page307'>307</a>.
+      </li>
+      <li>Geminiani, F., <a href='#page23'>23</a>, <a href=
+      '#page24'>24</a>, <a href='#page28'>28</a>, <a href=
+      '#page35'>35</a>, <a href='#page40'>40</a>, <a href=
+      '#page43'>43</a>.
+      </li>
+      <li>Gerbini, Luigia, <a href='#page68'>68</a>, <a href=
+      '#page307'>307</a>.
+      </li>
+      <li>Gericke, W., <a href='#page283'>283</a>.
+      </li>
+      <li>Germany, Empress of, <a href='#page343'>343</a>.
+      </li>
+      <li>Geyer, A., <a href='#page331'>331</a>.
+      </li>
+      <li>Ghiretti, <a href='#page106'>106</a>.
+      </li>
+      <li>Giardini, F., <a href='#page36'>36</a>, <a href=
+      '#page53'>53</a>.
+      </li>
+      <li>Görgey, General, <a href='#page206'>206</a>.
+      </li>
+      <li>Gotha, Duke of, <a href='#page86'>86</a>.
+      </li>
+      <li>Gounod, C., <a href='#page294'>294</a>.
+      </li>
+      <li>Graun, <a href='#page49'>49</a>, <a href='#page56'>56</a>.
+      </li>
+      <li>Gregorowitsch, C., <a href='#page241'>241</a>, <a href=
+      '#page284'>284</a>, <a href='#page286'>286</a>.
+      </li>
+      <li>Grün, Jacob, <a href='#page242'>242</a>, <a href='#page283'>
+        283</a>, <a href='#page362'>362</a>.
+      </li>
+      <li>Guiraud, <a href='#page279'>279</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Habeneck, <a href='#page68'>68</a>, <a href=
+      '#page78'>78</a>-<a href='#page80'>80</a>, 93, <a href=
+      '#page145'>145</a>, <a href='#page309'>309</a>.
+      </li>
+      <li>Halir, Carl, <a href='#page256'>256</a>, <a href='#page276'>
+        276</a>-<a href='#page278'>278</a>, <a href='#page283'>283</a>.
+      </li>
+      <li>Hallé, Lady (Mme. Norman-Neruda), <a href=
+      '#page312'>312</a>-<a href='#page319'>319</a>, <a href=
+      '#page323'>323</a>, <a href='#page327'>327</a>, <a href=
+      '#page335'>335</a>.
+      </li>
+      <li>Hallé, Sir Charles, <a href='#page124'>124</a>, <a href=
+      '#page125'>125</a>, <a href='#page127'>127</a>, <a href=
+      '#page136'>136</a>, <a href='#page160'>160</a>, <a href=
+      '#page169'>169</a>, <a href='#page265'>265</a>, <a href=
+      '#page315'>315</a>-3<a href='#page17'>17</a>.
+      </li>
+      <li>Hampton, Miss, <a href='#page222'>222</a>.
+      </li>
+      <li>Handel, G.F., <a href='#page23'>23</a>, <a href=
+      '#page32'>32</a>.
+      </li>
+      <li>Hanover, King of, <a href='#page248'>248</a>.
+      </li>
+      <li>Hanslick, E., <a href='#page229'>229</a>.
+      </li>
+      <li>Harkness, A., <a href='#page337'>337</a>.
+      </li>
+      <li>Hauptmann, <a href='#page247'>247</a>.
+      </li>
+      <li>Hauser, Miska, <a href='#page215'>215</a>-2 <a href=
+      '#page18'>18</a>.
+      </li>
+      <li>Hausmann, <a href='#page234'>234</a>.
+      </li>
+      <li>Haydn, J., <a href='#page58'>58</a>, <a href=
+      '#page245'>245</a>, <a href='#page358'>358</a>.
+      </li>
+      <li>Heckmann, G.J.R., <a href='#page356'>356</a>.
+      </li>
+      <li>Hegyesi, <a href='#page356'>356</a>.
+      </li>
+      <li>Heissler, <a href='#page352'>352</a>.
+      </li>
+      <li>Hellmesberger, G., <a href='#page68'>68</a>.
+      </li>
+      <li>Hellmesberger, J., <a href='#page264'>264</a>, <a href=
+      '#page283'>283</a>, <a href='#page352'>352</a>, <a href=
+      '#page355'>355</a>, <a href='#page362'>362</a>.
+      </li>
+      <li>Henry VII., King, <a href='#page301'>301</a>.
+      </li>
+      <li>Henselt, <a href='#page162'>162</a>.
+      </li>
+      <li>Herwig, <a href='#page150'>150</a>.
+      </li>
+      <li>Hess, Willy, <a href='#page256'>256</a>.
+      </li>
+      <li>Higginson, H.L., <a href='#page361'>361</a>.
+      </li>
+      <li>Hilf, A., <a href='#page357'>357</a>.
+      </li>
+      <li>Hilpert, <a href='#page354'>354</a>.
+      </li>
+      <li>Hoffmann, <a href='#page215'>215</a>, <a href=
+      '#page360'>360</a>.
+      </li>
+      <li>Hogarth, G., <a href='#page133'>133</a>.
+      </li>
+      <li>Hollaender, G., <a href='#page256'>256</a>.
+      </li>
+      <li>Holmes, Henry, <a href='#page98'>98</a>, <a href='#page241'>
+        241</a>.
+      </li>
+      <li>Holmes, Alfred, <a href='#page241'>241</a>.
+      </li>
+      <li>Hrimaly, <a href='#page296'>296</a>.
+      </li>
+      <li>Hubay, J., <a href='#page256'>256</a>, <a href=
+      '#page299'>299</a>, <a href='#page356'>356</a>.
+      </li>
+      <li>Huber, Mlle., <a href='#page143'>143</a>.
+      </li>
+      <li>Hummel, <a href='#page245'>245</a>.
+      </li>
+      <li>
+        <span class="pagenum"><a name="page395" id=
+        "page395"></a>{395}</span> Hunt, L. <a href='#page133'>133</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Isabella, Queen, <a href='#page226'>226</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Jackson, <a href='#page17'>17</a>.
+      </li>
+      <li>Jackson, Leonora, <a href='#page326'>326</a>, <a href=
+      '#page342'>342</a>, <a href='#page343'>343</a>.
+      </li>
+      <li>Jacobsen, <a href='#page326'>326</a>.
+      </li>
+      <li>Jacotot, <a href='#page139'>139</a>.
+      </li>
+      <li>Jaffé, Sophie, <a href='#page336'>336</a>.
+      </li>
+      <li>Janin, Jules, <a href='#page126'>126</a>.
+      </li>
+      <li>Jansa, L., <a href='#page313'>313</a>.
+      </li>
+      <li>Joachim, J., <a href='#page16'>16</a>, <a href=
+      '#page27'>27</a>, <a href='#page29'>29</a>, <a href=
+      '#page68'>68</a>, <a href='#page206'>206</a>, <a href='#page212'>
+        212</a>, <a href='#page213'>213</a>, <a href=
+        '#page224'>224</a>, <a href='#page231'>231</a>, <a href=
+        '#page234'>234</a>, <a href='#page236'>236</a>, <a href=
+        '#page238'>238</a>, <a href='#page240'>240</a>, <a href=
+        '#page244'>244</a>-<a href='#page260'>260</a>, <a href=
+        '#page277'>277</a>, <a href='#page279'>279</a>, <a href=
+        '#page285'>285</a>, <a href='#page286'>286</a>, <a href=
+        '#page287'>287</a>, <a href='#page289'>289</a>, <a href=
+        '#page290'>290</a>, <a href='#page315'>315</a>, <a href=
+        '#page325'>325</a>, <a href='#page326'>326</a>, <a href=
+        '#page328'>328</a>, <a href='#page329'>329</a>, <a href=
+        '#page331'>331</a>, <a href='#page341'>341</a>, <a href=
+        '#page351'>351</a>, <a href='#page353'>353</a>, <a href=
+        '#page355'>355</a>.
+      </li>
+      <li>Joachim Quartet, <a href='#page357'>357</a>, <a href=
+      '#page363'>363</a>.
+      </li>
+      <li>Jokisch, <a href='#page334'>334</a>.
+      </li>
+      <li>Joseph II., Emperor, <a href='#page295'>295</a>.
+      </li>
+      <li>Josephine, Empress, <a href='#page78'>78</a>, <a href=
+      '#page307'>307</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Kalkbrenner, <a href='#page83'>83</a>.
+      </li>
+      <li>Kannitz, Count de, <a href='#page114'>114</a>.
+      </li>
+      <li>Kinsky, Count, <a href='#page43'>43</a>, <a href=
+      '#page49'>49</a>.
+      </li>
+      <li>Klapka, <a href='#page206'>206</a>.
+      </li>
+      <li>Klengel, J., <a href='#page356'>356</a>.
+      </li>
+      <li>Kneisel, F., <a href='#page279'>279</a>, <a href='#page282'>
+        282</a>, <a href='#page361'>361</a>-3<a href='#page64'>64</a>.
+      </li>
+      <li>Kneisel Quartet, <a href='#page281'>281</a>, <a href=
+      '#page284'>284</a>, <a href='#page361'>361</a>-3<a href=
+      '#page64'>64</a>.
+      </li>
+      <li>Kömpel, <a href='#page97'>97</a>.
+      </li>
+      <li>Kossuth, <a href='#page206'>206</a>.
+      </li>
+      <li>Krahmer, Madame, <a href='#page308'>308</a>.
+      </li>
+      <li>Kreutzer, Rodolphe, <a href='#page26'>26</a>, <a href=
+      '#page68'>68</a>-<a href='#page71'>71</a>, <a href=
+      '#page76'>76</a>, <a href='#page93'>93</a>, <a href=
+      '#page128'>128</a>, <a href='#page136'>136</a>, <a href=
+      '#page170'>170</a>, <a href='#page215'>215</a>.
+      </li>
+      <li>Kreutzer Sonata, <a href='#page137'>137</a>, <a href=
+      '#page138'>138</a>.
+      </li>
+      <li>Kufferath, <a href='#page238'>238</a>.
+      </li>
+      <li>Kugler, <a href='#page360'>360</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Lablache, L., <a href='#page142'>142</a>.
+      </li>
+      <li>Lacour, <a href='#page186'>186</a>.
+      </li>
+      <li>Lafont, C.F., <a href='#page26'>26</a>, <a href=
+      '#page29'>29</a>, <a href='#page70'>70</a>, <a href=
+      '#page80'>80</a>-<a href='#page82'>82</a>, <a href=
+      '#page130'>130</a>, <a href='#page309'>309</a>.
+      </li>
+      <li>Lahoussaye, <a href='#page49'>49</a>.
+      </li>
+      <li>Lassabathie, M., <a href='#page226'>226</a>, <a href=
+      '#page227'>227</a>.
+      </li>
+      <li>Laub, F., <a href='#page240'>240</a>, <a href=
+      '#page297'>297</a>.
+      </li>
+      <li>Lauterbach, <a href='#page68'>68</a>.
+      </li>
+      <li>Leclair, J.M., <a href='#page36'>36</a>, <a href=
+      '#page51'>51</a>, <a href='#page52'>52</a>.
+      </li>
+      <li>Lecloux, <a href='#page162'>162</a>.
+      </li>
+      <li>Lenox, Lady, <a href='#page302'>302</a>.
+      </li>
+      <li>Léonard, H., <a href='#page68'>68</a>, <a href=
+      '#page136'>136</a>, <a href='#page145'>145</a>, <a href=
+      '#page238'>238</a>, <a href='#page268'>268</a>, <a href=
+      '#page282'>282</a>, <a href='#page294'>294</a>, <a href=
+      '#page296'>296</a>.
+      </li>
+      <li>Leschetizky, Th., <a href='#page298'>298</a>.
+      </li>
+      <li>Lichtenberg, L., <a href='#page299'>299</a>.
+      </li>
+      <li>Liddell, Capt. A.F., <a href='#page327'>327</a>.
+      </li>
+      <li>Lind, Jenny, <a href='#page216'>216</a>.
+      </li>
+      <li>Linley, Thomas, <a href='#page24'>24</a>.
+      </li>
+      <li>Liphart, <a href='#page350'>350</a>.
+      </li>
+      <li>Lipinski, K.J., <a href='#page100'>100</a>-<a href=
+      '#page103'>103</a>, <a href='#page130'>130</a>.
+      </li>
+      <li>Listemann, B., <a href='#page299'>299</a>, <a href=
+      '#page361'>361</a>.
+      </li>
+      <li>Liszt, F., <a href='#page120'>120</a>, <a href=
+      '#page137'>137</a>, <a href='#page206'>206</a>, <a href=
+      '#page213'>213</a>, <a href='#page233'>233</a>, <a href=
+      '#page234'>234</a>, <a href='#page245'>245</a>, <a href=
+      '#page248'>248</a>, <a href='#page253'>253</a>, <a href=
+      '#page310'>310</a>.
+      </li>
+      <li>Livron, M., <a href='#page108'>108</a>.
+      </li>
+      <li>Locatelli, <a href='#page28'>28</a>, <a href=
+      '#page35'>35</a>, <a href='#page36'>36</a>.
+      </li>
+      <li>Loder, <a href='#page359'>359</a>.
+      </li>
+      <li>Loeffler, C.M., <a href='#page138'>138</a>, <a href=
+      '#page279'>279</a>-2<a href='#page81'>81</a>.
+      </li>
+      <li>Loeleberg, <a href='#page360'>360</a>.
+      </li>
+      <li>Lolli, A., <a href='#page55'>55</a>.
+      </li>
+      <li>Lotto, L, <a href='#page138'>138</a>.
+      </li>
+      <li>Louis Philippe, <a href='#page310'>310</a>.
+      </li>
+      <li>Lucas, <a href='#page358'>358</a>.
+      </li>
+      <li>Lulli, J.B., <a href='#page30'>30</a>, <a href=
+      '#page37'>37</a>-3<a href='#page9'>9</a>.
+      </li>
+      <li>Lundholm, <a href='#page177'>177</a>, <a href=
+      '#page178'>178</a>, <a href='#page179'>179</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Malibran, <a href='#page25'>25</a>, <a href=
+      '#page142'>142</a>, <a href='#page143'>143</a>, <a href=
+      '#page144'>144</a>, <a href='#page168'>168</a>, <a href=
+      '#page188'>188</a>.
+      </li>
+      <li>
+        <span class="pagenum"><a name="page396" id=
+        "page396"></a>{396}</span> Manfredi <a href='#page49'>49</a>.
+      </li>
+      <li>Mapleson, <a href='#page207'>207</a>.
+      </li>
+      <li>Mara, G.E., <a href='#page302'>302</a>, <a href=
+      '#page305'>305</a>.
+      </li>
+      <li>Marchesi, <a href='#page105'>105</a>.
+      </li>
+      <li>Margherita, Queen, <a href='#page324'>324</a>.
+      </li>
+      <li>Maria Theresa, <a href='#page296'>296</a>.
+      </li>
+      <li>Marini, B., <a href='#page15'>15</a>.
+      </li>
+      <li>Marsick, M., <a href='#page28'>28</a>, <a href=
+      '#page68'>68</a>, <a href='#page146'>146</a>, <a href='#page237'>
+        237</a>-<a href='#page239'>239</a>, <a href='#page267'>267</a>,
+        <a href='#page269'>269</a>.
+      </li>
+      <li>Marteau, H., <a href='#page293'>293</a>-2<a href=
+      '#page96'>96</a>.
+      </li>
+      <li>Masi, <a href='#page354'>354</a>.
+      </li>
+      <li>Massart, <a href='#page70'>70</a>, <a href=
+      '#page136'>136</a>-<a href='#page138'>138</a>, <a href=
+      '#page238'>238</a>, <a href='#page278'>278</a>, <a href=
+      '#page320'>320</a>, <a href='#page323'>323</a>, <a href=
+      '#page349'>349</a>.
+      </li>
+      <li>Massenet, <a href='#page294'>294</a>.
+      </li>
+      <li>Maurer, <a href='#page182'>182</a>, <a href=
+      '#page247'>247</a>.
+      </li>
+      <li>Maurin, <a href='#page135'>135</a>.
+      </li>
+      <li>Mausch-Jerret, M., <a href='#page236'>236</a>.
+      </li>
+      <li>Mayseder, <a href='#page188'>188</a>, <a href=
+      '#page215'>215</a>, <a href='#page346'>346</a>.
+      </li>
+      <li>Mazas, <a href='#page68'>68</a>.
+      </li>
+      <li>Mazzurana, Doctor, <a href='#page101'>101</a>.
+      </li>
+      <li>Meck, Countess of, <a href='#page222'>222</a>.
+      </li>
+      <li>Mell, D., <a href='#page19'>19</a>.
+      </li>
+      <li>Mendelssohn, <a href='#page161'>161</a>, <a href='#page246'>
+        246</a>, <a href='#page247'>247</a>, <a href=
+        '#page278'>278</a>, <a href='#page279'>279</a>, <a href=
+        '#page329'>329</a>, <a href='#page331'>331</a>, <a href=
+        '#page342'>342</a>, <a href='#page351'>351</a>.
+      </li>
+      <li>Meneke, <a href='#page360'>360</a>.
+      </li>
+      <li>Metternich, Count, <a href='#page114'>114</a>.
+      </li>
+      <li>Milanollo, M., <a href='#page310'>310</a>.
+      </li>
+      <li>Milanollo, T., <a href='#page29'>29</a>, <a href=
+      '#page68'>68</a>, <a href='#page309'>309</a>, <a href='#page313'>
+        313</a>, <a href='#page352'>352</a>.
+      </li>
+      <li>Mingotti, <a href='#page53'>53</a>.
+      </li>
+      <li>Molique, B.H., <a href='#page70'>70</a>, <a href='#page162'>
+        162</a>, <a href='#page169'>169</a>, <a href=
+        '#page241'>241</a>, <a href='#page294'>294</a>.
+      </li>
+      <li>Montes, Lola, <a href='#page216'>216</a>.
+      </li>
+      <li>Montebello, Duke of, <a href='#page187'>187</a>.
+      </li>
+      <li>Morgan, Geraldine, <a href='#page338'>338</a>, <a href=
+      '#page339'>339</a>, <a href='#page340'>340</a>.
+      </li>
+      <li>Mori, <a href='#page68'>68</a>.
+      </li>
+      <li>Morra, <a href='#page309'>309</a>.
+      </li>
+      <li>Mozart, L., <a href='#page54'>54</a>.
+      </li>
+      <li>Mozart, W., <a href='#page24'>24</a>, <a href=
+      '#page58'>58</a>, <a href='#page306'>306</a>, <a href='#page307'>
+        307</a>, <a href='#page322'>322</a>, <a href=
+        '#page323'>323</a>, <a href='#page358'>358</a>.
+      </li>
+      <li>Murska, Ilma di, <a href='#page265'>265</a>.
+      </li>
+      <li>Musaeus, <a href='#page180'>180</a>, <a href=
+      '#page181'>181</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Nagel, <a href='#page150'>150</a>.
+      </li>
+      <li>Napoleon, <a href='#page89'>89</a>, <a href='#page90'>90</a>,
+      <a href='#page112'>112</a>.
+      </li>
+      <li>Napoleon III., <a href='#page230'>230</a>.
+      </li>
+      <li>Nardini, P., <a href='#page24'>24</a>, <a href=
+      '#page49'>49</a>, <a href='#page50'>50</a>, <a href=
+      '#page54'>54</a>, <a href='#page55'>55</a>, <a href=
+      '#page73'>73</a>, <a href='#page303'>303</a>.
+      </li>
+      <li>Nedbal, <a href='#page360'>360</a>.
+      </li>
+      <li>Neruda, J., <a href='#page313'>313</a>.
+      </li>
+      <li>Neruda, Norman, <a href='#page318'>318</a>.
+      </li>
+      <li>Neumann, E., <a href='#page308'>308</a>.
+      </li>
+      <li>Nicholl, Anne, <a href='#page302'>302</a>.
+      </li>
+      <li>Nickisch, A., <a href='#page275'>275</a>, <a href='#page295'>
+        295</a>.
+      </li>
+      <li>Nilsson, C., <a href='#page169'>169</a>, <a href='#page303'>
+        303</a>.
+      </li>
+      <li>Norman, L., <a href='#page314'>314</a>, <a href=
+      '#page315'>315</a>.
+      </li>
+      <li>North, Colonel, <a href='#page208'>208</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Occa, Victoria dall', <a href='#page307'>307</a>.
+      </li>
+      <li>Ondricek, F., <a href='#page267'>267</a>, <a href='#page278'>
+        278</a>.
+      </li>
+      <li>Ottey, Sarah, <a href='#page302'>302</a>.
+      </li>
+      <li>Ottoboni, Cardinal, <a href='#page31'>31</a>.
+      </li>
+      <li>Ourosoff, Princess, <a href='#page297'>297</a>.
+      </li>
+      <li>Oury, A.J., <a href='#page25'>25</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Paderewski, I., <a href='#page273'>273</a>, <a href=
+      '#page276'>276</a>.
+      </li>
+      <li>Paer, <a href='#page106'>106</a>.
+      </li>
+      <li>Paganini, Achille, <a href='#page116'>116</a>.
+      </li>
+      <li>Paganini, Antonio, <a href='#page105'>105</a>.
+      </li>
+      <li>Paganini, Nicolo, <a href='#page26'>26</a>, <a href=
+      '#page29'>29</a>, <a href='#page75'>75</a>, <a href=
+      '#page82'>82</a>, <a href='#page92'>92</a>, <a href=
+      '#page100'>100</a>-1<a href='#page34'>34</a>, <a href='#page135'>
+        135</a>, <a href='#page141'>141</a>, <a href=
+        '#page147'>147</a>, <a href='#page148'>148</a>, <a href=
+        '#page150'>150</a>, <a href='#page151'>151</a>, <a href=
+        '#page154'>154</a>, <a href='#page156'>156</a>, <a href=
+        '#page157'>157</a>, <a href='#page160'>160</a>, <a href=
+        '#page161'>161</a>, <a href='#page162'>162</a>, <a href=
+        '#page180'>180</a>, <a href='#page183'>183</a>, <a href=
+        '#page184'>184</a>, <a href='#page185'>185</a>, <a href=
+        '#page188'>188</a>, <a href='#page191'>191</a>, <a href=
+        '#page200'>200</a>, <a href='#page217'>217</a>, <a href=
+        '#page233'>233</a>, <a href='#page269'>269</a>, <a href=
+        '#page288'>288</a>, <a href='#page308'>308</a>.
+      </li>
+      <li>Pallerini, Mme., <a href='#page112'>112</a>.
+      </li>
+      <li>Paravicini, Mme., <a href='#page68'>68</a>, <a href=
+      '#page307'>307</a>.
+      </li>
+      <li>Parmentier, Captain, <a href='#page310'>310</a>.
+      </li>
+      <li>Pasdeloup, <a href='#page280'>280</a>, <a href=
+      '#page321'>321</a>.
+      </li>
+      <li>Pasini, <a href='#page109'>109</a>.
+      </li>
+      <li>
+        <span class="pagenum"><a name="page397" id=
+        "page397"></a>{397}</span> Paton, Mar
+      </li>
+      <li>Ann, <a href='#page302'>302</a>.
+      </li>
+      <li>Patti, Adelina, <a href='#page194'>194</a>.
+      </li>
+      <li>Patti, Amalia S., <a href='#page194'>194</a>.
+      </li>
+      <li>Paulsen, <a href='#page175'>175</a>.
+      </li>
+      <li>Paur, Emil, <a href='#page298'>298</a>.
+      </li>
+      <li>Petri, Henri, <a href='#page236'>236</a>, <a href='#page299'>
+        299</a>.
+      </li>
+      <li>Petschnikoff, A., <a href='#page296'>296</a>-2<a href=
+      '#page98'>98</a>.
+      </li>
+      <li>Pfeiffer, Marianne, <a href='#page95'>95</a>.
+      </li>
+      <li>Piatti, <a href='#page247'>247</a>.
+      </li>
+      <li>Piercy-Feeny, Mme., <a href='#page312'>312</a>.
+      </li>
+      <li>Pisendel, <a href='#page42'>42</a>.
+      </li>
+      <li>Pixis, <a href='#page64'>64</a>, <a href='#page68'>68</a>.
+      </li>
+      <li>Pleiner, <a href='#page328'>328</a>.
+      </li>
+      <li>Polidori, <a href='#page72'>72</a>.
+      </li>
+      <li>Pollani, <a href='#page72'>72</a>.
+      </li>
+      <li>Pollini, <a href='#page308'>308</a>.
+      </li>
+      <li>Portugal, King of, <a href='#page285'>285</a>.
+      </li>
+      <li>Pott, A., <a href='#page329'>329</a>.
+      </li>
+      <li>Powell, Maude, <a href='#page326'>326</a>, <a href=
+      '#page340'>340</a>-3<a href='#page42'>42</a>.
+      </li>
+      <li>Prume, <a href='#page68'>68</a>.
+      </li>
+      <li>Prussia, King of, <a href='#page310'>310</a>.
+      </li>
+      <li>Pugnani, G., <a href='#page28'>28</a>, <a href=
+      '#page29'>29</a>, <a href='#page36'>36</a>, <a href=
+      '#page52'>52</a>, <a href='#page61'>61</a>.
+      </li>
+      <li>Purcell, <a href='#page18'>18</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Quagliati, P., <a href='#page15'>15</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Rappoldi, E., <a href='#page68'>68</a>, <a href=
+      '#page242'>242</a>.
+      </li>
+      <li>Remenyi, E., <a href='#page150'>150</a>, <a href='#page154'>
+        154</a>, <a href='#page205'>205</a>-<a href='#page215'>215</a>,
+        <a href='#page232'>232</a>.
+      </li>
+      <li>Riario, Duke of, <a href='#page187'>187</a>.
+      </li>
+      <li>Richter, Hans, <a href='#page234'>234</a>, <a href=
+      '#page330'>330</a>, <a href='#page362'>362</a>.
+      </li>
+      <li>Rivarde, A., <a href='#page278'>278</a>.
+      </li>
+      <li>Roberrechts, <a href='#page28'>28</a>, <a href=
+      '#page68'>68</a>, <a href='#page139'>139</a>.
+      </li>
+      <li>Rode, Pierre, <a href='#page28'>28</a>, <a href=
+      '#page68'>68</a>, <a href='#page70'>70</a>, <a href=
+      '#page71'>71</a>, <a href='#page75'>75</a>-<a href=
+      '#page77'>77</a>, <a href='#page120'>120</a>, <a href='#page162'>
+        162</a>, <a href='#page348'>348</a>, <a href=
+        '#page349'>349</a>.
+      </li>
+      <li>Röger, <a href='#page330'>330</a>.
+      </li>
+      <li>Rolla, <a href='#page105'>105</a>, <a href=
+      '#page106'>106</a>.
+      </li>
+      <li>Röntgen, <a href='#page357'>357</a>.
+      </li>
+      <li>Rosé, A., <a href='#page299'>299</a>, <a href=
+      '#page360'>360</a>.
+      </li>
+      <li>Rossini, <a href='#page67'>67</a>, <a href='#page92'>92</a>,
+      <a href='#page191'>191</a>.
+      </li>
+      <li>Roth, O., <a href='#page362'>362</a>.
+      </li>
+      <li>Rovelli, <a href='#page70'>70</a>.
+      </li>
+      <li>Roy, Gabrielle, <a href='#page330'>330</a>.
+      </li>
+      <li>Rubinstein, Anton, <a href='#page154'>154</a>, <a href=
+      '#page219'>219</a>, <a href='#page220'>220</a>, <a href=
+      '#page273'>273</a>.
+      </li>
+      <li>Russia, Czar of, <a href='#page285'>285</a>.
+      </li>
+      <li>Russia, Empress of, <a href='#page324'>324</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Sacchi, R. (Schlick), <a href='#page305'>305</a>, <a href=
+      '#page306'>306</a>, <a href='#page307'>307</a>.
+      </li>
+      <li>Saenger-Sethe, I., <a href='#page332'>332</a>-3<a href=
+      '#page36'>36</a>.
+      </li>
+      <li>Sahla, R., <a href='#page360'>360</a>.
+      </li>
+      <li>Saint-Saëns, C., <a href='#page334'>334</a>.
+      </li>
+      <li>Sainte-Marie, <a href='#page72'>72</a>.
+      </li>
+      <li>Sainton, C.P., <a href='#page169'>169</a>, <a href=
+      '#page247'>247</a>.
+      </li>
+      <li>Salomon, J.P., <a href='#page57'>57</a>, <a href=
+      '#page63'>63</a>.
+      </li>
+      <li>Santley, C., <a href='#page234'>234</a>.
+      </li>
+      <li>Sarasate, P., <a href='#page28'>28</a>, <a href=
+      '#page29'>29</a>, <a href='#page68'>68</a>, <a href=
+      '#page226'>226</a>-<a href='#page231'>231</a>, <a href=
+      '#page238'>238</a>.
+      </li>
+      <li>Sauret, E., <a href='#page265'>265</a>-2<a href=
+      '#page67'>67</a>.
+      </li>
+      <li>Scarlatti, A., <a href='#page33'>33</a>, <a href=
+      '#page34'>34</a>.
+      </li>
+      <li>Scheidler, D., <a href='#page86'>86</a>.
+      </li>
+      <li>Schlesinger, <a href='#page352'>352</a>.
+      </li>
+      <li>Schradieck, H., <a href='#page265'>265</a>, <a href=
+      '#page357'>357</a>.
+      </li>
+      <li>Schroeder, A., <a href='#page281'>281</a>, <a href=
+      '#page362'>362</a>.
+      </li>
+      <li>Schubert, F., <a href='#page246'>246</a>.
+      </li>
+      <li>Schulz, M., <a href='#page308'>308</a>.
+      </li>
+      <li>Schumann, <a href='#page120'>120</a>, <a href=
+      '#page162'>162</a>, <a href='#page213'>213</a>, <a href=
+      '#page253'>253</a>.
+      </li>
+      <li>Schumann, Mme., <a href='#page293'>293</a>.
+      </li>
+      <li>Schuppanzigh, <a href='#page346'>346</a>.
+      </li>
+      <li>Scotta, Frida, <a href='#page336'>336</a>.
+      </li>
+      <li>Sechter, <a href='#page215'>215</a>.
+      </li>
+      <li>Sembrich, M., <a href='#page303'>303</a>.
+      </li>
+      <li>Senaillé, J.B., <a href='#page28'>28</a>, <a href='#page39'>
+        39</a>.
+      </li>
+      <li>Senkrah, A., <a href='#page337'>337</a>.
+      </li>
+      <li>Servaczinski, <a href='#page246'>246</a>.
+      </li>
+      <li>Servais, <a href='#page163'>163</a>.
+      </li>
+      <li>Servetto, <a href='#page105'>105</a>.
+      </li>
+      <li>Shinner, E. (Mrs. Liddell), <a href=
+      '#page325'>325</a>-<a href='#page327'>327</a>, <a href=
+      '#page332'>332</a>, <a href='#page353'>353</a>.
+      </li>
+      <li>
+        <span class="pagenum"><a name="page398" id=
+        "page398"></a>{398}</span> Shinne Quartet, <a href=
+        '#page327'>327</a>, <a href='#page353'>353</a>.
+      </li>
+      <li>Simonelli, <a href='#page30'>30</a>.
+      </li>
+      <li>Singer, E., <a href='#page68'>68</a>, <a href=
+      '#page239'>239</a>.
+      </li>
+      <li>Sirmen, Maddalena, <a href='#page303'>303</a>.
+      </li>
+      <li>Sitt, Hans, <a href='#page356'>356</a>.
+      </li>
+      <li>Sivori, C., <a href='#page150'>150</a>, <a href=
+      '#page153'>153</a>, <a href='#page154'>154</a>-<a href=
+      '#page161'>161</a>, <a href='#page167'>167</a>, <a href=
+      '#page168'>168</a>, <a href='#page231'>231</a>, <a href=
+      '#page294'>294</a>.
+      </li>
+      <li>Soldat, M., <a href='#page257'>257</a>, <a href=
+      '#page326'>326</a>, <a href='#page327'>327</a>-<a href=
+      '#page330'>330</a>, <a href='#page342'>342</a>, <a href=
+      '#page353'>353</a>.
+      </li>
+      <li>Somis, <a href='#page28'>28</a>, <a href='#page29'>29</a>,
+      <a href='#page35'>35</a>, <a href='#page51'>51</a>, <a href=
+      '#page53'>53</a>.
+      </li>
+      <li>Sontag, H., <a href='#page143'>143</a>, <a href=
+      '#page233'>233</a>.
+      </li>
+      <li>Soubre, E.J., <a href='#page163'>163</a>.
+      </li>
+      <li>Spain, Queen of, <a href='#page230'>230</a>, <a href=
+      '#page324'>324</a>.
+      </li>
+      <li>Spohr, L., <a href='#page26'>26</a>, <a href=
+      '#page75'>75</a>, <a href='#page82'>82</a>-<a href=
+      '#page99'>99</a>, <a href='#page158'>158</a>, <a href='#page159'>
+        159</a>, <a href='#page162'>162</a>, <a href=
+        '#page170'>170</a>, <a href='#page178'>178</a>, <a href=
+        '#page182'>182</a>, <a href='#page183'>183</a>, <a href=
+        '#page184'>184</a>, <a href='#page188'>188</a>, <a href=
+        '#page191'>191</a>, <a href='#page233'>233</a>, <a href=
+        '#page261'>261</a>, <a href='#page346'>346</a>-<a href=
+        '#page349'>349</a>, <a href='#page358'>358</a>.
+      </li>
+      <li>Stamitz, A., <a href='#page69'>69</a>.
+      </li>
+      <li>Stern, Leo, <a href='#page339'>339</a>.
+      </li>
+      <li>Stradivari, A., <a href='#page14'>14</a>.
+      </li>
+      <li>Strakosch, M., <a href='#page194'>194</a>.
+      </li>
+      <li>Strauss, L., <a href='#page68'>68</a>.
+      </li>
+      <li>Suk, J., <a href='#page360'>360</a>.
+      </li>
+      <li>Süssmayer, <a href='#page120'>120</a>.
+      </li>
+      <li>Svecenski, L., <a href='#page362'>362</a>.
+      </li>
+      <li>Sweden, King of, <a href='#page198'>198</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Tartini, G., <a href='#page29'>29</a>, <a href=
+      '#page43'>43</a>, <a href='#page44'>44</a>-<a href=
+      '#page51'>51</a>, <a href='#page52'>52</a>, <a href=
+      '#page54'>54</a>, <a href='#page101'>101</a>, <a href='#page304'>
+        304</a>.
+      </li>
+      <li>Thalberg, <a href='#page163'>163</a>, <a href=
+      '#page165'>165</a>, <a href='#page166'>166</a>.
+      </li>
+      <li>Thierot, <a href='#page328'>328</a>.
+      </li>
+      <li>Thomson, C., <a href='#page267'>267</a>-<a href=
+      '#page269'>269</a>, <a href='#page273'>273</a>, <a href=
+      '#page279'>279</a>, <a href='#page283'>283</a>.
+      </li>
+      <li>Thorpe, S.C., <a href='#page197'>197</a>.
+      </li>
+      <li>Thursby, Emma, <a href='#page198'>198</a>.
+      </li>
+      <li>Tiby, M., <a href='#page139'>139</a>.
+      </li>
+      <li>Torelli, G., <a href='#page41'>41</a>.
+      </li>
+      <li>Tschetchulin, Agnes, <a href='#page330'>330</a>.
+      </li>
+      <li>Tua, Teresina, <a href='#page70'>70</a>, <a href='#page138'>
+        138</a>, <a href='#page323'>323</a>-<a href='#page325'>325</a>,
+        <a href='#page337'>337</a>.
+      </li>
+      <li>Turkey, Sultan of, <a href='#page217'>217</a>, <a href=
+      '#page232'>232</a>.
+      </li>
+      <li>Tuscany, Duke of, <a href='#page189'>189</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Urso, Camilla, <a href='#page312'>312</a>, <a href=
+      '#page319'>319</a>-<a href='#page322'>322</a>, <a href=
+      '#page323'>323</a>, <a href='#page337'>337</a>.
+      </li>
+      <li>Urso, Salvator, <a href='#page319'>319</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Valentini, <a href='#page34'>34</a>.
+      </li>
+      <li>Valetta, Count F.V. della, <a href='#page325'>325</a>.
+      </li>
+      <li>Vanderbilt, G., <a href='#page342'>342</a>.
+      </li>
+      <li>Veracini, F.M., <a href='#page42'>42</a>, <a href='#page43'>
+        43</a>, <a href='#page46'>46</a>, <a href='#page47'>47</a>.
+      </li>
+      <li>Viardot, Madame, <a href='#page246'>246</a>.
+      </li>
+      <li>Vidocq, <a href='#page185'>185</a>.
+      </li>
+      <li>Vieuxtemps, H., <a href='#page28'>28</a>, <a href='#page68'>
+        68</a>, <a href='#page136'>136</a>, <a href='#page149'>149</a>,
+        <a href='#page162'>162</a>-<a href='#page169'>169</a>, <a href=
+        '#page192'>192</a>, <a href='#page202'>202</a>, <a href=
+        '#page221'>221</a>, <a href='#page223'>223</a>, <a href=
+        '#page231'>231</a>, <a href='#page241'>241</a>, <a href=
+        '#page271'>271</a>, <a href='#page328'>328</a>, <a href=
+        '#page337'>337</a>.
+      </li>
+      <li>Villermot, F., <a href='#page191'>191</a>.
+      </li>
+      <li>Viotti, G.B., <a href='#page28'>28</a>, <a href=
+      '#page56'>56</a>-<a href='#page68'>68</a>, <a href=
+      '#page72'>72</a>, <a href='#page73'>73</a>, <a href=
+      '#page75'>75</a>, <a href='#page81'>81</a>, <a href=
+      '#page85'>85</a>, <a href='#page93'>93</a>, <a href=
+      '#page140'>140</a>, <a href='#page261'>261</a>, <a href=
+      '#page307'>307</a>.
+      </li>
+      <li>Vitali, T., <a href='#page16'>16</a>, <a href=
+      '#page40'>40</a>.
+      </li>
+      <li>Vivaldi, A., <a href='#page36'>36</a>, <a href=
+      '#page41'>41</a>, <a href='#page42'>42</a>, <a href=
+      '#page52'>52</a>.
+      </li>
+      <li>Vuillaume, <a href='#page145'>145</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Wagner, R., <a href='#page92'>92</a>, <a href=
+      '#page162'>162</a>.
+      </li>
+      <li>Wales, Prince of, <a href='#page324'>324</a>.
+      </li>
+      <li>Wales, Princess of, <a href='#page324'>324</a>.
+      </li>
+      <li>Wallace, <a href='#page150'>150</a>.
+      </li>
+      <li>Wallace, Eliza, <a href='#page308'>308</a>.
+      </li>
+      <li>Wasielewski, <a href='#page244'>244</a>.
+      </li>
+      <li>Weber, <a href='#page94'>94</a>.
+      </li>
+      <li>Weiss, A., <a href='#page249'>249</a>.
+      </li>
+      <li>Werner, H., <a href='#page312'>312</a>, <a href=
+      '#page313'>313</a>.
+      </li>
+      <li>Wieniawski, <a href='#page70'>70</a>, <a href=
+      '#page136'>136</a>, <a href='#page138'>138</a>, <a href=
+      '#page154'>154</a>, <a href='#page218'>218</a>-<a href=
+      '#page226'>226</a>, <a href='#page231'>231</a>, <a href=
+      '#page270'>270</a>, <a href='#page271'>271</a>, <a href=
+      '#page273'>273</a>, <a href='#page285'>285</a>, <a href=
+      '#page337'>337</a>.
+      </li>
+      <li>Wietrowitz, G., <a href='#page257'>257</a>, <a href=
+      '#page326'>326</a>, <a href='#page330'>330</a>-<a href=
+      '#page332'>332</a>, <a href='#page342'>342</a>, <a href=
+      '#page353'>353</a>.
+      </li>
+      <li>Wihom, H., <a href='#page360'>360</a>.
+      </li>
+      <li>Wilhelmj, A., <a href='#page208'>208</a>, <a href='#page209'>
+        209</a>, <a href='#page231'>231</a>-<a href='#page237'>237</a>,
+        <a href='#page263'>263</a>, <a href='#page267'>267</a>,
+        <a href='#page282'>282</a>, <a href='#page334'>334</a>.
+      </li>
+      <li>William I, Emperor, <a href='#page230'>230</a>.
+      </li>
+      <li>Wittgenstein, Prince Emil of, <a href='#page233'>233</a>.
+      </li>
+      <li>Wood, Mrs., <a href='#page302'>302</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Young, <a href='#page18'>18</a>.
+      </li>
+      <li>Ysaye, <a href='#page237'>237</a>, <a href=
+      '#page239'>239</a>, <a href='#page263'>263</a>, <a href=
+      '#page269'>269</a>, <a href='#page276'>276</a>, <a href=
+      '#page334'>334</a>, <a href='#page335'>335</a>.
+      </li>
+    </ul>
+    <ul>
+      <li>Zampieri, Marquis, <a href='#page189'>189</a>.
+      </li>
+      <li>Zerbst, Theresa, <a href='#page277'>277</a>.
+      </li>
+      <li>Zerchoff, Mlle., <a href='#page308'>308</a>.
+      </li>
+    </ul>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Famous Violinists of To-day and
+Yesterday, by Henry C. Lahee
+
+*** END OF THIS PROJECT GUTENBERG EBOOK FAMOUS VIOLINISTS ***
+
+***** This file should be named 14884-h.htm or 14884-h.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/4/8/8/14884/
+
+Produced by Juliet Sutherland, Chuck Greif, Leonard Johnson and the
+Online Distributed Proofreading Team.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+  </body>
+</html>
+
diff --git a/14884-h/images/001.jpg b/14884-h/images/001.jpg
new file mode 100644
index 0000000..3b5f02f
--- /dev/null
+++ b/14884-h/images/001.jpg
diff --git a/14884-h/images/archange_corelli_page_30.jpg b/14884-h/images/archange_corelli_page_30.jpg
new file mode 100644
index 0000000..f3e0ef7
--- /dev/null
+++ b/14884-h/images/archange_corelli_page_30.jpg
diff --git a/14884-h/images/camillo_sivori_page_154.jpg b/14884-h/images/camillo_sivori_page_154.jpg
new file mode 100644
index 0000000..052c116
--- /dev/null
+++ b/14884-h/images/camillo_sivori_page_154.jpg
diff --git a/14884-h/images/emil_sauret_page_265.jpg b/14884-h/images/emil_sauret_page_265.jpg
new file mode 100644
index 0000000..78add61
--- /dev/null
+++ b/14884-h/images/emil_sauret_page_265.jpg
diff --git a/14884-h/images/joseph_joachim_page_244.jpg b/14884-h/images/joseph_joachim_page_244.jpg
new file mode 100644
index 0000000..f51d1e0
--- /dev/null
+++ b/14884-h/images/joseph_joachim_page_244.jpg
diff --git a/14884-h/images/kneisel.jpg b/14884-h/images/kneisel.jpg
new file mode 100644
index 0000000..b814c32
--- /dev/null
+++ b/14884-h/images/kneisel.jpg
diff --git a/14884-h/images/marsick.jpg b/14884-h/images/marsick.jpg
new file mode 100644
index 0000000..48a8b65
--- /dev/null
+++ b/14884-h/images/marsick.jpg
diff --git a/14884-h/images/maude_powell_page_340.jpg b/14884-h/images/maude_powell_page_340.jpg
new file mode 100644
index 0000000..c4f9a0e
--- /dev/null
+++ b/14884-h/images/maude_powell_page_340.jpg
diff --git a/14884-h/images/nicolo_paganini_page_104.jpg b/14884-h/images/nicolo_paganini_page_104.jpg
new file mode 100644
index 0000000..0d10fe5
--- /dev/null
+++ b/14884-h/images/nicolo_paganini_page_104.jpg
diff --git a/14884.txt b/14884.txt
new file mode 100644
index 0000000..21b5b88
--- /dev/null
+++ b/14884.txt
@@ -0,0 +1,6997 @@
+The Project Gutenberg EBook of Famous Violinists of To-day and Yesterday
+by Henry C. Lahee
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Famous Violinists of To-day and Yesterday
+
+Author: Henry C. Lahee
+
+Release Date: February 2, 2005 [EBook #14884]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK FAMOUS VIOLINISTS ***
+
+
+
+
+Produced by Juliet Sutherland, Chuck Greif, Leonard Johnson and the
+Online Distributed Proofreading Team.
+
+
+
+
+
+
+[Illustration: OLE BULL]
+
+
+
+
+Famous Violinists of To-day and Yesterday
+
+By
+
+Henry C. Lahee
+
+_ILLUSTRATED_
+
+Boston
+The Page Company
+Publishers
+
+1899
+L.C. PAGE AND COMPANY
+(INCORPORATED)
+
+Ninth Impression, February, 1912
+Tenth Impression, January, 1916
+
+THE COLONIAL PRESS
+C.H. SIMONDS CO., BOSTON, 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 present
+day rather than a detailed account of a very few. Necessarily, those who
+have been prominently before the public as performers 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.
+
+The "Chronological Table" is compiled from the best existing
+authorities, and is not an effort to bring together a large number 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.
+
+
+CHAPTER                                  PAGE
+
+         PREFACE                          ix
+
+      I. INTRODUCTORY                     11
+     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 QUARTETS                 345
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+                                          PAGE
+OLE BULL                        _Frontispiece_
+ARCANGELO CORELLI                          30
+NICOLO PAGANINI                           104
+CAMILLO SIVORI                            154
+MARTIN PIERRE JOSEPH MARSICK              238
+JOSEPH JOACHIM                            244
+EMIL SAURET                               264
+MAUD POWELL                               340
+FRANZ KNEISEL                             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 singular 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 maestros until the bow hand lost its power, and the flying
+fingers stiffened. Bequeathed to the passionate young enthusiast, who
+made it whisper his hidden love, and cry his inarticulate 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, beneath the
+rushing bow of their lord and leader. Into lonely prisons with
+improvident 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 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 instruments 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 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 almost
+to the day of his death, for an instrument 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 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 Mlle.
+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 contains the "shake." Then there
+is a "Toccata" for violin solo, by Paolo Quagliati, published in 1623,
+and a collection of violin pieces by Carlo Farina, published in 1627 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 Stravagante," 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 1641, 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 composition 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 throughout Europe, the other schools were established.
+
+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
+"Hudibras," 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.
+
+  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 country was a great musician more sure of a warm
+welcome.
+
+Two celebrated violinists were born in the year 1630, Thomas Baltzar,
+and John Banister, 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 popularity. The wonder caused by his
+performances 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 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 musick, 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, according to Pepys,
+to have aroused the wrath of Banister by giving prominence to a French
+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 minstrels, 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
+desiring, 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 somewhat "sturdy beggar," though not
+exactly in the sense meant by the ordinance, for he 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. He too, was
+buried in the cloister of Westminster Abbey. His son, also, was an
+excellent performer on the violin, and played first violin in the
+Italian opera when it was first introduced into England. He was one of
+the musicians of Charles II., 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 1710, 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
+years of age he was placed under Geminiani, who had recently established
+himself in London. 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, however, 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 connection with the
+performance of a concerto 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 faculties 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 concerto in public when
+eight years old. He was sent to Italy to study under Nardini, and
+through the mediation of that artist he became acquainted with Mozart,
+who was about the same age. Linley's career was prematurely closed, for
+at the age of twenty-two he was drowned through the capsizing of a
+pleasure-boat.
+
+This completes the list of English violinists of note who were born
+previous to the nineteenth century. The later ones we shall find in
+their place in succeeding chapters, but there have been very few
+violinists of English 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 occasionally appeared in conjunction
+with De Beriot and Malibran, is hardly known as a "virtuoso," 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. Making 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 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 Princesses 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 accomplished 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 Continent, the English were too fully occupied 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 estimation of the violinist's art
+than the latter had of the tonsorial profession, and the situation 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
+violinists have been imported.
+
+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, Locatelli, 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
+Roberrechts, 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 Frenchman, we have Boehm (school of
+Vienna) 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 independent 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 II.
+
+1650 TO 1750.
+
+
+Arcangelo Corelli, whose name is recognised as one of the greatest in
+the history of violin playing and composition, and who laid the
+foundation for all future development 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 Mattei 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 that city,
+exhibited such jealousy and violence that the mild-tempered Corelli
+withdrew. In 1680 he went to Germany, where he was well received, and
+entered the service of the Elector of Bavaria, but he soon returned to
+Rome. 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.
+
+[Illustration: ARCHANGE CORELLI]
+
+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, 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, 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 rehearsals, 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 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,
+1713.
+
+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
+selections from his own works, was performed in the Pantheon on the
+anniversary of his funeral. On this occasion, the works were performed
+in a slow, firm, and distinct manner, just as they were written, without
+changing 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 harmonies. 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, England,
+and Poland.
+
+Giovanni Battista Somis was born in Piedmont, and, after studying under
+Corelli, he 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 undoubtedly 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 execution of the violin, and has, on that account, 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
+compositions, 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 Mlle. de
+Montpensier. He was employed in the kitchen, where he seems to have
+lightened his burdens by playing tricks on the cook and tunes on the
+stewpans. He also beguiled his leisure hours by playing the violin, in
+which art he made 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
+celebrated 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 exquisite 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.
+
+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 advisable 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.
+
+Lulli 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 marking the time. The
+bruise gradually assumed such a serious condition that it ended his
+life.
+
+Jean Baptiste Senaille, who was a pupil of Anet, was born in 1687, and
+turned to the Italian school. In 1719 he entered the service 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 Dubourg
+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 purchases, 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.
+
+Giuseppe Torelli was leader of a church orchestra in Bologna, and
+afterwards accepted the post of leader of the band of the Markgraf of
+Brandenburg-Anspach, at Anspach, in Germany. To him is generally
+ascribed the invention of the "Concerto."
+
+Antonio Vivaldi was the son of a violinist, 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 immediately quitted the
+altar at which he was officiating, 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,--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 1714 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 mortification 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.
+
+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 Geminiani 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 composer 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 _l'eau
+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 Veracini was
+shipwrecked, and lost his two Stainer 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, 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
+impulsive 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 musical studies, but though he learned composition of Padre
+Boemo, the organist of the monastery, he was his own teacher on the
+violin. The influence of the quiet monastic 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 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 1713) that he had made a compact with the
+devil, who promised to be at his service on all occasions; and, during
+this vision, everything succeeded according to his mind; his wishes were
+anticipated, and his desires always surpassed, by the assistance of his
+new servant. 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 executed 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, however, directly
+composed a piece, which is perhaps the best of all his works, and called
+it the 'Devil's Sonata;' he knew it, however, 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."
+
+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 Kinsky, a rich and enthusiastic
+amateur, who kept an excellent private orchestra. Tartini was engaged as
+conductor and remained 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 crediting him with those
+qualities which make a great player. He had a fine tone, unlimited
+command of finger-board 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 disposition. 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 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 Theatre. 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 appointed
+ripieno-violinist at the Opera, and in 1731 became a member of the royal
+band, but he, although undoubtedly superior 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 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 publishing a number of his
+compositions. In 1770 he was at Turin, where he remained to the end of
+his life as teacher, conductor, and composer.
+
+Felice Giardini, another pupil of Somis, was born 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 performance was so brilliant that he became established as the best
+violinist who had yet appeared in England, and in 1754 he was placed at
+the head of the opera orchestra, 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.
+
+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 tastefulness 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.
+
+Antonio Lolli, who was born at Bergamo about 1730, appears to have been
+somewhat 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, harmonics, etc., with the greatest ease and
+certainty. 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
+admiration in advance of the contest that Nardini withdrew.
+
+Lolli was so eccentric that he was considered by many people to be
+insane, and Doctor Burney, in writing of him, says, "I am convinced that
+in his lucid intervals, he was in a serious style a very great,
+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 strolling 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 appointed chapel master at Warsaw, and
+eventually 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 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 influence 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 Europe before he settled in England, which was in 1781, when he
+made his appearance at 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 playing. 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 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 masters of the Italian school, treating
+his instrument above all as a singing voice, and keeping strictly within
+its natural resources. According to Baillot, one of his most
+distinguished pupils, his style was "perfection," a word which covers a
+host of virtues.
+
+Viotti was born in 1753 at Fontanetto, a village in Piedmont. His first
+musical instruction 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 received into the
+royal band. In 1780 he travelled extensively, visiting Germany, Poland,
+and Russia, and meeting with great success. The Empress Catharine
+endeavoured to induce him to remain at St. Petersburg, 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 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 XVI., at
+Versailles, and had proceeded through about half of his performance,
+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 benefiting 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 on great terms of friendship. This
+enterprise was suddenly stopped by the revolution, and Viotti was
+obliged to leave France, having lost almost everything that he
+possessed.
+
+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 Schoenfeld, 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
+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 instruction.
+
+In 1801 Viotti found himself at liberty to visit England once more, but
+when he returned 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 integrity 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 merchant, he returned to Paris to
+resume his regular profession, and was appointed director of the Grand
+Opera, but he failed to rescue 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 enjoying 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 interesting 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, 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, producing some
+most remarkable effects. The performance drew a small crowd, and Langle,
+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 compliment, 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
+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 musicians, 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 required 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 admiration 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 were Roberrechts, Pixis, Alday le
+jeune, Cartier, Rode, Mori, Durand, and Baillot, also Mlle. Gerbini and
+Madame Paravicini. Roberrechts became the teacher of De Beriot, 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, Marsick and Dengremont, while
+through Rode we have Boehm, 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
+performers, others were celebrated more as teachers.
+
+Rodolphe Kreutzer, who was born at Versailles in 1766, is the third in
+order of development 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 compiled the famous
+"Methode de Violon" for the use of the students at the Conservatoire.
+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 success. 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 excellent pupils, among them being
+D'Artot, Rovelli, the teacher of Molique, Massart, the teacher of
+Wieniawski and Teresina Tua, and Lafont, who also became a pupil of De
+Beriot. 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 General Director of the Music at the
+Opera. In 1826 he resigned his post and retired to Geneva, where he died
+in 1831. Kreutzer was a prolific composer, and his compositions 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
+violinist 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 harmonies of the sonata could
+have aroused the passions which form the _raison d'etre_ of the book.
+
+Kreutzer was noted for his style of bowing, his splendid tone, and the
+clearness of his execution.
+
+With three such masters as Baillot, Rode, and Kreutzer, besides Viotti,
+who was frequently 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
+Kreutzer 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 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 received 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 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 private secretary, and securing
+but little time for his violin playing.
+
+In 1791 he returned to Paris, and Viotti secured a place for him in the
+opera orchestra, 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 performance 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 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
+England, 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 to
+bring out the powerful contrasts and enlarged ideas of the modern
+musical compositions. After the time of Baillot and his contemporaries
+the style of Paganini became 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 exceptional talent that at
+the age of sixteen he was one of the violins at the Theatre Feydeau 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 to France he was appointed professor of the violin at the
+Conservatoire, then newly established. In 1799 ne 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 1814 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, noble, pure, and thoroughly musical style.
+His intonation was perfect, his tone large and pure, and boldness,
+vigour, deep and tender feeling characterised his performances. In fact
+he was no mere virtuoso but a true artist. His musical nature shows
+itself in his compositions, which are thoroughly suited to the nature of
+the violin, and have a noble, dignified character and considerable 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 compositions, was very great indeed.
+
+Beethoven wrote for Rode, after hearing him play in Vienna, the famous
+violin Romance in F, Op. 50, one of the highest possible 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 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 1804 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 became 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 1815, when the advent of the allied armies caused
+it to be closed.
+
+Habeneck was instrumental in bringing forward the great orchestral works
+of Beethoven. He became director of the Grand Opera, and
+inspector-general of the Conservatoire.
+
+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 Habeneck
+(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 we should assuredly have been lost." "Yes," said
+the composer, "I know it well," accompanying his words with an
+expression of countenance betokening suspicion of Habeneck'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, 1781, and received his first
+lessons from his mother, who afterward placed him under her 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 violin, 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 1815.
+
+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.
+
+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 violinists 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 example of
+purity of style and legitimate treatment of the instrument, and is
+considered to have had a more beneficial effect on violin playing than
+Paganini, who was born in the same year, 1784.
+
+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 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
+fourteen, 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 experience 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
+accordingly presented a petition to the Duke of Brunswick asking for
+means to carry out his desires. The duke was pleased with him, 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 teachers 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 _en 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 following year he
+once more undertook a concert tour on his own account, travelling
+through Saxony and Prussia, and meeting with great enthusiasm.
+
+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 Goettingen 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 in 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
+Frauelein Dorothea Scheidler, an excellent harp player, who for many
+years afterwards appeared with him in all his concerts, and for whom he
+wrote 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 steadfastly 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.
+
+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
+protestations. The anecdote would be more satisfactory 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 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, however, 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 celebrated 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
+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 emergency,
+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 distinguished guests, occupied the
+front row of the stalls.
+
+Spohr remained at Gotha until 1813, 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
+Leipzig, 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
+compositions 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 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 Hollaender," and continued with
+"Tannhaeuser," notwithstanding the opposition of the court. He considered
+Wagner to be by far the greatest of all dramatic composers living at
+that time. In 1815 he made a concert tour in France and Italy, during
+which he met Rossini and Paganini, playing at Venice a sinfonia
+concertante 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 managers
+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
+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
+pianoforte.
+
+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 greatest
+cordiality. But the public did not seem to appreciate his merits, for
+his quiet, unpretentious 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 Cassel for the rest of his life. This
+position he obtained on the advice of Weber.
+
+In 1831 he completed his great "Violin School," which has ever since its
+publication been considered a standard work. The following year the
+political disturbances interfered 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 he again visited England, where his music had become very
+popular, and during the remainder of his career he repeated his visit
+several times, many of his works being produced by the various
+societies.
+
+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. "Tannhaeuser" 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 identified with the musical life
+of the nation.
+
+In 1851 the elector refused to sign the permit for Spohr's two months'
+leave of absence, to which he was entitled under his 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 misfortune 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
+Conservatorium in the following year, with all his old-time energy. In
+1859 he died at 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 individuality, 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
+straightforwardness and sincerity in word and deed. He was a most
+prolific composer, leaving over two hundred works in all. His violin
+concertos stand foremost among his works, and are distinguished as much
+by noble and elevated ideas as by masterly thematic treatment, 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 were of
+exceptional 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 effective. He disliked the use of the "springing 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, Koempel, and Henry Holmes. He was also
+considered one of the best conductors of his time, and introduced into
+England the custom of conducting with a baton.
+
+Amongst the amusing episodes in the life of Spohr was one which took
+place in London, 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 French nor
+German. As Spohr spoke no English the communication between them was of
+necessity carried on by pantomime. 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 considered
+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 Karl Joseph Lipinski, the son of a Polish violin player
+whose gifts were uncultivated. He was born in Poland, in 1790, 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 attributed 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 distinguished 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 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 Warsaw, where they were rivals, for
+the time being, and different factions waxed warm over their respective
+merits. Paganini himself, 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 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 quintessence 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 violinist
+of the nineteenth century.
+
+[Illustration: NICCOLO PAGANINI]
+
+Nicolo Paganini was the son of a commercial 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 develop 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 outgrown, 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 theatre 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 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, that such a feat could
+be accomplished by so young a boy. Rolla said that he could teach 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 concerning 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 instrument contained so many
+difficulties that he had to practise unremittingly to overcome them,
+often working ten or twelve hours a day and being overwhelmed with
+exhaustion.
+
+In 1797 Paganini made his first tour, with his father, through the chief
+towns of Lombardy, 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 celebration. 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 allurements, but the young virtuoso
+was frequently reduced to great straits, and on one occasion, if not
+more, pawned his violin. This happened 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 afterwards in all his concerts.
+
+This violin was, some time later, the means by which he was cured of
+gambling, for having 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 gamester is an
+object of contempt to all well regulated minds.
+
+Paganini won another violin by his ability 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 manuscript concerto
+containing some difficulties considered as insurmountable. "This
+instrument shall be yours," said Pasini, placing 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 instrument.
+
+The severe course of dissipation in which Paganini indulged during these
+days of his youth ruined his health, and caused him frequently to
+disappear from the public gaze for long periods, throughout his career.
+With 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 unexpected manner, for as his
+genius began to excite the wonder of the world, sundry malicious 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 during 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 imprisonment 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 became 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 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 entitled "Napoleon," which is performed on
+the G string only.
+
+At Ferrara he once nearly lost his life through unwittingly trampling
+upon the susceptibilities 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 manifested by the suburbanites in "hee-hawing" at the
+citizens when fitting opportunity presented itself. Now it happened that
+Paganini 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 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
+chanticleer, the mewing of cats, the barking of dogs were all imitated
+and the audience was 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 audience 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 favourable for his
+recovery, he made a mistake 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 possessions. Here
+he was found by Ciandelli, the violoncellist, who, after giving the
+landlord a practical and emphatic expression of his opinion 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 prodigious. "He stood before us like a miraculous apparition
+in the domain of art," wrote one of the critics. The public seemed to be
+intoxicated. Hats, dresses, shoes, everything 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 considerable fortune, part of which he lost by injudicious
+investments. Some friends induced 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 authorities,
+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 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 improve, 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 realising that death was so near,
+devoted himself to music and to arranging for another concert 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 consolations 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 consecrated 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 the great violinist were taken to Villafranca and placed in
+a small room, which was then sealed up. And now Paganini became a terror
+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 spiritual 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 overruled the
+decision of the archbishop and ordained that Christian burial should be
+accorded to the artist. On the 21st of August, 1843, the Conte di
+Cessole took away the coffin from Villafranca, and interred 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 lifetime.
+
+Paganini resolved not to publish his compositions 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 contained, 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.
+
+His compositions are remarkable for novelty in ideas, elegance of form,
+richness of harmony, and variety in the effects of instrumentation. Few
+compositions ever attained such fame as the "Streghe," of which the
+theme was taken from the music of Suessmayer to the ballet of "Il Noce di
+Benevento."
+
+While it may be readily admitted that many of the effects with which
+Paganini dazzled the multitude were tainted with charlatanism, 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 interesting
+to find the compositions of the greatest 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 pianoforte, 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 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
+performance, 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 precluded 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 carefully 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
+accounts 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.
+
+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 Paganini in Paris, where he used to
+spend an hour every day sitting in a publisher's shop, "a striking,
+awe-inspiring, ghostlike figure." Halle was introduced to him, but
+conversation was difficult, for Paganini sat there taciturn, 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,
+Paganini 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 intolerable, for he thought that the
+moment had arrived at which his desire was to be gratified. But when
+Paganini had satisfied himself 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 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 concert, at which Paganini was present and
+congratulated him.
+
+Jules Janin, the celebrated critic and writer, went into ecstasies over
+the affair. Paganini, he said, who had been attacked for
+hard-heartedness and avarice, was present at the concert, and at the end
+prostrated himself before Berlioz, 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 Paganini 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 _Journal 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, therefore, to make him a present of twenty thousand francs,
+and to enhance the moral effect of this gift he persuaded Paganini to
+appear as the donor of the money. What would 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 compositions. 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 failure. He adopted the ideas of his predecessors,
+resuscitated forgotten effects and added to them, and the chief features
+of his performance were, the diversity of tones produced, the different
+methods of tuning his instrument, the frequent employment of double and
+single harmonics, the simultaneous use of pizzicato and bow passages,
+the use of double and triple notes, the various staccati, and a
+wonderful facility for executing wide intervals with unerring accuracy,
+together with a great variety of styles of bowing. The quality of tone
+which he produced was clear and pure, but not excessively 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 staccato.
+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 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 countenance; but his play! our pen
+seems involuntarily to evade the difficult task of giving utterance to
+sensations which are beyond the reach of language." After detailing the
+performance, the account continues: "These excellencies consist in the
+combination of absolute mechanical perfection of every imaginable kind,
+perfection hitherto unknown 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." 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 charlatanism, 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
+Paganini 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 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 suffrages 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:
+
+  "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 violin
+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 commendable features of Paganini's
+playing, while the Belgian school followed the more serious lines, and
+became a much sounder school.
+
+Alard, Dancla, and Maurin were exponents of the French school, while in
+that of Belgium we have De Beriot, Massart, Vieuxtemps, Leonard,
+Wieniawski.
+
+Lambert Joseph Massart was born at Liege in 1811, and was first taught
+by an amateur named Delavau, who, delighted with the remarkable talent
+displayed by his young pupil, succeeded in securing for him, from the
+municipal authorities of Liege, a scholarship which enabled him to go to
+Paris.
+
+On his arrival at the Conservatoire, Cherubini, 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, tells a good anecdote
+concerning Massart's 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 brilliant 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
+continued 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 played the Kreutzer sonata, which fell entirely flat after
+the dazzling display of the great pianist.
+
+Few teachers have formed as many distinguished pupils as Massart, for in
+1843 he was appointed professor of violin at the Paris Conservatoire,
+where his energy, care, exactness, and thoroughness brought him an
+immense reputation. Lotto, Wieniawski, Teresina Tua, and a host of other
+distinguished 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 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 Roberrechts, 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, philosopher, and friend that
+"perseverance triumphs over all obstacles," and that "we are not willing
+to do all that we are able to do."
+
+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 Conservatoire and relied upon his own resources. He
+soon began to appear in concerts, generally 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, his first appearance taking place
+on May 1st, before the Philharmonic Society. Wherever he appeared,
+either in London or the provinces, 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 distinguished
+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 violin 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.
+
+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 Malibran 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 financial collapse. In
+1835 she succeeded in securing a divorce from him, and then she married
+De Beriot.
+
+A few months after their marriage Malibran was thrown from her horse
+and sustained 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 irreparable 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 1841 De Beriot married Mlle. 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
+remained in this position until 1852, when failing 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 Mlle. Sontag, and her rejection of 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 variees," several books of
+studies, four trios and a number of duets for piano and violin. His
+"Violin School" has been published in many languages 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, 1815, and was well taught from his
+earliest youth. He appeared in concerts at the age of ten, and at
+twelve entered the Paris Conservatoire, where he became a pupil of
+Habeneck, 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, 1881.
+
+Hubert Leonard was born at Bellaire, near Liege, in 1819, but unlike the
+majority of violinists he did not appear in concerts at an early age,
+nor did he enter the Paris Conservatoire 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 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 Wilhelm Ernst there seems to be a wide
+difference of opinion between various commentators. 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 welcome performers in the concert halls of Europe
+for a number of years. He was a thorough musician and a good composer,
+though his works are so full of technical difficulties as to be almost
+impossible of performance. Indeed it is said that some of them contained
+difficulties which even he could not always overcome.
+
+Born in Moravia at the town of Bruenn in 1814, 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 appreciated, until the approach of his fatal
+disease 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 _Atheneum_ compared him with other
+players of his day in the following words: "Less perfection 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 carried to its
+utmost point, but never torn to tatters, the freest use of _tempo
+rubato_ permitted, 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 Vieuxtemps,
+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
+competition. Musical culture was, at that time, in a very low state in
+America, and one may judge somewhat of its progress by the press
+criticisms of the artists who visited the country from time to time. It
+will be seen that those who, like Ole Bull, Sivori, and Remenyi,
+applied their talents to the elaboration of popular airs and operatic
+themes were able to elicit the warmest praise. Vieuxtemps appears 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 following extract:
+
+     "Since the death of his great master, the weird Paganini, Ole Bull
+     had been left without a rival in Europe. Herwig, Nagel, Wallace,
+     Artot, and De Beriot can only 'play second fiddle' to this king of
+     the violin. His entrance upon the stage is remarkably 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 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, except 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 audience, 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 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
+before 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 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 tyrant, crashing
+     everything in its way and rejoicing in its might. And so we glided
+     oddly but easily enough into the ballroom, 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 manners of queer visions; and the
+     main difference between 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 audiences took them far from the path of the highest
+musical standard. It may be said with truth that the country was hardly
+ready 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 proportion of their audiences.
+
+Although several violinists endeavoured to copy Paganini's style, or at
+least to learn as much as possible from hearing and seeing him play,
+there was only one, excepting Catarina Calcagno, who received direct
+instruction 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,
+1817.
+
+[Illustration: CAMILLO SIVORI]
+
+The connecting link between Sivori and Paganini began very early in the
+career of the former. Indeed it is said that the excitement of his
+mother, on hearing Paganini play at a concert, caused the premature
+birth of the future disciple of the great artist. Marvellous 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 continues, 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 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 admirer, seem rather ridiculous,
+but when Paganini 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 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 technique 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 enraptured 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 Conservatoire concerts and
+received the medal of honour.
+
+Sivori now set out on extensive travels, and, after visiting England,
+proceeded, in 1846, to America, travelling through the United States,
+Mexico, and various parts of South America, spending eight years in
+these peregrinations, and amassing a considerable 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 all had their special merits. One criticism, in which Sivori is
+compared with Spohr, may be interesting: "Spohr is of colossal stature,
+and looks more like an ancient Roman than a Brunswicker; Sivori is the
+antithesis of 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 refinement
+and polish have been the characteristics 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 remarkable for its
+repose and finish; Sivori electrifies 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 conservatoire at Genoa, Sivori
+replaced him in both and gave him the entire benefit of his services.
+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 instrument 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 compliment 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 condition, 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 Paganini called for. About two weeks later
+Paganini died.
+
+In 1851 Halle wrote of him as follows:
+
+"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 forgotten. On that occasion he executed Paganini's B
+minor concerto, and aroused immense enthusiasm, 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 18,
+1894.
+
+He was the first person allowed to play on the celebrated violin which
+Paganini bequeathed to the city of Genoa. He was also the first to play,
+with orchestra, Mendelssohn's Violin Concerto in England. This
+performance was at the Philharmonic Society concert, June 29, 1846.
+
+Henry Vieuxtemps was one of the greatest 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 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
+conservatoire from 1871 to 1873, and in 1872 he was elected a member of
+the Academic Royale of Belgium, on which occasion he read a memoir of
+Etienne 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 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 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 inability 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 affability while addressing them, to scowls and grimaces
+while talking to his pupils, the latter, of course, being invisible to
+the visitors.
+
+When Vieuxtemps visited America in 1857, he was associated with
+Thalberg, the pianist, and together they visited many towns and cities.
+Amongst the gems of American newspaper criticism they no doubt took with
+them several copies of the following, which appeared in the local paper
+of a town in Tennessee, and was headed "Thalberg and Vieuxtemps:"
+
+     "These distinguished individuals are now at Nashville, 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, considering 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 torture 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 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 nourished, 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 difficulties of extreme
+harmonics."
+
+Vieuxtemps was also subject to comparison with Sivori, rather to the
+former's disparagement. "The one plays the violin like 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. Vieuxtemps
+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
+     husband undergoing the nocturnal penance of walking 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 performers [Ole
+     Bull and Artot], but there is a vitreous clearness 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
+     accompanies 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 Molique, of whom Sir Charles Halle says that he was a good
+executant, knowing no difficulties, 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 inferior 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 1811, 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 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 excellent pen picture of Ole
+Bull, who during the middle of the nineteenth century was known far and
+wide as a great violinist.
+
+Among the celebrated musicians of all nations, Ole Bull will always
+remain a striking 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 patriotism;
+none has, amid the more brilliant surroundings 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 born at Bergen, in Norway, February 5, 1810, 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 played the
+'cello.
+
+In the early part of the century, the proverb, "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 hiding 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
+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 temperament, who used to come and enjoy the hospitality 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 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 correctly, 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 Tuesday 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, 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 instrument 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, 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 disappointed 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 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 heard you play Paganini I predicted that your career would be a
+remarkable one."
+
+"Oh," exclaimed 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, engaged 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 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 intentions, 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 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 18, 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 quartet was played by the four masters that
+he came to the conclusion that he was deceived 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
+inclinations, Spohr heard him play, and wrote thus of him: "His
+wonderful playing and sureness of his left hand are worthy of the
+highest admiration, but, unfortunately, like Paganini, he sacrifices
+what is artistic to something that is not quite suitable to the noble
+instrument. 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 positions, and
+even then pianissimo. This renders his playing (when he does not let
+himself loose with some of his own pieces) monotonous in the extreme. We
+noticed this particularly 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 Goettingen, 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, welcomed, and compelled to direct
+a performance, and thus he once more fell under the influence of music,
+and began to apply himself vigorously to improvement.
+
+In 1831 he went to Paris in order to hear Paganini, and if possible to
+find some opportunity 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, prevailed
+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, presumably because the detective was known, and the proprietors
+of the saloon considered discretion 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 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.
+Nevertheless, 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 celebrated 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.
+
+     "M. Bull played compositions by Spohr, Mayseder, 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 musician. If he be a diamond, he is
+     certainly in the rough and unpolished."
+
+Ole Bull sought out the writer of this criticism, 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 unable to appear on account of
+indisposition. De Beriot also declared himself to be suffering from a
+sprained thumb.
+
+It happened that Madame Colbran (Rossini'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, without
+even time to dress himself suitably for the occasion, and placed before
+a most distinguished 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 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.
+
+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 L800, 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 acquaintance of Paganini, who greeted him with the utmost
+cordiality. He went through Germany giving many concerts, and visited
+Cassel, where he was now received by Spohr with every mark of
+distinction. He played in Berlin, where his success was great,
+notwithstanding some adverse criticism. He 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.
+
+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, besides 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 country by
+founding a colony. He therefore bought a tract of land of 125,000 acres
+in Potter County, Pennsylvania, on the inauguration of which he stated
+his purpose: "We are to found a New Norway, consecrated to liberty,
+baptised with independence, and protected 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 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 yellow 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
+concerts. He was miserably weak, and when he played his skin would break
+and bleed as he pressed the strings.
+
+He now heard that there was some trouble in regard to his title to the
+land in Pennsylvania, 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 whatever, and had perpetrated a barefaced swindle, and now,
+having the money, he dared his victim 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.
+
+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 abandoned 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 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 seventeenth 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 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-besoeg." 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 subject 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 appeared 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, 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
+business was suspended, and the whole population of the city stood
+waiting to pay their last respects to the celebrated musician and
+patriot.
+
+Ole Bull was a man of remarkable character 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 something in his personal appearance and conversation
+which acted with almost magnetic power on those who approached him. He
+was a prince of story-tellers, and his fascination in this respect was
+irresistible to young and old alike, and its effect not unlike his
+violin playing.
+
+In regard to his playing, his technical proficiency was such as very few
+violinists have ever attained to. His double stopping was perfect, his
+staccato, both upward and downward, 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 sentimental,
+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 difference, 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 enabled him to fascinate
+his audiences, and it is a power far beyond any mere trickster or
+charlatan. He was frequently condemned by the 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 demand 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 performance 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 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
+audiences. You go to hear Ole Bull, rather than to hear and feel his
+music. It is eminently 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 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 audiences, and during his later years he adopted certain mannerisms
+by way of distracting attention from his somewhat imperfect
+performances. He never made any pretension 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
+doubtless 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 violinist
+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 physically or intellectually before he is
+ripe. Many prodigies sink into oblivion,--some few rise to celebrity.
+It will be noticed that the violinists 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 musical 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 forgotten in this
+country. Born at Hewes, in Hungary, in 1830, he possessed the restless
+spirit of his race, fought in the insurrection of 1848, 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 Boehm, who was also the teacher of Joachim. In
+1848 he became adjutant to the distinguished General Goergey, 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 appointed solo violinist in the
+queen's band, but when in 1860 he obtained his amnesty and returned to
+Hungary he was created solo violinist in the band of the Emperor of
+Austria.
+
+His restless disposition would not allow him to remain long in one
+place, and in 1865 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 settling 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 following year he went once
+more to the United States, and on his way played at the promenade
+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.
+
+In 1891 he was once more in London, and played at the house of the late
+Colonel North, "the Nitrate King." He now returned 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 Wilhelmj, and notwithstanding the fact that the two violinists
+were widely different in temperament, 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 monotony, and whose originality
+     shines through everything, and in spite of everything. He is
+     fluent in five or six languages, and entertains with droll
+     conceits, 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
+     excitement. 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 audience too. His greatest
+success was in the playing of Hungarian music, some of which he adapted
+for his instrument, but the stormier pieces of Chopin which he arranged
+for the violin were given by him with tremendous 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 wandering 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 connections 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 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 Remenyi, and was surprised to find that the violinist was not
+only willing to tell him much, but even proposed questions which he
+should answer. He said that he had played in the 60's before the natives
+of South Africa, and had been shipwrecked, after which he had the
+pleasure of reading some very fine obituary 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
+frequently 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 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 accompanist was too ill to play. Remenyi went to a music
+store and asked for an accompanist. 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
+engagement resulted in the loss of any further business in Hamburg, and
+together with Brahms he set out for Hanover, giving concerts as they
+went, and thus earning sufficient funds to carry them on their way.
+
+At Hanover they called upon Joachim, who arranged for them to play
+before the court. After this they proceeded to the Altenberg 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 recognised his talent. He therefore
+returned to Hanover, where Joachim gave him a letter to Schumann, and it
+was Schumann's enthusiastic 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 May 15, 1898, created a
+sensation throughout the country. He had, after many misgivings,
+consented to appear in "vaudeville." The financial inducement was large,
+and he soothed his artistic conscience with the argument that his music
+would tend to elevate the vaudeville rather than that the vaudeville
+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 speak to one of the musicians in the orchestra. He paused a moment,
+and then fell slowly forward on his face. One of the musicians caught
+him before he touched the stage, and thus prevented his rolling off. All
+was over.
+
+Remenyi left a widow, a son, and a daughter, 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
+cancel all his engagements and rest. It is said that Remenyi's real name
+was Hoffmann.
+
+The name of Miska Hauser is seldom mentioned 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 Boehm and
+of Mayseder at Vienna, also of Kreutzer and Sechter. He is said to have
+acquired more of Mayseder'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 twelve Hauser made an extensive 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 Islands, where he played before the
+royal family 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 desperation he tore the strings from his
+violin and played, with all his power, several sentimental 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 presented with the freedom of the city and thanked
+by the government for his playing.
+
+In 1860 he reached Turkey, where he played before the Sultan, who beat
+time to his music and seemed highly delighted. 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 characteristic and charming in his tone and mannerisms, 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 temperament, with its
+warm and tender feeling, gave a colour to his playing, which placed 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 violin
+technique, 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 Rubinstein, may be said to mark an era in the musical life
+of this nation. These two great artists revealed the possibilities of
+the musical art to a people who, while loving music, were still in their
+infancy as far as musical development is concerned.
+
+Wieniawski, like nearly all the great performers, showed his talent
+while very young. He was born in 1835 at Lublin, in Poland, 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 Massart'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 composition. 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 1860 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 engagement 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 and
+succeeded in making a large fortune, travelling all over the country and
+creating a furore by his performances. This tour was cut short toward
+the end of 1874 by a telegram 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, Wieniawski 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 compelled 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 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 Countess 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 enthusiastic 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 consequence 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 one of his temperament, and he felt compelled to
+stake a small sum. 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 Vieuxtemps was very strong, in fact it
+was described as being ideal. Once, while Wieniawski was playing at a
+concert, Vieuxtemps was among the audience, and, at the conclusion of
+one of the violinist's solos, Vieuxtemps called, at the top of his
+voice, "Bravo, Wieniawski!" This drew attention to Vieuxtemps, who was
+immediately recognised by the audience and enthusiastically welcomed.
+
+Wieniawski's compositions number two and 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 concerto, 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 universal, for a critic more difficult
+to please wrote as follows: "Wieniawski's playing is as perfect as a
+faultless technique, artistic culture, great aesthetic sensibility, and
+perfect mastery over himself and his instrument can make it But with
+all its perfection we cannot but feel that the great original,
+heaven-and-earth-moving master-soul is wanting."
+
+He was also severely scathed by a critic in New York in 1872, who wrote:
+"Some people 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 intonation as a thing of primal importance, it could
+not have been pleasing. Wieniawski belongs to that school of which Ole
+Bull is a prominent member, whose first article of belief is that
+genuine passion and fervour is signified by rasping the strings."
+
+Other criticisms of the same concert, however, were of a very different
+tenor, and when, a week or two later, Wieniawski played the same
+concerto in Boston, John S. Dwight 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 delighted 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 was then administrator of the institution, took him
+into his house and boarded him. This arrangement continued 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 indicated that
+his talent would become extraordinary.
+
+For ten years after gaining the prize Sarasate remained a salon
+violinist, of amiable disposition, 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 character of his playing becoming
+serious, a large and noble style replaced the mincing manner which he
+had previously affected, and, instead 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, and in 1872, when he played in Paris, he was welcomed 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
+prevailed, and when Sarasate appeared at Leipzig he produced an immense
+sensation. Then followed a series of tours in Germany, Russia, 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 Spaniard. His tone is incomparable,--not
+powerfully 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
+difficulties, but because he plays with them."
+
+Both in France and Germany Sarasate has always been a great favourite,
+and is always 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 playing 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 III., the Emperor of Brazil, and the Queen of Spain, and its
+value is estimated 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 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 magnificent
+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 dazzling 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 second to no artist then living in his general
+command over the resources of his instrument, and he excelled in the
+purity and volume 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 performances 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 diamonds.
+
+August Wilhelmj was born in 1845 at Usingen, in the Duchy of Nassau,
+and, showing 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. Wilhelmj's father was a lawyer of distinction and a wealthy
+vine-grower, and, in spite of 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 encouragement, 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 favourable, no objection should be made to his
+becoming a virtuoso. On the recommendation of Prince Emil of
+Wittgenstein, the young violinist went in 1861 to Liszt at Weimar, and
+after playing to him Spohr's "Scena Cantante" and the Hungarian fantasia
+by Ernst, he was asked to play several pieces at sight. At the end of
+this trial Liszt sprang from his seat, calling out in a loud voice,
+"Ay! indeed you are predestinated to become a violinist--so much so that
+for you the violin must have been invented 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,
+saying, "Let me present to you a future Paganini. Look well to him!" For
+three years Wilhelm; 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 Conservatory, playing Joachim's
+Hungarian concerto.
+
+In 1865 he began his concert tours, travelling 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, the great singer. In 1876 he led the
+violins at the Nibelungen performance at Bayreuth, and the Wagner
+concerts in London, at the Albert Hall, in 1877, were due to his
+representations. In 1882, after travelling all over the globe, he spent
+some time in Russia, but presently returned to Germany and established 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 expressed by an eminent musician,
+who referred to his decadence in these words: "Ah, if 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 demonstration. 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 between 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 intellectual playing,' that is, playing with a clear under
+standing."
+
+Neither his character nor his playing was of such a nature as to appeal
+to the great mass of people in the way 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 Wilhelmj," or, "not to be compared with
+Wilhelmj," 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, 1848, is one of the foremost solo and quartet violinists of the
+day, with a remarkable technique and admirable intelligence, power, and
+fire.
+
+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 preparatory classes.
+In 1864 he secured the gold medal, which is awarded only to pupils of
+extraordinary talent.
+
+[Illustration: MARTIN PIERRE JOSEPH MARSICK]
+
+He now entered the Brussels Conservatoire, where his expenses were met
+by a lady who was a musical enthusiast, and he studied for two years
+under Leonard, working 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 reputation. 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. 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 educated musician than to the general
+public, and for that reason many people were somewhat 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 Hungarian, born in 1831,
+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 instrumental in the
+establishment of the Musical Artists' Society of that place.
+
+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 virtuoso.
+
+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 successful concert tour, and become chamber virtuoso
+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 violinist, Wasil Wasilewic
+Besekirskij, who was born at Moscow, and after a career as virtuoso in
+the west of Europe returned to his native city. He is the composer of
+some good violin music and has formed some excellent 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, Yorkshire. 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 together at the Haymarket Theatre in 1847, but immediately
+withdrew from public 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 College of Music in London, and has
+been also active as a composer and editor of violin works.
+
+Jacob Gruen, too, who was born in 1837 at Buda-Pesth, and who, after a
+career as concert soloist in Europe, became a teacher in the Vienna
+conservatory, should not be forgotten. Several of his pupils are now
+holding 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 reputation as a sound and earnest player and excellent teacher.
+He was born in Vienna in 1839, and was at one time 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 greatest
+educators in his line who ever lived, and as the embodiment of the
+purest and highest ideas in public performance.
+
+[Illustration: JOSEPH JOACHIM]
+
+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 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 unquestionably
+is,--a magnificent example to young people, who are to some extent
+possessed 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, 1831, 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 under Servaczinski, leader of the
+opera orchestra at Pesth. In two years he made his first public
+appearance at a concert at Pesth, when he played a duet concerto for two
+violins 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 Boehm for two years. At the
+end of this time he went to Leipzig, where he met with Mendelssohn and
+played in a concert of Madame Viardot's. A few months later he appeared
+as a finished artist in a Gewandhaus concert, 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 Gewandhaus
+concert, in a concertante for four violins 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 Hauptmann gave him instruction in composition, though during this
+time he occasionally travelled in Germany and elsewhere to play in
+concerts. Thus in 1844 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 Beethoven'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 violoncellist. Joachim visited England again in 1847,
+and since that time so frequently that he became one of the regular
+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 Franz 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 extraordinary 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 reputation 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 composition.
+
+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 Royal High School for Music, with Joachim as
+director. That Joachim had earned a very high position 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 'virtuosi' 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. 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 Joachim's professional visit to London
+is, that it enables both professors and amateurs opportunity after
+opportunity of studying _his_ manner 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 eccentricity of carriage or demeanour, not a
+moment of egotistical display, to remind his hearers that, although
+Beethoven is being played, it is Joachim who is playing, ever escapes
+this truly admirable and (if words might be allowed to bear their
+legitimate signification) most accomplished of 'virtuosi.'"
+
+As an example of Joachim's conscientiousness, the following little
+anecdote will serve to give an idea. Joachim once introduced into the
+_point d'orgue_ of Beethoven's concerto 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
+suppressed.
+
+During the many years of his connection with the Hochschule, Joachim's
+personal influence has been exerted upon a large number of pupils, in
+fact almost every well-known 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 Mendelssohn, 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 thorough uprightness,
+firmness of character and earnestness of purpose, and that intense
+dislike 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 excellent musicianship. Unsurpassed as a master of the instrument,
+he uses his powers of execution in the services of art, and represents
+the perfection of a pure style and legitimate school, with breadth and
+fidelity of interpretation. His performances undoubtedly 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, Beethoven'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
+violin concerto (Op. 61) of Beethoven, which was first played by
+Clement, December 23, 1806. This concerto bears evidence of having been
+written in a hurry. Clement played it at sight without rehearsal, and,
+as a consequence 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 performance.
+
+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 of about $6,000, with which was purchased an instrument of
+wonderful beauty, a celebrated "Red Strad," which was presented to him
+at a public meeting held at the conclusion 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. A grand concert was given at the Philharmonie, with an
+orchestra consisting of two hundred performers. 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 Hollaender,
+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 armchair, 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 Beethoven's concerto. No
+soloist was in sight, but Gabrielle Wietrowitz 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 except
+under the force of persuasion, and then 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 orchestra 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 standing in the musical world to
+begin with, but few indeed are those who receive this privilege 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 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 violinists 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 virtuosi.
+
+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 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
+musical 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 America, violinists who equal or even excel
+many of those who are exploited as virtuosi. The _great_ violinists are
+not to be found every 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 violinists 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
+considered one of the best violinists who had ever come to live in
+America.
+
+Brodsky was born in 1851 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,
+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 Europe 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 successful, that it was
+repeated in 1874, when he travelled with Ilma di Murska, the great
+singer, and his wife, Teresa Careno, the pianist.
+
+[Illustration: EMIL SAURET]
+
+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 Strasburg, after some
+preliminary instruction 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 sufferers by the Franco-German
+war.
+
+In 1879 ne 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 distinguished for
+elegance rather than perfection of technique. He may be considered a
+representative 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. Marsick 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 receiving some instruction from his father, and
+had completed the regular course by the 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 he 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 technical resources of the violin is so
+great that he can play the most terrific passages without sacrificing
+his tone or clearness of phrasing, 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, compared with Ysaye, who
+at that time swept everything before him and carried the country by
+storm.
+
+In 1897 Cesar Thomson left Liege, owing, it is said, to disagreements at
+the Conservatoire, 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
+inexplicable and inexpressible something which takes cold judgment off
+its feet and leads criticism captive.
+
+Ysaye was born at Liege in 1858, and, 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 afterward 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 preparation given chiefly by his
+father, made his way to Brussels and sought out Wieniawski, then
+professor at the Conservatoire. Wieniawski was teaching, when a note was
+brought to him marked "private and important." The servant was told to
+show the bearer in, and Ysaye, then about fifteen years of age, timidly
+entered the room carrying 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 recovering from his
+paralytic shock. In 1876 Vieuxtemps heard him at Antwerp, and through
+his influence the Belgian government 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 compositions, but Ysaye was at that time in St.
+Petersburg. When Vieuxtemps died and 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 Conservatoire, and the possessor of
+many decorations 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 temperament. He has been compared to Rubinstein 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 Cesar Thomson than from Ysaye,
+but he will receive from the latter the greater inspiration.
+
+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 cadenza to the
+Beethoven concerto (an embellishment which all violinists seem obliged
+to compose), but he declared that he did not like the idea of an
+original cadenza to Beethoven'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 music," 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 1898, when he confirmed the
+opinions already 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 Nikisch Philharmonic
+concert, when he played the E major concerto by Bach, and scored an
+overwhelming success. At the end of the concert 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 organised 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
+orchestral 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 concerts scenes have been witnessed which are
+simply nauseating. This fashion is not confined, by any means, to the
+United States, for there are anecdotes from all countries illustrative
+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 Justice 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, and was first taught by his father. He entered 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
+Koenigsberg 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 festival at Eisenath, he played
+with Joachim the Bach double concerto, and was very successful. He has
+made concert tours throughout the greater part of Europe, and while in
+America he was recognised as a broad artist. 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 intellectuality. He has an even and sympathetic 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 generosity
+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 engagement. 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 1861. He enjoyed the advantages of
+instruction 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 1880 Mr. Loeffler crossed the Atlantic, and took up his residence in
+New York, but the following year he was engaged as second concert-master
+and soloist in the Boston 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 virtuoso, 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
+l'Ukraine;" a concerto for violoncello, which has been played by Mr.
+Alwyn Schroeder; a divertimento for violin and orchestra, and a
+symphonic poem, "La Mort de Tintagiles." Besides these large works he
+has written a number of songs, of which five are with viola obligato.
+These works have been performed by the Kneisel Quartet and the Symphony
+Orchestra, the solo parts of the suite and divertimento by the composer
+himself, and they have gained for him a reputation as a gifted and
+scholarly tone artist.
+
+One of the most promising young violinists 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 eight 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, 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 violinists than Mr. Franz Kneisel.
+
+Mr. Kneisel was called to Boston to fill the position of concert-master
+of the Boston Symphony Orchestra in 1885, and has held that place for
+fourteen years, during which time he has done much toward the
+cultivation 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
+Gruen 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 Beethoven
+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 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 surmounts 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
+reputation which will live in the history of music in America, if not in
+the whole world.
+
+Charles Gregorowitsch, who visited America 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, under Besekirskij and Wieniawski. From Moscow he was sent to
+Vienna, where he became a pupil of Dont, and finally he studied under
+Joachim in Berlin, where he gained the Mendelssohn prize.
+
+Gregorowitsch was the last pupil of Wieniawski, 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 honoured in Russia, where the Czar granted him exemption from
+military service, and decorated by the King of Portugal. In London 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 playing he has been compared with Sauret and with
+Sarasate.
+
+A far greater sensation was caused in America by Willie Burmester 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 violinists. Joachim
+gave some encouragement to the parent, although he does not seem to have
+given much to the boy, who in consequence felt somewhat bitter. Four
+years later he was again taken to the Berlin Hochschule, to pass his
+entrance examination. On this occasion he received the recognition of
+the jury, and was admitted to the school, where he began a rigorous
+course of technical 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 greatest 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, supporting
+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 several
+operations for the purpose of removing it, but the result was not wholly
+satisfactory.
+
+Emerging from his retirement in 1894, he went to Berlin again, and gave
+a recital in which he met with the most remarkable success. 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 metropolis 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 "marvellous, 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 developed to an astounding degree of perfection.
+
+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
+Joachim," and in a couple of weeks Burmester wrote another letter
+stating that he did not know the Hochschule 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 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
+technique 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 technique was brilliant it appeared to
+lack foundation. Time may justify the stand which the young virtuoso has
+taken in opposition to his teacher, for he is still young and has time
+in which to develop. He has undoubted musical talent and great ability,
+but while he may be a celebrated violinist he can hardly yet be
+considered a great one, notwithstanding the furore which he caused in
+Berlin.
+
+Burmester plays with unassuming simplicity and without cheap display. He
+is sincere, 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 Buelow, and the
+friendship extended over a period of three and a half years, until Von
+Buelow went to Cairo shortly before his death.
+
+Von Buelow 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 Buellow,
+and many obstacles were placed in his way. Von Buellow'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 Buellow,
+and he wrote a letter to him offering his services, and expressing his
+contempt for the injustice to which he was being subjected. Von Buellow
+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 Buellow paused and asked,
+"Which of you gentlemen is Burmester?"
+
+The young fellow approached Von Buellow, 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 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
+violinist showed unswerving loyalty, and it is now one of his greatest
+desires to reach a point of independence which will enable him to build
+a monument to Von Buelow's memory.
+
+In 1893 a sensation was created in America by the visit of Henri
+Marteau, a young French violinist whose excellent playing 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 musicians.
+
+Marteau was born at Reims in 1874. 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
+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 following 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 composer, wrote
+a concerto for him.
+
+When Marteau played in Boston at the Symphony concerts he received
+twelve recalls, 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 conducted by Mr. Arthur Nikisch.
+
+In the following year Marteau again visited America and brought with him
+a concerto 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 penetrating. His technique is
+sure, and he plays with contagious warmth of sentiment and great
+artistic charm.
+
+The violin which he used during his 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 Russian 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 happened 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 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 Ourosoff, 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, inasmuch as it covered four points,--the artistic,
+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 honorarium
+for a single concert ever obtained by a violinist in Europe.
+
+He is described as a man of commonplace appearance, with dull,
+expressionless eyes, sluggish movements, and slow, affected manner of
+speech. His technique is not astonishing, but he has a full,
+penetrating, sympathetic tone. There is no charlatanism or trickery in
+his playing, nor any virtuoso effects, but the charm of it rests in his
+glowing temperament, ideal conception, and wonderful 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 introduction 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 inconceivable
+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 Dunn appears
+to be acquiring a great reputation. 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 Boston 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 satisfactorily
+given, but the fact remains that until recently few women played the
+violin.
+
+From the year 1610 until 1810 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 on the violin, or the
+corresponding string and bow instruments which were its ancestors, there
+is evidence.
+
+On the painted roof of Peterborough Cathedral, in England, which is said
+to have been built in the year 1194 A.D., there is a picture 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 VII., dated November 2, 1495, is the
+following item, "For a womane that singeth with a fiddle, 2 shillings."
+
+Anne of Cleves after her divorce comforted herself by playing on a viol
+with six strings. Queen Elizabeth, also, amused herself not only with
+the lute, the virginals, and her voice, but also with the violin.
+
+These, however, were amateurs, and the 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, violin, and bass viol. Previous to her there was one
+Signora Leonora Baroni, born at Mantua about 1610, but she played the
+theorbo and the viol di gamba.
+
+The next is "La Diamantina," born about 1715, 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 Cumberland at Huntley in 1746, and her granddaughter, 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 Elizabeth Mara, one of the greatest
+singers of 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 womanhood her voice developed and she became one of the
+celebrities in the history of song. There is no doubt that the training
+in intervals 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 violinists, 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 1760-61, 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 her by Tartini, and
+which is not only one of the rarities of musical literature, but
+constitutes 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
+afterwards 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 instruction first at the conservatory of
+Mendicanti 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 German violoncellist named Schlick,
+was celebrated for her performances on the violin. She was born at
+Mantua in 1764, and educated 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, _in his mind_, his beautiful
+sonata in B-flat minor, for piano and violin. The time for the concert
+drew near, but not a note was put upon paper, and Madame Schlick's
+anxiety 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 happened, 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, graciously acquiesced, though the emperor did not
+state whether he considered Mozart's knowledge of his new composition,
+or Madame Schlick's ability to play with him unrehearsed, 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 sensation 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 attention 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. Driven to the last
+resource, and having even pawned her clothes, she applied for aid to the
+Italians resident in Paris, and they enabled 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 1816.
+
+Madame Krahmer and Mlles. Eleanora Neumann, and M. Schulz all delighted
+the public in Vienna and Prague. Miss Neumann came from Moscow, and
+astonished the public when she had scarcely reached her tenth year.
+Other names are Madame Filipowicz, Madame Pollini, Mlle. Zerchoff, Eliza
+Wallace, and Rosina Collins, who all played publicly and were well
+known.
+
+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 manufacturer 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 Brussels, where she took lessons of De Beriot, and received the
+finishing touch to her artistic 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 account of their most striking
+characteristics, Mlle. Staccato and Mlle. 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 Prussia.
+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, resumed 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 general and a "Grand Officier de la Legion d'Honneur," 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 personal 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 consisted 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 clothing, purchased with the receipts of the previous
+concerts, were distributed.
+
+From 1830 there has been a constantly increasing number of ladies who
+have appeared 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 performers.
+
+Mlle. Emilia Arditi, Frauelein Hortensia Zirges, Miss Hildegard Werner,
+Miss Bertha Brousil, and Madame Rosetta Piercy-Feeny were all born
+during the decade 1830 to 1840, and were well known, but in 1840 and
+1842 two violinists were born who were destined 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
+question, the former exerting her influence chiefly in England and on
+the Continent, and the latter in America.
+
+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, however, that the success of Teresa Milanollo gave the first
+great impulse toward the study of the violin by women.
+
+Lady Halle was born at Bruenn, March 21, 1840. Her father was Josef
+Neruda, a musician 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 appearance in
+public in 1846, at which time she was not quite seven years old. On this
+occasion her sister Amalie, who was a pianist, accompanied her, and
+shortly afterwards her father took her, with her sister Amalie and one
+of her brothers, on an extended tour. The family consisted of two
+sons--a pianist and a 'cellist--and two daughters--a violinist 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 concert playing, and in 1869 she
+again appeared in England, where she became a great favourite, and has
+appeared there regularly almost, if not quite, every season since. Hans
+von Buelow 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
+Mlle. 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 afterwards became her husband, "I recommend this
+artist to your careful consideration. Mark 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 with
+all that was best musically in 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 public the works of many composers who would have remained
+unknown 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 successful. 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 and a song
+had been given by other musicians, 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 England 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 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 violin 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, however, 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 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 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
+childlike, 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 professional career until 1862, from which time
+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 _I_ 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, Mlle. Urso received a 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 unmoved 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 probably 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.
+
+Teresina Tua, who was well known in the United States about 1887, was
+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 received 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 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 American audience
+more gorgeously arrayed. "Fastened all over the bodice of her soft white
+woollen gown she wore these sparkling jewels, and in her hair were two
+or three diamond stars," said the account in Dwight's _Journal of
+Music_. Yet with all this the criticisms of her playing were somewhat
+lukewarm. The expectation of the people had been wrought up to an
+unreasonable 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 distinguished Italian
+critic, and retired into private 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, London, 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 Shinner (now
+Mrs. A. F. Liddell) has been for some years the most prominent in
+England, while the names of Gabrielle Wietrowitz and Marie Soldat are
+known throughout Europe, and Maude Powell and Leonora Jackson 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 Berlin 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
+admission of women to the Hochschule. Joachim interested himself in her,
+and she was examined for admission. Miss Shinner at once presented
+herself as a second candidate, and the result was that both ladies were
+accepted as probationers. In six months Miss Shinner 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 acquired 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 occasion
+she acquitted herself so well that an encore of the second movement of
+the quartet was demanded. Since that time she has been always before the
+public, and has taken special interest in chamber music and quartet
+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, 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 composition with Thierot, the
+Kapellmeister, at the same time keeping on with the pianoforte.
+
+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 progress
+received a check. Joachim, however, visited Gratz to play at a concert,
+and the young girl went to him and consulted him 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 acquaintance 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, touring extensively throughout
+Europe. One of her greatest triumphs was when, in 1885, at Vienna, she
+played Brahm's violin concerto 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 Roeger, but did not retire
+from her profession. She is now known as Madame Soldat-Roeger.
+
+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 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 consequence of her great promise Count Aichelburg, 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 1882.
+
+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 capturing the
+Mendelssohn prize, which brought 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 Muenster. Then followed a series of concert tours, which
+resulted in securing her a reputation as one of the most brilliant stars
+amongst women.
+
+Miss Wietrowitz plays with the most consummate 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 invariably followed by eulogies from the critics. In
+Berlin, when she appeared at the Singakademie, in November, 1898, 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.
+
+Mlle. Irma Sethe was born on April 28, 1876, 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 hard study
+enabled her to appear at a concert at Marchiennes, when she played a
+concerto by De Beriot and the rondo capriccioso by Saint-Saens. The
+following 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
+appreciation 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 ability, and advised her to enter
+the conservatoire 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 number of important concerts, and
+shortly afterwards made her first concert tour, visiting many of the
+principal towns of Germany. In November, 1895, she made her first
+appearance in London, where she was pronounced 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
+extravagantly, praised.
+
+In August, 1898, Mlle. Sethe married Doctor Saenger, a _litterateur_,
+and professor of philosophy at Berlin, but she continues her career as a
+violinist, and has made several tours of Europe. She has been compared
+to Rubinstein, inasmuch as her remarkable musical temperament and
+irresistible 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 mentioned Sophie Jaffe, who has
+been called the greatest of all women violinists, and Frida Scotta.
+
+Although many years behind the continent 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 to
+the musical world many shining lights during the past few years. Mlle.
+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, Anna 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 1881 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 throughout Europe, and in 1882 she played, under
+her proper name, at the Crystal Palace, 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
+violin playing. In 1882 she appeared in London at the promenade
+concerts, and again in 1884, when she confirmed the reputation which she
+had made two years 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 violoncello 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 Schradieck, after which she was the pupil in Berlin of Joachim,
+under whose guidance she remained eight years. She was the first
+American who ever gained the Mendelssohn prize.
+
+Miss Morgan has made tours through the 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 auspices 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, Ill., 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.
+
+[Illustration: MAUD POWELL]
+
+She next went to Paris, where she was the first selected out of eighty
+applicants for admission to the Conservatoire. In the following year she
+accepted an engagement for a tour in England, and had the honour 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
+remained 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 marvellously gifted woman, one who
+in every feature 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 concerts throughout America, and
+has gained a reputation second to no American violinist. By many she is
+declared to be the equal of Soldat and Wietrowitz in tone, technique,
+and interpretative power. She has an immense repertoire, and is also a
+student of literature. She also is said to have been the first to
+establish a female quartet in America.
+
+The latest American lady violinist to gain honours abroad is Miss
+Leonora Jackson, who won the Mendelssohn state prize at Berlin, in 1898,
+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 Cleveland, 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 occasion. Shortly afterwards she was
+commanded 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 feeling, 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,
+1899, before the Queen of England at Windsor 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
+reputation for any violinist, male or female, and she who expects to be
+numbered with the great violinists must be first of all a musician,
+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 disappointment
+than the realisation that it is capable of far better interpretation.
+
+For the professional there are many influences which cause him to
+hesitate before he launches forth upon the quicksands of public
+performance. The first necessity in professional quartet playing is the
+devotion of a large amount of time to the acquisition of a perfect
+ensemble. A quartet may be likened unto a family, in which the members
+learn to know one another by being brought up together, 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
+concert with a reasonable prospect of success. The rich merchants, to
+whom he had brought letters of introduction, knew nothing of him and
+received him coldly. "I was very anxious 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 company 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. 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, something
+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 and accompanied well enough. This time there was perfect
+silence, and the enthusiasm for my playing increased with each movement.
+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 sensation, 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 accompaniment, 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 excellent quartet player, and often, with his wife, an
+admirable pianist, he gave delightful chamber concerts.
+
+Few violinists have been more closely associated with quartet playing
+than Ferdinand David, in his way one of the most celebrated violinists.
+Little is known of his early youth except that he was born at Hamburg 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
+Koenigstadt Theatre at Berlin. Here he became acquainted with
+Mendelssohn, 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 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 conductor of the Gewandhaus concerts at
+Leipzig, 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 Berlin,
+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.
+
+Josef Hellmesberger, one of the most brilliant violinists and noted
+teachers of Vienna, founded, in 1849, a quartet which achieved an
+immense reputation. His associates 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.
+Hellmesberger spent the whole of his life in Vienna, with the exception
+of a tour in 1847, and 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 testimony to his remarkable musical
+instinct. Teresa Milanollo, in 1840, took a new manuscript 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.
+
+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.[1]
+Miss Shinner, whose efforts in the artistic world have been of great
+value, and whose quartet has an immense reputation in England, was also
+a pupil of Joachim.
+
+[Footnote 1: The Shinner Quartet consisted of Miss Emily Shinner (Mrs. F.
+Liddell), first violin, Miss Lucy H. Stone, second violin, Miss Cecilia
+Gates, viola, and Miss Florence Hemmings, violoncello.]
+
+The "Florentine Quartet" was founded by Jean Becker, a violinist of
+excellent ability, who made his mark in Europe about the middle of the
+nineteenth century. Becker was travelling 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 Hilpert,
+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 1818 and died in 1897.
+
+From time to time this society gave subscription 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 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 six chamber concerts, 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 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 reputation.
+
+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 Leipzig, with Hans Becker, son of the founder of the
+Florentine Quartet, Hans Sitt, and Julius Klengel, the 'cellist, and
+this quartet 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
+organisation was received with respect, owing to Mr. Brodsky's European
+reputation, but it was admitted on all hands that superior organisations
+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 Germany, accepted a position in England, where he has
+established another quartet.
+
+He was succeeded in the quartet at Leipzig and at the conservatory by
+Arno Hilf, a distinguished violinist with an enormous technique, who was
+born in 1858 and was taught by David, Roentgen, and Schradieck.
+
+Quartet playing in public was established in England in 1835, when the
+admirers of Joseph Dando, an excellent violinist, opened 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 October 12th, 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. Blagrove and Henry Gattie as first and second violins, Mr. Dando,
+viola, and Mr. Lucas, 'cello, for the more perfect study and
+presentation 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.
+
+The tide of public favour had now set in, and other quartets were
+formed, but none reached such excellence as that headed by Blagrove,
+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
+continued 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 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 reputation in Europe during recent
+years is the Bohemian Quartet, consisting of Carl Hoffmann, 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 Loeleberg, and Arnold Rose'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 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 concerts was given that season in
+Chickering Hall. While the excellence of the quartet was apparent from
+the start, there were comparatively 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 seating
+capacity about twice as large as that of the original hall.
+
+The second violin is Mr. Otto Roth,[2] a native of Vienna, who played
+for three years under the baton of Hans Richter, and came to Boston to
+play first violin in the Symphony Orchestra.
+
+[Footnote 2: Mr. Roth retired from the quartet in 1899 and his place
+was filled by Mr. Karl Ondricek.]
+
+Mr. Louis Svecenski, an excellent artist, who studied in the Vienna
+Conservatory, under Hellmesberger and Gruen, plays the viola, and the
+'cellist is Alwyn Schroeder, an artist, who had achieved a high
+reputation 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, Hartford, and Worcester, also Harvard,
+Yale, and Princeton Universities, besides occasional performances in
+more remote cities. In 1896 the quartet had given over eight hundred
+concerts since its formation.
+
+[Illustration: FRANZ KNEISEL]
+
+At the end of the Symphony season in Boston, in 1896, 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
+reputation it had acquired in America. "It would, indeed, be impossible
+to conceive greater perfection in the matter of ensemble, precision,
+delicacy, and all the qualities 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 Beethoven 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 perfection in
+quartet playing is only possible through long association.
+
+While virtuosity is not essential for quartet playing, good musicianship
+is very necessary. Patient and self-denying practice are absolute
+requisites.
+
+The love of chamber music is apparently growing in the United States,
+for in many of the large cities quartets have been established by good
+musicians, and the opportunities 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    | Place and Date   |
+                           |    of Birth.      |    of Death.     |
+-------------------------------------------------------------------
+Alessandro, Romano         | Italy       c1530 |    ?         ?   |
+Baltazarini                | Italy       c1550 |    ?         ?   |
+Farina, Carlo              | Italy       c1580 |    ?         ?   |
+Alberghi, Paolo            | Italy       c1600 |    ?         ?   |
+Biber, Henry J.            | England     c1600 |    ?         ?   |
+Cortellini, Camillo        | Italy       c1600 |    ?         ?   |
+Madorus, Giovanni          | Venice      c1600 |    ?         ?   |
+Manoir, Guillaume          |    ?        c1600 |    ?         ?   |
+Baltzar, Thomas            | Lubec        1630 | London      1663 |
+Bannister, John            | England      1630 | London      1679 |
+Lulli, Jean Baptiste de    | Florence     1633 | Paris       1687 |
+Strunck, Nicolas Adam      | Germany      1640 |    ?        1700 |
+Laurenti, Bartolomeo G.    | Bologna      1644 |    ?        1726 |
+Vitali, Tomasso            | Bologna     c1650 |    ?         ?   |
+Eccles, John               | London       1650 | London      1735 |
+Marini, Carlo Antonio      | Bergamo     c1650 |    ?         ?   |
+Corelli, Arcangelo         | Italy        1653 | Rome        1713 |
+Aschenbrunner, Christian H.| Alstettin    1654 | Jena        1732 |
+Bassani, Giovanni B.       | Padua        1657 | Ferrara     1716 |
+Vivaldi, Antonio           | Venice       1660 |    ?        1743 |
+Eccles, Henry              | London       1660 | London       ?   |
+Bannister, John, Jr.       | England      1673 | London      1735 |
+Albinoni, Thomas           | Venice       1674 | Venice      1745 |
+Hesse, Ernest Christian    | 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 |
+Senaille, Jean Baptiste    | Paris        1687 |    ?        1730 |
+Pisendel, Johann Georg     | Karlsburg    1687 | Dresden     1755 |
+Birckenstock, Johann A.    | Hesse        1687 | Eisenach    1733 |
+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      c1700 |    ?         ?   |
+Anderle, F.J.              |     ?       c1700 |    ?         ?   |
+Bitti, Martini             |     ?        1700 |    ?         ?   |
+Borghi, Luigi              |     ?          ?  |    ?         ?   |
+Brown, Abram               |     ?          ?  |    ?         ?   |
+Carbonelli, Stefano        | Rome        c1700 | London       ?   |
+Dalloglio, Domenico        | Venice      c1700 | 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        1705 |    ?        1770 |
+Czarth, Georg C.           | Deutschbrod  1708 | Mannheim    1774 |
+Benda, Franz               | Albenatky    1709 | Potsdam     1786 |
+Girauek, Fernandino        | Bohemia      1712 | Dresde      1761 |
+Benda, Johann              | Albenatky    1713 | Potsdam     1752 |
+D'Auvergne, Antoine        | France       1713 | Lyons       1797 |
+Clegg, John                | Ireland      1714 |    ?       c1750 |
+Hempel, George C.          | Gotha        1715 | Gotha       1801 |
+Fritz, Caspar              | Geneva       1716 | Geneva      1782 |
+Giardini, Felice           | Turin        1716 | Moscow      1796 |
+Mozart, Leopold            | Augsburg     1719 | Salzburg    1787 |
+Stamitz, Johann Carl       | Bohemia      1719 | Mannheim    1761 |
+Bini, Pasqualino           | Pesaro       1720 |    ?         ?   |
+Morigi, Angelo             |     ?          ?  | Parma       1788 |
+Lemiere                    |     ?          ?  | Paris       1771 |
+Pagin, Andre Noel          | Paris        1721 |    ?         ?   |
+Abel, Leopold A.           | Cothen      c1700 |    ?         ?   |
+Festing, Michael C.        | London         ?  | London      1752 |
+Ferrari, Domenico          | Piacenza       ?  | Paris       1780 |
+Enderle, Wilhelm C.        | Bayreuth     1722 | Darmstadt   1793 |
+Nardini, Pietro            | Tuscany      1722 | Florence    1793 |
+Lefebre, Jacques           | Prinzlow     1723 |    ?        1777 |
+Van Malder, Pierre         | Brussels     1724 | Brussels    1768 |
+Glaser, John Michel        | Erlangen     1725 |    ?         ?   |
+Hattasch, Dismas           | Hohenmant    1725 | Gotha       1777 |
+Gavinies, Pierre           | Bordeaux     1726 | Paris       1800 |
+Gow, Neil                  | Strathband   1727 | Inver       1787 |
+Pugnani, Gaetano           | Turin        1727 | Turin       1803 |
+Manfredi, Filippo          | Lucca        1729 | Madrid     c1780 |
+Gallo, Domenico            | Venice       1730 |    ?         ?   |
+Cannabich, Christian       | Mannheim     1730 | Frankfort   1798 |
+Lolli, Antonio             | Bergamo      1730 | Sicily      1802 |
+Vachon, Pierre             | Arles        1730 | Berlin      1802 |
+Goepfert, Charles F.       | Weissenstein 1733 | Weimar      1798 |
+Raimoni, Ignazio           | Naples       1733 | London      1802 |
+Lahoussaye, Pierre         | Paris        1735 | Paris       1818 |
+Haranc, Louis Andre        | Paris        1738 | Paris       1805 |
+Celestine, Eligio          | Rome         1739 |    ?          ?  |
+Weigl, Franz J.            | Bavaria      1740 | Vienna      1820 |
+Tomasini, Luigi            | Bohemia      1745 | Gotha       1805 |
+Jarnowick, Giovanni M.     | Palermo      1745 | St.              |
+                           |                   | Petersburg  1804 |
+Navoigille, Guillaume J.   | Givet        1745 | Paris       1811 |
+Paisible                   | Paris        1745 | St.              |
+                           |                   | Petersburg  1781 |
+Salomon, Johann Peter      | Boenn         1745 | London      1815 |
+Cambini, Giovanni G.       | Leghorn      1746 | Bicetre     1825 |
+Gervais, Pierre Noel       | Mannheim     1746 | Bordeaux    1805 |
+Stamitz, Carl              | Mannheim     1746 | Jena        1801 |
+Ghirett, Gaspar            | Naples       1747 | Parma       1827 |
+Leduc, Simon               | Paris        1748 | Paris       1787 |
+Mestrino, Niccolo          | Milan        1748 | Paris       1790 |
+Guerillot, Henri           | Bordeaux     1749 | Paris       1805 |
+Navoigille, Herbert J.     | Givet        1749 |    ?          ?  |
+Obermeyer, Joseph          | Bohemia      1749 |    ?          ?  |
+Bagatella, Antonio         | Padua        1750 |    ?          ?  |
+Almeyda, C.F.              |     ?       c1750 |    ?          ?  |
+Fuchs, Peter               | Bohemia      1750 | Vienna      1804 |
+Henry, Bonventure          |     ?       c1750 |    ?          ?  |
+Kriegck, J.J.              | Bebra        1750 | Meiningen   1813 |
+Sirmen, Maddalena          | Venice      c1750 |    ?          ?  |
+Woldemar, Michael          | Orleans      1750 | Clermont-        |
+                           |                   |  -Ferrand   1816 |
+Barthelemon, Francois H.   | Bordeaux     1751 |    ?        1808 |
+Campagnoli, Bartolomeo     | Cento        1751 | Neustrelitz 1827 |
+Lamotte, Francois          | Vienna       1751 | Holland     1781 |
+Berthaume, Isidore         | Paris        1752 | St.              |
+                           |                   | Petersburg  1802 |
+Kasska, Wilhelm            | Ratisbon     1752 | Ratisbon    1806 |
+Brunetti, Gaetano          | Pisa         1753 | Madrid      1808 |
+Janitsch, Anton            | Switzerland  1753 | Westphalia  1812 |
+Lem, Pierre                | Copenhagen   1753 |    ?          ?  |
+Fiorillo, Federigo         | Brunswick    1753 |    ?       c1800 |
+Stamitz, Anton             | Mannheim     1753 | Paris         ?  |
+Viotti, Giovanni B.        | Piedmont     1753 | London      1824 |
+Kranz, Johann F.           | Weimar       1754 | Stuttgart   1807 |
+Mosel, Giovanni F.         | Florence     1754 |    ?          ?  |
+Leduc, Pierre              | Paris        1755 | Holland     1816 |
+Fauvel, Andre Joseph       | Bordeaux     1756 |    ?          ?  |
+Lacroix, Antoine           | Remberville  1756 | Lubeck      1812 |
+Wranitzky, Paul            | Moravia      1756 | Vienna      1808 |
+Haack, Karl                | Potsdam      1757 | Potsdam     1819 |
+Rolla, Alessandro          | Pavia        1757 | Milan       1841 |
+Galeazzi, Francesco        | Turin        1758 | Rome        1819 |
+Liber, Wolfgang            | Donanworth   1758 | Ratisbon    1817 |
+Weberlin, Jean F.          | Stuttgart    1758 | Stuttgart   1825 |
+Bruni, Antonio B.          | Piedmont     1759 |    ?         ?   |
+Gautherot, Louise          |     ?        1760 |    ?         ?   |
+Guiliani, Francois         | Florence     1760 |    ?        1819 |
+Haack, Friedrich           | Potsdam      1760 |    ?         ?   |
+Krommer, Franz             | Kamenitz     1760 | Vienna      1831 |
+Neubauer, Franz C.         | Bohemia      1760 | Bueckeburg   1795 |
+Jarnewicz, Felix           | Wilna        1761 | Edinburgh   1848 |
+Wranitzky, Anton           | Moravia      1761 | Vienna      1819 |
+Wessely, Johann            | Bohemia      1762 |    ?         ?   |
+Bonnet, Jean Baptiste      | Montauban    1763 |    ?         ?   |
+Danzi, Franz               | Mannheim     1763 | Carlsruhe   1826 |
+Peshatschek, Francois      | Bohemia      1763 | Vienna      1816 |
+Alday, P                   | Perpignan    1764 |    ?         ?   |
+Lorenziti, Bernado         | Wuertemburg   1764 |    ?        1813 |
+Schlick, Regina (Sacchi)   | Mantua       1764 |    ?         ?   |
+Cartier, Jean Baptiste     | Avignon      1765 | Paris       1841 |
+LaCroix, Antoine           |     ?        1765 |    ?         ?   |
+Hampeln, Karl von          | Mannheim     1765 | Stuttgart   1834 |
+Eck, Johann F.             | Mannheim     1766 | Bamberg     1809 |
+Hunt, Karl                 | Dresden      1766 |    ?         ?   |
+Kreutzer, Rudolph          | Versailles   1766 | Geneva      1831 |
+De Volder, Pierre Jean     | Antwerp      1767 | Brussels    1841 |
+Romberg, Andreas           | Vechta       1767 | Gotha       1821 |
+Pauwels, Jean E.           | Brussels     1768 | Brussels    1804 |
+Spagnoletti, P.            | Cremona      1768 | London      1834 |
+Valmalete, Louis de        | Rieux        1768 |    ?         ?   |
+Grasset, Jean J.           | Paris        1769 | Paris       1839 |
+Paravicini, Signora        | Turin        1769 |    ?         ?   |
+Boucher, Alexandre Jean    | Paris        1770 | Paris       1861 |
+Gerbini, Luigia            |     ?        1770 |    ?         ?   |
+Girault, August            | Paris        1770 | Paris       1806 |
+Hoffmann, Heinrich Anton   | Mainz        1770 | Mainz       1842 |
+Baillot,                   |                   |                  |
+Pierre M.F. de Sales       | Passy        1771 | Paris       1842 |
+Festa, Guiseppe M.         | Naples       1771 |    ?        1839 |
+Labarre, Louis J.C.        | Paris        1771 |    ?         ?   |
+Vacher, Pierre Jean        | Paris        1772 | Paris       1819 |
+Lottini, Denis             | Orleans      1773 | Orleans     1826 |
+Vaccaro, Francesco         | Modena       1773 | Portugal    1823 |
+Eck, Franz                 | Mannheim     1774 | Strasburg   1804 |
+Rode, Pierre               | Bordeaux     1774 | Loire-et-        |
+                           |                   |     Garonne 1831 |
+Eberwen, Traugott M.       | Weimar       1775 | Rudolstadt  1831 |
+Libon, Philippe            | Cadiz        1775 | Paris       1838 |
+Schuppanzigh, Ignace       | Vienna       1776 | Vienna      1830 |
+Dobrynski, Ignace          | Volhyna      1777 | Warsaw      1841 |
+Giorgis, Joseph            | Turin        1777 |    ?         ?   |
+Kieserwetter, Cristophe G. | Anspach      1777 | London      1827 |
+Moralt, Johann B.          | Mannheim     1777 | Munich      1825 |
+Paravicini, Mme.           | Milan        1778 |    ?         ?   |
+Blanchard, Henri L.        | Bordeaux     1778 | Paris       1858 |
+Radicati, Felice A.        | Turin        1778 |    ?        1823 |
+Weiss, Franz               | Silesia      1778 |    ?         ?   |
+Bridgetower, George A.     | Poland      ?1779 |    ?       c1850 |
+Mueller, John Henry         | Koenigsberg   1780 |    ?         ?   |
+Habeneck, Francois A.      | Mezieres     1781 | Paris       1849 |
+Lafont, Charles Philippe   | Paris        1781 | Tarbes      1839 |
+Polledro, Giovanni B.      | Turin        1781 | Turin       1853 |
+Mazas, Jacques F.          | Beziers      1782 |    ?        1849 |
+Puppo, Felice A.           | Turin        1778 |    ?        1823 |
+Bohrer, Anthony            | Munich       1783 | Hanover     1852 |
+Linke, Joseph              | Silesia      1783 | Vienna      1837 |
+Paganini, Nicolo           | Genoa        1784 | Nice        1840 |
+Spohr, Louis               | Brunswick    1784 | Cassel      1859 |
+Zocca                      | Ferrara      1784 |    ?         ?   |
+Fontaine, Antoine N.M.     | Paris        1785 | St. Cloud   1866 |
+Lafonde                    |     ?        1785 |    ?         ?   |
+Eberwen, Karl              | Weimar       1786 | Weimar      1868 |
+Granafond, Eugene          | Compiegne    1786 |    ?         ?   |
+Pixis, Friedrich, Wilhelm  | Mannheim     1786 | Prague      1842 |
+Cudmore, Richard           | Chichester   1757 | Manchester  1841 |
+Guhr, Charles              | Militsch     1787 | Frankfurt   1848 |
+Berwald, Johann F.         | Stockholm    1788 | Stockholm   1861 |
+Fesca, Friedrich E.        | Magdeburg    1789 | Carlsruhe   1826 |
+Maurer, Ludwig             | Potsdam      1789 | St.              |
+                           |                   | Petersburg  1878 |
+Mayseder, Joseph           | Vienna       1789 | Vienna      1863 |
+Wery, Nicolas L.           | Liege        1789 | Luxemburg   1867 |
+Femy, Francois             | Ghent        1790 |    ?         ?   |
+Klose, J.                  | London       1790 | London      1830 |
+Lipinski, Karl Joseph      | Poland       1790 | Urlow       1861 |
+Goetz, Jean N.C.           | Weimar       1791 |    ?        1861 |
+Benesch, Joseph            | Batelow      1793 |    ?         ?   |
+Pichatschek, Francois      | Vienna       1793 | Carlsruhe   1840 |
+Filipowicz, Elizabeth M.   |     ?        1794 |    ?         ?   |
+Jansa, Leopold             | Bohemia      1794 | Vienna      1875 |
+Krahmer, Mme. Caroline     |     ?        1794 |    ?         ?   |
+Parmy, Joseph              | Austria      1794 | Mainz       1835 |
+Batta, Pierre              | Maastricht   1795 | Brussels    1876 |
+Bohm, Joseph               | Pesth        1795 | Vienna      1876 |
+Drin, Finlay               | Aberdeen     1795 | Edinburgh   1853 |
+Lacy, Michael R.           | Bilbao       1795 | London      1867 |
+Giorgetti, Fernandino      | Florence     1796 | Florence    1867 |
+Mori, Nicolas              | London       1796 | London      1839 |
+Calcagno, Catarina         | Italy        1797 |    ?         ?   |
+Collins, Isaac             |     ?        1797 | London      1871 |
+Girard, Narcisse           | Nantes       1797 | Paris       1860 |
+Mueller, Karl Friedrich     | Brunswick    1797 |    ?        1873 |
+Roberrechts, Andre         | Brussels     1797 | Paris       1860 |
+Rolla, Antoine             | Parma        1797 | Dresden     1837 |
+Tolberque, Jean B.J.       | Belgium      1797 | Paris       1869 |
+Coronini, Paolo            | Vincenza     1798 |    ?        1875 |
+Batta, Pantaleon           | Paris        1799 | Paris       1870 |
+Rudersdorff, J.            | Amsterdam    1799 | Koenigsberg  1866 |
+Gattie, Henry              |     ?        1800 |    ?         ?   |
+Hellmesberger, Georg       | Vienna       1800 | Newaldegg   1873 |
+Meerts, Lambert            | Brussels     1800 | Brussels    1863 |
+Mueller, Theodore Heinrich  | Brunswic     1800 |    ?        1855 |
+Nohr, Christian F.         | Thuringia    1800 | Meiningen   1875 |
+Schulz, Mlle. L.           |       ?      1800 |    ?         ?   |
+Wanski, Johann N.          | Posen       c1800 |    ?         ?   |
+Kalliwoda, Johann W.       | Prague       1801 | Carlsruhe   1866 |
+Saint Lubin, Leon de       | Turin        1801 | Berlin      1856 |
+De Beriot, Charles         | Louvain      1802 | Brussels    1870 |
+Ella, John                 | England      1802 | London      1888 |
+Labitzky, Joseph           | Schoenfeld    1802 | Carlsbad    1881 |
+Molique, Wilhelm Bernard   | Nuremburg    1802 | Stuttgart   1869 |
+Ries, Hubert               | Bonn         1802 | Berlin      1886 |
+Lomagne, Joseph            | Perpignan    1804 | Perpignan   1868 |
+Magnien, Victor            | Epinal       1804 | Lille       1885 |
+Kudelski, Karl Matthias    | Berlin       1805 | Baden-Baden 1877 |
+Pollini, Mme.              |     ?        1805 |    ?         ?   |
+Dando, Joseph H.B.         | London       1806 |    ?        1894 |
+Hartmann, Franz            | Coblentz     1807 | Cologne     1857 |
+Panofka, Heinrich          | Breslau      1807 | Florence    1887 |
+Sauzay, Moritz             | Moravia      1808 | Breslau     1885 |
+Bessems, Antoine           | Antwerp      1809 | Antwerp     1868 |
+Mueller, Franz F.G.         | Brunswick    1809 |    ?         ?   |
+Bull, Ole Borneman         | Bergen       1810 | Bergen      1880 |
+David, Ferdinand           | Hamburg      1810 | Switzerland 1873 |
+Ganz, Leopold              | Mainz        1810 | Berlin      1869 |
+Ghys, Joseph               | Ghent        1810 |    ?        1848 |
+Blagrove, Henry Gamble     | Nottingham   1811 | London      1872 |
+Hamm, Johann V.            | Winterhausen 1811 | Stuttgart   1834 |
+Sainton, Prosper Philippe  | Toulouse     1813 | London      1890 |
+Ernst, Heinrich Wilhelm    | Bruenn        1814 | Nice        1865 |
+Alard, Delphine J.         | Bayonne      1815 | Paris?      1888 |
+Artot, Alexandre J.M.      | Brussels     1815 | Paris       1845 |
+Dont, Jacob                | Vienna       1815 | Vienna      1888 |
+Sivori, Ernest Camillo     | Genoa        1815 | Paris       1894 |
+Zerchoff, Mlle.            |     ?        1815 |    ?         ?   |
+Batta, Alexandre           | Maastricht   1816 |    ?         ?   |
+Prume, Francois Herbert    | Liege        1816 | Liege       1849 |
+Deldevez, Ernest           | Paris        1817 | Paris       1897 |
+Goebel, Johann Ferdinand    | Baumgarten   1817 |    ?         ?   |
+Bazzini, Antonio           | Brescia      1818 | Milan       1897 |
+Dancla, Jean B. C.         | Bagnieres de      |                  |
+                           |    Bignon    1818 |    ?         ?   |
+Kramer, Traugott           | Codburg      1818 |    ?         ?   |
+Eller, Louis               | Graz         1819 | Pau         1862 |
+Hering, Karl               | Berlin       1819 |    ?        1889 |
+Leonard, Hubert            | Bellaire     1819 | Paris       1890 |
+Batta, Joseph              | Maastricht   1820 |
+Dreyschock, Raimund        | Bohemia      1820 | Leipzig     1869 |
+Keler-Bela                 | Hungary      1820 | Wiesbaden   1882 |
+Neumann, Louise            |              1820 |                  |
+Vieuxtemps, Henri          | Verviers     1820 | Algiers     1881 |
+Wallace, Eliza             | England      1820 |                  |
+Gautier, Karl              | Vaugirard    1822 | Vaugirard   1878 |
+Hauser, Miska              | Presburg     1822 | Vienna      1887 |
+Dancla, Leopold            | France       1823 |             1895 |
+Gaertner, Karl             | Stralsund    1823 |                  |
+Hermann, Constant          | Douai        1823 |                  |
+Eichberg, Julius           | Duesseldorf   1824 | Boston      1893 |
+Hullweck, Ferdinand        | Dessau       1824 | Blasewitz   1887 |
+De Kontski, Apollinari     | Warsaw       1825 | Warsaw      1879 |
+Bott, Jean Joseph          | Cassel       1826 |             1895 |
+Collins, Rosina            |              1826 |                  |
+Hauser, Maurice            | Berlin       1826 | Koenigsberg   1857 |
+Kundinger, August          | Kitzengen    1827 |                  |
+Milanollo, Teresa          | Turin        1827 |                  |
+Mollenhauer, Edward        | Erfurt       1827 |                  |
+Hellmesberger, Georg       | Vienna       1828 | Hanover     1853 |
+Hermann, Frederick         | Frankfort    1828 |                  |
+Huber, Karl                | Varjas       1828 | Pesth       1885 |
+Hellmesberger, Joseph      | Vienna       1829 | Vienna      1893 |
+Roentgen, Engelbert         | Holland      1829 |                  |
+Adelburg, August R. Von    |      ?       1830 |    ?        1873 |
+Arditi, Emilia             |      ?       1830 |                  |
+Garcin, Jules A. S.        | Bourges      1830 |    ?        1896 |
+Hennen, Friedrich          | Heerlen      1830 |                  |
+Remenyi, Edouard           | Hungary      1830 | SanFrancisco1898 |
+Zirges, Hortensia          |              1830 |                  |
+Bargheer, Karl Louis       | Bueckeburg    1831 |                  |
+Joachim, Joseph            | Kitsee       1831 |                  |
+Kassmayer, Moritz          | Vienna       1831 | Vienna      1884 |
+Koempel, August             | Bavaria      1831 | Weimar      1891 |
+Singer, Edmund             | Hungary      1831 |                  |
+Laub, Ferdinand            | Prague       1832 | Tyrol       1875 |
+Lauterbach, Johann C.      | Bavaria      1832 |                  |
+Milanollo, Maria           | Turin        1832 |             1848 |
+Becker, Jean               | Mannheim     1833 | Mannheim    1884 |
+Bennewitz, Anton           | Privat       1833 |                  |
+Graff, Carl                | Hungary      1833 |                  |
+Filby, Heinrich            | Vienna       1834 |                  |
+De Ahna, Heinrich K. H.    | Vienna       1835 | Vienna      1892 |
+Jaffe, Moritz              | Posen        1835 |                  |
+Monasterio, Jesus          | Potes (Spain)1835 |                  |
+Strauss, Ludwig            | Pressburg    1835 |                  |
+Wieniawski, Henry          | Poland       1835 | Moscow      1880 |
+Besekirskij, Wasil W.      | Moscow       1836 |                  |
+Carrodus, John T.          | Keighley     1836 | London      1895 |
+Holmes, Alfred             | London       1837 | Paris       1876 |
+Gruen, Jacob                | Buda-Pesth   1837 |                  |
+Brousil, Bertha            |     ?        1838 |                  |
+Piercy-Feeny, Mme.         |              1838 |                  |
+Neruda, Wilhelmina (Lady   |                   |                  |
+  Halle)                   | Bruenn        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             | Hulbroenn     1844 |                  |
+Sarasate, Pablo de         | Pampeluna    1844 |                  |
+Auer, Leopold              | Hungary      1845 |                  |
+Singelee, Louise           |              1845 |                  |
+Castellan, Mlle            |              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       1851 |                  |
+Sauret, Emil               | Dun-le-Roi   1852 |                  |
+Boulanger, Mlle.           |              1853 |                  |
+Meyer, Waldemar            | Berlin       1853 |                  |
+Zajic, Florian             | Bohemia      1853 |                  |
+Ferrari, Signora Elvira    |              1854 |                  |
+Hermant, Mlle.             |              1854 |                  |
+Drechsler-Hamilton, Mme    | Agnes        1855 |                  |
+Hollaender, Gustav          | Silesia      1855 |                  |
+Sahla, Richard             | Graz         1855 |                  |
+Kess, Wilhelm              | Dordrecht    1856 |                  |
+Petri, Henri Wilhelm       | Utrecht      1856 |                  |
+Thomson, Cesar             | Liege        1857 |                  |
+Barcevicz, Stanislaus      | Warsaw       1858 |                  |
+Hilf, Arno                 | Saxony       1858 |                  |
+Huber, Eugen (Jeno Hubay)  | Budapest     1858 |                  |
+Halir, Karl                | Hohenlohe    1859 |                  |
+Hess, Willie               | Mannheim     1859 |                  |
+Ondricek, Franz            | Prague       1859 |                  |
+Ysaye, Eugene              | Liege        1859 |                  |
+Loeffler, Charles Martin   | Alsace       1861 |                  |
+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          | Bruenn        1865 |                  |
+Kneisel, Franz             | Roumania     1865 |                  |
+Carpenter, Nettie          | New York     1865 |                  |
+Dunn, John                 | Hull         1866 |                  |
+Wietrowitz, Gabrielle      | Laibach      1866 |                  |
+Dengremont, Maurice        | Rio Janeiro  1867 |    ?       c1887 |
+Gregorowitsch, Charles     | St.               |                  |
+                           | Petersburg   1867 |                  |
+Tua, Teresina              | Turin        1867 |                  |
+Powell, Maud               | Aurora, Ill. 1868 |                  |
+Sapellnikoff               | Odessa       1868 |                  |
+Burmester, Willy           | Hamburg      1869 |                  |
+Petschnikoff, Alexander    | Moscow       1873 |                  |
+Marteau, Henri             | Reims        1874 |                  |
+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,
+     71-75, 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.
+Beauharnais, Eugene, 307.
+Becker, Hans, 356.
+Becker, Jean, 353, 354, 355.
+Beethoven, L. von, 57, 77, 91, 205, 225,
+     231, 352, 254, 290, 333, 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.
+Blagrove, H.G., 97, 170, 358.
+Boccherini, L., 76.
+Bohemian Quartet, 360, 363.
+Boehm, 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.
+Buelow, Hans Von, 291, 292, 293, 315.
+Bunn, 247.
+Bunzl, 294.
+Burmester, Willy, 286-293, 333.
+Burney, Doctor, 43, 55, 56.
+
+Calcagno, Caterina, 111, 154, 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.
+Clementi, 86.
+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, 351, 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.
+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.
+Festing, 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.
+Goergey, General, 206.
+Gotha, Duke of, 86.
+Gounod, C., 294.
+Graun, 49, 56.
+Gregorowitsch, C., 241, 284, 286.
+Gruen, Jacob, 242, 283, 362.
+Guiraud, 279.
+
+Habeneck, 68, 78-80, 93, 145, 309.
+Halir, Carl, 256, 276-278, 283.
+Halle, Lady (Mme. Norman-Neruda), 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., 337.
+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, Mlle., 143.
+Hummel, 245.
+Hunt, L., 133.
+
+Isabella, Queen, 226.
+
+Jackson, 17.
+Jackson, Leonora, 326, 342, 343.
+Jacobsen, 326.
+Jacotot, 139.
+Jaffe, Sophie, 336.
+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, 83.
+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.
+Koempel, 97.
+Kossuth, 206.
+Krahmer, 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, 36.
+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.
+Manfredi, 49.
+Mapleson, 207.
+Mara, G.E., 302, 305.
+Marchesi, 105.
+Margherita, Queen, 324.
+Maria Theresa, 296.
+Marini, B., 15.
+Marsick, M., 28, 68, 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, 101.
+Meck, Countess of, 222.
+Mell, D., 19.
+Mendelssohn, 161, 246, 247, 278, 279,
+     329, 331, 342, 351.
+Meneke, 360.
+Metternich, Count, 114.
+Milanollo, M., 310.
+Milanollo, T., 29, 68, 309, 313, 352.
+Mingotti, 53.
+Molique, B.H., 70, 162, 169, 241, 294.
+Montes, Lola, 216.
+Montebello, Duke of, 187.
+Morgan, Geraldine, 338, 339, 340.
+Mori, 68.
+Morra, 309.
+Mozart, L., 54.
+Mozart, W., 24, 58, 306, 307, 322, 323, 358.
+Murska, Ilma di, 265.
+Musaeus, 180, 181.
+
+Nagel, 150.
+Napoleon, 89, 90, 112.
+Napoleon III., 230.
+Nardini, P., 24, 49, 50, 54, 55, 73, 303.
+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, 208.
+
+Occa, Victoria dall', 307.
+Ondricek, F., 267, 278.
+Ottey, Sarah, 302.
+Ottoboni, Cardinal, 31.
+Ourosoff, 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, 100-134,
+     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.
+Paravicini, Mme., 68, 307.
+Parmentier, Captain, 310.
+Pasdeloup, 280, 321.
+Pasini, 109.
+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, 36, 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.
+Roeger, 330.
+Rolla, 105, 106.
+Roentgen, 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., 33, 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.
+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, 154-161, 167, 168, 231, 294.
+Soldat, M., 257, 326, 327-330, 342, 353.
+Somis, 28, 29, 35, 51, 53.
+Sontag, H., 143, 233.
+Soubre, E.J., 163.
+Spain, Queen of, 230, 324.
+Spohr, L., 26, 75, 82-99, 158, 159, 162,
+     170, 178, 182, 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.
+Suessmayer, 120.
+Svecenski, L., 362.
+Sweden, King of, 198.
+
+Tartini, G., 29, 43, 44-51, 52, 54, 101, 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, 246.
+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, 150.
+Wallace, Eliza, 308.
+Wasielewski, 244.
+Weber, 94.
+Weiss, A., 249.
+Werner, H., 312, 313.
+Wieniawski, 70, 136, 138, 154, 218-226, 231,
+     270, 271, 273, 285, 337.
+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, 233.
+Wood, Mrs., 302.
+
+Young, 18.
+Ysaye, 237, 239, 263, 269, 276, 334, 335.
+
+Zampieri, Marquis, 189.
+Zerbst, Theresa, 277.
+Zerchoff, Mlle., 308.
+
+
+
+
+
+End of the Project Gutenberg EBook of Famous Violinists of To-day and
+Yesterday, by Henry C. Lahee
+
+*** END OF THIS PROJECT GUTENBERG EBOOK FAMOUS VIOLINISTS ***
+
+***** This file should be named 14884.txt or 14884.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/4/8/8/14884/
+
+Produced by Juliet Sutherland, Chuck Greif, Leonard Johnson and the
+Online Distributed Proofreading Team.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/14884.zip b/14884.zip
new file mode 100644
index 0000000..cc4ffea
--- /dev/null
+++ b/14884.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..5dd77dd
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #14884 (https://www.gutenberg.org/ebooks/14884)