Famous Violinists of To-day and Yesterday

ife has been interwoven with the lives of the greatest musicians of his day, as one of the greatest educato

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re 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

er, 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 B?hm 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 th

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 firs

d 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

lebrated 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, whe

n 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

emselves 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 grea

ifferently 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,

rminated 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 feelin

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

id, 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, fir

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

(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 brough

rto" is a creation of real grandeur, built up in noble symphonic proportions. Most of his works are of a g

nstration was made in his honour by the public, who subscribed a sum of about $6,000, with which was purchased an instrument of wonderful be

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 fro

the military bands stationed in Berlin. The audience rose in a body and added its cheers to the noise of the trumpets.

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

ist 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

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

young man who desired to become a great v

to study for the min

ster than a poor violinist," said Jo

received high salaries, he is not rich. He seldom refuses to play gratis for any reall

urished, and sunk into oblivion, but the light of Joachim has shone steadily for more than sixty y