Famous Violinists of To-day and Yesterday Part 10

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 Bohm 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 cla.s.s for organ, in 1872 cla.s.ses for bra.s.s instruments, double-ba.s.s, and solo vocalists, in 1873 a chorus cla.s.s. 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 _c.u.m 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 'cla.s.sics' 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 friends.h.i.+p 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 musicians.h.i.+p. Unsurpa.s.sed 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 n.o.ble 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-ba.s.ses, and of these all except the double-ba.s.ses 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, w.i.l.l.y 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-ba.s.ses, 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 l.u.s.tre, 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 cla.s.sics 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 pa.s.ses 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 h.e.l.lmesberger. He became second violin in the celebrated h.e.l.lmesberger 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.

[Ill.u.s.tration: 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 p.r.o.nounced conservative and conscientious to the last degree in handling the cla.s.sics, and, although he has great individuality, pa.s.sion, 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.