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.



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.



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.

THE END