Famous Violinists of To-day and Yesterday Part 5

"Then from one chord of his amazing sh.e.l.l 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, Ma.s.sart, Vieuxtemps, Leonard, Wieniawski.

Lambert Joseph Ma.s.sart 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 munic.i.p.al 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 a.s.signing any reason for his decision, but Rudolph Kreutzer took upon his shoulders the task of forming the future artist.

Notwithstanding Ma.s.sart'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 Ma.s.sart's shyness and modesty. Ma.s.sart 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 Ma.s.sart 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 Ma.s.sart 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 Ma.s.sart, 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.

Ma.s.sart 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 n.o.ble 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 ill.u.s.trious 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 a.s.siduously 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 ba.s.so. 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 cla.s.ses 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 Brunn 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 l.u.s.tre 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 pa.s.sion 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 sh.o.r.es, 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 compet.i.tion. Musical culture was, at that time, in a very low state in America, and one may judge somewhat of its progress by the press 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 pa.s.sion. 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 pa.s.sions,--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 gla.s.s, 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 seash.o.r.e, 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 b.u.t.ton, 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.