lect and the imagination.
The violin performance of Wilhelmj exhibits this just proportion more
perfectly than the work of any other artist of whom we have personal
knowledge. Wilhelmj himself has said, 'After all, what the people want
is intellectual playing,' that is, playing with a clear under
standing."

Neither his character nor his playing was of such a nature as to appeal
to the great mass of people in the way in which Remenyi and Ole Bull won
their hearts. Wilhelmj was massive in person and in tone. He stood for
dignity in his actions, appearance, and playing, and was honoured by the
more cultivated and educated portion of the people.

He is regarded by musicians as one of the greatest violinists who ever
visited America, and at the present day visiting artists are spoken of
as "one of the best since Wilhelmj," or, "not to be compared with
Wilhelmj," and by many Ysaye is regarded as "the best--since Wilhelmj."

Martin Pierre Joseph Marsick, who was born at Jupille, near Liege, on
March 9, 1848, is one of the foremost solo and quartet violinists of the
day, with a remarkable technique and admirable intelligence, power, and
fire.

When eight years of age he was placed at the music school at Liege,
where in two years he gained the first prize in the preparatory classes.
In 1864 he secured the gold medal, which is awarded only to pupils of
extraordinary talent.

[Illustration: MARTIN PIERRE JOSEPH MARSICK]

He now entered the Brussels Conservatoire, where his expenses were met
by a lady who was a musical enthusiast, and he studied for two years
under Leonard, working at the same time in composition under Kufferath.
In 1868 he went to Paris, where he studied for a season under Massart.

In 1870 Marsick proceeded to Berlin, where, through the instrumentality
of a government subvention, he was enabled to study under Joachim. After
that he began to travel, and soon acquired a great reputation. He was
said to equal, if not exceed, Sarasate in the wonderful celerity of his
scales, and in lightness and certainty. His tone is not very full, but
is sweet and clear. His playing is also marked by exceptional
smoothness, scholarly phrasing, and graceful accentuation, but, in
comparison with some of the other great players, he lacks breadth and
passion. He appeals rather to the educated musician than to the general
public, and for that reason many people were somewhat disappointed when
he played in the United States in 1