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 class for
organ, in 1872 classes for brass instruments, double-bass, and solo
vocalists, in 1873 a chorus class. In 1875 the Royal Academy of Arts was
reorganised and became the 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 _cum 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 'classics' of the art, instead of adhering exclusively as of
old to their own fantasies and _jeux de marteaux_. One composition after
another by the 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 att