icianship. Unsurpassed 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 noble 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-basses, and
of these all except the double-basses had been pupils of Joachim, the
violas a