e young
violinist showed unswerving loyalty, and it is now one of his greatest
desires to reach a point of independence which will enable him to build
a monument to Von Buelow's memory.

In 1893 a sensation was created in America by the visit of Henri
Marteau, a young French violinist whose excellent playing and charming
personality delighted all who heard him. Marteau was called "the
Paderewski of the Catgut," and he met with a most cordial reception
among musicians.

Marteau was born at Reims in 1874. His father was an amateur violinist
and president of the Philharmonic Society of Reims. His mother was an
accomplished pianist, a pupil of Madame Schumann. He therefore had
every advantage in his early youth for the development of musical taste.
When he was about five years of age Sivori paid a visit to the family,
and was so charmed with the little fellow that he gave him a violin, and
persuaded his parents to let him become a professional violinist.
Marteau now began to take lessons of Bunzl, a pupil of Molique, but
three years later he went to Paris, and was placed under Leonard. In
1884, when ten years of age, he played in public before an audience of
2,500 people, and in the following year he was selected by Gounod to
play the obligato of a piece composed for the Joan of Arc Centenary
celebration at Reims, which piece was dedicated to him.

In 1892 Marteau carried off the first prize for violin playing at the
Paris Conservatoire, and Massenet, the celebrated French composer, wrote
a concerto for him.

When Marteau played in Boston at the Symphony concerts he received
twelve recalls, and immediately became the idol of the hour. The
concerto selected was that in G minor by Bruch, and it was played
without a rehearsal, a fact which reflects great credit on the
orchestra, which was at that time conducted by Mr. Arthur Nikisch.

In the following year Marteau again visited America and brought with him
a concerto composed for him by Dubois. This was played for the first
time by the Colonne orchestra, with Marteau as soloist, at Paris, on
November 28, 1894, and again on the following Sunday. It was next given
at Marseilles on December 12th, and the next performances were at
Pittsburg, Louisville, and Nashville during the second American tour.

Marteau's tone is large, brilliant, and penetrating. His technique is
sure, and he plays with contagious warmth of sentiment and great
artistic charm.

The violin which he us