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M. Gregorowitsch is remarkable for a large tone, and in the smoothness and finish of his playing he has been compared with Sauret and with Sarasate. A far greater sensation was caused in America by Willie Burmester than by Gregorowitsch. Burmester was born in Hamburg in 1869, and received his first instruction from his father.
"If one known pupil of Joachim," he wrote, "will appoint a meeting to interview me on the subject, I shall be glad to continue it." But the one known pupil did not come. The complaint of Mr. Burmester, that the one idea at the Hochschule is technique, is not new by any means.
Burmester accepted the invitation, and, going to the rehearsal, found vacant a seat amongst the first violins, which he took. The rehearsal was about to commence when Von Büllow paused and asked, "Which of you gentlemen is Burmester?" The young fellow approached Von Büllow, who had motioned him to come. "Mr. Burmester," he said, "I have no desk in the first row to offer you or it would be yours.
Henri Petri, a Vieuxtemps pupil who went to Joachim, played just as well when he came to him as when he left him. The same might be said of Willy Burmester, Hess, Kes and Halir, the latter one of those Bohemian artists who had a tremendous 'Kubelik-like' execution. Teaching is and always will be a special gift. There are many minor artists who are wonderful 'teachers, and vice versa!
This announcement brought forth a deluge of letters from "pupils of Joachim," and in a couple of weeks Burmester wrote another letter stating that he did not know the Hochschule had as many pupils as those who had claimed Joachim as their teacher, and who were all unknown.
Burmester comes from an obscure town, unheralded, and, in the face of indifference, prejudice, and jealousy, conquered the metropolis off-hand. For nearly half an hour recall followed recall." The following season he created an equal impression in London, and shortly afterward in America. His technique has been described as "marvellous, almost diabolical."
I think Burmester had forced the tone, and it took me some time to make it mellow and truly responsive again, but now...." Mr. Elman beamed. It was evident he was satisfied with his instrument. "As to strings," he continued, "I never use wire strings they have no color, no quality! "For the advanced student there is a wealth of study material.
He has undoubted musical talent and great ability, but while he may be a celebrated violinist he can hardly yet be considered a great one, notwithstanding the furore which he caused in Berlin. Burmester plays with unassuming simplicity and without cheap display. He is sincere, but without authority or distinction of style.
"Of course, the instrument the artist uses is an important factor in making it possible for him to do his best. My violin? It is an authentic Strad dated 1722. I bought it of Willy Burmester in London. You see he did not care much for it. The German style of playing is not calculated to bring out the tone beauty, the quality of the old Italian fiddles.
Burmester was then only sixteen years old, but his sympathy was with Von Büllow, and he wrote a letter to him offering his services, and expressing his contempt for the injustice to which he was being subjected. Von Büllow invited him to attend the rehearsals, and printed the letter which he had received.
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