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Yet he is lacking in personal magnetism, and is a player for the musically cultivated rather than for the multitude, though his technique fills the listener with wonder. He visited the United States in 1896, and was, like Marsick, compared with Ysaye, who at that time swept everything before him and carried the country by storm.
For our bow technic he employed difficult passages made into études. Scales the violinist's daily bread we practiced day in, day out. Marsick played the piano well, and could improvise marvelous accompaniments on his violin when his pupils played. I continued my studies with Marsick even after I left the Conservatoire.
For Ysaye is the greatest exponent of that wonderful Belgian school of violin playing which is rooted in his teachers Vieuxtemps and Wieniawski, and which as Ysaye himself says, "during a period covering seventy years reigned supreme at the Conservatoire in Paris in the persons of Massart, Remi, Marsick, and others of its great interpreters."
Among its early friends were MM. Alphonse Duvernoy, Diémer, Pugno, Delsart, Breitner, Delaborde, Ch. de Bériot, Fissot, Marsick, Loëb, Rémy, and Holmann. With such patronage, La Trompette soon acquired fame in the musical world, and "it represented in classical chamber-music the semi-official part played by the Société des Concerts du Conservatoire in classical orchestral music.
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.
Marsick and Ondricek had preceded him by a few weeks, but Sauret did not suffer by comparison. One of the most remarkable violinists of the present day is César Thomson, who was born at Liège in 1857.
Martin Pierre Joseph Marsick, who was born at Jupille, near Liège, 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 Liège, where in two years he gained the first prize in the preparatory classes.
In 1844 he appeared at Leipzig, and created a deep impression by the beauty of his tone and his elegant performance. He travelled through Europe and played chiefly his own compositions, of which there are a great many, but his greatest fame was earned after he was appointed professor at the Brussels Conservatoire, where he had many pupils, of whom the most celebrated is, perhaps, Martin Marsick.
Many of the great violin names, in fact, Vieuxtemps, Léonard*, Marsick, Remi, Parent, de Broux, Musin, Thomson, are all Belgian." Ysaye spoke of Vieuxtemps's repertory only he did not call it that: he spoke of the Vieuxtemps compositions and of Vieuxtemps himself. "Vieuxtemps wrote in the grand style; his music is always rich and sonorous.
From Alard we have Sarasate, and from Léonard, Marsick and Dengremont, while through Rode we have Böhm, and from him a large number of eminent violinists, including G. Hellmesberger, Ernst, Dont, Singer, L. Strauss, Joachim, Rappoldi. Some of them we shall refer to at length as great performers, others were celebrated more as teachers.
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