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Moussorgsky preceded Debussy in his use of whole-tone harmonies, and a contemporary of Debussy, and an equally gifted musician, Martin Loeffler, was experimenting before Debussy himself in a dark but delectable harmonic region.
He has a technique equalled by few, and his performances have been confined to music of the highest class. Mr. Loeffler has never made a tour of the country as a virtuoso, but as soloist of the orchestra he has been heard under the best conditions in most of the large cities of the United States, and has shown himself to be a virtuoso in the best sense of the word. As a composer Mr.
About that time, however, two scientists, Klebs and Loeffler, discovered that, by taking some of the membrane, or tough growth that forms in the throat in this disease, and by rubbing it over a plate of gelatin jelly, they could grow on that gelatin a particular kind of germ. This germ, or bacillus, they then put into the throats of guinea pigs, and found that it would give them diphtheria.
Charles Martin Loeffler, who shares the first desk of the first violins in the Boston Symphony Orchestra with Mr. Kneisel, is a musician of the highest ability. He was born in Muhlhausen, Alsace, in 1861. He enjoyed the advantages of instruction under Joachim, in Berlin, after which he continued his studies in Paris, with Massart and Leonard, studying composition with Guiraud.
Loeffler is distinctly original and imaginative. His works are both poetical and musical, and they display high thought and exceptional knowledge. His compositions include a sextet, a quintet, and an octet, also a suite for violin and orchestra, "Les Veillées de l'Ukraine;" a concerto for violoncello, which has been played by Mr.
For Loeffler is one of those exquisites whose refinement is unfortunately accompanied by sterility, perhaps even results from it. But for his essential uncreativeness, he might well have become the composer uniquely representative of the artistic movement in which the late nineteenth-century refinement and exquisiteness manifested itself.
The significant work of the most considerable musicians of our time of Strauss, Debussy, Loeffler, d'Indy has few essentially romantic characteristics. It is necessary to distinguish between that fatuous Romanticism of which Mr.
One comes to the conclusion that perhaps the most significant and symbolic thing in the career of Charles Martin Loeffler is his place of residence.
Loeffler crossed the Atlantic, and took up his residence in New York, but the following year he was engaged as second concert-master and soloist in the Boston Symphony Orchestra, a position which he has held ever since, and in which he has had opportunity to display his exceptional talents. As a violinist he plays with largeness of style, boldness of contrast, and exquisite grace.
I remember once when he was trying to explain the perfect crescendo to me, fire-engine bells began to ring in the distance, the sound gradually drawing nearer the house in Charles Street where I was taking my lesson. 'There you have it! Loeffler cried: 'There's your ideal crescendo!
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