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Updated: June 20, 2025
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.
When the Indian recovered sufficiently to give an account of himself to Marteau, who understood his language perfectly, he told him, to the surprise of all, that his double wound was indeed the result of an accident, and, moreover, that he had done the deed with his own hand.
The peasantry might have said then, what was said long after by Voltaire: "Il faut etre dans ce monde enclume ou marteau; j'etais ne enclume." Voltaire, however, speedily became a hammer, and after 1789 the Tiers Etat also became a hammer, and the Noblesse the anvil. In Iceland there were underground retreats, as we learn from the same Saga that tells us of those in Aquitaine.
Messieurs Goubin and Jean Marteau having arrived, Monsieur Bergeret put them in touch with the conversation. "We were speaking of him whom my mother caused to be born gardener at Saint-Omer and whom she christened. He existed from that time on." "Dear master, will you kindly repeat that?" said Monsieur Goubin, wiping the glass of his monocle. "Willingly," replied Monsieur Bergeret.
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.
You all know what consideration Williams bestowed on the hammer, or the ship carpenter's mallet, which is the same thing. Gentlemen, I give you another great hammer Charles the Hammer, the Marteau, or, in old French, the Martel he hammered the Saracens till they were all as dead as door-nails he did, believe me." "Charles Martel, with all the honors."
He just left everything standing which were mostly only what he couldn't take away with him anyhow. "That fall one of t' Frenchmen stowed away in t' woods when their ship was getting ready for home. His name was Louis Marteau; and his vessel had no sooner gone than in he goes and lives in Bill's house across t' cove.
For young lovers at their windows; for every one fortunate enough to have seen it: "Qu'il est joli ce paysage du Paris nocturne d'il y a cent ans!" Christopher Marteau was a warden of the corporation of Luthiers. He dealt in musical instruments, as his father and grandfather had done before him, at the sign of Saint Cecilia.
"He corrected the bad effect of these egotistical expressions by employing quantities of adjectives, and he is often spoken of, most often without judgment." "I do not understand," said Monsieur Goubin. "It is not necessary to understand," replied Jean Marteau. And he begged Monsieur Bergeret to speak of Putois. "It is very kind of you to ask me," said the master.
This cannot be said of his most inelegant "Valse Élégante," or of his numerous dances, except, perhaps, his "Valse Caprice." He won in July, 1899, the prize offered to American composers by Henri Marteau, for a sonata for violin and piano. The jury was composed of such men as Dubois, Pierné, Diemer, and Pugno.
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