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Updated: June 11, 2025
Thibaud does not see any great difference between the ideals of la grande école belge, that of Vieuxtemps, De Bériot, Léonard, Massart and Marsick, whose greatest present-day exponent is Eugène Ysaye, and the French. Himself a pupil of Marsick, he inherited the French traditions of Alard through his father, who was Alard's pupil and handed them on to his son.
The matter has recently been subjected to critical and experimental studies by the Belgian botanist Massart, who has shown that by transplanting the forms into the alternate conditions, the change may always be brought about artificially.
Solid work, grand concertos, sonatas and solos passed under her hand in review and in an artistic atmosphere, she began to grow to the stature of an artist while only a child. The boys in the class soon laid aside their rude manners and forgot their jealousy in admiration. Massart laughed at them and said: “Fie! Boys!
As for the boys they had to take it sharp and heavy. Then that little finger on her right hand. It would spring up as she moved the bow. Massart said very pleasantly that she must keep it down. She put it down but presently it flew up again and then came a stinging blow from the slender stick that was not so pleasant.
Noble houses, dynasties of sovereigns, descendants of millionaires all follow the common law which, here again, serves to confirm the inductions in this sense, equalitarian of science and of socialism. MASSART and VANDERVELDE, Parasitism, organic and social. LAPOUGE, Les sélections sociales, in Revue d' anthrop., 1887, p. 519. LORIA, Discourse su Carlo Darwin, SIENNE, 1882.
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."
Liszt rose and bowed, and presently, in response to the continued applause, he said: "I am always the humble servant of the public. But do you wish to hear the fantasia before or after the sonata?" Renewed cries of "Robert" were the only reply, upon which Liszt turned half around to Massart and dismissed him with a wave of the hand, but without a word of excuse or apology.
At first the boys sneered at her and resented her presence. Not content with this they tried to annoy her with rudeness and to plague her with boyish pranks. She took it all patiently, replied to nothing and clung to her violin in stubborn silence. Massart was a large, rosy faced man with an uncertain temper.
His two sons played the violin and the father wished them placed under Massart’s instruction. Camilla came in during the interview and quietly waited till it was over. The two boys played for the master and Camilla sat near by in silence. Then Massart asked her to play. She did so and the American was so much pleased that he asked her name and residence.
Once a week she spent an hour or two in playing with three others at the Conservatory and in this way heard much fine music and accustomed her young eyes to read the notes quickly and taught her slender fingers to interpret the music at command. Not all of her days were happy. Massart was dreadfully cross at times. He would detect the slightest flaw in the work.
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