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Updated: June 11, 2025
Once he marched a stupid boy out of the room by the ear and told him never to come back again. If she should be treated like that it would really break her heart. She would try her best to attend to all that was said and to do everything just right. Massart might storm and rage about the room, but it should not be from any neglect on her part. Altogether it was not a very lovely life.
Then she would return to Paris and to dear old Massart. In spite of his severe discipline he was a good man at heart and she loved him dearly. She owed everything to him and she could never half pay him for his generosity in helping her in her days of poverty. He was very unwilling to part with his favorite pupil and wanted her to stay in Paris and continue her lessons. It would cost her nothing.
We do not consider the first violinist a soloist and the rest merely his accompaniment, but each member of the quartet is practically of equal importance. Lambert Joseph Massart, the eminent teacher of Paris, is said to have been an excellent quartet player, and often, with his wife, an admirable pianist, he gave delightful chamber concerts.
Camilla was sure he did not like her style of bowing. The very next day after the journey was over Camilla returned to the little room in the corner of the Conservatory and took her place by the window that looked out into the court-yard where the school bell hung in its tower, where she could see fat and rosy Massart tramp up and down the floor and scold the boys in his dear, cross old fashion.
She looked pale and pinched enough, poor child, and her dress was too small for comfort. Something must be done or they would all starve. They must take her away from the Conservatory or find more money. In their distress they applied to Massart and the officers of the Conservatory. The master was very angry. “What! Go away for six months! Give concerts!
In his early youth he was a member of a dance music band, and his father taught him to play the violin. It was not until he was fourteen years of age that he was able to enter the conservatory of his native town. Three years later he was sent, through the generosity of a wealthy merchant, to Paris, where he became a pupil of Massart.
There was nothing to do, but to accept and enjoy the great reward that had crowned their exertions. The new dresses, the parting with dear old Massart and the anticipation of the voyage absorbed Camilla’s thoughts, and the sailing day arrived almost too soon. The trunks were packed and the carriage came to the door. It was a sad parting for fond mother and affectionate little girl.
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.
Camille Marie Pleyel was another fine Parisian pianist, and a pupil of Moscheles and other great masters. Schumann gave high praise to her performances. She, too, published a number of piano works. Louise Massart, who succeeded Mme. Farrenc as a Conservatoire professor, was another piano composer of note. Among contemporary pianist-composers, Berthe Marx takes high rank.
You will find little in the way of fingering indicated in the old editions of Kreutzer. It was not till long after Kreutzer's death that his pupil, Massart, published an excellent little book, which he called 'The Art of Studying R. Kreutzer's Études' and which I have translated.
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