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Updated: June 14, 2025
Paganini, Wieniawski, etc., are mainly mediums of display. Most of the great violinists, Ysaye, Thibaud, etc., during recent years are reverting to the violin sonatas. Ysaye, for instance, has recently been playing the Lazzari sonata, a very powerful and beautiful work.
"Yes," drily; "and we saw Sothern and Marlowe and had dinner at the Holland. The rest of the time we talked shop. That was the first visit. The second was more exciting still; we talked shop ALL the time and you took the six o'clock train home again." "You're wrong there. I saw the new loan collections at the Metropolitan and heard Ysaye play at Carnegie Hall.
As Ysaye says: "Performances of these great sonatas call for two artists for their piano parts are sometimes very elaborate. César Franck sent me his sonata on September 26, 1886, my wedding day it was his wedding present! I cannot complain as regards the number of works, really important works, inscribed to me.
Take Sarasate, when he lived, Elman, myself we all have the habit of the Stradivarius: on the other hand Ysaye and Kreisler are Guarnerius players par excellence!
I telegraphed him but found that he could not get back in time before the concert to release my violin. So I telegraphed Ysaye at Namur, to ask if he could loan me a violin for the concert. 'Certainly' he wired back. His brother-in-law and some friends accompanied me from Namur to Ostende no great distance to hear the concert.
He was compared with Ysaye, a player of an entirely different stamp, and he suffered in popular estimation by the comparison. To this period also belong a number of excellent violinists whose names are seldom heard in America. Edmund Singer, a Hungarian, born in 1831, by dint of hard work and talent reached a high position.
Ysaye, perhaps, with his golden tone, comes nearest to my idea of what violin mastery should be, both as regards breadth and delicacy of interpretation. And guide-posts along the long road that leads to mastery of the instrument? Individuality in teaching, progress along natural lines, surety in bowing, a tone-production without forcing, cultivating a sense of rhythm and accent.
With him, every faculty is in harmony; he has not even too much of any good thing. There are times when Busoni astonishes one; Ysaye never astonishes one, it seems natural that he should do everything that he does, just as he does it.
The student, perhaps, can learn more from César Thomson than from Ysaye, but he will receive from the latter the greater inspiration. Ysaye is noted, too, for sincerity of purpose and seriousness such as few of the virtuosi have possessed. He is free from all traits of charlatanism and trickery.
Then the Kreutzer Sonata began, and I looked at Ysaye, as he stood, an almost shapeless mass of flesh, holding the violin between his fat fingers, and looking vaguely into the air. He put the violin to his shoulder. The face had been like a mass of clay, waiting the sculptor's thumb.
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