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Updated: June 14, 2025
Yet he is lacking in personal magnetism, and is a player for the musically cultivated rather than for the multitude, though his technique fills the listener with wonder. He visited the United States in 1896, and was, like Marsick, compared with Ysaye, who at that time swept everything before him and carried the country by storm.
No matter what his birthplace, there is only one way in which a student can become an artist and that is to have a teacher who can teach! In Europe the best teachers are to be found in the great national conservatories. Thibaud, Ysaye artists of the highest type are products of the conservatory system, with its splendid teachers.
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.
Take Lekeu's splendid Sonata in G major; rugged and massive, making decided technical demands it yet has a wonderful breadth of melody, a great expressive quality of song." These works those who have heard the Master play the beautiful Lazarri sonata this season will not soon forget it are all dedicated to Ysaye. And this holds good, too, of the César Franck sonata.
When the writer first called on him in New York with a note of introductio from his friend and admirer Adolfo Betti, and later at Scarsdale where, in company with his friend Thibaud, he was dividing his time between music and tennis, Ysaye made him entirely at home, and willingly talked of his art and its ideals.
A new army of boys has dug itself in at the Yser, and the same wastage by gun-fire and disease is at work on them. One wonders with the Belgians if the price they pay for honor is not too high. There is a sadness in the eyes of Belgian boy soldiers that is not easy to face. Are we quite worthy of their sacrifice? Why should the son of Ysaye die for me?
Take the instrument out of Ysaye's hands, and put it into the hands of the first violin in the orchestra behind him; every note will be the same, the same general scheme of expression may be followed, but the thing that we shall hear will be another thing, just as much Bach, perhaps, but, because Ysaye is wanting, not the work of art, the creation, to which we have just listened.
An Ysaye and a Busoni are the same to us, and it is to our credit if we are even aware that Ysaye is the equal of Busoni. It seems to me that Pachmann is the only pianist who plays the piano as it ought to be played.
She continued her studies for three more years, and was frequently employed as a substitute for Ysaye, as professor, to teach his classes while he was absent on concert tours. In 1894 she appeared with him at a number of important concerts, and shortly afterwards made her first concert tour, visiting many of the principal towns of Germany.
With the production at Paris in the spring of 1902 of Claude Debussy's Pelléas et Mélisande, based on the play of Maeterlinck, the history of music turned a new and surprising page. "It is necessary," declared an acute French critic, M. Jean Marnold, writing shortly after the event, "to go back perhaps to Tristan to find in the opera house an event so important in certain respects for the evolution of musical art." The assertion strikes one to-day, five years after, as, if anything, over-cautious. Pelléas et Mélisande exhibited not simply a new manner of writing opera, but a new kind of music a new way of evolving and combining tones, a new order of harmonic, melodic and rhythmic structure. The style of it was absolutely new and absolutely distinctive: the thing had never been done before, save, in a lesser degree, by Debussy himself in his then little known earlier work. Prior to the appearance of Pelléas et Mélisande, he had put forth, without appreciably disturbing the musical waters, all of the extraordinary and individual music with which his fame is now associated, except the three orchestral "sketches," La Mer (composed in 1903-1905 and published in the latter year), the piano pieces Estampes , and Images, Masques, l'Île joyeuse , and a few songs. Certain audiences in Paris had heard, nine years before, his setting of Rossetti's "Blessed Damozel" (La Demoiselle Élue), a "lyric poem" for two solo voices, female chorus, and orchestra; in the same year his string quartet was played by Ysaÿe and his associates; in 1894 his Prélude
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