fresh from the press. He played with me the D minor sonata of Schumann
and introduced me to the mystic beauties of the Beethoven sonatas. I can
still recall how in the Beethoven C minor sonata, in the first movement,
Liszt would bring out a certain broken chromatic passage in the left
hand, with a mighty _crescendo_, an effect of melodious thunder, of
enormous depth of tone, and yet with the most exquisite regard for the
balance between the violin and his own instrument. And there was not a
trace of condescension in his attitude toward me; but always
encouragement, a tender affectionate and paternal interest in a young
boy, who at _that moment_ was a brother artist.

"Through Liszt I came to know the great men of Hungarian music of that
time: Erkel, Hans Richter, Robert Volkmann, Count Geza Zichy, and
eventually I secured a scholarship, which the King had founded for
music, to study with Joachim in Berlin, where I remained nearly three
years. Hubay was my companion there; but afterward we separated, he
going to Vieuxtemps, while I went to Léonard.


JOACHIM AS A TEACHER AND INTERPRETER

"Joachim was, perhaps, the most celebrated teacher of his time. Yet it
is one of the greatest ironies of fate that when he died there was not
one of his pupils who was considered by the German authorities 'great'
enough to take the place the Master had held. Henri Marteau, who was
not his pupil, and did not even exemplify his style in playing, was
chosen to succeed him! Henri Petri, a Vieuxtemps pupil who went to
Joachim, played just as well when he came to him as when he left him.
The same might be said of Willy Burmester, Hess, Kes and Halir, the
latter one of those Bohemian artists who had a tremendous 'Kubelik-like'