Catholic Church, at Vespers, whenever God's name is spoken, we bow the
head. And Wieniawski would always bow his head when he said: 'Vieuxtemps
is the master of us all!'

"I have often played his _Fifth Concerto_, so warm, brilliant and
replete with temperament, always full-sounding, rich in an almost
unbounded strength. Of course, since Vieuxtemps wrote his concertos, a
great variety of fine modern works has appeared, the appreciation of
chamber-music has grown and developed, and with it that of the sonata.
And the modern violin sonata is also a vehicle for violin virtuosity in
the very best meaning of the word. The sonatas of César Franck, d'Indy,
Théodore Dubois, Lekeu, Vierne, Ropartz, Lazarri--they are all highly
expressive, yet at the same time virtuose. The violin parts develop a
lovely song line, yet their technic is far from simple. 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. 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. There are so many--by Chausson (his
symphony), Ropartz, Dubois (his sonata--one of the best after Franck),
d'Indy (the _Istar_ variations and other works), Gabriel Fauré (the
Quintet), Debussy (the Quartet)! There are more than I can recall at
the moment--violin sonatas, symphonic music, chamber-music, choral