In 1894 Wilhelmj married Marcella Mausch-Jerret, of Dresden, a distinguished pianist.

Wilhelmj’s first appearance in America took place on September 26, 1878, in New York, and his playing caused an unusual demonstration.  He was described in the following words:  “His figure is stately, his face and attitude suggest reserve force and that majestic calm which seems to befit great power....  A famous philosopher once said that beauty consists of an exact balance between the intellect and the imagination.  The violin performance of Wilhelmj exhibits this just proportion more perfectly than the work of any other artist of whom we have personal knowledge.  Wilhelmj himself has said, ’After all, what the people want is intellectual playing,’ that is, playing with a clear under standing.”

Neither his character nor his playing was of such a nature as to appeal to the great mass of people in the way in which Remenyi and Ole Bull won their hearts.  Wilhelmj was massive in person and in tone.  He stood for dignity in his actions, appearance, and playing, and was honoured by the more cultivated and educated portion of the people.

He is regarded by musicians as one of the greatest violinists who ever visited America, and at the present day visiting artists are spoken of as “one of the best since Wilhelmj,” or, “not to be compared with Wilhelmj,” and by many Ysaye is regarded as “the best—­since Wilhelmj.”

Martin Pierre Joseph Marsick, who was born at Jupille, near Liege, on March 9, 1848, is one of the foremost solo and quartet violinists of the day, with a remarkable technique and admirable intelligence, power, and fire.

When eight years of age he was placed at the music school at Liege, where in two years he gained the first prize in the preparatory classes.  In 1864 he secured the gold medal, which is awarded only to pupils of extraordinary talent.

[Illustration:  MARTIN PIERRE JOSEPH MARSICK]

He now entered the Brussels Conservatoire, where his expenses were met by a lady who was a musical enthusiast, and he studied for two years under Leonard, working at the same time in composition under Kufferath.  In 1868 he went to Paris, where he studied for a season under Massart.

In 1870 Marsick proceeded to Berlin, where, through the instrumentality of a government subvention, he was enabled to study under Joachim.  After that he began to travel, and soon acquired a great reputation.  He was said to equal, if not exceed, Sarasate in the wonderful celerity of his scales, and in lightness and certainty.  His tone is not very full, but is sweet and clear.  His playing is also marked by exceptional smoothness, scholarly phrasing, and graceful accentuation, but, in comparison with some of the other great players, he lacks breadth and passion.  He appeals rather to the educated musician than to the general public, and for that reason many people were somewhat disappointed when he played in the United States in 1896.  He was compared with Ysaye, a player of an entirely different stamp, and he suffered in popular estimation by the comparison.