ending Herr Joachim's professional visit to London
is, that it enables both professors and amateurs opportunity after
opportunity of studying _his_ manner of playing the works of the giants
of music. _How_ Herr Joachim executes these compositions--how
differently from the self-styled 'virtuosi,' how purely, how modestly,
how wholly forgetful of himself in the text he considers it an honour
being allowed to interpret to the crowd--we need scarcely remind our
readers. Not a single eccentricity of carriage or demeanour, not a
moment of egotistical display, to remind his hearers that, although
Beethoven is being played, it is Joachim who is playing, ever escapes
this truly admirable and (if words might be allowed to bear their
legitimate signification) most accomplished of 'virtuosi.'"

As an example of Joachim's conscientiousness, the following little
anecdote will serve to give an idea. Joachim once introduced into the
_point d'orgue_ of Beethoven's concerto a cadence terminated by a _trait
en octave_, which caused an extraordinary effect. People spoke only of
this cadence; it was the event of the evening wherever he played. This
success wounded his feelings of artistic probity; he considered it
unbecoming that people should be more taken up with the skill of the
executant than with the beauties of the music, and the cadence was
suppressed.

During the many years of his connection with the Hochschule, Joachim's
personal influence has been exerted upon a large number of pupils, in
fact almost every well-known violin player has been to Berlin to seek
his advice and instruction, and the players he has perfected are almost
without number. Many anecdotes are told concerning his kindness to his
pupils, but so greatly is he sought after that comparatively few of the
hundreds who flock to Berlin are able to reach him.

Joachim's early training and education developed his character both as a
musician and as a man. The influence of Mendelssohn, whose friendship
ended only with his death, of David, Schumann, Liszt, Berlioz, and
Brahms, who was largely indebted to Joachim for the introduction of many
of his works to the public, brought out the thorough uprightness,
firmness of character and earnestness of purpose, and that intense
dislike of all that is artificial or untrue in art, which have made him
a great moral power in the musical world.

He combines in a unique degree the highest executive powers with the
most excellent mus