The record-union., 1895-05-18

We're de Veue. balladist and soprano
singer; the Almonts-Al and LiZZie-a
musical team said to be superior to most
of that order; Juno, the Man Frog" a
remarkably skilled equilibrist; Louise
Lester, London character singer; o. K.
Sato, specialist as the TRAMP Jug
gler." who is said to be the highest sal
aried performer in his line; Leoni, an
aerial performer; Foley and O'Dell in
the grotesque character sketch, "The
Midget and the King; Stack and Milton.
gymnasts and specialists, one of whom.
Stack, has been successful here; Ewald
Andoor in the specially. "Black Art" in
whose act the stage is wholly darkened.
and finally, Stuart, the "male Patti" !"
claimed to be the foremost female i'm
personator.
Isaye, pronounced E-zi-e. the great
Belgian violinist. is to give concert at
the Congregational Church Wednesday
the box seats are elsewhere announced.
While in San Francisco his concert
prices were 81 80. The gentlemen who
have written the engagements for Sac
rament have put the figure much
lower Tor the Sacramento concert. Ysaye
is to be supported by Lachaume the
pianist. 1t is not necessary to say much
concerning the claims OF Isaye, because
he is SO well known as a great artist and
a musical critic as we'll as teacher, he be-
ing at the head Of one of the most famous
OF European musical schools. 1t is said
Of him by one critic that no player Is so
sympathetic because In no other vlOllniSt
Is there such perfect unity between his
bowing and his stopping hand, as he
holds the violin. Another critic writes OF
him in San francisco journal:
saye had not played drzen bars of
the allegro in the first concerto before
the audience realized, first, that here was
an artist great enough to make sober
truth OF all the fairy tales of the advance
notices, and, second, that he was playing
upon ali instrument as rare and line i'll
quality as the genius of the artist himself.
The union brought forth such music as
make passionate the sense of hearing.
1t subdued the audience to that tense and
absolute silence, which is the tribute
most deeply valued by a great musician.
Technical perfection, was, of course, eX-
pected OF Ysaye. 1t was no surprise to
hear the clean accuracy of his touch and
intonation i'll even the most rapid and
difficult passages, and the deep, rich pur-
ity OF his tone. In the two long and eX-
acting cOncertos, which no other violinst
would think OF giving in the same pro-
gramme (Mendelssohn's and the B minor
y o. D OF SalnL SaenS) even the most oX-
acting ear could hardly have found a
flaw. But it is not in what is capable of
being described that the subtle differ
ence between Ysaye and the others who
stand nearest him in remembered per-
formances consists. 1t is In an inde-
scribable but vivid individuality in his
tone. as Impossible to be caught in words
as the color in the few great voices the
world possesses. Like them, it has the
mysterious vibrant quality as far away
from vibrato as the tones of Adelina
PATHS voice at its best, and yet with a
throb and a thrill which occasionally
seem startlingly like the vox humana stop
i'll fine organ. In spite of this indi-
viduality Ysaye subjects himself entirely
to the composer, and never makes an ap-
proach to a personal display"
DeKoven says he is a genius who de-
ies criticism. The Boston Herald man
concurs, saying CRITICISM is out of the
question where only superlatives can be
used, and the New York Herald critic
says ''the violin in Ysaye's hand seems a
living sentient being" Such extrava-
gsnce of praise we have not known to be
given to any artist in recent years. Sac
ramentans will now have an opportunity
to Judge if it is fulsome.