The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1898-02-15
HENRI MARTEAU'S RECITAL.

Had every seat in Conover hall been oc-
cupied last highland there were several
vacant-Henr Marteau, the violin virtuoso.
would not have played to as large an aud
fence as his art deserves This man has the
soul of an artist and the power to give that
soul expression. Simplicity is his distinguish
ing quality as 1t is Of all artists, whether
they consecrate their being to music, poetry
sculpture or the drama
Marteau appeals to those people who really
love music. though they don't profess to
have any technical knowledge of 1t. as elo-
quently as he does to the musical expert
His simplicity manfests itself in the alb
sence Of all affectation of manner and in
the complete devotion Of the man to the lucid
Interpretation Of the masters compositions
without unnecessary flourish or complex en-
bellishments that confuse rather than delight.
Marteau himself is really an index OF what
he contains-that Is. after you have heard
him play that instrument of all Instruments
At first he disappoints the vision of those
who have come to hear great artist Sure
ly such a rosy-cheeked man, with a modest
moustache and light brown hair OF conven-
'tional cut, is a most unconventional embodi-
ment Of a distinguished musician. For such
is the potent influence of the association OF
ideas that a barber Is as fatal to musical
genius as the faithless Delilah was to Sam
sons prowess.
When Henri Marteau stepped forth upon the
stage Of Ccnover hall last night-a bright
| eyed. handsome young man, though minus
the flowing locks. and rapt, distracted ex-
| preston of many worthy artists-the audience
doubted while they applauded. He looked as
| though he might play the Carnival OF
| Venice with infinite variations. Every one
| was willing to concede that he might be
| clever. Perhaps he might make the violin tell
some funny stories,' and perform some gro
tesque antics But not Not one gymnast;c
| feat did he attempt Not one ''trick" did he
| debase his instrument to perform. Infused
with the lofty spirit of the real artist. he did
not prostitute his art. Every tone he pro-
| duced was legitimate.
There are violin virtuosos of considerable
| pretensions who aim ito split the ears of the
groundings,' and their aim Is accurate-and
| deadly.
Marteau excels in the revelation of the
deeper tones Of the violin. AS his bow sweeps
across the two lower strings of the instru-
ment, clinging to them as though it could
not part from them. it draws forth rich, fer
| vent, passionate tones that speak with un-
| failing eloquence TO the heart. They spoke
most eloquently in Godard's "Adagio Pa
| thetique.' So effective indeed was the in
| depreciation of this beautiful composition
that Marteau was Obliged to repeat it, in re-
Spouse to the prolonged and insistant applause
of his audience. Such volume. breadth an6
absolute purity of tone are rarely found
! united
Perhaps the most conspicuous example o.
| the brilliancy of this artists execution was
noticeable in his playing of the '.Scherzo
| Tarentelle," by Wieniawski, and the ''AIlegr,
| Energico," the third movement of the Ma,
Bruch concerto. Marteau was again obliged
to respond to the plaudits that would no
cease, until he did, though this time his encor,
piece was Schuberts immortal ''SeiSnade.