"Ave Maria" and in an unpublished Serenade by the performer's friend and compatriot Drdla--both played as extra pieces at the end of the recital. Virtuoso music, in the rendering of which Mr. Kubelik is well known to be a great expert, was represented in yesterday's recital by the following pieces:--Wieniawski's Fantasia on Themes from Gounod's "Faust," Paganini's caprice "I Palpiti," Bazzini's "Ronde des Lutins," the last-named played among the encore pieces. We do not, as a rule, care for the Fantasia on operatic airs, but Wieniawski's "Faust" Fantasia is written with such wonderful ingenuity and musical skill that it cannot be placed in the same category with the mere strings of tunes with perfunctory accompaniments and connecting sections that such pieces usually are. The Variation on the waltz theme, with the melody in harmonics and the rushing accompaniment figure in the ordinary tone of the instrument, is a marvel of successful audacity. It so happens, too, that the rendering of this almost impossible Variation was the most brilliant thing in yesterday's recital. [Sidenote: =Kreisler.= _November 6, 1902._] We live in an age that seems likely to be known in the future as the period of star violinists. It is curious to note how the musical world illustrates the saying "It never rains but it pours." At one period we have a long string of pianistic infant prodigies. Hoffmann, Hegner, Hambourg--they come rapidly to the front, one after another, growing ever younger and younger, and nearly always beginning with "h." Next we break into the period of youthful violinists, beginning with "k." Kubelik, Kocian, Kreisler come tumbling over each other's heel, each one causing embarrassment to the critics for lack of any stronger terms of commendation than were bestowed upon the last. It is true the string players are not of such tender years as were the pianists on their first appearance. The youngest of the violin prodigies was Bronislav Hubermann, who not many years ago shook his elf-locks at the Philharmonic Society of Vienna and more nearly succeeded in turning the heads of that august, formidable, and severely critical body than might have been thought possible. For the present we are mainly concerned with Mr. Kreisler, who is not so desperately youthful, but is a mature and military-looking man, though he is commonly reckoned among the players of the new school, or the rising generation. His programme yesterday was open to some of the same objections as Mr. Kubelik's on Tuesday evening. It included nothing from the major prophets of music, the most important piece being Tartini's "Trillo del Diavolo" Sonata--no doubt one of the best examples of that school which grew up in Italy soon after the perfecting of the violin at the end of the seventeenth century. In a well-contrasted style was the only other piece in more than one movement that he played, namely, Vieuxtemps' second Concerto. In the rendering of