Monday evening, March 2, Eugene Ysaye, the Berlín violinist, who has been making such a sensation as has only been equaled by Paderewski in late years, will appear in University Hall. Following out the principie that all should have an opportunity of listening to this artist the price has been plaeed at 50 cents. It will require a large audience to pay expenses but we are confident that Ann Arbor will respond as usual. The following is from the New York Evening Post: While the hard times seetns to have .iffected some of the musical organizations in this city, it is gratifying to record that our oldest and best concert institute, the Philharmonic Society, has neverbefore been so prosperous as it is now. Not only have all but about fifty of the seats been disposed of for the whole season, but it has been ascertained from official sources that the audiences of last Friday and S iturday were the largest the society has ever had in the tifty-three years of its existence, nor does the oldest subscriber probably remember scènes of greater enthusiasm than those witnessed on these occasions. They were regular Paderewski audiences. in size and behavior. M. Ysaye remindsone of Mr. Paderewski both by his complete ab sorption in his music and by the utter disappearance ot technique as a factor in his performance. One does not consciously attend to his fingering and bowing, toseewhether his scales are even, his doublé stops true, his octaves astonishing, his staccati crisp, his harmonies clear. AH these things taken for granted, as in all the truly great artists, who make technique a raeans, not an end. What one does note is his tone, which is rich and luscious like that of Wilhelmj, now broad and sonorous in the open G string, like a violincello, now delicate as gossamer. A few weeks ago, in classifying violinists, we said that they might be divided into two classes, those whose strength lies in agility of lefthand fingering and those whose greatness lies in their manipulation of the expressive bow. M. Ysaye is one of these righthand artists. We forget his left hand, but are entranced by his expressive bowing. Not that he is unequal to the dazzling left-hand tricks; on the contrary, he beats the left-hand fiddlers on their own ground; but he has higher resources for fascinating an audience.