Ole Bull: A Memoir

by Sara Chapman Thorp Bull

THE ANATOMY OF THE VIOLINIST, MR. OLE BULL: HIS POSE AND METHOD OF HOLDING THE VIOLIN.

By A. B. CROSBY, A. M., M. D.,

Professor of Anatomy, Bellevue Hospital Medical College, New York, 1877.

Thirty–one years ago, in a quaint old Congregational church in a New England village, I first heard Mr. Ole Bull perform on the violin, and witnessed

“The matchless skill, the potent art that brings
Voices of earth, or heaven, from those mute strings.”

I had never seen a violin save in the hands of a country dancing–master, and it was like a new revelation when this high–bred gentleman stood up “every inch a man,” and with “charmed touch” dignified his instrument.

During the past few weeks, both in public and private, I have had an opportunity to enjoy again the magic of the weird musician’s art, and I find that the boyish pleasure stands the test of manhood’s reflection. But in my later experience I have not only drank in my fill of the “dulcet creams” of music, but from the stand–point of an anatomist have attempted to unravel the secret of Mr. Bull’s graceful pose and unique method of holding the violin. Nor has my study been without results, which I shall attempt to develop for the benefit of the ambitious violinist who would adopt the methods of a master.

The pose of Mr. Bull when playing is a model of manly grace. He rests his body centrally over the left leg as a firm column of support, while the right foot is advanced and the right leg forms an oblique brace. The pose is essentially the “rest” of the soldier, and combines the maximum of ease and stability.

The figure is singularly erect, nor does the head incline like that of the ordinary violinist—save only in certain inspired moments when for an instant the ear drops towards the well loved instrument as if to catch

“The still sad music of humanity”

inaudible to other ears. Both the head and chin are absolutely free and seem to feel no responsibility for the position of the violin. The bust, which has been superbly developed by a lifetime of musical gymnastics, measures on full inspiration forty–two inches, having an expansion of three inches. The waist, at twenty–four years of age, measured twenty–four inches; and although the years have increased, the waist measure remains exactly the same. Mr. Bull’s height in his stocking–feet is five feet eleven and a quarter inches. As he stands before an audience waiting for his accompaniment, with his small waist, his superb bust, his finely cut face, and the carriage of a prince, he is the incarnation of the Magnus Apollo. But when his imperial bow grows liquid and pours out silvery notes like the music of many waters, we seem to see as in a dream that the wheel of Ixion stops, the stone of Sisyphus stands still, Tantalus forgets his perpetual thirst, and even the Furies relent. Then it is that we wake to find that Apollo, as in the ancient myth, has yielded the lyre to Orpheus.

The excellence of Mr. Bull’s method in holding the violin depends mainly on the admirable position of the left arm. The upper arm is carried forward and inward, the elbow being brought well in front of the chest. The fore–arm is then flexed, thus forming a brace to support the neck of the instrument, while the same portion of the arm is in a position of extreme supination; that is, the fore–arm is turned so that the palm is upward. It will thus be observed that the palm of the hand is placed higher than the clavicle or collar–bone, where the tail–piece of the violin rests (Fig. 1). When the violin is placed in position, the tail–piece rests against the root of the neck, just above the clavicle or collar–bone, while the neck of the instrument reposes upon the palmar surface of the thumb throughout the whole or part of its extent, according to the exigencies of the fingering.

Fig. 1.

It will thus be seen that from the palm to the root of the neck the violin rests upon an inclined plane, gravitating towards the collar–bone (see Fig. 1). The instrument then is not held, but rests upon a friendly hand and neck.

From the fact that its position is maintained by the force of gravity, it follows that the chin need not grasp the base of the violin—since it holds itself—and the head is left free and erect.

Thus the old–time violinist’s constrained head position is avoided.

The line of support along the palmar surface of the thumb is full of anatomical interest.

The accompanying diagram (Fig. 2) may serve to illustrate this and some other points. A black line will be seen extending along the whole length of the palmar surface of the thumb, crossing the base of the annular ligament to a point a little above the wrist. This is essentially the line of support for the neck and upper curves of the violin. It may be called a movable rest, swaying laterally, it is true, but only to a limited extent. The thumb is placed on a different plane from the rest of the fingers, and has motions essentially different from them. The power of perfect opposition to all the fingers by the thumb distinguishes man from the most intelligent of the lower animals.

PALMAR SURFACE OF LEFT HAND. After Gray.
Fig. 2.

Although the thumb possesses a cunning in movements far superior to the other fingers, yet in Mr. Bull’s method the thumb, at any given instant, is the fixed point or rest for the upper part of the violin, while the fingers are left absolutely free and movable for the demands of fingering.

Referring again to Fig. 2, it will be seen that the muscles of the thumb, consisting of the Opponens Pollicis, Abductor Pollicis, Flexor Brevis Pollicis, Flexor Longus Pollicis, and Adductor Pollicis, are connected absolutely with the thumb, and in Mr. Bull’s method they move it only sufficiently to constitute a movable rest.

The annular ligament consists of a dense, firm, white, fibrous band, attached to bony prominences on either side of the wrist, thus forming a strong membranous arch, which is capable of supporting the violin without difficulty, while beneath and protected by it the long flexor tendons glide uninterruptedly, thus permitting absolutely free flexion of the fingers on the finger–board. Mr. Bull never grasps the neck of the instrument between the thumb and fingers, since this would at once put such constraint on the fingers as to prevent rapid and effective action on the finger–board.

In fine, the violin rests without restraint, like an obedient slave, on a couch formed for it by the arm of its imperial master.

Nothing is more observable in Mr. Bull’s method than the peculiar obliquity of the finger–tips when applied to the strings. Some have claimed that the tips of the fingers when applied to the strings should be essentially at right angles to the finger–board. Mr. Bull discovered experimentally that such a method of fingering increased his nervous exhaustion, and gave him positive brain–fatigue, frequently after only moderate practice.

He therefore learned instinctively to give the fingers the pose seen in Fig. 1, which he claims diminishes perceptibly nervous exhaustion, at the same time that it insures to the fingers much greater freedom of flexion. By consulting the cut it will be observed that the finger–tips approach the finger–board with a marked obliquity, and that the points of pressure are not on the tips of the pulps of the fingers, but on their radial or thumb side near the angle of the nails. If we examine the end of the finger we shall observe a series of curved lines or ridges, which are made up of “papillæ tactûs,” or points of touch, having a linear arrangement and acute sensibility. These ridges are broader and better developed over the tips of the pulps of the fingers than on the sides.

It follows that the sensibility, most acute at the tips, gradually diminishes as we approach the sides. Moreover the epidermis, or scarf–skin, gradually increases in thickness as we approach the angle of the nails; hence the “point of election” with Mr. Bull in making pressure on the strings is best adapted for the purpose, since the points of touch are less sensitive, and their sensibility is still farther diminished by an increased thickness of the epidermic covering. In this matter, then, it would seem that Mr. Bull has anatomical “justification” for the faith that is in him.

I was anxious to determine as far as possible the points of contact between the “line of support” on the thumb and the violin, when the fingers were at different points on the finger–board. It was a matter of no little difficulty, since, as before observed, the thumb while playing constitutes a movable rest, and glides with infinite ease and grace from the head to the body of the instrument. Nor could the distinguished gentleman himself afford me much assistance. The habit of a lifetime had become a second nature; it could be done easily and gracefully, but it was difficult to do it and analyze it at the same time. Nay more, the very attempt threatened to throw us into confusion worse confounded. The problem was at length solved in this wise. Standing behind the musician, I requested him to entirely ignore me and my object, and to play some of his most impassioned pieces, “the world forgetting and by the world forgot.” Dividing the finger–board into four equal segments, I watched the play of the left hand up and down the violin, and noted the positions assumed by the thumb at different points.

By noting the points of contact and support when the index and middle fingers pressed the strings at the upper part of each fourth, I was enabled to establish four definite positions. It should be noted that this division of the finger–board into fourths is not musical but purely arbitrary, in order to establish the pose of the violin on the thumb when the hand is at different points along the instrument. Thus we might hope to get an approximate idea of the way in which the one position easily glides into the next. The accompanying cuts may serve to illustrate the four positions. Fig. 1, already several times referred to, shows the first position. The index and middle fingers press the string at the lower part of the first fourth of the finger–board. The neck of the instrument rests along the whole length of the palmar line on the thumb, as represented in Fig. 2. The curve at the upper part of the body of the violin marked A (Fig. 1) is seen to rest against the wrist. This is rarely the case when Mr. Bull is playing; but it became necessary as a rest during the horrors of photographing.

Fig. 3.

It is perhaps unnecessary to again call attention to the fact that the violin rests on an inclined plane, its position being almost entirely maintained by its own gravity.

Fig. 4.

Fig. 3 shows the second position. It will be seen that the pose of the arm is essentially the same, but the thumb has glided up the neck of the violin until the index finger rests at the lower extremity of the second fourth of the finger–board. The neck of the instrument rests on the anterior extremity of the thumb line, while the curve marked B (Fig. 3) rests upon the annular ligament (for which see Fig. 2). Fig. 4 simply shows the reverse of the position shown in Fig. 3. Fig. 5 represents the third position. The index finger rests at the beginning of the third fourth of the finger–board. The anterior extremity of the thumb line supports the base of the neck adjoining the “shield,” while the curve marked C rests against the base of the thumb and annular ligament.

Fig. 5.

Fig. 6 shows the fourth position. The index finger here rests at the commencement of the last fourth of the finger–board. The anterior extremity of the thumb line presses against the base of the neck adjoining the “shield.” When Mr. Clay reached the highest flights of his eloquence, one of his admirers in the Senate said that he looked “forty feet high.” Mr. Bull, who has been thought to resemble the great statesman in personal appearance, makes somewhat the same impression on the spectator when he reaches his highest notes. Involving, as these notes do, fingering in the highest fourth of the board, it becomes necessary for the musician to elevate the whole instrument, since it is simply steadied against the neck by the thumb, as may be seen in the cut; and by the time the highest note is reached, the grand proportions of the Viking have towered to their utmost height. To one who has seen Mr. Bull at such a time this will not, I am sure, seem an exaggeration.

Fig. 6.

The last diagram (Fig. 7) is appended simply to show the reverse of Fig. 6.

Fig. 7.

It is a well known fact that playing on the violin develops the muscles of the arms and chest to a most remarkable extent. It is a matter of some interest to inquire what effect, in the case of Mr. Bull, a lifelong practice on the instrument has had. I append the sub–joined measurements which I took from this gentleman.

The chest measure over nipples was forty–two inches on full inspiration. On forced expiration the measurement was thirty–nine inches. The measurement from the middle of the top of breast–bone to tip of shoulder was the same on both sides, namely, ten inches. It is well known that there is a normal difference between the right and left sides of the body.

Note.—As Dr. Crosby’s paper is unfinished, we append to it a letter from the celebrated Tartini, which was translated and published by Dr. Burney in 1779, as “an important lesson to performers on the violin.”

When Ole Bull was once speaking of his experiences in Italy, in 1834, he said: “I tried, if possible, to hear some player of the old Italian school. I happened to come in contact with an old man of ninety years, a pupil—amateur pupil, I will add—of Tartini. I paid him my respects, and asked to see his violin and hear him play, as it was my intention to study the Italian method. With infinite grace he took up an old Amati violin, the sight of which made my eyes water, and putting the bow on the strings, he produced tones which were an exact reproduction of the Tartini method as published by that great master in a letter which was shown me. Ah! so different from the modern school! Why, the violinist of to–day serves his instrument as though it were a slave, and must be driven to duty with the lash. The player should treat his violin as a tender child—fondle and caress it, not beat it. The beauty of a performance lies in exacting from the instrument tones corresponding with the deep love a true artist feels for his art.”

The letter referred to by Ole Bull was the one translated by Dr. Burney, which reads as follows:—

Padua, March 5, 1760.

My very much Esteemed Signora Maddalena,—Finding myself at length disengaged from the weighty business which has so long prevented me from performing my promise to you, a promise which was made with too much sincerity for my want of punctuality not to afflict me, I shall begin the instructions you wish from me by letter; and if I should not explain myself with sufficient clearness, I entreat you to tell me your doubts and difficulties in writing, which I shall not fail to remove in a future letter.

Your principal practice and study should, at present, be confined to the use and power of the bow, in order to make yourself entirely mistress in the execution and expression of whatever can be played or sung, within the compass and ability of your instrument. Your first study, therefore, should be the true manner of holding, balancing, and pressing the bow lightly, but steadily, upon the strings; in such a manner as it shall seem to breathe the first tone it gives, which must proceed from the friction of the string, and not from percussion, as by a blow given with a hammer upon it. This depends on laying the bow lightly upon the strings at the first contact, and on gently pressing it afterwards, which, if done gradually, can scarcely have too much force given to it, because, if the tone is begun with delicacy, there is little danger of rendering it afterwards either coarse or harsh.

Of this first contact and delicate manner of beginning a tone you should make yourself a perfect mistress in every situation and part of the bow, as well in the middle as at the extremities; and in moving it up as well as in drawing it down. To unite all these laborious particulars into one lesson, my advice is, that you first exercise yourself in a swell upon an open string, for example, upon the second string; that you begin pianissimo, and increase the tone by slow degrees to its fortissimo; and this study should be equally made with the motion of the bow up and down, in which exercise you should spend at least an hour every day, though at different times, a little in the morning and a little in the evening; having constantly in mind that this is, of all things, the most difficult and the most essential to playing well on the violin. When you are a perfect mistress of this part of a good performer, a swell will be very easy to you; beginning with the most minute softness, increasing the tone to its loudest degree, and diminishing it to the same point of softness with which you began, and all this in the same stroke of the bow. Every degree of pressure upon the string which the expression of a note or passage shall require will by this means be easy and certain; and you will be able to execute with your bow whatever you please. After this, in order to acquire that light pulsation and play of the wrist, from whence velocity in bowing arises, it will be best for you to practice every day one of the Allegros, of which there are three in Corelli’s solos, which entirely move in semiquavers. The first is in D, in playing which you should accelerate the motion a little each time, till you arrive at the quickest degree of swiftness possible; but two precautions are necessary in this exercise: the first is, that you play the notes staccato, that is, separate and detached, with a little space between every two, for though they are written thus—

etc.

they should be played as if there was a rest after every note, in this manner—

etc.

The second precaution is, that you first play with the point of the bow; and when that becomes easy to you, that you use that part of it which is between the point and the middle; and when you are likewise mistress of this part of the bow, that you practice in the same manner with the middle of the bow; and above all, you must remember in these studies to begin the Allegros or flights sometimes with an up–bow, and sometimes with a down–bow, carefully avoiding the habit of constantly practicing one way. In order to acquire a greater facility of executing swift passages in a light and neat manner, it will be of great use to you if you accustom yourself to skip over a string between two quick notes in divisions, like these—

etc.

Of such divisions you may play extempore as many as possible, and in every key, which will be both useful and necessary.

With regard to the finger–board, or carriage of the left hand, I have one thing strongly to recommend to you, which will suffice for all; and that is, the taking a violin part, either the first or second of a concerto, sonata, or song, anything will serve the purpose, and playing it upon the half–shift, that is, with the first finger upon G on the first string, and constantly keeping upon this shift, playing the whole piece without moving the hand from this situation, unless A on the fourth string be wanted, or D upon the first; but in that case, you should afterwards return again to the half–shift, without ever moving the hand down to the natural position. This practice should be continued till you can execute with facility upon the half–shift any violin part not intended as a solo, at sight. After this advance the hand on the finger–board to the whole–shift, with the first finger upon A on the first string, and accustom yourself to this position till you can execute everything upon the whole–shift with as much ease as when the hand is in its natural situation; and when certain of this, advance to the double–shift, with the first finger upon B, on the first string; and when sure of that likewise, pass to the fourth position of the hand, making C with the first finger upon the first string; and indeed this is a scale in which, when you are firm, you may be said to be mistress of the finger–board. This study is so necessary, that I most earnestly recommend it to your attention.

I now pass to the third essential part of a good performer on the violin, which is the making of a good shake, and I would have you practice it slow, moderately fast, and quick, that is, with the two notes succeeding each other in these three degrees of adagio, andante, and presto; and in practice you have great occasion for these different kinds of shakes, for the same shake will not serve with equal propriety for a slow movement as for a quick one; but to acquire both at once with the same trouble, begin with an open string, either the first or second, it will be equally useful; sustain the note in a swell, and begin the shake very slow, increasing in quickness, by insensible degrees, till it becomes rapid, in the manner following:—

But you must not vigorously move immediately from semiquavers to demi–semiquavers, as in this example, or from these to the next in degree—that would be doubling the velocity of the shake all at once, which would be a skip, not a graduation; but you can imagine between a semiquaver and a demi–semiquaver intermediate degrees of rapidity, quicker than the one, and slower than the other of these characters; you are therefore to increase in velocity by the same degrees in practicing the shake, as in loudness when you make a swell. You must attentively and assiduously persevere in the practice of this embellishment, and begin at first with an open string, upon which if you are once able to make a good shake with the first finger, you will with the greater facility acquire one with the second, the third, and the fourth, or little finger, with which you must practice in a particular manner, as more feeble than the rest of its brethren. I shall, at present, propose no other studies to your application; what I have already said is more than sufficient, if your zeal is equal to my wishes, for your improvement. I hope you will sincerely inform me whether I have explained myself clearly thus far; that you will accept of my respects, which I likewise beg of you to present to the Prioress, to Signora Teresa, and to Signora Chiara, for all whom I have a sincere regard; and believe me to be, with great affection,

Your obedient and most humble servant,
Giuseppe Tartini.