OLE BULL.
The Birth and Early Life of Ole Bull at Bergen, Norway.—His Family and Connections.—Surroundings of his Boyhood.—Early Display of his Musical Passion.—Learns the Violin without Aid.—Takes Lessons from an Old Musical Professor, and soon surpasses his Master.—Anecdotes of his Boyhood.—His Father's Opposition to Music as a Profession.—Competes for Admittance to the University at Christiania.—Is consoled for Failure by a Learned Professor.—"Better be a Fiddler than a Preacher."—Becomes Conductor of the Philharmonic Society at Bergen.—His first Musical Journey.—Sees Spohr.—Fights a Duel.—Visit to Paris.—He is reduced to Great Pecuniary Straits.—Strange Adventure with Vidocq, the Great Detective.—First Appearance in Concert in Paris.—Romantic Adventure leading to Acquaintance.—First Appearance in Italy.—Takes the Place of Do Bériot by Great Good Luck.—Ole Bull is most enthusiastically received.—Extended Concert Tour in Italy and France.—His Début and Success in England.—One Hundred and Eighty Concerts in Six Months.—Ole Bull's Gaspar di Salo Violin, and the Circumstances under which he acquired it.—His Answer to the King of Sweden.—First Visit and Great Success in America in 1843.—Attempt to establish a National Theatre.—The Norwegian Colony in Pennsylvania.—Latter Years of Ole Bull.—His Personal Appearance.—Art Characteristics.
I.
The life of Olaus Bull, or Ole Bull, as he is generally known to the world, was not only of much interest in its relation to music, but singularly full of vicissitude and adventure. He was born at Bergen, Norway, February 5, 1810, of one of the leading families of that resort of shippers, timber-dealers, and fishermen. His father, John Storm Bull, was a pharmaceutist, and among his ancestors he numbered the Norwegian poet Edward Storm, author of the "Sinclair Lay," an epic on the fate of Colonel Sinclair, who with a thousand Hebridean and Scotch pirates, made a descent on the Norwegian coast, thus emulating the Vikingr forefathers of the Norwegians themselves. The peasants slew them to a man by rolling rocks down on them from the fearful pass of the Gulbrands Dahl, and the event has been celebrated both by the poet's lay and the painter's brush. By the mother's side Ole Bull came of excellent Dutch stock, three of his uncles being captains in the army and navy, and another a journalist of repute. A passion for music was inherent in the family, and the editor had occasional quartet parties at his house, where the works of Haydn, Mozart, and Beethoven were given, much to the delight of young Ole, who was often present at these festive occasions.
The romantic and ardent imagination of the boy was fed by the weird legends familiar to every Norwegian nursery. The Scheherezade of this occasion was the boy's own grandmother, who told him with hushed breath the fairy folk-lore of the mysterious Huldra and the Fossikal, or Spirit of the Waterfall, and Ole Bull, with his passion for music, was wont to fancy that the music of the rushing waters was the singing of the violins played by fairy artists. From an early age this Greek passion for personifying all the sights and sounds of nature manifested itself noticeably, but always in some way connected with music. He would fancy even that he could hear the bluebells and violets singing, and perfume and color translated themselves into analogies of sound. This poetic imagination grew with his years and widened with his experience, becoming the cardinal motive of Ole Bull's art life. For a long time the young boy had longed for a violin of his own, and finally his uncle who gave the musical parties presented him with a violin. Ole worked so hard in practicing on his new treasure that he was soon able to take part in the little concerts.
There happened to be at this time in Bergen a professor of music named Paulsen, who also played skillfully on the violin. Originally from Denmark, he had come to Bergen on business, but, finding the brandy so good and cheap, and his musical talent so much appreciated, he postponed his departure so long that he became a resident. Paulsen, it was said, would show his perseverance in playing as long as there remained a drop in the brandy bottle before him, when his musical ambition came to a sudden close. When the old man, for he was more than sixty when young Ole Bull first knew him, had worn his clothes into a threadbare state, his friends would supply him with a fresh suit, and at intervals he gave concerts, which every one thought it a religious duty to attend. It was to this Dominie Sampson that Ole Bull was indebted for his earliest musical training; but it seems that the lad made such swift progress that his master soon had nothing further to teach him. Poor old Paulsen was in despair, for in his bright pupil he saw a successful rival, and, fearing that his occupation was gone, he left Bergen for ever.
In spite of the boy's most manifest genius for music, his father was bent on making him a clergyman, going almost to the length of forbidding him to practice any longer on the dearly loved fiddle, which had now become a part of himself; but Ole persevered, and played at night softly, in constant fear that the sounds would be heard. But his mother and grandmother sympathized with him, and encouraged his labors of love in spite of the paternal frowns. The author of a recent article in an American magazine relates an interview with Ole Bull, in which the aged artist gave some interesting facts of that early period in his life. His father's assistant, who was musical, occasionally received musical catalogues from Copenhagen, and in one of these the boy first saw the name of Paganini, and reference to his famous "Caprices." One evening his father brought home some Italian musicians, and Ole Bull heard from them all they knew of the great player, who was then turning the musical world topsy-turvy with a fever of excitement. "I went to my grandmother. 'Dear grandmother,' I said, 'can't I get some of Paganini's music?' 'Don't tell any one,' said that dear old woman, 'but I will try and buy a piece of his for you if you are a good child.' And she did try, and I was wild when I got the Paganini music. How difficult it was, but oh, how beautiful! That garden-house was my refuge. Maybe—I am not so sure of it—the cats did not go quite so wild as some four years before. One day—a memorable one—I went to a quartet party. The new leader of our philharmonic was there, a very fine violinist, and he played for us a concerto of Spohr's. I knew it, and was delighted with his reading of it. We had porter to drink in another room, and we all drank it, but before they had finished I went back to the music-room, and commenced trying the Spohr. I was, I suppose, carried away with the music, forgot myself, and they heard me.
"'This is impudence,' said the leader. 'And do you think, boy, that you can play it?' 'Yes,' I said, quite honestly. I don't to this day see why I should have told a story about it—do you? 'Now you shall play it,' said somebody. 'Hear him! hear him!' cried my uncle and the rest of them. I did try it, and played the allegro. All of them applauded save the leader, who looked mad.
"'You think you can play anything, then?' asked the leader. He took a caprice of Paganini's from a music stand. 'Now you try this,' he said, in a rage. 'I will try it,' I said. 'All right; go ahead.'