"Not at all, but I am sure there is a genius in town, and he lodges close by here," pointing to Ole Bull's apartment. "Take your net," she added, "and catch your bird before he has flown away." The marquis knocked at Ole Bull's door, and the delighted young artist soon concluded an engagement which insured him an appearance under the best auspices, for Mme. Malibran would sing at the same concert.
In a few hours Ole Bull was performing before a distinguished audience in the concert-hall of the Philharmonic Society. Among the pieces he played, all of his own composition, was his "Quartet for One Violin," in which his great skill in double and triple harmonics was admirably shown. Enthusiastic applause greeted the young virtuoso, and he was escorted home by a torchlight procession of eager and noisy admirers. This was Ole Bull's first really great success, though he had played in France and Germany. The Italians, with their quick, generous appreciation, and their demonstrative manner of showing admiration, had given him a reception of such unreserved approval as warmed his artistic ambition to the very core. Mme. Malibran, though annoyed at the mischance which glorified another at the expense of De Bériot, was too just and amiable not to express her hearty congratulations to the young artist, and De Bériot himself, when he was shortly afterward introduced to Ole Bull, treated him with most brotherly kindness and cordiality. Prince and Princess Poniatowsky also sent their cards to the now successful artist, and gave him letters of introduction to distinguished people which wore of great use in his concert tour. His career had now become assured, and the world received him with open arms.
The following year, 1835, contributed a catalogue of similar successes in various cities of Italy and France, culminating in a grand concert at Paris in the Opera-house, where the most distinguished musicians of the city gave their warmest applause in recognition of the growing fame and skill of Ole Bull, for he had already begun to illustrate a new field in music by setting the quaint poetic legends and folk-songs of his native land. His specialty as a composer was in the domain of descriptive music, his genius was for the picturesque. His vivid imagination, full of poetic phantasy, and saturated with the heroic traditions and fairy-lore of a race singularly rich in this inheritance from an earlier age, instinctively flowered into art-forms designed to embody this legendary wealth. Ole Bull's violin compositions, though dry and rigorous musicians object to them as lacking in depth of science, as shallow and sensational, are distinctly tone-pictures full of suggestiveness for the imagination. It was this peculiarity which early began to impress his audiences, and gave Ole Bull a separate place by himself in an age of eminent players.
IV.
In 1836 and 1837 Ole Bull gave one hundred and eighty concerts in England during the space of sixteen months. By this time he had become famous, and a mere announcement sufficed to attract large audiences. Subsequently he visited successively every town of importance in Europe, earning large amounts of money and golden opinions everywhere. For a long time our artist used a fine Guarnerius violin and afterward a Nicholas Amati, which was said to be the finest instrument of this make in the world. But the violin which Ole Bull prized in latter years above all others was the famous Gaspar di Salo with the scroll carved by Benvenuto Cellini. Mr. Barnett Phillips, an American littérateur, tells the story of this noble old instrument, as related in Ole Bull's words:
"Well, in 1839 I gave sixteen concerts at Vienna, and then Rhehazek was the great violin collector. I saw at his house this violin for the first time. I just went wild over it. 'Will you sell it?' I asked. 'Yes,' was the reply—'for one quarter of all Vienna.' Now Ehehazek was really as poor as a church mouse. Though he had no end of money put out in the most valuable instruments, he never sold any of them unless when forced by hunger. I invited Rhehazek to my concerts. I wanted to buy the violin so much that I made him some tempting offers. One day he said to me, 'See here, Ole Bull, if I do sell the violin, you shall have the preference at four thousand ducats.' 'Agreed,' I cried, though I knew it was a big sum.
"That violin came strolling, or playing rather, through my brain for some years. It was in 1841. I was in Leipsic giving concerts. Liszt was there, and so also was Mendelssohn. One day we were all dining together. We were having a splendid time. During the dinner came an immense letter with a seal—an official document. Said Mendelssohn, 'Use no ceremony; open your letter.' 'What an awful seal!' cried Liszt. 'With your permission,' said I, and I opened the letter. It was from Bhehazek's son, for the collector was dead. His father had said that the violin should be offered to me at the price he had mentioned. I told Liszt and Mendelssohn about the price. 'You man from Norway, you are crazy,' said Liszt. 'Unheard of extravagance, which only a fiddler is capable of,' exclaimed Mendelssohn. 'Have you ever played on it? Have you ever tried it?' they both inquired. 'Never,' I answered, 'for it can not be played on at all just now.'
"I never was happier than when I felt sure that the prize was mine. Originally the bridge was of boxwood, with two fishes carved on it—that was the zodiacal sign of my birthday, February—which was a good sign. Oh, the good times that violin and I have had! As to its history, Ehehazek told me that in 1809, when Innspruck was taken by the French, the soldiers sacked the town. This violin had been placed in the Innspruck Museum by Cardinal Aldobrandi at the close of the sixteenth century. A French soldier looted it, and sold it to Ehehazek for a trifle. This is the same violin that I played on, when I first came to the United States, in the Park Theatre. That was on Evacuation day, 1843. I went to the Astor House, and made a joke—I am quite capable of doing such things. It was the day when John Bull went out and Ole Bull came in. I remember that at the very first concert one of my strings broke, and I had to work out my piece on the three strings, and it was supposed I did it on purpose." Ole Bull valued this instrument as beyond all price, and justly, for there have been few more famous violins than the Treasury violin of Innspruck, under which name it was known to all the amateurs and collectors of the world.
During his various art wanderings through Europe, Ole Bull made many friends among the distinguished men of the world. A dominant pride of person and race, however, always preserved him from the slightest approach to servility. In 1838 he was presented to Carl Johann, king of Sweden, at Stockholm. The king had at that time a great feeling of bitterness against Norway, on account of the obstinate refusal of the people of that country to be united with Sweden under his rule. At the interview with Ole Bull the irate king let fall some sharp expressions relative to his chagrin in the matter.
"Sire," said the artist, drawing himself up to the fullness of his magnificent height, and looking sternly at the monarch, "you forget that I have the honor to be a Norwegian."