Famous Violinists of To-day and Yesterday

by Henry Charles Lahee

Years afterwards, when Ole Bull was making a concert tour through Norway, and was travelling in a sleigh over the snow-covered ground, he met another sleigh coming from the opposite direction, of which the occupant recognised him, and made signs to him to stop. It was Lundholm. "Well," shouted he, "now that you are a famous violinist, remember that when I heard you play Paganini I predicted that your career would be a remarkable one."

"Oh," exclaimed Ole Bull, "you were mistaken, for I did not read that piece, I knew it before." "It makes no difference," was the reply, as the sleighs parted.

As young Ole approached manhood, and developed in strength and stature, we find him asserting his independence. His father, who intended him to be a clergyman, engaged a private tutor named Musaeus, who, when he found that Ole's musical tastes conflicted with his studies, forbade him to play the violin, so that the boy could only indulge at night in an inclination which, under restraint, became a passion. Ole and his brothers had long and patiently borne both with cross words and blows from this worthy pedagogue, and at length decided to rebel. Accordingly when one morning at half-past four the tutor appeared and dragged out the youngest from his warm bed, Ole sprang upon him and a violent struggle ensued. The household was aroused, and in a few moments the parents appeared on the spot in time to see Musaeus prostrate upon the floor and suing for peace. Contrary to his expectations, Ole found himself taken more into his father's confidence, and as a result he became more desirous than ever of carrying out his father's wishes.

In 1828 he went to the university in Christiania, where, in spite of the best intentions, he soon found himself musical director of the Philharmonic and Dramatic Societies, a position which gave him independence, and somewhat consoled him for his failure to pass his entrance examinations for the university. His father reluctantly forgave him, and he was now, in spite of everything, fairly launched upon a musical career.

He was not long contented to remain in Christiania. His mind was in a state of restless agitation, and he determined to go to Cassel, and seek out Spohr, whose opinion he desired to secure. He accordingly left Christiania on May 18, 1829. His departure was so hurried that he left his violin behind, and it had to be forwarded to him by his friends. This suddenness was probably caused by the fact that he had taken part in the observance of Independence Day on May 17th, a celebration which had been interdicted by the government.

On reaching Cassel he went to Spohr, who accorded him a cold reception. "I have come more than five hundred miles to hear you," said Ole Bull, wishing to be polite. "Very well," was the reply, "you can now go to Nordhausen; I am to attend a musical festival there," Bull therefore went to Nordhausen, where he heard a quartet by Maurer, of which Spohr played the first violin part. He was so overwhelmed with disappointment at the manner in which the quartet was played by the four masters that he came to the conclusion that he was deceived in his aspirations, and had no true calling for music.

Spohr was a most methodical man, and had no appreciation for wild genius. He saw only the many faults of the self-taught youth, and coldly advised him to give up his idea of a musical career, declining to accept him as a pupil. Some five years later, Bull having in the meantime refused to accept this advice, which did not coincide with his own inclinations, Spohr heard him play, and wrote thus of him: "His wonderful playing and sureness of his left hand are worthy of the highest admiration, but, unfortunately, like Paganini, he sacrifices what is artistic to something that is not quite suitable to the noble instrument. His tone, too, is bad, and since he prefers a bridge that is quite plain, he can use A and D strings only in the lower positions, and even then pianissimo. This ren ders his playing (when he does not let himself loose with some of his own pieces) monotonous in the extreme. We noticed this particularly in two Mozart quartets he played at my house. Otherwise he plays with a good deal of feeling, but without refined taste."

After his discouraging interview with Spohr, Ole Bull returned to Norway, making, on the way, a short visit to Göttingen, where he became involved in a duel.

Feeling that his own capabilities were worth nothing, after what he had seen and heard in Germany, Ole Bull returned home in a despondent state of mind, but, on passing through a town where he had once led the theatre orchestra, he was recognised, welcomed, and compelled to direct a performance, and thus he once more fell under the influence of music, and began to apply himself vigorously to improvement.

In 1831 he went to Paris in order to hear Paganini, and if possible to find some oppor tunity to improve himself. He failed to enter the Conservatoire, but he succeeded in hearing Paganini, and this, according to his own account, was the turning-point of his life. Paganini's playing made an immense impression on him, and he threw himself with the greatest ardour into his technical studies, in order that he might emulate the feats performed by the great Italian.