A true, open–hearted friend might safely venture on severe criticism, and his love would bear the test even if this was sometimes cruel as regarded his motives. He readily forgave a wrong to himself, though an injury to a friend was not forgotten if forgiven. His faults and failings were always open and manifest, but his gentle courtesy in his most intimate relations, unfailing when most needed, cannot be told.
However trying or commonplace the circumstances of his life might be, his resources of thought, aspiration, and work gave him hours of experience in each day which transformed for him and those in sympathy with him the hard realities of life,
“Clothing the palpable and familiar
With golden exhalations of the dawn.”
After a series of six concerts in Lyons in the early part of the year of 1836, he had a severe illness, which nearly cost him his life. On his recovery he hastened back to Paris to play at the Italian Opera. He had been promised the theatre, but saw an announcement in the papers of Thalberg’s concerts to be given there. He hurried to Rossini, who was one of the directors, and asked him what it meant. “I am sorry that it is not in my power to help you,” said Rossini; “the government has the entire control in this matter. Have you a letter from Metternich?” Thalberg, by the by, had brought a letter from the great Austrian to the Paris authorities. “No,” was the reply. “Then follow my advice and go to England this very day. This will be a very favorable time for you there.”
It may be said here that Rossini’s kindness and courtesy were as constant as the charm of his ready repartee and wit in conversation. Ole Bull always delighted to recall reminiscences of him.
The violinist determined to follow Rossini’s advice and went to London. Mr. Laporte, the director of the Italian Opera, with whom he was soon on good terms, promised him the theatre, and the orchestra under the direction of Costa, for his concerts. This, however, stirred the bad blood of Mori, the first violin of the orchestra, who intrigued against Ole Bull, describing him to Costa and the critics as a mere charlatan, an impudent and stupid imitator of Paganini. He went even further. When the time for the first rehearsal was fixed, he contrived very adroitly that Ole Bull’s notice should read two o’clock, while the orchestra were called for twelve o’clock. His object was to give the orchestra the impression that Ole Bull was indifferent to their convenience, and by the long detention to arouse their indignation. This partially succeeded. Ole Bull felt that there were influences at work against him, and determined not to be wholly unprepared, although he did not know on whom to fix his suspicion. He invited a number of friends and musical critics to the rehearsal, and a considerable audience had assembled at the hour. When he himself arrived he found but a remnant of the orchestra left, and no leader. Where was Monsieur Costa? Where was Monsieur Laporte? The notification for rehearsal in his hand read distinctly two o’clock. The violinist rushed to the cashier’s office, and seizing the man in his strong arms, compelled him to go and announce to the audience that M. Costa had notified Monsieur Ole Bull that the hour of rehearsal was two o’clock. With violin in hand Ole Bull then said: “You must either think, gentlemen, that I do not need an accompaniment, or that you are unable to play one. I can only accept your intention as a compliment, and express my thanks in our mutual language—that of tone.”
Excited as he was, he played his “Quartetto a Violino Solo,” and won the hearty applause of those present. He then played “God save the King” on four strings, and the house resounded with shouts. Some persons in the street heard the noise and rushed in to learn what it all meant. Among them were Lord Burgesh and Moscheles. The members of the orchestra present now felt chagrined, and offered to accompany him, but there was no leader. Lord Burgesh urged Moscheles to take the bâton, which he did, applauded warmly by the audience; but only a few bars had been played when Costa rushed out upon him with bitter taunts and insults. Pale with anger Ole Bull approached the director, and expressed to him his indignation that he had failed to perceive the generous service Moscheles was rendering them both. M. Laporte, who understood that the young artist’s victory over this intrigue was sure to win him favor, now exerted himself to make peace. At the next rehearsal the orchestra did their duty, and the house was crowded at the concert, which was a brilliant success. Ole Bull writes to Madlle. Villeminot, May 20, 1836:—
To–morrow is the day for my first concert. I have to–day had the third rehearsal with full orchestra. It is impossible to tell you all the intrigues I have had to encounter. I had everybody against me, even the director; but the papers have spoken much about the base treatment I have received, and everybody who sees me, even at a distance, now raises his hat. Thalberg gives a morning concert in the King’s Theatre the same day; but few tickets are sold. He and De Beriot were surprised at the large sale for my concert.
Again, May 24, 1836, he writes:—