Of the first concert it is enough to say that the great expectations of the people were not disappointed. Wergeland continues:—
The greatest marvel of all was that he brought Norway home to the Norsemen. Most people knew the folk–songs and dances, but were ashamed to admire them. Lifted by him into their confidence and love, these homely melodies suddenly began to gleam like stars, and the people came to feel that they too had jewels of their own.
Ole Bull’s name was now known in every part of Norway. Among the strangers who came to Christiania to hear him was the giant, the engineer Engebret Soot. Wild and passionate as he was, music could subdue him like a child, and his family used to resort to this means of taming his Berserk nature. He had taken a short respite from his work and gone as fast as possible by carriole to Christiania, but arrived only at night after Ole Bull, weary from the first concert and its triumphs, had fallen fast asleep.
There is a knocking at his door, which, repeated, is at last answered: “Who’s there?” The door is already opened. “Good evening, Ole Bull! It is I—Engebret Soot. I am come too late for your concert, and I want you to get up and play for me now.” “I am really too tired. I—it is impossible,—besides”— But by the light of a candle which his unexpected visitor has succeeded in finding and lighting, the violinist sees before him a man of giant size grandly proportioned. “I have traveled ninety miles to–day to hear you.” “Yes, but to–morrow”— “I must be in Aremark. You must play for me now, Ole Bull.”
They exchange looks; they are physically the two best developed men in Norway; they understand each other, and Ole Bull takes his violin. Sitting on the edge of the bed he plays and, in his turn, subdues and controls his formidable friend, moving him at will to tears or laughter; but he himself is not permitted to sleep until he has given his one auditor more than the audience of the evening had heard.
One of the most beautiful of the Norwegian poems addressed to Ole Bull was written by the famous poet Welhaven under the following circumstances. Crushed by the death of his betrothed he was leading a life of entire seclusion, and his friends were fearful that his depression would seriously affect his mind. He was persuaded to hear Ole Bull; the music brought him the relief of tears, and moved him to write this grateful tribute to his friend.[7]
At the request of deputations Ole Bull now gave concerts in the principal towns along the coast and in Bergen. The people of his native city received him warmly, and festivities in his honor were the order of the day. During his visit there he composed “The Mountains of Norway,” the last piece played by him at his last concert in 1880. He received everywhere proofs of the fervent sympathy and affection of his own people. At his farewell concert in Bergen he was greeted with a very rain of flowers by the ladies, although the season was so far advanced that these were grown in their houses and not in their gardens.
In October, 1838, he left Norway for his third continental tour. He gave five concerts in Copenhagen, one of which was for the founding of a pension fund for the chorus of the Royal Opera. He was presented at court, and played for King Frederic, who gave him a gold snuff–box set with diamonds, saying, “As you have won the hearts of my people, it is fitting that I should present you the key to my kingdom.” On the cover of the box was a picture in enamel of the fortress by which the harbor of Copenhagen is defended.
The following letter from Hans Christian Andersen will be of interest here:—