This beautiful flag was, according to Ole Bull’s promise on its acceptance, always carried in the 17th of May processions in Bergen, and floated on the 4th of July.
A beautiful silver vase presented by the N. Y. Philharmonic Society that season, a piece of silver plate given by the Young Men’s Christian Association of New York city, for whom he had played, and a very rich and beautiful gold crown given him in San Francisco, were among the mementos which he carried home to Norway.
A still closer tie was soon to bind him to the United States, the country which seemed already his by adoption. In Madison, Wis., in the winter of 1868, Ole Bull first made the acquaintance which resulted in his second marriage. He took a kindly interest in the musical studies of his friend there, and later in New York. To others this delightful relation of teacher, adviser, and friend seemed the only one permissible; but he wrote: “Other than human powers have decided my fate.... The sunbeams I shut out, but the sun itself I could not annihilate.”
The marriage was delayed in deference to the wishes of others for some months, but without resulting in a modification of their fears concerning the disparity of years and other conditions. It was later decided to have a private marriage. This was consummated in Norway, and publicly announced and confirmed on the return to the United States, three months later, in the autumn of 1870.
During the years 1867–69 Ole Bull had worked on his improvement of the piano–forte. This attempt to build a piano outside a manufactory would have been a very doubtful experiment even if the principle of construction had not been itself an experiment. He would not permit the use of any of the old means for strengthening and sustaining the sounding–board, which necessarily in time destroy its power of giving out a good quality of tone. His principal effort was to sustain the board at the ends, leaving the sides free, not permitting the board to be pierced for the insertion of screws to unite the upper and lower frame–work, as is generally done. The wooden strips employed to strengthen the great surface of the board should, he thought, be made to help the tone as well, on the principle of the bar in the violin; the whole to be so adjusted that the wood might grow better with use and age.
The first instrument was made under very great disadvantages. The workmen had it in hand while Ole Bull was absent on his concert tour. A telegram would announce to him the breaking of the frame, which he would try to remedy by suggestions sent by telegram or letter. This instrument cost some $15,000. Not satisfied with this, he commenced another, and met the same old difficulties in the frame, or new ones quite as serious. John Ericsson learned of his trouble, had him explain his idea, made a frame of the right weight and strength, only insisting upon one condition,—the acceptance of it by Ole Bull as a present. This second piano proved satisfactorily that the theory was sound and practicable. Ole Bull had hoped to perfect his invention and introduce the instruments to the public. This would have given him the greatest satisfaction; for even the best pianos give only for a short time a musical quality of tone, and necessarily deteriorate from use, not only because of the wear in the action, which can be replaced, but also on account of the destruction and breaking down of the woody cells and tissues of the sounding–board itself, under the improperly distributed strain brought to bear upon it.
The opportunity never came to Ole Bull of doing more than to satisfy himself that his theory could be realized. Two pianos only were made; but these proved the possibility of doing away with the objectionable features in the present construction of the instrument, which, in time, must destroy the vitality of the sounding–board and its power to produce a pure tone. It is well known that none but new pianos are used by professional players; and an instrument which has been used for any length of time positively vitiates a musical ear.
No friendly service ever touched Ole Bull more deeply than the generous helpfulness of John Ericsson, whom he admired and loved. It is with a sense of grateful recognition that the following letter is now given in concluding this mention of the piano:—
New York, December 13, 1880.