I had never seen a violin save in the hands of a country dancing–master, and it was like a new revelation when this high–bred gentleman stood up “every inch a man,” and with “charmed touch” dignified his instrument.
During the past few weeks, both in public and private, I have had an opportunity to enjoy again the magic of the weird musician’s art, and I find that the boyish pleasure stands the test of manhood’s reflection. But in my later experience I have not only drank in my fill of the “dulcet creams” of music, but from the stand–point of an anatomist have attempted to unravel the secret of Mr. Bull’s graceful pose and unique method of holding the violin. Nor has my study been without results, which I shall attempt to develop for the benefit of the ambitious violinist who would adopt the methods of a master.
The pose of Mr. Bull when playing is a model of manly grace. He rests his body centrally over the left leg as a firm column of support, while the right foot is advanced and the right leg forms an oblique brace. The pose is essentially the “rest” of the soldier, and combines the maximum of ease and stability.
The figure is singularly erect, nor does the head incline like that of the ordinary violinist—save only in certain inspired moments when for an instant the ear drops towards the well loved instrument as if to catch
“The still sad music of humanity”
inaudible to other ears. Both the head and chin are absolutely free and seem to feel no responsibility for the position of the violin. The bust, which has been superbly developed by a lifetime of musical gymnastics, measures on full inspiration forty–two inches, having an expansion of three inches. The waist, at twenty–four years of age, measured twenty–four inches; and although the years have increased, the waist measure remains exactly the same. Mr. Bull’s height in his stocking–feet is five feet eleven and a quarter inches. As he stands before an audience waiting for his accompaniment, with his small waist, his superb bust, his finely cut face, and the carriage of a prince, he is the incarnation of the Magnus Apollo. But when his imperial bow grows liquid and pours out silvery notes like the music of many waters, we seem to see as in a dream that the wheel of Ixion stops, the stone of Sisyphus stands still, Tantalus forgets his perpetual thirst, and even the Furies relent. Then it is that we wake to find that Apollo, as in the ancient myth, has yielded the lyre to Orpheus.
The excellence of Mr. Bull’s method in holding the violin depends mainly on the admirable position of the left arm. The upper arm is carried forward and inward, the elbow being brought well in front of the chest. The fore–arm is then flexed, thus forming a brace to support the neck of the instrument, while the same portion of the arm is in a position of extreme supination; that is, the fore–arm is turned so that the palm is upward. It will thus be observed that the palm of the hand is placed higher than the clavicle or collar–bone, where the tail–piece of the violin rests (Fig. 1). When the violin is placed in position, the tail–piece rests against the root of the neck, just above the clavicle or collar–bone, while the neck of the instrument reposes upon the palmar surface of the thumb throughout the whole or part of its extent, according to the exigencies of the fingering.
Fig. 1.