Lives of Poor Boys Who Became Famous

"Then come with me. I have a fiddle I bought in England, that I want to show you."

The fiddle needed a bridge and sounding-post, and these the boy gladly whittled out, and then played for the old man his favorite air, "God save the King." He was treated to cakes and milk, and promised to come again. The next afternoon, what was his surprise to receive four pairs of doves, with a blue ribbon around the neck of one, and a card attached bearing the name of "Ole Bull." This present was more precious than the diamonds he received in later years from the hands of royalty.

Ole's father, with a practical turn of mind, urged his being a clergyman, as he honored that profession, and well knew that music and art usually furnish a small bank account. A private tutor, Musæus by name, was therefore engaged. This man had the unique habit of kneeling down to pray before he whipped a boy, and asking that the punishment might redound to the good of the lad. He soon made up his mind that Ole's violin and theology were incompatible, and forbade his playing it. Ole and his brothers bore his harsh methods as long as possible, when one morning at half past four, as the teacher was dragging the youngest boy out of bed, Ole sprang upon him and gave him a vigorous beating. The smaller boys put their heads out from under the bed-clothes and cried out, "Don't give up, Ole! Don't give up! Give it to him with all your might!" The whole household soon appeared upon the scene, and though little was said, the private feeling seemed to be that a salutary lesson had been imparted.

At eighteen, Ole was sent to the University of Christiana, his father beseeching him that he would not yield to his passion for music. On his arrival, some Bergen students asked him to play for a charitable association.

"But," said Ole, "my father has forbidden me to play."

"Would your father prevent your doing an act of charity?"

"Well, this alters the case a little, and I can write to him, and claim his pardon."

After this he played nearly all night at the home of one of the professors, saying to himself that his father would be pleased if the Faculty liked him, and the next morning failed in his Latin examinations! In despair, he stated the case to the professor, who replied, "My good fellow, this is the very best thing that could have happened to you! Do you believe yourself fitted for a curacy in Finmark or a mission among the Laps? Certainly not! It is the opinion of your friends that you should travel abroad. Meanwhile, old Thrane having been taken ill, you are appointed ad interim Musical Director of the Philharmonic and Dramatic Societies." A month later, by the death of Thrane, he came into this position, having gained the pardon of his disappointed father.

But he was restless at Christiana. He desired to know whether he really had genius or not, and determined to go to Cassell, to see Louis Spohr, who was considered a master. The great man was not sufficiently great to be interested in an unknown lad, and coolly said, when Ole remarked politely, "I have come more than five hundred miles to hear you," "Very well, you can now go to Nordhausen; I am to attend a musical festival there."

Ole went to the festival, and was so disappointed because the methods and interpretation were different from his own, that he resolved to go back to classic studies, feeling that he had no genius for music. Still he was not satisfied. He would go to Paris, and hear Berlioz and other great men. Giving three concerts at Trondhjeim and Bergen, by which he made five hundred dollars, he found himself in possession of the needed funds. When he arrived in this great city, everybody was eagerly looking out for himself. Some were in pursuit of pleasure; but most, as is the case everywhere, were in pursuit of bread and shelter. Nobody cared to hear his violin. Nobody cared about his recommendations from far-off Norway. In vain he tried to make engagements. He had no one to speak for him, and the applicants were numberless.

Madam Malibran was singing nightly to crowded houses, and the poor violinist would now and then purchase one of the topmost seats, and listen to that marvellous voice. His money was gradually melting away. Finally, an elderly gentleman who boarded at the same house, having begged him to take what little money he possessed out of the bank, as it was not a safe place, stole every cent, together with Ole's clothes, and left him entirely destitute.

An acquaintance now told him of a boarding-place where there were several music-teachers, and gave security for his board for one month, – twelve dollars. Soon the friend and the boarding-mistress grew cold and suspicious. Nothing tries friendship like asking the loan of money. At last his condition becoming known to a person, whom he afterward learned was Vidocq, the noted Chief of Police, he was shown by him to a gaming-table, where he made one hundred and sixty dollars. "What a hideous joy I felt," he said afterward; "what a horrid pleasure to hold in the hand one's own soul saved by the spoil of others!" He could not gamble again, though starvation actually stared him in the face.

Cholera was sweeping through the city, and had taken two persons from the house where he lodged. He was again penniless and wellnigh despairing. But he would not go back to Christiana. The river Seine looked inviting, and he thought death would be a relief. He was nervous and his brain throbbed. Finally he saw a placard in a window, "Furnished rooms to let." He was exhausted, but would make one more effort.

An elderly lady answered his query by saying that they had no vacant rooms, when her pretty granddaughter, Alexandrine Félicie, called out, "Look at him, grandmamma!" Putting on her glasses, the tears filled her eyes, as she saw a striking resemblance to her son who had died. The next day found him at Madam Villeminot's house, very ill of brain fever. When he regained consciousness, she assured him that he need not worry about the means for payment. When, however, the Musical Lyceum of Christiana learned of his struggles, they sent him eight hundred dollars.

Becoming acquainted about this time with Monsieur Lacour, a dealer in violins, who thought he had discovered that a certain kind of varnish would increase sweetness of tone, Ole Bull was requested to play on one of his instruments at a soirée, given by a Duke of the Italian Legation. An elegant company were present. The intense heat soon brought out the odor of assafœtida in the varnish. The young man became embarrassed and then excited, and played as though beside himself. The player was advertised, whether Monsieur Lacour's instruments were or not; for Marshal Ney's son, the Duke of Montebello, at once invited him to breakfast, and presided over a concert for him, whereby the violinist made three hundred dollars. The tide had turned at last, and little Félicie Villeminot had done it with her "Look at him, grandmamma!"

As the Grand Opera was still closed to him, he made a concert tour through Switzerland and Italy. In Milan, one of the musical journals said, "He is not master of himself; he has no style; he is an untrained musician. If he be a diamond, he is certainly in the rough and unpolished."

Ole Bull went at once to the publisher and asked who had written the article. "If you want the responsible person," said the editor, "I am he."

"No," said the artist, "I have not come to call the writer to account, but to thank him. The man who wrote that article understands music; but it is not enough to tell me my faults; he must tell me how to rid myself of them."

"You have the spirit of the true artist," replied the journalist.

The same evening he took Ole Bull to the critic, a man over seventy, from whom he learned much that was valuable. He at once gave six months to study under able masters, before again appearing in public. He was, however, an earnest student all through life, never being satisfied with his attainments.

At Venice he was highly praised, but at Bologna he won the celebrity which continued through life. Malibran was to sing in two concerts, but feigned illness when she learned that the man she loved, De Beriot, was to receive a smaller sum than herself, and would not appear. The manager of the theatre was in despair. Meantime, in a poor hotel, in an upper room, Ole Bull was composing his concerto in the daytime, and playing on his violin at night by his open window. Rossini's first wife heard the music, and said, "It must be a violin, but a divine one. That will be a substitute for De Beriot and Malibran. I must go and tell Zampieri" (the manager).

On the night of the concert, after Ole Bull had been two hours in bed from weariness, Zampieri appeared, and asked him to improvise. He was delighted, and exclaiming, "Malibran may now have her headaches," hurried the young artist off to the theatre. The audience was of course cold and disappointed till Ole Bull began to play. Then the people seemed to hold their breath. When the curtain fell, he almost swooned with exhaustion, but the house shook with applause. Flowers were showered upon him. He was immediately engaged for the next concert; a large theatre was offered him free of expense, one man buying one hundred tickets, and the admiring throng drew his carriage to the hotel, while a procession with torchlights acted as guard of honor.

Ole Bull had stepped into the glory of fame in a single night. Henceforth, while there was to be much of trial and disappointment, as come to all, he was to be forever the idol of two continents, drawing crowded houses, honored by the great, and universally mourned at his death. He had come to fame as by accident, but he had made himself worthy of fame.

Malibran at first seemed hurt at his wonderful success in her stead, but she soon became one of his warmest friends, saying, "It is your own fault that I did not treat you as you deserved. A man like you should step forth with head erect in the full light of day, that we may recognize his noble blood."

From here he played with great success at Florence and Rome, at the latter city composing his celebrated "Polacca Guerriera" in a single night, writing till four o'clock in the morning. It was first conceived while he stood alone at Naples, at midnight, watching Mount Vesuvius aflame.

Returning to Paris, he found the Grand Opera open to him. Here, at his first performance, his a-string snapped; he turned deathly pale, but he transposed the remainder of the piece, and finished it on three strings. Meyerbeer, who was present, could not believe it possible that the string had really broken.

He was now twenty-six, famous and above want. What more fitting than that he should marry pretty Félicie Villeminot, and share with her the precious life she had saved? They were married in the summer of 1836, and their love was a beautiful and enduring one until her death twenty-six years afterward. Though absent from her much of the time necessarily, his letters breathe a pure and ardent affection. Going to England soon after, and being at the house of the Duke of Devonshire at Chatsworth, he writes, "How long does the time seem that deprives me of seeing you! I embrace you very tenderly. The word home has above all others the greatest charm for me."

In London, from three to seven thousand persons crowded to hear him. The "Times" said, "His command of the instrument, from the top to the bottom of the scale – and he has a scale of his own of three complete octaves on each string – is absolutely perfect." At Liverpool he received four thousand dollars for a single night, taking the place of Malibran, who had brought on a hemorrhage resulting in death, by forcing a tone, and holding it so long that the audience were astonished. Ole Bull came near sharing her fate. In playing "Polacca," the hall being large and the orchestra too strong, he ruptured a blood vessel, and his coat had to be cut from him.

In sixteen months he gave two hundred and seventy-four concerts in the United Kingdom. Afterwards, at St. Petersburg, he played to five thousand persons, the Emperor sending him an autograph letter of affection, and the Empress an emerald ring set with one hundred and forty diamonds. Shortly after this his father died, speaking with pride of Ole, and thinking he heard divine music.

On his return to Norway, at the request of the King, he gave five concerts at Stockholm, the last netting him five thousand dollars. So moved was the King when Ole Bull played before him at the palace, that he rose and stood till the "Polacca" was finished. He presented the artist with the Order of Vasa, set in brilliants.

In Christiana, the students gave him a public dinner, and crowned him with laurel. He often played for the peasants here and in Bergen, and was beloved by the poor as by the rich. At Copenhagen he was presented at Court, the King giving him a snuff-box set in diamonds. Hans Andersen became his devoted friend, as did Thorwaldsen while he was in Rome. He now went to Cassell, and Spohr hastened to show him every attention, as though to make amends for the coldness when Ole Bull was poor and unknown. At Salzburg he invited the wife of Mozart to his concerts. For her husband he had surpassing admiration. He used to say that no mortal could write Mozart's "Requiem" and live.

While in Hungary, his first child, Ole, died. He wrote his wife, "God knows how much I have suffered! I still hope and work, not for myself, – for you, my family, my country, my Norway, of which I am proud."

All this time he was working very hard. He said, "I must correspond with the directors of the theatres; must obtain information regarding the people with whom I am to deal; I must make my appointments for concerts and rehearsals; have my music copied, correct the scores, compose, play, travel nights. I am always cheated, and in everlasting trouble. I reproach myself when everything does not turn out for the best, and am consumed with grief. I really believe I should succumb to all these demands and fatigues if it were not for my drinking cold water, and bathing in it every morning and evening."

In November, 1843, urged by Fanny Elssler, he visited America. At first, in New York, some of the prominent violinists opposed him; but he steadily made his way. When Mr. James Gordon Bennett offered him the columns of the "Herald," that he might reply to those who were assailing him, he said in his broken English, "I tink, Mr. Bennett, it is best tey writes against me, and I plays against tem." Of his playing in New York, Mrs. Lydia Maria Child wrote, "His bow touched the strings as if in sport, and brought forth light leaps of sound, with electric rapidity, yet clear in their distinctness. He played on four strings at once, and produced the rich harmony of four instruments. While he was playing, the rustling of a leaf might have been heard; and when he closed, the tremendous bursts of applause told how the hearts of thousands leaped like one. His first audience were beside themselves with delight, and the orchestra threw down their instruments in ecstatic wonder."

From New York he took a successful trip South. That he was not effeminate while deeply poetic, a single incident will show. After a concert, a man came to him and said he wished the diamond in his violin bow, given him by the Duke of Devonshire. Ole Bull replied that as it was a gift, he could neither sell it nor give it away.

"But I am going to have that stone!" said the man as he drew a bowie knife from his coat. In an instant Ole Bull had felled the man to the floor with the edge of his hand across his throat. "The next time I would kill you," said the musician, with his foot on the man's chest; "but you may go now." So much did the ruffian admire the muscle and skill of the artist, that he begged him to accept the knife which he had intended to use upon him.

During this visit to America he gave two hundred concerts, netting him, said the "New York Herald," fully eighty thousand dollars, besides twenty thousand given to charitable associations, and fifteen thousand paid to assistant artists. "No artist has ever visited our country and received so many honors. Poems by the hundreds have been written to him; gold vases, pencils, medals, have been presented to him by various corporations. His whole remarkable appearance in this country is really unexampled in glory and fame," said the same newspaper. Ole Bull was kindness itself to the sick or afflicted. Now he played for Alice and Phœbe Carey, when unable to leave their home, and now for insane and blind asylums and at hospitals. He loved America, and called himself "her adopted son."

On his return to Norway, after great success in Spain, the Queen bestowing upon him the order of Charles III. and the Portuguese order of Christus, he determined to build a National Theatre in Bergen, his birthplace, for the advancement of his nation in the drama and in music. By great energy, and the bestowal of a large sum of money, the place was opened in 1850, Ole Bull leading the orchestra. But the Storthing, or Parliament, declined to give it a yearly appropriation, – perhaps the development of home talent tended too strongly toward republicanism. The burden was too great for one man to carry, and the project did not prove a success.

The next plan of the philanthropist-musician was to buy one hundred and twenty-five thousand acres of land on the Susquehanna River, in Pennsylvania, and "found a New Norway, consecrated to liberty, baptized with independence, and protected by the Union's mighty flag." Soon three hundred houses were built, a country inn, store, and church, erected by the founder. To pay the thousands needed for this enterprise he worked constantly at concert-giving, taking scarcely time to eat his meals. He laid out five new villages, made arrangements with the government to cast cannon for her fortresses, and took out patents for a new smelting-furnace.

While in California, where he was ill with yellow fever, a crushing blow fell upon him. He learned that he had purchased the land through a swindling company, his title was invalid, and his fortune was lost. He could only buy enough land to protect those who had already come from Norway, and had settled there, and soon became deeply involved in lawsuits. Hon. E. W. Stoughton of New York, who had never met Ole Bull personally, volunteered to assist him, and a few thousands were wrested from the defrauding agent.

On his return to Norway he was accused of speculating with the funds of his countrymen, which cut him to the heart. A little later, in 1862, his wife died, worn with ill health, and with her husband's misfortunes, and his son Thorvald fell from the mast of a sailing-vessel in the Mediterranean, and was killed.

In the autumn of 1868 he returned to America, and nearly lost his life in a steamboat collision on the Ohio. He swam to land, saving also his precious violin. Two years afterward he was married to Miss Thorp of Madison, Wis., an accomplished lady much his junior in years, who has lived to write an admirable life of her illustrious husband. A daughter, Olea, came to gladden his home two years later. When he was sixty-six years old, he celebrated his birthday by playing his violin on the top of the great pyramid, Cheops, at the suggestion of King Oscar of Norway and Sweden.

In the Centennial year he returned to America, and made his home at Cambridge, in the house of James Russell Lowell, while he was Minister to England. Here he enjoyed the friendship of such as Longfellow, who says of him in his "Tales of a Wayside Inn": —

"The angel with the violin,
Painted by Raphael, he seemed,

And when he played, the atmosphere
Was filled with magic, and the ear
Caught echoes of that Harp of Gold,
Whose music had so weird a sound,
The hunted stag forgot to bound,
The leaping rivulet backward rolled,
The birds came down from bush and tree,
The dead came from beneath the sea,
The maiden to the harper's knee!"