Ole Bull Concert

“After an absence of nearly twelve years—during which he has had the pleasure of reading a dozen obituaries on himself in many journals—this distinguished violinist returned to the scene of his early triumphs and made his bow last night before an immense audience at Steinway Hall. His course in the West has been one of unwonted triumph, and the greatest enthusiasm greeted him in every city. His reception last night was a highly gratifying one, for when the tall, commanding figure of the king of violinists appeared on the platform the applause that spontaneously broke forth from every part of the hall evinced a genuine spirit of welcome and recognition of the genius of the distinguished Norwegian. His first selection was his characteristic Nightingale fantasia, in which he was accompanied by the organ and piano. Time seems to have added more fire, soul and expression to those magic fingers and endowed the bow of Ole Bull with the properties of a sorcerer’s wand. Every effect in melody and harmony that the violin is capable of was produced with an ease, delicacy, power and clearness that entranced the audience. The fantasia was of course encored and ‘Home, Sweet Home’ followed. It seemed as if a quartet of chamber music was improvised on the four strings of this matchless violin, for the four parts of the arrangement of the well-known air were distinctly given in a style superior to many of our string quartet organizations. The ‘Mother’s Prayer,’ which followed, was the gem of the concert and, like a painting of one of the great masters, it glowed with warm life and soul-breathing expression. The setting of organ, piano and harp in which this musical picture was placed served to display its beauties to the best possible advantage. The fantasic and extraordinary arrangement of the ‘Carnival of Venice’ by the great violinist concluded his selections. Ole Bull comes back to us greater than ever, with all the command over violin playing that we can accord to modern fingers and brains. He was assisted by Madame Varian Hoffman, Edward Hoffman, Severini, George Morgan and Pollak.”

“The return of the great Norwegian violinist to this country a few months since was made so quietly and unostentatiously that New Yorkers were first made aware of this fact by the reports of a renewal of his old triumphs in the western cities. Unable to procure a suitable concert room in this city when he first arrived, he has been obliged to defer his appearance here until now. Before starting out on his western tour, however, he favored a few gentlemen with specialties of his playing, and convinced them not only that his old power is undiminished, but that with all his former mastery of the resources of his instrument he has become more reserved in the use of more brilliancies of execution, and more careful to make them subordinate to the expression of sentiment.

The attendance at Steinway Hall last night showed that the public interest in an old favorite had not abated, although there is nothing of that wild excitement which was raised by his playing here when he first came to this country, nearly a quarter of a century ago. The hall was packed as densely as we have seen it for months, and the audience was exceedingly intelligent and appreciative. The appearance of Ole Bull on the stage was the signal for prolonged applause, such as we have not witnessed for a long time. He looked as fresh, vigorous, and full of energy as though only forty instead of fifty-eight years of a career wonderfully adventurous and romantic has passed over his head. The first touch of his bow gave assurance that the old delicacy of manipulation remained, perhaps that it was even more completely and assuredly mastered.  Before the first movement was ended a subdued hum of admiration testified that the audience recognized the master who used to thrill and excite, but whose more mature and chastened genius rouses a higher if a more quiet, sentiment of appreciation.

The selections performed were, The Nightingale Fantasia,’ ‘The Mother’s Prayer,’ and ‘The Carnival of Venice.’ In the performance of the latter, which has become a hackneyed execution piece, we recognized something of Ole Bull’s old style. As a display of what can be done with the violin, besides playing a tune, it is perhaps the best thing in its way extant; and in this line of performance Ole Bull is certainly unequalled. We liked him far better, however, in the two former pieces of his own composition, which revealed the supreme excellence of the violin as an instrument for the expression of delicate fancies and tender sentiment. The difference between his interpretation of such music and that of even very good violinists is one not merely of degree, but of kind. It is not only that the most difficult feats of execution are achieved so smoothly and easily as not to attract notice, but the tones are of a peculiar quality, almost approaching those of the best human voice. They have a positive power of moving the heart, while the intellect is absorbed in admiration. In a word, they are such tones as can only be produced by a player who, to an absolute mastery of technical difficulties, adds positive inspiration.

The support given by Mr. Morgan, on the organ; by Edward Hoffmann, on the piano; by Mr. Toulmin, on the harp, and by Mrs. Varian Hoffmann, Signor Severini and Mr. Pollak, was in some respects excellent, and in all respects seemed much enjoyed by the audience, who even encored Mr. Pollak.”      

“Mr. Ole Bull has every reason to feel satisfied with the memory of a New York audience. Ten years have elapsed since the celebrated violinist made his last appearance in this city. It was at Dodworth’s small hall in Broadway. On his return he is able to fill even Stienway’s [sic] splendid edifice, and to excite an enthusiasm in the ratio of its vast proportions. He has lost none of his old force, and is as warmly admired by his countrymen and the cognoscente as of yore. He was always a phenomenal performer, and will remain so to the end. With rare expression he combines an unusual readiness of technical skill, but he seldom sacrifices the former to the latter. Everything was of course encored last night; everything indeed was of a popular character and calculated to produce this rather overwhelming effect. After the ‘Nightingale Fantasie’ he played ‘Home Sweet Home;’ after the ‘Mother’s Prayer,’ ‘La chi darem,’ and so on, no one could complain about the quantity provided, and every one was satisfied with the quality. Signor Severini was honored with a re-demand in Gounod's with which he complied. The gentleman has an agreeable and well-trained tenor. Signor Pollak sang his gloomy pieces with evident relish, and Mdme. Varian Hoffman [sic] was as usual an acceptable artist. The concert in every way was a complete success. The second of the series will take place at Steinway’s on Friday evening. Mr. Edward Hoffmann presided at the piano-forte and Mr. Toulmin at the harp.”

“It is nearly fifteen years, we believe, since the famous Norwegian violinist has been heard in New York, and a quarter of a century since he made his first triumphant tour through this country, showers of silver dropping in his lap, throngs of worshipers crowding about him, critics falling prostrate at this feet, and the air ringing with the shouts of his admirers. In one way or another his whole life seems to have been a round of adventure and excitement. Driven by his passion for music to quit the university of Christiania where he was studying for the church, he began his career as an artist at the age of 19. One of his first exploits was aduel in which his antagonist, a fellow musician, was mortally wounded. To escape the consequences of this affair he fled to Paris. There he fell into poverty, robbed of everything he had, even of hisd violin, and in his despair threw himself into the Seine. This attempt at suicide was the making of him. Being fished out of the water, his forlorn condition attracted the notice of a rich lady who had recently lost her son, and who fancied that she traced in the young violinist’s features a resemblance to her dead child. She took him home, provided for his wants, and enabled him, to make a professional tour which placed him at once on the high road to fortune. The applause of the concert halls, however, could not satisfy his adventurous spirit. He has managed, we believe, to have a share in nearly all the European revolutions. He was badly wounded in the Paris insurrection of 1832, figured conspicuously in the movements of February, 1848, then hurried to Holland, where he had some more revolutionary experience, and went back to Paris to enjot more still. He fought under the French in Algeria. He built a theater at Bergen and brought out political dramas, which led to his arrest and financial ruin. Then following an illustrious example he laid down the fiddle and bow, took up the implements of husbandry, and bought a great tract of land in Pennsylvania for the purpose of founding a Norwegian agricultural colony. This was in 1862. Hundreds of his countrymen followed him to the promised land, and a little town called Oleana was soon built by their industry, but the experiment was a disastrous failure, and the projector was ruined for the second time. Then he came to New York, took a case of the just-finished Academy of Music, and in two months was ruined again. His career since then has been quieter, and we trust happier. He finds on his return to America many of his old admirers still ready to greet him, and a new generation of lovers of musicto whom his name is a bright tradition. On his tour through the West he has been received with positive enthusiasm. He was greeted last night at Steinway Hall with a warmth which must have been extremely grateful, and which constantly increased as the evening wore on. There were many no doubt who mistrusted his abilities, and were disposed to fear that his reputation was built upon a showy rather than a solid foundation. The fear, however, was a vain one. With our recollection of Vieuxtemps, and other artists who have visited us in latter years, still fresh, we can yet say that Ole Bull, in many important respects, is unsurpassed. His playing will always be liked better by the general public than by musicians, but it has excellences which the best of musicians might envy. Its principal charm is pathos. In his hands the violin has more of the touching quality of a sympathetic human voice than we have ever heard in it before. He executes with wonderful breadth of expression, with delicacy, and with a power almost incredible. The music which he selects is rarely of the best quality; but he gives it a meaning which nobody else could give, and has the art of producing great effects out of very simple materials. In rapid passages his execution is sometimes coarse; in slow movements it is perfect; and over those tours de force, which are best described as violin gymnastics, he has a complete mastery. He played last night ‘The Nightingale Fantasia,’ and ‘The Mother’s Prayer,’ both of his own composition, and an arrangement of ‘The Carnival of Venice.’ He was encored after each and replied with short variations on popular airs, two of which, ‘Home, Sweet Home,’ and the ‘La ci darem’ from ‘Don Giovanni,’ executed with the harmony in four parts, were his finest performances of the evening. He was ably assisted by Mr. G. W. Morgan, organist; Mr. Edward Hoffman [sic], pianist; Mr. Toulimin, harper; Mrs. Varian Hoffman [sic], Signor Severini, and Mr. Pollak. The hall was entirely filled.”

The concert was very well attended. Ole Bull’s violin playing is of such a strange and enchanting fashion that it will always be impressive with a moderately receptive audience. His presentation of the elegiac parts of the compositions is of a rare beauty. The artist’s performance was especially notable in “Gebet der Mutter”, “Nachtigall Fantasie” (the artist’s favorite piece), and “Carneval von Venedig”. His staccato skills are exceptionally clear and sharp, and his flageolett is always pure and well-sounding. His supporting performers Pollack and Ed Hoff were also well received.

Ole Bull plays for the heart. His playing is technically highly skilled and very soulful...

“A decade has passed since the Norwegian violinist (Ole Bull) has played in this city. The enthusiastic greeting which he received on Wednesday from a very large audience—some 1800 or 200 people—must have convinced him that our musical public has held him in pleasant and appreciative remembrance. . . . Of his playing, one must say that clearness of tone and rapidity of execution are the leading characteristics. He was warmly applauded and of course encored—as indeed were all the artists who assisted him—but his selections were hardly calculated to move one irresistibly. The ‘Nightingale Fantasia’ and the ‘Mother’s Prayer’ (both by himself) are rambling, disconnected, and in themselves uninteresting, being only redeemed from mediocrity by the wonderful sentiment and expression which the artist throws into them. His best success was an exceedingly unique and very beautiful arrangement for violin alone (his encore pieces are always unaccompanied) of ‘La ci darem;’ his firm, clear, accurate management of three parts simultaneously was a piece of consummate skill.

In lieu of orchestra the accompaniments were supplied by G. W. Morgan (organ), Edward Hoffman (piano) and Toulmin (harp); the effect was not a thoroughly good one. Sigs. Severini and Pollack, with Mad. Varian, contributed each two solos. The latter acquitted herself fairly, in spire of her extremely futile attempt at a D-flat in Auber’s ‘Laughing Song.’ Edward Hoffman [sic] displayed much facility of finger. Severini, who has an excellent voice, pronounced none of his syllables distinctly. Sig. Pollak seemed far too mournful to enjoy his solos, and G.W. Morgan hardly did himself justice.”

“At the Friday evening concert and at the Saturday matinee, which latter was attended (despite the inclemency of the weather) by about 1000 people, Ole Bull strengthened the favorable impression created at his initial concert. His double-note playing was something wonderful and delightful, reminding me, in a lesser degree, of Joachim.  –F.”

“There were three Ole Bull concerts last week. His odd, quaint, fanciful performance of such pieces as the ‘Carnival of Venice’ and ‘Witches’ Dance’ is eminently calculated to please the popular mind: on the other hand, his best and most artistic point—i.e. his wonderful three and four part playing—is appreciated only by a few. We must regret that a violinist of such pre-eminent ability should condescend to play—as he did on Saturday evening—such low barroom trash as the ‘Arkansas Traveller;’ and we would suggest to Sig. Severini the propriety of leaving the dead undisturbed; ‘Oft in the stilly night’ is very well in its way, but it is unkind to unearth it at this late day.”