Books › Ole Bull: a memoir; with Ole Bull's 'Violin notes' and A. B. Crosby's 'Anatomy of the violinist', 1897 › scan 65
Scan 65
Ole Bull: a memoir; with Ole Bull's 'Violin notes' and A. B. Crosby's 'Anatomy of the violinist', 1897
8 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1artists. His share of the proceeds was fourteen hundred francs. He came to know Chopin intimately, and they played often together in public and private. George Sand, in her Malgrétout, has given a charming account of the effect of Ole Bull's playing at that period of his life.
3As the Grand Opéra was still closed to him, he soon made a concert tour through Switzerland and Italy. His first concert at Lausanne was a great success, and he assisted at a religious festival in Morges on Lake Geneva. From there he went to Milan, where he gave a concert in the Scala Theatre which brought him both money and fame. A few days afterwards he saw in one of the Milan journals a very severe criticism upon his playing. What struck him, however, was not so much its severity as its truth. It was to this effect:—
5Monsieur Bull played compositions by Spohr, Mayseder, and Paganini without understanding the true character of the music, which he marred by adding something of his own. It is quite obvious, that what he adds comes from genuine and original talent, from his own musical individuality; but 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.
7The artist went to the publisher and asked who
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