Books › Ole Bull: a memoir; with Ole Bull's 'Violin notes' and A. B. Crosby's 'Anatomy of the violinist', 1897 › scan 70
Scan 70
Ole Bull: a memoir; with Ole Bull's 'Violin notes' and A. B. Crosby's 'Anatomy of the violinist', 1897
6 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1lins—were constructed. It has been said that those violins owe their excellence to their age alone. Why is it, then, that the Cremonese instruments are almost human in their temper and character of tone, while contemporary instruments from the Tyrol, etc., are now worth nothing? Whether the Italian masters worked with unconscious ingenuity, or acted upon the principles well known to their great musical epoch, certain it is that their violins, like the buried soul of the legend, challenge a searching question for the betrayal of their secret.
3At the end of his six months' study he went from Milan to Venice where his performances created an excitement, and he was made a member of the Philharmonic Society. There and in Trieste his improvisations awakened the liveliest interest, and the extremely enthusiastic criticisms of Dr. Jael made his name known in Vienna. But he could not then visit that city, as his thoughts and longings turned toward the South. He went first to Bologna, where, in the most extraordinary way, he won the great celebrity which followed him ever afterwards, by one of those happenings in human life, stranger than those which fancy creates, and making visible, as it were, the hand of Providence. It was from Bologna that his friends at home first received the news of his triumphs.
5Bologna was, at that time, reputed the most
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