Famous Violinists of To-day and Yesterday Part 6

Although several violinists endeavoured to copy Paganini's style, or at least to learn as much as possible from hearing and seeing him play, there was only one, excepting Catarina Calcagno, who received direct instruction from him, and on whom his mantle was said, by his admirers, to have fallen. That one was Camillo Sivori, born at Genoa, June 6, 1817.

[Ill.u.s.tration: CAMILLO SIVORI]

The connecting link between Sivori and Paganini began very early in the career of the former. Indeed it is said that the excitement of his mother, on hearing Paganini play at a concert, caused the premature birth of the future disciple of the great artist. Marvellous stories are told of Sivori's infancy. At the age of eighteen months, before he had ever seen or heard a violin player, he continually amused himself by using two pieces of stick after the manner of the violin and bow, and singing to himself. It is fair to say that similar precocity in other children has not always resulted in virtuosity. A case might be cited of a very young person who amused himself by inverting a small chair, and imagining that he was a street organist, but he grew to maturity without adopting that profession.

At two years of age, the account continues, he cried out l.u.s.tily for a violin, and when his father, reduced to submission by the boy's importunity, bought him a child's violin, he at once began to apply himself, morning, noon, and night, to practising on this instrument, and without any aid he was able in a short time to play many airs he had heard his sisters play or sing. His renown spread through Genoa, and he was invited everywhere. At concerts and parties he was placed upon a table to play, and he was frequently called upon to perform before the king and the queen-dowager. He must have been a most wilful and embarra.s.sing child, for the account goes on to say that he would not enter a church unless he heard music; but on the other hand, if he did hear music he insisted on going in, or else he would scream and make a terrible scene.

These anecdotes, told by an effusive admirer, seem rather ridiculous, but when Paganini visited Genoa, and Sivori was six years old, the virtuoso took a great deal of interest in the little fellow and gave him lessons. He also wrote a concerto for him, and six short sonatas with accompaniment for guitar, tenor, and 'cello, and these the young artist soon played in public. In six months Paganini left Genoa and desired to take his young pupil with him, but this was not allowed by the parents, and Sivori was placed under the tuition of Costa. Three years later Paganini returned to Genoa, and by his advice his protege was placed under M. Dellepaine, who taught him taste and expression, his lessons with Costa in technique continuing. In 1827 Sivori made a concert tour with M. Dellepaine, and visited Paris, where his playing at the Conservatoire won him great applause. He also appeared in England, after which he entered upon another serious course of study for several years, and perfected the tone which enraptured the world for so long, and at the same time he studied composition under Serra.

In 1839 his concert tours began again, and he visited Germany, Russia, Belgium, and Paris, where he played at the Conservatoire concerts and received the medal of honour.

Sivori now set out on extensive travels, and, after visiting England, proceeded, in 1846, to America, travelling through the United States, Mexico, and various parts of South America, spending eight years in these peregrinations, and ama.s.sing a considerable fortune. During this great tour he met with many adventures, frequently travelling on horseback, and at one time being at death's door with yellow fever. On his return to Europe he shared the fate of many musicians who have achieved financial success, and lost his money by unfortunate investment, which made it necessary for him to resume his travels. He therefore visited Great Britain, Switzerland, Germany, Spain, Portugal, etc.

He was, of course, compared to many of the great violinists of his time, who all had their special merits. One criticism, in which Sivori is compared with Spohr, may be interesting: "Spohr is of colossal stature, and looks more like an ancient Roman than a Brunswicker; Sivori is the ant.i.thesis of Spohr in stature. Spohr has the severe phlegmatic Teutonic aspect; Sivori has the flas.h.i.+ng Italian eye and variability of feature. Spohr stands firm and still; Sivori's body is all on the swing, he tears the notes, as it were, from his instrument. Spohr's refinement and polish have been the characteristics of his playing; in Sivori it is wild energy--the soul in arms--the determination to be up and doing--the daring impulse of youthful genius. Spohr's playing is remarkable for its repose and finish; Sivori electrifies by the most powerful appeals to the affections."

Sivori was a man of generous impulses, and was seldom appealed to in vain to a.s.sist in a good cause. When his teacher, M. Dellepaine, was taken ill and was unable temporarily to fill his post of first violin at the theatre, and of director of the conservatoire at Genoa, Sivori replaced him in both and gave him the entire benefit of his services.

After two years the teacher died, and Sivori still held the two places an entire year for the benefit of the widow, until a situation was procured for her which enabled her to live without further a.s.sistance.

At one time Sivori felt that the instrument which he played was not so perfect as to satisfy him. He asked Paganini to sell him one, and the reply was, "I will not sell you the violin, but I will present it to you in compliment to your high talents." Sivori travelled to Nice to receive the instrument from his master's own hands. Paganini was then--it was in 1840--in a deplorable condition, and could hardly speak. He signified a desire to hear his pupil play once more, and Sivori, withdrawing to a room a little way off, so that the sound of the instrument would not be too loud, played whatever Paganini called for. About two weeks later Paganini died.

In 1851 Halle wrote of him as follows:

"Sivori was here lately, but caused little furore; such rubbish as the man plays now I had never heard, and really, as an artist, felt ashamed of him."

Sivori continued to play in public until 1864, when he visited London and played at the Musical Union and elsewhere, but his triumph in Paris in 1862 must not be forgotten. On that occasion he executed Paganini's B minor concerto, and aroused immense enthusiasm, although he played immediately after Alard, who was at that time a prime favourite. During his later years Sivori lived in retirement, and he died February 18, 1894.

He was the first person allowed to play on the celebrated violin which Paganini bequeathed to the city of Genoa. He was also the first to play, with orchestra, Mendelssohn's Violin Concerto in England. This performance was at the Philharmonic Society concert, June 29, 1846.

Henry Vieuxtemps was one of the greatest violinists of his time. He was born at Verviers, in Belgium, in 1820, and was brought up in a musical atmosphere. So early did his talent develop, that he played a concerto of Rode in public at the age of six, and the following year made a tour with his father and his teacher, Lecloux, during which he had the good fortune to meet De Beriot, before whom he played. During four years he remained a pupil of De Beriot, and when that artist left Paris, in 1831, Vieuxtemps went to Brussels, where he practised hard, but without a teacher, until 1833, when he again set out on a prolonged concert tour.

From this time on he seems to have spent the greater part of his time in travelling, for which he had a pa.s.sion. He visited all parts of Europe and met most of the celebrated musicians of the day. Spohr, Molique, Schumann, Paganini, Henselt, and Richard Wagner were among the celebrities whom he met, and in his tours he was a.s.sociated with Servais, Thalberg, and other well-known artists.

Not content with Europe as a field for conquest, he visited America in 1844, and again in 1857 and in 1870.

He was offered many excellent positions, some of which he held for a time and others he declined. In 1845 he married Josephine Eder, an eminent pianist of Vienna, and shortly after was appointed solo violinist to the Emperor of Russia, relinquis.h.i.+ng that post six years later in order to travel again. He was professor at the Brussels conservatoire from 1871 to 1873, and in 1872 he was elected a member of the Academic Royale of Belgium, on which occasion he read a memoir of etienne Jean Soubre.

In 1868 he suffered a double bereavement through the deaths, first of his father, and a short time later of his wife, and, to divert his mind from these troubles, he undertook a tour which lasted three years.

During 1873 his active career was cut short by a stroke of paralysis which disabled his left side. He now travelled for health's sake, and went to Algiers, where he lived quietly for several years. His life was brought to an end by a drunken Arab, who threw a large stone at him while he was riding in his carriage one day, striking him on the head.

As a violinist Vieuxtemps possessed a wonderful staccato, both on the up and down bow. His intonation was perfect. He was fond of strong dramatic accents and contrasts. As a composer for the violin he had wider success than any one since Spohr, but while some of his works contain really fine ideas worked out with much skill, others are merely show pieces of no particular value.

As a man Vieuxtemps had a gay and restless disposition. He was not easily depressed by trifles, and he enjoyed the freedom of a life of constant change and travel, and it was during his travels that most of his best compositions were written.

During the last few years of his active life, after his paralytic stroke had prevented his playing, he suffered much from his inability to demonstrate to his pupils the way in which certain pa.s.sages should be played. Frequent outbursts of rage ensued, of which his pupils were obliged to bear the brunt, even to being prodded with his iron-shod stick. Sometimes scenes more amusing would occur, as when some grandees would visit the cla.s.s, and Vieuxtemps would change his manner from smiles and affability while addressing them, to scowls and grimaces while talking to his pupils, the latter, of course, being invisible to the visitors.

When Vieuxtemps visited America in 1857, he was a.s.sociated with Thalberg, the pianist, and together they visited many towns and cities.

Amongst the gems of American newspaper criticism they no doubt took with them several copies of the following, which appeared in the local paper of a town in Tennessee, and was headed "Thalberg and Vieuxtemps:"

"These distinguished individuals are now at Nashville, giving high pressure concerts, and selling tickets at two dollars apiece, when convenient. A stage-load and a half or two stage-loads of ladies and gentlemen went down from this place to hear them. Thalberg is said to be death, in its most horried shape, on the piano, and it is probably true; while Vieuxtemps is represented as a fiddler of considerable skill, considering his opportunities, which he no doubt is. We haven't heard either of them since they were quite small, and unless they come out here and reduce the price of their tickets to their value,--say about sixty-two and a half cents a dozen,--it is possible that we sha'n't hear them any more. When we ride forty miles, at an expense of at least ten dollars, extras not included, to hear a couple of itinerant Dutchmen torture a brace of unoffending instruments into fits, until the very spirit of music howls in sympathy, if some one will cave in our head with a brickbat, we will feel greatly obliged.

"But seriously, Thalberg and Vieuxtemps have never done us any harm that we know of, and we don't suppose they intend to. We wouldn't much mind hearing their music, for no doubt it is nearly, if not quite, as good as that of the average common run of Dutchmen, which, as the latter will tell you, is saying a good deal."

And yet musical culture was said to be in its infancy in America at that time!

In Boston, Vieuxtemps, after an absence of fourteen years, was criticised thus: "We cannot see in M. Vieuxtemps the spark of genius, but he is a complete musician, and the master of his instrument. Tone so rich, so pure, so admirably prolonged and nourished, so literally drawn from the instrument, we have scarcely heard before; nor such vigour, certainty, and precision, such n.o.bility and truth in every motion and effect. We recognise the weakness for sterile difficulties of extreme harmonics."

Vieuxtemps was also subject to comparison with Sivori, rather to the former's disparagement. "The one plays the violin like a great musician, the other like a spoiled child of nature, who has endowed him with the most precious gifts. Intrepid wrestlers, both, and masters of their instrument, they each employ a different manner. M. Vieuxtemps never lets you forget that he plays the violin, that the wonders of mechanism which he accomplishes under your eye are of the greatest difficulty and have cost him immense pains, whereas M. Sivori has the air of being ignorant that he holds in his hands one of the most complicated instruments that exists, and he sings to you like Malibran.

He sings, he weeps, he laughs on the violin like a very demon."

The following paragraph is a good sample of New York musical journalism in the year 1844:

"Vieuxtemps's first concert on Monday night was a very stylish jam.

He is a small, puny-built man, with gold rings in his ears, and a face of genteel ugliness, but touchingly lugubrious in its expression. With his violin at his shoulder, he has the air of a husband undergoing the nocturnal penance of walking the room with 'the child'--and performing it, too, with unaffected pity. He plays with the purest and coldest perfection of art, and is doubtless more learned on the violin than either of the rival performers [Ole Bull and Artot], but there is a vitreous clearness and precision in his notes that would make them more germane to the humour of before breakfast than to the warm abandon of vespertide. His sister travels with him (a pretty blonde, very unlike him), and accompanies him on the piano."

Vieuxtemps also visited America in 1870, with the celebrated singer Christine Nilsson.

Among the celebrated violinists of this period must be mentioned Bernhard Molique, of whom Sir Charles Halle says that he was a good executant, knowing no difficulties, but his style was polished and cold, and he never carried his public with him. "Ernst," he continues, "was all pa.s.sion and fire, regulated by reverence for and clear understanding of the masterpieces he had to interpret. Sainton was extremely elegant and finished in his phrasing, but vastly inferior to the others.

Vieuxtemps was an admirable violinist and a great musician, whose compositions deserve a much higher rank than it is the fas.h.i.+on to accord them."

Molique was the son of a town musician of Nuremberg, and became a composer whose works have stood the test of time. He was a pupil of Kreutzer and of Spohr, and held the position of director and first violinist of the royal band at Stuttgart. He had a number of excellent pupils, of whom John T. Carrodus was the best known. He died at Stuttgart in 1869.

Henry Gamble Blagrove was a musical prodigy, who began the study of the violin at the age of four, and appeared in public a year later. He was born at Nottingham in 1811, and at six years of age played at Drury Lane. He studied abroad with Spohr, and appeared in Vienna in 1836, but the greater part of his life was spent in England, where he was soloist in several of the best orchestras. He was a man of refres.h.i.+ng modesty, and was held in high esteem. He died in London in 1872.

Jacob Dont, of Vienna, and Jean Dancla, a French violinist, both belong to this period, and were teachers of reputation.

CHAPTER VI.

OLE BULL.

"A typical Norseman, erect of bearing, with a commanding presence and mobile, kindly face, from which the eyes shone clear and fearless as the spirits of old Norway hovering over his native mountains. He was a man to evoke respect and love under all conditions, and, when he stepped before an audience, roused an instantaneous throb of sympathy, of interest, before the sweep of his magical bow enthralled their souls with its melodious measures." Such is an excellent pen picture of Ole Bull, who during the middle of the nineteenth century was known far and wide as a great violinist.

Among the celebrated musicians of all nations, Ole Bull will always remain a striking figure. As a musician, none so eminent has been so essentially a self-made man, none has grown up with so little influence from outside, none with a technique so essentially self-discovered. As a son of his country, none has retained so st.u.r.dy a sense of patriotism; none has, amid the more brilliant surroundings of a life spent in the gayest cities of the world, refused to be weaned from the poor northern, half-dependent state from which he issued a penniless lad.

Olaus Borneman Bull was born at Bergen, in Norway, February 5, 1810, and was the eldest of ten children. His father was a physician and apothecary. He was musical, as were several other members of his family, and little Ole's love for music was fostered to a great degree at home by the Tuesday quartet meetings, at which his Uncle Jens played the 'cello.

In the early part of the century, the proverb, "Spare the rod and spoil the child," was regarded as the foundation of education in most countries, and few children were allowed to spoil. All childish desires which conflicted with parental ideas were promptly suppressed by "the rod," until by sheer strength they proved to be unsuppressible. Then they became great virtues. It was thus with Ole Bull. His first desire to hear the quartet music, which he gratified by hiding under sofas or behind curtains, was rewarded with the rod,--for he should have been in bed. After a time a concession was made through the intervention of Uncle Jens, and Ole was allowed to become familiar with the best music of the day.

Uncle Jens used to amuse himself with the small boy's susceptibility to music, and would sometimes shut him up in the 'cello case, promising him some candy if he would stay there while he (Uncle Jens) played. But Ole could never endure the ordeal for long. He had to come out where he could see and hear.

His first violin was given him by Uncle Jens when he was five years old, and he soon learned to play it well without any instructor. He was not allowed to practise music until his study hours were over, and occasional breaches of this rule kept "the rod" active.

Ole Bull's first instructor was a violinist named Paulsen, a man of convivial temperament, who used to come and enjoy the hospitality of Ole's father and play "as long as there was a drop in the decanter,"

with a view to educating the young artist, as he said. But Ole's parents were thinking of prohibiting the violin altogether on the plea that it interfered too much with his studies, when the tide of affairs was changed by the following incident.