The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1843-12-17
Artot, Ole BUN and y,.ux Temu.

TIC past uninuiui OF tue goOd olu proverD " OminfS
paritas clatdioat." The first age, which the poets
call the golden one, owed its happiness to the i'm.
possibility of indulging in that madness, ana the
standard OF unhapplness increased in the same ratio,
as this impossibility decreased We see, therefore,
the gold changed into silver-the silver into iron,
till we come to the present age-the age OF paper
and small potatoes.
was led to make this observation by seeing some
very silly remarks, fortunately in an evening paper
only; say fortunately in an evening paper, because
there is every probability, that those one-sded udg
ments were covered in few hours, with the black
veil of dark nights darker oblivion.
And is it not ridiculous to draw comparison be-
tween artists, who are not only different from, but
entirely contrary to each other! The attempt
would puzzle philadelphia lawyer" even if
those sewers and reapers of discord could have any
thing to do with harmony.
But since one cannot talk in the present excite
ment of the "Scylla" Ole Bull, without falling into
the Chary TVieux Temps, | will offer few
remarks, and hope that my impartiaty may be con-
sidereda sufficient excuse for my presumption.
Before entering into any particulars deem ii ne
cessary to state, that have followed the career of
Artot, Bull and Vieux Temps during the last eight
years, and although not personally acquainted with
either of them, could tell the lights and shadows
of their artstical lives, perhaps as accurately
their most intimate friends. shall treat of them
in the same order as that in which they made their
appearance and consider them both as composers
and performers.
ARToT.-Artot never appeared, to my knowledge,
as boy performer He studied in retirement and
first attracted public attention in Paris by his quar-
tetto soirecs and concers had, moreover, opportu-
mites of hearing him in several distinguished sa-
Ions, and for the last time if am not mistaken,
at Madame Furado's, where he performed in Duet
on airs from Rosslni's civilian Tell" in compa-
ny with Spanish. pianist.
Artot's compositions are full of feeling and
rhythms although difficult, they can be easily
played by every good vioGnist. This, is a great
merit, as unfortunately most of our modern compo-
sers write merely for their own individual execu-
ton If one has an admirable shake, you are sure
to find at every tenth bar succession Of shakes;
thing but staccatos Arot does not write pieces for
the sake of introducing difficulties, but introduces
difficulties in conformity with the character of his
pieces.
should certainly desire to find in his productions
little more originality, and would advise him, not
TO restrict himself to the exclusive composition of
faulasas on modern airs, because they incur the
risk of going out of fashion with the air. But al
though do not approve similar compositions, yet
cannot blame him these fantasies being the order
OF the day. variations were six eight years ago.
and certainly if Shakespeare allows day to each
dog, it would be unjust to deny to poor fantasia
the same right.
If do not place Artot in the first rank as COM
poser, cannot but grant him a'throne among the
crowned heads OF Euterpe. His bowling is calm
and graceful, the tone of great sweetness, and at
the same time full OF energy; his adago is admir-
able; 1t is Rubinis singing transported on to the
violin, Artot frequently copies Rubini's style (and
IN truth he could not have found better modeD
as in the dying scene Of Lucia di Lammermoor,
which is, by the bye, one of his best compositions
there is tear in his strings and tear also in the
eye of the listenenwhen he plays it.
In conclusion displaying generally is tasteful and
correct; quiet glow. of enthusiasm pervades all
his performances, and he sheds over the audience
light as placid as the moons. give him, more
over. great credit for avoiding certain captraps,
which always seem to say to the public, now ap-
plaud me.
OLE BuLL.-Ole Bull is more than an artist, he |
is wonder. No artist had ever more to contend
with cliques than he. He has been desevedly ex- |
oled to the skies In great many of the most mu-
steal cities of Europe, as in Munich, Hamburger |
Vienna. In fother cities, as In Paris, he was the
away by the sarcasms of Scribe's admirable play |
of the same name, appears to have fixed its head
quarters at the office of the "Courier des Etats |
Unis." l deem it duty both as a musician and
an admirer Of French lberaliy, to protest against
the ungenerous course adopted by this paper. 1t /
makes faults out of peculiarities Of style, which
are inherent to the school to which Ole Bull be-
years ago, when Ole Bull had hardly made his APP
pearance his adaglo was not SO finished as it now
does at present. Ole Bull flew in the face of the
sickly, simpering style of Beriot and Ghys, the
hollowness Of which is proved by the shortness of
its existence. The opposition he met with at that
time bore reference rather to the school of Paga-
mini, (whose true son he is) than to the performer
himself.
AS performer Ole Bull is, and will most likely |
be unsurpassed; his only rival is dead-I mean |
Pa panI inn. for off cla he
branch of the same tree, yet he takes quite diff |
terent. direction, of which | shall perhaps speak |
hereafter
Ole Bulls style ofpaying is simple and unaffected
His adaglo is notso melting Artot's; not in con-
sequence of deficiency in power, but because |
that purely sentimental style is incompatible with |
his school. But if he chooses i" to sing" in the
Prayer Of Mother" his performance is full OF
pathos and majesty. His staccato, particularly in
prestlsslmo movements, is by far more finished |
than Paganlni's, because Ole Bull began where
thing about his trick Ia Ravel of playing quar-
ttetto and the accompaniments, because am at
loss for words II is only to be regretted that this
Herculean feat requires rather an unusual broad
ness OF bow, which renders of course, purity and
sweetness of tone matter of paramount difficulty
but which is nearly always most admirably over
come by him.
HOle Bull is follower Of Paganini not only in his
playing, but also in his compositions We find
there the same originality which borders sometimes
on eccentricity, the same neglect of all passages
which do not abound in difficulties and too fire.
quent introduction of the staccato.
Paganns compositions did not possess great in
trnsic value; they fit for holidays, but not for
very days wear. The best proof of this statement
is, that nobody plays, or can play Paganini, ex-
cept Ole Bull. But ! must tear myself from the
pleasant duty of praising Norway, and cannot but
deplore the cruelty of fate, who did not grant the
father the delight of Witnessing the vindcation of
his school through his giant
VrEUx TEMPs.-The last but not least is Henry
Vieux Temps, who, although only Knight of the
order of St Leopold, is a king on the violin ]
have known him longer than Artot and Bull ]
heard him years ago, when he visited Vienna for
the first time with his father Vienna was one of
those unfortunate cities, which was overrun at that
time with myriads of wonder children. But Henri
lowered above them the spre of st. Stephen
does over the houses. He came a second time
when he was sixteen years old, and played already
with Ernst's yarationsson an air, think, of Ludo