New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1852-05-24

A..sssSs-sme Auns Tbiion-Daushter Of Regiment.
h.1,3z 49, FounSsd on Fscs~Toode., &e-7h PM
y Little AdoptedA Roland for an Oliver &c
Si Sa sSs .ss cssbs. and ssvsaa
6senorsaas-visw in Asis Mpor-Day and Evening
n We had a Sunday of delightful
.,uIhes yesterday; mixture of sun and shade, max
- ~ the temperature In which one feels almost
.1,be dcsire to be out of doors. The streets were
,y sbronged all the day and evening. not altogether
- church goers either, adjacent villages suddenly
ssvvp popular amply testified.
OLE BULL's CoNCERr.-Nine years ago
n Bull then little known in America made his debut
= the old Park Thester Those who remember the
ouipg enthusiasm of that evening, and the triumphsl
sser Of which twas the prelude win understand the
1900, with vbich the news Of his recent arrival
-, =. go rse~svsd and the eager curiosity to know
-s~..s again to witch world On Saturday even
-. curiosity was saiisfed by the reappearance o.
- 80 violiust, and tho revelation Of undiminshed
ps~sr. 49,. s...a..
.s n tbe midst of the present musical excitement
s...asss mon Madame Goldschmidts farewell series
~ .,sbsr three thousand people in Metropolitan Hail.
- - eyidence Of cordial and admiring remembrance,
~ a genuine homage to genius of which any artist
-,x b Justly proud Since Ole Bull played here be-
- err musical experience is enlarged aud deepened.
- audience Il no longer unused to fine performance.
!. q. hard much of the best and ts appreciation s
-. discriminating, and therefore more iattering.
~ OLE Bulls success Saturday evening was very
sv..t Il unnecessary to say For no audience Tex.
- Ne PrenchJ however critical and severe can
..ss,s the electrical touch of genius One word,
~. .,.nce. one sweep, If 1t Is informed with
~..,etic power, leaves all rules in the rear, and
.,.srts 4, swn supremacy. Here 10 the character.
- and charm of Ole Bull. Like PagaDini he IL
- sxceptiopal person. Like every of remarkable
"a pronounced genius he Is phenomenon. He is his
cvn n,dard he makes his rules 1t Is useless to
pur.us him With the traditional rules. His orbit will not
= urucsbed or prophesed, fer 1t is eccentric. In all
st he Does the traditional temperament of genius be-
.vs iss Heis tremulous and tender but also rugged
~ erp and strong az his native mountains He is
v,spt type of his Norway with its sunny but breezy
MIA with its dark and solemn depths, and, over ALL
~ dear. blue heaven. In his men aud manner, ID his
nusc and his playing, the same thing Is constantly felt
1Ssv are all wonderfully suggestive but mainly of bold
ana melancholy outlines. For the psthos which iuheres
h N Northern story and character permeaes all that he
- pCAttlnCuty out 40 Ia
nor tone Of feeling.
twill not be difficult to infer the impression OF his
muic and Of his performance II is all subjugated to
hImsef 1t Is all means of expression for his own ind
v,u.Iiv He aims not 80 uch at pure representation
Of the subject treated by his music, at his pecu
I,stv Of perception in regarding it, The hearer must
know as struck him. and In the way he chooses and
Al tan IL to impress upon that nearer the individuality
T,..n To-
ION 10 the aCasscal" school, of which the peculiarly
10 subdue the artist to the music. He Is essentially
romantic His performance, beyond any we have
ever hoard Il picturesque. He use music as cosr ana
/, matters nothing to him. the treatment be more or
less elaborate or rhyhmica detailed, If 1t succeed
b striking the nearer with the vivid impression sought
a unavoidable therefore that he 10 called charlatan
natural that the classical artists nazed at hi
bold buccanecr rowing the great of musical sppro
hou and capturing the costiest prizes of applause
Duhese prizes are never permanently held weakness
ney surrender only TO majestic power Hence we
Aays The strange spectacle of immense and miscea
usous audience hanging enchanted upon this won
drous bow through performances Of length which, In
NAN would be enough to wreck most success. Like
he Voice Of an orator speaking for people its hopes
- indinaion Ito pity AMI sorrow this violin sings
br those who listen their own shifting, wild and vague
haeies II 10 because the artist rnagnetzes them for
he time. and they think and dream as he chooses.
Ole Bulls mastery of his violin is imperial The proud
ssy Of his person mparts itself in feeling to his com
and otAe instrument and artist orchestra and perform
sncs ouly magnify the man. We can, of course, have
- quarrel with those who do not like it. THE nearer
rrsn the want of subtle musical elaboration In the
eoupcsdon--u he complains Of It's psdercus psysiqs
ofs m IA
vhnosowe have nothing to say, but that certainly he
has reosou and that, without these there were no
beasty 10 grandeur, no long haunting imagery In the
mind hen there would be little hope for our artist
But every man like Ole Bull shows that these are not
ssseatiAsA shows that the heart, and Imagination
yield against al Wishes and precedents and rules.
O's Bull 3 precisely ian irrefragsble fact against
which criticism may dash Its head at leisure. The pub
he heart VIII follow him and applaud, because ne plays
1pon IL srnssss deity a. upon those Of bis violin
tossessed Of nature whose moods symPataize with
hoe Of the mass of men, and that in broad and srik
ne rssches-not too finely spun--not Of Chopinlike
esmes which 10 rather the preternatural state Of
ssee and excited organization, but ola broad humanity
b h usa,s and shadss-so full Of life and overlooking
sspr hat no must impar that sympathy, and win scorn
Sal.s In burning and branding upon his audience
Asr = he win and Is ~ secure Of victory as Napo-
sA
five mzn more directly 10 his performance, we fad
apuiy, aArmness sweetness and breadth Of tone
which \ Unprecedented. The violin has no secrets
ffou him. It~sih upon him as Ariel upon Prospero
SAereh no eddie left in IT, 1t sings and shouts, and
weeps y he villa II Il an orchestra, or flute, or an
xohan harp, the mood seizes him. The brilliancy,
nssdibs articulation, and the rapidity of his execu
nnapca ons string four ssrinss-wth all kinds OF
sAFvcloss effects and whins with the iatensity and
scaaoa If his bowling, are In harmony with al the
"a TNsy are called tricks, but they are only such
ls = the wind and clouds play; they are only such
as = IN artist Of his organization who loves the
ds end capacities Of his Instrument for their own
must necessarily display. He rejoces In this be-
eAhs Of the strings, with kind of physical delight
% uses that witchery 90 weli with such richness
- hvishneee that the susceptble listener does not