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C. A. Miremont (search for this): chapter 22
so, you see how these people treat their pianos.--They bang them, they beat them, they kick them, they smash them to pieces; but our fiddles I how we love them I Oh, yes, indeed, was Camilla's earnest answer, with a flash of her most expressive eyes. Her fiddles are three, her favorite one being a Guiseppe Guamarius, made in 1737. For this she has a standing offer of $2000 in gold. An Amati is also in her little collection, and the prize violin of the Exposition of 1867, made by C. A. Miremont, which was sent her at the close of the Exposition. Her bow was made in 1812. The grave, and frequently sad expression of Madam, Urso's face, during her performances, has given rise to man) anecdotes of her life which are absurdly untrue. All who love the charming artist will be glad to know that family sufferings do not add to the pathos of her Elegies, and that beatings are not reserved for the patient mistress of the bow. Those who have the pleasure of her acquaintance know
Henriette Sontag (search for this): chapter 22
ts with her in Trippler Hall, New York. In 1852 Madame Henriette Sontag, Countess Rossi, came to this country to make a tragement with Alboni, Signor Urso accepted the overtures of Sontag, and Camilla joined her at Cincinnati, in December, 1853. e had brought to her arms. The generous affection of Madame Sontag was never forgotten by the child, and the now famous viand cared for me in everything. Camilla accompanied Madame Sontag to New Orleans, where they gave eighteen concerts, followed by six weeks of opera, in which Madame Sontag was the star. The two artists created a genuine furore, exciting their So in showers, and the applause was incessant. One night Madame Sontag carried eighty-six bouquets from the stage, and the fait often received fifteen or twenty. From New Orleans Madame Sontag went to Mexico, and Camilla never saw her again. They York, where, in May, they heard of the sudden death of Madame Sontag by cholera. The news of this loss prostrated the sen
Steinway (search for this): chapter 22
violin. A little story found its way into the Musical Gazette recently, which is so characteristic that it ought to be quoted entire. Ole Bull, Camilla Urso, and Miss Alida Topp met at a party, a few evenings since. You play beautifully, my child, said the Norwegian to Miss Topp, but you can't do the greatest music. No woman can; it takes the biceps of a man. My arm is strong enough, answered the brilliant young pianist, laughing; I break my pianos as well as a man could, and Steinway has to send me a new one every week. You see, responded Ole Bull, turning to Madame Urso, you see how these people treat their pianos.--They bang them, they beat them, they kick them, they smash them to pieces; but our fiddles I how we love them I Oh, yes, indeed, was Camilla's earnest answer, with a flash of her most expressive eyes. Her fiddles are three, her favorite one being a Guiseppe Guamarius, made in 1737. For this she has a standing offer of $2000 in gold. An Amati is
B. J. Lang (search for this): chapter 22
ent and feeling; wonderful staccato; remarkable finish in trills, with an intonation as nearly perfect as the human ear will allow. When to these are added a comprehensive mind, with a warm musical soul vibrating to its work, we have an artist who may be nearly called a phenomenon in the womanly form of Camilla Urso. Signed by the whole orchestra, namely, Carl Zerrahn, William Schultze, William Wieser, Stephen A. Emery, Carl Meisel, Otto Dresel, Thomas Ryan, Wulf C. J. Fries, B. J. Lang, Ernst Perabo, etc. The outside world of mere lovers of music sometimes give their opinions of Camilla's playing in remarks equally earnest, though hardly scientific. One auditor, after listening to her in wide-mouthed amazement, declared with a most emphatic gesture, that she was woman enough to vote. At a concert in Chicago, an admirer, who was asked whether there had been any flowers on the stage that night, answered, None but Camelia Urso. In the spring of 1865, soon after h
Beethoven (search for this): chapter 22
past, but steadily works her way to new laurels. Seven and eight hours a day is her usual time of practice, and in the long summer days, when other artists seek change or diversion, she finds her recreation in her beloved instrument. On being asked whether she composed for her violin, she answered, Yes, some little pieces,--the Mother's Prayer, the Dream,--but they are nothing. It is enough for me to render the works of the great masters. In her childlike devotion to the genius of Beethoven, Chopin, and Mendelssohn, she reminds one of Hilda, the girl-artist of Hawthorne's Marble Faun, whose life was spent in study of Raphael and Michael Angelo. It is better, thinks this earnest woman, to render vocal the great conceptions of the past, than to win a cheap reputation by fleeting musical mediocrities. Her remarkable memory retains all the music she plays, the orchestral parts as well as her own. Madame Urso's stay in this country is now uncertain. Her latest performances
Valenciennes (search for this): chapter 22
the palace of the Louvre. Never had she performed before so distinguished an assembly as there in the beautiful cabinet of the minister. Two hundred and fifty gentlemen were present. Diplomatists, princes, and soldiers, with their hard-won crosses, rendered homage to the fair violinist, who saw with delight the faces of Alexander Dumas, Lord Cowley, and Professor Alard. Her finest morceau on this occasion was a Fantasie-Caprice of Vieuxtemps. From Paris she went to Arras, Boulogne, Valenciennes, and Cambray. At Boulogne she appeared at two successive concerts given by the Musical Society of that town,--a circumstance almost unknown in the records of the society. After spending fourteen months abroad, she returned to America, where she has remained ever since. Her life since then has been the same story of travel, study, and concerts. She has become a great favorite both in the East and West. What Boston thinks of her may be understood from the fact that she has given mo
Mademoiselle Camilla Urso (search for this): chapter 22
ffered her a salary of twenty thousand dollars a year; and, as the family was in need of the assistance the child's violin could give, the offer was gladly accepted. Preparations were made for an extensive tour, and a concert-troupe of eight was engaged. Auber, hearing of her intended departure, presented her with the following testimonial, which she justly regards as one of her dearest treasures-- National Conservatory of music and of declamation. Paris, August 12, 1852. Mademoiselle Camilla Urso is a young pupil of the National Conservatory of Music. Although still at a very tender age, she has obtained brilliant success in several concerts in Paris, and above all at the Conservatory, where the jury have decreed to her by election the first prize at the competition for the prizes of the year. Learning that she is soon to depart for the United States, I am delighted to state the happy qualities which ought to ensure her a noble artistic career. The Americans have alr
Camelia Urso (search for this): chapter 22
ning to her in wide-mouthed amazement, declared with a most emphatic gesture, that she was woman enough to vote. At a concert in Chicago, an admirer, who was asked whether there had been any flowers on the stage that night, answered, None but Camelia Urso. In the spring of 1865, soon after her return from Europe, Madame Urso played at a concert in New Haven. The hall was crowded with a noisy audience, composed mainly of students, irrepressible and critical, and young ladies who were deeply Madame Urso played at a concert in New Haven. The hall was crowded with a noisy audience, composed mainly of students, irrepressible and critical, and young ladies who were deeply occupied with them and their criticisms. The unhappy pianist of the occasion met with hearty contempt. The talking went on as gayly as ever. But when the violinist entered, with her simple, natural manner, and stood quietly a moment waiting, the house was hushed. First she played a brilliant Fantaisie of Vieuxtemps, displaying all her skill in the execution of musical difficulties. Every one followed her with the most eager attention. At the end came hearty applause, and an imperative rec
Mendelssohn (search for this): chapter 22
eon. Paris, with all its superb theatres has no large music hall. Camilla Urso was invited to play with this orchestra, and played, at one of their concerts, Mendelssohn's great concerto. The minister of fine arts, Count Newerkerque, sent for her to play at the palace of the Louvre. Never had she performed before so distinguegard so beneficially as by giving to the public a professional estimate of her ability. We would especially record her performance of the violin concerto by Mendelssohn,--one of the most difficult works for that instrument; her playing of which was so marvellously fine and near perfection itself as to excite our highest admiratream,--but they are nothing. It is enough for me to render the works of the great masters. In her childlike devotion to the genius of Beethoven, Chopin, and Mendelssohn, she reminds one of Hilda, the girl-artist of Hawthorne's Marble Faun, whose life was spent in study of Raphael and Michael Angelo. It is better, thinks this e
Signor Urso (search for this): chapter 22
ese wife, whose maiden name was Emilie Girouard. Signor Urso was an organist and flutist of rare merit, educatbenefit of a widow, whose husband had been one of Signor Urso's friends. The announcement of the concert astow guided with greater precision than by this little Urso, whose delivery made all the mothers smile. Listen,vos and a shower of bouquets. Soon after this Signor Urso went to Paris, resigning his position at Nantes foman cannot be a pupil of the Conservatoire. But Signor Urso persisted. Only hear her, he said, before decidisimple contrivance we are indebted, in part, for Madame Urso's wonderful accuracy and agreeable repose of mannclusion of his daughter's engagement with Alboni, Signor Urso accepted the overtures of Sontag, and Camilla joir saw her again. They parted in March, 1854, and Signor Urso took his daughter to Savannah, and subsequently ggh the West. They proceeded as far as Nashville, Signor Urso remaining in New York, when Camilla discovered th
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