Never had violinist a pose more exact, firmer, and at the same time perfectly easy; never was bow guided with greater precision than by this little Urso, whose delivery made all the mothers smile. Listen, now, to the Air Variee of the celebrated De Beriot; under these fingers, which are yet often busied with dressing a doll, the instrument gives out a purity and sweetness of tone, with an expression most remarkable. Every light and shade is observed, and all the intentions of the composer are faithfully rendered. Here come more energetic passages: the feeble child will find strength necessary, and the voice of the instrument assumes a fulness which one could not look for in the diminutive violin. Effects of double stopping, staccato, rapid arpeggios,--everything is executed with the same precision, the same purity, the same grace. It is impossible to describe the ovation that the child received. Repeatedly interrupted by applause and acclamations, she
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worshippers.
Her father's hand aroused her, and she walked home announcing in a firm tone, which was most amusing, coming from that tiny figure: “I wish to learn the violin.”
Her studies were immediately begun, and her progress was most rapid.
In a year she appeared at a concert given for the benefit of a widow, whose husband had been one of Signor Urso's friends.
The announcement of the concert astonished the citizens of Nantes.
It was considered the height of absurdity for a child to attempt to play on so difficult an instrument.
Friends came to applaud, enemies to laugh, but all were amazed and delighted.
Little Camilla had no timidity, no anxiety for success.
Her new white satin shoes, the first she had ever put on, were much more engrossing for the time than the violin she was to handle.
The principal journal of Nantes spoke thus of the performance:--
S. M. Betts and Company. Hartford, Conn. 1871.
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