good joke to catch
them thus. A hearty laugh from orchestra and audience, and then the work
is resumed. As the piece returns, she nods and smiles her approval, and
the music goes on again. At the end of the movement comes a long
_cadenza_ of great difficulty. She treats it in that masterly and
effective manner that seems so natural to her. Then follows a liberal
round of applause from orchestra and spectators. Next comes the
_andante_ movement, the most beautiful of the three. During the brief
interval between the two she talks merrily with one and another, and
when she is ready gives the time to the conductor. Zerrahn wields the
_baton_, but Madam Urso is the real director. Her spirit guides the
music and inspires the orchestra with unusual animation. The rather
listless manner in the symphony is exchanged for painstaking care and
attention. Camilla's earnestness and life seems to inspire them to
greater effort, and their playing gains in vigor and precision. "Not too
much fire, gentlemen." This is the slow movement, and she gently
represses their enthusiasm. The feather like touch, the airy delicacy of
her own playing, spurs them on to unwonted care and restraint. At the
end comes another long _cadenza_, that for soft, whispering tones,
sweetness, grace, and vanishing lightness, is almost unequaled. Her face
becomes serious. Her eyes have a far away expression, dreamy and tender,
that soon affects the music. The magic violin sighs and breathes in
melting tenderness. The melody floats upward, melting and fading away,
exhaled into palpable silence. Not quite, for just as it seems ready to
languish into nothing, a soft, sweet chord from the band completes the
cadence and brings it to a natural end.

Shouts of "bravo" and loud applause greet this splendid effort, and she
nods and smiles with a pleased and natural expression. Still, she is not
satisfied. The band are not sufficiently delicate and light in the
treatment of the last chord or two, and she bids them try it again.
Three times they go over it, before her exacting and lofty standard of
perfection is reached.

Then comes the last movement. Vivacious, animated, and merry, it seems
to suit her happy hearted nature, and she fairly revels in its brilliant
melodies. Difficulties vanish like mist before the sun. It becomes a
delight to dash through the sparkling passages. Clear, clean cut, vivid
and sharp, like cut glass, the music stands out in bold characters. Not