of the audience; and at the other concerts of
the series it is very likely that some provision may be made for
the gratification of this natural desire. But the entire
arrangement of last night seemed to us significant--delightfully
significant of that noble, generous, self-forgetting spirit
which has always distinguished this remarkable performer, and
which is not the least of her titles to the grand name of
_artiste_. Here seems to be as little as possible of vain show
of self; nothing at all of that jealous littleness which
tolerates no companions either as composers or interpreters; the
_maximum_ of appreciation and reverence for the great authors,
and of devotion to the best and worthiest in music. In the
concert of last evening Madam Urso carried the higher principle
so far that, as has been said, her own name appeared alone
neither as author nor performer.

The three chief numbers of this fine programme were a trio in
C-minor, op. 102, by Raff; a sonata in F-major, No. 9, by
Mozart; and Schubert's posthumous quartette in D-minor. The Raff
trio was new to Boston. It is a long and elaborate work, the
absolute merit of which is not to be pronounced upon after a
single hearing. That it is startlingly brilliant and striking in
at least two of its numbers is plain at once, however; and there
can be no denying or doubting its great vigor and originality.
The _scherzo_ has remarkable ingenuity in its harmonic forms and
instrumental combinations; and the _andante_, amazing in its
melodic variety and richness, and reflecting, apparently, many
moods of the composer's mind, yet produces a unity of impression
which proves the presence of a strong and self-poised genius.
The Mozart sonata for violin and piano is exceedingly
interesting in all its three movements, light and airy in its
general character,--except in the _andante_, which is touched
with pensiveness,--and not striking very far down in its
suggestions, but full of fresh beauty and consummate in its
symmetrical grace. In the happiest contrast with the sonata was
the wonderful D-minor quartette of Schubert. No better
illustration of the marked divergence between the modes of
expression natural to two master composers could have been
chosen than these. The invariable law of Mozart's genius--in
spite of, or perhaps,