in aid of its broad inclusiveness--is
condensation or conciseness; of Schubert's, it is expansion and
diffusiveness. But where the genius is so vital and inspiring as
that which shines in every line of the D-minor quartette, the
amplitude never degenerates into tediousness. There may be
profusion in the host's providing, but no surfeit in the guest's
appetite.

In considering the quality of the performance one is tempted at
first to the natural remark that Madam Urso's power cannot be so
plainly shown in concerted as in solo music. But in the very
utterance, we find ourselves hesitating and more than doubtful.
For purely mechanical effects and for all the immense variety of
mere instrumental and personal display the solo, of course,
offers unequaled opportunities. But, after all, of how little
real value and beauty are these pyrotechnics of the profession;
how shallow is the stream of emotion which flows from them, and
how barren, dry and brief is the pleasure which accompanies
their recollection! If proofs were sought that Madam Camilla
Urso retained her skill in all its amazing perfection and her
genius in all its vitality and inspiration, they were abundant
indeed at the concert of last evening. There was the same grand
steadiness and strength; the same absolute faultlessness in
purity of tone; the same fine discrimination and delicacy; the
same minute clearness and cleanness, so that in the most rapid
and difficult delivery nothing was slurred or confused; the same
docile yielding to the spirit of the composer and to the demands
of her fellow-musicians. And more than this, there was ample
room for the exhibition of the expressive and sympathetic power,
which was always the first title of Madam Urso--as of every
great violinist--to the highest rank in her art. Her violin in
these fine concerted pieces spoke with the same "golden mouth"
as of old, commanding, inspiring, defying and pleading by turns.
And in such music as that of the well-nigh incomparable "_Tema
con variazioni_" of the Schubert quartette, the highest
eloquence of the king of instruments is not only permitted but
demanded."

Another view of the professional and technical skill of Madam Urso is
given by the critic of the _Advertiser_ in the following words:

"We have said that Madam Urso's place as a violini