Camilla: A Tale of a Violin: Being the Artist Life of Camilla Urso — John Stuart Mill — John Shaqi
Camilla: A Tale of a Violin: Being the Artist Life of Camilla Urso
John Stuart Mill · en
The orchestra were at work upon the 6th Symphony of Beethoven, placidly
overcoming its difficulties, stopping now and then to polish up some
delicate point, and taking things in an easy and rather indifferent
manner. In the midst of it entered at the side door a young woman in fur
cape, skull cap of the jauntiest pattern, and some plain dark dress. The
hackman came behind, bearing the great brown leather violin case. With a
serene and placid manner she mounted the stage, and bidding the man
place the violin case on the steps before the organ, she quietly took
off her outer garments and sat down on the steps. A friendly nod and a
smile to Zerrahn and then a cordial hand shake to the librarian of the
Society. She had brought the orchestral parts of the concerto she was
to play, and began to talk in an animated manner about their use. The
audience had no longer any ears for the symphony, and though it went
steadily on, they were all eyes to see and admire their favorite thus
“at home” among them.
Having arranged everything to her satisfaction, she came down into the
house and was quickly surrounded by a group of artists and others. For
all she had a hearty hand shake, a smile, and words of genial and
animated welcome. No pretty miss in the company more admired, no merry
talker more sought for than this unaffected, simple-minded woman.
Beating time on the back of the seat with one finger, nodding to
acquaintances, speaking to all in turn, now in French, and now in the
best of English, she sat the most observed and admired of all the goodly
company, and the most serene and happy.