Scan 44
Camilla: a tale of a violin, being the artist life of Camilla Urso, 1874
8 lines. Read by computer on 3 September 2026. Printed page 34. See the scan on archive.org.
1them out, one at a time, and called off the numbers. Camilla's number was nine, so her turn came quite early in the day. This was fortunate, for she was fresh and eager to begin and the jury had not become weary with their task. One at a time the boys were admitted to the presence of the grand jury. Big fellows, fourteen and fifteen years old, who had played before she was born. The case really looked discouraging and desperate. Would she ever get in? She was only seven, and looked hardly six. Her fingers were thin and her face pale. She hardly seemed fitted to compete with grown up lads, It did not deter her from trying, and when her number was called she felt sure she would do her best.
3They led her into a room where eight solemn looking men sat in big green-backed chairs round a large table. Each had an inkstand and pen and paper and every one had a look of severe dignity that was positively appalling. There was the little Auber, the Director, Rossini the great composer looking fat and grand in his impressive wig, Carraffa the celebrated composer, Allard the violinist and four others looking equally wise and solemn.
5They placed her before the double quartette of players who were to give the accompaniment and prepared to hear her work. She would try the andante and finale from the Fourth Concerto, by Rode with accompaniment for violin, second, viola, and violincello.
7Here was her one grand chance. She must do her
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