he public, much less herself. If
her music was then remarkable for a child it must now be equally
remarkable for a woman. No half way halting, no inferior work. She had
no longer the excuse of being a child. She must win her own place alone
and unaided.

Thus thinking, hoping and toiling incessantly she spent the weeks, and
then the toil become a pleasure and the hope fruition. To her surprise
and joy it all came back. And with it came something else. A new
discovery in her art. Her violin had a new voice. A wonderful something
was in its every tone. What was it? The brilliant sparkle and fire of
her girlhood-music was all there. Everything had returned and with it
had come a lovely spirit born of love and sorrow. She love her violin.
She had known grief. Both lived in her music.

Three months of hard study and then she felt ready to once more try her
fortune. The fame of her return had quickly spread, and early in 1863 a
letter arrived from Carl Zerrahn the conductor of the Philharmonic
Society in Boston, inviting her to play before the Society in our city.
She accepted the invitation and once more stood before us, violin in
hand, and surrounded by hosts of kind and true friends ready to welcome
her back again.

Here begins the new artist-life in our own city and at her childhood's
second home where she had won such honors as a girl. Her first
appearance was at the Music Hall on the 14th of February, and on this
occasion she played the _Fantasie Caprice_ by _Vieuxtemps_ and the
_Andante et Rondo Russe_ by _De Beriot_.

On the 21st she played again and gave the _Souvenir de Mozart_ by
_Alard_ and the _Cappicco_ on themes from _Fille du Regiment_.

On the 2d of March she played a _Fantasie sur Lucrezia Borgia_ by
_Stanton_, the _Souvenir des Pyrenees_ by _Alard_, a _Duet_ from
_William Tell_, for violin and piano and repeated the _Vieuxtemps
Fantasie caprice_.

Immediately after this she was called to New York to play at the
Philharmonic concerts in that city. At one of these concerts the pianist
Gottschalk, who happened to be present, became so excited over her
playing that he jumped upon the seat and proposed cheers for Madam Urso,
and at the close of the performance introduced himself to her in the
ante-room and fairly overwhelmed her with congratulations and praise. It
was a great surprise and pleasure to her, as the opinion of such a
musician was of real value. She now grew more confident. The promise of
her