The Idaho world. [volume] (Idaho City, Idaho Territory) 1864-1918, 1874-08-22
,rusrCAL PRECOCTTY-0LE BULL-CAMILLA
URSO-TH WESLEYs-PA0ANINl.

URs0-THE WEsLEYs-PA0ANINL
Ole Bull in 1880 spent several
months at Trieste, and one day visited
the house of N. Jaell, the conductor Of
the orchestra. Little Alfred, then only
q few weeks old, listened with rapt at
tention to the wonderful tones he pro-
duced. and when he ceased playing at
once set up cry for the violin, and he
would have it; and so it was given him,
and, improbable as it may seem, at the
age of three he executed many Of Ole
Bulls most astonishing feats. At six
he could play perfectly the concertos OF
Robe, Beriot and Mayseder, and at the
age of eight, without an hours instruc-
ton, he appeared in public as solo pi-
anist. Before he was sixteen he had
lgiven concerts in every considerable
city in Europe, and Liszt, who heard
him at that age, is reported as saying,
"His playing is full of fire, elegance,
expression and genius"
The name of Camilla Urso is familiar
to the world, and her talents are every
where admired. Her father and grand
father are both eminent musicians. At
the age of six she was one of the most
charming children in the world. The
slightest sound would cause her to
weep or laugh, as it expressed sorrow
or Joy. One day. at about this age,
she said to her father, 81 wish to learn
the violin;" and like sensible man, he
got teacher at once. At seven she
made her debut. 1t is impossible to de-
scribe the ovation which she received.
On a tour through France shortly after,
she was loaded with praise, bonbons
and toys, kind of ovation to which
little Camilla seemed not insensible.
A critic, speaking of her at the age OF
eight, says: What is the most sur
lprising is the sentiment of her execu-
ton; she excels in that essential express
sion that comes wholly from the soul,
and which the composer, from lack Of
means to express, abandons to the dis.
erection and intelligence Of the execu-
tant"
1t is not generally known that the
Rev. Chas. Wesley, brother of the
founder of the Methodist Church, was
blessed with two sons. The elder,
Charles (l767). when at the age Of
three, without instruction. played sew
eral times correctly on the harpischord.
When he was baby his mother used
to quiet him by playing on the harpis-
chord; and so keen was his ear for har.
mony that he would not permit her to
play with one hand only, and, though
not able to speak, would seize hold OF
the other and put it on the keys.
When he first began to play he had to
be tied in the chair to keep him from
falling, but at that age (3) would put
a true bass to all he played At the
age of four, when asked to play before
a stranger. he would always ask, us he
musickery" and if answered in the az.
frmativc would comply con spUio.
Although he never had efficient ins,ruc-
ton, at the age of twelve he played
the works of Scarlatti and Handel so as
to excel any one in London at the time.
His later compositions were highly adj
mircd.
Probably no one ever equallcd Nicolo
Paganini (l7s4) as q violinist. At the
age Of eight he composed sonata,
which was so difficult that none bnt
himself could play it. At this time he
played in the church three times a
week, and made his debut at the thea
ire at nine. From fourteen to twenty.
one he travelled, producing an immense
furore wherever he appeared. Intimate
[ ly connected with his life was that of
Camille Sivori (lSl7). 1t is a some
what remarkable circumstance that the
birth of this young virtuoso was has.
tened by the wonderful strains Of Pa
ganini's violin; for on the night he was
born his mother visited concert given
by the great Geneose, whose mantle in
later years rightfully fell on the shoul.
dcrs Of Sivori.
At eighteen months he would play
on two sticks to represent violin, and
hum melody of his own; and before
he was two, hearing a band in the
street, he managed to get out of the
house and followed the music several
miles, and teascd SO much shortly af.