The incident is quite trivial, but it certainly gives a glimpse into the character of a truly great and noble woman, that would be little suspected by those who knew her only as an outstanding figure in public life.
It is only natural to suppose that Lady Hallé was a constant recipient of appeals for advice from young aspirants, eager to emulate, in however humble a degree, her career.
She was ever open to them, and her judgment, sane and tried, was freely at their disposal. The last years of her life were, unhappily, darkened by the deaths of her two sons; that of the former, tragically, on the Alps; the other, after long suffering, in Brünn.
If for no other achievement, Wilma Neruda would go down to history as one of the notable women who indicated a new career for her sex. But she did more. She left behind her a fame that time itself will not easily efface.
Interesting features of character--Early life in Paris--Giants of musical history--His reception by them--Ignorance of German music in France--Intercourse with Cherubini--Establishes chamber concerts--Personal friendships made in Paris--Arrival in England--Settles in Manchester--Establishes subscription chamber concerts--His first great venture--Manchester concerts--Association with Madame Norman-Neruda--Great results--Qualities as pianist and conductor--His musical sympathies--His remarkable character--A personal reminiscence--His permanent place in history.
Of the many thousands of German musicians who, since the days of Handel, have made their home in England, Charles Hallé was, from many points of view, the most interesting personality. He was a man of culture, and his varied experiences in many countries, which he sometimes would describe delightfully to a circle of friends, naturally added to the interest that his charm of manner, and known greatness as a musician, always inspired.
When he left his native town of Hagen, in Westphalia, in 1836, for that, in those days, Mecca of musicians, Paris, he must have felt supreme confidence in his powers, although only seventeen years of age, knowing that he would find there rivals as formidable as Chopin, Liszt and Thalberg. This did not deter him. He had been used to playing in public from infancy, had known nothing but success; his pianoforte playing as a child still had evoked the wondering praise of no less a man than Spohr, and, probably, knowing that his style was so essentially different from that of these great artists, he determined to make the daring venture.