When Lilly Becker eked out with one hand that most indomitable of pianoforte selections, Rubinstein's "Melody in F," her young mind had a habit of transcending itself into some such illusory realm as this: Springtime seen lacily through a phantasmagoria of song. A very floral sward. Fountains that tossed up coloratura bubbles of sheerest aria and a sort of Greek frieze of youth attitudinized toward herself.
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