One of the most notable female figures in German music was Maria Theresa von Paradies. Born at Vienna in 1759, she met with an accident when three years old, and became blind for life. Even with this drawback, however, her musical aptitude was so great that her parents were justified in letting her begin regular studies and procuring the best teachers for her. At the age of eleven she appeared in public, singing the soprano part of Pergolesi's Stabat Mater, and playing her own accompaniment on the organ. This interested the Empress Maria Theresa, who procured the best of teachers for her. She made such rapid progress in piano that at her first concert she was able to arouse the utmost enthusiasm by her expressive and sympathetic performance. She made a number of concert tours, winning plaudits everywhere. In Paris, where she stayed six months, she appeared at the Concerts Spirituelles, and played frequently before Marie Antoinette. After various royal audiences in England and Germany, she returned to Vienna, where she soon retired from public life, and devoted herself to teaching and composition.

Her memory was something phenomenal. It is said that she was able to play no less than sixty concertos with the most absolute accuracy, besides knowing any number of smaller piano works. Her power of concentration is also made evident by the fact that she would dictate her own compositions, note by note, without the slightest alteration. Very few, even among the great composers, have possessed this faculty. Wagner and Mendelssohn were perhaps the most gifted. Beethoven's great works were the result of much careful correction, and in some cases represent as many as six or eight revisions.

Her compositions have won praise from the greatest musicians, and show merit of a high order. Among her dramatic works, the most successful in point of performance are "Rinaldo and Alcina," a fairy opera (appreciated in its day much as "Hansel and Gretel" is in our own), the melodrama "Ariadne and Bacchus," and the pastoral operetta "Der Schulcandidat." Her other works include a piano trio, a number of sonatas and variations for piano, several songs and other vocal works, besides a few cantatas. Her remarkable gifts won her the friendship of the foremost musicians of her time. Among others Mozart admired her greatly, and dedicated a concerto to her.

Another figure of musical importance was Marianne Martinez. Born at Vienna in 1744, she began her musical studies while still a child. Her first efforts at composition were made when she was twelve years old, and met with a most favourable reception, though of course they cannot compare with her later productions. She was an excellent pianist, or what would correspond to a pianist in our day, and among her teachers on the harpsichord was Haydn himself. She became equally proficient in singing, under the great teacher, Porpora, and the historian Burney speaks of her vocal accomplishments with unstinted praise.

Among the works of her maturer period, her church music ranks highest of all. Her oratorio "Isacco," with words by Metastasio, is her worthiest production, and met with deserved success when performed at Vienna in 1788. Besides this work, she composed two other oratorios, a successful mass, a four-part Miserere, a number of psalms for four and eight voices, with orchestral accompaniment, several motets, and many other pieces of a religious character. The list of her works does not end here, but comprises symphonies, overtures, and other orchestral numbers, including several piano concertos. Taken as a whole, her works entitle her to a worthy place among women composers of all time.

Leaving the eighteenth century, the next woman composer of note is Emilie Zumsteeg. Born at Stuttgart in 1796, she soon showed that she had inherited the musical taste of her father, himself a well-known composer. On his death, six years later, the widow supported herself by keeping a music-store, where the growing daughter absorbed much knowledge of the art. Soon she began regular study, and won her way into notice by her singing and piano-playing. Her sight-reading abilities were something phenomenal, and she could play from full instrumental scores with ease. Her home became the centre of a brilliant circle, including Weber, Hummel, Lindpaintner, and poets as well as musicians. She was much prized as a teacher of piano and singing, and a personal favourite in her native city. Of her compositions, the most ambitious is an overture to the play "Die Geister Insel." She wrote also several piano pieces, among them three polonaises. But according to German authority,[7] it is her songs that have made her memory honoured. Her originality and her skill in metrical treatment have won her high praise, and many of the songs achieved wide popularity.

Leopoldine Blahetka, the Austrian pianist, was one of the most prolific of women composers. Born near Vienna in 1811, she made such rapid progress under her mother's tuition that by Beethoven's advice she was placed under Czerny in her fifth year. She pursued composition as well as piano, and when twelve years old was able to appear in Vienna and play a set of variations with her own orchestral accompaniment. Among her later teachers were Moscheles, Kalkbrenner, and Sechter. She made frequent tours, and met with universal success. The criticisms of her work include an extremely favourable notice by Schumann. In 1840 she settled in Boulogne, where she became renowned as a teacher, and led a successful career until her death in 1887.

Of her many works, the most ambitious are a piano concerto, the "Souvenir d'Angleterre" for piano and orchestra, and two sets of piano variations with orchestral accompaniment. Among her numerous examples of chamber music are found variations for string quartette and piano, two piano quartettes, a piano trio, several violin sonatas, a polonaise, and sets of variations for 'cello, violin, and flute with piano. She has composed a grand duet and a number of solos for piano, also numerous vocal duets and songs. Her operetta, "Die Raeuber und die Saenger," was successfully produced at Vienna.

One of Germany's greatest women composers was Emilie Mayer. Hers was a fortunate position, for she was always well provided for, and could exercise her powers without the need to think of the financial result. She was born in Friedland in 1812, her father being "Apotheker," a position of far more importance in German towns than that held by our pharmacists. Emilie showed the usual signs of musical talent, and was given the best of teachers. After advanced work with Carl Loewe, the great ballad composer, she entered the musical life of the German capital. Here she gave a concert as her introduction, playing the piano herself, and making the programme entirely of her own compositions. On this occasion were given a concert-overture, a string quartette, Psalm 118 for voices and orchestra, and two symphonies, the "Militaire" and the B minor. This was an imposing array, but it was only a beginning, and her productive career continued until her death in 1883.

Not all of her works have been published, but all show good thematic material and an unusual sense of musical form. The list includes many dances and songs, two string quartettes, two piano quartettes, two quintettes, ten piano trios, eight violin sonatas, twelve overtures, Psalm 118 with orchestra, seven symphonies, and an operetta. This is certainly an extensive catalogue for any composer. Among the printed works, the best are the "Faust" overture, Op. 46; the violin sonatas, Op. 17 and 21, also the nocturne, Op. 48, an expressive work; the 'cello sonata, Op. 47; the piano trio, Op. 13; and for piano solo an allemande, Op. 29, that is full of masculine power and energy.

Agnes Bernouilly, a native of Berlin, was another woman who devoted herself to orchestral productions. Her works in the larger forms have been given often by the Saro orchestra and others, while her songs and piano works have received much praise from the critics. Another composer of renown was Aline Hundt, one of Liszt's best pupils, who was born in 1849, and died at the early age of twenty-four. In her short career she wrote a march for orchestra, a "Champagnerlied" for tenor solo, chorus, and orchestra, selections for viola and violin with piano, a number of male choruses, and several songs and piano pieces. Theresa Schaeffer has composed a festival overture for grand orchestra, besides many piano pieces and songs. Anna Benfey-Schuppe wrote an overture for "Goetz von Berlichingen," as well as incidental music to other plays and various chamber works. Nanette von Schaden, a native of Salzburg, composed two piano concertos, as well as numerous sonatas and rondos for piano. Constanze von Buttenstein, besides issuing a number of songs and piano works, has published an "Ave Maria" for alto voice, with an orchestral accompaniment that is sometimes reduced to organ and string quartette.

Among other symphonic writers, Nina von Stollewerck, a native of Austria, is credited with two symphonies. She has written other ambitious works, besides songs and male choruses of some merit. Agnes Tyrell is another Austrian, having been born at Brunn in 1848. She pursued her studies at Vienna, where she became an excellent pianist as well as a composer. Among her works are a symphony, three overtures, and a number of smaller orchestral selections, as well as some worthy piano pieces.

Louisa Adolpha Lebeau, born at Rastatt in 1850, is undoubtedly one of the most gifted of living women composers, not only in her own country, but in the entire world. Her teachers include such famous names as Clara Schumann and Kalliwoda for piano, and Rheinberger in composition. She is an excellent pianist, and has made frequent and successful tours to all the great cities of Germany. Her appearance at the Gewandhaus concerts in Leipsic is in itself a proof of her superior attainments in this direction. She often performs her own works, which are always successful.



With the exception of symphony and opera, her compositions include practically every form used in modern music. Her Concert Overture, Op. 23, first performed in 1882, has been repeatedly given in Germany. Her Festival Overture, also, has met with a warm reception. Her piano concerto, Op. 37, is another work that is frequently heard, while the Fantasia, Op. 25, for piano and orchestra, practically another concerto, is rich in musical beauty, and contains a finale of exceptional strength. Among orchestral works with chorus, her oratorio, "Ruth," Op. 27, is a work of extreme beauty, and one which has been heard in all the important cities of Germany, Austria, and Holland. The cantata "Hadumoth" is another valuable work, showing great dramatic strength and an excellent handling of large choral effects. A concert aria for baritone and orchestra, "Im Saengersaal," is also worthy of mention.

It is her chamber music, however, that is responsible for her greatest triumphs. This is marked by the utmost clearness of thought and theme, and shows a most pleasing originality. It has been highly complimented by such a great musician as Lachner, and one of her pieces for 'cello and piano carried off first prize in a competition at Hamburg, in 1882, in which many noted composers had entered. Of great merit is a quartette, Op. 28, for piano, violin, 'cello, and viola. Another worthy work is the string quartette, Op. 34. Her trio, Op. 15, for piano, violin, and 'cello, the 'cello sonata, Op. 17, and the violin sonata, Op. 10, have been classed with the very best examples of their kind. Her other works include a number of piano pieces, among them some excellent fugues, three solos for the humble and seldom-heard viola, and a lovely romance for violin and piano.

A number of other German women have attained prominence through their concerted music. Josephine Kanzler, born at Tolz in 1780, wrote two string quartettes, besides piano sonatas and songs. She was a pupil of the famous Abt Vogler. Helene Liebmann, about fifteen years later, produced several quartettes of the same sort, as well as two piano trios and a number of violin sonatas, piano pieces, and songs. Clementine Batta has published a Melodie Religieuse for voice, piano, 'cello, and organ. Louise Kern has shown a fondness for combining violin, organ, and piano. Louise Langhans (maiden name Japha), born at Hamburg in 1826, is usually given an honourable place in the German lists of women composers. She studied with Robert Schumann, at Duesseldorf, and became famous as a pianist. Her compositions, not all published, include several string quartettes, a piano trio, sonatas, choral works, fragments of an opera, and a number of effective piano pieces. Among contemporary composers, Mathilde von Kralike has published a piano trio of some interest.

Of the women who have attempted large choral works, there are several besides those already mentioned. Baroness Bertha von Bruckenthal has received high praise for her "Grand Messe Solennelle," and for some four-voiced numbers with organ accompaniment. She has also written pieces for violin, 'cello, voice, and piano. Angelica Henn, one of Kalliwoda's best pupils, is credited with a "Missa Solemnis," also an opera, "The Rose of Lebanon," and some songs and instrumental works. Anna Pessiak-Schmerling, born in Vienna, was for many years teacher of singing at the conservatory there, and won more than a local reputation through the performance of her masses. Johanna Kinkel is responsible for a "Bird Cantata," as well as an operetta and many popular songs. Hers also is the well-known quartette, "The Soldier's Farewell." Agathe Plitt, a child prodigy in her early years, is still an excellent pianist, and has entered the lists in composition with a number of successful cantatas, psalms, motets, and other sacred works. Hermine Amersfoodt-Dyck won fame by producing the cantata, "Gottes Allgegenwart."

In the operatic field, Josepha Mueller-Gallenhofer, born at Vienna in 1770, seems the pioneer. Besides her opera, "Der Heimliche Bund," she published a string quartette and many pieces for the harp, upon which she was an excellent performer. Caroline Wiseneder, of Brunswick, deserves notice for her aid to the blind, for whom she started a successful music school. Her two operas and several melodramas were published after her death. Auguste Goetze, born at Weimar in 1840, grew up to success as a singer of German Lieder, and founded an opera school at Dresden. Of her operas, "Susanna Monfort," "Magdalena," and "Eine Heimfahrt," have been frequently performed. Elise Schmezer has composed the opera "Otto der Schuetz," besides a number of songs. Thekla Griebel has had her opera, "Schoen Karen," produced twice within recent years. Elise Bachmann published a melodrama, "Die Macht der Musik," also some songs and piano pieces in popular vein. Among less important works, the Countess of Ahlefeldt issued the ballet, "Telemach und Calypso," in 1794. Julie von Pfeilschifter, born in 1840, is author of the grand ballet, "Voeglein's Morgengruss" and the dramatic scena, "Agneta," which have pleased Wiesbaden audiences; also a number of piano selections and songs.

Among those who have written for the violin, Francesca Lebrun, one of the earliest, was born at Mannheim in 1756. A remarkably great singer and accomplished pianist, she won laurels in composition by her musicianly piano trios and her sonatas with violin accompaniment. Pauline Fichtner, born in 1847, became one of Liszt's pupils, and won many public triumphs as a pianist. Her works, mostly piano pieces and songs, contain two fantasies for violin and piano. Marie Hendrich-Merta, five years younger, is the author of an excellent piano trio, besides the usual song and piano selections. Mary Clement has written a violin sonata and shorter pieces that have won encomiums from no less a man than Max Bruch. Henrietta Heidenreich has composed a number of violin pieces, and Mathilde Heim-Brehm has done the same. The Countess Stephanie Vrabely Wurmbrand wrote a violin sonata, also several piano works and incidental music to "Die Schoene Melusine."

In the field of piano music, Emilie Belleville-Oury is worthy of mention. Born at Munich in 1808, she made that city her residence until her death in 1880. She became extremely proficient as a pianist, and won many public triumphs. In one of Robert Schumann's criticisms is an interesting comparison between her work and that of Clara Schumann. "They should not be compared," says the great critic. "They are different mistresses of different schools. The playing of Madame Belleville is technically the finer of the two; Clara's is more impassionate.... Madame Belleville is a poetess, Clara is poetry itself." The works of this virtuoso are largely made up of transcriptions and arrangements, but contain some excellent compositions of her own.

Though not credited with any composition in larger form than songs or piano pieces, Josephine Lang won a high artistic rank among the women composers of Germany. Born at Munich in 1815, she began her piano studies when five years old, and made progress enough to allow a public appearance in her eleventh year. Four years later Mendelssohn met her and became her teacher in counterpoint and thoroughbass. He was charmed by her gifted and poetic nature, and calls her "one of the loveliest creatures I have ever seen. She has the gift," he continues, "of composing songs, and of singing them, in a degree that I have never known before." To help support her parents, she did some teaching, and sang in the royal chapel with such success that she was named for the post of royal court singer. In 1842 she married Christian Koestlin, who obtained a law professorship at Tuebingen, and there she passed fourteen happy years. The death of her husband was followed by the loss of her three sons, and she was forced once more to struggle for a living. In this later period of trial and success, she published most of her compositions. The songs, amounting to a hundred and fifty in number, are remarkable for their strong feeling and expressive power, while her piano works are stamped with originality and depth of conception. Among the latter are the great "Deutscher Siegesmarsch," two mazurkas, and an impromptu, "In the Twilight." Her eulogistic biographer calls these pieces "Real pearls among piano works."



Delphine von Schauroth was another brilliant pianist, much praised by Schumann and excessively admired by Mendelssohn. A Sonata Brilliant and a Capriccio are among her best works. Minna Brinkmann is a voluminous writer of pieces in lighter vein. Lina Ramann has won fame by her literary work, but has published several worthy compositions also. Constanze Geiger, who appeared at Vienna as an infant prodigy when six years old, has written several piano pieces, also an Ave Maria for soprano, chorus, and organ. Marie Wieck, Clara Schumann's younger sister, has composed a few excellent piano pieces and a number of songs. Sophie, Countess of Baudissin, has published variations, etudes, nocturnes, and other piano works. Josephine Amann is another German piano composer. More familiar to the American public is Adele Aus Der Ohe, a pupil of Liszt and Kullak, who has established her reputation as a pianist. She has composed several piano suites and a concert etude, besides a number of successful songs. Adele Lewing is another pianist residing in America who has produced vocal and instrumental pieces.

Among other composers of songs may be mentioned Louise Reichard, whose father was Chapelmaster to Frederick the Great. Her works are mostly sacred in character. Marie Boerner-Sandrini, who lived at Dresden before entering on her career as a famous opera singer, wrote a popular Ave Maria, besides other melodious songs. In the domain of sacred music, Louise von Vigny has done some good work. Ida Becker has won well-deserved success with her children's songs, which are inimitable in their way. Her cantata, "Die Heilige Nacht," for soloists and chorus, is often heard. Marie Hinrichs Franz, wife of the great composer, was herself a song-writer of exceptional merit, and deserves more than a passing mention.

In the field of organ music, Clotilde Kainerstorfer is the leader to-day. Her works, which are all of a high standard, consist of numerous hymns and some choral numbers, all with organ accompaniment. Marianne Stecher is another successful organist and composer, and her many fugues earn her a high rank for musicianship. Of earlier date was Judith Bachmann, who flourished at Vienna near the close of the seventeenth century. She is credited with a number of organ fugues, as well as a piano sonata.

Coming to the less usual instruments, Ottilie Heinke, who lives in Berlin, has composed two 'cello romances, besides worthy piano music. Sophie Seipt, of Cologne, has also published a number of 'cello pieces. Caroline Kraemer became a virtuoso on the clarinet, and wrote a good many pieces for that instrument. Therese Winkel was a famous harp player of the early nineteenth century, and published three sonatas for harp and violin. Nina Eschborn has composed a number of pieces for the harp, besides songs and duets. Fanny Christ and Ida Zaubiter have become noted as zither players, and have written many compositions for that instrument.



CHAPTER VIII.

FRANCE

Famous among women composers of all nations is Cecile-Louise-Stephanie Chaminade. She was born at Paris in 1861, of a family that was well endowed with musical taste. In childhood, she made the piano her favourite companion, and while other girls were devoted to their dolls, she would try to express in tones the simple emotions that moved her. There are some gifted mortals who can think in music, whose joys and sorrows translate themselves naturally into melody. Cecile Chaminade was one of these.



So earnestly did she devote her childish days to music that before the age of eight she was already able to show some attempts of her own at composition. These juvenile works, which consisted of sacred pieces, were of such interest to the composer Bizet that when he heard them he advised her parents to give her a complete musical training, and predicted a brilliant future for her. In spite of their fondness for the art, the parents had no inclination to see their child upon the thorny and toilsome path of a musical career. Meanwhile the young girl devoted herself to the piano with utmost ardour, and continued her efforts at composing. When at last some of her pieces were judged worthy of performance in the church at Vesinet, her parents were persuaded to let her follow her inclinations. Her father insisted, however, that her general education should not be sacrificed, and the result was several years of hard work.

Her teachers were LeCouppey in piano, Savard in harmony, counterpoint, and fugue, Marsick in violin, and Benjamin Godard in composition. Under these she made rapid progress, and, in fact, the latter part of her education consisted in playing chamber music with Marsick and Delsarte. Her own debut as pianist took place when she was eighteen, and gave a chance for the performance of a few of her compositions. These were so effective that they occasioned the often-quoted remark of Ambroise Thomas,—"This is not a woman who composes, but a composer who happens to be a woman."

Her career has been one of constant progress and constant triumph. Her talents as a pianist have won public hearings for her in London, Berlin, Leipsic, and many other cities besides her native Paris. She has been especially in demand for the performance of her own concerto, which has been given in the Gewandhaus and London Philharmonic concerts, as well as those of Lamoureux and Colonne in Paris. Her works have become widely known, and her name is now a familiar one, not only in France, but in England, Continental Europe, and America.

Her most ambitious compositions are "Les Amazones," a lyric symphony with choruses; a one-act ballet, "La Sevillane," still in manuscript; and the grand ballet and symphonic scena entitled "Callirrhoe," successfully given at Marseilles and Lyons, and now published in many different arrangements. Her concerto for piano and orchestra has received high praise from the critics, who seem always ready to laud its refined melodic charm and graceful delicacy of sentiment. The one defect seems to be an excess of vigour and virility in certain of the later movements. Her other orchestral works consist of two suites, one of them being arranged from "Callirrhoe."

Of lesser instrumental music, she has written two successful trios. Her piano pieces are many in number, and excellent in quality. Among them is a group of four and eight-hand works for two pianos, as well as duets for a single instrument. Among her most important solo works are a sonata, an Etude Symphonique, a Valse Caprice, a Guitarre, an Arabesque, six Etudes de Concert, five Airs de Ballet, containing the well-known Scarf Dance, six Romances Sans Paroles, and six humourous pieces. She has also written a few selections for violin and piano.

It is undoubtedly her songs that have made her fame so widespread. She has published over sixty in all, nearly every one endowed with the delightful charm that is associated with her name. These songs are full of the rarest and most piquant melodic beauty, and the accompaniments are rich in colour and originality. A well-known critic writes: "Her music breathes the true spirit of romance shown in the poems that inspire it. Her themes are never commonplace or affected, and are gracefully supported by fluent, appropriate, and finely blended harmonies." Among her most recent compositions are some choral works, three of these, for orchestra in old style, being of especial interest. Her "Pardon Breton," "Noel des Marins," and "Angelus," for orchestra, are also worthy of mention, as well as her set of six "Poemes Evangeliques." She is now at work upon a three-act lyric drama.

Augusta Mary Ann Holmes was born at Paris in 1847. Of Irish parentage, she afterward became naturalized as a Frenchwoman. Her family were much opposed to a musical career, and insisted on her giving it up. They did not approve of any artistic pursuit for her, but allowed her to take up painting as the lesser evil. Her love for music overcame all obstacles, and she soon began to appear as a child-prodigy in public and private concerts. Her early compositions took the form of songs, but when only eleven she conducted a quickstep of her own, played at Versailles by an artillery band. Her really great works, however, did not appear until many years later.



Her first opera, "Hero et Leandre," was successfully produced in 1874, and the psalm, "In Exitu," appeared at about the same time. In the next year she became a pupil of Franck, whom she considers her real master, and after that great works came thick and fast. An Andante Pastorale from an unpublished symphony met with a favourable reception. Then came the symphony "Lutece," which was second only to works of Dubois and Godard in a Paris competition. This was followed by the symphonic poem, "Pologne." Meanwhile she made another effort to win a prize with her lyric drama "Les Argonautes." Out of twenty-four votes, she received nine, her partisans being the best-known musicians on the jury. Next came the symphonic poem, "Irlande," the "Vision de Sainte Therese," for voice and orchestra, the symphonic ode, "Pro Patria Ludus," inspired by a painting of Puvis de Chavannes, and the great "Ode Triomphale," given at the Exposition in honour of the centenary of 1789.

The success of the Triumphal Ode was so marked that the composer's fame reached foreign lands, and the city of Florence ordered from her the cantata, "Hymne a la Paix," in celebration of the Dante festival. Her impressions of Italy are recorded in her next suite, "Au Pays Bleu," which charmed all hearers by its expressive interest. Her other choral works include the "Hymne a Apollo," and the allegorical cantata, "La Vision de la Reine." Her latest symphonic poem, "Andromede," produced a marked effect. Her last opera, "La Montagne Noire," was not especially successful, though given with Alvarez, Breval, and other great artists in the cast. The operas, "Astarte" and "Lancelot du Lac," are in manuscript.

Mlle. Holmes has composed a number of songs, all endowed with an unusual share of beauty. She writes her own words in almost all cases, as she is able while doing this to hear in a vague way the music which she afterward sets to them. Hers is a virile genius. "These women seem preoccupied, first of all," says one critic, "to make people forget that they are women.... Whatever Mlle. Holmes may do, or whatever she may wish, she belongs to the French school by the vigour of her harmony, her clearness, and the logic of her conception and exposition." Imbert, who has written a biographical sketch of her, says: "The talent of Augusta Holmes is absolutely virile, and nowhere in her works do you find the little affectations which too often disfigure the works of women. With her, nobility of thought and sentiment take first place. She worships the beautiful, and her Muse has sung only subjects that are worthy of being sung. She is masterly in her ease, and all the resources of orchestration are known to her."

Maria Felice Clemence de Reiset, Vicomtesse de Grandval, is another name as famous as it is extensive. Born in 1830, she showed innate taste for music, and her career was devoted to it. She received instruction from Flotow at first, doing more valuable work afterward with Saint-Saens. For a time she was able to take lessons of Chopin. Her works include practically all forms of composition, but she has shown especial aptitude for dramatic work and church compositions.

Of her many dramatic works that have been successfully produced, "Le Sou de Lise" appeared first, in 1859. Among the operas brought out at a later date are "Les Fiances de Rosa," "La Comtesse Eva," "La Penitente," "Piccolino," and "Mazeppa." A lyric scene, "La Foret," for soloists, chorus, and orchestra, met with a successful production in 1875. Among her vocal compositions are many songs, some with violin and organ accompaniments.

Her sacred music takes rank with the very best that modern writers can show. Her two masses have been frequently given at Paris. Her two oratorios, "Sainte Agnes" and "La Fille de Jaire," met with a similar favourable reception. Her Stabat Mater contains an effective "March to Calvary" and a beautiful "Juxta Crucem," and received the enthusiastic homage of the critics when first brought out. Several smaller works, for voices, organ, and piano, are no whit behind the larger compositions in musical worth. She has also written a grand overture, "Esquisses Symphoniques," a piano trio, a violin sonata, a suite for flute and piano, and many other violin and piano pieces. She deserves to rank among the foremost women composers of our time.

Jeanne Louise Farrenc was another Parisian woman who won fame by composing. Born in 1804, her career falls in the earlier part of the nineteenth century. Pursuing the usual studies, harmony with Reicha, and piano with Hummel and Moscheles, she began to write ambitious works at an early age. Such merit did some of these works show that Schumann, who reviewed them, was at first inclined to doubt her ability to write them unaided. She deserves credit for making a remarkable collection of old clavichord and piano music, and writing a clear summary of the terms and abbreviations employed by the early musicians.

Her own compositions have been often performed, even the larger orchestral numbers. Chief among them are two symphonies and three overtures. Her chamber music includes a nonette and sextette for strings, two quintettes, several piano trios, in two of which clarinet and flute replace the usual violin, a number of sonatas and other pieces for violin and piano, several 'cello sonatas, some flute and piano pieces, and numerous piano works and songs. Her daughter, Victorine Louise, was another gifted musician, but died after a brief career, leaving a heritage of piano works and songs.

Louise Angelique Bertin, born in 1805, was one of those impatient creatures who are eager to read books before learning the alphabet. In taking up painting, she wished to start in at once with canvas and brush, regardless of preliminary training. In her musical studies the same tendency showed itself, and immediately on beginning her work in composition with Fetis, she commenced writing operatic airs and scenes. Apparently she was able to estimate her own talents justly, for success crowned her efforts. Her first opera, "Guy Mannering," was performed in private, but "Le Loup Garou" made a marked public success. Her "Faust," a later work, met with a like favourable reception, although "Masaniello" and "William Tell" had already taught the Paris public to be exacting. "Esmeralda" was another successful work, but "Notre Dame," written to a libretto of Victor Hugo's own arrangement, proved a failure. Mlle. Bertin won further musical fame by her string quartettes and trios, as well as her choruses and songs. She was also a poetess of some renown, and her collection of verse won a prize from the French Academy.

Pauline Viardot-Garcia was one of a remarkable musical family. Her father, Manuel Garcia, was a singer and teacher of note, and, like her elder sister, Mme. Malibran, she received the benefit of his tuition. One of her earliest memories of his singing was connected with an unexpected appearance in America, when a band of Mexican robbers, not content with relieving them of the proceeds of their tour in this hemisphere, added insult to injury by insisting upon hearing the great tenor sing. Pauline became renowned in opera, and, after the early death of her sister, held the foremost place on the European stage. She was able to impersonate and create roles of the most diverse nature, ranging from the lightest of Italian heroines to the most dramatic characters of Meyerbeer. After a career of fame and honour, she left the stage and devoted herself to teaching, and it is in that period of her life that her compositions appear. Her house in Baden-Baden was the centre of attraction for a circle including not only musicians, but artists, poets, and nobility of the highest rank. There she produced her operettas, "Le Dernier Sorcier," "L'Ogre," and "Trop de Femme." At first arranged for private performance, they succeeded so well that they were given to the public. Of her other works, twelve romances for piano, twelve Russian melodies, and six pieces for violin and piano are the most important. She numbered many famous names among her pupils, and her singing exercises are of unusual value.

Her sister, Marie Felicitas, at first wife of M. Malibran, and afterward married to the violinist De Beriot, was one of the world's greatest singers, and her career is too well known to need description. Her fame as a composer rests on a number of attractive romances and chansonettes, of which an extensive collection was published in Paris. Louise Pauline Marie Viardot, afterward Mme. Heritte, was a daughter of Pauline Viardot, and possessed all her mother's talent for composition if not for singing. After a sojourn at the Cape of Good Hope, where her husband was consul, and a four-years' term as professor in the St. Petersburg Conservatory, she settled down to teaching and writing in Paris. Among her many works are the operas, "Lindoro" and "Bacchus Fest," and the cantatas, "Wonne des Himmels" and "Die Bayadere." Her chamber music includes four string quartettes and two trios. In the lesser forms she produced a number of songs, vocal duets, and piano pieces. Another member of this famous family, Manuel Garcia, is still living. He is a brother of Malibran and Pauline Viardot.

Gabriella Ferrari is another gifted French composer of orchestral works. She is a pupil of such men as Dubois and Gounod, and has done much in the larger forms. Among her works are a number of orchestral suites, many piano pieces and songs, and the comic opera, "Le Dernier Amour." Mme. Renaud Maury is another composer who is able to handle large masses of instruments. She drew attention to herself by carrying off the prize for fugal work at the Conservatoire, at a time when women were expected to take a more modest place in composition. Her "Fantasie Symphonique" and "Jeanne D'Arc" are often given before French audiences. The Marquise Haenel de Cronenthal, one of the older generation, has produced several symphonies, a number of sonatas, a string quartette, numerous piano works, and the opera, "La Nuit d'Epreuve," which won a gold medal at the Exposition of 1867. Celanie Carissan has produced the operetta, "La Jeunesse d'Haydn," and the oratorio, "Rebecca," besides other choral works and many songs and piano pieces.

The roll of operatic composers in France is long and honourable. Just as England seems the home of cantatas, and Germany of orchestral work, so France is especially devoted to opera, and her women have held their own well in this field. As far back as the seventeenth century, Elizabeth Claude de la Guerre upheld the glory of her sex by playing and improvising in a masterly fashion. One of her greatest admirers was the king, Louis XIV., himself. Besides a number of sonatas, she wrote a "Te Deum" to honour the king's recovery from illness, and a number of cantatas. Her opera, "Cephale et Procris," was successfully given at the Academic Royale in 1694. Another composer of the same century was Mme. Louis, whose operetta, "Fleur d'Epine," met with a good reception.

In the eighteenth century, Henriette de Beaumesnil was one of the foremost musical women in France. Endowed by nature with a fine voice, she became one of the leading artists in the Paris Grand Opera Company. When her voice failed, she took up composition, and succeeded in that also. Most popular among her many operas were "Anacreon," "Les Legislatrices," and "Les Saturnales." Emilie Candeille was the daughter of a dramatic composer, from whom she received a solid musical education. Her works include piano trios, sonatas, and songs with piano and harp, besides the operetta, "La Belle Fermiere," and the comic opera, "Ida." Mlle. Duval was another grand opera singer, and author of the ballet, "Les Genies." Mlle. Kercado, of later date, produced the operetta, "La Meprise Volontaire." Lucille Gretry, daughter of the famous composer of that name, produced "Le Mariage d'Antonio" when only sixteen years, and followed it up with "Toinette et Louis." Her career was cut short in her twenty-fourth year by an untimely death.

Edme Sophie Gail-Garre, who flourished at the beginning of the nineteenth century, won some renown by her very popular songs and piano pieces, but was known chiefly by her successful operas. Among these were "Les Deux Jaloux," "Mlle. de Launay," "La Meprise," and "La Serenade." Mlle. Guenin, another youthful aspirant for fame, produced "Daphnis et Amanthee" in her seventeenth year. Louise Puget wrote romances and chansons that were remarkably pretty and popular, if not very ambitious, and produced the operettas, "Le Mauvais Oeil" and "La Veilleuse," besides the opera, "Beaucoup de Bruit pour Rien." Helene Santa Colona-Sourget, author of some beautiful songs and a string trio, produced a one-act opera, "L'Image," in 1864.

Pauline Thys is a writer who has won considerable dramatic fame. She has published some songs, but has devoted herself almost wholly to the stage. Among her successful operettas are "La Pomme de Turquie" and "La Perruque du Bailli." Her comic operas have been very well received, and include such favourites in their time as "Le Pays de Cosagne," "Le Cabaret du Pot-Casse," "Le Fruit Vert," and "Le Mariage de Tabarin." She has also composed the lyric drama, "Judith." Comtesse Anais de Perriere-Pilte (Anais Marcelli) produced several successful operas and operettas, among them "Le Sorcier" and "Les Vacances de l'Amour." The Baroness de Maistre wrote a number of worthy religious works, among them an excellent "Stabat Mater." Of her operas, "Les Roussalkas" met with a success when produced in Brussels. Marguerite Olagnier is a composer whose productions show real worth. Her "Sais," performed in 1881, contained many beautiful numbers. She has written another opera, "Le Persan."

Marie de Pierpont was a talented writer for the organ, as well as an excellent performer on that instrument. She entered the operatic field with a work entitled "Le Triomphe du C[oe]ur," which is reckoned her best production. The Baroness Durand de Fortmague was successful as an amateur, and her "Bianco Torello" and "Folies d'Amour" have been frequently given. Mlle. de Sainte-Croix has written a number of successful one-act operettas, which have been well received in the Paris theatres. Mme. Amelie Perronet has won laurels in the same field, and has written some popular chansonettes. Charlotte Jacques rests her fame on a single work, "La Veille." Mlle. Gignoux has directed her talents to the lyric drama, "La Vision de Jeanne d'Arc" being her most notable work. Hermine Dejazet is another operetta composer. Mme. Gallois is responsible for several ballets, besides songs and piano works, while Hedwige Chretien-Genaro, a professor at the Conservatoire and a musician of real worth, won much success with her "Ballet Oriental."

In the domain of choral music, Mme. Delaval, a famous harpist of the eighteenth century, produced a cantata depicting the farewell of the unfortunate Louis XVI. to his people, which met with much success, but was naturally not a favourite in revolutionary France. She was also the author of much good harp music and many songs. Marie Sophie Gay, born at Paris in 1776, is credited with several cantatas, besides a good deal of piano music. Marie Anne Quinault was another eighteenth century composer who devoted her talents to the writing of motets and other church music. The Comtesse de Saint-Didier, born in 1790, was an amateur whose cantata, "Il Est Rendu," met with some success at Paris. In later times, Mme. Helene Robert-Mazel, an excellent pianist, produced the cantata, "Le Jugement Dernier," besides a number of interesting songs and a valuable collection of children's vocal music. Cecile Derheimer was another gifted composer who wrote a number of masses and other religious music, while Mme. Alphonse de Neuville, widow of the well-known painter, has composed a worthy mass, besides violin works and songs. These names are enough to prove that French women could equal their English sisters in this field, if the national taste demanded it of them.

With those who have written concertos should be classed Rosa La Roche, who lived in the latter half of the eighteenth century, and published a number of sonatas besides a successful piece for piano and orchestra. Mlle. Lechantre, of the same period, composed a work that was only a concerto by courtesy, for her orchestra consisted of two violins, two oboes, viola, and double-bass. In the nineteenth century, Mme. Marie Jaell, born Trautermann in 1846, took a position of some importance. She became a successful pianist, winning prizes at the Conservatoire, and publishing a new method of piano teaching that roused widespread attention and comment. Her compositions include a piano concerto, a piano quartette, and a number of excellent smaller works, such as an impromptu, two meditations, six petits morceaux, and some valses for two pianos.

Among violin writers, Mlle. Brisson, who flourished in the early part of the last century, produced a number of pieces for that instrument with piano, as well as some harp and piano music. Virginie du Verger was the author of three duets for violin and piano, besides a piano sonata and some etudes. In the field of piano music, the earliest name is that of the Marquise de la Misangere, who was born in 1693. Her ability as a performer on the clavichord was something remarkable, and she left behind her a number of works for her instrument. At the end of the eighteenth century, Mme. Helene Montgeroult held a prominent position as teacher in the conservatory and publisher of sonatas and other piano pieces.

In the early years of the nineteenth century, Mme. Marie Bigot won a great reputation by her playing. Her ability to read at sight was unusually marked, and she played the Sonata Appasionata of Beethoven from his manuscript in a way that astonished and delighted the composer. She did much to introduce Beethoven's piano works to Parisian audiences. Among her own compositions are many excellent piano pieces. Camille Marie Pleyel was another fine Parisian pianist, and a pupil of Moscheles and other great masters. Schumann gave high praise to her performances. She, too, published a number of piano works. Louise Massart, who succeeded Mme. Farrenc as a Conservatoire professor, was another piano composer of note. Among contemporary pianist-composers, Berthe Marx takes high rank. She won prizes and medals at an early age, and became famous through many concert tours, partly alone and partly in company with the violinist Sarasate. Her works include a number of excellent display pieces. She is now Mme. Otto Goldschmidt. Two other brilliant performers and writers for the piano are Charlotte Tardieu de Malleville and Helene Collin.

Louise la Hye deserves mention with the organ writers. She was a grandniece of the great Jean Jacques Rousseau, and flourished in the first part of last century. She won her laurels early, being cut off by an untimely death when only twenty-eight. She had already attained a professorship of harmony in the Conservatoire, and published many valuable organ works, besides pieces for piano and other instruments. Several masses by her remained in manuscript.

Among the song composers of the eighteenth century belongs Mme. de Travenet, whose romances and chansons, with piano or harp, became very popular. Pauline Duchambge, of later date, won great success in a similar manner. Hortense, Queen of Holland (1783-1837), published an album of her own songs at Paris. Mlle. Molinos-Lafitte is credited with a number of songs, which form another Parisian collection. In connection with singing, the excellent teaching work of Mme. Marchesi has been supplemented by the publication of numerous sets of admirable vocalises from her pen. In the realm of harp playing, the Comtesse de Genlis became noted in the eighteenth century, and published many compositions for the instrument. Marie Pollet, somewhat later in point of time, wrote a number of harp pieces, and played them in her many concert tours. Theresa Demar was another celebrated harpist and harp composer.



CHAPTER IX.

AMERICA

If the term America be applied, as is often the case, only to the United States, then the list of its women composers will still be found to include practically all who have done work in this line in the Western hemisphere. By far the larger part of these women are living now, for our musical growth has taken place in recent years. The record is already a worthy one, and will become still more extensive in the near future.

At the head of the list stands Mrs. H. H. A. Beach, the one great name to be found in our country. She was born in Henniker, N. H., on September 5, 1867, her maiden name being Amy Marcy Cheney. She is descended from one of the oldest New England families, and her middle name indicates her relationship to the Marcy line, which includes the famous cabinet officer, William L. Marcy.

Mrs. Beach's love of music, which she inherited from her mother's family, began to show itself almost at once. From the time when she was only a year old, she began to amaze her family and their friends by the most astonishing musical feats. She proved herself possessed of absolute pitch; she memorized dozens of tunes; she listened for hours at a time to violin music, while pieces in minor keys caused her such grief that they were employed by her parents in place of punishments. At the age of two she was given a photographic sitting, and at the critical moment she electrified the group about her by suddenly singing Handel's "See, the conquering hero comes." The photographer, who had been rehearsing that work for the first peace jubilee, was astounded to find that she gave it with the most perfect accuracy. Her power of memory exerted itself in other fields, and almost as soon as she learned to read she was able to recite long and difficult selections. She also showed a marked ability to improvise melodies and sing an accompanying part to any given theme. Her active mind associated a certain definite colour with each musical key, a habit which continues to the present time.



At the age of four she succeeded in obtaining permission to touch the piano, although she was so small that she had to improvise a pedestal in order to reach the keys. She soon learned many pieces, and began to compose little waltzes of her own. One of these was thought out wholly without the piano, and played correctly three months afterward. She read from printed notes before she knew their names, and found no trouble in making transpositions at will. At six she insisted on having regular lessons, which were begun by her mother, and continued for two years at home. During that period she learned many difficult works, including etudes by Heller and Czerny, some Chopin valses, and various movements of the Beethoven sonatas, including the whole of the first one. At this time also she grew interested in the works of Bach, and learned to understand and appreciate the beauty of the interweaving voices in a fugue.

At the age of eight, her parents took her to Boston to pursue her general education. The musical authorities who heard her play insisted that she was able to enter any one of the great European conservatories, but with due regard to her health and her other studies, her parents wisely decided not to let her go. She was sent to Mr. W. L. Whittemore's private school, where she manifested all her usual quickness of attainment. Her piano work was greatly aided by her quick ear and accurate memory, and she was able, for example, to reproduce a Beethoven sonata without notes, merely after hearing a fellow pupil practise it. Another use to which she put this accomplishment was the collection of bird songs, of which she now possesses a complete volume. Her skill in this direction was employed by ornithologists in obtaining the notes sung by the California larks.

Her more serious musical education was pursued under Mr. Ernst Perabo at first, and afterward under Junius W. Hill, of Wellesley College, and Carl Baermann. Under Professor Hill she took a single course of harmony, but in all the important subjects of counterpoint, fugue, musical form, and instrumentation, she carried on her work entirely alone. Among the tasks she set for herself was the translation of the books on orchestration by Berlioz and Gevaert. Another consisted in memorizing Bach fugues and rewriting them with a voice on each staff.

She made her Boston debut as a pianist in 1883, at the age of sixteen, playing a Moscheles concerto and a Chopin rondo. Her success was instantaneous, and in the same season she gave several recitals with similar result. In the next year she played a Chopin concerto with the Boston Symphony Orchestra, and a Mendelssohn work with the Thomas Orchestra. Since then she has appeared constantly in all of our large cities, often devoting whole programmes to her own works. At one of the Symphony concerts she brought out her own concerto. In December, 1885, she married Doctor Beach, and has since then made Boston her permanent home.

The first performances of her large works have often been events of importance. In 1892, when she brought out her mass in E flat at the Handel and Haydn concerts, she was on the programme for the piano part of Beethoven's Choral Fantasie, and the ovation she received on her appearance will not soon be forgotten by those present. Her "Jubilate" cantata was written for the dedication of the women's building at the Chicago Exposition, and scored a great success there. During the fair, she played for the first time her romance for violin and piano, in conjunction with Miss Maud Powell. A violin sonata, which she composed later and played with Mr. Franz Kneisel, has become a favourite with the most famous artists in Paris, Berlin, London, and other great musical centres. The same popularity and favourable mention have been accorded to her piano pieces and songs, the Italian audiences especially becoming enthusiastic over some of the latter.

Her Gaelic Symphony, built on real Gaelic themes, was another ambitious work. It was first given at Boston in 1896, and since then has gone the rounds of all the great American cities. Among her other large works are three cantatas, with orchestral accompaniment that can be reduced to dimensions suitable for piano. They are "The Rose of Avontown," for female voices, "The Minstrel and the King," for male chorus and soloists, and "Sylvania," a wedding cantata recently published. Another vocal work of great merit is an a capella motet, while among her earlier compositions is the scena for contralto and orchestra, entitled "Eilende Wolken," on a text from Schiller's "Maria Stuart."

Mrs. Beach's piano works consist of a cadenza to Beethoven's C minor concerto, a valse-caprice, a ballade, four sketches, a "Bal Masque" Waltz, a Children's Carnival and Children's Album, her concerto in C sharp minor, a transcription of Richard Strauss's "Serenade," five pieces (Barcarolle, Menuet Italien, Danse des Fleurs, Scottish Legend, Gavotte Fantastique), and a set of six duets entitled "Summer Dreams." For violin and piano, besides the two works already mentioned, are three pieces, "La Captive" (G string), "Berceuse," and "Mazurka," all three being arranged for 'cello and piano also. Her vocal works include more than sixty songs, most of which are well known to American music lovers. Some are provided with violin obligato, while others have orchestral accompaniments. There are a number of part-songs for different combinations of voices, and several sacred selections for various occasions. Among her songs the favourites are "Fairy Lullaby," "Ecstasy," "Thy Beauty," "Scottish Cradle Song," "Elle et Moi," "Spring," "Hymn of Trust," some sets of Shakespeare, Browning, and Burns poems, and many others,—in fact, practically the entire list.

Margaret Ruthven Lang, another of Boston's gifted musical women, was born November 27, 1867. The name of her father, Mr. B. J. Lang, is familiar to all Americans who can claim to know anything of music. Her mother was an exquisite amateur singer, and in the musical atmosphere of the family the daughter's talents have had every opportunity to develop. She commenced her piano study under a pupil of her father's and continued it under paternal direction. She took up violin with Louis Schmidt in Boston, and carried it on with Drechsler and Abel in Munich, where she also began composition with Victor Gluth. After her return she continued her work for a time with Prof. John K. Paine and J. C. D. Parker, finishing her orchestration with George W. Chadwick. Her own persistent study has been of great advantage to her.

She began composing at the age of twelve, numbering among her early works several songs and a movement of a piano quintette. Her efforts in larger forms have been unusually well received. Her "Dramatic Overture" was given by the Boston Symphony Orchestra in 1893, and in the same year Theodore Thomas performed her overture, "Witichis." Still another overture, "Totila," is in manuscript. Among other works are three orchestral arias, "Sappho's Prayer to Aphrodite," for alto; "Armida," for soprano; and the yet unperformed "Ph[oe]bus," for baritone. An orchestral ballade won much success in Baltimore in 1901. She has also written an orchestral cantata, a string quartette, and several works for violin and piano.

Miss Lang has published a number of successful part-songs for men's, women's, and mixed voices. Of her fifty or more songs, all are more or less widely known. The favourites among them seem to be "My Lady Jacqueminot," "Meg Merrilies," "Deserted," "Eros," and the well-known sets, "Five Norman Songs," "Six Scotch Songs," "Three Songs of the Night," and "Three Songs of the East." Her piano music is also excellent, among the best examples being the Rhapsody, the Meditation, a poetic revery, the charming Spring Idyll, and her early suite, entitled "Petit Roman."

Clara Kathleen Barnett, now Mrs. Rogers, is also a resident of Boston. Born in England, she received her earliest musical education from her parents. They were of a talented family, for her grandfather was the famous song-writer, Robert Lindley. In 1856 she was sent to the Leipsic Conservatory, studying piano with Moscheles, ensemble playing with David and Rietz, and harmony with Richter. Her singing, by which she first became famous, was begun with Goetze and finished at Berlin under Frau Zimmermann. Under the name of Clara Doria, she appeared with success in many Italian cities, and finally came to America, where she married and settled in Boston. Her present work consists of teaching and composing. In the former field, her book, "The Philosophy of Singing," contains much new and valuable material. Among her compositions is first of all a string quartette of excellent workmanship. There are also sonatas for violin and for 'cello with piano, and a piano scherzo. Her songs are many in number and excellent in quality. Among them are two sets of Browning Songs, six Folk Songs, and such favourites as "The Rose and the Lily," "Clover Blossoms," "Confession," "At Break of Day," and many others.

In the front rank of American pianists is Julia Rive-King. A native of Cincinnati, she began her musical education under William Mason and S. B. Mills, finishing abroad with Reinecke and Liszt. At her debut, in Leipsic, she scored a great success, and since then has been steadily before the public. Her compositions are mostly for piano, including some excellent Liszt and Scarlatti transcriptions. Among her own works are a Polonaise Heroique, Polka Caprice, Gems of Scotland, and many other popular numbers.

Another pianist well known to American audiences is Mme. Helen Hopekirk Wilson. Although her birthplace and home are in England, she has spent so much time in this country that she may well be regarded as belonging to it. She, too, was a pupil of the Leipsic Conservatory, finishing with Leschetizky, and making a successful debut with the Leipsic Gewandhaus orchestra in 1878. She has shown ability in the larger forms, her own concerto being produced in a Henschel concert at Edinburgh. She has several orchestral works still in manuscript, as well as a violin sonata. Her many songs and piano works make a list as long as it is honourable.

Several of the younger American women are beginning to make efforts in orchestral work. Clara Korn, a pupil of Bruno Klein, is responsible for two suites for orchestra, as well as one for violin, and various piano pieces and songs. Grace Marckwald has also tried her hand in the larger forms. Edna Rosalind Park, a native of Boston, now residing in New York, has shown decided talent in the songs she has published, and has several important works in manuscript. Margaret Williams, a Baltimore student who was born in Tennessee, produced a concert overture at one of the Peabody Symphony Concerts, and has also composed the words and music for a five-act opera, entitled "Columbus." Eliza Woods, another student at the same place, has written a full manuscript score for an overture, as well as a double fugue, a sonata, and a number of songs. Edith Noyes Porter, of Boston, is also at work on some extensive compositions, her published works to date being chiefly songs.



In the operatic field, Emma Steiner stands at the head. Born at Baltimore, she showed a taste for music at an early age, and was able to read and write notes when only seven. Her parents objected to a musical career for her, but she continued her practice, and earned money for further study by writing waltzes and other popular dance music. She became proficient in making orchestral arrangements, and has been eminently successful as a leader of many large New York organizations. Among her operettas are "The Alchemist," also a version of the old French romance, "Fleurette," and an adaptation from Tennyson, called "Day Dreams." She is also the author of many songs.

Lillie Mahon Siegfried, of Buffalo, has also produced an operetta, besides the song, "The Beautiful Land of Nod," and several other songs and lullabies. Miss Estabrook has over forty songs to her credit, besides the operetta, "The Tournament." Mrs. John Orth has composed a children's operetta, also a number of simple songs and piano works for beginners. Laura Sedgwick Collins, who has already won a high rank, wrote the music to "Pierrot," besides many excellent songs and violin works.

In chamber music, Marguerite Melville has produced some worthy works. Among them is a remarkably good piano quintette, while she has also written a sonata and a romanza for violin and piano, besides several beautiful songs. Alicia Van Buren, also author of a number of worthy songs, has published a string quartette with Breitkopf and Haertel. Alice Locke Pitman, now Mrs. Wesley, has written several violin works, besides a number of songs. Mary Knight Wood, another gifted member of the new generation, studied with Arthur Foote and B. J. Lang. She has already produced a piano trio, and her songs, such as "Ashes of Roses," "Heartsease," "Autumn," and so forth, are imbued with the most exquisite refinement. Marie von Hammer and Laura Danziger have written pieces for the 'cello, the latter supplementing this work by a number of piano compositions.

Organ music is well represented by the work of Helen Josephine Andrus, of Poughkeepsie. She is a graduate of Vassar, where she won a degree by her musical studies. Her compositions include several organ pieces and a cantata for organ and strings, also anthems and various church music, as well as piano works and songs. Clara Rees is another organist who has produced a number of compositions. Lucina Jewell, a New England Conservatory graduate, is the author of an introduction and fugue for organ, besides some effective songs and other works. Faustina Hasse Hodges was another able organist who wrote church music.

Helen Hood is one of America's few really gifted musical women. Boston has been her home and the scene of her chief work, although she has travelled abroad, and studied for two years with Moszkowski. Endowed with absolute pitch, she has composed from her earliest years, and her music won for her a medal and diploma at the Chicago Exposition. Her most important work is a piano trio, while her two violin suites are also made of excellent material.

Mrs. Jessie L. Gaynor has won an enviable position for herself, chiefly as a composer of children's songs. Her work is marked by bright and pleasing rhythms, excellent discretion in the proper choice of harmony, and a fluent ease that makes her productions unusually singable. It is not given to many composers to be able to make any real appeal to younger hearers, but Mrs. Gaynor is possessed of the sympathetic insight that enables her to win the utmost popularity with them. Her work is not confined to this vein, but includes some more ambitious songs for older performers, and even vocal quartettes.

Eleanor Smith is another song writer who believes that children should be given the best of music, and not allowed to listen wholly to the popular rag-time tunes of the day. Her position as music teacher in the Cook County Normal School has enabled her to put her ideas in practice, and her songs for boys are delightful bits of worthy music. She, too, has done more ambitious work, such as a Rossetti Christmas Carol, the contralto solo, "The Quest," eight settings of Stevenson's poems, the Wedding Music for eight voices, piano, and organ, and a cantata, "The Golden Asp."

Mrs. C. Merrick, who publishes her works over the name of Edgar Thorn, is another talented woman who displays great gifts in small forms. Her "Amourette," for piano, has often figured on concert programmes. In her two collections, "Forgotten Fairy Tales" and "Six Fancies," many of the numbers show a rare imaginative charm. The same composer has produced several effective male choruses, which have been sung by the Mendelssohn Glee Club and other organizations.

Among other song-writers, Mildred Hill, of Louisville, has been able to preserve the real Southern flavour in some of her works,—a result that is seldom attained, in spite of the countless efforts in this direction. She, too, has insisted in putting good music into her children's songs. Mrs. Philip Hale, a resident of Boston, has produced a number of songs and piano works, the latter under the pseudonym of Victor Rene. Stella Prince Stocker is another well-known song-writer. Mrs. Theodore Sutro, a pupil of Dudley Buck, has also composed songs, besides piano works and a four-voiced fugue. Louise Tunison is another song composer well worthy of mention, while Adeline Train has produced some solos of remarkable delicacy. Helen Tretbar, famous as a writer and translator of musical works, has tried her hand at songs also. Another literary song-composer is Fanny Raymond Ritter. A prominent figure in the musical world to-day is Josephine Gro, who writes songs and piano pieces, and is the author of many popular dances.



CHAPTER X.

OTHER COUNTRIES

Though not as prolific of women composers as its musical reputation might indicate, Italy has still produced some famous names. The women of the earlier schools of contrapuntal work have already been mentioned. Francesca Caccini was an exponent of the first growth of opera. After her comes a gap, and we find no women at work during the time of Scarlatti, for example, and few in the era when the early conventional opera saw its palmy days in the hands of Cimarosa and his compeers. A number flourished at the beginning of the nineteenth century, and now that Italy is experiencing a musical regeneration, the women are still present in the field.

One of the foremost of them to-day is the Countess Gilda Ruta. She was born at Naples, and was the daughter of a musician of some note, in fact, he became one of her best teachers. Among others with whom she studied was the opera composer, Mercadante, whose long career extended well into the last century. She became a pianist of great renown, but won her laurels more in the field of composition. Her opera, "The Fire-Worshippers," is a worthy example of its school. Her orchestral ability showed itself also in the form of a concerto for piano, while among her other works are a number of songs and a good deal of instrumental music.

Eva Dell' Aqua is another Italian woman who has won a high position by her works. She did not inherit the taste directly, for her father was not a musician, but a painter. He has made Brussels his home, and there his talented daughter has brought forth her compositions. Her songs are widely known, and show sterling merit. In more ambitious vein is her operetta, "La Bachelette," which was given with unusual success in the Brussels theatres. Another work for the stage is the comic opera, "Tambour Battant."

Carlotta Ferrari is undoubtedly the greatest of the Italian women composers. Born at Lodi in 1837, she soon began her musical studies, completing them with the best masters of the Milan Conservatory. When she tried to enter the lists in dramatic work, she found the theatre managers unwilling to give her any encouragement because of her sex. Feeling sure of her ability, however, she was brave enough to hire a theatre, and produce her opera, "Ugo," at her own expense. The result justified her hopes, for the work scored an entire success. Since that time she has had no trouble in dealing with the managers, who may well feel ashamed of their early fears. Her later operas, "Sofia" and "Eleonora d'Aborea," were as warmly received as her first attempt.

Her work is by no means limited to the stage. She has produced an excellent mass, which was written for the cathedral of her native town. The impression made by this work was so favourable that she received two commissions from the Turin authorities, at later times, one for a requiem and the other for a cantata. She is said to be an absolute master of canon, or the imitation of one part by another. Among her smaller works are two sets of these canons for three voices and piano.

One of the earlier composers was Maria Teresa Agnesi, who flourished in the eighteenth century. Like many of her sex, she was a pianist as well as a composer. She worked in the larger forms, and her four operas met with decided success in many cities of her operatic land. Besides operas, she produced several cantatas and other choral works, and a number of concertos, sonatas, and pieces for the piano.

Another eighteenth century celebrity was Maddalena Sirmen, who won fame as one of the great Italian school of violinists. She was a pupil of the renowned Tartini, and held her own with the great performers of her time. Her works contain a number of violin concertos and a set of six trios for two violins and a 'cello, besides many smaller pieces. Most of these were wholly successful in performance.

Maria Andreozzi, Marquise de Bottini, lived in the early part of the nineteenth century. Her works all show great merit, and cover a wide range in the matter of form. They include an opera, a requiem, a Stabat Mater, an orchestral Magnificat, the cantata "St. Cecile," another choral cantata, a number of concertos for piano, several overtures, and various compositions for voice, harp, and piano.

It is only natural to find opera the most popular form for ambitious Italian composers to use in striving for public favour. Where each little town and village had its own opera-house, there was an opportunity for the public to become accustomed to this form, while other works stood less chance of production and brought less revenue to the composer.

As early as 1764 we find the ballet music to the opera "Dario," published by Signora Bartalotti. In the next century, Ursula Asperi leads in point of time, her first opera having been given in 1827. She was conductor for a year at one of the Florentine theatres, and filled the post with admirable skill. Carolina Uccelli produced "Saul" in 1830, following it up with "Emma di Resburgo." Teresa Seneke obtained a Roman hearing for her opera, "Le Due Amichi," and published also a quantity of songs and piano music. Adolfa Galloni composed the opera, "Le Quattra Rustici," besides instrumental and vocal music. Signora Casella was another operatic composer, her "Cristoforo Colombo" having been produced at Nice in 1865. Teresa Guidi is the author of numerous operas of our own day, while the Countess Ida Correr, of Padua, has witnessed frequent performances of her "Gondoliera."

Of the many women working in the smaller forms, Virginia Mariani has won prominence at present, not only by her songs and piano music, but by her cantata, "The Apotheosis of Rossini." Teresa Milanollo, a celebrated violinist of the past century, published a number of compositions for her instrument, besides various works for piano. Among other piano composers in Italy during the nineteenth century may be mentioned Teresa de Blasis, Natalie Bertini, Eugenia Appiani, Bertha Frugoni, Clary Zentner, and Adele Branca Mussini.

Onestina Ricotti has tried her hand at songs, as well as publishing piano works. Teresa Bertinotti, herself a famous singer, was the composer of many popular songs and arias. Angelica Catalani was another example of the combination of singer and composer, while Marietta Brambilla added teaching to her other accomplishments. Maria Rosa Coccia was a celebrity of the preceding century, and won great fame by her youthful accomplishments in counterpoint, besides composing much church music. Mariana Creti gained her renown as a player on the harp and composer for that instrument.

The Netherlands has also its quota of musical women. In the early part of the last century, Mlle. Broes, a native of Amsterdam, won an enviable position as a pianist, and composed a number of pieces for her instrument, including dances, rondos, and variations. In the next generation, Madeleine Graever, of the same place, pursued a similar career. She made many successful tours in the usual European countries, and spent a year in New York at the beginning of the Civil War. On her return from this country, she became court pianist to the Queen of Belgium. Her works include several display pieces for piano. The Baroness van der Lund has also published a number of piano works.

Among the contemporary composers, one of the best is Catherine van Rennes. Her work consists chiefly of songs, a form in which she is eminently successful. Among those she has published are a set of five two-part songs, entitled "Lentetever," a collection of six two-part songs for children, and a set of solos for the same performers under the title of "Jong Holland." She shows a mastery of style, and an ability to get just the effect that she wishes. Her works are attractive and singable without ever becoming overswollen or bombastic.

Cornelia van Osterzee has won her way to the highest position by her work in the larger forms. Among her best productions are two symphonic poems from the "Idyls of the King," entitled "Elaine's Death" and "Geraint's Bridal Journey." These were performed with great success at one of the recent Berlin Philharmonic Concerts. Her cantatas show unusual breadth of style, and their largeness of spirit wins them great favour. Mlle. Osterzee has been honoured for her work by receiving the decoration of the Order of Orange-Nassau.

Hendrika van Tussenbroek is another composer who devotes herself chiefly to songs. Like Mlle. van Rennes, she is a native of Utrecht. Her works include many songs and vocal duets, of which "Meidoorn," a collection of children's songs, deserves especial mention. She wrote the words and music for a child's operetta, "Three Little Lute Players," which was performed three times and aroused much enthusiasm.

In Belgium, the Countess de Lannoy won her laurels in the eighteenth century. Her work took the form of ballads and romances, and she wrote also a sonata and a number of other instrumental pieces. Among the Belgian musical women of to-day, Juliette Folville stands in the front rank. Born as late as 1870, at Liege, she became an excellent violinist as well as composer, and in all probability has a long career still before her. Most important among her works is a set of several orchestral suites, while a violin concerto and other pieces are more in line with her efforts as a performer. Her opera, "Atala," met with considerable success when given at Lille in 1892.

In Denmark, Emma Dahl flourished as a singer and composer during the middle of the last century, and published many melodious songs in her own and the Scandinavian countries. Valborg Aulin is a more recent writer of songs, of which she has issued a respectable number. Her choral work is of excellent quality, and has enabled her to carry off more than one prize in musical competitions. Harriet Cuman, of Copenhagen, is an excellent pianist, being reckoned as one of the greatest performers of the present. Her works consist chiefly of pieces for her instrument. Sophie Dedekam is a composer of songs, of which several sets have been published. Elizabeth Meyer is another successful song-writer. She does not confine herself to this form, however, but has produced many piano works. Her cantata, for soloists, chorus, and piano, won first prize in a recent Danish competition.

Sweden can boast of several women composers, of whom at least two are really famous. Among those working in the smaller forms is Caia Aarup, now residing in America. She is the author of a number of pleasing songs and piano compositions. Amanda Maier, known also under her married name of Roentgen, has composed many worthy pieces for the violin, among them being a sonata and an interesting set of Swedish Dances. Another violin composer is Miss Lago, who has published songs and piano pieces as well as violin works, and has won a prize at Copenhagen with a piano cantata. Helen Munktell has produced songs and piano pieces, and has entered another field with her one-act opera, "In Florence." Hilda Thegerstrom is responsible for some very melodious songs and piano pieces, published in Germany as well as in her native land.

One of Sweden's most gifted women is Elfrida Andree. Born in 1841, she soon devoted herself to musical studies, and took up the career of organist, so often a thankless one. She plays at present in the cathedral at Gothenburg. Her works include many different forms, even the symphonic. Her organ symphony is especially noteworthy, and all her orchestral works show decided talent. Her orchestral cantata, "Siegfried," is another effective composition. For chamber music she has written a quintette for piano, two violins, viola, and 'cello, also another quintette for strings that won a prize in competition. At a recent Brussels musical congress, she took first prize among no less than seventy-eight competitors. She is the author of many smaller works for organ, voice, and piano.

In Ingeborg von Bronsart is found one of the few really great women composers. Born at St. Petersburg in 1840, she is classed as Swedish because her parents were not citizens of Russia, but remained subjects of Sweden. Her mother was a Finn, but her father's native place was Stockholm. Ingeborg's earliest musical impressions came from the violin playing of her mother, done wholly by ear, from her father's flute playing, and from the singing of the touching Swedish folk songs by the housekeeper. When her elder sister began regular study, Ingeborg was considered too young for it, but begged so hard that she was allowed to take lessons too. At the very first one, the teacher noticed her great talent, and in a few months she was far in advance of her sister. A year later, at the age of eight, Ingeborg began to compose little melodies and dances, and her father was moved to seek a good master for her.



He made a fortunate choice in the famous amateur, Nicholas von Martinoff, for Ingeborg became not only his pupil but a welcome guest at the house of his family. With them she was able to hear the best of the operas and other music afforded by the imperial city, and the summers passed by her at their estate enabled her to grow strong by riding, swimming, and other outdoor exercise.

When eleven years old, Ingeborg began harmony with the composer Decker. She progressed quickly, and in her first concert, given a year later, was able to present creditable work of her own. Her success was decisive, and critics and public united in foretelling her great future. From that time on she gave annual concerts with orchestra, meeting growing favour. Meanwhile her composition was not neglected; beginning by publishing three etudes, a tarantelle, and a nocturne for piano, she continued with sonatas, fugues, and songs. She won the interest of the musical circles, including Rubinstein, and through Von Martinoff she became the pet of the Russian aristocracy. When that protector was called away by the Crimean War, he left her in the care of Adolf Henselt, and after two years with the new master, she was sent by him to finish her studies under Liszt, then long famous as leader of the gifted musical circle of Weimar.

When she came to him, an eighteen-year-old girl, endowed with all the fair beauty of her northern land, she gave him as proof of her proficiency some of her piano fugues. The experienced master rather doubted if the charming apparition before him could produce such an intricate work as a fugue without receiving aid, so he gave her a new theme and requested her to write another fugue upon it. Nothing daunted, she started at once, and, in a short while, she handed him the manuscript. He played it through, and acknowledged its merit with the remark, "Well, you don't look at all like it." Instantly came the reply, "I am very glad I don't look like a fugue." Ingeborg became one of his few chosen favourites, and soon all Weimar worshipped her as St. Petersburg had done before.

With Liszt she remained two years, devoting herself chiefly to piano, and composing a sonata only as a diversion. She speaks warmly in praise of the great tone-poet's influence. "His guidance," she says, "prevented me from being one-sided in art, and the example of his wonderful nature taught me to seek and absorb the beautiful in music everywhere, no matter what school its composer belonged to." While under Liszt's care, she appeared at court, and made successful debuts in Dresden, Paris, and the Leipsic Gewandhaus. Under Liszt also was Hans von Bronsart, who had known Ingeborg in St. Petersburg, and who now was fortunate enough to win her love and become her husband.

The next few years were devoted to performing, and numerous tours brought equally numerous triumphs. Composition was not neglected, and a piano concerto of fair success was the result of this period. At this time her dramatic efforts began, and the three-act opera, "Die Goettin von Sais," was the first result. The music of this work was excellent, but the libretto lacked action, and no stage performance was ever given.

Composing soon became her life-work, for her husband was appointed Intendant of the Hanover Court Theatre, and wives of Prussian officials were forbidden to appear in public, except on especial occasions. Her works began to multiply; German and Russian songs, piano pieces and violin works, followed one another in quick succession. The return of the troops from the Franco-Prussian War, with her husband as officer among them, brought forth three patriotic songs, two male choruses, and the Kaiser Wilhelm March for orchestra, performed at a court festival of rejoicing.

Her second operatic attempt was a setting of Goethe's "Jery und Bately," which met with deserved success. The music is of choice quality throughout, according to the criticism of Richard Pohl, and the dramatic climax is excellently worked up by the fact that each successive number is purposely made more effective than the one preceding it. The same power and beauty of expression shows itself in her later songs, written mostly for the poems of Bodenstedt. These are in many cases well able to stand the test of comparison with the best of the German Lieder. A number of pieces for 'cello and piano are of equal value, as are also her violin works. Her last opera, "Konig Hiarne," suffers again from a weak libretto, but is made of worthy musical material. It was rated as a successful work, but some of the wiser critics doubt if its power of melodic expression can wholly atone for the lack of certain essentially dramatic qualities.