In 1887 the Hanover post was exchanged for a similar one at Weimar. There her husband performed excellent service in keeping alive the traditions of Liszt and his followers. After eight years of work, Von Bronsart retired from public duty. A short period of travel followed, after which the musical pair settled down to a life of quiet at Munich. There, too, lives the daughter of the family, who is said to have inherited a full share of the musical ability shown by her parents.

Among the composers of Norway, Mme. Betty Holmberg has devoted herself to the violin, publishing an excellent suite and other compositions for it. Magda Bugge, who has made America her home, is the author of many piano pieces and songs. The most famous Norwegian woman composer, however, is Agathe Backer-Groendahl. Born in 1847, she received a thorough musical training, counting among her teachers Kjerulf, Kullak, Von Buelow, and Liszt. Her work has won her many honours, including the royal gold medal of Sweden. Her compositions are not many in number, but all of them show the most delightful freshness and originality. Like her great fellow countryman, Grieg, she aims to give her music a distinctive style of its own, and not make it a mere imitation of the usual models. Her andante for piano and orchestra and her orchestral scherzo are excellent works, which meet with frequent performance, while her suite is another example of striking beauty. Her piano works, which include etudes, fantasies, sketches, and humoreskes, are full of the same characteristic charm, while her songs display exquisite poetic feeling.

Bohemia and Hungary, though politically parts of the Germanic nations, may well be classed as separate from them in matters of art. Their peoples are different racially, and their national music, especially in the latter case, has a distinctive character of its own. Smetana and Dvorak are the most famous types of the German dependency, while the music of the Austrian province partakes of the wild gipsy flavour that is so well reflected in some of Schubert's works.

One of the earliest Bohemian women composers was Veronica Cianchettini. She came of a musical family, for she was one of the sisters of Dussek, whose wife and daughter have already been mentioned in connection with England's composers. Like her brother, she became a pianist of high rank, and settled in London. Her works include a number of piano concertos, sonatas, and other lesser pieces.

Elise Barth was a famous Bohemian pianist of the last century. She, too, published many piano compositions. Another celebrated performer was Auguste Auspitz, one of Smetana's best pupils. She produced many songs and piano works, and would have done greater work but for her death at the age of thirty-five. Mathilde Ringelsberg devoted herself to lighter compositions, and wrote many popular dances. Wilhelmine Clausz, besides being one of the best women pianists of to-day, has composed a few pieces for her instrument, and has done much excellent editing and arranging. Anna Schimon, who studied with Halevy, won renown as a singer and teacher. She has published many vocal works, and has two operas in manuscript. Rosa Bleitner, a teacher at the Prague Conservatory, has published several sets of songs, also a very effective funeral march.

Among Hungarian composers, Ludmilla Gizycka, now living at Vienna, has published a number of successful songs and piano pieces, among them an interesting set of Polish melodies. Marie de Kohary, another pianist-composer, has written a set of sonatas and various other piano works. Mme. D'Hovorst has published a sonata for two pianos and various other works. Henrietta Vorwerk has received much praise for her piano pieces and songs, while Anna Zichy Stubenberg is another prolific worker in the same field.

Poland, though divided among the nations, can boast a few women composers. In the eighteenth century, the Countess Clementine Grabowska wrote a number of piano pieces, among them a set of effective polonaises. Marie Szymanowska, born in 1790, was a pupil of John Field, and became one of the leading pianists of her time. Her fame was largely increased by the poet Goethe, who made her one of the many idols of his vagrant affections. He spoke of her playing in the highest terms, placing her above Hummel. But the verdict of Mendelssohn is probably more accurate: "Those who rate her so high," he says, "think more of her pretty face than of her not pretty playing." Her works consist chiefly of display pieces for the piano, a set of twelve concert etudes receiving high praise from Schumann.

Julie von Baroni-Cavalcabo, who flourished in the last century, was another brilliant pianist, numbering among her teachers one of Mozart's sons. She seems to have won the esteem of Schumann, who dedicated his humoreske to her, and gave high praise to many of her works. According to his reviews, her Second Caprice is "fresh and rhythmical, full of life and vivacity and delicate workmanship;" her fantasie, "Adieu et Retour," has two movements that are "highly original, characteristic, and scarcely offering a weak point for attack;" while her waltzes are spoken of as almost the best that appeared in their time at Vienna. Besides her many piano pieces, she published some excellent songs.

Adele Kletzinsky has published some violin works and other concerted music, as well as the usual amount of songs and piano pieces. Nathalie Janotha has become familiar to American audiences as a pianist. She was a pupil of Clara Schumann and Woldemar Bargiel, and has won honours and diplomas in many European cities. Her works consist of piano selections and songs. Pauline Fechner is another renowned Polish pianist who has published many pieces for her instrument. The Countess Margit Sztaray has done some work for voice and organ. Thekla Badarczewska, who lived and died at Warsaw, is known widely, if not always favourably, by her "Maiden's Prayer" for piano.

In Russia, the Grand Duchess Alexandra Josephowna has written some ambitious church music, including several psalms for soloists, chorus, and orchestra. She has also produced some piano duets. The Grand Duchess Olga is another royal Russian composer, whose "Parademarsch" for orchestra has been published at Berlin. Another orchestral composer is Theodosia de Tschitscherin, whose Grand Festival March was performed at a coronation anniversary. The Countess Olga Janina, one of Liszt's pupils, is at present a teacher and pianist at Paris, where she has published a considerable amount of piano music. Marie Duport is another Russian piano composer. The Countess Stephanie Komorowska is responsible for several songs, piano sonatas, and other works. Mme. Rudersdorff, well known in later life as a teacher in Boston, was the author of several successful songs. Olga von Radecki is another noted Russian musician, who has made Boston her home, and also a writer of worthy vocal music. Mlle. Alexandrowna, of St. Petersburg, became famous as a singer a few decades ago, and published some excellent songs. Mme. Serov was another Russian woman of great musical talent.

Among the less extensive countries, Switzerland is represented by Anna Cerrini de Monte-Varchi, who is the composer of many pretty piano works, Isabella Angela Colbran, the eminent Spanish contralto, was born at Madrid in 1785. She became the wife of Rossini, and created some important roles in those of his earlier operas which were written for her. Her own compositions consist of songs and other vocal works. A Spanish singer of more recent times is Rosaria Zapater, who was born in 1840. She became famous in literature as well as music, her poems being rated highly, while her libretto to the opera, "Gli Amante di Teruele," is ranked as one of the best ever written. She has published a number of songs, besides an excellent vocal method and piano instruction book.

Teresa Carreno, so well known in Europe and America, is a native of Venezuela, being born at Caracas in 1853. Her career has been as varied as it is successful, and her studies, as well as her triumphs, were witnessed by many countries. Her father, at one time Minister of Finance, was himself a musician, and when only fourteen composed a mass that was given in the cathedral. A skilful violinist, he understood the piano also, and gave his daughter lessons from her seventh year on. Driven from the country by civil war, he determined to have Teresa turn her musical talents to account.

As an eight-year-old prodigy, she met with an enthusiastic reception in New York, where she aroused the interest and became the pupil of Louis Gottschalk. At twelve she was taken to Paris, where she absorbed the traditions of Chopin from his pupils. There, too, she played for Liszt, who grew deeply interested in her, and wished her for a pupil. As her father's affairs did not permit this, the great teacher left her with the excellent advice to give her own individuality free play, and not become a mere imitator of some other performer. This she certainly followed, for her strong and fiery style of playing has carried away countless audiences, and in later years her combination of poetic feeling with impassioned power placed her in the front rank of the world's pianists.

Soon after this meeting, she began to devote herself to singing, with such rapid progress that she became able to appear with such an artist as Tietjens. For many years she made this her chief work, but at last her innate love for the piano brought her back to it. In 1885 she was forced to exert her talents in still another direction,—that of conducting. Being given the task of creating a national opera company in Caracas, she engaged her artists in America and Italy, and took them to her native city only to find the revolutionists in the most bitter and active opposition against all government enterprises. Her undertaking was no exception, and her leader, being terrorized by physical threats, gave up his post with a feigned excuse of sickness. Rather than let the matter drop, Carreno herself took the baton, and carried the season to a successful close.



Her compositions have given her high rank in still another field. The best work is perhaps a string quartette, which met with a warm welcome at the Leipsic Gewandhaus concerts. This, with an unpublished serenade for strings, gives proof of her ability in fairly large forms. Her hymn for the Bolivar centennial has become the national song of Venezuela. Her set of little waltzes, written for her daughter, Teresita, show the most delicious grace, while her Venezuelan Dances are full of interest. Among her other works, all for piano, are waltzes, fantasies, caprices, etudes, a ballade, a scherzo, a reverie and barcarolle, and a song without words. Her long career as pianist has made her so familiar in that light that few think of her as a composer, but her creative work as well as her ability as a performer must win her respect throughout the musical world.



CHAPTER XI.

CONCLUSION

The question of allowing women to compose, if they wish to do so, is hardly one that needs any extended debate. Yet it is only in the last few decades that woman's inalienable right to compose has been fully established. The trials of Carlotta Ferrari in getting her first opera performed are an example in point. The opposition of Mendelssohn to the publication by his sister of even a few minor works is another instance of the attitude formerly taken by even the greatest composers. The life of Chaminade affords still another case of this opposition. When Rubinstein heard a few of her early compositions, upon which he was asked to pass an opinion, he could not gainsay their excellence, but insisted on adding that he thought women ought not to compose. The time has gone by when men need fear that they will have to do the sewing if their wives devote themselves to higher pursuits. The cases of Clara Schumann, Alice Mary Smith (Mrs. Meadows-White), and Ingeborg von Bronsart afford ample proof, to say nothing of our own Mrs. Beach.

Whether women are in any way handicapped by the constitution of their sex is a point that is still undecided. It would seem that composition demanded no great physical strength, and no one will deny that women often possess the requisite mental breadth. The average sweet girl graduate of the conservatories, who is made up chiefly of sentiment, and hates mathematics, will hardly make a very deep mark in any art. But there are many who do earnest work, and who lead lives of activity and production that afford them equal rank with the men in this respect. Augusta Holmes may be cited in illustration.

It is often claimed that women study music merely as an accomplishment, with the object of pleasing friends and relatives by their performances. This horrible accusation the writer can attempt neither to palliate nor to deny. But why should it be denied? If music is to be regarded as one of the feminine accomplishments, why should this debar the more earnest students from doing more earnest work? The very fact that all cultivated women are expected to know something of music ought to result in a better chance for the discovery of woman's talent in composition.

But there are some, even among the women composers themselves, who admit that in many cases the matter of sex is a drawback. Liza Lehmann speaks in very definite terms on this subject. "If I were asked," she says, "in what form of composition women are best fitted to write, I should say that I hope they will win in all forms. But there is this important thing to remember: We have not the muscle and strength that men have to resist fatigue. We do things, but we pay the penalty of nervous strain. When people say that women are equal to men, I always feel that physically they are not fitted to run the same race. If they accomplish things, they pay up for it. It is sad, but it is true." Yet probably few of the noted women composers will subscribe to this opinion.

As yet there has been no woman composer of the very first rank, comparable to the tonal giants among men. But in explanation of this is the fact that women have not been generally at work in this field until the last century, while men have had considerably more time. And after all, there are not so many really great men among the composers. The tonal giants, the world-famous men, whose music rises above the fashion of their time, and lives through changing epochs and changing tastes, may almost be counted on the fingers of the hands. If no woman has yet become prima inter pares, there are many whose work equals that of the lesser men, whose names are remembered as forming the different schools of composition.

Whether woman's work will always be distinctive from men's in character, time alone can decide. The present writer is inclined to believe that the difference will be a permanent one,—that even in the larger forms, woman's work in music will always show more of delicate grace and refinement than man's, and will be to some extent lacking in the broader effects of strong feeling. As an example we may cite the works of Chaminade, which hold the very highest rank in their class. Her songs are among the most delightful in the world to-day, yet they charm by delicacy rather than strength, and are different from, if not inferior to, the creations of a Jensen or a Graedener, to say nothing of the more dramatic works of Schumann or Schubert. Of course there will be cases where the two sexes will meet on common ground, and the exquisite beauty of a Franz may some day find its equal in the work of the other sex, but whether women will excel naturally in the more virile vein of Bruch's cantatas, for instance, is open to grave doubt.

Taking the work of women as a whole, there are worthy examples of all the large forms to be found among their compositions. In the field of orchestral work, including symphonies, symphonic poems, overtures, and suites, we find such names as Augusta Holmes, Chaminade, Louisa Lebeau, Emilie Mayer, Mme. Farrenc, Comtesse de Grandval, Elfrida Andree, Edith Chamberlayne, Mrs. Meadows-White, Aline Hundt, Oliveria Prescott, and in our own country Mrs. Beach and Miss Lang; and the list is but a partial one at that. The recent success of "Der Wald," to mention only one case, proves that women may safely attempt the highest form of opera. This work, although it has a drawback in the shape of a confused libretto, is to be retained permanently on the Covent Garden repertoire in London. In oratorio, a worthy place must be accorded to the works of Mme. Grandval, Celanie Carissan, Mrs. Bartholomew, and Rosalind Ellicott. Among women composers of successful masses may be reckoned Mrs. Beach, Mme. Grandval, Mary Carmichael, and Maude Valerie White. In other directions women have more than held their own, and their work shows excellence, in quality as well as quantity, in cantatas, string quartettes, and other chamber music, violin sonatas, and even in large concertos. The list of women who have written piano music and songs extends to ample proportions.

Who is the greatest woman composer? It is hard to say, for not all have worked in the same direction. In our own country, Mrs. Beach holds the foremost position at present, with Miss Lang a good second. In England, Mrs. Meadows-White is assigned first place,[8] with Ethel Smyth mentioned next in order. Agnes Zimmermann and Dora Bright receive high praise for their chamber music, while Rosalind Ellicott, Amy E. Horrocks, Edith Swepstone, and Ethel Boyce have been chosen to represent the larger vocal forms. Among song composers are cited Maude Valerie White, Florence Gilbert, Frances Allitsen, Florence Aylward, Liza Lehmann, and Katharine Ramsay. Guy d'Hardelot is probably classed with the French writers. Ethel Barns is included because of her excellent violin compositions, as well as her admirable performance on that instrument.

In Germany, the works of Louisa Lebeau would seem to place her in the front rank, but many musicians consider them somewhat artificial. For many years Clara Schumann has been cited as the leader among women, but it is a question if she can hold that position now. Ingeborg von Bronsart is given the very highest praise by those who know her work best. In Italy, Eva dell' Aqua and Gilda Ruta seem leaders, while Carlotta Ferrari must be included in the front rank. In older times, too, Francesca Caccini must not be forgotten. Elfrida Andree, of Sweden, is another composer of high rank. But when all is said and done, it seems at present as if the palm must be awarded to France, with Augusta Holmes and Cecile Chaminade as rival claimants.

Bearing in mind the fact that woman's greatest activity has been limited to the most recent period, it may be well to inquire what the present tendencies are in the world of music. On this point, Robert Franz, in a recent letter, speaks with decided conviction. He believes that the art proceeds in a cycle, and that music began with the smaller forms, and is destined to end with them. In his own compositions, he gave expression to this conviction, for he worked wholly in the Lied form. After Beethoven, he said symphonic form could proceed no higher. While the world would not willingly dispense with the orchestral works of Schumann and Mendelssohn (Wagner's efforts being in a separate field), there seems much truth in the idea thus advanced. Few men of to-day are successful in the largest forms, and the demand for short works in literature seems to have aroused a similar feeling in the musical world. Yet we may only be passing through a period of temporary eclipse, for already the new note of triumph sounds loud and clear from Russia. It may well be that in a more inspired epoch than the immediate present, woman will rise to a higher level than she has already reached.

It would not be fair to take leave of the women without mentioning their work in still another line,—that of musical literature. The list of women who have done work in this direction is fairly extensive, but the number of great names on it is comparatively small. The foremost name is perhaps that of Lina Ramann. In 1858 she began the most important work of her life by opening a normal school for teachers. Her writings have been numerous and valuable. They include several volumes on piano technique and practice, an important "Life of Liszt," a number of works on the musical education of children, many essays, and biographies of Bach and Handel.

Many of the women fall into the bad habit of imbuing all their work with a romantic tinge of exaggerated sentiment. One example of this fault is Elise Polko, some of whose sketches are very pretty reading, but almost wholly misleading to the new student. Even Marie Lipsius, who published a series of excellent biographical sketches under the pseudonym of La Mara, is not entirely free from this defect.

In France, Mme. Audley has written some good biographies, notably the lives of Beethoven and Schubert and some articles on Bellini. Across the Channel, Constance Bach has done some successful work in editing the letters of Liszt and Von Buelow. Two English women, Mrs. F. J. Hughes and Mary Maxwell Campbell, have entered the speculative field by trying to draw analogies between harmonies and colours, but this theory can never have any real basis in scientific fact. In America, the work of Helen Tretbar and Fanny Raymond Ritter is well known. Mrs. Mary Jones has devoted her energies to a book on the musical education of the blind, but the best work in this direction is that of Caroline Wiseneder in Germany.

In closing, it may not be amiss to express the wish that the compositions of women composers could be heard more frequently than they are at present. There is no doubt that some of our quartette clubs would find much to interest themselves and their audiences among the works of the famous musical women. According to Nero, music unheard is valueless, and all musicians would rejoice to see the fullest possible value thus placed, by frequent performance, upon Woman's Work in Music.

THE END.

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APPENDIX

I. BRITISH COMPOSERS

Abrams, Harriet. Songs. Allitsen, Frances. Songs. Ames, Mrs. Henry. Songs. Andrews, Mrs. John H. Songs. Arkwright, Mrs. Robert. Songs. Armstrong, Annie. Songs. Austen, Augusta A. Songs. Aylward, Florence. Songs.

Bach, Constance. Songs. Barker, Laura W. Cantatas, Violin, Songs. Barnard, Mrs. Charles. Songs. Barnett, Emma. Piano, Songs. Bartholomew, Ann Shepard. Oratorio, Cantatas, Hymns, Songs. Binfield, Hannah R. Organ, Harp. Bisset, Elizabeth Anne. Harp. Borton, Alice. Orchestra, Piano, Songs. Boyce, Ethel Mary. Orchestra, Cantatas, Violin, Piano, Songs. Bright, Dora. Concertos, Piano, Quartet, Violin, Flute, Songs. Broadwood, Lucy E. Songs. Buckley, Mrs. Olivia. Piano, Harp.

Campbell, Mary M. Songs. Cantello, Annie. Piano. Carmichael, Mary G. Mass, Operetta, Piano, Songs. Cartwright, Mrs. Robert. Songs. Casson, Miss. Songs. Chamberlayne, Edith A. Symphonies, Opera, Sextet, Violin, Organ, Piano, Harp, Songs. Chazal, Mrs. Overture, Organ, Violin, Piano. Clarke, Jane. Hymns. Cole, Charlotte. Songs. Collett, Sophia D. Sacred Songs. Cook, Eliza. Songs. Cooke, Edith. Songs. Crament, Maude. Songs.

Davies, Llewela. Orchestra, String Quartet, Violin, Songs. Davis, Marianne. Songs. Dick, Edith A. Piano, Songs. Dickson, Ellen. Songs. Dufferin, Lady Helen Selina. Songs. Dussek, Sophia. Piano, Harp.

Eaton, Frances. Cantata. Ellicott, Rosalind F. Overtures, Cantatas, String Quartet, Trios, Piano, Songs.

Fare, Florence. Dances. Flower, Eliza. Hymns. Fortey, Mary C. Songs. Fowles, Margaret F. Hymns, Songs. Fricker, Anne. Songs.

Gabriel, Mary Ann Virginia. Cantatas, Operettas, Piano, Songs. Gade, Margaret. Songs. Gibson, Louisa. Songs. Gilbert, Florence. Songs. Goddard, Arabella. Piano. Goodeve, Mrs. Arthur. Songs. Goodwin, Amina B. Piano. Gray, Louisa. Operetta, Songs. Greene, Edith. Symphony, Violin, Piano. Groom, Mrs. Songs. Guest, Jeanne M. Concertos, Cantata, Organ, Piano. Gyde, Margaret. Violin, Organ, Piano, Songs.

Hardelot, Guy d'. Songs. Harland, Lizzie. Cantatas, Piano, Songs. Harraden, Ethel. Operettas, Cantata, Violin, Songs. Harrison, Annie F. Operettas, Songs. Heale, Miss. Cantatas, Violin, Piano, Songs. Holland, Caroline. Cantatas, Songs. Horrocks, Amy E. Orchestra, Cantatas, Violin, 'Cello, Piano, Songs. Hudson, Mary. Hymns. Hunter, Mrs. John. Songs.

Inverarity, Eliza. Ballads.

Jordan, Mrs. Songs.

Kemble, Adelaide. Songs. Kerr, Mrs. Alexander. Songs.

Lawrence, Emily M. Violin, Piano, Songs. Lehmann, Liza. Songs. Lehmann, Mrs. Rudolph. Songs. "Lindsay" (Mrs. Bliss). Ballads. Linwood, Mary., Oratorio, Operas, Songs. Loder, Kate F. Opera, Overture, String Quartets, Trio, Violin, Organ, Piano, Songs. Lowthian, Caroline. Dances, Songs.

Macironi, Clara A. Violin, Songs. MacKinlay, Mrs. Songs. Marshall, Mrs. Julian. Orchestra, Operetta, Songs. Mary, Queen of Scots. Songs. Masson, Elizabeth. Songs. May, Florence. Piano, Songs. Millar, Marian. Cantata, Songs. Moncrieff, Mrs. L. Songs. Moody, Marie. Overtures, Piano. Morgan, Lady. Operetta. Morison, Christina W. Opera, Piano, Songs. Moseley, Caroline C. Violin, 'Cello, Songs. Mounsey, Elizabeth. Organ, Piano, Songs. Mundella, Emma. Oratorio, Piano, Songs.

Needham, Alicia A. Songs. Newcombe, Georgianne. Songs. Newton, Mrs. Alex. Piano, Songs. Norton, Mrs. Caroline. Songs. Nunn, Elizabeth. Mass, Songs.

Ockleston, Kate. Piano, Songs. Okey, Maggie. Violin, Piano. Oldham, Emily. Songs. O'Leary, Mrs. A. Songs. Oliver, Mary. Violin, Piano. Orger, Caroline. Concerto, Trios, 'Cello, Piano, Songs. Ostlere, May. Dances, Songs.

Parke, Maria H. Concerto, Violin, Piano, Songs. Parkyns, Mrs. Beatrice. Violin, Songs. Patterson, Annie W. Cantatas, Songs. Patti, Adelina. Songs. Philp, Elizabeth. Songs. Prescott, Oliveria L. Symphonies, Overtures, String Quartets, Concerto, Cantata, Songs.

Radnor, Countess of. Hymns, Songs. Ralph, Kate. Violin, Piano. Ramsay, Lady. Cantata, Songs. Rawlinson, Angela. Operetta. Riego, Teresa del. Songs. Robinson, Mrs. Joseph. Cantata, Songs. Roeckel, Jane J. Piano, Songs.

Saffery, Eliza. Songs. Sainton-Dolby, Charlotte. Cantatas, Songs. Sale, Sophia. Hymns. Sanders, Alma. String Quartet, Trio, Violin, Piano. Schirmacher, Dora. Piano, Songs. Scott, Lady Jane. Songs. Sherrington, Grace. Songs. Sherrington, Helena L. Songs. Skinner, Florence M. Operas. Smart, Harriet A. Hymns. Smith, Alice M. Symphonies, Overtures, Clarinet, Concerto, Quartets, Cantatas, Songs. Smyth, Ethel M. Orchestra, Mass, Opera, Quintet, Violin, Songs. Stirling, Elizabeth. Orchestra, Organ, Piano, Songs. Swepstone, Edith. Orchestra, String Quartet, Cantatas, Piano, Songs. Synge, Mary H. Piano, Songs.

Taite, Annie. Trio, Piano, Songs. Temple, Hope. Operetta, Songs. Tennyson, Lady. Songs. Thomas, Adelaide L. Hymns. Thompson, Alexandra. Cantata, Songs. Troup, Emily J. Violin, Piano, Songs.

Valentine, Ann. Violin.

Wainwright, Harriet. Songs. Wakefield, Augusta M. Songs. Walter, Ida. Opera, Songs. Ward, Kate L. Songs. Weldon, Georgina. Songs. Wensley, Frances F. Songs. Westrop, Kate. Organ, Songs. White, Maude V. Songs. Wilson, Mrs. C. B. Songs. Woolf, Sophia J. Opera, Piano, Songs. Worgan, Marie. Songs. Wright, Ellen. Songs. Wurm, Marie. Overtures, Concerto, String Quartet, Violin, 'Cello, Piano, Songs.

Young, Harriet M. Operettas, Songs.

Zimmermann, Agnes. Violin, 'Cello, Piano, Songs.

II. GERMAN COMPOSERS

Adelung, Olga. Zither. Ahlefeldt, Countess of. Ballet. Amalia, Anna, Duchess. Melodrama. Amalie, Princess. Operas. Amann, Josephine. Piano. Amersfoodt-Dyk, Hermine. Cantata. Anna Amalie, Princess. Cantata, Organ. Arnim, Bettina von. Songs. Asmussen, Emma. Piano. Aubigney, Nina d'. Songs. Augusta, Empress. Ballet, Marches, Songs. Aus der Ohe, Adele. Piano, Songs.

Bachmann, Elise. Melodrama, Piano, Songs. Bachmann, Judith. Organ. Baer, Louisa. Songs. Batta, Clementine. Anthem. Baudissin, Sophie. Piano. Bauer, Catharina. Piano. Bauer, Charlotte. Piano, Songs. Baum, Katharine. Songs. Bayer, A. Piano, Songs. Beatrice, Princess. March, Songs. Becker, Ida. Cantata, Songs. Behr, Louise. Songs. Belleville-Oury, Emelie. Piano. Benfey-Schuppe, Anna. Overture, String Quartets. Bernouilly, Agnes. Orchestra, Piano, Songs. Biehler, Ludmilla. Piano. Blahetka, Leopoldine. Concertos, String and Piano Quartets, Trios, Violin, 'Cello, Flute, Operetta, Piano, Songs. Blauhuth, Jenny. Piano. Boerner-Sandrini, Marie. Songs. Boesenhoenig, Josepha. Piano. Botiano, Helene von. Piano. Bovet, Hermine. Piano, Songs. Brandenstein, Charlotte von. Violin, Piano. Brandhurst, Elise. Piano, Songs. Brinkmann, Minna. Piano. Bronsart, Ingeborg von. Concerto, Operas, Violin, 'Cello, Piano, Songs. Brucken, Emilie. Piano, Songs. Bruckenthal, Baroness. Mass, Violin, 'Cello, Piano, Songs. Buelow, Charlotte von. Songs. Buttenstein, Constanze von. Piano, Arias.

Charlotte, Princess. Marches, Songs. Christ, Fanny. Zither. Cibbini, Katherina. Piano. Clement, Mary. Violin, Piano, Songs. Damcke, Louise. Piano. Decker, Pauline von. Songs. Dietrich, Amalia. Piano, Songs. Dreifuss, Henrietta. Songs. Drieburg, Louise von. Songs.

Erdmannsdoerfer, Pauline. Violin, Piano, Songs. Eschborn, Nina. Songs, Harp.

Fahrbach, Henrietta. Songs, Piano. Faist, Clara. Songs. Felsenthal, Amalie. Piano, Songs. Frankel, Gisela. Piano. Gaschin, Fanny. Piano. Geiger, Constanze. Opera, Piano, Songs. Goerres, Maria V. Songs, Piano. Goetze, Auguste. Operas, Songs. Gollenhofer, Josepha. Opera, String Quartet, Harp. Gossler, Clara von. Piano, Songs. Grab, Isabella von. Piano. Griebel, Thekla. Opera.

Haas, Maria. Piano, Songs. Hambrock, Mathilde. Violin, Piano, Songs. Heidenreich, Henrietta. Violin. Heim-Brehm, Mathilde. Violin. Heinke, Ottilie. 'Cello, Piano. Heinsius, Clara. Songs. Heitmann, Mathilde. Songs. Heller, Ottilie. Piano, Songs. Hendrich-Merta, Marie. Trio, Piano, Songs. Henn, Angelica. Mass, Opera, Piano, Songs. Hensel, Fanny. Trio, Songs, Piano. Hertz, Hedwig. Songs, Piano. Herzogenberg, Elizabeth. Piano. Hinrichs, Marie. Songs. Hundt, Aline. Symphony, Orchestra, Violin, Piano, Songs.

Japha, Louise. String Quartets, Songs, Piano.

Kainerstorfer, Clotilde. Organ. Kalkhoef, Laura von. Violin, Piano. Kanzler, Josephine. Piano Quartets, Piano Songs. Kauth, Mme. Concerto, Piano. Kern, Louise. Violin and Organ. Kinkel, Johanna. Operetta, Piano, Songs. Klenze, Irene von. Songs. Koenig, Marie. Piano, Songs. Koenneritz, Minna von. Piano, Songs. Kraehmer, Caroline. Clarinet. Kralike, Mathilde von. Trio. Kurzboeck, Magdalene von. Piano, Songs.

Lang, Josephine. Songs, Piano. Laszlo, Anna von. Violin, 'Cello. Leavitt, Josephina. Piano, Songs. Lebeau, Louisa Adolpha. Overtures, Concerto, Oratorios, Cantata, String Quartets, Trios, Violin, Piano, Songs. Lebrun, Francesca. Trios, Piano. Lemcke, Anna. Piano, Songs. Lewing, Adele. Piano, Songs. Liebmann, Helene. Piano Quartets, Trios, Violin, 'Cello, Piano. Lilien, Baroness. Piano. Loewe, Augusta. Songs. Ludwig, Rosa. Piano.

Mampe, Emma. Songs. Mannkopf, Adolphine. Songs. Maria Antonia, Duchess. Operas. Maria Charlotte Amalia, Duchess. Symphony, Songs. Maria Paulowna, Duchess. Piano. Marie Elizabeth, Princess. Orchestra, Violin, Clarinet, Piano. Martinez, Marianne. Overtures, Symphonies, Concertos, Oratorios, Mass, Motets, Piano. Mayer, Emelie. Symphonies, Overtures, String Quartets, etc., Trios, Operetta, Violin, Piano, Songs. Mier, Anna von. Songs. Molique, Caroline. Violin, Songs. Molitor, Frederike. Piano, Songs. Momy, Valerie. Piano. Mueller, Elise. Songs.

Naeser, Martha. Piano, Songs. Nathusius, Marie. Songs. Neumann, Elizabeth. Piano. Niederstetter, Emilie. Piano.

Olivier, Charlotte. Piano.

Paradies, Maria Theresa von. Operas, Cantatas, Trio, Piano, Songs. Peschka, Minna. Songs. Pessiak, Anna. Masses, Piano, Songs. Pfeilschifter, Julie von. Ballet, Piano, Songs. Plitt, Agathe. Cantatas, Motets. Polko, Elise. Songs, Piano.

Ramann, Lina. Piano. Reichard, Louise. Songs. Richter, Pauline. Piano, Songs. Rossow, Helene von. Songs. Rothschild, Baroness. Songs. Ruttenstein, Baroness. Songs.

Sabinin, Martha von. Piano, Songs. Saligny, Clara. Piano. Sawath, Caroline. Piano. Schaden, Nanette von. Concertos, Songs. Schaeffer, Theresa. Overture, Piano, Songs. Schauroth, Delphine von. Songs. Schlick, Elise. Songs. Schmezer, Elise. Opera, Songs. Schnorr von Carolsfeld, Malvina. Songs. Scholl, Amalie. Songs. Schroeter, Corona E. Songs. Schubert, Georgine. Songs. Schumann, Clara. Concerto, Trio, Piano, Songs. Schwertzell, Wilhelmine. Songs. Screinzer, Frl. Piano, Songs. Seipt, Sophie. 'Cello. Sick, Anna. Piano, Songs. Sporleder, Charlotte. Violin, Piano. Stecher, Marianne. Organ. Stollewerck, Nina von. Symphonies, Piano, Songs.

Tschierschky, Wilhelmine. Songs. Tyrell, Agnes. Symphony, Overtures, Piano.

Veltheim, Charlotte. Piano, Songs. Vespermann, Marie. Piano. Vigny, Louise von. Songs.

Waldburg, Julie von. Piano, Songs. Wichern, Caroline. Songs. Wickerhauser, Natalie. Piano, Songs. Wieck, Marie. Piano, Songs. Winkel, Therese. Harp and Violin. Wiseneder, Caroline. Operas, Songs. Wurmbrand, Stephanie. Concerto, Violin, Piano.

Zaubiter, Ida. Zither. Zittelmann, Helene. Piano, Songs. Zumsteeg, Emilie. Overture.

III. FRENCH COMPOSERS

Arago, Victoria. Songs.

Bawr, Comtesse de. Songs. Beaumesnil, Henrietta. Operas. Bertin, Louise A. Operas, String Quartets, Trios, Songs. Bigot, Marie. Piano. Bourges, Clementine de. Instrumental. Brillon de Jouy, Mme. Piano. Brisson, Mlle. Violin, Harp, Piano.

Candeille, Emilie. Operas, Trios, Piano, Songs. Carissan, Celanie. Operas, Oratorio. Caroline, Mlle. Opera. Chaminade, Cecile. Suites, Concerto, Trios, Violin, Piano, Songs. Chouquet, Louise. Piano. Chretien-Genaro, Hedwige, Ballet. Cinti-Damoureau, Laura. Songs. Collin, Helene. Piano.

Dejazet, Hermine. Operetta. Delaval, Mme. Harp, Songs. Demar, Theresa. Harp. Derheimer, Cecile. Masses, Organ. Duchambge, Pauline. Songs. Duhan, Mme. Piano. Durand de Fortmague, Baronne. Operas. Duval, Mlle. Ballet.

Fabre, Marie. Piano. Farrenc, Mme. Jeanne. Symphonies, Overtures, Chamber Music, Violin, 'Cello, Piano, Flute. Farrenc, Victorine. Piano, Songs. Ferrari, Gabriella. Orchestra, Opera, Piano, Songs.

Gail-Garre, Edme Sophie. Operas, Piano, Songs. Gallois, Mme. Ballets, Piano, Songs. Gay, Marie S. Cantatas, Piano. Genlis, Comtesse. Harp. Gignoux, Mlle. Opera. Gougelet, Mme. Piano. Grandval, Maria de. Overture, Suite, Operas, Masses, Trios, Violin, Flute, Piano, Songs. Gretry, Lucille. Operas. Guenin, Mlle. Opera.

Haenel de Cronenthal, Marquise. Symphonies, String Quartet, Opera, Piano. Heritte, Mme. Louise. Operas, Cantatas, Quartets, Piano, Songs. Holmes, Augusta. Suites, Operas, Cantatas, Songs. Hortense, Queen. Songs,

Jacques, Charlotte. Operetta. Jaell, Marie. Concerto, Piano Quartet, Piano.

Kercado, Mlle. Operetta.

Laguerre, Elizabeth. Opera, Cantatas, Piano. La Hye, Louise G. Opera, Organ, Piano, Songs. La Roche, Rosa. Concerto, Piano. Lechantre, Mlle. Operetta, Songs. Louis, Mme. Operetta, Songs.

Maistre, Baronne. Operas, Stabat Mater. Malibran, Maria. Songs. Marchesi, Mathilde. Vocalises. Marx, Berthe. Piano. Massart, Louise. Piano. Maury, Mme. Orchestra. Mizangere, Marquise. Clavichord. Molinos-Lafitte, Mlle. Songs. Montgeroult, Mme. Helene. Piano, Songs.

Neuville, Mme. Alphonse de. Mass, Violin, Songs.

Papot, Marie. Vocalises. Perriere-Pilte, Comtesse. Operas. Perronet, Amelie. Operettas. Pierpont, Marie de. Opera, Organ, Piano, Songs. Pleyel, Camille. Piano. Pollet, Marie. Harp. Pouillau, Mlle. Piano. Puget, Louisa. Operas, Songs.

Quinault, Marie. Motets.

Robert-Mazel, Helene. Songs.

Saint-Didier. Comtesse. Cantata. Sainte-Croix, Mlle. Operas. Santa Coloma-Sourget, Eugenie. Opera, Trio, Songs.

Tardieu, Charlotte. Piano. Thys, Pauline. Operas, Songs. Tonel, Leonie. Piano. Travenet, Mme. Songs.

Verger, Virginie. Violin, Piano. Viardot-Garcia, Pauline. Operettas, Piano, Songs.

IV. AMERICAN COMPOSERS

Abbott, Jane B. Songs. Adams, Mrs. C. Piano. Andrus, Helen J. Cantata, Organ, Piano, Songs. Atherton, Grace. Songs.

Ball, Mrs. I. W. Piano, Songs. Barnes, Bertha L. Piano. Beach, Mrs. H. H. A. Symphony, Mass, Cantatas, Violin, Piano, Songs. Bernard, Caroline R. Songs. Black, Jennie P. Songs. Bond, Mrs. C. J. Piano, Songs.

Cammack, Amelia. Piano, Songs. Cappiani, Louisa. Songs. Chickering, Mrs. C. F. Songs. Chittenden, Kate. Piano. Coates, Kathleen. Piano. Collinet, Clara. Songs. Collins, Laura S. Orchestra, Violin, Songs. Coombs, Mary W. Songs. Crane, Helen C. Piano. Crowninshield, Mary B. Songs. Crumb, Berenice. Songs.

Danziger, Laura. Piano, 'Cello. Diller, Angela. Piano, Songs. Donalds, Belle. Piano, Songs. Draper, Mrs. J. T. Sacred, Songs.

Estabrook, Miss G. Operetta, Songs. Eversole, Rose M. Songs.

Gates, Alice A. Songs. Gaynor, Jessie L. Piano, Songs. Griswold, Gertrude. Songs. Gro, Josephine. Piano, Songs.

Hale, Mrs. Irene. Songs. Hammer, Marie von. 'Cello, Piano, Songs. Hardy, Mrs. C. S. Songs. Heckscher, Celeste. Piano, Songs. Hill, Mildred J. Songs. Hodges, Faustina Hasse. Piano, Songs. Hood, Helen. Trio, Violin, Piano, Songs. Hopekirk, Mrs. Helen. Concerto, Piano, Songs.

Jewell, Althea G. Songs. Jewell, Lucina. Organ, Songs. Joyce, Florence B. Songs.

Knapp, Mrs. J. F. Songs. Knowlton, Fanny S. Songs. Korn, Clara D. Orchestra, Violin, Songs.

Lamson, Georgie. Songs. Lang, Margaret Ruthven. Overtures, Violin, Piano, Songs. Lemmel, Helen H. Songs.

Mackenzie, Grace. Songs. Maeder, Emily P. Songs. Marckwald, Grace. Orchestra, Piano, Songs. Mayhew, Grace. Songs. Melville, Marguerite. Piano Quintet, Violin, Songs. Merrick, Mrs. C. Piano, Songs. Metzler, Bertha. Piano, Songs. Moulton, Mrs. C. Songs. Murio-Celli, Adelina. Piano, Songs. Noyes-Porter, Edith R. Piano, Songs.

Olcott, Grace. Songs. Orth, Mrs. L. E. Operetta, Piano, Songs. Osgood, Marion. Piano, Songs. Owen, Anita. Piano, Songs.

Parcello, Marie. Songs. Park, Edna R. Songs. Pease, Jessie L. Songs. Pitman, Alice L. Violin, Songs. Pitt, Emma. Songs. Porter, Mrs. David. Songs. Powell, Mrs. W. Songs.

Ralston, Marion. Piano, Songs. Raymond, Emma M. Songs. Rees, Clara H. Piano, Songs. Richardson, Jennie V. Piano. Ring, Claire. Piano. Ritter, Fannie R. Songs. Rive-King, Julia. Piano. Roberts, Nellie W. Songs. Rogers, Mrs. Clara K. String Quartet, Violin, 'Cello, Piano, Songs. Ronalds, Mrs. Belle. Songs. Root, Grace W. Songs. Runcie, Constance L. Organ, Songs.

Salter, Mary T. Songs. Sargent, Cora D. Songs. Sawyer, Hattie P. Songs. Schuyler, Georgina. Songs. Scott, Clara H. Songs. Siegfried, Lillie M. Songs. Simmons, Kate. Dances. Skelton, Mrs. Nellie B. Piano, Songs. Skinner, Mrs. Fanny L. Songs. Smith, Eleanor. Songs. Smith, Mrs. G. Piano, Songs. Smith, Gertrude. Songs. Smith, May F. Songs. Smith, Nettie P. Songs. Smith, Rosalie B. Songs. Sneed, Anna. Songs. Spencer, Fanny M. Songs, Hymns. St. John, Georgie B. Songs. Stair, Patty. Piano, Songs. Steiner, Emma. Operettas, Songs. Stewart, Annie M. Songs. Stocker, Mrs. Stella P. Songs. Sutro, Mrs. Theo. Piano, Songs. Swift, Mrs. G. H. Songs.

Taylor, Mrs. A. H. Songs. Thurber, Nettie C. Songs. Torry, Jane S. Piano, Songs. Townsend, Marie. Songs. Train, Adeline. Songs. Tretbar, Helen. Songs. Tunison, Louise. Songs.

Van Buren, Alicia. String Quartet, Songs. Vanderpoel, Kate. Songs. Vannah, Kate. Piano, Songs. Venth, Mrs. L. K. Piano.

Walker, Ida. Piano, Songs. White, Emma C. Piano, Songs. Williams, Margaret. Overture. Wills, Harriet B. Songs. Wood, Mrs. George. Songs. Wood, Mary Knight. Trio, Songs. Woodhull, Mary G. Songs. Woods, Eliza. Piano, Songs. Woodstock, Mattie. Songs. Worth, Adelaide. Songs.

Young, Mrs. Corinne. Songs. Young, Eliza M. Piano, Songs.

Zeissler, Fanny Bloomfield. Piano.

———————————————————————————————————-

INDEX

A

Aarup, Caia, 219. Agnesi, Maria, 213. Ahlefeldt, Countess of, 168. Alcaeus, 25. Alcman, 27. Aleotti, Vittoria, 64. Alexandra, Grand Duchess, 229. Alexandrian Romances, 48. Alexandrowna, Mlle., 230. Alfonso X., 59. Allitsen, Frances, 148, 239. Amalia Anna, Duchess, 155. Amalie, Princess, 155. Amaneius des Escas, 55. Amann, Josephine, 171. Amenhotep IV., 18. Amersfoodt-Dyk, Hermine, 167. Amos, 20. Andree, Elfrida, 220, 238, 240. Andreozzi, Maria, 214. Andrus, Helen J., 207. Anna Amalie, Princess, 154. Apollonius Rhodius, 24. Appiani, Eugenia, 216. Aqua, Eva dell', 212, 240. Arthurian Romances, 48. Asch, 95. Aspasia, 29. Asperi, Ursula, 215. Assandra, Catterina, 65. Athelstan, 36. Aubade, 47. Audley, Mme., 242. Augusta, Empress, 155. Aulin, Valborg, 218. Aus Der Ohe, Adele, 171. Auspitz, Auguste, 227. Austen, Augusta, 134. Aylward, Florence, 239.

B

Bach, Anna Magdalena, 69, 70. Bach, Constance, 242. Bach, John Sebastian, 61, 67-71, 241. Bach, Maria Barbara, 68, 69. Bachmann, Elise, 168. Bachmann, Judith, 172. Backer-Groendahl, Agathe, 225. Badarczewska, Thekla, 229. Baglioncella, Francesca, 64. Ballad, 47. Barezzi, Margherita, 85. Bariona, Madelka, 66. Barker, Laura Wilson, 144. Barnard, Mrs. Charles, 135. Barns, Ethel, 145, 239. Baroni, Julie von, 228. Bartalotti, Signora, 215. Barth, Elise, 226. Bartholomew, Mrs., 134, 238. Batta, Clementine, 166. Baudissin, Countess of, 171. Beach, Mrs. H. H. A., 195-201, 235, 238, 239. Beatrice, Princess, 156. Beaumesnil, Henriette de, 187. Becker, Ida, 172. Beethoven, Ludwig von, 107, 111, 116-123, 240. Belleville-Oury, Emilie, 169. Benfey-Schuppe, Anna, 162. Berlioz, Hector, 81-84. Bernard de Ventadour, 51. Bernouilly, Agnes, 162. Bertin, Louise, 182, 183. Bertini, Natalie, 216. Bertinotti, Teresa, 216. Bigot, Marie, 192. Binfield, Hannah, 135. Bisset, Elizabeth, 135. Blahetka, Leopoldine, 160. Blasis, Teresa di, 216. Bleitner, Rosa, 227. Boerner-Sandrini, Marie, 172. Borton, Alice, 139. Bourges, Clementine de, 66. Boyce, Ethel Mary, 143, 239. Brambilla, Marietta, 216. Brandt, Caroline, 78-80. Brentano, Bettina von, 121. Breuning, Eleonora von, 119. Bright, Dora, 138, 239. Brinkmann, Minna, 171. Brisson, Mlle., 191. Broes, Mlle., 216. Bronsart, Ingeborg von, 220-225, 234, 240. Bruch, Max, 237. Bruckenthal, Baroness von, 166. Brunswick, Therese von, 121. Bugge, Magda, 225. Buttenstein, Constance, 163. Buxtehude, 111.

C

Caccini, Francesca, 64, 211, 240. Calegari, Cornelia, 65. Candeille, Emilie, 187. Carissan, Celanie, 186, 238. Carlovingian Romances, 48. Carmichael, Mary Grant, 141, 238. Carreno, Teresa, 231-233. Casella, Signora, 215. Casida, 46. Casulana, Maddalena, 63. Catalani, Angelica, 216. Cecilia, St., 211. Celtic Music, 37. Chamberlayne, Edith A., 139, 238. Chaminade, Cecile, 174-177, 234, 237, 238, 240. Chanson, 47. Charlotte, Princess, 156. Chazal, Mrs., 133. Cherubini, 81. Chinese Music, 31-34. Chivalry, 37. Chopin, Frederic, 97, 98, 128-130. Chretien de Troyes, 48. Chretien-Genaro, Hedwige, 189. Chrishna, 13, 14. Christ, Fanny, 173. Chrysostom, 36. Cianchettini, Veronica, 226. Claribel, 135. Clarke, Jane, 133. Clausz, Wilhelmine, 227. Clement, Mary, 169. Coccia, Maria Rosa, 216. Colbran, Angela, 230. Collin, Helene, 193. Collins, Laura Sedgwick, 206. Colona-Sourget, Helene Santa, 188. Contention, 46. Cooke, Edith, 152. Corinna, 28. Correr, Ida, 215. Courts of Love, 52-55. Cozzolani, Margarita, 65. Creti, Mariana, 216. Cronenthal, Marquise de, 186. Cuman, Harriet, 219.

D

Dahl, Emma, 218. Dances, Ancient, 17, 21, 31. Danziger, Laura, 207. David, King, 20. Davies, Llewela, 153. Deborah, 21. Dedekam, Sophie, 219. Dejazet, Hermine, 189. Delaval, Mme., 190. Demar, Therese, 194. Derheimer, Cecile, 190. D'Hardelot, Guy, 149. D'Hovorst, Mme., 227. Dickson, Ellen, 135. Discord, 47. Dolores, 135. Don Pedro, 60. Doria, Clara, 203. Duchambge, Pauline, 193. Ducre, Pierre, 84. Dufferin, Lady, 152. Duport, Marie, 230. Du Rollet, 114, 115. Dussek, Olivia, 135. Duval, Mlle., 187.

E

Egyptian Music, 16-19. Eleanor of Aquitaine, 50, 51, 52. Ellicott, Rosalind, 140, 238, 239. Erard, Sebastian, 135. Erdoedy, Countess, 120. Ertmann, Baroness, 120. Eschborn, Nina, 173. Essenhamens, 42, 55. Estabrook, Miss, 206. Esterhazy, Caroline von, 124, 125. Esterhazy, Prince, 72. Ethelbert, 35.

F

Farrenc, Jeanne Louise, 181, 238. Farrenc, Victorine, 182. Fechner, Pauline, 229. Feminine Tones, 32. Ferrari, Carlotta, 212, 213, 234, 240. Ferrari, Gabriella, 185. Fichtner, Pauline, 168. Foang-Hoang, 32. Folville, Juliette, 218. Fortmague, Baronne de, 189. Franz, Maria Hinrichs, 172. Franz, Robert, 104, 237, 240. Frederick Barbarossa, 38. Frederick the Great, 154. Fricken, Ernestine von, 94. Frugoni, Bertha, 216.

G

Gabriel, Virginia, 136. Gaelic Music, 37. Gail-Garre, Edme Sophie, 187. Gallois, Mme., 189. Galloni, Adolfa, 215. Gay, Marie Sophie, 190. Gaynor, Mrs. Jessie L., 208. Geiger, Constance, 171. Geishas, 34. Genlis, Comtesse de, 194. Gignoux, Mlle., 189. Gilbert, Florence, 151, 239. Giucciardi, Countess, 120. Gizycka, Ludmilla, 227. Gladkowska, Constantia, 129. Glee-Maidens, 57. Gluck, Christoph W., 113-116. Goddard, Arabella, 146. Goetze, Augusta, 167. Goodwin, Amina Beatrice, 146. Gottfried von Strassburg, 40. Grabowska, Countess, 228. Graever, Madeleine, 216. Grandval, Vicomtesse de, 180, 181, 238. Gray, Louisa, 142. Greek Music, 22-30. Greene, Edith, 138. Gretry, Lucille, 187. Griebel, Thekla, 168. Grieg, Eduard Hagerup, 88. Gro, Josephine, 210. Guenin, Mlle., 188. Guerre, Elizabeth de la, 186. Guest, Jeanne Marie, 133. Guidi, Teresa, 215. Gyde, Margaret, 144.

H

Habakkuk, 20. Hale, Mrs. Philip, 209. Hammer, Marie von, 207. Handel, Georg F., 111-113, 241. Harland, Lizzie, 143. Harraden, Ethel, 141. Harrison, Annie F., 142. Haydn, Franz Josef, 71-75. Haydn, Frau, 71-73. Heale, Miss, 143. Hebrew Music, 19-22. Heidenreich, Henrietta, 169. Heim-Brehm, Mathilde, 169. Heinke, Ottilie, 172. Heinrich von Meissen, 43. Heinrich von Veldig, 38. Hendrich-Merta, Marie, 168. Henn, Angelica, 166. Hensel, Wilhelm, 126. Herder, 21. Heritte-Viardot, Pauline, 185. Hetaerae, 29. Hill, Mildred, 209. Hindoo Music, 12-16. Hoang-Ti, 31. Hodges, Faustina Hasse, 207. Holland, Caroline, 143. Holmberg, Betty, 225. Holmes, Augusta, 178-180, 235, 238, 240. Homer, 22, 24. Hood, Helen, 207. Hopekirk-Wilson, Mme., 204. Horrocks, Amy Elsie, 138, 239. Hortense, Queen, 193. Hundt, Aline, 162, 238.

I

Isaiah, 20.

J

Jacques, Charlotte, 189. Jaell, Mme. Marie, 191. Janina, Countess Olga, 230. Janotha, Nathalie, 229. Japanese Music, 34. Jeanrenaud, Cecile, 128. Jewell, Lucina, 207. Jongleurs, 39, 56, 62. Jordan, Mrs., 136.

K

Kainerstorfer, Clotilde, 172. Kanzler, Josephine, 165. Keeners, 20. Keglevics, Babette de, 120. Kercado, Mlle., 187. Kern, Louise, 166. Kinkel, Johanna, 167. Kletzinsky, Adele, 229. Kohary, Marie de, 227. Komorowska, Stephanie, 230. Korn, Clara, 204. Kraemer, Caroline, 173. Kralike, Mathilde von, 166.

L

Lacerda, Bernarda de, 66. Lago, Miss, 219. La Hye, Louise, 193. Lamia, 29. Lang, Josephine, 169. Lang, Margaret Ruthven, 201, 202. Langhans, Louise, 166. Lannoy, Comtesse de, 218. La Roche, Rosa, 191. Lawrence, Emily, 143. Lebeau, Louisa Adolpha, 164, 165, 238, 239. Lebrun, Francesca, 168. Lechantre, Mlle., 191. Lehmann, Liza, 146, 147, 236, 239. Lehmann, Mrs. Rudolph, 147. Leucadian Rock, 26. Lewing, Adele, 171. Ling-Lun, 32. Linwood, Mary, 132. Lipsius, Marie, 242. Liszt, Franz, 103, 241. Loder, Kate Fanny, 136. Louis VII., 50. Louis, Mme., 187. Ludwig of Bavaria, 87. Lund, Baroness van der, 216.

M

Macironi, Clara Angela, 151. Maier, Amanda, 219. Maistre, Baronne de, 189. Malibran, Mme., 184. Malleville, Charlotte de, 193. Maneros, 17. Map, Walter, 48. Marchesi, Mme., 193. Marckwald, Grace, 204. Maria Antonia, 155. Maria Charlotte Amalia, 155. Maria Theresa, 113. Mariani, Virginia, 215. Marie Antoinette, 114-116. Marie de France, 58. Marie Elizabeth, Princess, 156. Marshall, Mrs. Julian, 138. Martinez, Marianne, 158. Marx, Berthe, 192. Mary, Queen of Scots, 67. Massart, Louise, 192. Massenet, Jules, 130. Mastersingers, 62, 63. Mattheson, 111. Maury, Mme., 185. Mayer, Emilie, 161, 238, 239. Meadows-White, Mrs., 235, 238. Melville, Marguerite, 206. Mendelssohn, Fanny, 125-128. Mendelssohn, Felix, 101, 107, 125, 128, 134, 170, 240. Merrick, Mrs. C., 208. Meyer, Elizabeth, 219. Milanollo, Teresa, 215. Millar, Marian, 134. Minnesingers, 38-44, 62. Miriam, 21. Misangere, Marquise de la, 192. Molinos-Lafitte, Mlle., 193. Monte-Varchi, Anna de, 230. Montgeroult, Mme., 192. Morgan, Lady, 152. Morison, Christina, 152. Moscheles, Ignaz, 118. Moseley, Caroline Carr, 144. Moses, 21. Mounsey, Elizabeth, 134. Mozart, W. A., 74-78. Mueller, Josepha, 167. Mundella, Emma, 135. Munktell, Helen, 219. Muses, 22-23. Mussini, Adele, 216. Myrtis, 28.

N

Needham, Alicia Adelaide, 152. Nero, 243. Neuville, Mme. de, 190. Novel, 47. Nunn, Elizabeth, 135.

O

Okey, Maggie, 144. Olagnier, Marguerite, 189. Olga, Grand Duchess, 229. Oliver, Kate, 144. Orger, Caroline, 136. Orpheus, 24. Orth, Mrs. John, 206. Osiris, 16, 17. Osterzee, Cornelia van, 217.

P

Paganini, 83. Paradies, Maria Theresa von, 156-158. Park, Edna Rosalind, 205. Parke, Maria, 132. Parkyns, Mrs. Beatrice, 144 Pastorelle, 47. Patti, Adelina, 152. Pericles, 27, 29. Perriere-Pilte, Comtesse, 188. Perronet, Amelie, 189. Pessiak-Schmerling, Anna, 167. Petrarch, 51. Pfeilschifter, Julie von, 168. Phaon, 25. Piccini, 115. Pierpont, Marie de, 189. Pindar, 28. Pitman, Alice Locke, 206. Planer, Minna, 86-88. Planh, 46. Plautus, 31. Pleyel, Camille, 192. Plitt, Agathe, 167. Polko, Elise, 242. Pollet, Marie, 194. Polzelli, Luigia, 74. Porter, Edith Noyes, 205. Prescott, Oliveria L., 138, 238. Provence, 44, 45. Puget, Louise, 188. Pythagoras, 29.

Q

Quinault, Marie Anne, 190.

R

Radecki, Olga von, 230. Ralph, Kate, 144. Ramann, Lina, 171, 241. Ramsay, Katharine, 152, 239. Recio, Mlle., 83. Rees, Clara, 207. Reichard, Louise, 171. Rene, Victor, 209. Rennes, Catherine van, 217. Rhodes, Mrs., 149. Ricotti, Onestina, 216. Ringelsberg, Mathilde, 227. Ritter, Fanny Raymond, 210, 242. Riquier, Guirant, 59. Rive-King, Julia, 203. Robert-Mazel, Mme., 190. Rogers, Clara Kathleen, 202, 203. Roman Music, 30, 31. Romance, 48. Rudersdorff, Mme., 230. Ruediger of Manesse, 38. Ruta, Gilda, 211, 240.

S

Sachs, Hans, 62. Saint-Didier, Comtesse de, 190. Sainte-Croix, Mlle, de, 189. Sainton-Dolby, Charlotte, 136. Salic Law, 35. Samson, 20. Sand, George, 129, 130. Sanders, Alma, 144. Sanderson, Sibyl, 130. Sappho, 25, 26, 27. Saracen Music, 45. Schaden, Nanette von, 163. Schaeffer, Theresa, 163. Schauroth, Delphine von, 171. Scheidler, Dorette, 80. Schimon, Anna, 227. Schirmacher, Dora, 146. Schmezer, Elise, 168. Schroeter, Mrs., 74. Schubert, Franz Peter, 101, 104, 107, 111, 123-125, 237. Schumann, Clara, 90-110, 169, 234, 240. Schumann, Robert, 90-107, 169, 237, 240. Scott, Lady, 136. Seebald, Amalia, 122. Seipt, Sophie, 173. Seneke, Teresa, 215. Serenade, 47. Serov, Mme., 230. Siegfried, Lillie Mahon, 206. Sirens, 23, 24, 25. Sirmen, Maddalena, 214. Sirvente, 47. Sixtine, 47. Skinner, Florence M., 142. Smith, Alice Mary, 137, 234. Smith, Eleanor, 208. Smithson, Harriet, 81, 83. Smyth, Ethel M., 140, 239. Socrates, 26. Solomon's Song, 20. Solon, 27. Sonnet, 47. Spohr, Ludwig, 80, 97, 109, 134. Stecher, Marianne, 172. Steiner, Emma, 205. Stirling, Elizabeth, 133. Stocker, Stella Prince, 209. Stollewerck, Nina von, 163. Strauss, Mme. Richard, 88. Strozzi, Barbara, 65. Stubenberg, Anna, 227. Sutro, Mrs. Theodore, 209. Swepstone, Edith, 139, 239. Symphonie Fantastique, 81-83. Sztaray, Countess, 229. Szymanowska, Marie, 228.

T

Tannhaeuser, 41. Temple, Hope, 152. Tennyson, Lady, 152. Tenson, 46. Terence, 31. Tesi, Vittoria, 112. Thegerstrom, Hilda, 219. Thorn, Edgar, 209. Thys, Pauline, 188. Tournament, 47. Train, Adeline, 209. Travenet, Mme. de, 193. Tretbar, Helen, 209, 242. Troubadours, 38, 39, 44-56, 59, 60. Troup, Emily J., 144. Trouveres, 47, 48. Tschitscherin, Theodosia de, 229. Tunison, Louise, 209. Tussenbroek, Hendrika van, 217. Tyrell, Agnes, 163.

U

Uccelli, Caroline, 215. Ulrich von Lichtenstein, 43. Ulysses, 24.

V

Valentine, Ann, 133. Van Buren, Alicia, 206. Verdi, Giuseppe, 84-85. Verger, Virginie du, 191. Verse, 47. Vezzana, Lucretia, 65. Viardot-Garcia, Pauline, 183, 184. Vidal, Pierre, 43. Vigny, Louise von, 172. Vizzani, Orsina, 64. Vorwerk, Henrietta, 227.

W

Wace, Robert, 48. Wacht-Lieder, 40. Wagner, Cosima, 88. Wagner, Richard, 85-88, 240. Walter, Ida, 142. Walther von der Vogelweide, 41. Ward, Kate Lucy, 152. Wartburg, 41. Weber, Aloysia, 75. Weber, Carl Maria von, 78-80. Weber, Constance, 75, 77. Westrop, Kate, 144. White, Maude Valerie, 150, 238, 239. Wieck, Clara, 90-102, 106. Wieck, Friedrich, 91, 102. Wieck, Marie, 91-171. William of Poitou, 50. Williams, Margaret, 205. Willman, Magdalena, 119. Winkel, Therese, 173. Wiseneder, Caroline, 167, 242. Wodzinski, Marie, 129. Wolfram von Eschenbach, 40. Wood, Mary Knight, 206. Woods, Eliza, 205. Woolf, Sophia, 136. Wurm, Marie, 140. Wurmbrand, Countess, 169.

Y

Young, Harriet Maitland, 141.

Z

Zapater, Rosaria, 230. Zaubiter, Ida, 173. Zentner, Clary, 216. Zimmermann, Agnes, 145, 239. Zumsteeg, Emilie, 159.

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FOOTNOTES:

[1] For a good account of Hindoo music, see "Curiosities of Music," by L. C. Elson.

[2] Aside from the supernatural phase, the great power ascribed to music by all mythologies may well have its foundation in fact. Taking as illustration the ease with which the ignorant classes of the present, especially in thinly settled countries, become the prey of various delusions, it may well be true that whole races have passed through mental stages in which their emotions, aroused by music, exerted an almost irresistible power.

[3] Among the early forms of composition, the most important was the mass, consisting of Kyrie, Sanctus, and other prescribed numbers, much as at the present day. More free in form was the motet, in which religious subjects were treated in contrapuntal fashion. The madrigal differed from this only in dealing with secular subjects. That these old madrigals, with their flowing parts and melodic imitations, are not unpleasing to modern ears, has been often proven. Their progressions are at times strange to us, but on repeated hearing often become imbued with remarkable delicacy and appropriateness.

[4] La Mara claims that the "Carneval" was inspired wholly by Clara, while Reissmann gives that honour to Ernestine.

[5] The term piano trio is used to signify a piece for piano, violin, and 'cello, in full sonata form.

[6] For more extended lists of English and other composers, see appendix. The student is referred to Otto Ebel's valuable handbook of women composers.

[7] A. Michaelis, "Frauen als Schaffende Tonkuenstler."

[8] See "Music in the Nineteenth Century," by J. A. Fuller-Maitland.

THE END