4” W

' Bein an account o her in uence o n the art g f fl , in ancient as well as modern tim es ; a su mmary

’ o h er musical co m ositio ns in the a rent co un f p , ifl

’ ’ tries ofthe ci‘vilizea worla ; and an estim ate oftheir ranh in compariso n with those ofm en

By

m 33 [3

Author of A Critical History o fOpera

I l l u s t r a t e d

B O S T O N a a

’ ' at a a a MD C C é C I V

FACULTY OF MUSIC

1 0 , I7 0 - BY L. C . PAG E (Sc C O MPANY

(INCO RPOR A TED)

All rights reserv ed

P is e O e 1 ubl h d ctob r, 903

Es to nia! fi rms f E/(ect rotype d and Printe d b y C H . S im d o n s 8: Co . I , Bo sto n Mass , ! U. S . A. TO

flaw. SLuuifi QB. QEIzcm

TRU E TYPE O F

SELF- SACRIFICING W IFE AND MO TH ER

IN A MU SICAL FAMILY, THI S B OOK Is AFFECTI O NATELY DEDICATED

B Y H ER SO N

NO TE

d du e Fleishn e r Acknowle gments are to Mr . Otto , o f Pu blic fo r the Boston Library, his kindness in furnishi n g li sts Of periodical article s bearing on the

t o f o subjec this bo k .

THE A TH R U O .

CO NTENTS

CH AP TER ANCIENT AND MYTHICAL MEDIE VAL WIVES O F THE CO MPOSERS CLARA AND ROBERT SCHUMANN O THER MUSICAL ROMANCES ENGLAND G ERMANY FRANCE AMERICA O THER COUNTRIES CONCLUSION

LIST O F ILLUSTRATIO NS

SAP P HO (S ee page 25) A G REEK CONCERT A TROUBADOUR ELEANOR O F AQ UITAINE JOHN SEBASTIAN B ACH FR Z OS F H YDN AN J E . A WOLFGANG MO ZART W RICHARD AND COSIMA AGNER . MARIE WIECK ROBERT SCHUMANN CLARA (WIECK) S CHUMANN MARIE ANTOINETTE S ONG B Y MARIE ANTOINETTE LUDWIG VAN B EETHOVEN S YBIL S ANDERSON MAGGIE O KEY LO UISA ADO LP HA LEBEAU ADELE A US DER O HE CECILE LO UISE STEP HANIE CHAMINADE AUGUSTA MARY ANN HOLMES

MR H . . A B S . H . EACH MARGARET RUTHVEN LANG

JULIA RIVE - KING INGEBO RG VO N B RO N SART TERESA C ARREN O

WOMAN’ S WO RK IN MUSIC

A E R CH PT I .

AN CIEN T A N D MYTH ICAL

TH E o Church Of Rome, th ugh admitting no

to women a share in performing its services , has f yet made a wom an the patron saint o music . The religions o fantiquity have paid even more homage

sex to the weaker in the matter , as the multitude o f musical nymphs and fostering goddesses will

Show .

o Of Saint Cecilia herself, little is kn wn accu r l e ate y. The very apocryphal leg nd states that about the e 23 0 a noble Roman lady O f that

n to name , who had been co verted Christianity , was forced into an unwilling marriage with a certain

Valerian , a pagan . She succeeded in converting

r her husband and his brother , but all we e martyred

O f o because their faith . This , it is stated, t ok place

1 1 1 2 WOMAN ’S WORK IN MUSIC

Alm ac u s under the Prefect , but history gives no such name . It is unfortunate, also, that the carli est writer mentioning her , Fortunatus , Bishop Of

r o f Poitie s , speaks her as having died in Sicily

1 1 between the years 76 and 80 . It is doubtful

she n whether would have bee known at all , in con n ctio n e with the art , but for a passing phrase in

sh e n in her story, which relates that ofte united stru m en tal music to that O f her voice in sounding the praises Of the Lord . Because of these few

she n words , is famed throughout musical Christe dom , half the musical societies in Europe are named

’ ’ after her , and Raphael s picture, Dryden s ode ,

’ Stefano Maderno s statue , and a hundred other great art works have come into existence .

’ The earliest inferences Of woman s influence in music are to be drawn from the Hindoo mythol 1 o gy. According to the tabular schedule Of all knowledge, found in the ancient Brahmin records , music as an art belongs in the secon d chief division

o n Of lesser sciences , but its mathematical and philo sophical side it is accorded a much higher position , and is treated of in the oldest and most sacred

o Hindo work , the Veda . This authority tells us that when Brahma had lain in the original egg

‘ “ Fo r a a n Of Hin m sic se e C i si ie s o f good ccou t doo u , ur o t M si b L . C . E s n . u c , y l o ANCIENT AND MYTH ICA L I 3

som e thousand billion years , he split it by the force

o f his thought , and made heaven and earth from

n the two fragme ts . After this , Manu brought into

n being ten great forces , whe ce came all the gods ,

o . goddesses , go d and evil spirits Among the lesser deities were the genii Of music (Gan dharbas ) and

A sarasas those of the dance ( p ) , who furnished entertainment fo r the gods before man possessed

the art . Abo ut this time the female element began to

’

s . assert it elf At Brahma s command , his consort ,

arisv ati o Of S , g ddess speech and oratory , brought

n e music to man , incide tally giving the Hindoos th ir d . o finest musical instrument , the vina The demig

Nared o f Mah e da became the protector the art , but Ch rish n a performed a more material service by

o to allowing five keys , or m des , spring from his head , in the shape of nymphs , while his wife , Par

o n e . m buti , produced more Then Brah a helped the cause along by adding thirty lesser keys , or

o f modes , all them in the form of nymphs also .

o f These modes varied in character , some them

to o being fiery to be attempted by mo rtals . It is

e r related that Akbar , the mpe or , once ordered the

o Go ban l Raa n i fam us singer , Naik , to sing the g , o r . Th improvisation , Of the mode Of fire e poo r ' n fo r singer e treated a less dangerous task , but in I4 WOMAN ’S WORK IN MUSI C

the vain . Then he plunged up to his neck in waters

Of the river Jumna , and began . Before he had

finished half Of the song, the water around him

. d began to boil He paused , but , fin ing the em

’ ero r s n p curiosity rele tless , continued the strain , until at the close his body burst into flames and was consumed . Another melody caused the forma tion Of clouds and the fall of rain , and a female singer is said once to have saved Bengal from drought and famine by means of this lay . Many other refrains had a similar power over th e forces Of nature ; o n e could make the su n disappear and

o n o bring night at midday, while others c uld change

o r to . winter to spring , rain sunshine

n In all Indian lege ds , the charm of music is f described as O immense potency . All animate and inanimate nature is represented as listening with i l ecstasy to the singing of Ch rishn a and Parbu t .

Chrishn a o f When was on earth , in the form a

n d shepherd , there were sixtee thousan pastoral

o r nymphs , shepherdesses , who fell in love with him . They all tried to win his heart by the power

As e o m th e s e n a a ase th e re a e as i e to id fr up r tur l ph , g t pow r cr b d m si all u c by m ythol o gie s m ay w e ll h ave its fo u n dation in fact . T in ak g as illustratio n th e e as e with which th e ign oran t class es o f th e e s en e s e a in in s e e n ie s e m e th e e pr t , p ci lly th ly ttl d cou tr , b co pr y o f a s e s n s m a e b e e a e a e s a e v riou d lu io , it y w ll tru th t whol r c h v ass e m n a a s in e m i n s a se p d through e t l s t ge which th ir e ot o , rou d by

m si e e e an a m s e sis i e e . u c , x rt d l o t irr t bl pow r ' ANCIE NT AN D MYTHICAL I 5

in f e Of music, and each one sang to him a dif er nt

e s f manner . Hence arose the sixt en thou and di fer ent keys which were said to have existed at o n e time in India . — The Hindoo musical system of to day is likewise

Th n ascribed largely to fem ale sou rces . e scale co sists of seven chief tones , which are represented by

o f as many heavenly sisters . The names the tones

sa a n i o u r ( , ri , g , ma , pa , dha , , corresponding to do,

etc . e O f re, mi , ) are merely abbr viations the names of h the nymphs w o preside over them . The tones Of the

d n IIm b er O f scale are ivided into quarters , and the quarters in the diatonic scale intervals is four , three, two , four , four , three, and two . Thus the number Of possible modes is vastly greater than in our own

h six o m e . scale , which has nly se iton s T ere are

n six chief modes , represe ted by genii , while each o n e is married to five O f the thirty nymphs who

n typify the lesser modes . Each o e O fthe gen n has eight sons , and these are wedded to a nymph apiece,

- o f making forty eight in all . Every member this prolific musical family presides over something , if it is only one of the quarter tones that form the scale .

TO d illustrate the metho of naming , the four

n O -r a quarters Of the fifth scale to e (pa , Pancham ) belong to the nymphs Malina , Chapala , Lola , and I6 WOMAN as WORK IN MUSIC

n e Se rv e ret a. The next full tone (dha ) is own d by Santa and her sisters . If the higher tone, dha ,

flatted should be , giving it the same pitch as the

o r upper quarter of the l we tone, pa, the Hindoo e musician wo uld not sp ak of dha as being flat , but

Serv eretn a would say instead , has been introduced ” r to the family of Santa and her siste s . The Hindoo music o fto day is n o t as po tent as

kn wl in mythical times . The people them selves ac o

o f and t edge the decline their art , admit hat even

In n the last ce tury or two it has deteriorated . As

- o r for the miracle working Ragas , improvised

n sa songs , the people in Be gal will y that they can probably be heard in Cashmere, while the inbah itan ts of Cashmere will send the inquirer back to

. to o o Bengal Woman , , has a less important p si tion than Of old . When the ancien t sages made ” o u r m m n musical syste , says an e ine t Brahmin in “ an interview at San Francisco, there were many Women among them ; but now n o t one can acco m

lish p anything in the art .

en In the traditions of ancient Egypt , music is tirel y under the patronage Of male gods . Thoth , the Egyptian Hermes , invented the lyre by striking the tendons Of a dead tortoise, which had dried and f . to o o stretched in the shell Osiris , , the chief the

d e ho Egyptian go s , protect d the art , alt ugh Strabo

1 8 WOMAN ’S WORK IN MUSIC

o f consisted regular figures , such as forward and

so o n back , swing, and , the latter kind being re

i te str c d r . m to the lowe orders In all Of these, wo en must have taken a large part , and doubtless they

fo r were responsible some Of the music . They were not allowed to play the flute, but could indulge in

- r the tabo and other instruments . Some of the scenes depicted closely resemble the modern stage, and it is more than probable that , when the audi

me to — o u r o wn e es of day applaud ballet scenes , they are enjoying themselves in the Old Egyptian manner . There can be no doubt that wom an played an important part in music , possibly even in composi

n tion , in many civilizations which appare tly allowed her only a restricted field Of actio n . The Empress Of Germany recently defined woman ’ s sphere as con

- o sisting Of four subj ects , children , clothes , co k ing , and church ; yet the German women have far more influence than this Official utterance would

n o t indicate . It is surprising , then , to find in the folios of Lepsius a reproduction Of something anal

n o go u s to our conservatories of music . It represe ts a course of musical instruction in the school of f o f . o singers and players King Amenhotep IV , the eighteenth dynasty . There are several large and

o co n small ro ms , connected with each other , and taining furniture and musical instruments . In some ANCIE NT AN D MYTH ICAL 1 9

n e are the musicians practising and teaching . O teacher sits listening to the singing of a young girl , while another pupil is playing the accompaniment o n a harp . Still another girl stands atten tiv elv

’ . o listening to the teacher s instructions , as in a m dern class . In another place are two girls practising a

n dance with harp music . In o e room is a young a lady having her hair dressed , while in another young girl has placed aside her harp and is sitting

n dow to lunch with a companion . All this goes to show that different civilizations Often resemble o n e o another more than w uld appear at first sight ,

’ and very probably woman s part in ancient Egyp tian music was much like that which sh e plays in — o u r own to day . The earliest Hebrew music was undoubtedly modelled after that O f Egypt . In later Biblical

in stru times , however , there were many national ments , and the style Of the music must have been

e characteristic . The Old Testament , ven in its earlier books , contains many examples of the songs

- e o f the people . Their ancient folk music show d three principal styles , the joyous bridal song , the cheerful harvest or vintage song , and the wailing funeral song ; and there are many examples Of each in the Scriptures . As there was no definite

o n notati n among the ancie t Hebrews , the actual 20 WOMAN ’S WORK IN MUSIC tunes that were sung with these songs will never be known . But it may be possible that the melodies have been preserved by rote, for it is certain that these three schoo ls of singing exist to day in Arabia and Syria . Whole villages are known to unite in

- o f o n e a seven day festival rej oicing , not unlike the at the wedding Of Samson , as described in the four teen th chapter Of Judges . Th e Song Of Solomon presents an entire set Of bridal songs in the po pular vein . A good example of the mourning song is found in the opening chap

o r ter Of the second b ok of Samuel , whe e David lamen ts the death of Saul and Jonathan . It is somewhat exceptional because of its being rendered

fo r by a man , in Eastern countries the professional

! n o mourners were always wome , hired for the cca

o e sio n . The men might join in the chorus Of w if they wished , but the main part Of the song was always given by the women , who were not unlike

a o n the Keeners , he rd in Ireland similar occa

Th o f e n . e sions , even down to r ce t times book

n Lamentations prese ts a series of funeral songs ,

O f O f written in imitation the professional lays grief , and containing many allusio ns to the mourning f . O o women In the fifth chapter Am s , in Habakkuk ,

o f and many other books , are further illustrations

- such fo lk songs . The fifth chapter of Isaiah begins ANCIE NT AN D MYTH ICAL 2 1

with the cheerful style Of the vintage song , and then

o f suddenly changes to a song grief , forming an f artistic contrast that must have been highly e fective .

as In the Hebrew songs , in the Egyptian , there must have been much dramatic action united with ” o c the vocal work . When the word dancing it curs , generally means only gesture and panto

is o f mime . Its use made evident in the song Moses , X in Exodus V. It requires little imagination to picture Miriam using a folk - song with which her

to hearers were familiar , improvising words suit

su c the occasion , and illustrating the whole with cessiv e n gestures of pride , co tempt , sarcasm , and i triumph , while the assembled multitude j o ned in the chorus at every opportunity . Still more eviden t does this union O f voice and action become in the song of Deborah and Barak , in Judges V . A possible description of the per fo rm an c e O f n this musical comedy is give by Herder , who suggests that Probably verses I - I I were in terru pte d by the shouts O fthe populace ; verses 1 2

2 O f 7 were a picture of the battle, with a naming the

d o r lea ers with praise blame, and mimicking each o n e as named ; verses 28 - 3 o were mockery Of the

O f triumph Sisera , and the last verse was given as ” a chorus by the whole people . According to this , the tune must certainly have been a familiar o n e . 22 WOMAN ’S WORK IN MUSIC

m The whole scene, with its exte porized words , its

to clapping of hands mark the rhythm , and its

o f alternation solo and chorus , was probably not unlike the singing at some o fthe negro camp - meet

n ings o the Southern plantations . Foremost among the patron s O fthe art in Grecian mythology are the Muses . These were not always

e . nine in numb r Originally , at Mount Helicon ,

o in B eotia , three were worshipped , Melete (medi

tatio n m . ) , Mne e (memory ) , and Aoide (song ) Three Muses were also recognized at Delphi and

O f Sicyon . Four are mentioned as daughters Jupi

e ter and Plusia , while some accounts speak of sev n

i ru s P e . Muses , daughters of Eight was the number known in Athens , until finally the Thracian worship O f nine spread over the whole Of Greece The paren tage o fthese divinities is given with as many variations as their number . Most commonly they were considered daughters of Zeus and Mnemosyne

r o o f (memo y) , born in Pieria at the fo t Mount

Olympus . Some call them daughters Of Uranus

a Pieru s and G ea , others Of and Antiope, still others

O f Apollo or of Jupiter and Minerva . The analogy between the Muses and the nine maidens in the f Egyptian troupe o Osiris has already been no ted .

’ o at In H mer s poems , the Muses have already tain ed - o On their well known ab de Olympus , where ANCIE NT AN D MYTH ICAL 23 they sing the festive songs at the banquets of the immortals . They were suppo sed to inspire the mind of the bards , and in early times the poets were perfectly sincere in invoking them and believing

. r in their inspiration The Muses , in presiding ove

e the various branches of Gr cian art , appeared unable to brook any rivalry . Thamyris , an ancient Thra c ian O f bard , boldly challenged them to a trial skill ,

o n and , being overcome by them in the contest , was deprived by them Of his sight and of the power o f

n singing . He is represe ted in art as holding a f i bro ken lyre . The nine daughters o King P e ru s o f u n su c Macedonia fared no better , and after an c essfu l contest were changed into birds . The Muses

o were closely connected with Apollo , who was l oked upon as their leader . Many mountains , as well as

Of grottos , wells , and springs in various parts

Greece, were sacred to them . Th e Sirens were another personification o f the marvellous power of music among primitive peo

”

. n ples Their parentage also is variously give , though they are usually m entioned as daughters o f

o d . re the river g , Achelous They are generally p

a o r resented as maidens , with more less extensive equipment of wings and other plumage . These wings were Obtained at their request when Pros er

Off r pine was carried , that they might be bette able 24 WOMAN ’S WORK IN MUSIC

to hunt for her . But another account says that

to they refused their sympathy Ceres , and were

o n given their feathery c ating by her in punishme t .

Some writers say it was due to Aphrodite, who was

d . angere at their virginity The Sirens , as well as

o other ambiti us performers , were rash enough to

o attempt a c ntest with the Muses , and met with the customary defeat . The victorious nine then pounced

o ff upon the unfortunate trio, and tore wings and feathers .

’ The Siren s chief occupation consisted in sitting on the rocks by the sea and singing to passing mar m . be i ers According to Homer , their island lay

’ I Eaea o f o r tween and the rock Scylla , near the southwestern coast o f Italy ; but the Roman poets place them on the Campanian coast . Their magic power to charm all hearers was to last only until some o n e proved himself able to resist their spell ° ff and here again accounts di er . Homer gives the

’ wh o ff credit to Ulysses , stu ed his mariners ears

h ad . with wax , and them bind him to the mast

Rho diu s Ar o n au tica Apollonius , however , in the g ,

u claims the credit for Orphe s , who saved the ex peditio n of the Argonauts by singing the Sirens into silence, after which the musical damsels fell from their heights and were them selves changed into rocks . If some of our modern musicians were pu t

’ 26 WOMAN S WORK IN MUSIC

-n from the Leucadian rock . This rock is a promo

f o was tory o n the island o Leucas , up n which a

o d temple to Apollo . At the annual festival of the g , it was the custom to cast down a criminal from this

sea. a roc k into the To bre k his fall , birds of all kinds were attached to him , and , if he reached the

o . sea uninjured , b ats were ready to pick him up

o f Th is apparently was a rite expiation , and as such gav e rise to the well - known story that u n fo r tu n ate lovers leaped from this rock to seek relief from their distress . The story of Sappho and

o f Phaon is one these , but it has been claimed that its authenticity vanishes at the first breath o fc riti

cism .

It is fair to class Sappho as a musician , for in ancien t Greece poe try and music were inseparable .

Of her poems , which filled nine books , only a few fragments remain , of which the most important is

o d a a splendid e to Aphrodite . At Mytilene she p pears to have gathered about her a large and ele gant circle of young women , who were her pupils

o in p etry, music, and personal cultivation . Her

fo r influence must have been widespread , the list o f her disciples includes names from all parts o f

Greece. Her work of teaching , in the midst of her

o f fair followers , has been compared with that So crates surrounded by the flower o fthe Athenian ANCIE N T AN D MYTHICAL 27

o e youth . The p wer of her po try is shown by the

f o f story of its e fect on the rugged character Solon ,

fo r n o f the lawmaker . Hearing the first time o e her

pieces , sung to him by his nephew , he expressed in the most impassioned terms the wish that he might not die befo re having learned such a beautiful

song . The career of Sappho is made more wonderful

’ by the fact that woman s wo rk in ancient Greece was f supposed to consist only o family duties . She taught her sons in childhood until they were sent

sh e dau h to their regular masters , and guided her g ters and set them an example in doing household

duties . According to Pericles , that woman was

o n e most to be prized of whom no spoke , either in

’ r f praise o blame . Because o Sappho s prominence and social activity , but more especially because of

h o f o m the ardent c aracter of some her p e s , her go od name has been assail ed by many modern crit i cs . The maj ority , however , consider the accusa tions as groundless .

o f Alcman , the great lyric poet Sparta (Lydian

h so — by birt ) , brought the called Lydian measure to its highest perfection . He was always ready

n o to praise wome in his verses , and wrote s me choruses especially for the

H n e - o ic e l e l sin in m ai e n s o y v d , ov y g g d , 28 WOMAN ’S WORK IN MUSIC

i which were sung by fem ale vo ces only . Boeotia

a t . could boast of two gre t poe esses Myrtis , a native

An thedo n r of , is repo ted to have been the instruct

o f ress Pindar, and is said to have contended with him for the palm of superiority . She was famous

o s through the whole of Greece, and many places p f sessed statues in honour o her . The second poe t

o f ess was Corinna , Tanagra , sometimes called the .

Theban because o f her lon g residence at Thebes .

0 B c . e She flourished about 49 . , and was a cont m h i o rar . s e s p y of Pindar Like Myrtis , said to have

is instructed him , and credited with having gained a victory over him in the public games at Thebes . Only a few fragments of her work have be en pre

s . sh e erved to us But Pausanias , who states that defeated Pindar no less than five times , thinks that her personal charms may have had Something to do with the matter .

r f d While teaching Pindar , Co inna once o fere to beautify his earlier efforts with mythological allu

. o sions The pupil , nettled by this criticism , so n

o brought to his instructress a new p em , of which the first six stanzas touched upo n ev ery part of Theban mythology ; whereupo n sh e coo led his en thu siasm by remarking with a smile : One must so w e s ed by the handful , not by the bagful . Whether the character of these earlier po etesses ANCIE NT AN D MYTH ICAL 29

o r n o t was above reproach , it is certain that in the later days of Grecian civilization music was handed

s over to the most degraded classe . In Egypt the caste of professional musicians was not held in any

was respect , and the art often merely an added accom plishment to enhance the value o f slaves .

o f So , too , in Greece , the practice music was given

a a . over to the Het er e , or courtesans That these women were at times able to win a high po sition is amply proven by the case of Aspasia . A native o f sh e n Miletus , came to live in Athe s , and there

f n o f r gained the a fectio s the great leade Pericles , n o t more by her beauty than by her high men tal ac

li h n o f o f co m s m e ts . p The story her life, and the literary and philosophical circle which she drew

to o t . around her , is well known to need repe ition

en Another famous courtesan , though less well

n o n dowed mentally , and evide tly a much lower

- plane of character , was the famous flute player

Lamia . It was her beauty rather than her intellect that won the great honours which s h e attained ; and a temple dedicated to her as Venus Lamia , as well as a Signet upon which her portrait has been pre served , bear witness to this fact . Th e character of Greek music can only be co n d ectu re . j At first simple , it was regulated on a

who o d mathematical basis by Pythagoras , understo 3 0 WOMAN ’S WORK IN MUSIC

o n o o the laws of Vibration . Later it devel ped int something more rich and varied , and , while still

d f was u m devo ted to unison , or melo ic , e fects , it l as o d . doubtedly full of beauty , is the Scotch music

u se Its great development , as well as the of many small instruments (kithara , flute , go far to prove that music must have formed a larger part

’ o f woman s do mestic life than the actual records

Sho w .

n c Roman civilizatio borrowed much from Gree e , especially in the matter of art . It is not surpris

o f ing , therefore , to find that the musical status

Rome , especially in her later days , was a mere rep f o o f . lica that Greece In the instrumental field ,

o we find the lyre of less imp rtance , but the flute (a term that included reed instruments also ) was constantly used in ceremonial and sacrificial music . Trumpets were in use at all triumphal pro c e s

o f sions , while in the days the empire the well kno wn but problematical water - organ became pop

ad ular . Although the Roman domestic conditions m itted o o f of m re freedom than those Greece , it is dou btful if the women took any important part in f performance or compos ition o music . There are

o o f no great p etesses on the Roman roll honour ,

- while there are many o n that of Greece . Rome differed from Greece in having its poetry

3 2 WOMAN ’S WORK IN MUSIC

to in B . c . 2600 , decided have the art scientifically

v estigated and its rules formulated . In his day

as e d music w practis d , but not understoo in its nat

ural elements . The emperor therefore ordered

- Ling Lun to look into the matter .

r an ec This dignitary , about whose wo k many

dotes exist , travelled to Northwestern China , and

hi o n took up s abode a high mountain , near a bam

bo o grove . On cutting a stalk and excavating the

o f o d pith between two the joints , he f un that the tube gave the exact pitch of the normal human

o f voice, and also the sound given by the waters

- H O its . the Hoang , which had source near the scene Thus was discovered the fundamental tone of the

scale .

P - o r i Meanwhile, the oang Hoang , sacred b rd of l Chinese mytho ogy , appeared with its mate and perched upon a neighbouring tree . The male bird

sang a scale of several tones , while the female sang ff another composed of di erent tones . The first note

’ o fthe male bird coincided in pitch with Ling- Lun s d bamboo tube, and by cutting other tubes the eru ite

investigato r proceeded to reproduce all the tones. of both . By combining these , he was able to form m t a co ple e chromatic scale . But , owing to the pre

sex judice against the weaker , the tones of the female (called feminine tones even to day) were discarded ANCIE NT AN D MYTHICAL 3 3

in favour of those of the male bird . The latter , the basis of Chinese music , correspond to the black keys of our piano , while the former were equivalent

o r . to the white, diatonic , notes of our scale

h o n n T at Chinese music , based this pe tatonic

l a sca e, need not be at all disple sing , is proved by

o ld o n many of the Scotch tunes , which are built f the same system . An excellent illustration o its rhythmic structure, frequent iterations , and melodic character may be found in our own familiar tune , ” There is a happy land , far , far away . The harsh quality that Europeans often find in Chinese per fo rm an ces n o t is undoubtedly a necessary adj unct , as the same criticism m ay be made upo n many of

u r n o r o o w street singers brass bands .

The Chinese, like many other ancient nations , have a great contempt for the caste of musicians

o o n . and act rs , alth ugh e j oying the drama keenly Parents have almost unlimited power o ver their children , and may sell them as slaves , or even in some cases kill them ; but they are not allowed to sell them to the troupes of strolling comedians o r

o n e o f to magicians . Any convicted doing this ,

“ o n e or aiding in the transaction , is punished by d hun red blows of the bamboo . Any person of free parentage marrying an actor or actress receives the

n same punishment . Yet , while musicians co nected 3 4 WOMAN ’S WORK IN MUSIC

with the stage are held under the ban , those who devote themselves to the religious rites receive the highest esteem . These, however , cannot be women .

o n ch ro The music of Japan , though built the m matic scale, was much the sa e as that of China . Actors and musicians command hardly more respect in the island than on the Continen t . Wo men play a negative part in both countries , if we except the

h - w o o s . Geishas , entertain in the tea h u es But Japan has made such rapid strides in civilization recently that it may n o t be impossible for woman to develop the activity that She has already shown in Western lands . C A TE R I H P I .

MEDIE VAL

TH E position of wom an among the northern races that overthrew the Roman power was wholly di fferent from that which sh e held in the more

n ancie t epoch , but even under the newer régime it

n e o f was no enviable o . In many the earlier Ger

n o ma ic systems , wives were b ught by a definite

f as payment of goods or o cattle . That this w a recognized practice is shown in the laws of Ethel

’ a o ff bert , which state that if a man c rry a freeman s

o wn wife , he must at his expense procure another . fo r n n o the injured husband . Usually wome had

n rights of inherita ce, though in some cases they

n could inherit whe there were no male children , and in others they could t ransmit the right of in heritance to their male descendants Sometimes they were allowe d to inherit movable property of

o f a certain sort , probably largely the result their l own handiwork . The eviden t idea of the Sa ic law was a a n to allow woman a m rri ge portion o ly , and 3 5 3 6 WOMAN ’S WORK IN MUSI C as soo n as sh e was safely bestowed upon some neigh bo u rin she g group of people, neither nor her chil dren had any further claim upon the parent group . Great cruelty was evident in the treatment o f

o f female slaves . According to the laws Athelstan ,

sh e if one of these were convicted of theft , should in punishment be burned alive by eighty other such

o f slaves . A similar example stern discipline is f a forded by the ecclesiastical provision , occurring

u no less than three times , that , if a woman sco rged

o . her slave to death , she sh uld do penance It is little wo nder that under these co nditions the female

o slaves would sing in a rather f rced manner , if at l d all , and the women themse ves would hardly in ulge

- t a rt o . in the g en le i . music

Tlie earl to o fo d n o en \ y , a f r ed co u rageIrTen t rt their musical abil ities . When the earliest meetings occurred in the

o f o catacombs , the female members the c ngregation took their part in singing the hymns , but , when

o organized choirs were f rmed , they were allowed

Th - no place . e Singing schools founded in Rome

e by the Pop s Sylvester I . and Hilary, at the end

o of the fourth century , were devoted s lely to the

e training of male voices . In describing the arlier “ m : music , St . John Chrysosto says The psalms

o n e which we sing unite all the voices in , and the ME DIA :VAL 3 7

canticles arise harmoniously in unison . Young and o ld , rich and poor , women , men , slaves , and citizens ,

” o f o n e all us have formed but melody together . But the custom o f permitting women to j oin with men in the singing was abolished by the Synod o f

Antioch in the year 3 79 .

In the music of the Celtic and Gaelic races , also , woman had no place . Their songs , like their lives , Th were martial in character . e harpists of Ireland

o f o and Wales , and the bagpipers Sc tland , were

ad all men , and they made strict rules about the

o f n n mission ew members to their guilds . Eve among the early English minstrels , who devoted their powers to the milder art of love son gs and

n . Christmas carols , no wome are to be found The wandering life o f these bards and singers was to o rude at first to admit of participationby the gentler sex o , and it was only under more stable c nditions of civilization that woman at last gained the o p-po r i tu n ty o f showing and developing her talents .

n o f With the adve t chivalry , she found herself at once in a more exalted position . In this epoch , when cultivated minds began to devote their ener gies to other things besides fighting in war and

u carousing in peace, music fo nd new and worthier subj ects in nature and love and the beauty o f

sh e woman . Under the new system became the 3 8 WOMAN ’S WORK IN MUSIC

n arbiter of all knightly disputes , the quee to whom m all obedien ce was due . From this extre e worship arose the schools of the Minnesingers and the Trou

do u rs ba , who paid her manifold homage in the

Shape of po e try and song .

n m n According to the ge eral state e ts of history , the Minnesingers began their career in the time o f

- o f Frederick Barbarossa , Germany . This would place their origin in the latter part o f the twelfth

o f century . Yet it is a strange fact that Heinrich

Veldi n ew g, usually accounted the pioneer in this

o u scho l of singing , utters a complaint abo t the loss

o ld Of the good times , and bewails the decay of the true greatness of the art to which he devoted him self . The original song in which he expresses this sentiment is still extant , and the particular stanza in question runs as follows :

Do m an de r reh te n m in n e pflag Da pflag m an o u ch de r e hre n ; N u m ag m an n ah t u n d tag Die boe se n s itte le r e n ; S e dis n u s iht u n d e n s s ac h w r , j do , 0 we ! was de r n u c lage n m ag

T ugen de we n d sich n u verke h re n .

That many of the early songs of the Minnesingers have been preserved is due to the forethought of

Riidi er f g of Manesse , a public o ficer of Zurich in

’ 40 WOMAN S WORK IN MUSIC

s higher level , and sang praises of the ideal qualitie

o f of womanhood in general . Thus the singers Germany caused far less domestic discord than thos e of France .

o That there was still s me unlicensed gallantry ,

o f however , can be seen from the type music known ” — - n th e as Wacht Lieder , or watch so gs . In these amorous knight is represented as pleading with the watchman of the castle for admission to his lady m love . So etimes the song took the form of a warn ing from the watchman , telling that daylight was near and the knight must depart .

Besides giving the world a host of shorter songs , the period o fthe Minnesingers brought forth some really great poets who were successful in the larger

. o r forms The author , authors , of the famous Nibelungenlied are unknown ; but the work re mains to us as the greatest epic of Germany . Fore most in point of fame stands Wolfram v o n Eschen ' ” r if Parz al. bach , autho of the familiar In depict

t o f ing his characters , he strikes a no e idealistic beauty . Another great poet was Gottfri ed o fStras

s and m burg , almo t as famous as Wolfram , in so e

r respects his opposite . His characters a e endowed

u with life and vigo r , and eager to seize the pleasures of earth while they last . His best work was Tris ” tan and Isolde. ME Dl /E VAL 4 1

n h The lege d of Tannhauser , whic has crystal

lized u s and been handed down to in story , has an

undoubted basis o ffact . The existence of the cave

HOrselbu r of Venus , in the Thuringian hill of g, may be taken as not proven ; but there c e rtainly was a tournament of song at the castle of the Wart

burg , and many famous knights probably took part

Tan n h in it . Whether éiu se r himself was real is an open question ; but there can be n o do ubt about

v o n was Walther der Vogelweide, who one of Ger

’ many s greatest masters in the shorter forms . Examples of still another style in the work o f the Minnesingers are almost surely a direct imita

tion of the work of the Tro -u v éres of Northern

o f France . These examples consist more or less

lengthy fables , or sometimes tales with a pleasing

o moral attached . Many st ries of Roman history are

found among these , and many of the proverbs which we use without thinking of their authorship date

Set from this time . Among the latter are , not the

” ‘ ” u the o u wolf to g ard sheep , Never b rrow tro ble,

Th e kin m u s die g t , ” An d so m us I t ,

and many other such gem s of wisdom . In all this the women had some share if they did not play so important part as their sisters in ’ 42 ‘ WOMAN S WORK IN MUSIC

o o b France . Their p sition as hostesses , or as the

to j ects of poetical tribute , enabled them comment and criticize, and , if they did little actual composing , they were allowed to take a prominent part in the

f n o ld performance o music . We find i the books o frules and codes of education that the woman of rank and position was possessed of many acco m

lishm en ts p , if not exactly those that are expected

d Essen ham en o . s t day One of these co es , or , as they were called , gives the four chief duties of

a women , and , making allowance for the ch nge in C ivilization , they correspond fairly well with those already quoted fro m the present German Empress .

Th e in cooking and sewing remain the same, but ,

o f n n r stead amusing the childre , the wome we e

n expected to care for childre of a larger growth , f by obtaining a knowledge o surgery . The chate laine was suppos ed to take full charge of her lo rd

r if he returned wounded from tourney o battle . I nstead of church matters , the final accomplishment was the secular game of chess . Another wo rk of the time gives rules o f beha v io u r for women , inculcating a submissive de m ean o u r - h that is hardly practised to day . T e usual modesty of deportment was prescribed ; women were always to direct their g lances discreetly down an d ward , in the case of a stranger were to speak ME DIAEVAL 43

o f only when addressed . If a roo m were full

n wome , and a man should suddenly enter , the rules o f decorum compelled them to rise immediately

o and remain standing until he sh uld seat himself . The extent of knightly devotion to women in the

age of chivalry can hardly be exaggerated . The

o f work Ulrich von Lichtenstein , for instance , in ” o f his Frauendienst , is full the most absurd per

fo rm an ces , which any sensible lady would have been

justified in repudiating . The Troubadours indulged

in even greater vagaries , and one Pierre Vidal , in

P en au tie r love with a certain Louve de , whose first ” sh e - ado te d th e -u name meant wolf , p name of Lo p, ‘

and actually assumed a wolf skin as his garment .

o his r To pr ve sincerity even mo e, he insisted upon being completely wrapped in this hide and hunted

by hounds and horsem en . After the dogs had

n o t caught him , he would allow them to be pulled

o ff n , but insisted upo enduring their attacks for

- . e the glory of his lady love When nearly d ad , he

re was rescued and taken to her castle, where he

if n t m covered health o ental balance . More noble than any o fthese was the tribute paid

to women by the Minnesinger Hen ry of Meissen .

o n e Declining to single out any fair Muse, he sang

a of womankind as a whole , and never ce sed to praise their purity , their gentleness , and their no 44 WOMAN ’S WORK IN MUSIC

hi bility. Through s life he was honoured by them

rau en lo b with the title of F (praise of women ) , and at his death they marched in the funeral pro

o o cessi n , and each threw a flower int his grave, making it overflow with blossoms . The royal house o f Su abia did its best to en

o f r courage the art the Minnesinge s , allowing them a liberty of criticism that would ordinarily be u n dreamed of in court life . It is in an epoch little later than this that we find a singer expressing one o fhis obj ections to royalty in the following verse :

in R lfis a h kin K g udo wort y g, All prais e to him b e brought ; H like s h e a th e m as e s la an d s in e to r t r p y g, ” u f h i e s h m n au B t a te r th at e g v t e ght .

The rise of the Troubadours is due wholly to

Oriental influences . There may have been some native po etry among the pastoral races of the sunny

o n land of Pr ve ce, where the guild flourished , but not a single line of it remains to us . Moreover , it is certain that the Eastern minstrels left their impress in Spain , and that the Crusaders brought

n back from the Orie t , among many other novelties ,

f n the custom O e couraging minstrelsy . The Ara bian bards sang chiefly of love , as they well might in a land where female loveliness received such ME D/AcVAL 4 5

t excessive worship . At the Saracenic cour s , the

e bards w re ever ready to win gratitude , and even more substantial rewards , by praising the latest

P ro favourite at the expense of former beauties .

su n vence, with its dazzling and glowing climate, possessed a striking resemblance to the Eastern

n countries , and amo g its inhabitants were many

a N who could bo st an Oriental ancestry . o less than five times did Saracen emirs lead their hosts into

o the country , endeavouring to vercome it not only

o f by force arms , but by the more peaceful and more certain method of introducing their o wn industries and customs . Provence itself was a land of peace and repose , and could better encourage gentler arts than the warlike nations of N o rthern Spain . We may find the Trou badours defi nitely established there in the early part o fthe twelfth century . The language of their songs is the beautiful

’ d o c Langue , so called from the use of the word ” o c to mean yes , and thus distinguished from the Langue d ’ oil ” of Northern France and the “ ” “ ’ ’ ” f d o c Lingua di si o Italy . The Langue was spoken in the entire southern part of France , an d h as given its name to a pro vince of the present .

r re So when the nobles of Provence , in the lo dly tirement of their ancestral castles , sought an enter tain m en t suited to their refined and sympathetic 46 WOMAN ’S WORK IN MUSIC

o natures , they were so n imitated by the greater part of the nation . The songs o f the Tro u bado u rs were in many

e cases taken dir ctly from Eastern models . In early Arabian times it was customary for two shepherds to converse in music by intoning responsive phrases o n their flutes ; and it soo n became custom ary for two minstrels to sing in like manner . In the early

to o songs of the Bible, , are many verses whose sec o n d half answers the first , and , in fact, the Hebrew “ ” “ fo r i words answer and S ng are said to be, identical . Among the Troubadours , this species o f o o f musical dialogue to k the form the tenson ,

o f o r co ntention . The use answering couplets in

An solo songs is another point of resem blance . other favourite Arabian form was the casida , or

o n e stanza constructed with only rhyme, and the rich and melo dious Proven cal tongue lent itself excellently to poem s o fthis structure . 50 success ful were the Troubado urs in using it that some times their compos itio ns were over a hundred lines

Th e in length short but brilliant Arabian lyrics , ” Mao u ch ah o called , or embr idery , were well imi tated by dainty and sparkling lyrics of the Tiouba dours . The Oriental mourning song became the

Pl n h r a o . n , dirge The eve ing tribute of the Ara bian minstrels to their cho sen loves became th e

WOMAN ’S WORK IN MUSIC a short poe m containing some brilliant anecdote o f

gallantry , couched in neat phrase . The romance , o r a long narrative, was by re son of its size the most

o f o f permanent all the poetry this age . Though written by both Troubadours and Trouveres , the

r latte were far superior in style and invention , and

o it is m stly their work which has survived . These

m o o ro ances were sometimes in prose, but m re ften

t o f in poe ry extremely smooth and flowing metre . The romances grouped themselves in three prin c i al p cycles , first , the Carlovingian , including the

o f stories of Charlemagne, Roland and the twelve

so o n c n peers , of Fierabras , and ; se o d , the Arthu

n o f o rian , dealing with the lege ds the R und Table ;

d an and thir , the Alexandrian , containing tales of ti u it fl q y, chie y of Alexander the Great . In the first

’ ” d An lete rre group , Brut g contains the mythical f story o all the early English kings . It was adapted from lower Brittany by Robert Wace . A Saxon

Trouvere continued this to his own time , imbuing his work with thorou gh hatred of the Normans .

Walter Map , Archdeacon of Oxford under Henry

IL o l , wr te many Arthurian ta es , while Chrétien de Troyes wrote the greater part of Sir Perceval

- Flo rian t F10 de Galles in Norman French . and ” “ Au cassin rete is another Arthurian tale , while

o and Nic lette, of unknown authorship , is a charm A TROU B ADOU R

ME DIA; VAL 49 ing romance of love in Sou thern France and cap tiv ity among the Saracens . The life of the Troubadour fo rms a pleasing pic ture in the boo k o f mediaeval history . He was

m o essentially a gentle an by birth , sc rning to take

fo r his an d n pay songs , Ofte distributing the gifts he received among his servants . He had to main t tain a large retinue, and give sumptuous enter ain ments , with the result that he often used up his entire patrimony . The usual co urse in such cases was a trip to Palestine with the Crusaders , and a gallant death in battle with the infidel . But before reaching that end , his career must have been de i l t his c ded y pleasant . He wou ld pass the win er in castle, training himself in feats of arms and in

e musical composition . At the adv nt of spring, he

r l d o f u would issue fo th , fo lowe by a train Jongle rs

n and o singing his so gs , pr ceed through field and wood to the nearest castle . Here in the evening a

n great feast would be arranged , with the Jo gleurs

’

. r in a special minstrels gallery . Next day the e

a would be music on the ramparts , or in fair we ther

o brocade carpets would be spread in the mead ws , and knights and ladies would listen to more songs . Here the Troubadour himself at times deigned to ff perform , thus a ording his hearers an unusual priv h . to o ad ilege Here, , the women a chance to show 50 WOMAN ’S WORK IN MUSIC

u their own skill for , if there were no woman Tro

Veres , there were plenty who were well able to hold

r their own in the shorter fo ms of the Troubadours . That kings and princes did not disdain to be come Troubadours is proved by the example o f

Richard of England and the Dauphin of Auvergne . But it is more unexpected to find a queen among

n their ranks , and that no less a queen tha Eleanor ,

f . o . wife Henry II of England Her grandfather,

Po - William of itou , was one of the earliest patrons

o f sh e s . Her a the art , and inherited his taste c reer, f o n e o e . like his , is boldness and adv nture When

w o f . n ife Louis VII , before her marriage with He ry, sh e set an example to chivalry by going to the Cru sades with that French king , and not in the capacity o f wife, but rather as an Amazon warrior . She d gathered around her a troupe of kindre spirits , and , equipped in the most graceful array that ar m o u rers r e v o ff and milline s could d ise, started at

’ the head of her husband s knights . Her campaign was conducted on pri nciples of pleasure rather than

. sh e Van of strategy In Asia Minor , where led the

sh e to during the march , chose her route according the beauty of the landscape rather than safety of m position , and more than once brought the ar y

o f into grave danger . She varied the monotony the advance by several romantic love episodes , notably ELEANOR OF AQ U ITAIN E

’ S‘ IN 52 WOMAN . WORK MUSIC

Hen ry was either more indulgent or more in differ

ent , and no further quarrels came . The atmosphere of refinem ent brought into the rude life o fthe castle by the Troubado urs is more f than o fset by the domestic infelicity they caused .

Each of these knight - errants o fliterature was su p

o s to - o f p ed choose a lady l ve, and it made no di fer ence if sh e were already married . Thus conjugal

in fidelity was at a very low ebb, while amorous trigu e s were openly encou raged by what amou nted f d m o . to a efinite syste civilization To settle the 1 many vexed question s arising fro -m this state of

f o f a fairs , the Courts Love were formed , at which n oble ladies decided all disputed po ints . Most famous of these courts was that of Queen Eleanor

o herself, while among the others were th se of the ladies of Gascony , the Viscountess of Narbonne, the Countess of Champagne, and the Countess of

Flanders . Disputes before these courts usually took

o f o r e the form the tenson , cont ntion , already de scribed . Many are the legendary accounts of the laws upon which these courts based their decisions . There are fables of knights riding in magic forests and finding scrolls attached by go lden chains to the f o t . necks of fiery dragons , or the feet flee birds

n o t These laws , if applicable in our present civiliza ME DI/E VAL 53

tion , Show in the most interesting fashion how the subj ect of love was regarded in the twelfth century . Among them are found the following startling statements : Marriage cannot be pleaded as an excuse for ” refusing to love . A person who cannot keep a secret can never ” be a lover . No one can really love two peo ple at the same t time, says one rule ; but ano her adds , Nothing

r o n e p events lady being loved by two gentlemen ,

n w or o e gen tleman by t o ladies . Two years was the required period of mou rning

n n o t fo r a dead lover . But such co stancy may have

n o f fo r bee demanded in the case the living , , accord “ - f o ld ing to rule, A new love a fair banishes the o n e completely . Lovers in those days were expe cted to Show the

ac most definite symptoms of their malady ; for , cording to law , Every lover is accustomed to grow pale at the sight o fhis lady - love ; At the

n - sudde and unexpected prospect of his lady love , the heart of the true lov er invariably palpitates ; “ and A real lover is always the prey of anxiety ” m ala h is e . w o and Also , A person is the prey of ” love eats little and sleeps little . There are many maxims o n the best way of keep 54 WOMAN ’S WORK IN MUSI C

in o n g true love alive, and many more the subject of j ealousy . That the lo ve of the Troubadours was none to o permanent is indicated by the state “ n f n me t , A moderate presumption is su ficie t to

’ justify o n e lover in entertaining grave suspicions ” of the other . Among the celebrate d decisions is o n e giv en by

o the C untess of Champagne upon the question ,

! Can real lo ve exist between married people ! Basing her decision o n the fact that love implies

en a free granting of all favours , while marriage

s fo r force constraint , the fair arbiter decided the

. r negative Another decree, of wide application , was

en pronounced by Queen Eleanor . A lover , after

’ treating his lady s favour in vain , sent her a num

e ber of costly pres nts , which she accepted with much delight . Yet even after this tribute to her m charms , she re ained obdurate, and would not grant him the slightest encouragement . He accord in l o g y brought the case bef re the Court of Love, on the ground that the lady , by accepting his pres ents , had inspired him with false hopes . Eleanor gave the decision wholly in his favour , saying that the lady mu st refuse to r eceive any gifts sent as

- k n . love to e s , or must make compensation for them The sto ry do es not tell whether the lady in question accepted the suitor o r returned the gifts . ME DIA ; VAL 55

The absurdity to which these laws were carried

’ e r is shown by another d cision of Eleano s . A gen tlem an became deeply smitten with a lady who had

o b given her l ve to another , but who would have een pleased to return his devotion if ever deprived o f her first lover . Soon after , the original pair were

. m married The gentle an , citing the decision that

e o real love cannot exist betw en married pe ple, claimed that the lady was now free to reward his

fidelity . The lady declared that She had n o t lost

o o the l ve of her first suit r by marrying him , but

o r Queen Eleanor upheld the decision cited , and dered the lady to grant her new lover the favours he desired . Th e Troubadour s at times treated subj ects far different from the usual short lyrics o r long t o

o f r manees . Many these minstrels perfo med the unusual task of setting the laws in po etic form . It is n o t unusual to find lawyers beco ming good t poe s , but in this case the legal minstrels drew from the codes of their native land enough inspiration

n ff MOral for lo g e usions . and religious precepts ,

the n t . too , were often put in form of le g hy poems Of e ven greater interest to the studen t o f o ld cus “ ’ so — Essen h am en s e toms are the called , or colle tions o f rules for behaviour fo r you ng ladies . In

o f Am an ieu s one these, by des Escas , called the 56 WOMAN ’S WORK IN MUSIC

d go of love, the poet gives his counsel to a young lady in the train of some great countess . He meets

o n e o sh e her in of her walks , whereup n addresses him and asks fo r certain rules to guide her con t duct . The poe , after apologetically insisting that

ten She must know more about it , having times as

h as v n much common sense as he , o ercomes his scr

e u e ples , and proc eds to po r forth much undilut d wisdom . From his verses we learn to appro ve of the well

o f known system early rising and early retiring,

o with many min r points about washing , dressing ,

C fo r aring the teeth and nails , and other mysteries

n of the toilet . The follow rules for behaviour in church , with directions to preserve a quiet de m ean o u r o r , and avoid improper use of the eyes the tongue . From the church the writer conducts

- his pupil to the dinner table, reciting many impor tant details in carving , passing the dishes properly, and perfo rming the correct ablutions . He closes this episo de with the excellent advice that no harm can come from tempering wine with water . After

c - this comes the onversation in the drawing room , and many naive methods of raising interesting dis i cu ss o n s are suggested . Less highly gifted than the Troubadours were the

o n leu i h m u lI g éj w o composed their retinue . These ME DIA! VAL

sical - o - f- - jacks all trades began as accompanists , sing ing the songs of their master at the castles he visited .

n But soon they grew numerous and independe t , and occupied a station varying from that of our public

o f entertainers to that the humblest street musician . m Nothing came amiss to the , singing, playing all

c o f instruments , dancing , imitating the alls animals

n r and birds , and eve the juggling that has de ived its name from them . In the wandering life that

w n take they led , they ere often forced i — their wives n r and children along, and thus wome g ew!accus m ed to to take some part in the performances .

The glee - maidens were essentially an English

r r institution , and no doubt they we e mo e sure of courtesy and protection in that country than o n

far the Con tinent . They were by the most romantic

o n figures of the minstrel w rld . Ofte they would w ander about the country alone and unguarded , braving o r avoiding the dangers o fthe ro ad . Some

r times their only escort was a pet dog o a goat . They arrayed themselves in small garments of

n o n bright colours , ofte adorned with silver , while h t eir feet were leather buskins . They were at home in the courtyards of castles and monasteries no less

o f and than in the midst villages towns , and , mount

o n o ing some slight kn ll , they would entertain gen h tles and commoners with voice and violin . T ey 58 WOMAN ’S WORK IN MUSIC are o ften intro duced into the romances o f early

- England , and many famous glee maidens are found

r o f o n the pages of histo y . One the most celebrated was Adeline, who lived in the time of William the

be re Conqueror, and was successful enough to warded by him with an estate .

fin n In the reign of Henry III . we d o e really

a — i gre t figure among the glee maidens , Mar e de

was th f illi o n France . She d m W M g

so n o f n . o sword , He ry II and Fair Rosam nd , and he certainly deserves the gratitude o f the literary world for discovering and fos tering her wonderful

t n . ale t Born probably in Brittany , her life and works identified her with the English . She was familiar with the Breton tongue, and also with

Latin . Her first production was a set of lays in

m et o French verse, that with instant p pularity f throughout England . The courts o the nobles reé cho ed with her praises , and ladies as well as

f h n knights were never weary o listening to er so gs .

o f Twelve them are now in the British Museum , among them a beautiful one dealing with King f Arthur and the Round Table . These works are o rare charm , no less for their pleasing style and depth of feeling than fo r their simplicity of expres

ffo sion and clearness of narrative . Her second e rt

’ n o f was a poetical re dering many of fE so p s fables,

’ 6 0 WOMAN S WORK IN MUSIC

Papists ; and in the short but bloody war that fo l

o lowed , they were almost wh lly exterminated in the cruel slaughter caused by the forces of religi o us

Do n o f intolerance . Pedro Aragon , who came to

e m et aid his broth r Troubadours , with defeat and

o o n death , and after his l ss the victors started a career of cruelty , torture , and indiscriminate mur

o f der . The castles the minstrel knights , once the

o u home of beauty and s ng , were razed to the gro nd , and the Troubadours were blotted from the page o f history . A ER CH PT III .

WIVES O F T H E COMPOSERS

AMON G the women who have influenced music without actually creating it , none have had greater chances to use their power than the wives of the

n a famous composers . O fte they h ve been endowed with no inconsiderable musical genius themselves , but have sacrificed their claim to renown upo n the

in altar of domestic duty . Sometimes , in rare stances , they have had the ability to perform the double task of caring for the household and con in u in o n t g their w musical labours . Their story is

o n e o f an interesting , and from the time the great

‘ c stan ds as d John Sebastian Ba h , who a mo el of m do estic purity , down even to the present day , they have played a large part in Shaping the musical

r destinies of the wo ld . From the twelfth to the seventeenth century is a long gap , and music underwent many changes during this period . After the passing of the min 6 1 6 2 WOMAN ’S WORK IN MUSI C

f r l o . st e knights , popular music fades out Sight

e . That it had an existence, however , is amply prov n The Jongleu rs must have continued long after their

fo r masters were stamped out , their direct succes

h o o u r - is sors are wit us t day , and hand organ the descendant of their fearful and wonderful organ

O f istru m . The entire school English national music saw its palmiest days during this epo c h .

o n o o f Even the Continent , the great scho ls con trapu n tists delighted to Show their Skill by employ

fi rm u s o r r ing as their cantus , chief pa t , some well

’ ” L Ho m m e known popular song , such as Armé , fo r example .

o f In Germany , the mantle the Minnesingers fell upon the guilds of musical amateurs in the growing

re dec e s commercial cities . Less poetic than their p sors , these Mastersingers , as they named themselves , often took refuge in arbitrary rules and s et met rical forms that made a poo r substitute fo r real in spiration . That there was some genuine poetic feeling and humour among them is shown by the f o o f i r . work Hans Sachs , the greatest the r numbe

n He wrote ma y poems and plays , of which the Fassn ac htspiele were the most po pular and the

- most mirth provoking . Contrary to the version of

’ n his life give in Wagner s opera , he succeeded in making a second marriage late in life ; and contrary WI VE S OF TH E COMPOSERS 6 3

to the general experience in such cases , the marriage

e was a happy one, for his young wife was exc ed in l o f g y proud her famous husband . But in the actual creative work o f the Mastersingers woman played no part . Sacred music and the s cience o f com pos ition

flourished as never before . There is an appropriate

w as saying that old music horizontal , while now it is vertical ; and the contrast between the inter

o f o weaving parts , proceeding smo thly together , and our single melodies supported by massive

r . cho ds , is aptly illustrated by the remark This very interweaving led to a style of music that was

fo in tellec extremely complex , a f rding chances for tual and mathematical skill rather than emotional

h a fervour . It s been customary to say that this

o f s to n style compo ition was unsuited wome , and to pass over the epoch with the casual remark that no women composers appear within its limits . But modern research has Shown the futility o fthis state ment .

The records of the Netherland schools . are meagre , so it is to Italy that we must turn for the earliest examples of Skilled women composers .

Casu lan a The first great name is that of Maddalena , who was born at Brescia Her pub lish e d compositions took wo volumes 64 WOMAN ’S WORK IN MUSIC

o f I 68 an d 1 8 . madrigals , issued in 5 5 3 Next in

o f o Aleo tti point time comes Vitt ria , a native of

n n u A rge ta . Her m ag m Opus was published at

I Venice, in 593 , under the flowery title, Ghirlanda

” li n lla a c . Ba o ce dei Madrig li a 4 Vo i Francesca g ,

e is born at Perugia in the same c ntury , another ex

o f Vizzan i ponent the art , while Orsina , who first saw 1 the light of day at Bologna in 593 , not only

o comp sed many pieces in this form , but by playing ’ 1 her own and others works did much to make it

- r popular with all music love s in Italy .

1 600 saw o f The year the beginning opera , due to the work of Peri an d his Florentine compeers in trying to

e i e th e s e si n s o fG e e c R v v ju t d g r e .

Among the early operatic composers is found the

e n charming and accomplish d Francesca Ow , ’ daughter o f that Giulio Caccini who was Peri s friend and most formidable rival . Born at Flor

A m n th e e ar m s m s n th e m s m an was o g ly for of co po itio , o t i port t th e m as s n s s n K e San s an d e e s e n u m , co i ti g of yri , ctu , oth r pr crib d ’ h M e e e in m e s m as at t e e s e n da . was th e b r , uch pr t y or fr for m e in e i s s e s e e e a e in n a n a ot t , which r lig ou ubj ct w r tr t d co tr pu t l

T a a ife e m s n in e a n fas hio n . h e m drig l d f r d fro thi o ly d li g with s e cu

lar s e s . T a e se m a ri a s e fl n a s an d ubj ct h t th old d g l , with th ir owi g p rt m e im a i n s are n o t n e as n m e n e a s h as e en lodic it t o , u pl i g to od r r , b

O e n e n . T e e ss n s are at m e s s an e u s o n ft prov h ir progr io ti tr g to , but re p e ate d h e ari ng ofte n be com e im bue d with re m arkabl e de licacy an d n s appropriat e e s . WIVE S OF TH E COMPOSE RS 6 5

1 8 1 r u h ence in 5 , and educated in the most tho o g

sh e fo r manner , was many years the idol of her

n o t o f e native city , only because her gr at talent in

singing and composition , but also on account of the

exquisite beauty o f her Latin and Tuscan poetry . Among other musical works by her are two ex

o f r amples the new fo m , La Liberazione di

r o f Ruggiero and Rinaldo Innamo ato, both

which are preserved to us . A later composer in the

was e same field Barbara Strozzi , whose Op ra , Di

’ d Eu te r e e porti p , was successfully rec ived at Ven

’ in 1 6 Rico rdi s o o fO ld ice 59 . In m dern collection Italian songs are some charming examples o f her

skill in other directions .

to o In the domain of Italian sacred music , , the

Assan dra women were not inactive . Catterina , at

the beginning of the seventeenth century , wrote a

o f o f e San cte number religious works , which V ni ” two e Spiritus , for voices , achi ved more than pass

zz ing fame . Margarita Co o lan i and Lucrezia O r

Vezzan a sina , both Catholic sisters , won renown

a by their motets and other sacred works . Corneli

1 6 wo n Calegari , born at Bergamo in 44 , the plau dits o f her nation by her wonderful singing and

- her . organ playing , as well as by many compositions Her first boo k of motets was published in her fi f teen th and year , met with universal success . The 66 WOMAN ’S WORK IN MUSIC

f highest forms possessed no di ficulties for her , and

h er among works are several masses for Six voices , with instrumental accompaniment . These names are enough to Show that woman was able to hold

d n her own , even in a perio whe music had appar ently banished those emotion al qualiti es with which

She is said to be most in sympathy . The women of other cou ntries were n o t idle in

o f this period musical activity . Germany , in spite

o n e a of her meagre records , can Show at least gre t

delka Bario n a . Ma name , who lived during the six teen th o f century , upheld the musical reputation her country by publishing seven fiv e - voiced psalms

1 86 . at Altdorf , in 5 Bernarda Ferreira de Lacerda

f a re was o Portuguese nationality . She won gre t nown by her writings and her knowledge of lan f . o guages Philip II . Spain wished to entrust her

sh e with the education of his children , but declined , alleging as her reason that She wished to devote

co m all her time to study . Many of her manuscript positions and musical writings are preserved in the

Royal Library at Madrid . France can boast of a real genius in Clementine

o de B urges , who was born at Lyons in the Sixteenth

n century . Such authorities as Mendel a d Grove accord her a rank with the very greatest of her time . She held a high position amo ng the intellectual

6 8 WOMAN ’S WORK IN MUSIC

t way when fifteen years old , he suppor ed himself f ’ o o . in the Convent Sch ol St Michael s , at Lune

o f burg , by means his musical talents . After a short term as court musician at Weimar , he became

o f organist the New Church at Arnstadt , and here he met the woman who was to be his first wife . Almost the earliest mention o f her is made in a

o r report of the consistory , criticizing the young

n i t fo r ga s certain breaches of discipline . From

fo r this report , it appears that he had asked four

’ fo u weeks leave for study , and had stayed away months ; he had played interludes that the reverend

to o board considered long and too intricate ; and , on

to o being reproved , he had made them Short ; and

o once, during the serm n , he had gone forth and

n l - spe t these sto en momen ts in a wine cellar . The final charge asks by what authority he has latterly

ea allowed a strange maiden to app r , and to make ” o music in the ch ir . This strange maiden , who made music with Each in the so litude of the empty

was church , none other than his cousin , Maria

a 1 0 Barbara . A year l ter ( 7 7) he married her , and

Miihlh au sen took her to , where he had found a less

as troublesome post organist in the Church of St .

Blasius . Th e domestic life of Bach and his wife was a

fo r o f pattern married couples all time . All his JOH N SE B ASTIAN B ACH

WI VE S OF TH E COMPOSE RS 69 friends unite in calling him an especially excellent “ ” - Haus Vater , a term of commendation applied to those men who remember. their duty to their own families , and do not sacrifice domestic happiness to

as fame and fortune . Personally he w pleasant to

o n e as every , mere acquaintances well as intimate

n his u frie ds , and ho se was always the centre of a

his u lively gathering . With wife , he took sedulo s

o o f wh o -m care fthe education his children , of there

ix 1 2 were no less than s at her early death in 7 0 .

Bach was not the man to remain long a widower ,

’ and in the next year the bereaved compo ser s fancy

o lightly turned to thou ghts of a sec nd marriage .

i n Wu lken His cho ce fell upon Anna Magdale a ,

- o n e a Cothen court Singer of twenty years , and the happy consummation occurred o n December 3 d. d She was a goo musician , and did much to enliven the domestic circle by her beautiful Soprano voice . Not content with merely taking part in her hus

’ she band s works , learned from him to play the clavier and read figured bass , and rendered him

fo r valuable aid by copying music him .

Soon after the marriage, Bach and his wife

a n st rted a manuscript music book , e titled Clavier

Biic hlein v o n Anna Magdalena Bach , Anno On the first page was written a playful denun ciatio n o f the melancholy and hos tility to art that 70 WOMAN ’S WORK IN MUSIC were so often inculcated by the Calvinism of that

o time . This b ok and another of the kind , which l fo lowed it five years later , are both preserved in f the Royal Berlin Library . In them are a series o clavier pieces , by Bach , Gerhard , and others ; a

‘ number o f hymns and sacred son gs ; o n e of sev

r o o f e al humourous s ngs , describing the reflections

to a smoker ; and still others , apparently addressed

e v his wife, and giving fresh proofs of his d otion to her . Her portrait was painted by Cristofori , but disappe ared after being in the possession of o n e of the sons .

n As a result of his seco d marriage , Bach was

six blessed with thirteen more children , sons and

. o seven daughters All his children l ved him , and his kindness and sincerity enabled him to retain their respe ct as well as their affection . In all his activity he was never to o busy to save some time

for the family circle, where , in later life, he would take the Viola part in the concerted music that cheered his domestic hearth . It is sad to think of the poor wife’ s fate in contrast with so much fam

’ 1 0 she ily happiness . After Bach s death , in 75 ,

u to o t n be str ggled bravely supp r her childre , but came gradually poorer , and was forced to end her

’ u an d a days in an almsho se, be buried in pauper s grave . WIVE S OF TH E COIlIP OS ERS I

Less happy than Bach in his married life was

Franz Josef Haydn . After a boyhood of poverty

o as a and struggles , he obtained a p sition K pell

o i Mo rz n . meister to a Bohemian n bleman , Count

to o fo r This post was none lucrative , however , it brou ght the compo ser only abou t o n e h undred dol lars a year , while his teaching could not have pro v ide d c o m him with much extra wealth , and his

his po sitions brought him nothing . Yet financial troubles did not deter him from seeking those o f

o Mo rzin matrimony , in spite of the fact that C unt m never kept married en in his service . According to o o the p et Campbell , marriage lo ks like madness

’ in nine cases out of ten ; and Haydn s venture was certainly no exception .

’ The o n e upon whom the composer s affections lighted was the younger daughter of a barber

- o named Keller . He had met her while a choir b y f o . n in the Church St Stephen , at Vie na , and She had afterward become one o fhis pupils . For some

— i t be unexplained reason , let us hope was not

’ O f —sh e o cause the young composer s love , to k to n the veil , and re ounced the wickedness and the

r r hO mar iages of the wo ld . The barber , possibly p ’ i ing to lighten the suitor s disappo ntment , and very probably wishing to have both daughters off his hands , promptly suggested to the young lover that 72 WOMAN ’ S WORK IN MUSI C

he take the elder sister instead . Apparently realiz ing that marriage at best is but a lottery , Haydn

n accepted the propositio .

’

. No The wedding took place at St Stephen s , on

r 2 1 60 M rzin v em be 6 . o , 7 Whether Count would

’ re have made an exception in Haydn s case, and tain e d o f n him in spite this eve t , there is no means o f fo r re telling , that nobleman met with financial verses , and was forced to give up his musical estab

h n lis m e t . o F rtunately for the young genius , some o f his works had been heard and admired by the

Prince Paul Esterhazy , who showed his musical discernmen t by taking Haydn into his service and becoming a lifelong patron of the composer . There was little real affecti o n between Haydn and his wife at the start of their life journey to

e . d geth r He eclared , however , that he really began

fo r to have some feeling her , and would have come to en tertain still warmer sentimen ts toward her if

h u n fo rtu s e had behaved at all reasonably . But m n o t to ately, she did seem be capable of behaving reasonably . The wives of great men are usually

o f the n proud attainme ts of their husbands , and

’ take no pains to conceal this fact . But the barber s daughter of Vien na was totally lacking in any real appreciation of her gifted consort . As Haydn him

e i ff self observ d once, t would have made no di erence

WIVE S OF TIIE COMPOSERS 73 to her if he had been a Shoemaker instead o f an

- a artist . She used his manuscript scores as curl p pers and underlays for the family pastry ; Sh e made con tinual use of the conjugal privilege of going through his pockets and abstracting the cash ; and

n s s once, whe he was in London , her calm elfishnes rose to the point of asking him to buy a certain

sh e sh e house, which admired , so that might have a home provided for her widowhood .

u Through all his tro bles , Haydn preserved a dig n ified do Silence about his mestic unhappiness , and in his letters it is mentioned only twice . For a long

n time he bore the trials patiently , but at le gth was forced to give up the ho usehold and live apart from hi s domestic tormentor . The woman who had hoped fo r a permanen t home in her widowhoo d

e n 1 800 be end d her lonely existe ce in , nine years

’ s e fore the clo e of her husband s care r .

n o t to With these facts in view , it is surprising find that Haydn at times sought elsewhere the con H f e o . e o solation he was d nied at h me , was fond

a feminine comp nions , especially when they were

n d H e well e owed with personal attractions . must

r have possessed ingratiating manne s , for he cer tain l n o t o f r n y could boast great pe so al attractions , an d s he himself admitted that his fair admirer were , “ ” an n hi o t e s . At y rate, t mpted by beauty His 74 WOMAN ’S WORK IN MUSI C natural tenderness Showed itself in a passionate

fo r n — a hi fondness childre , blessing denied to s o wn home . One of his most violent friendships had for its object a young Italian Singer of nineteen , Luigia

o lzelli was n o t P . Apparently She happy with her

o f husband , and a bond mutual sympathy drew the composer to her . After the death of her husband , she persuaded Haydn to Sign a promise to marry

s r her if his wife should die, but the compo e after

d e m n ward repu iated the agr e e t , very likely not wishing to repeat his first matrimonial blunder .

Ano ther romance is found in the love- letters sent to the composer by a charming Lo ndon widow d named Schroeter . Without overstepping the bo un s of propriety , he was able to draw some profit from

fo r to this episode, he gave lessons his fair admirer , and allowed her to do manuscript copying for him . Apparently the friendship was more o fher seeking

o wn r . than of his , as her lette s to him bear witness

s - o The e are copied neatly in one of his note bo ks , ” An ecto ds descri along with various amusing , a p “ a tion of a London fog , thick enough to be spre d o n i fo r bread , and an excellent rece pt making the

’ Prince of Wales s punch . Mozart was another musical genius who was forced to accept as second cho ice the sister of his WIVE S OF TH E COMPOSE RS 75

n o t first love, though in his case the results were so disastrous as with Haydn . It was in Mann heim, on the way to Paris , that Mozart made the acquaintance of the copyist Weber , and succumbed fhi o s . to the charms daughter, Aloysia But Leo

rOle o f pold Mozart , wisely playing the stern father , soon sped the susceptible youth on his way to the

i a n French cap tal . It is Fre ch p roverb that tells u s,

N ou s re ve n o n s toujo u rs A n o s e m ie s am s pr r our ,

n o w and a year later he returned . But Aloysia , famous by her Singing , soon made it plain that his affection was no lon ger returned . Mozart seems to o have borne the blow well , and so n after her

wh o marriage to the actor Lange , proved a j ealous

m to husband , he wrote ho e his decision wed her

e . o n younger Sist r , Constance After much oppositi

o u t from members of both families , he carried his

I ntention .

’ As in Haydn s case, the young couple were ” forced to live on bread and cheese and kisses ,

~ with none to o much of the first two articles . Mo

t u n zar , more than any other composer , met with deserved hardships . On every side his music was praised and his genius admired , but nobles and 76 WOMAN ’S WORK IN MUSI C

n r him n o princes , and eve the empero , would give

aid. material He made a devoted husband , and much of the money that disappe ared so readily from his hands was probably used for the benefit

o f of his wife, whose health was not the best . Their life (in Vien na at first) was a continual effort to solve the o ld vexed problem o f making both e nds

an d n n meet , Co stance must be give high praise for the won derful skill with which she managed the

o f ev small and uncertain income her husband . S eral times the young couple were brou ght face to face with the direst need , but their patience and cheerfulness carried them through the crisis . On o n e o n occasion , when there was no fuel hand and n o money to buy any , a Visitor found the pair busily engaged in waltzing abo u t their bare roo m in order t o keep warm . At another time they were rescued from their extremity only by the kindness of their

n a n frie d , the Baroness Waldst tten , who interve ed

e just in time to save them from beggary . Aft r three years , Leopold Mozart relented enough to

- in - r visit his daughter law , whom he found far mo e deserving than he had expected ; but he himself was n o t o ff o f well , and could be little financial help .

h o f h er T at Constance was great aid to husband .

- e . in spite of an easy going nature, cannot be doubt d She possessed the faculty of telling interesting sto WOLFGANG M O Z AR T .

78 WOMAN ’S WORK IN MUSIC o wn neglect of the matter may have been caused

re by illness , but , whatever the reason , the fact mains that when public interest was aroused the

’ exact loc ation o f Mozart s grave could no longer be defined . The life of Carl Maria v o n Weber was tinged in its earlier years with the romance that seemed

o f to pervade all phases life in his native country . Germany had j ust passed through o n e of her rare

o f but regular periods national awakening , and every one was full of a keen spirit o f patriotic originality in life, letters , and art , as well as in music . Gifted with unusual talents , trained in the paternal hope o f his becoming a boy prodigy like

o f o wn Mozart , and urged by the need making his career , he soon made a name for himself by his

n perso al charms as well as his talents . A welcome

c guest in the homes of aristo racy and cultivation , he possessed a roving disposition and a spirit o f adventure that made his life not unlike that of t he early Troubadours .

It was in Vienna that he m et his future wife .

o f Being given charge the opera at Prague , he jour n eyed to the Austrian capital for the purpose o f engaging Singers , and among them brought back the talented Caroline Brandt . He soon wished to enter into closer relations with this Singer , but found WIVE S OF TH E COMP OSE RS 79

obstacles in the way o fmarriage . She was unwill ing to sacrifice at once a career that was winning

sh e her many laurels , and did not wholly approve of the wandering life that the gifted young manager f had led up to the time o their meeting . We find

n him disconte ted with this Situation , and travelling about in search o fa better and more important post ; and during o n e o f these trips he received a letter

from Caroline, saying that they had better part . This brou ght forth the accusation from the embit te re d Weber that Her Views of high art were not above the usual pitiful standard , namely, that it was but a means of procuring soup , meat , and ” h n o shirts T ere can be doubt , however , that her influence was of the utmost value in steadying his ff e orts .

’ was h er When Weber once back in Prague , real

sh e love for him overcame all scruples , and Showed herself ready to wait until he should attain a pos t

f to of su ficient value permit their marriage . After

o n l putting the Prague opera a stab e basis , he looked

fo r o i In o b about a l ng t me vain , until finally he tain ed a life position as conductor in Dresden . At last he was able to return to Prague and marry his

o f faithful Caroline , with the certainty being able to provide her a home . The newly wedded pair

made a triumphant concert tour , and settled down 8 0 WOMAN ’S WORK IN MUSIC

f to a life o domestic felicity in Dresden . It can hardly be said that Weber lived happily ever after ward , for he found many troubles in connection with his new pos t . But his married life was such a constant source o fjoy to him that he felt always inspired with fresh energy to overcome all difficu l

It wo n ties . was during his married career that he those immense popular successes , with Der Frei il ” “ ” “ Sch tz , Euryanthe, and Oberon , that gave

s the mo t brilliant lustre to a name already immortal .

his The last opera took him to London , away from f . o beloved family Aware his failing health , he ff made every e ort to reach home, but that boon was denied him , and he died without another view of those who would have been anxious to soothe his last moments . Ludwig Spohr was another compo ser who pos sessed a musical wife . He came of a musical fam

flu tist ily , his father being a , while his mother played the piano and sang . Ludwig too k up the Violin

fiv e was at years of age , and at Six able to take part in concerted music . His compositions began at

o f about the same time . After a youth earnest

study , long practice, and successful tours , he finally became leader in the band of the Duke o f Gotha .

fa It was there that he met Dorette Scheidler , the mous harpist , whom he afterward married . Her WIVE S OF TH E COMPOSE RS 8 1

is r influence seen in his late compositions , for he wrote fo r her a number o f sonatas fo r harp an d

o as o . vi lin , as well a good many harp sol s The

o n musical pair went many tours , always sharing the honours of the performances . Still more evident is the influen ce o fwoman upo n

f o music in the case o Hect r Berlioz . This great

1 8 0 so n genius , born in 3 , was the of an opium

r a o f eater , and the mo bid ch racter most of his works may be traced to this cause . Berlioz studied at the Paris Conservatoire, but his sensational style did not win favour with the classical Cherubini , and the young man was forced to work against

f o n e many di ficulties . He was even forbidden at

fo r P rix de Ro m e time to compete the , and came

i -n near giving up his career in dej ect o . O n the Parisian stage was a beautiful Irish ac

n tress , named Harriet Smithso , who was perform

f o ing the plays o Shakespeare . Berli z at once fell in love with her , but it was some time before his

‘ needy circumstances allowed him to lay his suit

r hi . so s befo e her When he did , passion found shape and expression in a great musical work , the Symphonie Fantastique .

This is a weird and Sinister composition , but very f I t fi . e fective . is in v e movements The first rep resents a you ng man seeing his ideal and falling 8 2 WOMAN ’S WORE IN MUSIC

o f f in love with her , the object this sudden a fection

n m o n being depicted by a te der the e the Violin .

This theme pervades the entire work . In the sec o n d n movement , which represe ts a ball , it signifies

h n t e entrance of the fair o e . The third movement “ ” s e is called In the Field , and contains a duet b tween the two lovers in the guise of a Shepherd and shepherdess . They are portrayed by an English

e o n e o f horn and an obo , the result being the great instrumental dialogues that are sometimes found f in works of the tone masters . An e fective touch

- is the introduction of a thunder storm , after which the English horn begins a plaintive note of inquiry ,

n t but meets with no reply . In the fourth moveme , the young man has Slain his love in a fit of j eal

o n onsy , and is his way to execution . Very power ful music expresses the fatal march , interrupted every n o w and then by the surging footsteps o fthe i f . ts s crowd At clo e, the hero ascends the sca fold ; amid a hush , the tender love theme reappears , but is obliterated by a sudden crash o fthe full orches

w n o t tra , and all is still . Berlioz , ho ever , does

in d v e let his hero rest the grave, but a ds a fifth mo ment to Show him in the infernal regions . Piccolo and other wild instruments depict the fury o f the

o o n a and demons , a par dy the Dies Ir e follows , WIVES OF TH E COMPOSE RS 8 3

o - n o t even the tender l ve theme is spared , but is turned into the most vulgar o f waltzes .

ca - o This musi l love letter was understo d , and Miss S mithson afterward married the great composer .

But , unfortunately , the romance stopped at this did “ point , and they not live happily ever after

as to ward . The actress w forced by an accident leave the stage permanently . She and her husband

d . did not agree well , and were continually at o ds

o Finally She took to drink , and a separation so n followed . Berlioz married again , his second wife being the singer , Mlle . Recio . He outlived her , and

as f in later life w taken care o by her mother .

so The symphony , incidentally , was successful at its first performance that a strange - looking man rushed to the platform , saluted the composer , and sent him a more substantial token in the shape o f

n u to twe ty tho sand francs . The stranger proved be Paganini , but that famous violinist was such a

th e miser that story has been doubted . It is said

o f no that he acted in behalf an unk wn benefactor , but his enthusiasm at the performance seems to disprove this , and the work possesses j ust the dark and sinister character that would appeal to Paga nini . Another com pos ition inspired by the same love episode is the Romeo and Juliette Symphony . ' ’ S‘ WORR I 84 WOMAN . N MUSIC

his Berlioz tried to make all music tell a story , and he believed in the theory that tones could be made to represen t ideas in a much greater degree than i a s usu lly supposed . The result is shown in many

characteristic passages in his works , an excellent example being the gentle and melancholy theme that typifies Childe Harold in the symphony of that name . But Berlioz carried his idea to ex

- tremes , and fairly earned the half reproach of Wag ”

: . ner , who said of him He ciphers with notes That Berlioz could write with more direct beauty is Shown by his practical j oke at the expe nse o fthe critics ; fo r he pretended to unearth an o ld piece

Du c ré by a certain Pierre , which they praised

o wn greatly in contrast with his works , and after they had done their worst , Berlioz proved that he

r himself was the mythical Du c é . Giuseppe Verdi was another great musician who

o f felt the full richness domestic happiness , if only fo r o f a time . Born in the little hamlet Le Roncole

1 8 1 o f in 3 , he proved himself possessed unusual

n fo r . talent , and after a time we t to Busseto lessons

B r zzi t o . a e There he came the notice of M , who became the friend and patron of the young student . The story o f his being refused at the Milan Co n serv ato r y, and afterward amazing the authorities

o by his speed in composing fugues , is to well known

86 WOMAN ’S WORK IN MUSI C

birth , his early studies , his university career , and his start as a professional musician , all took place in

to o Leipsic . There, , he met the famous Opera sin er ~ Wilh elm in e - Dev rien t g , Schroeder , whose gifts

n made such an impression o the young composer .

n It was the excelle ce of her acting , as well as her singing , that gave the embryo reformer his first ideas of the intimate union o f drama and music

i n e that s o phase of his later operatic greatness .

o f rOles Many his leading were written for her , and as late as 1 8 72 he stated that when ever he conceived

“ a n e w character he imagined her in the part .

o His work as leader to k him first to Magdeburg . ” The failure of his early opera , Das Liebesverbot ,

n put an end to this e terprise, and soon afterward he appeared as concert leader in Koe nigsberg .

Wilh el There he met and married his first wife, mina (or Minna) Planer . Their natures were dif f r n t e e in many respects . While he displayed many o f o f rac the vagaries genius , She was patient and p tical , and , if not wholly understanding the highest side of his nature , she gave up her own career to help him through his days of poverty and

struggle .

n The first ve ture of the wedded pair was at Riga , where Wagner was en gaged for a term to conduct

t e o in a new h atre . After this , they to k Ship for WIVE S OF TH E COMPOSE RS 87

Paris , and the stormy passage gave Wagner many ” a suggestion for his Flying Dutchman . It was

’ in the French capital that Min n a s domestic qual

fo r ities were given their most severe trial , the com poser found little o r no chance to produce his own

r works , and was fo ced to gain a precarious living by the commonest musical drudgery . Probably her constant care and econ o my were all that turned the scale in favour of success . At length the Dresden authorities became interested in some of the earlier

was o operas , and Wagner liberated fr m his de pendent pos ition . The stay in Dresden being cut short by the polit

b o f 1 8 8 1 8 ical trou les 4 and 49 , Wagner found a

h . ome in Zurich , where his wife soon j oined him There he wrote or sketched the grand works that came to full fruition in his later life . After years o f exile , he came back to Germany , where his pur

o f suit fortune was still in vain , and might have ended in suicide but for the sudden patronage of

” o f Ba his royal admirer , the mad King Ludwig

as ff varia . It w at this time that the di erences in character be gan to cause domestic infelicity in the d Wagnerian household . Finally the pair separate . and , although he did not leave Minna in want , yet sh e was compelled to pass the last few years o f

n he baske d her life in seclusion and lo eliness , while 88 WOMA N ’S WORK IN MUSIC

o f in the favour royalty , and found the high posi tion that h ad so long been denied him . It is usually

’ claimed by VVagn e r S most rabid partisans that she was unable to hold her place in the new surround ings , and that his genius needed a helpmate more in sympathy with his high ideals . Admitting the

n - truth of these assertio s , the fair minded critic must

o f accept them as an explanation , at least , his con

’ Min n a s jugal ingratitude, but faithful performance o f duty in the early days will n o t allow them to stand as a valid excuse .

’ dau h Wagner s second marriage with Cosima , g

o f d Vo n Biilo w re ter Liszt and divorce wife of ,

Th e su lte d happily . devotion of the new helpmate to the Wagnerian cause has survived the master ’ s death by many years , and is still witnessed by the musical wo rld . The domestic bliss of their mar ried life is well shown in the beautiful Siegfried

d as fo r his Idyll , which Wagner compose a surprise

’ n wife o their son s birthday . Among living composers gifted with musical wives , the most preeminent is Richard Strauss .

’ As Clara Schumann could perform her husband s works , so the wife of Strauss , who is an excellent a ’ singer , is at her best when giving her husb nd s

’

. Grie s she songs Like g wife, is more successful

WIVE S OF TH E COMPOSERS 89 than all other singers in this rOle of domestic de

i n acco m v o t o . She usually appears with him as

an ist m o d p , a position in which he excels , and each e stly tries to make the other respond to the applause

a o a th t is sure to f llow their perform nce. A ER CH PT IV .

CLARA AN D ROBERT SCH U MA N N

H ISTORY has never witnessed a mo re perfect u n io n o f e w two similar natur s , both endo ed with rich

n me tal gifts , and each filled with a perfect sympa

fo r e thy the oth r , than the marriage of Robert Schu mann and Clara Wieck . It holds a place in the story o f music Similar to that o ccupied by the ro mance o fAbelard and Heloise in poetry . The lives o f both composers afford an example of the most f unselfish devotion and depth of a fection , combined with the highest idealism in an art that po ets them selves have admitted to be even nobler than their

o wn .

1 The birth of Clara Wieck , on September 3 , t 1 8 1 . n o 9 , took place at Leipsic That city had yet entered upon the perio d of musi cal greatness

n that it was soon to enjoy . The day of Beethove

n and Schubert was appare tly passing , and only the lighter and more trivial styles o f compositio n held 9°

CLARA A IVD ROB E R T SCH UMANN 9 1

H . er sway father , however, Friedrich Wieck , was a piano teacher o f extensive reputation and most .

to excellent qualities , and did his best raise the

. m standard of the place Fro him , and from her mother as well , the young Clara inherited her innate musical taste . But the maternal influence was not o f fo r long duration , domestic troubles soon caused

o f the separation Wieck and his wife, the latter

r Wo ldem ar Bar iel marrying the fathe of g , while the

r m fo mer also entered into a second union , with Cle en tin e Fechner at Leipsic . A daughter of this second marriage , Marie Wieck , won some fame as

bu t a pianist , was far surpassed by her elder half

Sister .

” Clara did n o t at first Show signs o fbecoming a

sh e child prodigy , but in her fifth year gave indica

u tions of possessing musical talent , and her caref l father proc eeded at once to develop her powers . So successful were his individual metho ds that in four years sh e was able to play Mozart and Hummel

to concertos by heart , and ready sustain her part in r public . Her first appea ance was in conjunction

’ Reich o ld o n e with Emilie , of her father s older

’ Kalk ren n e r s pupils , with whom she played b vari ” atio n s on a march from Moses . One important paper o fthe time spoke o fhe r success as universal and well deserved , and did not hesitate to predict 9 2 WOMAN ’S WORK IN MUSI C

’ a great future for her under her hono ured father s wise guidance . Wieck has been the subj ect o fmuch criticism o n account of his supposed harshness and severity .

’ v In the matter of Clara s musical training , howe er , these charges cannot be sustained , as one of her

r own letters will Show . My father has come befo e ” sh e the world in an entirely false light , writes ,

because he took art earnestly , and brought me up to regard it earnestly . People have no idea h o w utterly differen t from the usual standards must [ I be the whole education and career of any one who wishes to accomplish something worth while in art . In connection with artistic development , my father kept the physical development especially in

View also . I never studied more than two hours a

o r day in the earliest times , three in later years ; but I had also to take a daily walk with him o f just as many hours to strengthen my nerves . More over , while I was not yet grown up , he always took

’ c me home from every entertainment at ten o clo k , as he co nsidered sleep before midnight necessary for me . He never let me go to balls , as he judged I could use my strength for more important things than dancing ; but he always let me go to good

en thu si operas . In many free hours I used to grow astic over piano arrangements of operas an d other

94 WOMAN ’S WORK IN MUSI C his mother wou ld not hear of his choo sing a musical career , but insisted on his studying law . This he did at Heidelberg , in a rather original manner ,

’ taking long walks , reading Jean Paul s works , and

all practising piano nearly day . In the summer he met Wieck , whom he adopted as a teacher , and in this way he came to kno w the learned peda ’ d go gu e s talented aughter . Her musical education was n o w beginning to bear fruit . In the concert tours that she began

o so n after her first triumph , she never allowed her self to be carried away by the fondness of the public for mere display , but always aimed at something higher . Instead of making a Show of her technical

e t w to attainments , she cons cra ed her po ers the cause f o true art . It required great courage to uphold

fo r she n her standard , came upon the sce e at a time

n when only phe omenal playing , bristling with seem in l f ho m g y unconquerable di ficulties , won the public age and the public wealth . Herein both she and her future husband sho wed themselves actuated by the very highest motives .

fo r the Unfortunately romantic side of the story ,

e N th irs was n o t a case of love at first sight . o less

r than five years afte their first meeting , we find Schumann deeply interested in a certain Ernestine v o n e Fricken another pupil of Wieck . It is stat d RO B R SC UMANN E T H .

96 WOMAN ’S WORK IN MUSI C

c the final decision was referred to Wie k . That

o artist, who had by this time fully rec gnized Schu

’ o f mann s great gifts , gave his decision in favour music , and the young enthusiast , after having his f t a fairs duly se tled , returned to Leipsic and devoted hi mself altogether to art . It is probable that he would have given himself wholly to the career of a successful pianist , but

ra for an accident . After a year of painstaking p c

co -n triv an ce tice, he invented a by which the weaker

fingers were allowed to gain strength by usage, while the third finger was held back . This mech an ism to o r was altogether successful , for , afte using it some time, he found his third finger so badly crippled that he was forced to give up hope of ever m winning fame o n the concert stage . What see ed a catastrophe to him has proven a blessing to the

s world , for , if he had pent his life in executing the

e lei works of others , he would n ver have had the sure to create his o wn immortal compo sitions .

Meanwhile Clara was steadily imp - roving her m already re arkable powers . Besides keeping up

. sh e n o w c o m her playing , began regular study in position . In later life the two were to labour to gether in many pieces , but even at this time Schu

’ r mann s inte est in her work was great , and in one

o . of his early comp sitions (Impromptu , Op 5) we CLARA AN D ROB E R T SCH UMANN 9 7

find him using a them e o fhers as the basis of his o wn piece .

The eleven - year - o ld girl was now started upon

d to a series of tours by her father , who wishe give

o f her some idea the world , and to let the world gain some knowledge of her attainments . From Dresden he writes home j oyfully to his wife : It is impossible to describe the sensation that your two little monkeys from the Leipsic men agerie have

” made here . But the fatherly care and wisdo m

n o t fo r : were lacking , he continues I am anxious lest the honou rs and distinctions Should have a bad influence upon Clara . If I notice anything of the sort , then I shall travel further at once, for I am to o o f d n o t proud her mo esty , and would exchange

f r it o any decoration in the world . In the next

n Cas year the triumphs were co tinued at Weimar ,

l o f se . , and Frankfurt After winning the approval Spohr and other competent j udges who were above

sh e e e r all envy , proc ed d to Pa is , where her father had the pro ud privilege o f exhibiting her talents

to . e Chopin In Weimar , Go the took a deep inter

in e est the wonderful child , and s nt his picture to the Richly endowed (Ku ns treichen ) Clara

n o f e Wieck , as a toke the pl asure her playing had given him . AS the result of her Parisian meeting with 98 WOMAN ’S WORK IN MUSIC

she o n e Chopin , became of the best interpreters of

’ m that master s works , and gave the to the world i n much the same manner that sh e did those o f

o Schumann s on afterward . Usually her work in educating the public was successful . But critics

n o are not all safe guides , and eve t day we find many unmusical men in responsible newspaper posi

so n o t tions , it is surprising to find an occasional

c n misunderstanding o cur . In Vie na , for instance, we find the influential but self- important Rellstab writing that it is a shame that Sh e is in the hands of a father who allows such nonsense as Chopin ’ s ” to be played . These strictures did not extend to the performance , however , and the writer does not Féti fail to acknowledge her marked talent . s bears witness to the lively sensatio n sh e created o n the

o f e banks the Seine, while along the Danub she won Victory o n victory . The aristocracy were eager to admit her to their circle, and the Austrian Em press named her court virtuoso, an honour never before bestowed on a foreigner .

Some time before this , she had won the attention

o f and interest the young Schumann , if nothing t more . He had been a work on a symphony in

G and minor (which , by the way , proved a failure

o f was never published ) , and the performance the first movement in his native Zwickau took place

CLARA AN D ROB E R T SCH UMANN 9

n e . at a concert give there by Clara , th n only thirteen

n Even the her performance was astonishing , and ,

as u en Schumann put it , Zwicka was fired with

h ias n t u s m for the first time in its life . Schuman

was no less excited than the rest of the town . His letters of that time are full o fexpressions that seem

a r u to betr y a deepe feeling , tho gh he himself did f n o t become conscious o it until later . Call her ” s perfection , he write to a friend , and I will agree ” : IS to it . In a Leipsic tribute, he inquires it the

n Wu nder/ kin d gifted child of ge ius ( ) , at whose t h stre c of a tenth people shake their heads , but

! Is f admire it the hardest of di ficulties , which she throws o ff to the public as if they Were wreaths o f ! IS flowers it perhaps mere pride , with which the city loo ks upon its daughter ; o r is it because sh e gives us the most interesting things of the most ' recen t times with the least delay ! I do not know

: sh e but I do feel , simply , that has the Spirit that compels admiration .

to o i The great poets , , gave her the r tributes of ” praise . They recognized in this inspiring vision , “ says Liszt , a true daughter of their fatherland . h T ey strewed their pearls of song before her , and

glorified this Benjamin of their race, who , gazing

s s s about with in pired glances and wondrous mile , IOO WOMAN ’S WORK IN MUSIC

e a seem d like a silent Nai d , who felt herself a d stranger in the lan of prose . Meanwhile the love that had been growing in Silen ce betwee n her and Schumann began to take tangible form . His unspoken passion found ex pression in the written rhapsodies addressed to ” o N o Chiarina in his new music j urnal , the w

Z it c ri i e s h ft fur Mu s k. In a more purely musical

his manner , feelings took Shape in such works ” “ ” Daids iin dle r as his b Dances , the Chiarina o f F- the Carnival , the Sharp Minor Sonata , the

Kre islerian a , the Humoreske, the Novelettes , and

o c tu rn es — f o f the N , truly an o fering rare beauty , and well worthy to express the feelings of the in

Spired lover . They bore witness of his adoration to

e all who kn w him , and all who were able to listen

o f with understanding ears . And Clara , too , in spite high honours and higher friendships , had already given h er heart to the S i len t man en dowed with the deep Spirit of romance and poetry . She was his ,

o f r in spite of the opposition her fathe , who guarded

as a e e o f his tre ure with j ealous y , and would hear no marriage unless in the distant future. It was in 1 83 6 that the two lov ers came to an er understanding. In the next summ Schumann

his s er made formal mention of uit to h father .

’ Wieck s refusal m ay have been du e to his enter

1 02 WOMAN ’S WORK IN MUSIC me seek a higher position in the civic sen se o fthe

ask I word . Let me yo u : s it very hard to get a Doctor ’ s degree at Jena ! ” Apparently it was not

’ fo r hard when a man of Schumann s fame applied , in another letter he writes : Everything combined f Th to fill the measure o my j o y. e eu logy is so

‘ glorious that I certain ly o we you a large share o f

f r thanks o it . It gave me and my friends most sincere pleasure The first thing I did was , of course, to send a copy into the north to a girl who is still a child , and who will dance with glee at

a She n a the ide that is e gaged to Doctor .

’ But Wie ck s refusal to sanction the marriage could not be altered . In fact , his opposition became even stronger and more determined . Finding any direct appeal of no avail , Schumann was forced to have recourse to law , and Wieck was compelled to give reason for his refusal before a legal tribunal .

Although Schumann was not rich , yet he possessed

m t o so e income from his paper , and his o her w rk brought him enough reward to en able him to make

s s a home for Clara . Be ides the e receipts, he had a small property that gave him an annual return

00 : of 5 thalers , and as he himself wrote We are young , and have hands , strength , and reputation . Tell me now if there can be real cause fo r

o n and a n a fear . Nevertheless the case dragged , CLARA AN D R OB E R T SCH UMANN 1 03

ture as sen sitive as his must have be en deeply m o r tifi ed by the legal wrangling and the publicity of

ff u d the a air . At last a favo rable ecision was

an d r u reached , afte a year of do bt and suspense the

1 2 1 8 0 marriage took place on September , 4 .

n as He ceforth their life w one perfect union . There could be no happier marriage in the world

“ m an than this one, where a of creative genius was mated with a woman gifted with the ability and the wish to interpret his works earne stly and faith

fully . They regarded art from different points , but

with the same ideas and ideals . Both were wholly

was r and devoted to all that t ue noble, and both felt the same antipathy to whatever was trivial o r

a h superficial . Together they moved long the pat

t o n way of life ; toge her they w their laurels . To

o n e admire or the other was to admire both , says “ fo r f o Liszt , , though they sang in di ferent t ngues ,

e o n th ir life music made but e noble harmo ny . The annals of art will never divide the memory o fthese i two , and the r names can never be spoken sepa ” ra l te y.

’ And n o w Schumann s happiness began to take

e o t tangibl f rm and Show itself o the world . Hitherto his compo sitions had be en chi efly for the

o n . pianof rte, but now his genius burst forth in so g

n f Cycle followed cycle duri g the next ew years , and 1 04 WOMAN ’S WORK IN MUSI C the fortunate lover sang of his happiness in strains of such romantic beauty that their charm can never fade while love and music have po wer to sway the passions of mankind . The warm feeling and emo

o fRu ckert o f tion in the poems , Chamisso , of Heine, were echoe d and intensified by the choicest melodies o fthe art that is said to begin its expression where language ends . That Clara had some direct share

o f in these songs , besides publishing many her own , there can be no manner o f doubt . She certainly i formed their insp ration , and must have assisted in f the task o preparing them . These works placed Schumann in the forem ost

n o w rank of song composers , and he is held equal

n o t to Schubert and Franz in this form , if actually

- the greatest song writer in the world . Franz is

r more delicate , Schube t more simply melodious , but

’ Schumann s songs are endowed with a warm vigo ur of strong emotion that has never been equalled .

m o His conte p raries felt their force, but hardly real ized fo r o n e o n their full power , of the writers

’ Schumann s own paper accorded them only a sec ” n dar n - o . o y rank In your essay song writing , “ w the composer replies , it has some hat distressed me that you should have placed me in the second

. do n o t rank I ask to stand in the first , but I think

I have some pretensions to a place Ofm y o wn .

1 06 WOMAN ’S WORK IN MUSIC

t aken alone, but at last she was able to draw him with her into the world . In Germany, in the Neth erlands , in Austria , even in Russia , constant tri umphs awaited them . There were a few exceptions , i chief among them be ng Vienna , the city where Mo

so zart struggled long in vain , and where Gluck was unable to produce more than a passing impres sion by his great o peratic reforms . But nearly all the places they Visited offered admiration and in cense to the faithful pair of artists . Through Schu

’ mann s genius , that of his wife was influenced , and Clara Schumann became far greater than Clara

n Wieck had ever bee . She became a true priestess

no t sh e o fart . She did rest until gave the world a clear understanding o fthe depth o fthought in his great works . She made her fame serve his , and considered the recognition of his qualities her own reward . Yet it still happened at times that this recognition came slowly , and in Vienna , as late

1 8 6 e o f as 4 , he was spok n merely as the husband of Clara Wieck , and after the court concert given

: by her , some one turned to him with the question ” o u to o ! Are y musical , Gradually the perfec t happiness was marred by the growing sickness of Schumann . Always ex

r o n e o r tremely ne vous and excitable, he had on two earlier occasion s been forced to forego work . CL ARA AN D ROB ER T SCH UMANN 1 07

In 1 8 51 the disease became e vident again . By de

d e grees his con uct grew more and more ecc ntric , and he became a victim of actual delusions . He o o n e ften insisted that he heard particular note , or certain harmonies sounding , or voices whispering

f n messages of hop e o r o sorrow . O e night the spirits of Schubert and Mendelssohn seem ed to re

a m n ‘ veal the e to him , upo which he tried to com plete a set of variations . At times he would work

o n e calmly and sensibly , but day , in a fit of mental

o anguish , he left his house, al ne , and threw him

n self into the Rhine . Rescued by some boatme , he went home to experience a few more lucid peri

o ds . , but insanity gradually mastered him His last

e two years were sp nt in a private asylum near Bonn ,

2 1 8 6 . where he died July 9 , 4 His wife , who had

n bee on a tour in London , returned j ust in time to witness his end . He was buried in Bonn , near the tombs of Beethoven and Schubert .

As widow , Clara Schumann continued faithfully the work of her married life . Her many tours were

’ o f u still a means performing her h sband s music , and she was able to know that her life- work was successful in Germany at least . Soon after his death , the name of Schumann became immortal , and the very peculiarities of his work were recog n ized Hi as essentially national in character . s 1 08 WOMAN ’ S WORK IN MUSIC

widow found a home with her mother in Berlin ,

sh e sh e where stayed for four years , and whither

- returned after twelve years in Baden Baden . In 1 878 she became chief teacher o fpiano in the school

c founded by Doctor Ho h at Frankfort , and there for ten years she lived and worked with the most

1 8 2 sh com plete success . In 9 e retired from her

u o n 1 1 8 6 o f labo rs , and May 9 , 9 , her long life usefulness came to a quiet end . Five days later she was laid at rest with her husband in the peace ful little cemetery at Bonn .

In private life, as well as in public performance, her personality rem ained o n e o f earnest simplicity f and nobility o thought . She was admired and e lov d by all who knew her , and when failing health

affec compelled her to give up her teaching , their tion showed itself in the substantial form o fa large subscription .

to s Her compositions , according the foremo t

r critics , are not numerous , but Show the since ity

arli of purpo se that marks all her work . Even her e e st ho pieces , chiefly s rt dance forms for piano, are redeemed from triviality by interesting rhythms

s and fresh , almo t abrupt , modulations . They are

n mostly delicate rather than forceful , with freque t ornaments and staccato passages that require a light and skilful touch . Among her later and more

I IO WOMAN ’S WORK IN MUSIC

1 . Op . 3 , Six Songs

I a . Op . 4, Second Scherzo , pi no

1 Ple ces . Op . 5, Four Fugitives , piano

1 6 h . Op . , T ree Preludes and Fugues , piano

1 G Op . 7, Trio , minor , for piano , violin , and

’ cello .

1 8 and 1 . Op . 9 did not appear

20 o n o f Op . , Piano variations a theme Robert

Schumann .

2 1 . Op . , Three Romances , piano

22 h . Op . , T ree Romances , piano and violin

’ “

2 u cu n de . Op . 3 , Six Songs from Rollet s J

’ Without opus number , Cadenzas to Beethoven s 8 concertos , Op . 3 7 and 5 ; Song , Liebeszauber ,

fo r Geibel ; Andante and Allegro piano ; Song ,

Am Strand ; and a march in E flat , composed in 1 8 79 for a golden wedding Clara Schumann edited Breitkopf and Hartel ’ s

’ n editio of her husband s works , and issued a volume

h is of early letters . CHAPTE R V .

OTH ER MU SICAL ROMA N CES

ALTH OU G H some of the great composers re mained unmarried , many of them were influenced f by women , and the e fect is frequently visible in

m n their co positions . Dedicatio s of musical works

n r to women are appare tly a matte of little moment , but often they are surface indications of some deep

r ex re ssd . feeling unde neath , which is p in the music

’ Espe cially will this be fou nd true in Beethoven s

o c o m case, but it applies also to Schubert and ther posers .

d i r d it If George Fre er ck Handel neve marrie , was certainly n o t from lack of an opportunity to t . 1 0 do so In 7 3 , while still in his eens , he j our n eye d with his friend Matth eso n who was in search k as o r an ist a Liibec . of a post g , from H mburg to

The was n place occupied by the re owned Buxtehude, who was so advanced in age that he was forced to lo ok fo r a successor The two young aspirants I I Z WOMAN ’S WORK IN MUSIC

s an d a tried the organ cl vicembalos , but did not care to accept the po st . It seems that o n e of the conditions bo und the successful applicant to marry

’ o f the organist s daughter, and neither them showed the slightest inclinati o n to take this decisive step . It is said o f Handel that during his Italian trip he became engaged to the singer , Vittoria Tesi .

Chr san der But his biographer , y , disbelieves the

o o f story, and the hist rian Burney speaks an Italian

to count as her lover . According the latter account , she to behaved very generously , and tried dissuade her no ble admirer from a marriage that wou ld dis grace him and his family . Finding him insistent ,

o n e fo r d She left her house morning , and fifty ucats

’ persuaded a baker s apprentice to marry her, the pair to live separately, while the step would be used in dismissing the poor count . If she had

e d h ad e really been engag d to Han el , or lov d him , She might have had a husband at less expense ; and probably a ’ musician is a more valuable article than

’ r n a bake s appre tice .

r E n During his long caree in ngland , Ha del was

i o f twice nearly marr ed . In one case the mother the fair charmer obj ected to her daughter ’ s union “ ” c with a mere fiddler . Handel drew ba k with becoming pride, and was probably not much hurt . Certainly he never lo st the magnificent appetite for

1 1 4 WOMAN ’S WORK IN MUSIC

o f n An i her rank and influe ce, his pupil , Marie to nette, the future Queen of France . Even at Vien na Gluck was planning the refo rms in ope ra that were to banish the prevailing voc al im inanities from the stage, and make his name

n t mortal . He did o minimize the beauty of con

co n temporary operatic music , but claimed that it sisted merely of a set o f con ventional arias and

did an scenas , and that the music not in y way emphasize or illustrate the meaning of the words .

”

- As in the well known sextet from Lucia , which

o u r o wn divides the sheep from the goats in day , the character of the music was often directly at variance with the spirit of the words . His mem ” o rable n o t rem o d production of Orfeo , though

n wo n elli g the world at a Single stroke, a full

o f triumph , and Showed all music lovers the force the new the ories .

c It was the French attaché , Du Rollet , a tuated by

’ m o f a sincere ad iration the Vienna master s works , who first proposed to have Gluck com e to Paris . One of the directors o f the Royal Academy o f

t e Music , to whom Du Rolle address d himself , made

n o t . the matter public in France , but did reply After some time Gluck himself renewed the agita tion for a hearing , with no better results . That his wo rk ~ was understood is shown by a note from MARIE ANTOINETTE

1 1 6 WOMAN ’S WORK IN MUSIC

n conceit , but the quee was ever ready to defend him warmly .

Marie Antoinette was herself a composer , and no doubt Gluck ’ s early tuition was responsible for her

n o t n o r musical attainments . Hers was the rank the period in which a woman cou ld attempt to work in the larger forms , but her songs were eminently successful . One of those, since made familiar by

de a more mo rn setting , is reproduced for the benefit

Its o fthe reader . grace and charm will speak for themselves . With Haydn and Mozart ranking among the

at married men , the next tonal master who claims tention is the great B eethoven . He was a mental giant endowed with intense emotional vigour , hearing inwardly the beautiful strains that he wrote

o f down , dreaming the millennium and human broth e rho o d s , and expressing in the mo t heartfelt terms his yearning fo r the o n e and only love who would share his lot with him . Yet when we come to search for this one and only love , we find that her

re name is l egion . We also find that Beethoven d maine Single through it all , and never won a help mate to guide his destinies and curb his eccen trici

fo r and ties . His love women was pure sincere,

n o t o f t if lasting, and many indications the streng h ' C EST M N AMI O . (ROMANOB J

' ‘ Music by Q ueen MARI! : A fl o mm

Ada ta tio n b Lo an 0 mm . p y Transc ri bed b y J. 8 . Wa l n ut.

A ndanlm o c o n mo lo

Ah. If there he A M 01 ! out i

SONG B Y MARIE ANTOINETTE

WOMAN ’S WORK IN MUSIC e dn e ss is vouched fo r by Mo sch eles : When I came in early to find Beethoven , he was still abed ;

- but feeling wide awake and lively , he jumped up

o was and placed himself at the wind w j ust as he , in order to examine the Fidelio numbers which f I had arranged . Naturally a crowd o boys gath

u e o u t ered under the window , where pon he roar d ,

’ s ! Now , what do tho e boys want Upon my

his a d pointing to own sc ntily cla figure, he said ,

’ Yes es , y , you are quite right , and immediately ”

- put on a dressing gown . Beethoven and his servants usually had hard

u t times getting along with each other . He was te rl s n y careless and untidy , and the utmo t confusio reigned in his room . Books and music were scat te red e in all dir ctions , says a Visitor . Here the

o f residue a cold luncheon ; there some full , some

- m . half e ptied , bottles On the desk the hasty sketch o f a new quartette ; in another corner the remains o fbreakfast ; on the pianoforte the s cribbled hints fo r et a noble symphony , y little more than in em

i h o - to e b y o ; ard by , a pro f sheet waiting be return d

e n o n s lett rs from frie ds , and busine s , spread all over the floo r ; between the windows a goo dly Stracchino ch eese ; on one side o fit ample vestiges o f a genuine Verona salami ; and notwithstanding all this confusion , he constantly praised , with Cice LUDWIG VAN BEETHOVEN

1 20 WOMAN ’S WORK IN MUSI C

sh e to o n o good wife in her if , , had t finally married

n e some o else . The next important figu re on the

s Ke lev ic s list was the Counte s Babette de g , after

O de sch alchi ward Princess , to whom B eethoven

showed his feelings in the shape of the Sonata , Opus

Er . tm an n 7 The Baroness he addressed as Liebe , ” werth e c r , Dorothea Ce ilia , while the Countess E dOd o f y received the still warmer greeting Liebe , ” r fi G éi n . o f n liebe, liebe, liebe All these wome ,

r to and many others , we e ready stand almost any

r fro -m e t n libe ty B e hoven , and they e tertained the

f fo r warmest a fection him . At a later date, the Countess ErdOdy erected a temple in her park to

r f t f the memo y o Bee hoven . That his a fections were d changeable, if intense, was admitte by the com

u poser himself . On being teased abo t his conquest o f a she a be utiful woman , he admitted that had

o f interested him longer than any the others ,

n o . namely , seve whole m nths More serious was his feeling fo r the lov ely young

Giu c ciardi o f . Countess Giulietta , one his pupils ” Life has been made a little brighter to me lately, “ h h as he writes , adding later , T is change been brought about by a dear , fascinating girl , whom I

o who . l ve, and loves me After two years , I bask

n o w again in the sunlight of happiness , and , for the first time, I feel what a truly happy state mar O THE R MUSICAL ROMANCE S IZ I

h ia e h . s e was n o t r g mig t be But , unfortunately ,

o n to o of his rank in life, and later we find her , , marrying another . Beethoven would certainly have

so married her if he could have done , and his epistles to her are full of many fervid expressions of

his o f o love . At death , some letters the m st pas si n ate fo r o description were found in his desk , and a time it was thought they were addressed to her , but they are n o w ascribed to the influence of her successor .

v o n The Countess Therese Brunswick , who next

’ e v n o n e o f received Be tho e s devotion , had been his

c pupils , and had once been rapped over the knu kles

f 1 8 . 06 by him for ine ficiency Twelve years later , in , i pup l and teacher were actually engaged , secretly , to n n be sure , but with full knowledge and co se t

Yet o f her brother . after four yea rs of varying

t n n o ff an d condi io s the match was broke , the com poser again forced to take refuge in the lonely comfort of his art . But he fou nd othe r consolation in the charm s

a Vo n and the companionship of Bettin Brentano, d t whom he met at this time . Accor ing to his le ters , She was no whit behind any of the others in being ” i n his dearest fr e d dearest girl , and dearest ,

t se e fairest swee heart . Soon Beethoven was to

to o e su c her , , married to another, and , if he nev r 1 22 WOMAN ’S WORK IN MUSIC

ceeded in taking the fatal plunge himself , he could at least have the melancholy satisfaction of knowing

‘ that all the obj ects of his adoration had en tered

safely into the holy state of matrimony .

1 8 1 1 m et Seebald an d In he Amalia , soo n after ward inscribed in her album the sen timen t

u i v o n B e e h o en L dw g t v , Wh o m ifyo u e ve r would

e t o u n e e sh l Forg y v r o u d .

His feeling fo r her was not exactly the effervescent

o f n n feeling youth , but the quieter , deeper se time t o f r f pe sonal esteem and a fection , which comes later

In is n life, and therefore more lasting . Her influe ce

n is visible in much of his later music , and the seve th

i her and e ghth symphonies were inspired by . Th at Beethoven took a friendly interest in other love- affairs besides his own is shown by an incident t taking place in Toplitz , where the ac or , Ludwig

’ r Loewe, was in love with the landlord s daughte ” e n d of the Blu Star, at which Beethove use to dine . Conversation was usually impossible because of stern parents and a multitude of diners . Come ” i t o at a later hour , sa d the girl ; only Bee h ven is ”

r . he e , and he cannot hear This answered for a time , but at length the parents forbade the actor

’ o the house Despite Beetho ven s seri us reserve,

1 24 WOMAN ’S WORK IN MUSIC

n - e m for a while re t free , and his wants were n ver any , but for some time he apparen tly got along with no

His income whatever . fertility in composing songs showed itself already . His later feat of writing ” o f Hark , Hark , the Lark on the back a bill of fare, finishing it within half an hour of his first seeing the poem , is well known . It seems that he could forget as easily as he inven ted . At one time he sent a set of songs to his friend Vogl fo r in spec

but tion , the latter was unable to look them over f r e n o f s o . o e two we ks On finding e pecial interest ,

Vo l h ad to g it transposed suit his voice, and gave

. o r it to Schubert to play The comp se , after trying

“ ’ n : sa n o t it , cried in admiratio I y, that s bad ; whose is it ! ” At last he obtained the post o f private teacher

f u in the family o Co nt Esterhazy . It was the Coun

two tess Caroline, younger of the daughters , who

’ was to become the obj ect of Schubert s later ado ra

. n tion On the first Visit , however , she was o ly nine,

u and we find Schubert , with his usual promiscuo s

o taste, m re at home with the servants than in the ” - drawing room . The cook is a pleasant fellow , he

“ ’ writes ; the ladies maid is thirty ; the housemaid

r n ve y pretty , and ofte pays me a visit ; the nurse is somewhat ancien t ; the butler is my rival ; the two groom s get o n better with the horses than with O TH E R MUSICAL ROMANCE S 1 2 5

u s . u u The co nt is a little rough ; the countess pro d , but not without heart , and the two young ladies ” goo d children . Eight years later he spen t another period of six a months at the ch teau , and at this time felt the pas sion fo r the you ng countess that has been so often

a alluded to in his biogr phies . According to Bauern

sh e e feld , inspired an ideal d votion that sustained and comforted him to the end of his life . There can be no doubt that etiquette and their difference in position prevented much intercourse between the

n two , but his devotion was appare tly as lasting as

Kr i l . e ss e it was unselfish According to , it found

re expression once, on her asking him , in j esting

e proach , why he never dedicat d anything to her . Why should I came the reply ; everything I ” ever did is dedicated to yo u . One of his posthu

a u mous works be rs her name , which wo ld hardly have been printed unless found o n the manuscript

- in the handwriting of this greatest o f tone poets . Mendelssohn came of a family that boasted an eminent intellectual leader o f Judaism in the shape

’ o f s . Moses Mendelssohn , the compo er s grandfather

u Abraham , the father , bro ght up his two children ,

Fanny and Felix , in the Lutheran faith . Between the brother and sister there existed the mos t inti f mate understanding and a fection , lasting through I 26 WOMAN ’S WORK IN MUSIC

~ their entire lives . Both were musically gifted , pos sessing delicate hands and taper fingers that were often spoken o f as if made expressly fo r playing B ach fugues . Growing to maturity in the delightful family at m o sphere that characterizes the better class o fJews

e n and their desc ndants , Fanny Me delssohn met and

n . loved the young painter , Wilhelm He sel Her mother would not hear o f an immediate engage

o f ment , but , after five years art study in Rome,

’ Hensel returned to become Fanny s betrothed .

n o w o n his Felix , launched professional career , d pro uced an organ piece especially for the w edding .

o r Another work for family use was his cantata , ” Opera , Son and Stranger , composed for the Silver

o f wedding his parents . This was prepared without

- their knowledge, and in order that the non musical

Hensel might take part with the rest of the family , Mendelssohn wrote fo r him a number consisting wholly of o n e note repeated . Even with this aid

r the Muses were unpropitious in the pe formance, and Hensel cou ld n o t hit the right pitch fo r this

u note, while all his neighbo rs tried to prompt him , and the young composer sat at the piano convulsed with laughter .

Fanny Hen sel led a life of happy activity . She

1 28 WOMAN ’S WORK IN MUSI C

so their talents wonderful , resulted in lessening their Vital strength .

Mendelssohn himself was married . After his

’ ean re n au d father s death he had wedded Cecile J ,

o f daughter a French pastor , and with her he passed

f a f a life o happiness . Fanny spe ks in admiration o her beautiful eyes and expression , and praises her

so constant gentleness , which often soothed her

’ brother s nervous and irritable moods . But not even her kindness cou ld make Mendelssohn forget

d o fhis the eath sister , who had been a second self to him . When he first heard of it , he uttered a

o wn shriek , and fell senseless to the ground . His

fro -m death came directly this fall , for it caused the

o - breaking of a blo d vessel in his head , according to his physician . A holiday in Switzerland did som e

’ good , but the sight of Fanny s rooms on his return f more than neutralized this e fect . He grew weaker

six and weaker , until he met his death , less than months after that of his sister . The bereaved wife, who had given such bright domestic charm to the

o n six home circle , lingered for years , but drooped in her lonelines s until at last con sumption carried her o ff. In direct contrast to the clean and sunny happi ness of Mendelssohn is the passionate and morbid

a o f . n estheticism Chopin Like Beethove , the Polish O TH E R MUSICAL ROMANCE S 1 29

pianist never married , but , unlike Beethoven , he was not actuated by the highest of ideals . The first

o Co n obj ect of his dev tion was the young soprano,

Gladko wska stantia , who was j ust ready to graduate from the Warsaw Conservatory when he was at tracted by her . He became her champion in crit icism m , and his letters are full of e otional outpour ings about her . He gave concerts with her , and

u o f fo nd some moments real bliss in her society ,

o but She finally married an ther . A second affair was his love fo r Marie Wodzin w d Ski , whom he had kno n in childhoo and met at

Dresden . She was j ust nineteen , and endowed with

- charming beauty . The pianist composer spent many

o f an evening with her at the house her uncle, and often joined the family in their walks . But this

ff to o . a air , , came to no result The hour for fare

sh e a s well struck , gave him ro e, and he improvised

f r v als e o r he . a This waltz , which he afterward

’

d L Adieu . sent her from Paris , was the one calle That Chopin was fickle in his passions is Shown

’ by an anecdote of Geo rge Sand s . According to

was P aris iem ze her , he in love with a young , who

n received him very kindly . All we t well until one

e day he Visit d her with another musician , who was at that time better known than Chopin in Paris . Because the young lady offered this man a chair 1 3 0 WOMAN ’S WORK IN MUSIC

before thinking of asking Chopin to be seated , he

o never called on her again , and apparently f rgot her immediately . George Sand avers that during all this period he was considering a marriage in

P a do oland , but other acqu intances not confirm this

o part f the story . During the ten years passed together by Chopin and George Sand , in Majorca , Genoa , Nohant , and

o f o Paris , Chopin produced most his imp rtant

H o w n o . o w rks much they were inspired by her , o n e can say. But it is certain that her care of him in his usually ailing condition must have been o f great aid to him . It is certain that she became an

o f fo r integral part his life, he did not survive their separation lon ger than two years . This separation

o f at any rate, was responsible for some the Polish

’ m e e aster s compositions , for he comfort d his wound d Spirit by pouring out his emotions in such works as the great A flat Polonaise . A figure o flesser though more recent prominence

o n was Sybil Sanderson . Her fame the operatic stage is a matter of the present , in spite of her death . She inspired the composer Jules Massenet to produce many of his best works , notably the

’ Esc larm o n de opera , which was written with her in View as performer Another tribute to her is

Ete . found in the song , Femme, Immortelle

0THE !! MUSICAL ROMANOE S I 3 I

Th ese are but a ‘ few of the more important instances

’ in musical history, which go to Show that woman s influen ce is responsible fo r many works in connec tion with which her name do es n o t appear at first m m lan e . s g p The actual wo en co poser , however , n o form a long and honourable list , and are by means confined to the present perio d of female eman

i ati n c p o . A I CH PTER V .

EN GLA N D

’ EN GLAND S period o fmusical greatness has been said to be the past and the future . During the contrapuntal epoch her music flourished as never

o r before since, and side by side with the Shake spearian perio d in literature came an era o fmusical

Re sto ra glory scarcely inferior to it . During the

to o to tion , , music still held its own , thanks the

o f e o f m genius Purcell in op ra . But no names wo en d are recorde , and it is only in the eighteenth cen i tury , and the latter half at that , that they beg n to appear on the roll of fame . The year I755 witnessed the birth of two women

i n a who were g fte'd e ough to le ve worthy works

M d . behind them , Maria Parke and ary Linwoo

was o f The former the daughter a famous oboist , who gave his child an excellent training . She be came well known as a pianist and singer , and among

o n other works produced songs , pian so atas , violin 1 3 2

1 3 4 WOMAN ’S WORK IN MUSIC

d instrument include two gran voluntaries , a half

e dozen excellent pedal fugu s , eight slow movements , and many other pieces . She has done much u n selfish labour in arranging selections of Bach and

e the oth r great organ masters , besides publishing

du ct s 1 8 6 songs , , and piano works of her own . In 5

fo r she tried a musical degree at Oxford , presenting

1 0th al an orchestral setting of the 3 Psalm ; but ,

wo n though the work high praise, no authority ex is ed fo r t granting a degree to a woman . Marian

r - r Millar , a composer of songs and o chestral cho al works , met with more success in hunting for the coveted Mus . and obtained it by applying to Victoria University . Augusta Amherst Austen ,

r n e anothe organist , has writte songs and hymn tun s , t while Elizabe h Mounsey, also a performer , has published songs and piano pieces as well as organ

wq s .

Ann Shepard Mounsey (1 8 1 1 afterward

Mrs . Bartholomew , a sister of Elizabeth , is men tio n e d by Spohr as a child prodigy . She was a

o f e o friend M ndelssohn , who wr te his Hymn of ” Praise fo r her sacred concerts in London . A set of Thirty - four Origi nal Tunes and Hymns may be classed as organ work , but her greatest

ff Th e e ort took the shape of an oratorio , Nativ ” a ity . She also wrote sacred cantata , and many E NGLAND I 3 5

r lesse vocal works , including excellent solo and p

Em - ensemble songs . m a Mu n della (1 8 58 96) re

ce iv e d an education both long and broad , and

- brought forth part songs , piano pieces , church

i Th e music , and an orator o , Victory of Song . ‘ Elizabeth Annie Nunn (1 8 6 1 - 9 4) also pro duced

l e re igious works , and , b sides songs and various

church music , published a Mass in C . h In the early part of the nineteent century, the mechanical skill of Sebastian Erard made the harp

extremely popular . At that time English house holds con tained harps much as they do pianos at

’ e as n pres nt . Excellently adapted it was for wome s

to performance, it is not surprising find women

f r o . composing it also Elizabeth Anne Bisset , Han

Bin field Du ssek . nah , and Olivia , afterward Mrs

Buckley , were three famous examples of female f skill in writing o r the instrument .

Of song compos ers there have been a multitude .

o n 1 8 1 Among the early nes , Ellen Dickso ( 9

n o m e lu m e o under the d p of Dol res , won a wide

reputation . Her works are still Sung , the most

’ popular being her setting of Kingsley s brook song , ”

o . Clear and co l Frankly simple in , but full ”style

o f o o f . pretty mel dies , were the songs Mrs Charles Barnard (1 8 3 4 who became widely known ” under the pseudonym o f Claribel . With her may 1 3 6 WOMAN ’S WORK IN MUSIC

0

be classed the ballad writers , such as Mrs . Jordan

s (Dora Bland ) , who compo ed the Blue Bells of ” ' o r S o ttis Scotland , Lady Scott (Alicia Anne p “ ” o f woode) , the author Annie Laurie and other ‘

- well known songs . Mary Ann Virginia Gabriel

(1 8 25 - 77) was best known by her many tuneful

- songs , but wrote also part songs , piano pieces , and

‘ o f a number cantatas and operettas . Charlotte

Sain to -n - D o lby (1 8 2 1 the famous singer and

a re friend of Mendelssohn , was also most widely pp

c iated o f o because her s ngs , though her cantatas ,

The Legend of St . Dorothea and The Story ”

o f u r n o . the Faithful So l , we e ofte perf rmed ' Sophia Julia Woolf (1 83 1 - 93 ) wo n fame by her

piano pieces and her opera , Carina , as well as

through her songs .

n Kate Fanny Loder , not conte t with songs and

“ ’ ’ ” L Elisir d Am o re the opera , has composed an

- t overture for orchestra , two string quarte tes , a piano l trio , piano and vio in sonatas , minor piano pieces ,

r e r 1 8 1 8 - 2 and some organ works . Caroline O g ( 9 ) was another tal ented composer whose work po s

an d sessed sincerity artistic value , and was above

the merely popular vein . Among her productions ,

o which have been often perf rmed , are tarantellas ,

’ a o a sonat , and other piano pieces , a cello s nata , a t piano quartette and trio, and a piano concer o .

1 3 8 WOMAN ’ S WORK IN MUSI C

to o o n e o f n none long in years , was co stant creative

activity . There are a number o fEnglish women who have

done excellent work in the large orchestral forms , if we may count festival performances as a measure f e o success . Edith Gr ene has composed a sym

at 1 8 phony, which was well received London in 95. To her credit may be placed many smaller works o f

- a o . real merit , among them worthy vi lin sonata ( o Amy Elsie Horrocks , b rn in Brazil , brought out

1 8 . her orchestral legend , Undine , in 97 She has also compo sed incidental music to An Idyl o fNew

’ ’ Ev e n fo r Year s , a cello so ata , variations piano

and strings , several dramatic cantatas , a number of

S . ongs , and many piano and violin pieces Besides

doing this , she has won fame as a pianist . Mrs . ! d Julian Marshall , born at Rome , has pro uced

several orchestral works , as well as several can

c fo r larin e t o r tatas , an operetta , a no turne p and

ch estra o f . , and a number songs Oliveria Louisa

o o f Prescott , a native of L ndon and a pupil the

t o Royal Academy of Music , is responsible for

n o sympho ies , several vertures , a piano concerto ,

r e c and some Sho ter orchestral pieces , b sides vo al

and choral work .

f 1 8 6 Dora Bright , born at She field in 3 , another

’ o d o n e student fthe Royal Aca emy , is of England s E NGLAND 1 3 9

most gifted musicians at the presen t time . She

became assistant teacher of piano, harmony , and

wo n counterpoint , and many prizes , being the first

fo r s woman to obtain the Lucas medal compo ition . Her two piano co ncertos are praised by critics fo r their bright and original fancy and melodious in

“ o f spiration a high order , coupled with excellent ” Th workmanship . e orchestral colou ring is said to be thoroughly exquisite . A fantasia fo r piano and orchestra was given at the London Philharmonic

’ 1 8 2 o f Concerts in 9 , the first instance a woman s composition being given by that orchestra . Her

t wo n string quarte tes have notice, also her piano duos , a Violin suite, some flute and piano pieces , and several piano solos and songs [ Alice Borto-n has published an Andante and

r S Rondo for piano and o chestra , as well as everal piano works (suite in o ld style) and a number o f

e songs . Edith A . Chamb rlayne has composed two

o symph nies , as well as a manuscript opera , a sex

fo r tette harp , flute, and strings , and various harp , ”

o . organ , and pian music Edith Swepstone has had some movem ents o f an unfinished Symphony per

an r formed , also ove ture , Les Tenebres , at Lon

do n in 1 897. She has written a piano quintette

and a string quartette , besides short cantatas and

fo r o i . the usual lesser pieces violin , pian , and Vo ce 1 40 WOMAN ’ S WORK IN MUSI C

1 o 1 860 Marie Wurm , b rn at Southampton in , is a

a successful pianist as well s composer . Her co n certo in B minor is highly praised fo r excellent workmanship , originality , and melodic strength and charm . Among her other works are a concert over

’ ture, a string quartette , violin and cello sonatas ,

fiv e - some voiced madrigals , with various piano pieces and songs . ' Rosalind Frances Ellicott has wo n a place o f honour among women composers . She was born in

1 8 is o f . 57, and a daughter the Bishop of Gloucester

n o t Her music is especially ecclesiastic in vein , but includes many notable secular compositions . Among

o fes her imp rtant works are dramatic , concert , and tiv al fo r o overtures , and a fantasia piano and rches tra , all given at various English festivals . Of her ” ” o f various cantatas , the Birth Song , Elysium , and Henry o fNavarre have met with the most

success . She has written two piano trios , a string

’ fo r quartette, and much music cello , piano , and voice .

. n u Ethel M Smyth , who rece tly was bro ght into notice in America by the performance of her opera ,

“ ” ’ Der Wald , is one of England s talented musical women . In purely orchestral vein she has produced a serenade in D and the overture Antony and ” Cleopatra , both being given at the Crystal Palace

1 4 2 WOMAN ’S WORK IN MUSI C

’ Artist s Proof and the Queen of Hearts were

lAn n i successfully performed . e Fortescue Harrison ” witnessed the production of her Ferry Girl and ‘ ‘ ‘ ’ 4 B Lost Husband at London . Louisa Gray s e tween Two Stools has been given at many places .

’ ” u - Ida Walter s fo r act opera , Fl'orian , received a 1 886 r n i London performance in . Flo e ce Mar an

h a Skinner s made Italy the scene of her work . Her ” l Suocera , in serious vein , appeared at Nap es in ” 1 8 be 77, while her Mary , Queen of Scots , after

L n . o ing given at St Remo and Turin , received a don hearing . England is preeminently a land o f musical fes tiv als r , at which choral wo k plays an important

o part . Lond n and the larger cities have their regu

o f lar series of concerts , and the Size the capital attracts outside artists , but many of the smaller

‘ at which e towns have annual occasions , local tal nt is sure to receive a full appreciation . This accounts for the prevalence o f cantatas in the English m u

sical . e repertoire Subj cts of all sorts are used , and

o r dramatic , romantic, even simple pastoral themes appear to delight the British ear when set to music and given by some singing society . Among the many women who have attempted

o f o this form comp sition , some have already been

o d menti ne , but a number have been satisfied with E NGLAND 1 43

r h f it fo t eir only e forts in extended style . Lizzie

o Harland produced her dramatic cantata , C eur de ” 1 888 Lion , in , following it with the Queen of ‘

. o the Roses for female voices Ethel Mary B yce,

o f winner various prizes , has composed Young ” Co rriem ie Lochinvar, The Sands of , and other

as e . cantatas , well as a March in E for orch stra o Miss H eale , another London aspirant , is credited “ ” “ ” with Epithalamion The Water Sprite, and

. r other choral works . Emily M Lawrence has p o ” du ced Kilm en Th e Bonny y and Ten Virgins , ' m both for fe ale voices , while Caroline Holland has ” Kilm an se written the cantata , Miss gg, and the

fo r o r ballad , After the Skirmish , chorus and

o n as ch estra. Miss Holland has w laurels a con

ductor , besides being known as a composer . All o fthese have done a greater or less amount of work

in the small forms , for piano , voice, or Violin . Still longer is the list of women who have worked Y wholly in the Shorter forms . et the absence of ambitious work must not be taken to indi cate a lack

’ o f o f musical genius , for many England s best known musical women rest their fame upon a few

h ff n en short pieces . T ere is a vast di ere ce betwe

o o o f go d music and great music , and a s ng real worth often outlasts an ambitious but overswollen

o n a symphony that is laid on the shelf after e he ring . 1 44 WOMAN ’S WORK IN MUSIC

l In the field of vio in music, there are many women (

. t G de deserving mention Margare y , after taking

prizes and scholarships , produced two excellen t vio

e lin sonatas , besides piano piec s , songs , and some

organ music . Contemporary organists , in passing, s Westro w o are well repre ented by Kate p , h has u published fo r short voluntaries for organ . Laura

To m Wilson Barker , wife of Taylor, has entered

the classical arena with a Violin sonata , and has done mor e ambitiou s work in the music to As 0 ” “ ” n e Yo u Like It and the cantata CE n o . Caroline Carr Moseley has produced several pieces fo r violin

’ o r and cello, and has written one two dainty works i Park n s Mrs . to . for y instruments Beatrice y , born

o f English parents at Bombay , has several charming

to violin comp'ositions her credit , and the same may K f fo r ate o . be said Ralph , a native England Emily ”

Tro -u Josephine p is another violin composer , who

has also tried her hand at songs and piano pieces .

o n e o f Maggie Okey , at time wife the pianist De

P a i achmann , and now m rried to Maitre Labor ,

e o s famous as the advocate of Dr yfus , has comp ed a

s violin onata , a violin romance, and several piano

co n pieces . Kate Oliver is responsible for some

c erte d l music , whi e Alma Sanders has produced a

r an d a o t . piano t io, a violin sonata, pian quarte te

E NGLAND 1 4 5

0 To day Ethel Barns heads the lis t o f violin co m m posers a ong women . By far the most important name in this field of

’ a A wom n s work is that of gnes Zimmermann .

1 8 she Born in Cologne in 47, received her musical education in London . At the Royal Academy of

an d Music She studied piano under Pauer Potter ,

r afterward attaining high rank as a perfo mer . In

m o n Ste all co p sitio , her teachers were gg and George

f r o n Mac a ren . She w the silver medal of the Acad

’ emy , and obtained the king s scholarship twice, in

1 sh e 1 8 60 and 862 . In the next year made her

London début , and a year later appeared with the

r Gewandhaus o chestra at Leipsic . Her fame as a classical pianist was soon established , and her ex cellen t work in editing the so natas of Beethoven and Mozart bo re added testimony to her musical knowl e dge . Her compositions include a piano trio , three

fo r violin sonatas , a suite and other pieces piano , and a number of songs . Her clear style and thor ough musicianship have given these works more

sh e n o than a passing value, and is recko ed t day

’ - as o n e o f England s leading women composers . Still more numerou s than the violin compos ers are the women who have shown their ability merely

v in the form of a few piano pieces . Almost e ery eminent performer is at some time tempted to ex 1 46 WOMAN ’S WORK IN MUSIC

press his own musical thoughts in writing . Such i h as b Arabella fa een the case with Goddard , the

. . 1 8 8 mous pianist Born near St Malo , in 3 , she d playe in her native place at the age of four . At six Sh e as w studying with Kalkbrenner at Paris . i b At e ght She played efore Queen Victoria , and

ix published S piano waltzes . Among her maturer works are an excellen t ballade and several other i D r Schirm acher 1 8 2 . o a 6 piano selections , born in ,

wo n was less precocious , but the Mendelssohn prize

she at Leipsic, where studied under Wenzel and

o f Reinecke . Her works consist a suite, a valse

set o f e caprice , a sonata , a serenade, a tone pictur s , ' d as and so o n . Amina Beatrice Goo win w another

o f child prodigy , first playing in public at the age six . She studied with Reinecke and Jadassohn at

Delabo rde Leipsic , at Paris , and finally with Liszt

h as and Clara Schumann . She published many

e piano selections , b sides founding a pianoforte col lege and publishing a goo d book of practical hints on technique and touch . She is married to an

- Th . e American , Mr . W . Ingram Adams list of piano composers might be extended much further ,

' but these are th e m o st r epresentative names .

s few Of the long list of song compo ers , but have pro duced anything of marked prtistic value . Fore

a most among these t present is Liza Lehmann , who

1 4 8 WOMAN ’S WORK IN MUSI C

the performers being Ben Davies , Albani , Hilda

. s Wilson , and David Bispham They were o de lighted with it that they brought it out at the Mon ” an d day Pops , after that its success was assured .

s There are other song cycles by this compo er , no ” Mern o riam tably In , but none equal the Persian ” Garden . It is full of rich passages of exquisite beauty , moving pathos , and strong expression . ’ Frances Allitsen passed a lonely childhoo d in a little English village . She would improvise war m like ballads for amuse ent , though her later works and her character are marked by gen tleness of thought . She hoped to make a name by singing , but unfortunately lost her voice . Her family were

c all hostile to a musi al career , and regarded her tastes as most heinous She describes the scen e o f o u t her youth as a place where, if a girl went

sh e was see to walk , accused of wanting to the young men come in on the train ; where the chief

o ri o f n talk was the subj ect garme ts , and the most extravagant excitem ent consisted of sandwich par ” ties . Domestic misfortunes and illness left their mark on her , but could not hinder her musical prog ress . She finally sent some manuscripts to Weist x i ' an d with Hill , of the Guildhall Music School , his d approval came to London . Her ays were spent in

fo r teaching , to earn money with which to pay her E NGLAND 1 49

n she f studies in the eve ing , but braved all di ficulties ,

n and finally wo success . She is best known in

America by her songs , which are really beautiful

settings of Browning , Shelley , Longfellow , Heine,

and other great poets . But She is a master o f o r

h l as c estra . t technique well Her over ure, Slavo ” e nique, was successfully perform d , and a second ” o n e wo n r , Undine, a prize from the lady mayo

e ss . Her room is a delightful gallery of photo

o f r graphs a tists and musicians . She has a picture

sh e of Kitchener , whose example, says , ought to cure any o n e o fshirking ; hence the mistaken an ec dote that She could not work without a picture o f

n Kitchener o her desk . i

Mrs . o Rhodes , kn wn in the musical world as ’ l d Harde o t o f n . Guy , was Fre ch ancestry and birth

She spent her childhood in a Norman castle, and her youth in Paris and London , studying music . After

e marriage she met with rev rses , and was forced to earn a living by teaching . She studied composi tion with Clarence Lucas , and gives him great credit

for developing individuality . She has three excel

lent guiding maxims , Avoid familiar things , choose words so clear that people can see the pic

an d . ture , be sure that the climax comes at the end Her son gs succeed in combining the elegance and lightness o f the French school with the appealing 1 50 WOMAN ’S WORE IN MUSIC

Simplicity of the English . Her reputation was es tablishe d with her first publication , the melancholy

” and dramatic Sans Toi . Her many succeeding lyrics range from liveliest humour to deepest pathos , and all are thoroughly artistic . Widely known are ” ” ” To i Vo s Sans , Mignon , Yeux , Say Yes , ” “ ” “ Ferm 1 ere Chanson de Ma Vie , La , Valse ” des Libellules , and many others . Her favourite poets are Victor Hugo and Ella Wheeler Wilcox, a rather strange mixture . Her only attempt in larger form is the operetta Elle et Lui . She is

n a great friend of Mme . Calvé , who is especially fo d

n an of her songs . She has accompanied Calvé o

American tour, and has appeared with her before

Queen Victoria at Windsor . She sings herself with a light but attractive voice and the mos t perfect

sh e diction . Of late has composed for Calvé some acting songs , such as The Fan . 3 Maude Valerie White takes rank among the very f ’ best o England s song write rs . Born at Dieppe

1 8 sh e e in 55, entered the Royal Acad my at the usual age, completing her studies at Vienna . Dur

h er ing student days She produced a mass , and at various times she has composed Violin and ’ cello

sh e pieces , but has won most fame , as well as much

c o f money , by her songs . Grove onsiders the best these to be the settings o f Herrick and Shelley ;

1 52 WOMAN ’S WORK IN MUSIC

- o f part songs . Some these have been sung by three thousand voices at the Crystal Palace . She has

fo r i published many songs solo vo ce also , but these are hardly equal in musical worth to the productions of the more recent geniuses .

n o Less high i standard , but vastly p pular , are r the songs of Hope Temple, of whose wo ks My

’ “ Lady s Bower ” and In Sweet Septem ber are probably familiar in many households . Edith Cooke “ has found a vein o f dainty playfulnes s in Two ” ro Marionettes and other similar so ngs . The p du ctio n s of Kate Lucy Ward are graceful and m u sic ian l e y, while Katharine Ramsay has writt n some

’ admirable children s songs . Without enumerating more , it may be worth mentioning that the famous m Patti has tried her hand at co posing songs , and

’ that Lady Tennyson has set so me o fher husband s

n - lyrics , although he is said to have bee tone deaf and unable to appreciate any music . The Irish songs o fAlicia Adelaide Needham are

to o n ew said be exceptionally go d , and thoroughly and local in flavour . Ireland is also represented among women composers by Christina Morison , ” d - who pro uced a three act opera , The Uhlans , and l Lad e f wrote many songs ; y Hel n Selina Du ferin , whose songs are widely known , especially the Lay

f r O the Irish Emigrant ; and Lady Mo gan , born E NGLAND 1 53

in the eighteenth century at Dublin , and known through her operetta , The First Attempt .

n o Scotland can Show great woman composer . There are a few ballad writers besides those already

o bu t o f menti ned , they are little importance . Wales Llewela can boast one musical daughter in Davies , who wo n a large collection o f prizes while at th e

Royal Academ y . Her works include three sketches for orchestra , a string quartette , a number of songs , and a violin so nata that received a London perform 1 1 8 . ance in 94 , and was highly praised by the critics

is s En s an d e m se s s e e Fo r m ore e xte n d e d l t of gli h oth r co po r , ’ Th e s e n is e e e O Rb e l s a a e an appe n dix . tud t r f rr d to tto v lu bl h d bo ok o fwo m en com pose rs . C A TER VII H P .

GERMAN Y

IT is only natural that the country who se com ~ posers have led the world for more than two cen tu n ries should produce many musical wome . The

n o t o f list excels only in point length , but in merit and priority . It begins with the nun Roswitha , or

v o n Helen Rossow , who flourished at the end of the

wo n tenth century, and renown by her poetry , some ! of which Sh e set to music . But in modern times many important names are found in Germany at

o r o a time when few n ne appear in other countries . Music was consider ed a proper relaxation for

n royalty , and in the eightee th century every petty

o court aimed to keep its rchestra and performers , while very often the exalted hearers would try their

o r own hands at playing composing . Frederick the

o f Great was especially fond music , and played the

flu t and p with much skill and persistence, his Sister , as the Princess Anna Amalie, was as gifted her 1 54

1 56 WOMAN ’S WORE IN MUSI C

o n e n rade, and several marches , of which is o the

German army lists at present . Princess Charlotte

‘

- d - of Saxe Meiningen , who live but twenty four years , found time to compose several marches and

o f a number songs and piano pieces .

o f Among living composers , Princess Beatrice Batten berg is the autho r o fa number o fmelodious songs , also an orchestral march and some church

- responses . Saxe Meiningen seems to hold its own

n as in the prese t well as the past . Princess Char lotte, daughter of the Emperor Frederick III . , has composed some military and Turkish marches , also “ ” a tuneful Cradle Song for Violin and piano .

Marie Elizabeth , of the same principality, counts among her works an Einzugsmarsch for orches

o f tra , a Torch Dance for two pianos , a number f o r . piano pieces , and a Romanze clarinet and piano One of the most notable female figures in German ‘ n music was Maria Theresa v o Paradies . Born at

1 Vienna in 759 , She met with an accident when

ld f r n o o . three years , and became blind life Eve with this drawback , however, her musical aptitude was so great that her parents were j ustified in letting her begin regular studies and procuring the best f teachers for her . At the age o eleven She appeared

’ Pe r o lesi s in public , singing the soprano part of g

n Stabat Mater , and playing her own accompanime t GE RMANY 1 57

“ n h o the organ . T is interested the Empress Maria

o Theresa , who pr cured the best of teachers for her . She made such rapid progress in piano that at her first concert sh e was able to arouse the utmos t en thu siasm by her expressive and sympathetic perform

o f r ance . She made a number conce t tours , winning

. Sh e plaudits everywhere In Paris , where stayed six sh e months , appeared at the Concerts Spiritu

n r elles , and played freque tly befo e Marie Antoinette . After vari o us ro yal audiences in England and Ger

Sh e re many , She returned to Vienna , where soon

to tired from public life, and devoted herself teach ing 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 kno wing any number of smaller piano works . Her power of concentration is also made evident by the

o fact that She would dictate her own comp sitions ,

o . note by n te, without the slightest alteration Very

o s few , even among the great composers , have p sessed this faculty . Wagner and Mendelssohn were

’ perhaps the most gifted . Beethoven s great works

o were the result of much careful correcti n , and in some cases represen t as many as six or eight revisions . Her compo sitions have wo n praise from the great 1 58 WOMAN ’S WORE IN MUSI C

r o f d est musicians , and Show me it a high or er .

Among her dramatic works , the most successful

” o f in point performance are . Rinaldo and Alcina , a fairy opera (apprec iated in its day much as Han

” sel o u r o wn o and Gretel is in ) , the mel drama ” a Ariadne and Bacchus , and the pastoral operett ” l n i a Der Schu c a d d t . Her other works include a a piano trio, a number of sonatas and vari tions for o k piano , several s ngs and other vocal wor s , besides a few cantatas . Her remarkable gifts wo n her the friendship of the foremost musicians o f her

n time . Amo g others Mozart admired her greatly ,

r . and dedicated a conce to to her 0 Another figure of musical importance was Mari h . e In 1 s e anne Martinez Born at Vi nna 744 , began her musical studies while still a child . Her first efforts at composition were made when she was

o ld twelve years , and met with a most favourable reception , though of course they cannot compare with her later productions . She was an excellent

o r pianist , what would correspond to a pianist in our day , and among her teachers on the harpsichord was Haydn himself . She became equally proficien t in singing , under the great teacher , Porpora , and the historian Burney speaks o fher vocal accomplish ments with unstinted praise .

o f Among the works her maturer period , her

1 6 0 WOMAN ’S WORE IN MUSIC

ian was i c s . She much pr zed as a teacher of piano

a and singing, and personal favourite in her native

Of o is city . her compositions , the m st ambitious ” to an overture the play Die Geister Insel . She wrote also several piano pieces , among them three 1 r polonaises . But according to German autho ity , it is her songs that have made her memory hon

u r o ed. Her originality and her skill in metrical

wo n treatment have her high praise, and many of the songs achieved wide popularity . ' Blah etka Leopoldine , the Austrian pianist , was o n e o f o the m st prolific of women composers . Born

1 8 1 1 sh e near Vienna in , made such rapid progress

’ ’ under her mother s tuition that by Beethoven s ad h vice s e was placed under Czerny in her fifth year .

She pursued composition as well as piano , and when twelve years o ld was able to appear in Vienna and play a s et of variations with her o wn orchestral accompaniment . Among her later teachers were

Mo sch ele s c . , Kalkbrenner , and Se hter She made

r frequent tours , and met with unive sal success . The criticisms of her work include an extrem ely favour

1 8 0 sh e able no tice by Schumann . In 4 settled in

Boulogne, where she became renowned as a teacher ,

i 1 88 and led a successful career until her death n 7.

r Of her many wo ks , the most ambitious are

” A Mi ae is F a en als Sc afe n e To nku e n stler. ch l , r u h f d GE RMANY 6 I

’ d An leterre fo r a piano concerto , the Souvenir g

o piano and rchestra , and two sets of piano varia

r s tions with o che tral accompaniment . Among her numero us examples o f chamber music are found

fo r and i two variations string quartette p ano , piano

! quartettes , a piano trio , several violin sonatas , a

’ fo r polonaise, and sets of variations cello, violin , and

flute with piano . She has compos ed a grand duet

o f fo r u and a number solos piano , also numero s

. Réiube r vocal duets and songs Her operetta , Die ti ” und die S nger , was successfully produced at

e Vi nna .

’ O n e o fGermany s greatest women compo sers was

r n fo r Emilie Mayer . Hers was a fo tunate positio , she exe r was always well provided for , and could cise her po wers without the need to think of the

d 1 8 1 2 financial result . She was born in Frie land in , “ ” r s o f her fathe being Apotheker , a po ition far more importance in German towns than that held

r by o u pharmacists . Emilie showed the usual signs

o f n . musical talent , and was give the best of teachers L After advanced work with Carl oewe , the great

s sh e o f ballad compo er , entered the musical life the

sh e German capital . Here gave a concert as her n i troduction , playing the piano herself, and making the programme entirely o f her o wn composition s .

e - On this oc casion were giv n a concert overture, a I6 2 WOMAN ’S WORE IN MUSIC

1 1 8 fo r string quartette, Psalm voices and orchestra ,

“ ” n and two sympho ies , the Militaire and the B

. was minor This an imposing array , but it was

o co n only a beginning , and her pr ductive career tin u e d 1 88 until her death in 3 .

No t all of her works have been published , but all Show goo d thematic material and an unusual sense o f musical form . The list includes many dances

and songs , two string quartettes , two piano quar tettes , two quintettes , ten piano trios , eight Violin

1 1 8 sonatas , twelve overtures , Psalm with orchestra , seven symphonies , and an operetta . This is cer

ain t ly an extensive catalogue for any composer .

Among the printed works , the best are the Faust

6 . 1 2 1 overture , Op . 4 ; the violin sonatas , Op 7 and , 8 c . also the no turne, Op 4 , an expressive work ; the

’ 1 cello sonata , Op . 47 ; the piano trio , Op . 3 ; and f 10 2 o f o r 50 e . piano an all mande, Op 9 , that is full

n masculine power a d energy .

’ Be rn o u ill an Agnes y, a native of Berlin , was o ther woman who devoted herself to orchestral pro

i s du ct o n s . Her works in the larger form have been

n given ofte by the Saro orchestra and others , while her songs an d piano works have received much

o o f re praise from' the critics . Another comp ser ’ o n e o f e nown was Aline Hundt, Liszt s b st pupils ,

1 8 a e who was born in 49 , and died at the early g

1 64 WOMAN ’S WORE IN MUSIC

o smaller orchestral selecti ns , as well as some worthy piano pieces .

Ado l ha 1 8 0 Louisa p Lebeau , born at Rastatt in 5 , is undoubtedly one of the most gifte d of living

o wn women composers , not only in her country ,

r but in the entire wo ld . Her teachers include such famous names as Clara Schumann and Kalliwo da fo r s piano, and Rheinberger in compo itio n . She

i i n is an excellent p an st , and has made freque t and f successful tours to all the great cities o Germany . Her appearance at the Gewandhaus concerts in Leip sic is in itself a proof o f her superior attainments

o o n in this directi n . She often performs her w works , which are always successful .

o h er With the exception of symph ny and opera , compositions include practically every form used

o . . 2 in m dern music Her Concert Overture, Op 3 ,

1 8 8 2 e first performed in , has been rep atedly given

r i in Ge many . Her Fest val Overture, also, has met with a warm reception . Her piano concerto , Op .

is 3 7, another work that is frequently heard , while

f r rac . 2 o the Fantasia , Op 5, piano and orchestra , p

o e tically another c ncerto , is rich in musical b auty , and contains a fina le of exceptional stren gth .

Among orchestral works with chorus , her oratorio , ”

. 2 r Ruth , Op 7, is a wo k of extreme beauty , and o n e which has been heard in all the important cities LOUIS A ADO L P H A LEB EAU

1 66 WOMAN ’S WORE IN MUSIC

b s string quartettes , esides piano onatas and songs . i H l n She was a pupil of the famous Abt Vogler . e e e

Liebm an n o , about fifteen years later , pr duced sev

r as t o eral quartettes of the same so t , as well w piano

a n u m be r o f trios and ' violin sonatas , piano pieces , and songs . Clementine Batta has published a Melo

’ fo r die Religieuse voice, piano , cello , and organ . Louise Kern has shown a fo ndness fo r combining violin , organ , and piano . Louise Langhans (maiden

1 8 26 is name Japha ) , born at Hamburg in , usually given an hon o urable place in the German lists o f

e wom n composers . She studied with Robert Schu

Diisseldo rf mann , at , and became famous as a pian

ist . o Her comp sitions , not all published , include several string quartettes , a piano trio , sonatas , choral

o f works , fragments of an opera , and a number

o c c o m effective piano pieces . Am ng ontemporary

r v o n Kralike pose s , Mathilde has published a piano trio of some interest . Of the women who have attempted large choral

e a m en works , there are s veral besides those alre dy i

i n BarO- v o n B ru cken th al re t o ed . ness Bertha has “ ce iv ed high praise for her Grand Messe Solen

- o r nelle , and for some four voiced numbers with gan accompanimen t . She has also written pieces

’ A e for violin , cello , voice, and piano . ngelica H nn ,

’ o n e o f Kalliwo da s best pupils , is credited with a GE RMANY 1 67

So lem n is s o f Missa , also an opera , The Ro e

n n Lebanon , and some so gs and instrume tal works . ( Pe ssiak— Anna Schmerling , born in Vienna , was for many years teacher of singing at the conservatory

‘ o there, and won more than a l cal reputation through l o f h the performance her masses . Jo an n a Kinkel ” fo r is responsible a Bird Cantata , as well as an

operetta and many popular songs . Hers also is

’ ” w - the ell known quartette , The Soldier s Farewell . ‘ A a gathe Plitt , a child prodigy in her e rly years , i s still an excellent pianist , and has entered the lists in composition with a number of successful can

tatas , psalms , motets , and other sacred works .

H ermine Am ers fo o dt- Dyck won fame by producing ”

t n . the cantata , Go tes Allgege wart

s Miiller- Gallenho fer In the operatic field , Jo epha ,

1 0 e . born at Vienna in 77 , seems the pion er Besides

De w e im lich e sh e her opera , Bund , published a

fo r string quartette and many pieces the harp , upon

o which sh e was an excellent performer . Car line

Wisen eder fo r , of Brunswick , deserves notice her

fo r d aid to the blind , whom she starte a successful

music schoo l. Her two operas and several melo ’ u drama s were published after her death . Aug ste

1 8 0 Goetze, born at Weimar in 4 , grew up to suc

r Lieder cess as a singer of Ge man , and founded

Su an opera school at Dresden . Of her operas , 1 6 8 WOMAN ’S WORE IN MUSIC

” r sanna Monfo t , Magdalena , and Eine Heim

n n e r fahrt , have bee freque tly p rfo med . Elise “ Schm ezer has composed the opera Otto der ” S li b o f ch tz , esides a number songs . Thekla Grie

” h as had chOn bel her opera , S Karen , produced l i Eli twice with n recent years . se Bachmann pub

” lished der a melodrama , Die Macht Musik , also

some songs and piano pieces in popular vein . ' th e Co u n tess Among less important works , of Ahle “ t Telem ach feldt issued the balle und Calypso ,

1 il . v o n P fe schifte r 1 8 0 in 794 Julie , born in 4 , is

“ ’ o f VO lein s r author the grand ballet , g Mo gen

s cena gruss and the dramatic Agneta , which have pleased Wiesbaden audiences ; also a number o fpiano selection s and songs .

s who o Among tho e have written for the vi lin ,

o n e Francesca Lebrun , of the earliest , was born at

1 m r Mannheim in 756 . A re arkably great singe

n sh e co m and accomplished pia ist , won laurels in position by her musicianly piano trios and her so ' natas with violin accompaniment . Pauline Ficht

’ 1 8 o n e ner , born in 47, became of Liszt s pupils , and wo n many public triumphs as a pianist . Her

e u n works , mostly piano pi ces and sp gs , co tain two H en drich fantasies for violin and piano . Marie

Merta , five years younger , is the author of an ex cellen t an pi o trio, besides the usual song and piano

1 70 WOMAN ’S WORK IN MUSIC

f o . 1 8 1 composers Germany Born at Munich in 5, sh e o ld began her piano studies when five years , and made progress en ough to allow a public appearance in her eleventh year . Four years later Mendelsso hn 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 love

” liest creatures I have ever seen . She has the gift ,

o f o o f he continues , composing s ngs , and singing

w . them , in a degree that I have never kno n before

she To help support her parents , did some teaching , and sang in the royal chapel with such success that sh e was named for the post of royal court singer .

1 8 2 Kbstlin In 4 she married Christian , who obtained

Tiibin en a law professorship at g , and there she passed fourteen happy years . The death of her “ husband was followed by the loss of her three sons , and Sh e was forced o nce more to struggle fo r a “ f n . o livi g In this later period trial and success , h f s e o s . n published most her compo itions The so gs , amounting to a hundred and fifty in number , are remarkable for their strong feeling and expressive power , while her piano works are stamped with

n originality and depth o f conception . Amo g the

e latter are the great D utscher Siegesmarsch , two ”

an d . mazurkas , an impromptu , In the Twilight A DELE A US DER O HE

1 72 WOMAN ’S WORE IN MUSIC

master to Frederick the Great . Her works are

BOrn er- an drin i . S mostly sacred in character Marie , who lived at Dresden before entering o n her career

o Av e as a famous opera singer , wrote a p pular

o . do Maria , besides other melodious s ngs In the ' m u sic Lo u ise v o n main of sacred , Vigny has done !

- some go od wo rk . Ida Becker has won well de

’ which are served success with her children s songs , y

inimitable in their way . Her cantata , Die Hei ” lige Nacht , for soloists and chorus , is often heard .

. s Marie Hinrichs Franz , wife of the great compo er ,

- r was herself a song write of exceptional merit , and

deserves more than a passing mention . ‘ o f m u sic Clo tilde Kain ersto rfe r In the field organ ,

- is the leader to day . Her works , which are all of

d o o f a high standar , c nsist numerous hymns and

ac co m an i some choral numbers , all with organ p ' r ment . Marianne Stecher is another successful o

an ist o a n d g and comp ser , her many fugues earn her

a high rank for musicianship . Of earlier date was i a j udith Bachmann , who flourished at Vienna ne r

o the cl se of the seventeenth century . She is cred

ite d as with a number of organ fugues , as well a

piano sonata . 3

n to n Comi g the less usual instrume ts , Ottilie

i who He nke, lives in Berlin has composed two

’

b o . cello romances , esides worthy pian music Sophie GE RMANY 1 73

Se i t o f o p , Col gne, has also published a number of ’ r cello pieces . Caroline K amer became a virtuoso

n o o the clarinet , and wrote a go d many pieces for that instrumen t . Therese Winkel was a famous ' o f earl n in ete en th n harp player the y ce tury , and pub

fo r lish ed three sonatas harp and violin . Nina Esch

o f fo r born has composed a number pieces the harp , besides Songs an d duets . Fanny Christ and Ida

Zau biter zith er l e rs have become noted as pay , and fi f have written many compositions o r that instrumen t . C A TER V H P III .

FRA N CE

FA MOU S am ong women com po sers of all na c

Cé cile— - tions is Louise Stephanie Chaminade . She

1 8 6 1 was born at Paris in , of a family that was well

w she endo ed with musical taste . In childhood ,

o made the pian her favourite companion , and while

t sh e o her girls were devoted to their dolls , would try to express in tones the simple emotions that moved her . There are some gifted mortals who can think in music , whose j oys and sorrows trans

e late th mselves naturally into melody . Cecile

Chaminade was one o f these . So earnestly did she devote her childish days to music that before the age of eight sh e was already able to Show some attempts of her own at com

o f position . These juvenile works , which consisted

o f r sacred pieces , were such interest to the compose Bizet that when he heard them he advised her par

e a ents to giv her a complete music l training , and I74

FRANCE 75

f r predicted a brilliant future o her . In spite of their

fo r fondness the art , the parents had no inclination to see their child upon the thorny and toilsom e path of a musical career . Meanwhile the young girl

u devoted herself to the piano with utmost ardo r , and ff continued her e orts at composing . When at last some of her pieces were j udged worthy of perform

her ance in the church at Vesinet , parents were persuaded to let her follow her inclinatio ns . Her father insisted , however , that her general education

n o t e should be sacrificed , and the result was s veral years of hard work .

Le Co u e Her teachers were pp y in piano, Savard

o Marsick in harmony , c unterpoint , and fugue , in

d m . violin , and Benjamin Go ard in co position

sh e Under these made rapid progress , and , in fact , the latter part of her education consisted in playing chamber music with Marsick and Delsarte . Her o wn début as pianist took place when sh e was eight

fo r o f een , and gave a chance the performance a

so f few of her compo s itions . These were e fective that they occasion ed the often - quoted remark o f

A i n o t mbro se Thomas , This is a woman who composes , but a compo ser who happens to be a ” woman . Her career has been o n e o fconstant progress and

constant triumph . Her talents as a pianist have 1 76 WOMAN ’S WORE IN MUSIC

wo n public hearings for her in London , Berlin

Leipsic , and many other cities besides her native

Paris . She has be en especially in demand for the

r c perfo mance of her own concerto , whi h has been given in the Gewandhaus and London Philharmonic

o f Co concerts , as well as those Lamoureux and lonne in Paris . Her works have become widely

o w o n e kn n , and her name is now a familiar , not

n only in France, but in England , Contine tal Europe, and America . Her most ambitious compo s ition s are Les Ama ” o n e - zones , a lyric symphony with choruses ; a act ” Sev illan e an d ballet , La , still in manuscript ; the grand ballet and symphonic scena en titled Cal lirrho e , successfully given at Marseilles and Lyons , and now published in many differen t arrangements . Her concerto for piano and orchestra has received m high praise fro the critics , who seem always ready to laud its refined melodic charm and graceful deli

o f cacy sen timen t . The one defect seems to be an excess of vigour and virility in certain of the later

r movements . Her other orchestral wo ks consist of two suites , one of them being arranged from Cal ” lirrh o e .

n e Of lesser instrume tal music , she has writt n two successful trios . Her piano pieces are many in n umber , and excellent in quality . Among them

I 78 WOMAN ’S WORE IN MUSIC

Augusta Mary Ann Holmes was born at Paris 8 1 . sh e in 47 Of Irish parentage, afterward became

as naturalized a Frenchwoman . Her family were

a e much Opposed to musical care r , and insisted o n her giving it up . They did not approve of any

fo r o artistic pursuit her , but allowed her t take up

as H painting the lesser e v il . er love for music

a o overc me all obstacles, and She so n began to appear as a child - prodigy in public and private con certs . Her early compo sitions too k the form of

sh e o songs , but when only eleven c nducted a quick

o f e ! step her own , play d at Versailles by an artillery

. o band Her really great works , h wever , did not appear until many years later .

e t Her first opera , Hero Leandre , was success

” in 1 8 Exitu fully produced 74, and the psalm , In , appeared at abo ut the same time . In the next year

sh e she became a pupil of Franck , whom considers

and r - her real master , afte that great works came

u n thi ck and fast . An Andante Pastorale from an published symphon y met with a favourable recep ” Lu tec e tion . Then came the symphony , which

' was second only to works of Dubo is and Godard d in a Paris competition . This was followe by the ” h m n . a s e a symphonic poe , Polog e Me nwhile m de ano ther effort to win a prize with her lyric drama

” o f - Les Argonautes . Out twenty four votes , she

1 8 0 WOMAN x9 WORK IN MUSI C

h the music whic she afterward sets to them . Hers is a virile genius . These women seem preo ccu ” o f to pied , first all , says one critic, make peo ple forget that they are women . Whatever Mlle .

do sh e Holmes may , or whatever may wish , she belongs to the French schoo l by the vigour o fher

o f harmony , her clearness , and the logic her con c e tio n h o h as p and exposition Imbert , w written

e : o f a biographical sk tch of her , says The talent

Augusta Holmes is absolutely virile , and nowhere in her works do you find the little affectations which

to o disfi u re o f . often g the works women With her , nobility o f thought and sentimen t take first place .

o She w rships the beautiful , and her Muse has sung only subjects that are worthy of being sung . She

o f is masterly in her ease, and all the resources orchestratio n are known to her . Gi Maria n i o Felice Cleme ce de Re set , Vic mtesse de ' o n Grandval , is an ther ame as famous as it is exten

1 8 0 sh e fo r sive . Born in 3 , showed innate taste

re music , and her career was devoted to it . She

i o ce v e d instructi n from Flotow at first , doing more

- valuable wo rk afterward with Saint Saens . For a time she was able to take lessons of Chopin . Her

m o o works include practically all forms of co p siti n , but sh e has sho wn especial aptitude fo r dramatic work and church compo sitions . FR ANCE 1 8 1

Of her many dramatic works that have been su c “ ” c essfu ll i y produced , Le Sou de L se appeared 8 1 . o first , in 59 Am ng the operas brought o u t at

” Le s a later date are Fiancés de Rosa , La Co m

” ” n tesse Eva La Penite te , Picco lino , and

” . Fo rét fo r Mazeppa A lyric scene , La , solo ists , chorus , and orchestra , met with a successful

1 - production in 8 75. Among her vocal composi

o tions are many songs , s me with vio lin and organ accompan iments . Her sacred music takes rank with the very bes t d that mo ern writers can show . Her two masses

ra have been frequently given at Paris . Her two o ” to rio s n aire , Sainte Ag es and La Fille de J , met with a similar favourable reception . Her Stabat ” Mater contains an effec tive March to Calvary ” Cru c em and a beautiful Juxta , and received the enthusiastic homage o fthe critics when first brought

u f o t. o r o Several smaller works , v ices , organ , and

o n o e pian , are whit behind the larg r compositions

a h as r in music l worth . She also w itten a grand ” o overture, Esquisses Symphoniques , a piano tri ,

o fo r o a violin s nata , a suite flute and pian , and many

to other vi o lin and piano pieces . She deserves rank amo ng the foremo st wo men composers o four time . Jeanne Louise Farren c was another Parisian woman who wo n fame by composing . Born in 1 8 2 WOMAN ’5 WORK IN MUSI C

1 8 0 4 , her career falls in the earlier part of the n nineteenth ce tury . Pursuing the usual studies ,

Reich a harmony with , and piano with Hummel and

Mo sch eles sh e , began to write ambitious works at an early age . Such merit did some of these works

was show that Schumann , who reviewed them , at first inclined to doubt her ability to write them

f r unaided . She deserves credit o making a remark

o f able collection old clavichord and piano music , and writing a clear summary o fthe terms and abbre

iatio n s v employed by the early musicians . Her own compositions have bee n often per

r . fo med , even the larger orchestral numbers Chief among them are two sympho nies and three over tures . Her chamber music includes a nonette and t sexte te for strings , two quintettes , several piano

O f trios , in two which clarinet and flute replace the

o f o c usual violin , a number s natas and other pie es

’ o for violin and piano, several cello s natas , some

i flute and piano pieces , and numerous p ano works

dau hte e icto rin e and songs . Her g Louise , was another gifted musician , but died after a brief ca reer , l av ng a heritage of piano works and songs . ' e i 1 8 0 was o n e Louise Angelique Bertin , born in 5, of those impatien t creatures who are eager to read bo oks before learning the alphabet . In taking up

sh e to n s painting , wished start in at once with ca va

1 84 WOMAN ’s WORK IN MUSI C content with relieving them o fthe proceeds of their b tour in this hemisphere, added insult to injury y insisting upon hearing the great tenor sing . Pau l ine became renowned in opera , and , after the early

o m death of her sister , held the f re ost place on the

a European stage . She w s able to impersonate and

rOles create of the most diverse nature, ranging from the lightest o f Italian heroines to the most dramatic characters of Meyerbeer . After a career

sh e of fame and honour , left the stage and devoted herself to teaching , and it is in that period of her life that her compo sitions appear . Her house in — Ba den Baden was the centre o f attraction fo r a

n o t n circle including o ly musicians , but artists ,

t o . poe s , and n bility of the highest rank There she ” e produced her op rettas , Le Dernier Sorcier ,

’ “ ”

L O re . g , and Trop de Femme At first ar ranged for private performance, they succeeded so 'f well that they were given to the public . O her

fo r other works , twelve romances piano , twelve

d six fo r Russian melo ies , and pieces violin and piano are the most important . She numbered many

o an d famous names am ng her pupils , her singing exercises are of unusual value . r

Marie . Her sister , Felicitas , at first wife of M

r to Malibran , and afte ward married the violinist

’

B erio t . o f De , was one the world s greatest singers , FRANCE 1 8 5

to o to and her career is well known need description .

Her fame as a composer rests on a number of at

n tractive romances and chanso ettes , of which an

c i extensive colle tion was published in Par s . Louise

Viardo t H ri . e tte Pauline Marie , afterward Mme ,

r o f Viardo t was a daughte Pauline , and possessed

’ all her mother s talent for composition if not fo r

singing . After a soj ourn at the Cape of Goo d

Hope , where her husband was consul , and a four

’ n years term as professor in the St . Petersburg Co

serv ato r sh e o to y, settled d wn 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 h two trios . In the lesser forms s e produced a num

An c . ber of songs , vo al duets , and piano pieces

t m o f o her me ber this famous family , Manuel Garcia , i is still living . He s a bro ther of Malibran and

iar Pauline V do t. ° Gabriella Ferrari is another gifted Fren ch co m

o p ser 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 c n or hestral suites , many piano pieces and so gs , ”

o . . and the comic opera , Le Dernier Am ur Mme ‘ Ren aud Maury is another composer wh o is able to WOMAN ’S WORK IN MUSIC

handle large masses of instruments . She drew at tention to herself by carrying o ffthe prize for fugal

r work at the Conse vatoire, at a time when women were expected to take a more modest place in com ” po sition . Her Fantasie Symphonique and

“ ’ j eanne D Arc are often given before French ' Th r i h l . e Ma u se Cro n en t a audiences q Haenel de ,

o f n one the older ge eration , has produced several symphonies , a number of sonatas , a string quar “ tette, numerous piano works , and the opera , La

’ d E reu v e wo n Nuit p , which a gold medal at the

1 86 lan i aris an o Exposition of 7. Cé e C s has pr duced

’ ” d H a dn the operetta , La Jeunesse y , and the ora r ” to io , Rebecca , besides other choral works and many songs and piano pieces . The roll of operatic composers in France is long and hono urable . Just as England seems the home

O f of cantatas , and Germany orchestral work , so

to France is especially devoted opera , and her women have held their own well in this 'field . As n far back as the seventeenth ce tury , Elizabeth

la Gu erre sex Claude de . upheld the glory of her by playing and improvising in a masterly fashion .

o f One her greatest admirers was the king , Louis

X IV . . , himself Besides a number of sonatas , she

’ wrote a Te Deum to honour the king s recovery

o f . from illness , and a number cantatas Her opera ,

1 8 8 WOMAN as WORK IN MUSIC

o f n n beginning the ninetee th century , wo some re

nown by her very popular songs and piano pieces ,

but was known chiefly by her successful operas .

” u Among these were Les De x Jaloux , Mlle . de

” “ ”

Launay , La Méprise, and La Serenade .

. n Mlle Gue in , another youthful aspirant for fame, “ ” produced Daphnis et Am an thée in her seven teen th year . Louise Puget wrote romances and

m r chansons that were re arkably p etty and popular ,

u e if not very ambitio s , and produced the oper ttas ,

” “ ” Le Mauvais Oeil and La Veilleuse , besides ” the opera , Beaucoup de Bruit pour Rien . Helen e

- So u r et Santa Colona g , author of some beautiful

- songs and a string trio , produced a one act opera ,

1 in 864 . Pauline Thys is a writer who h as won consider able dramatic fame . She has published some songs , but has devoted herself almost wholly to the stage . Among her successful operettas are La Pomme

du de Turquie and La Perruque Bailli . Her

n comic operas have bee very well received , and in

’ e lude such favourites in their time as Le Pays de ” ” Co s a n e du - a g , Le Cabaret Pot C ssé , Le Fruit ” “ - Vert , and Le Mariage de Tabarin . . She has also composed the lyric drama , Judith . Comtesse

Anais de Perriere- Pilte (Anais Marcelli) produced

c m several suc essful operas and operettas , among the FRANCE 1 89

’ m Le Sorcier and Les Vacances de l A o u r. The Baroness de Maistre wrote a number of worthy

o o m religious w rks , am ng the an excellent Stabat “

. R Mater Of her operas , Les o u ssalkas met .

with a success when produced in Brussels . Mar

guerite Olagnier is a compos er whose pro ducti o ns ”

r . 1 88 1 show real wo th Her Sais , performed in ,

contained many beautiful numbers . She has written ”

a r . nother ope a , Le Persan o Marie de Pierpo nt was a talented writer fo r the

o n organ , as well as an excellent performer that

a instrument . She entered the operatic field with ” du o work entitled Le Triomphe C eur , which is o Th Du reckoned her best pro duction . e Baroness

rtm a u was rand de Fo g e successful as an amateur ,

’ and her Bianco Torello and Folies d Am o u r

- . S have been frequently given . Mlle de ainte Croix

o n e - has written a number of successful act operettas ,

which have been well received in the Paris theatres . I rr n t Mme . Amelie Pe o e has won laurels in the same

and u . field , has written some pop lar chansonettes

n Charlotte Jacques rests her fame o a single work , . ” i n o u x c La Veille . Mlle . G g has dire ted her tal “

ents to the lyric drama , La Vision de Jeanne

’ ” d Arc being her most notable work . Hermine ‘

Dej azet is another operetta compo ser . Mme . Gal

lo is is respon sible for several ballets , besides songs 1 90 WOMAN as WORE’ [ N MUSIC

- e and piano works , while Hedwige Chrétien G naro , a professor at the Conservatoire and a musician o f

s real worth , won much succe s with her Ballet

Oriental .

o f a In the domain chor l music , Mme . Delaval ,

o a fam us harpist of the eighteenth century , pro du ced a cantata depicting the farewell o fthe u n fo r

tu n ate X I m V . e et Louis to his p ople, which with

n o t much success , but was naturally a favourite in

revolutionary France . She was also the author ’ an of much good harp music d many songs . Marie

SO hie 1 6 p Gay , born at Paris in 77 , is credited with

s o f . everal cantatas , besides a good deal piano music ' Marie Anne Quinault was ano ther eighteenth cen tury composer who devoted her talen ts to the writ f ing o motets and other church music . The Com

- 1 0 tesse de Saint Didier , born in 79 , was an amateur “ ” Il m et whose cantata , Est Rendu , with some ' n success at Paris . In later times , Mme . Hele e

b - d e the Ro ert Mazel , an excellent pianist , pro uc d ” m cantata , Le Jugement Dernier , besides a nu ber o f interesting son gs and a valuable collection o f

’ De rh eim er an children s vocal music . Cecile was other gifted com poser who wrote a number of Al i v e . masses and other relig ous music , while

ho n se - p de Neuville, widow of the well known

has m l painter , co posed a worthy mass , besides vio in

WOMA N ’S WORK IN MUSI C

o and pian , besides a piano sonata and some études .

o f In the field piano music, the earliest name is that

Misan e re o of the Marquise de la / g , who was b rn

1 as n in 693 . Her ability a performer o the clavi

m sh e be chord was something re arkable, and left

r hind her a numbe of works for her instrument .

n At the end of the eighteenth century; Mme . Hele e Montgeroult held a prominen t position as teacher in the conservatory and publisher of s o natas and other piano pieces .

n In the early years of the ninetee th century , Mme .

Marie Bigot wo n a great reputation by her playing .

Her ability to read at sight was unusually marked , and she played the Sonata Appasio n ata of Bee th o v en from his manuscript in a way that astonished

in and delighted the composer . She did much to

’ tro du ce Beethoven s piano works to Parisian audi

n ce s o wn a e . Among her compositions are m ny

n excelle t piano pieces . Camille Marie Pleyel was

o f MO another fine Parisian pianist , and a pupil scheles and other great masters . Schumann gave h to o igh praise to her performances . She, , pub ( i h n l s e d r . a numbe of pia o works Louise Massart ,

h Farren c w o succeeded Mme . as a Conservatoire professor , was another piano composer of note . ’

- Among contemporary pianist composers , Berthe k Marx ta es high rank . She won prizes and medals FRANCE

at an early age , and became famou s through many in concert tours , partly alone and partly company

Sarasa with the violinist te . Her works include a

o f number excellent display pieces . She is now T . wo Mme . Otto Goldschmidt other brilliant per , formers and writers fo r the piano are Charlotte Tar ’ an d H elen e dieu de Malleville Collin . ” Louise la Hye deserves men tion with the organ f writers . She was a g randniece o the great Jean

Jacques Rousseau , and flourished in the first part

o f . wo n last century She her laurels early , being cut o ff by an untimely death when only twenty eight . She had already attained a professorship o f harmony in the Conservatoire , and published b many valuable organ works , esides pieces for piano

re and other instrumen ts . Several masses by her mained in manuscript . Among the son g composers o fthe eighteenth c en ‘ Tr n . av e et tury belongs Mme de , whose romances

o r and chansons , with piano harp , became very ” Du ch am b e d popular . Pauline g , of later ate , won great success in a similar manner . Hortense , Queen of Holland (1 78 3 - 1 8 3 7) published an album o fher

- Lafitte n . o o w songs at Paris . Mlle M linos is cred

“ ited with a number of songs , which form another

o Parisian collection . In connecti n with singing , the

e excellent teaching work of Mme . Marchesi has be n ’ 1 94 WOMAN S WORK [ N MUS IC supplemented by the publication of num erous sets of admirable vocalises from her pen . In the realm of harp playing , the Comtesse de Genlis became n oted in the eighteenth century , and published many

e compositions for the instrument . Marie Poll t somewhat later in point of time, wrote a number of harp pieces , and played them in her many con ! Th s cert tours . ere a Demar was another celebrated

a o harpist and h rp comp ser .

1 96 WOMAN ’S WORK [ N MUSI C

’ from her mother s family, began to show itself almost at once . From the time when she was only

o ld sh e i a year , began to amaze her family and the r

n frie ds by the most astonishing musical feats . She proved herself po ssessed of absolute pitch ; sh e memorized dozen s of tunes ; sh e listened for hours at a time to violin music , while pieces in minor keys caused her such grief - that they were em ployed by f her parents in place o punishmen ts . At the age

she of two was given a photographic sitting , and at the critical moment sh e electrified the group abo ut

’ n co n her by sudde ly singing Handel s See, the ” quering hero comes . The photographer , who had

n bee rehearsing that work for the first peace jubilee, was astounded to find that sh e gave it with the most

‘ H er o f perfect accuracy . power memory exerted

as o o as sh e itself in other fields , and almost s n learned to read she was able to recite long and dif

l s ficu t selections . She also howed a marked ability to improvise melodies and sing an accompanying

H r n part to any given theme . e active mi d asso c iated a certain definite colour with each musical key , a habit which continues to the present time . “ At the age of four she succeeded in o bta1 n 1 n g

to sh e permission touch the piano, although was so small that sh e had to improvise a pedestal in ' order to reach the keys . She soon learned many A B E A C H . MRS . H . H . .

1 9 8 WOMAN ’S WORK [ N MUSIC

after hearing a fellow pupil practise it . Another u se to which she put this accom pli shmen t was the

sh e n o w s collection of bird songs , of which po sesses a complete volume . Her skill in this direction was em ployed by ornithologists in obtaining the notes i sung by the Californ a larks . H er more serious musical educatio n was pursued

P era . bo under Mr Ernst at first , and afterward

o f under Junius W . Hill , Wellesley College, and

n l h Carl Baerm an . Under Professo r Hil s e took a

o t single course of harmony , but in all the imp r ant

o f subj ects counterpoint , fugue, musical form , and

sh e r n instrumentation , carried on her wo k e tirely

sh e alone . Among the tasks set for herself was the translation of the boo ks on orchestration by Berlioz and Gevaert . Another consisted in memorizing Bach fugues an d rewriting the m with a voice on f each sta f .

1 88 She made her Boston début as a pianist in 3 ,

Mo sch ele s o at the age of sixteen , playing a concert

H a and a Cho pin ron do . er success was instant ne o u s e sh e , and in the same s ason gave several recitals

sh e with similar result . In the next year played a Cho pin concerto with the Boston Symphony O r ch e stra en o , and a M delss hn work with the Thomas

n sh e Orchestra . Since the has appeared constantly

e in all of our large cities , often d voting whole pro M A ER1 CA 1 99

her o wn grammes to works . At o n e of the Sym

she o u t phony concerts brought her own concerto .

e 1 88 sh e In D cember , 5, married Doctor Beach , and

e has since then made Boston her perman nt home . The first pe rformances o f her large works have

e o . 1 8 2 often be n events of imp rtance In 9 , when she brought out her mass in E flat at the H andel

and Haydn concerts , she was on the programme

’

for the piano part of Beethoven s Choral Fantasie , and the ovation she received o n her appearance will

n o t n soon be forgotten by those prese t . Her Jubi late cantata was written for the dedication o fthe

’ m a n wo en s building at the Chic go Expositio , and

h e s . s scored a great succes there During the fair , played fo r the first time her romance for violin and

o . piano , in conjuncti n with Miss Maud Powell A

o violin sonata , which she comp sed later and played

h as with Mr . Franz Kneisel , become a favourite

r with the most famous artists in Paris , Be lin , Lon

do n e . , and other great musical c ntres The same

popularity and favourable mention. have been ac

r co ded to her piano pieces and songs , the Italian audiences especially becoming enthusiastic over

some of the latter . G Her aelic Symphony , built on real Gaelic

. themes , was another ambitious work It was first

1 8 6 n h as given at Bos ton in 9 , and since the gone 200 WOMAN ’S WORK IN MUS IC

o f the rounds all the great American cities . Amon g

r o r her othe large works are three cantatas , with ch estral accompaniment that can be reduced to di “ n sio n r m e s suitable for piano . They a e The Ro se ” “ o f Av o n to wn fo r , female voices , The Minstrel

r an d and the King , for male cho us and soloists ,

’ 3 a Sylvania , a wedding cantat recently published . Another vo cal work of great merit is an a Capella motet , while among her earlier compositions is the sc eno for contralto and orchestra , entitled Eilende

” ’ ”

o n e o s . Wolken , a t xt fr m Schiller Maria Stuart

’ r M s . Beach s piano works consist of a cadenza

’ - r to Beethoven s C minor concerto , a valse cap ice, a “ ” o ballade, f ur sketches , a Bal Masque Waltz , a

’ ’ an d Children s Carnival Children s Album , her con certo in C sharp minor, a transcription of Richard

’ ” Strau ss s fiv e Serenade, pieces (Barcarolle, Men

des uet Italien , Danse Fleurs , Scottish Legend ,

o f en Gavotte Fantastique) , and a set six duets titled Summer Dreams . For violin and piano ,

e besides the two works already mentioned , are thre

u pieces , La Captive (G string) , Berce se, and

” ’

Mazurka , all . three being arranged for cello and

c o n piano also . Her vo al works include m re tha

o f sixty songs , most which are well known to Amer m ican music lovers . So e are provided with violin

Obli ato t r acco m an i g , while o hers have o chestral p

202 WOMAN ’S WORK IN MUSIC

e a mov ment of a piano quintette . Her effo rts in s larger forms have been unu ually well received . Her Dramatic Overture was given by the Boston

c 1 8 Symphony Or hestra in 93 , and in the same year

h r T eodore Thomas perfo med her overture, Witi

” ”

. is chis Still another overture , Totila , in manu script . Among other works are three orchestral

’ ” fo r arias , Sappho s Prayer to Aphrodite, alto ; ” e Armida , for soprano ; and the yet unperform d

‘

o . Ph ebus , for baritone An orchestral ballade

n 1 1 wo much success in Baltimore in 90 . She has also written an orchestral cantata , a string quar tette , and several works for violin and piano . Miss Lang has published a number of successful

’ ’

- fo r i . part songs men s , women s , and mixed vo ces

o r o Of her fifty m re songs , all are more or less m widely known . The favourites among the seem ” ” Merrilie s to be My Lady Jacqueminot , Meg , “ ”

- Deserted , and the well known sets , ” ” o Five N rman Songs, Six Scotch Songs ,

h n o f T ree So gs of the Night , and Three Songs

x n the East . Her piano music is also e celle t , among

e d the b st examples being the Rhapso y , the Medita

e e , tion , a po tic r very , the charming , Spring Idyll ”

a t . and her e rly suite, entitled Pe it Roman a

Clara . o Kathleen Barnett , now Mrs R gers , is

h e o . s also a residen t of B ston Born in England , MA RG AR ET R U THV A EN L NG .

204 WOMAN ’S WORK IN MUSIC

Mills , finishing abroad with Reinecke and Liszt .

in sh e At her début , Leipsic , scored a great success ,

n and since then has bee steadily before the public .

Her compositions are mostly for piano, including some excellent Liszt and Scarlatti transcriptions .

’ Héro i u e Among her own works are a Polonaise q ,

o f Polka Caprice, Gems Scotland , and many other popular numbers . Another pianist well known to American audi ” H ekirk n o . en ces is Mme . Helen p Wilso Although

sh e her birthplace and home are in England , has spent so much time in this country that she may

to o well be regarded as belonging to it . She, , was a pupil of the Leipsic Conservatory , finishing with

Leschetizky , and making a successful début with

1 the Leipsic Gewandhaus or chestra in 8 78 . She

o wn has shown ability in the larger forms , her con certo being pro duced in a Henschel concert at Edin

as r s burgh . She h several o che tral works still in H as . er manuscript , well as a violin sonata many ' son gs and piano works make a list as long as it is honourable . Several of the younger American women are be ( ginning to make effo rts in orchestral work . Clara

o i Korn , a pupil of Brun Kle n , is responsible for two fo r n e suites orchestra , as well as p for violin , and various piano pieces and songs . Grace Marck JUL IA R IVE K ING

206 WOMAN as“ WORK [ N MUSIC

adaptation from Tennyson , called Day Dreams .

is o f s She also the author many song .

f ro Lillie Mahon Siegfried , of Bu falo , has also p du ced t an opere ta , besides the song , The Beautiful ' sev eral o th er Land of Nod , and songs and lulla bies . Miss Estabrook has over forty songs to her “ ”

Th e . credit , besides the Operetta , Tournament

’

Mrs . John Orth has composed a children s operetta ,

a n al so numb'er of simple so gs and piano works for al beginners . Laura Sedgwick Collins , who has

wo n ready a high rank , wrote the music to Pier

n s n rot , besides many excelle t o gs and violin works .

has In chamber music , Marguerite Melville pro

r n is re du ced some wo thy works . Amo g them a m arkabl o y go d piano quintette, while she has also

n fo r writte a sonata and a romanza violin and piano , ‘ l besides severa beautiful songs . Alicia Van Buren , b also author of a num er of worthy songs , has pub lish ed a string quartette with Breitkopf and Hartel .

’

Alice Locke Pitman , now Mrs . Wesley , has written

l o f n . several vio in works , besides a number so gs

o r Mary Knight Wo d , another gifted membe of the n ew n ge eration , studied with Arthur Foote and

e o B . J . Lang . She has already produc d a piano tri , ” o f e and her songs , such as Ashes Ros s , Hearts ” “ ” ease, Autumn , and so forth , are imbued with AME RICA 207 ' o e the m st exquisite refinem nt . Marie v o n Hammer ' an d Lau ra Danziger have written pieces for the

’ the cello, latter supplementing this work by a num

n ber of pia o compositions .

O rgan music is well repres ented by the work o f

u Helen Josephine Andrus , of Po ghkeepsie. She is a she a graduate of Vass r , where won a degree by her musical studies . Her co mpositions include sev eral o rgan pieces and a cantata for organ and m strings , also anthe s and various church music , i a lara as well s piano works and songs . C Re es is another organist who has pro duced a number o f

. w Co n compositions Lucina Je ell , a New England serv ato r a is o f o y gradu te, the author an intr duction an d fo r f fugue organ , besides some e fective songs

an and oth er works . Faustina Hasse Hodges was other able organist who wrote church music . ' ’ Helen Hoo d is o n e of America s few really

n h er gifted musical women . Boston has bee home an d e the sc ne of her chief work , although she has travelled abroad , and studied for two years with

she has Moszko wski . Endowed with absolute pitch ,

e a compos d from her e rliest years , and her music wo n fo r her a medal an d diploma at the Chicago

Exposition . Her most important work is a piano

l are o f trio , while her two vio in suites also made

e excell nt material . 208 WOMAN ’S WORK [ N MUS IC

h r . o a o n M s . Jessie L Gayn r s w an enviable posi

’ fo r s tion herself, chiefly as a compo er of children s o songs . Her w rk is marked by bright and pleas i n n r g rhythms , excellent discretio in the p oper

a choice of harmony , and a fluent ease th t makes

a her productions unusu lly singable . It is not given to man y composers to be able to make any real

a Mr is s s . o o appeal to younger he rers , but Gayn r p sessed o f the sympathetic insight that en ables her

o H r to win the utm st popularity with them . e work

d to s is not confine thi vein , but includes some more ambitious songs for older performers , and even vocal quartettes . Eleanor Smith is another song writer who be lleves that children should be given the best o f

n o t to o music , and allowed listen wholly to the p p

- ular rag time tunes of the day . Her position as music teacher in the Cook Co unty Norm al Schoo l ut has enabled her to p her ideas in practice, and h e r songs for boys are delightful bits of worthy

to o r music She , , has done more ambitious wo k ,

o such as a Rossetti Christmas Carol , the c ntralto

“ ’ n n solo , The Quest , eight settings of Steve so s d i t i poems , the We ding Music for e gh vo ces , “ an d o n piano, organ , and a cantata , The G lde ” Asp . ’

Mrs . . C Merrick who publishes her works over

WOMAN ’S WORK IN MUSIC — other literary song com pos er is Fanny Raymond

ro m ln en t s Ritter . A p figure in the mu ical world

o s Gro t day is Jo ephine , who writes songs and

piano pieces , and is the author of many popular

s dance . X CHAPTER .

OTH ER COU N TRIES

TH OU GH n o t as prolific of women composers as

n its musical reputatio might indicate, Italy has still produced some famous names . The women of the earlier schools of contrapuntal work have already ' ‘ i n been m en t o ed . Francesca Caccini was an expo nent of the first growth o fopera . After her comes

n o r a gap , and we find women at wo k during the

o f time Scarlatti , for example , and few in the era when the early conventional opera saw its palmy days in the hands o f Cimarosa and his compeers . A number flourished at the beginning o fthe nine teen th n o w i century , and that Italy s experiencing

n a musical regeneration , the women are still prese t in the field . One of the forem os t of th em to day is the Count ' ess Gilda Ruta . She was born at Naples , and was

o f the daughter a musician of some note , in fact ,

o n he became e of her best teachers . Among others

21 1 2 1 2 IVOMAN ’S WORK IN MUSIC

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

” - . r composition Her opera , The Fire Worshippe s ,

1 s a worthy example of its school . Her orchestral ability showe d itself also in the form o fa concerto

m r for piano , while a ong her other wo ks are a num

o f ber of songs and a good deal instrumental music .

' ’ Eva Dell Aqua is another Italian wo man who did has won a high position by her works . She ' fo r n o t l not inherit the taste directly , her father was

s a musician , but a painter . He has made Brus els his home, and there his talented daughter has

o brought forth her comp sitions . Her songs are widely known , and show sterling merit . In more ” r t Bach elette ambitious vein is her ope e ta , La , which was given with unusual success in the Brus

o r sels theatres . An the work for the stage is the ” comic Opera , Tambour Battant . I Carlo tta Ferrari is undoubtedly the greatest of the Italian women compo sers . Born at Lodi in

1 8 o t 3 7, she so n began her musical studies , comple ing them With the best masters o fthe Milan Co n serv ato r e y. When she tri d to enter the lists in

r u n dramatic work , she found the theatre manage s

n willing , to give her any encourageme t because of

WOMAN ’S WORK IN MUSIC

n an d a number of co certos , sonatas , pieces for the piano . Ano ther eighteenth century celebrity was Madda

Sirm en wo n o n e lena , who fame as of the great

o f Italian school of violinists . She was a pupil the ' o wn renowned Tartini , and held her with the great performers of her time . Her works contain a num ber of violin concertos and a set o f six trios fo r

’ two violins and a cello , besides many smaller pieces . Most of these were wholly successful in perfo rm ance . i Maria Andreozzi , Marquise de Bottini lived in

f o the early part o the nineteenth century . Her w rks all show great merit , and cover a wide range in the h o . matter of f rm T ey include an opera , a requiem ,

Ma n ificat a Stabat Mater , an orchestral g , the can ” o tata St . Cecile , another ch ral cantata , a number o f r concertos for piano , several ove tures , and vari f ‘ o u s s o r v o ice . compo itions , harp , and piano It is only natural to find opera the mos t popular form fo r ambitious Italian compo sers to use in

a striving for public favour . Where e ch little town and o wn - village had its opera house , there was an oppo rtunity fo r the public to become accustomed to d this form , while other works stoo less chance of productio n and brought less reven ue to the co m

o p ser . O TH E R CO UNTRIE S

As early as 1 764 we find the ballet music to the ” B r i opera Dario, published by Signora a talo tt . “ A In the next century , Ursula speri leads in point

e 1 2 of time, her first opera having be n given in 8 7. She was conductor for a year at o n e o fthe Floren tine

theatres , and filled the post with admirable skill . ” 1 8 0 Carolina Uccelli produced Saul in 3 , follow ’ ” h Resbu r ing it up wit Emma di go . Teresa

fo r Seneke obtained a Roman hearing her opera , ” Du e Le Amichi , and published also a quantity ‘

of son gs and piano music . Adolfa Galloni com

e in pos d the opera , Le Ouattra Rustici , besides

s ru m l t en ta and vocal music . Sign o ra Casella was “ r o r r o anothe operatic comp se , her Cristofo o C ” 1 lombo having been produced at Nice in 865. Teresa Guidi is the author o f numerous operas o f

r o u , o o f own day while the C untess Ida -

e Padua , has witnessed frequ nt performances of her ” Gondoliera . Of the many women working in the smaller

r wo n fo ms , Virginia Mariani has n promine ce at

n o t present , only by her songs and piano music , ”

- Th e A o th eo o . but by her cantata , p sis of R ssini

Milan o llo Teresa , a celebrated violinist of the past

n century , published a number of compositio s for

n r . her instrume t , besides various wo ks for piano Among other piano composers in Italy during the 2 1 6 WOMAN ’S WORK [ N MUSI C nineteenth cen tury may be mentioned Teresa de

Blasis , Natalie Bertini , Eugenia Appiani , Bertha

Fru On i Mu ssin i g , Clary Zentner , and Adele Branca .

Onestina Ricotti has tried her hand at . songs ,

r as well as publishing piano wo ks . Teresa Berti n o -ttl o was , herself a fam us singer , the composer t f n li o many popular songs and arias . A ge ca Cata lani was another example o f the combination o f “ o singer and comp ser , while Marietta Brambilla added teaching to her other accomplishmen ts . Maria Rosa Coccia was a celebrity of the preceding

wo n a m ac century, and gre t fa e by her youthful co m lishm en ts p 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 f a o n . women . In the e rly part the last ce tury , Mlle

Bro es o f wo n , a native Amsterdam , an enviable

o an d positi n as a pianist , composed a number of

n pieces for her instrume t , including dances , rondos ,

In n and variations . the next ge eration , Madeleine

Graev er e . , of the same place, pursued a similar care r She made many successful tours in the u sual Euro

a New at pean countries , and spent a ye r in York

n her m the beginning of the Civil War . O return fro

sh e o the n this country, became c urt pianist to Quee

' 2 1 8 WO MAN ’S WORE [ N MUSIC

sh f v an e a o . r Rennes , is a n tive Utrecht Her wo ks

n o include many so gs and v cal duets , of which Mei

’ o f doorn , a collection children s songs , deserves

n especial me tion . She wrote the words and music ’ ” fo r r a child s operetta , Three Little Lute Playe s , which was performed three times and aroused much enthusiasm .

n In Belgium , the Countess de Lannoy wo her i laurels in the e ghteenth cen tury . Her work too k

sh e the form of ballads and romances , and wrote also a sonata and a number of other instrumental

fto pieces . Among the Belgian musical women o da y;Juliette Folville stands in the front rank . Born

as 1 8 0 sh e as late 7 , at Liege, became an excellent violinist as well as composer , and in all probability

n a h has a lo g c reer still before er. Most important among her works is a set o f 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

1 8 2 given at Lille in 9 .

n In De mark , Emma Dahl flourished as a singer

o s d o f and comp er during the mi dle the last century , and published many melodious s o ngs in her own Au lin and the Scandinavian countries . Valborg

e o o f she is a more rec nt writer of s ngs , which has

issued a respectable number . Her choral work O TH E R C O UNTRIE S 2 1 9

is has of excellent quality , and enabled her to carry

o ff o n e i more than pr ze in musical competitions .

Harriet Cuman , of Copenhagen , is an excellen t pian

ist n o n e , being recko ed as of the greatest performers

n o' of the prese t . Her w rks consist chiefly o fpieces R

for her instrument . Sophie De dekam is a compo s er

o f n o f so gs , which several sets have been published .

t - Elizabe h Meyer is another successful song writer .

e n o t She do s confine herself to this form , however ,

has o H er but pr duced many piano works . cantata ,

fo r and wo n soloists , chorus , piano, first prize in a

recent Danish competition .

o Sweden can boast of several women comp sers , Of whom at least two are really famous . Among is r those working in the smaller forms Caia Aa up ,

n o w residing in America . She is the author of

a number of pleasing songs an d piano compositions . A d man a Maier , known also under her marri ed name

ROn t en of g , has composed many worthy pieces for

the violin , among them being a sonata and an inter

o f esting set Swedish Dances . Another violin com O s Miss o h as an d po er is Lag , who published songs

h s piano pieces as well as violin works , and a won rl a p ze at Copenhagen with a piano cantata . Helen

Mu n ktell has produced son gs and piano pieces , and

has o n e - entered anot'her field with her act opera , ” h e rstro m is In Florence . Hilda T eg responsible ’ 220 WOMAN S WORK IN [ MUSIC

n for some very melodious so gs and piano pieces ,

r as published in Ge many well as in her native land . One of Sweden ’ s most gifted Women is Elfrida

8 1 . 1 she o e Andree Born in 4 , s on d voted herself

o r to musical studies , and to k up the career of o gan

ist so n o n e . , ofte a thankless She plays at present in the cathedral at Gothenburg . Her works include f many di ferent forms , even the symphonic . Her organ symphony is especially noteworthy , and all

H er o r her orchestral works show decided talent . ” ch estral e is t ff cantata , Si gfried , ano her e ective

F r composition . o chamber music she has written

’ an d a quintette for piano, two violins , viola , cello , also another quintette fo r strings that won a prize

co n in competition . At a recent Brussels musical

she sev gress , took first prize among no less than

n - a e ty eight competitors . She is the author of m ny

i . smal'ler works for organ , vo ce, and piano In Ingebo rg von Bro n sart is found o n e of the few

r . t really great women composers . Bo n at St Pe ers

1 8 0 e burg in 4 , she is classed as Swedish b cause her

m a parents were not citizens of Russia , but re ined

en o r subj ects of Swed . Her m the was a Finn , but

’ her father s native place was Stockholm . Inge

’ borg s earliest musical impression s came from the

e ear violin playing of her moth r , done wholly by ,

’ from her father s flute playing , and from the sing

O THE R CO UNTRIES 22 1 ing of the touching Swedish folk songs by the

r housekeepe . When her elder sister began regular

to o f study, Ingeborg was considered young o r it , but begged so hard that she was allowe d to take

s to o . o n e les ons At the very first , the teacher no ticed her great talent , and in a few months sh e was

far in advance of her sister . A year later , at the age of eight , Ingeborg began to compose little mel r odies and dances , and her fathe was moved to seek a good master for her . He made a fortunate choice in the famous ama teu r v o n Martin o ff b , Nicholas , for Inge org became n o t only his pupil but a welcome guest at the ho use

f sh e t o his family . With them was able o hear the best of the operas and other music afforded by the imperial city , and the summers passed by her at

e to th ir estate enabled her grow strong by riding ,

o r . swimming , and other outd or exe cise

o When eleven years old , Ingeborg began harm ny with the composer Decke r . She progressed quickly ,

a a and in her first concert , given year later , was ble

n to present creditable work of her o w . Her suc cess was decisive, and critics and public united in foretelling her great future . From that time on sh e n gave a nual concerts with orchestra , meeting

o s growing favou r . Meanwhile her c mpo ition was n o l t neg ected ; beginning by publishing three études , 222 WOMAN ’S WORK IN MUSIC

a sh e tarantelle, and a nocturne for piano, continued

in with sonatas , fugues , and songs . She won the te re st o f the musical circles , including Rubinstein , and through Vo n Martin o ff she became the pet of

o the Russian arist cracy . When that protector was called away by the Crimean War , he left her in the

H en selt care of Adolf , and after two years with

sh e was t the new master , sent by him o finish her

o f studies under Liszt , then long famous as leader f the gifted musical circle o Weimar .

n - - Whe she came to him , an eighteen year old girl , endowed with all the fair beauty of her northern

sh e land , gave him as proof of her proficiency some f o her piano fugues . The experienced master rather doubted if the charming apparition before him could produce such an intricate work as a fugue witho ut

so re receiving aid , he gave her a new theme and quested her to write another fugue upon it . Noth ing daunted , she started at once, and , in a short

e . while, she hand d him the manuscript He played h d it throug , and acknowledge its merit with the

’

o u . remark , Well , y don t look at all like it In ’ stan tl e I y came the r ply , am very glad I don t ” n look like a fugue . Ingeborg became o e of his

o n i wo r few ch sen favourites , and soo all We mar shipped her as St. Petersburg had done before .

h she i her Wit Liszt remained two years , devot ng

224 WOMAN ’S WORK [ N MUS IC

n and Russian so gs , piano pieces and violin works ,

o n e t r followed ano her in quick succession . The e

o f o - s turn the tro ps from the Franco Prus ian War ,

her as f with husband o ficer among them , brought forth three patriotic songs , two male choruses , and

e fo r the Kais r Wilhelm March orchestra , performed

u at a co rt festival of rej oicing .

e . Her second op ratic attempt was a setting of ’ “ ” et er Batel Go he s J y und y, which met with de Th served success . e music is o f choice quality throughout , according to the criticism of Richard

e Pohl , and the dramatic climax is excellently work d u p by the fact that each successive number is pur po sely made more effective than the one preceding it . The same power and beauty of expression shows

fo r itself in her later songs , written mostly the

f h a poems o Bodenstedt . T ese are in many c ses well able to stand the test of comparison with the f m L best o the Ger an ieder. A number of pieces for

’ o f e l cello and piano are qual va ue, as are also her “ B ” violin works . Her last opera , Konig iarne,

f a o f su fers again from a we k libretto, but is made

worthy musical material . It was rated as a success

ful work , but some of the wiser critics doubt if its power of melo dic expression can wholly atone fo r

the lack of certain essentially dramatic qualities . In 1 887 the Hanover post was exchanged for a O THE R CO UNTRIE S 225

similar one at Weimar . There her husband per formed excellent service in keeping alive the tra ditio n s l of Liszt and his fo lowers . After eight

a Vo n Bro n sart t ye rs of work , re ired from public

r o o f duty . A sho t peri d travel followed , after which the musical pair settled down to a life o f

. r to o o f quiet at Munich The e, , lives the daughter

wh o is the family , said to have inherited a full share f o the musical ability shown by her parents .

o f No rwa Among the composers n m e . Betty

Holmberg has devoted herself to the violin , pub lishin g an excellent suite and other composition s

who c for it . Magda Bugge, has made Ameri a her

o f . home , is the author many piano pieces and songs

The most famous Norwegian woman composer , .

- o r GrOn dahl. h weve , is Agathe Backer Born in

1 8 she 47, received a thorough musical training ,

er r K eru lf Ku llak counting among h teache s j , , Von

Bil . low , and Liszt Her work has won her many

o f e . honours , including the royal gold medal Swed n

o Her comp sitions are not many in number , but all o f them show the most delightful freshness and

rl ln ali o g ty. Like her great fellow countryman ,

Grieg , she aims to give her music a distinctive style

Of its o f own , and not make it a mere imitation

n o r the usual mo dels . Her anda te for piano and chestra and her o rchestral scherzo are excellent 226 WOMAN ’S WORK IN MUS IC

m e works , which et with frequent performance, while her suite is ano ther example o f striking beauty . Her piano works , which include études ,

hu m o reskes fantasies , sketches , and , are full of the

a same characteristic charm , while her songs displ y exquisite poetic feeling .

Bohemia and Hungary , though politically parts

r a of the Ge m nic nations , may well be classed as f separate from them in matters o art . Th eir peo

f m u Sic ples are di ferent racially , and their national , especially in the latter case, has a distinctive char

r acter of its own . Smetana and Dvo ak are the most

e e famous typ s of the G rman dependency , while the music of the Austrian province partakes of the wild gipsy flavour that is so well reflec ted in some o f

’ Schubert s works . One o f the earliest Bohemian women composers

n ian h ettin i was Vero ica C c . She came of a musical

fo r Du ssek family, she was one of the sisters of , whose wife and daughter have already been m en

’ tio n ed in connection with En gland s c omposers .

sh e Like her brother , became a pianist of high rank ,

and settled in London . Her works include a num

o ber of pian concertos , sonatas , and other lesser

pieces . ‘ Elise Barth was a famous Bohemian pianist o f

the n . o last ce tury She, too , published many pian

228 WOMAN ’S WORK [ N MUSIC

u Poland , tho gh divided among the nations , can

f o m n boast a ew w e composers . In the eighteenth .

n -wska century , the Countess Cleme tine Grabo wrote a set number of piano 'pieces , among them a of z k f . S m an o ws a e fective polonaises Marie y , born in

1 0 was o n e 79 , a pupil of John Field , and became f f o the leading pianists o her time . Her fame was

who largely increased by the poet Goethe, made

o n e ff n her of the many idols of his vagrant a ectio s .

He spoke of her playing in the highest terms , plac f ing her abo ve Hummel . But the verdict o Men delsso h n is probably more accurate : Those who ” h er so rate high , he says , think more of her pretty ” face than of her not pretty playing . Her works

set consist chiefly of display pieces for the piano , a of twelve concert études receiving high praise from

a Schum nn . 0

- Cav alcabo Julie von Baroni , who flourished in the

n was o r last ce tury , an the brilliant pianist , number

’ ing among her teachers one of Mozart s sons . She seems to have won the esteem of Schumann , who i dedicated his humoreske to her , and gave high pra se t m w o any of her works According to his revie s , f her Second Caprice is fresh and rhythmical , ull o f life and vivacity and delicate workmanship ; “ ” et her fantasie Adieu Retour , has two move

n r me ts that are highly o iginal , characteristic , and O TH E R CO UNTRIES 229 scarcely offering a weak point for attack ; while her waltzes are spoken of as almost the best that ap

ared n pe in their time at Vie na . Besides her many

sh e piano pieces , published some excellent so ngs . Adele Kletzin sky has published some vio lin works and other concerted music , as well as the usual ‘ o f amount songs and piano pieces . Nathalie Ja notha has become familiar to American audiences

a a f as a pianist . She w s pupil o Clara Schumann

Wo ldem ar Bar iel h as and g , and won honours and diplomas in many European cities . Her works co n sist of piano selections and songs . Pauline Fechner is another renowned Polish pianist wh o has pub lished many pieces fo r her instrument . The Count ‘ e ss Margit Sztaray has done some work fo r voice

Badarczewska who and organ . Thekla , lived and

a n o t died at Wars w , is known widely , i f always

’

r n n . favou ably , by her Maide s Prayer for pia o ‘

In Russia , the Grand Duchess Alexandra Jose

n a a m pho w h s written some a bitious church music ,

a o including several ps lms for soloists , ch rus , and

o m . orchestra . She has also produced s e piano duets The Grand Duchess Olga is another royal Russian

o w comp ser , hose Parademarsch for orchestra has been published at Berlin . Another orchestral ' Tschitscherin composer is Theo dos ia de , whose Grand Festival March was performed at a co rona 23 0 WOMAN ’S WOR K IN MUSI C

’

. tion anniversary The Countess Olga Janina , one

’ o f Liszt s pupils , is at present a teacher and pianist

sh e at Paris , where has published a considerable

a amount of pi no music . Marie Duport is another ”

Russian piano composer . The Countess Stephanie

is fo r Komorowska responsible several songs , piano i Mm R r . d rff e . u e sdo sonatas , and other works , well

r known in later life as a teache in Boston , was the

r v n Ra author of seve al successful songs . Olga o decki is another noted Russian musician , who has

h er made Boston home, and also a writer of worthy

Al x n d . e a ro wn a . vocal music . Mlle , of St Peters burg, became famous as a singer a few decades ago,

o and published some excellent s ngs . Mme . Serov a was another Russian woman o fgreat music l talent . m A ong the less extensive countries , Switzerland '

e Ce rrin i - is r presented by Anna de Monte Varchi , who is the composer of many pretty piano works . Isabella Angela Co lbran the eminent Spanish co n

l 1 8 tra to was o . , b rn at Madrid in 7 5 She became the wife of Rossini , and created some important rOles in thos e of his earlier operas which were writ

m s o f ten for her . Her own co po itions consist songs

e and other voc al works . A Spanish sing r of more i n Ro saria was rece t times is Zapater , who born in

1 8 40. She became famous in literature as well as

music, her poems being rated highly , while her

23 2 WOMAN ’S WORK [ N MUSIC

she This certainly followed , for her strong and fiery style of playing has carried away cou ntless audi e n ce s , and in later years her combination of poetic feeling with impassioned power placed her in the f ’ front rank o the world s pianists .

sh e Soon after this meeting , began to devote her i self to sing ng , with such rapid progress that she became able to appe ar with such an artist as

Fo r sh Tietj ens . many years e made this her chief work , but at last her innate love for the piano

1 88 wa brought her back to it . In 5 she s forced to — exert her talents in still another direction , that of conducting . Being given the task of creating a

sh e national opera company in Caracas , 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 oppos ition against all govern

exc ment enterprises . Her undertaking was no ep

an d h er b r tion , leader , eing te rorized by physical

e u threats , gave up his post with a feign d exc se of

no sickness . Rather than let the matter drop , Carre herself took the baton , and carried the season to a successful clos e .

H er compositions have given h er high . rank in still another field . The best work is perhaps a string quartette, which met with a warm welcome at the

h u n e n r . Leipsic G wandhaus co ce ts T is , with an ‘ ' TER ES A C AR RERO

X I CHAPTER .

CON CLU SION

TH E o f s question allowing women to compo e,

so e if they wish to do , is hardly one that n eds any extended debate . Yet it is only in the last few

’ decades that wo man s inalienable right to compos e has been fully established . The trials of Carlotta Ferrari in getting her first opera performed are an example in po int . The opposition of Men delssohn to the publication by his sister o feven a few minor

’ vvo rks is another instance o f the attitude formerly taken by even the greatest composers . The life of Chaminade affords still another case of this oppo

i i n r s t o . When Rubinstein hea d a few of her early

to compositions , upon which he was asked pass an

n n o t opinio , he could gainsay their excellence , but insisted o n adding that he thought women ou ght

n not to compos e . The time has gone by whe men need fear that they will have to do the sewing if their wives devote themselves to higher pursuits . 23 4 CON CL US ION 23 5

o f The cases Clara Schumann , Alice Mary Smith

- Mrs . ( Meadows White) , and Ingeborg v o n Bron

ff sa sart a ord ample proof , to y nothing of our own

Mrs . Beach . Whether women are in any way handicapped by the constitution o f their sex is a point that is still undecided . It would seem that com po sition de ' m an ded n n e no great physical stre gth , and no o will deny that women often po ssess the requisite mental

Th e breadth . average sweet girl graduate o f the

r conse vatories , who is made up chiefly of sentiment , and hates mathematics , will hardly make a very deep

ho mark in any art . But there are many w do ear

o f ro nest work , and who lead lives activity and p duction that afford them equal rank with the men

m a i in this respect . Augusta Holmes y be cited n illustration . It is often claimed that women study music

as an n o f merely accomplishme t , with the obj ect pleasing friends and relatives by their performances . This horrible accusation the writer can attem pt d neither to palliate nor t o eny . But why should it be denied ! If music is to be r egarded as o n e o f e o the f minine acc mplishments , why should this debar the more earnest studen ts from doing m o re earnest work ! The very fact that all cultivated women are expected to kno w something of music 23 6 WOMAN ’S WORK IN MUS IC ought to result in a better chance for the disco very

’ of woman s talent in composition .

But there are some, even among the women co m posers 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 composi

’ sa tion women are best fitted to write, I should y 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 f u . e o fatig e We do things , but we pay the p nalty nervous strain . When people say that women are

to equal men , I always feel that physically they

acco m are not fitted to run the same race . If they i h i l s h t . s sad p ings , they pay up for it It , but ” o f it is true . Yet probably few 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

Bu o f is among men . t in explanation this the fact that women have not be en gen erally at work in this field until the last century, while men have had considerably more time . And after all , there are n o t 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

2 3 8 WOMAN as WORK [ N MUS IC

’ fo r is Bruch s cantatas , instance, open to grave doubt

Taking the work of women as a whole, there are worthy examples o f all the large forms to be found among their compositions . In the field of

orchestral work , including symphonies , symphonic

o v p ems , o ertures , and suites , we find such names as

Augusta Holmes , Chaminade, Louisa Lebeau , Emi F a . arren c o lie M yer , Mme , C mtesse de Grandval ,

Elfrida Andree, Edith Chamberlayne, Mrs . Mead o ws - o White, Aline Hundt , Oliveria Presc tt , and in our own country Mrs . Beach and Miss Lang ; and the list is but a partial one at that . The recent ” o f o n e success Der Wald , to mention only case , pro ves that women may safely attem pt the highest

o f . form opera This work , although it has a draw

in back the shape of a confused libretto , is to be retained permanently on the Co vent Garden reper

do . O o toire in Lon n In rat rio , a worthy place must a é to o f . C be accorded the works Mme Grandv l ,

Carissan . lanie , Mrs Bartholomew , and Rosalind

e Ellicott . Among wom n composers of successful

a . a . m sses may be reckoned Mrs Be ch , Mme Grand

v al . , Mary Carmichael , and Maude Valerie White In othe r directions women have more than held

o their own , and their work sh ws excellence, in qual

well as ity as quantity, in cantatas , string quartettes , CON CL US ION 23 9

and other chamber music, violin sonatas , an d even ill large concerto s . The list of women who have written piano music and songs exten ds to ample propo rtions . Who is the greatest woman composer ! It is

sa n o t hard to y, for all have worked in the same

. o wn direction In our country , Mrs . Beach holds

s the foremo t position at present , with Miss Lang

- o . a go d second In England , Mrs . Meadows White 1 is assigned first place, with Ethel Smyth mentioned next in order . Agnes Zimmermann and Dora

Bright receive high praise for their chamber music ,

’

o . r while Rosalind Ellic tt , Amy E Ho rocks , Edith

Swepstone , and Ethel Boyce have been chosen to

c c m represent the larger vo al forms . Among song o

s r e po ers are cited Maude Valerie White, Flo enc Gil

Allitsen bert , Frances , Florence Aylward , Liza

’ d Hardelo t Lehmann , and Katharine Ramsay . Guy is probably classed with the French writers . Ethel Barns is included because of her excellent violin

s as w compo itions , ell as her admirable performance

n o n that instrume t .

r wo u In Ge many , the works of Louisa Lebeau ld

o t m u seem t place her in the fron rank , but many

Fo r SIC1 an s consider them somewhat artificial .

” - M Se e M s in th e Nin e e e n C e n . A . F l e ai u ic t th tury , by J u l r t ’ 240 WOMAN S WORK [ N MUSIC many years Clara Schumann has been cited as the

r n n leade amo g wome , but it is a question if She

r can hold that position n o w. Ingebo rg von B o n sart is given the very highest praise by those who know

’ e Ev a her work b st . In Italy, dell Aqua and Gilda

em Ruta se leaders , while Carlotta Ferrari must be

. to o included in the front rank In older times , ,

Francesca Caccini must not be forgotten . Elfrida

o f n s Andree , Swede , is another compo er of high

n an d rank . But whe all is said done, it seems at

n as prese t if the palm must be awarded to France, with Augu sta Holmes and Cecile Chaminade as rival claimants .

’ Bearing in mind the fact that woman s greatest

h as d activity been limited to the most recent perio , it may be well to inquire what the present tendencies

are ln . o the world of music On this p int , Robert

Franz , in a recent letter , speaks with decided con i v ict o n . 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 com

o n fo r p sitions , he gave expression to this convictio , he worked wholly in the Lied form . After Bee tho v en o c , he said symphonic f rm could pro eed no h igher . While the world would not willingly dis pen se with the orchestral works o f Schumann and

’ Mendelssohn (Wagner s efforts being in a separate

24 2 WOMAN ’S WORK IN MUS IC

is Elise Polko , some of whose sketches are very

to pretty reading , but almost wholly misleading the

Li iu s . s new student Even Marie p , who published a series o fexcellent biographical sketches under the

o f pseudonym La Mara , is not entirely free from this defect . m d In France , Mme . Audley has written so e goo

o biographies , notably the lives of Beeth ven and

s Schube rt and some articles on Bellini . Acro s

su c the Channel , Constance Bach has done some c e ssfu l work in editing the letters of Liszt and Von

T r wo M s . . . il . e B low English wom n , F J Hughes and Mary Maxwell Campbell , have entered the spec u lativ e field by trying to draw analogies between

u o harmonies and colo rs , but this the ry can never have any real basis in scientific fact . In America , the work of Helen Tretbar and Fanny Raymond

Ritter is well kno wn . Mrs . Mary Jones has devoted h er energies to a bo ok on the musical education o f b the blind , but the est work in this direction is that of Caroline Wisen ede r in Germany .

o to In cl sing , it may not be amiss express the wish that the compos itions o f women composers could be heard more frequen tly than they are at

h o u r present . T ere is no doubt that some of quar tette clubs would find much to interest themselves and their audiences among the works of the famous en . According to Nero , music unheard and all musicians would rejoice to se e

n possible value thus placed , by freque t

’

m a . e, upon Wo n s Work in Music

TH E END.

246 AP P E NDIX

i r a m hae l a . Ma s e ian n s s O e a P S o . C r c , M y G , p r tt , o, g i h Mr . n . a s b e . S o s C rtwr g t, Ro rt g i n ass n ss . S s . C o , M o g i ham b e la n e E h A . S m h nies O e a S ex e Vi lin C r y , d t y p o , p r , t t, o , n P i n n O a a o Ha S a s . rg , , rp, g

hazal Mrs . O v e u e O an i lin Pian V . C , rt r , rg , o , o l n H n a ke a e . m s . C r , J y

ha l n s . le e . S o Co , C r ott g ll hi e S a D . S ac ed S n s . Co tt, op r o g li n S o s . k E a. Coo , z g i h n s . ke E . S Coo , d t o g

am e n au e . S n s . Cr t, M d o g a ie s Ll e l O c h es in a i lin n D e w a. a S u e V S a s . v , r tr , tr g Q rt t, o , g

is a i n . D a a n e S n s . v , M r o g

Di E i A i n S n s . k . P a c , d th o, o g

i n l S n s . D ks E len . c o , o g f in l lin D u e a H e e n e a. n f S S a s . r , L dy g Du ss k hi i n S a. a H e P a . , op o, rp Ea n an s n e . a a a. to , Fr c C t t l i li E l sa n . a rtu res an a as S in u a e cott , Ro d F , C t t , tr g Q rt t, i s ian an s a P S . Tr , o , g l n D n c a e e e . a es . F r , F or c

l Eli a n s . e z . H m F ow r, y

Fo rte a . S n s . y, M ry C o g

le s a . H s n a e m n S s . Fow , M rg r t F y , o g

i n n e n . ke A . S s Fr c r, o g i l An n i in i n as Pian o ab e a V a. a a as O e e G r , M ry rg C t t , p r tt , ,

S o n gs.

S n s . a e a a e . G d , M rg r t o g i i bs n u sa. S o n s . G o , Lo g il n n S s . be l e ce . G rt , F or o g ll n ia . a A ab e a. P Godd rd, r o

h u . n s o rs S . G o de v e M . A , rt r o g

A in . n o o in m a B Pia . G dw , o

a u isa O e e a S o n s . Gr y, Lo . p r tt , g i lin an n h h n Vi i . e e e E . S m P Gr , d t y p o y, o , o

m Mrs . S n s . Groo , o g

- n n n O an ian . u e s ea e M. n ce s a a a P G t, J Co rto , C t t , rg , o AP P E NDIX 247

G de a a e . Vi lin y , M g , O gan Pian S ngs r r t o r , o, o . ’ Ha l e Gu . S n rd ot, y d o gs . l Ha an , izzie . an a as Pian o S n r d L C t t , , a gs . H a en h a E l. , e Ope e as an a a Vi lin o n rr d t r tt , C t t , o , S gs .

Ha is n An n ie . O e e as S an s rr o , F p r tt , g .

Heale, iss . an a as Vi lin Pian o n M C t t , o , , S o gs . H llan a lin e . an a as S an s o d, C ro C t t , g . H s Am ’ E. O ch es a k , y , Can a as Vi lin Cella Pian orroc r tr t t , o , , o, n S o gs . H u s n a H n . m s . d o , M ry y Mr n u n h . n H e s. S a s . t r, Jo g I i li B ll n e a E za. a a ds . v r r ty,

an Mrs . S an s . Jord , g l i em e A la . n b e e S s . K , d d o g rs l xan M . A e e e S o n s . K rr, d r . g il l La en c e Em . Vi in Pian S o n s wr , y M o , o, g . hm n n i n e a za. S s . L , L o g

hm n n Mr . l e a s u h . S n s . L , R do p o g i i ll n s B s . L d ay (Mrs . Bl ss ) . a ad i n a O a i O e as S n s. L wood , M ry , r tor o, p r , o g

L e a e . O era O v e u e S in u a e s i od r, K t F p , rt r , tr g Q rt t , Tr o,

Vi lin O an P ian o S o n s . o , rg , , g i li D n c s S n Lo wth an a n e . a e a s . , C ro , g i lin n Vi S s . Mac iro n la a A . , C r o , o g

Mac Kinla Mrs . S an s . y, g

i n h s an s. ll rs u l a . O rc e O e a S a sh a M . a e M r , J tr , p r tt , g f a u e e n o S s . S o n s . M ry, Q cot g i n s S . ass n El zab e h . M o , t o g

ian o n s . Ma l en e . P S y, F or c , o g

i i n n a n s . lla a a . a a S M r, M r C t t , o g

i ff r . S o n s . n c e M s . Mo r , L g

i tu r Pian o . a e . a r es Moody, M r ,

an a . O e e a. Morg , L dy p r tt

i in O e a ian S n s . is n s a W . P Mor o , Chr t p r , o, o g ’

in i lin e lla S o n s . s ele a l e . V Mo y, C ro C o , C , g

li h n P ian o S n s . u n se E zabe . O a Mo y, t rg , , o g

m i Pian o S o n s . Mu n de lla Em a. O a , r tor o , , g

i i s . N e e ham Al c a A . S n d , o g 248 AP P E NDIX

i Ne c m b e e an n e . S o n s w o , G org g . r l n M s . ian Ne A e . P n S s . wto , x o , o g Mr i . N n s . a l n e n S o s . orto , C ro g N u n n Eli a h Mas s n z b e . S s . , t , o g kl s n P n o n O c e to a e . ia S o s , K t , g . e a i i lin O k e . V a Pian y, M gg , o . l am Em il S n s . O . a dh , y g ’

L r . e a Mrs A n s . O y, . S o g li l n O e a . i i ian V P . v r, M ry o , o ’ in e n O r e r a l . ce ias e lla Pian o S o n s . g , C ro Co rto, Tr , C , , g l r D n n . O st e e Ma . a c es a s , y , S g i i l n a e a H . o n c rto i Pian o n P k a C e V S a s . r , M r , o , , g rk r i e . in n P n s M s . a i a B e V l S s . y , tr c o , o g An i s Pa e s n n e W. an tatas S n . tt r o , C , o g i in P A l a. n a e S s . tt , d o g P il li a e h E b . S n s . h p , z t o g

P e s Oli e ia . S m h nies Ov e u es S in u a te s r cott , , v r L y p o , rt r , tr g Q r t ,

n ce an a a S n s . Co rto, C t t , o g n u n s f H m n s n a e s o . S a s . R d or, Co t y , g

i n o . al a e . Vi lin P a R ph , K t o ,

am sa a . an a a S n s . R y, L dy C t t , o g li s n la n O e e a. a n A e . R w o , g p r tt

i sa l n . e e e de . S s R go, T r o g i n r h n n n s M s . se . a a a S s . Rob o , Jo p C t t , o g k l an Pi n n Ro ec e e . a o S s . , J J , o g i n Saffer El za. S s . y, o g

in - l l n Sa n D b a e . an a as S s . to o y, Ch r ott C t t , o g i n le h a. H s Sa S m . , op y

“

San e s Alm a. S in u a e i Vi lin Piano . d r , tr g Q rt t, Tr o, o , i i n n s c h r ach e r D a. P o S m a S . , or , o g

an e S n s . S a . cott, L dy J o g

S e in n a e . S n s . h rr gto , Gr c o g

Sh e in n Helen a . S o n s . rr gto , L g

Skin n e l e n e . O e as . r, F or c M p r i n H m s . Sm a H a e A . rt , rr t y i S m h n ies t es larin e n ce Sm i h Al e . Ov er ur t , c M y p o , , C t, Co rto,

u a e s an tatas S n s . Q rt t , C , o g

250 AP P E NDIX

Am ersfo o dt- D k H rmin e e . n a a y , Ca t t . An n a Am alie P ince ss . an a a O an , r C t t , rg . i i A n m e n a v o n . n B o s . r , tt S g sm u n m A sse , Em a. Pian o . ’ i n in n Au e N a . a b g y, d S gs . u s l Au a Em e ss . Bal e Ma ches S n s g t , pr t, r , o g .

Au s de r Ohe A ele . Pian o an s , d , S g . a hm an n Elis M l d B e . e am a P an i S o n s. c , o r , o, g hm n n i h n B a a u . O a . c , J d t rg

isa. n B ae u S s . r, Lo o g l m en in e An h B a a e . em . tt , C t t Baudissin hie P i n S . a o . , op au ha in a Pi n o B e a . a . r, C t r

ha l . ian n s B au e e P S . r, C r ott o, o g h in n B au m a a e . S o s . , K t r g

B a e A . Pian S n s . y r, o, o g s M h B ea ice P in e s . a c S n s tr , r c r , o g . I n e e da. a a n B k a S o s. c r, C t t , g

is n . B eh u e . S s r, Lo o g

i l - i lle l e u Em l e . n B e O e Pia o . v ry,

fe - h u n Be n S e An a. Ov e u in e S u a e s . y c pp , rt r , tr g Q rt t r i l n h a i n Be n o u l A e s . O c es P a n s S a . y, g r tr , o, g i h l m il n B e e r u la. Pia . , L d o

Blah etka e l in e . Co n c erto s S in an d P ian o u a e s , L opo d , tr g Q rt t , ’ ias Vio lin ella Flu e O e e a Pian an S s . Tr , , C , t , p r tt , o, g u h u h en n n Bla t P ia o . , J y .

- in i i n dr a e . s B e n e San S . o r r , M r o g

B n h n i s h a. Pi n o e se o e e a o . g, Jo p

ian . Bo tian o He len e v o n . P , o i n B e H e m n e . P ian o S o s . ov t, r , g i n n n in h l e v o . li n B a e s e a n V Pia . r d t , C r ott o , o li n n Br n h u rst E se . i o s a d P a S . , , o g in n n Pi . B inkm an n a. a r , M o ’ B ro n sart In e b o v o n . n cer O eras Vi lin ella , g rg Co to, p , o , C ,

Pian S n s. o, o g ili n B u c k e n Em e . Pian o S s . r , , o g ’ Bru cken hal a n s i lin l Pian o n Mass V el s . t B es . S , ro , o , C o, , o g

B u elo ha l e v o n . S n s . w, C r ott o g AP P E NDIX 251

Bu n in tte ste n s an ze v o n . Pian A i , Co t o, r as. i ha l e P n e ss. Ma ch es S n s C r ott , r c r , o g . i n n h s Fa . Zi h er. C r t, y t i i in ibb n a h e a. Pian C . , K t r o

lem en a . Vi lin Pian S an s C t , M ry o , o, g . i D m cke u se . P i n o a a . , Lo P u lin n D c e a v o . S o n s e k e . r, g li n Die i h Am a a. ia S n P s . tr c , o, o g

D e ifu ss Hen ie a. n s S . r , r tt o g i D ie u u se v o n . n b S s . r rg, Lo o g

Erdm ann sdo e rfe r Pau lin e . Vi lin Pian S n , o , o , o gs. in H Es hb n N a. S an s a c or , g , rp.

ah bach Hen ie a. S n s Pian o F r , r tt o g , . is n a la a. S s . F t , C r o g m i i n e lsen hal A al e . P a o o n s S . F t , , g l ise l i n an ke a. P a . Fr , G o i n n i n . Gasch n a . P a , F y o i n s n Pi n o o n s e e a z e . O e a a S . G g r, Co t p r , , g ia n Go e rre s a V. S s Pian o . , M r o g ,

e ze Au u s e . O e as S o n s . Go t , g t p r , g in o l n h o fe r se ha. H G e O era S u a e a . l , Jo p p , tr g Q rt t, rp

l r la o n . i n Go sS e a v P a S n s . , C r o, o g ll n n ab Isabe a v o . Pia o . Gr , i eb e l h e kla. O e a. Gr , T p r i n P i n o o s . Haas a a. a S , M r , g i lin i n n Ham b k a hil e . V P a S s roc , M t d o , o, o g . i i i a i lin Hen e . H e en e ch V . d r , r tt o

- i lin i h l . i H e m B e m a h e V . r , M t d o i ili ’ ll ian . He n ke O e . e P , tt C o, o l H e in siu s a a. S o n s . , C r g i nn a hil n He m a e . S s . t , M t d o g

ili i n o n s . Helle O e . P a S r, tt , o g

- i i n S n s . Hen drich e a a ie . r P a M rt , M r T o, o , o g

i Mass e a P ian o S an s . Hen n An e l ca. O , g , p r , , g

i S o n s ian . Hen sel an n . P , F y Tr o , g , o

He z H e i . S n s Pian o . rt , dw g o g , h H e rzo enb er Elizab e . Pian o . g g, t

ie n s. in ich s a . S H r , M r o g 252 AP P E NDIX

Hu n Alin e . S m h n O ches a Vi lin Pian n S o s . dt , y p o y, r tr , o , o, g is a ha o u e . S in u a e s n ian o S s P . J p , L tr g Q rt t , o g , in e r fe r l i Ka sto r l e . an O . , C ot d rg f alkho au a v o n . Vi lin Pian o K , L r o , . l s in n n h e . i a z e e P a u a e s Pian o S n s. K r, Jo p o Q rt t , o g h m n n M . c ia au e e P . K t , Co rto, o i i li n n e n u se . V n a d O a . K r , Lo o rg i l n ke an n a. e e a Pian an s O S . K , Joh p r tt , o, g len e I en n n s z e v o . S . K , r o g i i n KOn a e . Pian o S s . g, M r , o g K n n i z inn n n n O e r t a o . ia a v P S s . , M o, g Kr li n l ri . éihm e r a n e . a e , C ro C t ik i Kr l e a h l v n . i a e o . , M t d Tr o Ku rz c k l n n n bO a a en e v o . P ia o S s , M gd , o g . an s in n Pian o e h e . S s L g, Jo p o g , . ’ as l An n a v o n i lin lla z . V e . L o , o , C i i s n ian an s . e a e h a. P S L v tt , Jo p o, g

Leb e au u isa Ado l h a. O v e u es o n certa O a i s , Lo p rt r , C , r tor o ,

an a a S in u a e s ias Vi lin Pian S n s . C t t , tr g Q rt t , Tr , o , o , o g n i P i n eb u an ce s a. as a o . L r , Fr c Tr , i n n em ke An n a. P a o S s . L c , , o g

Pi n o n s . e in A ele . a S L w g, d , o g ’

Liebm an n H elen e . P ian o u a e s ias Vialin e lla , Q rt t , Tr , , C ,

P ian o .

ili n e ss . an en B a Pi . L , ro o u S n e e A u s a. s . Lo w , g t o g i Pian o . u sa. L dw g, Ro

am e Em m a. S n s . M p , o g l in f A o h e . n an n k d S s . M op , p o g i i n n u h ss . a a A a D e O e as . M r to , c p r i l A li s n s a a a m a a D u e s . m h n e S S . M r Ch r ott , ch y p o y, o g ' i P u lo wn Du c h ss n ia . a a a a e . P M r , o li i s i lin l in e i n O ch es a a a . arie E zab e P n e s. V P M th , r c r tr , o , C r t, o i i n rta O ra a in e z a ann e . O v e u es S m h n es a ce s M rt , M r rt r , y p o , C , P ian o to rias Mass M e s . , , ot t , i h n u es in u a e s e ta a e Em e l e . S m ies Ov e S M y r, y p o , rt r , tr g Q rt t , ,

ias O e e a Vio lin Pian o S an s . Tr , p r tt , , , g i n n a n n e A v o . S s. M r, o g

2 54 AP P E NDIX

i Ann a i n n S k . P a S s . c , o, o g S le e ha l l n e . Vi i Pian por d r, C r ott o , o. S e h e a ian n e . O an . t c r, M r rg Sto lle we rck in a n N v o . S m h nies Pian S n s , y p o , o, o g . Ts hie rschk i h lm i c W l e n e . n S s . y, o g

ell A n e s . S m h n O v e u e Pi n s a . Tyr , g y p o y, rt r , o Ve l h e im ha l e i n . P a S n s . t , C r ott o, o g s n n i P n Ve e m a a e . ia p r , M r o . i V n u ise o n . n v S o s . g y, Lo g l li n n Wa b u u e v o . P ia o n s S . d rg, J , o g i h e n a lin e W . S o n s . c r , C ro g Wicke rhau se r a alie i n n N . P a a s S . , t o, g i i n W e k a e . Pian S s . c , M r o, o g i l h e n n n e Ha a d i li . W k e se . V , T r rp o is r in W en e de a l e . e s n O a S s . , C ro p r , o g h n i u m an S e a e . n ce i lin Pi n o W b V a . r r d , t p Co rto, o , Z u i r I Z a b te da. i h e . , t r Zittelm an n H le n e n ian s . e . P S , o , o g Z ilie u m stee Em . O v e u e . g, rt r

III. FREN CH CO MPOSERS

A a Vic ia. S o n s . r go, tor g

B a m e sse de . S an s . wr, Co t g il n ie a e s O a . B eau m e sn H e . , r tt p r s in i n B e in Lo u ise A . O e a S u a e s as S a s. rt , g p r , tr g Q rt t , Tr , g ‘

ian a. Bi a ie . P got , M r i In n l B u es lem en n e de . s u m e a . o rg , C t tr t

Mm i n . B ill n de u e . P a r o Jo y, o

ll Vi lin Ha Pian o . B isso n e. r , M o , rp, ili e as ias Pian o n s S . Can de ille Em e . O , p r , Tr , , o g i Carissan Célan ie . O e as O a . , p r , r tor o

O a. a lin e lle . e C ro , M p r e il u i s n ce T ias Vi lin Pian o ham in a e c e . S e C d , C t , Co rto, r , o , ,

S o n gs .

ho u u et u ise . Pian . C q , Lo o

- é i n en a He i e . Balle . Chr t e G ro , dw g t A P P E NDIX 255

- in i Dam o u reau Lau a. S n C t , r o gs.

i n o . llin He len e . P a Co , i De aze t He m n e . O e e a. j , r p r tt

D l l Mm e Har an s . e a a . S v , p, g

D r h sa a . em a e e . H , T r rp i Mass s n Derheim er ec le . e O a , C , rg .

D m e auli e n s . u cha b P n . S g , o g i n D uhan Mm . e P a . , o

D u an de Fo rtm a u e B a nn e . O eras . r d g , ro p

D u al lle B alle . v , M . t i n Fab e a e . Pia o . r , M r F n S m h nies O v e u es h m arren c Mm e . e a n e . a be , J y p o , rt r , C r ’

Mu sic Vi lin ella Pian o Flu e . , o , C , , t i i n i o n s . Fa t en e V c n e . P a S r , tor , o g i P n o n s F a iell h e a i S . e ab a. O c es a O a rr r , G r r tr , p r , , o g

- i s ail r e m h e O e as ian S an . a E e S . P G G r , d op p r , o, g l is Mm Ball s ian n s a lo S o . e . e P G , t , o, g i Ga a e S. an a as Pian . y, M r C t t , o

en lis m e sse H ar . G , Co t . p i ll G n o u x . e O e a. g , M p r

Mm Pi n o . Go ugele t, e . a n al a i S u i e s M sses a a de . O v ertu e e O a a Gr dv , M r r , t , p r , , i lin Flu i n V e P a S o n s . o , t , o, g e Lu c ille s . O e a . Gr try , p r i l u en n le . O e a. G , M p r n el ro n en l u i h n ies in u a Hae de C tha a se . S m S , M rq y p o , tr g Q r t t O e a ian e P . , p r , o e Mm i e n s ian e it . L u H r t e o s . O e as a a as u a e P , p r , C t t , Q rt t , o, n So gs. Ho lm e s u u A s a. S u i es O eras an a as S an s. , g t t , p , C t t , g Ho en se u een n . S o s . rt , Q g h l ac ue s a o e . J q , C r tt Operetta.

aell a ie . o n certa Pian o u a e Pian o . J , M r C , Q rt t, ll e ca o e . O er e . K r d , M p tta li n o a u e e E zabe h . O e a an a as Pia . L g rr , t p r , C t t ,

L H e i n s. a u se . O e a O r an Pian o S y , Lo G p r , g , , o g L h a c e sa. an certa Pian o . Ro , Ro C , L ch n ll e a tre e . O e e a S an s . , M p r tt , g 2 56 AP P E NDIX

u is Mm e . O ere a S o n s . Lo , p tt , g is a n a e B n e . O e as S aba Mat er. M tr , ro p r , t t li n ia n a b a a . s . M r , M r S o g

a ch esi a hil e . Vo calises M r , M t d . x h Pian o a B e e . . M r , rt

s i Pi . a sa u se . an o M rt, Lo

Mm rch e . au e . O s ra M ry, t Mizan e re u is l i h d a e . av c . g , M rq C or

lin - Lafitte ll n s e . S s Mo o , M o g . n u l Mm He len e n n e e . . Pia S a s . Mo tg ro t, o , g l i le Mm . l h n s Ne u e A e de . Mass i lin n s V S . v , p o , o , o g P i li a o t a e . V ca ses . p , M r o

i - Pilte e e m e sse . e O e as . P rr r , Co t p r

P e rro n e Am elie . t O e e as. , p r tt Pi n a ie de O e a O n n e . a Pia o S n s. rpo t , M r p r , rg , , o g ill n Ple el am e . Pia . y , C o i ll . P e a e Ha . o t , M r rp

illau ll i n . Po u e . P a , M o i s n Pu e u sa. O e a S s. g t , Lo p r , o g i u l i u n a a e M e s . Q t , M r . ot t

- H elen e . n b e azel S s . Ro rt M , o g

- i i ss n in D e m e e . a Sa a a. t d r, Co t C t t

- in e i lle s . Sa . O e a t Cro x , M p r

l m - r u en ie San a a So u e t E . O e a t Co o g , g p r ,

i ian . a e u ha l e . P T rd , C r ott o lin h s Pau e . O e as S o n s . T y , p r , g ! n ie ian o n e e . P . T , L o o

t Mm e n s . Trav en e . S , o g i i n Ve e Vi n e . Vi lin Pia o . rg r, rg o ,

- Viardo t a cia Paulin e . O e e as Pian o S an s . G r , p r tt , , g

I I V. AMER CAN CO MPO SERS

Abb t an e B . S n s . ot , J o g i n A am s Mrs . . P a . d , C o

l n a O an Pian o S an s. An u s He en . a a dr , J C t t , rg , , g

n a e S n s . A he . t rto , Gr c o g

ll rs i n S an s . M . L . a B a . W P , o, g

2 58 AP P E NDIX

Mrs . n n a . . S a s . K pp , J F g

l n an n . n n S S a s . K ow to , F y g n la a O c hes a lin n D . Vi S s . Kor , C r r tr , o , o g i n m s n e e . o s a S . L o , G org g h e n an a a e u . Ov r u es i lin P n n e V ia S s . L g, M rg r t R t v t r , o , o, o g

em m e! H elen H . S n s . L , o g i ac en e ac e S n s . k z . M , Gr o g il P n ae e Em . S s . M d r, y o g M r k l wa d ac . r h t n n a c e O c es ra Pia o S s . , Gr , , o g h c n s a e a e . S a . M y w, Gr g l ille a u e i Pi n in t in n s e e . a o u e Vi l S a . M v , M rg r t Q t , o , g

i Mr . i n e k s . P a S n s . M rr c , C o, o g

e zle B e a. Pian o S an s . M t r, rth , g l n Mrs o n s u o . . S . Mo t , C g

- i lli lin Pian o n s. u e A e a. S M r o C , d , o g

- i n N e s P e E h . Pian o S a s . oy ort r, d t R , g

Olc ace . S an s . ott, Gr g

O e e ta ian n s. O h Mrs . . E. P S o rt , L p r t , o, g

O s o o a i n . Pian S o n s . g d , M r o o, g i i n en An a a S an s . O . P w , t o, g i Parc ello a e . S an s . , M r g

Pa k E n a . S n s . r , d R o g i Pease e ss e . S n s . , J L o g

i Ali i lin n s . P m an c e . V S t , L o , o g

i m n s . P Em a. S tt, o g i n rs a S s. e M D . P . ort r, v d o g

l Mrs . n . P e l . W S s ow , o g i P ian o n als n a n . S s. R to , M r o , o g

a m n Em m a . S n s . R y o d , M o g

l Pi n o S an s . ee s a a H . a R , C r , g

icha s n enn ie V. Pian . R rd o , J o

in lai e . Pian . R g, C r o i i er ann e . S n s. R tt , F R o g

- li ian i e in u a. P . R v K g, J o i s b e s N ell e W . S n . Ro rt , o g ’ in u a e t i lin ella ian r la a . V e s M s . S P Rog r , C r K tr g Q rt , o , C , o,

S o ngs . l r l n s M s l e . S s . n a . B e Ro d , o g AP P E NDI X 259

a e W . S an s . Root , Gr c g

un i n s an e . O an c e S an s . R , Co t c L rg , g

l . S n Sa e a s . t r, M ry T o g a D n a en . S s . S rg t , Cor o g i Ha e P . o n s aw e S . S y r, tt g in l a. an S h u e e S s . c y r, G org g

H . an s S o la a S . c tt, C r g i li n i fi l e . S e e S s . g r d, L M o g

i n s e . an c es S m m a D . o , K t lli P i n n el n Mrs. N e e . a o a s Sk B S . to , , g

in e Mrs . an n . an Sk n S s . r, F y L g

i h Elean an s . Sm . S t , or g

i h Mrs . ian S n . Sm . P s t , G o, o g

Sm i h e u e . S an s . t , G rtr d g i Sm h Ma . S o n s . t , y F g i i P n Sm h N e e . S o s . t , tt g m i h salie n S s . S B . t , Ro o g n n n S e e d, An a. S o gs .

n n n S n s H m ns . S e ce a . a p r, F y M g , y i hn e . o n s . St. e B S Jo , G org g

S ai Pa . Pian o S n s . t r, tty , o g i m m a n S e n e E . O e e as S s . t r, p r tt , o g i S e a An n e . S o n s . t w rt , M g ll P n rs e S s . S c ke M . S a . to r, t o g Mrs h e o P n ia o o n s . S u . . S tro , T , g if Mrs o n s H . . S . . S w t, G g

a l Mrs . A . H . S n s . T y or, o g i h u be N e e . S n s. T r r, tt C o g i n n an e S . a P S s . Torry, J o, o g i n sen a e . S n s . Tow d , M r o g in elin e a A . an s S . Tr , d g

ar H elen . n Tretb , S a gs . i n i u n s u se . S o n s . T o , Lo g li i n u en A a. in n s Va B S u a e S . r , c tr g Q rt t, o g l Van e e a e . S n s . d rpo , K t o g i Van n a a e . P a an n o S s . h , K t , g Mrs Ven h . . n . P ia . t , L K o al e Id i n S n s W k a. P a . r, o, o g A P P E NDIX

W i e Em m a . Pian S n s . h t , C o, o g illiam s a a e O v e u W . e . , M rg r t rt r il i ls Ha . n W e B S s . , rr t o g

Mrs . e e . an W S s . ood, G org g i W a n h . Trio S an s ood , M ry K g t , g . l h u l a . n W o S o s . o d , M ry G g li E a. Pi n n s W s z a o S . ood , , o g i W s ck a e . S n s . ood to , M tt o g i n s S . W h A ela e . ort , d d o g i n n Mrs n e . o s Y u n . S . o g, Cor g

li Pi n o n s . Y un E za . a S o g, M , o g l m fi l i n Ze issler an n B e . P a . , F y oo d o

26 2 INDE X

P in ess 1 6 . C a n i R e a e an m an e s 8 . B tric , r c , 5 rlovi g o c , 4

e a m e sn H e n ie e de 1 8 . C arm ae Ma G ran 1 1 B u il , r tt , 7 ich l , ry t, 4 ,

Id 1 2. 2 8 e e a . B ck r, , 7 3 e e e n L v o n 1 0 1 1 1 C a e n Te e sa 2 1 — B thov , udwig , 7, , , , 2 . — rr o r 3 3 3 6 1 2 2 o . C as e a S n 1 1 a 21 . 3 , 4 ll , ig or , 5

- e e i e O Em e 1 6 . C as a 6 . B ll v ll ury, ili , 9 id , 4

- B n f e A n n a 1 62. C a u lan a Ma n e e S s a e a 6 . y chupp , , , , 3 — dd l H 8 1 8 . C a e i e a an An e a 2 1 6. B rl oz, ctor, 4 t l i , g lic ,

e n a de Ve n a 1 . C e a St. 2 1 1 . B r rd t dour, 5 cili , ,

B e rn o u ill A n es 1 62. C e M s . y, g , ltic u ic , 3 7

1 8 2 1 8 . C a n e r n L s e am e e E i A . 1 B ti , oui , , 3 h b rl y , d th , 3 9,

e r n N a a e 2 1 6 . B ti i , t li ,

e r n Te re sa 21 6. l h am in ade Ce e 1 B ti otti, , A , cil , 74 Ma e 1 2. “ 2 8 2 Bigot , ri , 9 3 4 : 3 , 4 m 91 , Bin fi eld H an n a 1 . C an s n , h , 3 5 h o ,

sse E i a e 1 . C a e P n e ss 1 6 . Bi t , l z b th , 3 5 h rlott , ri c , 5

Blah e tk a Le O o ldin e 1 C aza Mrs . 1 . 60 . , p , h l , , 3 3 Bla is T r 8 1 s e e sa di 2 1 6 . C e r n . , , h ubi i ,

B - leitn e r R C n e se M s 1 . s a 22 . , o , 7 hi u ic , 3 3 4

B r- Om e San drin M 1 C a . i a ie 2. , r , 7 hiv lry, 3 7 n A C in F e e i 8 1 28 e 1 . Borto , lic , 3 9 hop , r d r c , 97, 9 ,

r C e m 1 . e s e n n e de 66 . 0 Bou g , l ti , 3

e E Ma 1 C ré ie n de T e s 8 . e 2 . Boyc , th l ry, 43 , 3 9 h t roy , 4

- am a M C é e n G e n a H e i e 1 8 . B bi , a ie a, 2 1 6 . i , w g , r ll r tt — hr t ro d 9 an C a n Ch rish n a 1 I . e 8 8 0. Br dt , roli , 7 , 3 , 4

Fan n 1 . e n an e n a v o n 1 21 . C s Br t o, B tti , hri t , y, 73

n E n C s s m 6. e n e a v o n 1 1 . Br u i g, l o or , 9 hry o to , 3

D Ci n c h e ttin i Ve n i a 226 . a 1 8 2 . a Bright , or , 3 , 3 9 , ro c ,

n m M n C a e 1 . an n n a 1 1 . Bri k , i , 7 l rib l , 3 5

r s M a e an e 1 . s n e . 1 1 . C B i o , ll , l rk , J , 3 3

ro Clau s z Wilh e lm in a 22 . B e s M e . 2 1 , ll , , , 7

- Bro n s art In e o v o n 220 22 C e m e n Ma 1 6 . , g b rg , 5, l t , ry, 9

C a Ma a R s a 21 6 . occi , ri o ,

u Max 2 C o lbran A n e a 2 0. Br ch , , 3 7. , g l , 3

Bru ck e h C n H e e n e 1 . n t al a n e ss v o n 1 66 . , B ro , olli , l , 93

n s C n s La a Se wi 206 . w T e e s e v o n 1 2 1 . Bru ick, h r , olli , ur dg ck , Ma a 22 n a- So u r et H e en e San a e . C Bugg , gd , 5 olo g , l t ,

B u tte n s tein C n s an e 1 6 . 1 88 . , o t c , 3

n n 6 . xte e 1 1 1 . C n e Bu hud , o t tio , 4

C o e E i 1 2. ok , d th , 5

n a 28 . C ori n ,

C e Ida 2 1 . orr r, , 5 — C a n F an e s a 6 21 1 C o ts o fLo e 2 . cci i , r c c , 4, , ur v , 5 55

i Ma ar a 6 . 2 0. C o zzo lan 4 , rg it , 5

C e Ma an a 2 1 6 . a a C n e ia 6 . C e l g ri, or l , 5 r ti , ri ,

h al Ma s e de 1 86 . C an de ille Em e 1 8 . C ro n e n t , ili , 7 , rqui ,

C aris n m an H a ie 2 1 . san C éla ie 1 86 2 8 . C , , , 3 u , rr t, 9 INDE X 26 3

D Fe n e P in e a 22 . ch r, ul , 9 Fe m n in T e n e s 2. i o , 3

Da l Em m a 2 1 8 . Fe ra C a a 2 1 2 21 2 h , , r ri , rlott , , 3 , 3 4,

Dan e s A n e n 1 21 1 . 2 0 . c , ci t , 7, , 3 4

Dan i e La a 20 . Fe a G a ie a 1 8 . z g r, ur , 7 rr ri , br ll , 5

Da i Kin 20. F n r P a e n e 1 68 . v d , g, icht , uli ,

- Da e s Lle we la 1 . F an H an 2 vi , , 53 o g o g, 3 .

De a 21 . Fo lv ille e e 1 8 bor h , , J uli tt , 2 . De de k m 1 Fo r a S e 2 . tm u a e a o n n e de 1 8 . , ophi , 9 g , B r , 9

De aze t H e m n e 1 8 . F an Ma ia H n r s 1 2 j , r i , 9 r z , r i ich , 7 .

De a al Mm . F an R e r 1 0 e 1 0 . 2 2 0 . l v , , 9 r z, ob t , 4, 3 7, 4 m a T e F e e r r De s e 1 . a a o a e ss 8 . r, h r , 94 r d ick B b r , 3 D rh i r F e e th re a 1 e e m e Cé c ile 1 0 . e G . , , 9 r d rick t , 54 ’ H ar lo t Fr e n E n e s n e v o n D de 1 . G . , uy , 49 ick , r ti , 94 ’ F i . M . 22 ru o n 2 1 D H o v o rst m e . e a 6 , , 7 g , B rth ,

Di s n E e n 1 . ck o , ll , 3 5 i D s . cord, 47

D e s 1 . olor , 3 5

Do n Pe 60. Ga e Vi i n a 1 6 . dro , bri l , rg i , 3 M D a C a a 20 . Gae s . ori , l r , 3 lic u ic, 3 7

h m a - a e E m Du c a b e Pa in e G G e S i 1 . 1 . e 8 g , ul , 93 il rr , d oph , 7

r a Mm . 1 is e . D e e P e r e 8 . G 8 u , i r , 4 llo , , 9 D a n a 2 1 e n La 1 2. G A . uff ri , dy, 5 llo i , dolf , 5 G M D a e e 1 . Ma ie 2 0 . a S 0 uport, r , 3 y, ri ophi , 9 e n M Du R 1 1 a rs . e ss . 2 1 1 . G e L 08 . oll t, 4 , 5 y or, J i ,

Du ssek O ia 1 . Ge e C n s an e 1 1 . , liv , 3 5 ig r, o t c , 7

D a M e . 1 8 . G eis as . uv l , ll , 7 h , 3 4 l Ge n s C m e sse de 1 . i , o t , 94

i M . E G n o u x e 1 8 . g , ll , 9

G e r F e n e 1 1 2 . ilb t, lor c , 5 , 3 9

- G iu iard s 1 20 . E ian M s 1 6 1 . c c i C n e s gypt u ic , 9 , ou t ,

n A n Giz k L m a 22 . E e a ai e 0 1 2. c a l or of quit , 5 , 5 , 5 y , ud ill , 7

E i R sa n 1 0 2 8 2 G ladk o wsk a C n s an a 1 2 . ll cott , o li d, 4 , 3 , 3 9 . , o t ti , 9

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- 6 . E o C n W . 1 1 1 1 e ss 1 20 . G C s rd dy , ou t , luck , hri toph , 3

Ertm an n n A ra e a 1 6 . a e ss 1 20 . G a , B ro , odd rd, b ll , 4

N a 1 6 . Es n n a 1 . G e e A s chbor , i , 73 o tz , ugu t , 7

Ess e n h am n 2 G n Am n a e a e 1 6 . e s . , 4 , 55 oodwi , i B tric , 4

Es a M ss 206 . G e v o n S ass 0 . t brook , i , ottfri d tr burg, 4

Es e a C a G s C n e ss 228 . n e v o n 1 2 1 2 . a a t rh zy , roli , 4, 5 r bow k , ou t ,

Es e a P in e 2 G rae v e r Ma e e n e 2 1 6 . t rh zy, r c , 7 . , d l i , G V m e ss e de 1 80 E e e . an a th lb rt, 3 5 r dv l , ico t , ,

a 1 2. F G a , L uis , r y o 4— G e e M s 22 0. r k u ic, 3

F r e G n E 1 8 . a r n c e an n e L s e 1 8 1 2 8 . e e e , J oui , , 3 r , dith , 3

F t e G L i e 1 8 . a t n e Vi n e 1 8 2. re , ctori , try , uc ll , 7 264 INDEX

ie e T a G e 1 68 . r b l, h kl , H G e E a a e u 88 . ri g, du rd g r p ,

G s e n e 21 0. Is aia 2 ro , Jo phi , h , 0.

M e . G e n n 1 88 . u i , ll , El a G e e e de la 1 86 . u rr , iz b th , s n n Ma 1 G e e a e e . u t , J ri , 3 3

G i T e e s a 21 . a es C a e 1 8 . uid , r , 5 J cqu , h rlott , 9

G de Ma a e 1 . ll Mm Ma ae e . ie 1 1 . y , rg r t , 44 J , r , 9 an n a C n e ss O a 2 0 . J i , ou t lg , 3 an o th a N a a e 22 J , th li , 9 . a an e s e M s p u ic , 3 4 .

H a a 20 . e an re n d Ce au e 1 28 . b kkuk , , cil ,

H a e Mrs . P i 20 . e e L n a 20 . l , h lip , 9 J w ll , uci , 7

H m m M e o n . a e a v 20 n e s 6 62. r, ri , 7 Jo gl ur , 3 9, 5 ,

- H an e Ge F . 1 1 1 1 1 2 1 . M . an rs 1 6 . d l , org , 3 , 4 Jord , , 3

H a an Li e 1 . rl d , zzi , 43

H a a e n E e 1 1 . rr d , th l, 4 K

H a is n An n e F 1 2. rr o , i 4 — H a n s e 1 . F an z J f, 7 Kain e rsto rfer C il e 1 2. yd , r o— 75 , lot d , 7 H n Fra 1 . K in a an e se e 1 6 . yd , u , 7 73 zl r, Jo ph , 5

H ale M s 1 . e , is , 4 K e e n e s 20 . 3 — r , H e M s 1 22 . K e e le vic s a e e de 1 20. br w u ic , 9 g , B b tt ,

H e n e i H e n r e a 1 6 . M . ei K e a e 1 8 . d r ch , i tt , 9 rc do , ll , 7

- H m m Ma e 1 . e e 6 Ke n L s e 1 66 . i Br h , thild , 9 r , oui ,

H e n e O e 1 2 . K n e an n a 1 6 . i k , ttili , 7 i k l , Joh , 7

H v o n Me ss e n . Kle zin k A e in t s e e 22 . rich i , 43 y, d l , 9

H e n v o n Ve ldi 8 . Ko h ar Ma e de 22 i rich g, 3 y, ri , 7

- Me a M H e ric h a ie 1 68 . K m n d s a Ste h an le 2 0. rt , r , o orow k , p , 3

H e n n An e a 1 66 . Ko rn C ara 20 . , g lic , , l , 4

H en s e W e m 1 26 . K am e C a n e 1 . l , ilh l , r r, roli , 73

H 2 1 . Kralik e Ma e v o n e e 1 66 . rd r, , thild ,

- H ritte Viardo t Pa in e 1 8 . e , ul , 5 ,

H e ae ae 2 . L t r , 9

Hi Mi e , 20 . ll , ldr d 9— H n M s 1 2 1 6 . La e a e rn ar a de 66 . i doo u ic, c rd , B d ,

- 1 Ms 2 1 . H an Ti . La s o g , 3 go , i , 9 H H e s Fa s n a as se 20 . La H e L s e 1 . odg , u ti , 7 y , oui , 93

H an C a o in e 1 . Lam a 2 . oll d , r l , 43 i , 9

H m e e 22 . Lan s e n e 1 6 . ol b rg, B tty, 5 g, Jo phi , 9 H m e s A s a 1 8—1 80 2 Lan Ma a e R e n 201 ol , ugu t , 7 , 3 5, g, rg r t uthv , ,

202.

H m e 22 2 . Lan an s L s e 1 66 . o r, , 4 gh , oui ,

H H e e n 20 . Lan n o C m e ss e de 21 8 . ood , l , 7 y , o t ,

- H o e kirk W s n Mm e . 20 . La R e R s a 1 1 . p il o , , 4 och , o , 9

H r s Am E s e 1 8 2 . La re n e Em 1 . o rock , y l i , 3 , 3 9 w c , ily, 43

H e n se e e n 1 . Le e a Lo isa Ado l h a 1 6 ort , Q u , 93 b u , u p , 4,

H n A in e 1 62 2 8 . u dt , l , , 3

266 INDE X

R i e a L ise 1 1 . ch rd, ou , 7 Re n é Vi 2 0 . , ctor, 9

Pa anin i 8 . Re nn es C a e n e v an 21 g , 3 , th ri , 7.

Ma ia T e es v o n 1 6 R Mr . Pa a es a es s 1 . r di , r h r , 5 hod , , 49

8 . 1 R O n e s n a 2 1 6 . s icotti, ti ,

Parlc E n a R s a in 20 . Ri n l b e r Ma l 22 e s e . , d o l d , 5 g g, thi d , 7

Pa e Ma a 1 2. R e Fan n Ra m n 2 1 0 2 2. rk , ri , 3 itt r, y y o d , , 4

Park n s Mrs . e i e 1 R e G ira a u n t . y , B tr c , 44 iqui r, , 59

Pa - s . R e K n e e a 20 . tor ll , 47 iv i g, Juli , 3

Pa - A in a 1 2. R Ma e! Mm . 1 e e e 0 . tti, d l , 5 ob rt z , , 9

Pe . R Ka es 2 2 e s C a a e e n 202 20 . ricl , 7, 9 og r , l r thl , , 3

- P lt . R m M e e e Fl e C m esse 1 88 an si 0 1 . rri r , o t , o u c, 3 , 3 P R m e rro n e t Am e e 1 8 . an e 8 . , li , 9 o c , 4

P s - n R 1 Mm . 2 . e siak S m e An n a 6 . u de rs do rff e 0 ch rli g, , 7 , , 3 P R Man s . e a 1 . iidi e r e s e 8 tr rch , 5 g of , 3 ifte n 1 R 2 1 1 Pfe ils ch r u ie v o 68 . a Gi a 2 0 . , J l , ut , ld , , 4

P a n 2 . h o , 5

P n 1 1 . icci i , 5

Pie n Ma ie de 1 8 . rpo t , r , 9

H an 6 2. Pin a 28 . Sa s s d r, ch , ,

- D e C m e ss e de 1 P m an A e L e 206. Sain i 0. it , lic ock , t id r, o t , 9

— - d M e . e . P an e M n n a 86 88 . Sai n e C 1 8 l r, i , t roix, ll , 9

- D C a o 1 6 . Plan h 6 . S ain n e , 4 to olby , h rl tt , 3

P a s 1 . Sa Law . l utu , 3 lic , 3 5

P e e C am e 1 2. S am s n 20 . l y l, ill , 9 o ,

P A a e 1 6 . San G e e 1 2 1 0 . litt , g th , 7 d , org , 9, 3

P E s e 2 2 . San e s A m a 1 . olko , li , 4 d r , l , 44

P e Ma e 1 . San e s n S 1 0 . oll t , ri , 94 d r o , ibyl , 3

lz i L a . Po e ll , uigi , 74

P e E N es 20 S a a e n M s . ort r, dith oy , r c u ic , 45

N an n . P e s O e a L . 1 g2 8 . S a e n e e v o 1 6 r cott , liv ri , 3 3 ch d , tt , 3 T e s a fe e a . P e n e . S e 1 6 rov c , 44, 45 ch f r, h r , 3 D P e Lo s e 1 88 . Sch au ro th e n e v o n 1 1 . ug t , ui , , lphi , 7

D . P a o as 2 . S ei e e e 8 0 yth g r , 9 ch dl r, or tt ,

o n An n 2 . Schim , a, 2 7

Schirm ach er D a 1 6 . Q , or , 4

Sch m e ze r E s e 1 68 . , li ,

t r Mr . . in a Ma ie Ann e 1 0. Sc h rO e s Q u ult , r , 9 , , 74 S e F an P e e 1 01 1 0 chub rt , r z t r, , 4, R S m an n C a a 0—1 1 0 1 6 chu , l r , 9 , 9,

Ra e i O a v o n 2 0. d ck , lg , 3

- 1 0 1 6 Ra Ka e 1 . S m an n R e 0 lph , t , 44 chu , ob rt, 9 7, 9,

2 1 . Ram an n , Lin a, 1 71 , 4

Ram sa Ka ar n e 1 2 2 . S La 1 6 . y , th i , 5 , 3 9 cott , dy, 3

b ald A m al a 1 22. Re i M e . 8 . Se e c o , ll , 3 , i ,

t S ie 1 . Re e s C ara 20 . Sei , l , 7 p , oph , 73 INDE X 26 7

S e n ek e , Te e sa, 21 . T a s 8 6 . r 5 roub dour , , 5 , 59 60

S e e n a e . Tr Em r d , 47 oup , ily

Mm e . 2 S e 0 . T e e s rov, , 3 rouv r , 47, 48 . e L ie Ma n Sie gfri , i 206 . Tschitsc h e rin T e s a de 2 2 . d ll ho , , h odo i , 9

Si e n s 2 2 2 . T i n s n L s e 20 . r , 3 , 4, 5 u o , oui , 9

Sirm e n Ma a e n a 2 1 . Tu ss enb ro ek H e n i a n v a 2 1 . , dd l , 4 , dr k , 7

Si e n e . T l A e n e s 1 6 . rv t , 47 yr l , g , 3

S in e . ixt , 47

S n n e F re n e M. 1 2. ki r, lo c , 4 U

Sm A e Ma 1 2 . ith , lic ry , 3 7, 3 4

Sm E e an 208 . i C ar in e 1 U e 2 . ith , l or, cc ll , ol , 5

Sm s n H a e 8 1 8 . U i v o n Li en s ein ith o , rri t, , 3 lr ch cht t , 43 .

M. 1 Sm E e 0 2 . sse s 2 . yth , th l , 4 , 3 9 Uly , 4

S a e s 26. ocr t , ’ S m n s S n 20. olo o o g,

S n 2 . olo , 7

S n n e . Valen in e An n 1 . o t , 47 t , , 3 3

S L i 80 1 0 1 . Van e n A i ia 206 . pohr, udw g, , 97, 9, 3 4 Bur , l c ,

- S e e Ma ian n e 1 2. Ve i G se e 8 8 . t ch r, r , 7 rd , iu pp , 4 5

S e n e Em m a 20 . Ve e Vi in e du 1 1 . t i r, , 5 rg r, rg i , 9

S i in E a e 1 . Ve se . t rl g, liz b th , 3 3 r , 47

ia 6 . S e S e a P n e 20 . Ve zzan a L e tock r, t ll ri c , 9 , ucr t , 5

- Sto lle we rc k Nin a v o n 1 6 . Viardo t Gar ia Pa in e 1 8 1 8 . , , 3 c , ul , 3 , 4

. V a Pie re . S a ss Mm e . R ar 88 i tr u , ich d, d l , r , 43

Vi n L se v o n 1 2. S ar a a 6 . trozzi, B b r , 5 g y , oui , 7

Vizzani r n a . S e n e A n n a 22 . O s 6 tub b rg, , 7 , i , 4

H e n ie a 22 . S Mrs . T e e 20 . V e utro, h odor , 9 orw rk , r tt , 7

S e s n e E 1 2 . w p to , dith , 3 9, 3 9 F 1 — W S m n e an as e 8 8 . y pho i t tiqu , 3

Sztara C n e ss 22 . y, ou t , 9

Sz m an o wska Ma ie 228 . Wa e R be 8 . y , r , c , o rt , 4

- Wa Lie e 0 . cht d r, 4

T Wagn e C sim a, 88 . r, o — Wa n e R a 8 88 2 0. g r, ich rd , 5 , 4

Wa e Ida 1 2 . Tan n a se 1 . h u r, 4 lt r, , 4

1 Wa e v o n de r V e ei e 1 . Te m e H e 2. pl , op , 5 lth r og lw d , 4

Te n n s n La 1 2. Wa K a e L 1 2. y o , dy, 5 rd, t ucy, 5 Te n n s 6 . Wa 1 . o , 4 rtburg, 4

Te re n e 1 We e A sia . c , 3 b r, loy , 75

- T s V i 1 Ma ia v o n 8 80. e a 1 2. We e C a i , ittor , b r, rl r , 7

Th e e rs tro m H C n s an e . a 21 . We e g , ild , 9 b r, o t c , 75, 77

T n E a K a e 1 . 20 . We s tr0 hor , dg r, 9 p , t , 44 T s Pa n Ma e Va e e 1 0 2 8 e 1 88 . W e hy , uli , hit , ud l ri , 5 , 3 , T r n am e n . 2 . ou t , 47 3 9 — T ain A W e C ara 0 1 02 1 06 . e n e 20 . r , d li , 9 i ck , l , 9 ,

Trav W e F e 1 1 02. e n e t Mm e de 1 . , . , 93 i ck , ri drich , 9 ,

- Tret W e Ma ie 1 1 1 . b ar H e e n 20 2 2. , l , 9, 4 i ck , r , 9 7 26 8 INDEX

W am o fP i 0. Y illi o tou, 5

W am s Mar a e 20 . illi , g r t , 5 M n 1 1 W m an a a e a . Y n H a rie Ma an 1 1 . ill , gd l , 9 ou g, r t itl d, 4 W n e T e e s e I . i k l , h r , 73 W is en e de r C a n e 1 6 2 2. Z , roli , 7, 4 W o dzin ki M r 1 2 . s , a ie , 9 W am v o n Es e n a 0. Za a e R sa a 2 0 . olfr ch b ch , 4 p t r, o ri , 3 W Ma Kn 206 . Zau bite r Ida 1 . ood , ry ight , , , 73 W s E a 20 . Ze n n e C a 2 1 6 . ood , liz , 5 t r, l ry , Z m m a n A n 1 W S a 1 6 . m e r n e s 2 . oolf, ophi , 3 i , g , 45, 3 9

Z m t Em 1 . W rm Ma e 1 0 . u s e e e u , ri , 4 g, ili , 59

W rm an C n ess 1 6 . u br d, ou t , 9