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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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