Rupert Hughes

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MARGARET RUTHVEN LANG.

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Copyright, 1889, by Arthur P. Schmidt & Co.

Out in the misty moonlight, the first snow flakes I see,
As they frolic among the leafless boughs of the apple tree.
Faintly they seem to whisper, as round the boughs they wing;
"We are the ghosts of the flowers who died in the early spring,
Who died in the early spring."

Her opus 32 is made up of two songs, both full of fire and originality. Opus 33 is a captivating "Spring Idyl" for the piano, for which she has also written a "Revery," of which the exquisiteness of sleep is the theme. The music is delicious, and the ending is a rare proof of the beautiful possibilities of dissonance.

Personally, I see in Miss Lang's compositions such a depth of psychology that I place the general quality of her work above that of any other woman composer. It is devoid of meretriciousness and of any suspicion of seeking after virility; it is so sincere, so true to the underlying thought, that it seems to me to have an unusual chance of interesting attention and stirring emotions increasingly with the years.

An interesting and genuine individuality will transpire through the most limited amount of creative art. This has been the case with the few published works of a writer, whose compositions, though unpretentious in size and sentiment, yet reveal a graceful fancy, and a marked contemplation upon the details of the moods.

Irene Baumgras was born at Syracuse, New York, and studied the piano at the Cincinnati Conservatory of Music, where she took the Springer gold medal in 1881. She studied in Berlin with Moszkowski and Oscar Raif. She was married in Berlin, in 1884, to Philip Hale, the distinguished Boston musical critic.

Her devotion to her art was so great that her health broke down from overwork, and she was compelled to give up piano playing. Some of her compositions have been published under the name of "Victor RenÉ." Her 15th opus is made up of three "Morceaux de Genre," of which the "Pantomime" is a most volatile harlequinade, with moods as changeful as the key; a remarkably interesting composition. Four "PensÉes PoÉtiques" make up opus 16. They include a blithe "Chansonette" and a "Valse Impromptu," which, unlike the usual impromptu, has the ex tempore spirit. Of her songs, "Mystery" is a charming lyric; "Maisie" is faithful to the ghoulish merriment of the words; and "An Opal Heart" is striking for interesting dissonances that do not mar the fluency of the lyric.

Of much refinement are the fluent lyrics of Mrs. Mary Knight Wood. They show a breadth in little, and a fondness for unexpected harmonies that do not disturb the coherence of her songs. They possess also a marked spontaneity. An unexpected effect is gained by the brave E flat in her "Serenade." Her popular "Ashes of Roses" also has a rich harmonic structure. Among other songs, one with an effective obbligato for the violoncello deserves special praise. She has written also for the violin and piano, and trios for 'cello, violin, and piano.

Other women who have written certain works of serious intention and worthy art, are Mrs. Clara A. Korn, Laura Sedgwick Collins, the composer of an ingenious male quartette, "Love is a Sickness," and many excellent songs, among them, "Be Like That Bird," which is ideally graceful; Fanny M. Spencer, who has written a collection of thirty-two original hymn tunes, a good anthem, and a Magnificat and Nunc Dimittis of real strength; Julie RivÉ-King, the author of many concert pieces; Patty Stair, of Cleveland; Harriet P. Sawyer, Mrs. Jessie L. Gaynor, Constance Maud, Jenny Prince Black, Charlotte M. Crane, and Helen Hood.