mposed the "Blue Bells of Scotland," or Lady Scott (Alicia
Anne Spottiswoode), the author of "Annie Laurie" and other well-known
songs. Mary Ann Virginia Gabriel (1825-77) was best known by her many
tuneful songs, but wrote also part-songs, piano pieces, and a number of
cantatas and operettas. Charlotte Sainton-Dolby (1821-85), the famous
singer and friend of Mendelssohn, was also most widely appreciated
because of her songs, though her cantatas, "The Legend of St.
Dorothea" and "The Story of the Faithful Soul," were often performed.
Sophia Julia Woolf (1831-93) won fame by her piano pieces and her opera,
"Carina," as well as through her songs.

Kate Fanny Loder, not content with songs and the opera "L'Elisir
d'Amore," has composed an overture for orchestra, two string quartettes,
a piano trio, piano and violin sonatas, minor piano pieces, and some
organ works. Caroline Orger (1818-92) was another talented composer
whose work possessed sincerity and artistic value, and was above the
merely popular vein. Among her productions, which have been often
performed, are tarantellas, a sonata, and other piano pieces, a 'cello
sonata, a piano quartette and trio, and a piano concerto.

Alice Mary Smith (1839-84) seems to have been on the whole the foremost
woman composer that England has yet produced. A pupil of Sterndale
Bennett and Sir George A. Macfarren, she devoted herself wholly to
composition, and made it her life-work. Her music is clear and well
balanced in form, excellent in thematic material, and endowed with an
expressive charm of melodic and harmonic beauty. Among her orchestral
works are two symphonies, one in C minor and the other in G; four
overtures, "Endymion," "Lalla Rookh," "The Masque of Pandora," and
"Jason, or the Argonauts and Sirens;" a concerto for clarinet and
orchestra, and an "Introduction and Allegro" for piano and orchestra.
Her chamber music is also successful. It consists of four quartettes for
piano and strings in B flat, D, E, and G minor, also three string
quartettes. With the orchestral works should go two intermezzi for "The
Masque of Pandora," finished later than the overture. Her published
cantatas include "Ruedesheim," "Ode to the Northeast Wind," a strong
work, "The Passions" (Collins), "Song of the Little Baltung" (Kingsley),
and "The Red King" (Kingsley). Her many part-songs, duets, and solos are
imbued with rare melodic charm, as may be seen from the famous duet,
"Oh, that we two were