o," brought out at the Trafalgar
Square Theatre, London, with excellent results. She has composed an
operetta, "His Last Chance," besides vocal, choral, and violin pieces.
Harriet Maitland Young has completed several operettas, of which "An
Artist's Proof" and the "Queen of Hearts" were successfully performed.
Annie Fortescue Harrison witnessed the production of her "Ferry Girl"
and "Lost Husband" at London. Louisa Gray's "Between Two Stools" has
been given at many places. Ida Walter's four-act opera, "Florian,"
received a London performance in 1886. Florence Marian Skinner has made
Italy the scene of her work. Her "Suocera," in serious vein, appeared at
Naples in 1877, while her "Mary, Queen of Scots," after being given at
St. Remo and Turin, received a London hearing.

England is preeminently a land of musical festivals, at which choral
work plays an important part. London and the larger cities have their
regular series of concerts, and the size of the capital attracts outside
artists, but many of the smaller towns have annual occasions, at which
local talent is sure to receive a full appreciation. This accounts for
the prevalence of cantatas in the English musical repertoire. Subjects
of all sorts are used, and dramatic, romantic, or 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 this form of composition, some
have already been mentioned, but a number have been satisfied with it
for their only efforts in extended style. Lizzie Harland produced her
dramatic cantata, "C[oe]ur de Lion," in 1888, following it with the
"Queen of the Roses" for female voices. Ethel Mary Boyce, winner of
various prizes, has composed "Young Lochinvar," "The Sands of
Corriemie," and other cantatas, as well as a March in E for orchestra.
Miss Heale, another London aspirant, is credited with "Epithalamion,"
"The Water Sprite," and other choral works. Emily M. Lawrence has
produced "Bonny Kilmeny" and "The Ten Virgins," both for female voices,
while Caroline Holland has written the cantata, "Miss Kilmansegg," and
the ballad, "After the Skirmish," for chorus and orchestra. Miss Holland
has won laurels as a conductor, besides being known as a composer. All
of these 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 wholly in the shorter
forms. Yet