the absence of ambitious work must not be taken to indicate a
lack of musical genius, for many of England's best known musical women
rest their fame upon a few short pieces. There is a vast difference
between good music and great music, and a song of real worth often
outlasts an ambitious but overswollen symphony that is laid on the shelf
after one hearing.

In the field of violin music, there are many women deserving mention.
Margaret Gyde, after taking prizes and scholarships, produced two
excellent violin sonatas, besides piano pieces, songs, and some organ
music. Contemporary organists, in passing, are well represented by Kate
Westrop, who has published four short voluntaries for organ. Laura
Wilson Barker, wife of Tom Taylor, has entered the classical arena with
a violin sonata, and has done more ambitious work in the music to "As
You Like It" and the cantata "[OE]none." Caroline Carr Moseley has
produced several pieces for violin and 'cello, and has written one or
two dainty works for toy instruments. Mrs. Beatrice Parkyns, born of
English parents at Bombay, has several charming violin compositions to
her credit, and the same may be said for Kate Ralph, a native of
England. Emily Josephine Troup is another violin composer, who has also
tried her hand at songs and piano pieces. Maggie Okey, at one time wife
of the pianist De Pachmann, and now married to Maitre Labori, famous as
the advocate of Dreyfus, has composed a violin sonata, a violin romance,
and several piano pieces. Kate Oliver is responsible for some concerted
music, while Alma Sanders has produced a piano trio, a violin sonata,
and a piano quartette. To-day Ethel Barns heads the list of violin
composers among women.

[Illustration: MAGGIE OKEY]

By far the most important name in this field of woman's work is that of
Agnes Zimmermann. Born in Cologne in 1847, she received her musical
education in London. At the Royal Academy of Music she studied piano
under Pauer and Potter, afterward attaining high rank as a performer. In
composition, her teachers were Steggall and George Macfarren. She won
the silver medal of the Academy, and obtained the king's scholarship
twice, in 1860 and 1862. In the next year she made her London debut, and
a year later appeared with the Gewandhaus orchestra at Leipsic. Her fame
as a classical pianist was soon established, and her excellent work in
editing the sonatas of Beethoven and Mozart bore added testimony to her
musical