Britain and
Germany.

In 1894 she retired and married Mr. Herbert Bedford. Only then did she
begin those efforts in composition that have since met with such great
success. She has published a number of songs and some piano and violin
pieces, but is always thought of in connection with her cyclic setting
of the Persian poet, Omar Khayyam. When she composed this, she was
little known, and fortune as well as fame was a stranger to her. Oddly
enough, all the London publishers refused this work, which has since
then charmed two continents. Finally it was sung at her house by a
gathering of musical friends, the performers being Ben Davies, Albani,
Hilda Wilson, and David Bispham. They were so delighted with it that
they brought it out at the Monday "Pops," and after that its success was
assured. There are other song cycles by this composer, notably "In
Memoriam," but none equal the "Persian Garden." It is full of rich
passages of exquisite beauty, moving pathos, and strong expression.

Frances Allitsen passed a lonely childhood in a little English village.
She would improvise warlike ballads for amusement, though her later
works and her character are marked by gentleness of thought. She hoped
to make a name by singing, but unfortunately lost her voice. Her family
were all hostile to a musical career, and regarded her tastes as most
heinous. She describes the scene of her youth as a place "where, if a
girl went out to walk, she was accused of wanting to see the young men
come in on the train; where the chief talk was on the subject of
garments, and the most extravagant excitement consisted of sandwich
parties." Domestic misfortunes and illness left their mark on her, but
could not hinder her musical progress. She finally sent some manuscripts
to Weist Hill, of the Guildhall Music School, and with his approval came
to London. Her days were spent in teaching, to earn money with which to
pay for her studies in the evening, but she braved all difficulties,
and finally won success. She is best known in America by her songs,
which are really beautiful settings of Browning, Shelley, Longfellow,
Heine, and other great poets. But she is a master of orchestral
technique as well. Her overture, "Slavonique," was successfully
performed, and a second one, "Undine," won a prize from the lady
mayoress. Her room is a delightful gallery of photographs of artists and
musicians. She has a picture of Kitchener, whose example, she says,
ought to