in, Leipsic, and many other cities besides her native Paris. She has
been especially in demand for the performance of her own concerto, which
has been given in the Gewandhaus and London Philharmonic concerts, as
well as those of Lamoureux and Colonne in Paris. Her works have become
widely known, and her name is now a familiar one, not only in France,
but in England, Continental Europe, and America.

Her most ambitious compositions are "Les Amazones," a lyric symphony
with choruses; a one-act ballet, "La Sevillane," still in manuscript;
and the grand ballet and symphonic _scena_ entitled "Callirrhoe,"
successfully given at Marseilles and Lyons, and now published in many
different arrangements. Her concerto for piano and orchestra has
received high praise from the critics, who seem always ready to laud its
refined melodic charm and graceful delicacy of sentiment. The one defect
seems to be an excess of vigour and virility in certain of the later
movements. Her other orchestral works consist of two suites, one of them
being arranged from "Callirrhoe."

Of lesser instrumental music, she has written two successful trios. Her
piano pieces are many in number, and excellent in quality. Among them
is a group of four and eight-hand works for two pianos, as well as duets
for a single instrument. Among her most important solo works are a
sonata, an _Etude Symphonique_, a Valse Caprice, a Guitarre, an
Arabesque, six Etudes de Concert, five Airs de Ballet, containing the
well-known Scarf Dance, six Romances Sans Paroles, and six humourous
pieces. She has also written a few selections for violin and piano.

It is undoubtedly her songs that have made her fame so widespread. She
has published over sixty in all, nearly every one endowed with the
delightful charm that is associated with her name. These songs are full
of the rarest and most piquant melodic beauty, and the accompaniments
are rich in colour and originality. A well-known critic writes: "Her
music breathes the true spirit of romance shown in the poems that
inspire it. Her themes are never commonplace or affected, and are
gracefully supported by fluent, appropriate, and finely blended
harmonies." Among her most recent compositions are some choral works,
three of these, for orchestra in old style, being of especial interest.
Her "Pardon Breton," "Noel des Marins," and "Angelus," for orchestra,
are also worthy of mention, as well as her set of six "Poemes
Evangeliques." She is