number of songs, all endowed with an unusual
share of beauty. She writes her own words in almost all cases, as she is
able while doing this to hear in a vague way the music which she
afterward sets to them. Hers is a virile genius. "These women seem
preoccupied, first of all," says one critic, "to make people forget that
they are women.... Whatever Mlle. Holmes may do, or whatever she may
wish, she belongs to the French school by the vigour of her harmony, her
clearness, and the logic of her conception and exposition." Imbert, who
has written a biographical sketch of her, says: "The talent of Augusta
Holmes is absolutely virile, and nowhere in her works do you find the
little affectations which too often disfigure the works of women. With
her, nobility of thought and sentiment take first place. She worships
the beautiful, and her Muse has sung only subjects that are worthy of
being sung. She is masterly in her ease, and all the resources of
orchestration are known to her."

Maria Felice Clemence de Reiset, Vicomtesse de Grandval, is another name
as famous as it is extensive. Born in 1830, she showed innate taste for
music, and her career was devoted to it. She received instruction from
Flotow at first, doing more valuable work afterward with Saint-Saens.
For a time she was able to take lessons of Chopin. Her works include
practically all forms of composition, but she has shown especial
aptitude for dramatic work and church compositions.

Of her many dramatic works that have been successfully produced, "Le Sou
de Lise" appeared first, in 1859. Among the operas brought out at a
later date are "Les Fiances de Rosa," "La Comtesse Eva," "La Penitente,"
"Piccolino," and "Mazeppa." A lyric scene, "La Foret," for soloists,
chorus, and orchestra, met with a successful production in 1875. Among
her vocal compositions are many songs, some with violin and organ
accompaniments.

Her sacred music takes rank with the very best that modern writers can
show. Her two masses have been frequently given at Paris. Her two
oratorios, "Sainte Agnes" and "La Fille de Jaire," met with a similar
favourable reception. Her Stabat Mater contains an effective "March to
Calvary" and a beautiful "Juxta Crucem," and received the enthusiastic
homage of the critics when first brought out. Several smaller works, for
voices, organ, and piano, are no whit behind the larger compositions in
musical worth. She has also written a grand overture, "Esquisses
Sy