mphoniques," a piano trio, a violin sonata, a suite for flute and
piano, and many other violin and piano pieces. She deserves to rank
among the foremost women composers of our time.

Jeanne Louise Farrenc was another Parisian woman who won fame by
composing. Born in 1804, her career falls in the earlier part of the
nineteenth century. Pursuing the usual studies, harmony with Reicha, and
piano with Hummel and Moscheles, she began to write ambitious works at
an early age. Such merit did some of these works show that Schumann, who
reviewed them, was at first inclined to doubt her ability to write them
unaided. She deserves credit for making a remarkable collection of old
clavichord and piano music, and writing a clear summary of the terms and
abbreviations employed by the early musicians.

Her own compositions have been often performed, even the larger
orchestral numbers. Chief among them are two symphonies and three
overtures. Her chamber music includes a nonette and sextette for
strings, two quintettes, several piano trios, in two of which clarinet
and flute replace the usual violin, a number of sonatas and other pieces
for violin and piano, several 'cello sonatas, some flute and piano
pieces, and numerous piano works and songs. Her daughter, Victorine
Louise, was another gifted musician, but died after a brief career,
leaving a heritage of piano works and songs.

Louise Angelique Bertin, born in 1805, was one of those impatient
creatures who are eager to read books before learning the alphabet. In
taking up painting, she wished to start in at once with canvas and
brush, regardless of preliminary training. In her musical studies the
same tendency showed itself, and immediately on beginning her work in
composition with Fetis, she commenced writing operatic airs and scenes.
Apparently she was able to estimate her own talents justly, for success
crowned her efforts. Her first opera, "Guy Mannering," was performed in
private, but "Le Loup Garou" made a marked public success. Her "Faust,"
a later work, met with a like favourable reception, although
"Masaniello" and "William Tell" had already taught the Paris public to
be exacting. "Esmeralda" was another successful work, but "Notre Dame,"
written to a libretto of Victor Hugo's own arrangement, proved a
failure. Mlle. Bertin won further musical fame by her string quartettes
and trios, as well as her choruses and songs. She was also a poetess of
some renown, and her collectio