other symphonic writers, Nina von Stollewerck, a native of
Austria, is credited with two symphonies. She has written other
ambitious works, besides songs and male choruses of some merit. Agnes
Tyrell is another Austrian, having been born at Brunn in 1848. She
pursued her studies at Vienna, where she became an excellent pianist as
well as a composer. Among her works are a symphony, three overtures, and
a number of smaller orchestral selections, as well as some worthy piano
pieces.

Louisa Adolpha Lebeau, born at Rastatt in 1850, is undoubtedly one of
the most gifted of living women composers, not only in her own country,
but in the entire world. Her teachers include such famous names as Clara
Schumann and Kalliwoda for piano, and Rheinberger in composition. She is
an excellent pianist, and has made frequent and successful tours to all
the great cities of Germany. Her appearance at the Gewandhaus concerts
in Leipsic is in itself a proof of her superior attainments in this
direction. She often performs her own works, which are always
successful.

[Illustration: LOUISA ADOLPHA LEBEAU]

With the exception of symphony and opera, her compositions include
practically every form used in modern music. Her Concert Overture, Op.
23, first performed in 1882, has been repeatedly given in Germany. Her
Festival Overture, also, has met with a warm reception. Her piano
concerto, Op. 37, is another work that is frequently heard, while the
Fantasia, Op. 25, for piano and orchestra, practically another concerto,
is rich in musical beauty, and contains a _finale_ of exceptional
strength. Among orchestral works with chorus, her oratorio, "Ruth," Op.
27, is a work of extreme beauty, and one which has been heard in all the
important cities of Germany, Austria, and Holland. The cantata
"Hadumoth" is another valuable work, showing great dramatic strength and
an excellent handling of large choral effects. A concert aria for
baritone and orchestra, "Im Saengersaal," is also worthy of mention.

It is her chamber music, however, that is responsible for her greatest
triumphs. This is marked by the utmost clearness of thought and theme,
and shows a most pleasing originality. It has been highly complimented
by such a great musician as Lachner, and one of her pieces for 'cello
and piano carried off first prize in a competition at Hamburg, in 1882,
in which many noted composers had entered. Of great merit is a
quartette, Op. 28, for piano, violin, 'ce