and since then has gone the
rounds of all the great American cities. Among her other large works are
three cantatas, with orchestral accompaniment that can be reduced to
dimensions suitable for piano. They are "The Rose of Avontown," for
female voices, "The Minstrel and the King," for male chorus and
soloists, and "Sylvania," a wedding cantata recently published. Another
vocal work of great merit is an _a capella_ motet, while among her
earlier compositions is the _scena_ for contralto and orchestra,
entitled "Eilende Wolken," on a text from Schiller's "Maria Stuart."

Mrs. Beach's piano works consist of a cadenza to Beethoven's C minor
concerto, a valse-caprice, a ballade, four sketches, a "Bal Masque"
Waltz, a Children's Carnival and Children's Album, her concerto in C
sharp minor, a transcription of Richard Strauss's "Serenade," five
pieces (Barcarolle, Menuet Italien, Danse des Fleurs, Scottish Legend,
Gavotte Fantastique), and a set of six duets entitled "Summer Dreams."
For violin and piano, besides the two works already mentioned, are three
pieces, "La Captive" (G string), "Berceuse," and "Mazurka," all three
being arranged for 'cello and piano also. Her vocal works include more
than sixty songs, most of which are well known to American music lovers.
Some are provided with violin _obligato_, while others have orchestral
accompaniments. There are a number of part-songs for different
combinations of voices, and several sacred selections for various
occasions. Among her songs the favourites are "Fairy Lullaby,"
"Ecstasy," "Thy Beauty," "Scottish Cradle Song," "Elle et Moi,"
"Spring," "Hymn of Trust," some sets of Shakespeare, Browning, and Burns
poems, and many others,--in fact, practically the entire list.

Margaret Ruthven Lang, another of Boston's gifted musical women, was
born November 27, 1867. The name of her father, Mr. B. J. Lang, is
familiar to all Americans who can claim to know anything of music. Her
mother was an exquisite amateur singer, and in the musical atmosphere of
the family the daughter's talents have had every opportunity to develop.
She commenced her piano study under a pupil of her father's and
continued it under paternal direction. She took up violin with Louis
Schmidt in Boston, and carried it on with Drechsler and Abel in Munich,
where she also began composition with Victor Gluth. After her return she
continued her work for a time with Prof. John K. Paine and J. C. D.
Parker, finishing her