ed a number of songs
and piano works, the latter under the pseudonym of Victor Rene. Stella
Prince Stocker is another well-known song-writer. Mrs. Theodore Sutro, a
pupil of Dudley Buck, has also composed songs, besides piano works and a
four-voiced fugue. Louise Tunison is another song composer well worthy
of mention, while Adeline Train has produced some solos of remarkable
delicacy. Helen Tretbar, famous as a writer and translator of musical
works, has tried her hand at songs also. Another literary song-composer
is Fanny Raymond Ritter. A prominent figure in the musical world to-day
is Josephine Gro, who writes songs and piano pieces, and is the author
of many popular dances.

CHAPTER X.

OTHER COUNTRIES

Though not as prolific of women composers as its musical reputation
might indicate, Italy has still produced some famous names. The women of
the earlier schools of contrapuntal work have already been mentioned.
Francesca Caccini was an exponent of the first growth of opera. After
her comes a gap, and we find no women at work during the time of
Scarlatti, for example, and few in the era when the early conventional
opera saw its palmy days in the hands of Cimarosa and his compeers. A
number flourished at the beginning of the nineteenth century, and now
that Italy is experiencing a musical regeneration, the women are still
present in the field.

One of the foremost of them to-day is the Countess Gilda Ruta. She was
born at Naples, and was the daughter of a musician of some note, in
fact, he became one of her best teachers. Among others with whom she
studied was the opera composer, Mercadante, whose long career extended
well into the last century. She became a pianist of great renown, but
won her laurels more in the field of composition. Her opera, "The
Fire-Worshippers," is a worthy example of its school. Her orchestral
ability showed itself also in the form of a concerto for piano, while
among her other works are a number of songs and a good deal of
instrumental music.

Eva Dell' Aqua is another Italian woman who has won a high position by
her works. She did not inherit the taste directly, for her father was
not a musician, but a painter. He has made Brussels his home, and there
his talented daughter has brought forth her compositions. Her songs are
widely known, and show sterling merit. In more ambitious vein is her
operetta, "La Bachelette," which was given with unusual success in the
Brussels theatre