ective composition. For chamber music she has
written a quintette for piano, two violins, viola, and 'cello, also
another quintette for strings that won a prize in competition. At a
recent Brussels musical congress, she took first prize among no less
than seventy-eight competitors. She is the author of many smaller works
for organ, voice, and piano.

In Ingeborg von Bronsart is found one of the few really great women
composers. Born at St. Petersburg in 1840, she is classed as Swedish
because her parents were not citizens of Russia, but remained subjects
of Sweden. Her mother was a Finn, but her father's native place was
Stockholm. Ingeborg's earliest musical impressions came from the violin
playing of her mother, done wholly by ear, from her father's flute
playing, and from the singing of the touching Swedish folk songs by the
housekeeper. When her elder sister began regular study, Ingeborg was
considered too young for it, but begged so hard that she was allowed to
take lessons too. At the very first one, the teacher noticed her great
talent, and in a few months she was far in advance of her sister. A year
later, at the age of eight, Ingeborg began to compose little melodies
and dances, and her father was moved to seek a good master for her.

[Illustration: INGEBORG VON BRONSART]

He made a fortunate choice in the famous amateur, Nicholas von
Martinoff, for Ingeborg became not only his pupil but a welcome guest at
the house of his family. With them she was able to hear the best of the
operas and other music afforded by the imperial city, and the summers
passed by her at their estate enabled her to grow strong by riding,
swimming, and other outdoor exercise.

When eleven years old, Ingeborg began harmony with the composer Decker.
She progressed quickly, and in her first concert, given a year later,
was able to present creditable work of her own. Her success was
decisive, and critics and public united in foretelling her great future.
From that time on she gave annual concerts with orchestra, meeting
growing favour. Meanwhile her composition was not neglected; beginning
by publishing three etudes, a tarantelle, and a nocturne for piano, she
continued with sonatas, fugues, and songs. She won the interest of the
musical circles, including Rubinstein, and through Von Martinoff she
became the pet of the Russian aristocracy. When that protector was
called away by the Crimean War, he left her in the care of Adolf
Henselt, a