nd after two years with the new master, she was sent by him to
finish her studies under Liszt, then long famous as leader of the gifted
musical circle of Weimar.

When she came to him, an eighteen-year-old girl, endowed with all the
fair beauty of her northern land, she gave him as proof of her
proficiency some of her piano fugues. The experienced master rather
doubted if the charming apparition before him could produce such an
intricate work as a fugue without receiving aid, so he gave her a new
theme and requested her to write another fugue upon it. Nothing daunted,
she started at once, and, in a short while, she handed him the
manuscript. He played it through, and acknowledged its merit with the
remark, "Well, you don't look at all like it." Instantly came the reply,
"I am very glad I don't look like a fugue." Ingeborg became one of his
few chosen favourites, and soon all Weimar worshipped her as St.
Petersburg had done before.

With Liszt she remained two years, devoting herself chiefly to piano,
and composing a sonata only as a diversion. She speaks warmly in praise
of the great tone-poet's influence. "His guidance," she says, "prevented
me from being one-sided in art, and the example of his wonderful nature
taught me to seek and absorb the beautiful in music everywhere, no
matter what school its composer belonged to." While under Liszt's care,
she appeared at court, and made successful debuts in Dresden, Paris, and
the Leipsic Gewandhaus. Under Liszt also was Hans von Bronsart, who had
known Ingeborg in St. Petersburg, and who now was fortunate enough to
win her love and become her husband.

The next few years were devoted to performing, and numerous tours
brought equally numerous triumphs. Composition was not neglected, and a
piano concerto of fair success was the result of this period. At this
time her dramatic efforts began, and the three-act opera, "Die Goettin
von Sais," was the first result. The music of this work was excellent,
but the libretto lacked action, and no stage performance was ever given.

Composing soon became her life-work, for her husband was appointed
Intendant of the Hanover Court Theatre, and wives of Prussian officials
were forbidden to appear in public, except on especial occasions. Her
works began to multiply; German and Russian songs, piano pieces and
violin works, followed one another in quick succession. The return of
the troops from the Franco-Prussian War, with her husband as off