icer
among them, brought forth three patriotic songs, two male choruses, and
the Kaiser Wilhelm March for orchestra, performed at a court festival of
rejoicing.

Her second operatic attempt was a setting of Goethe's "Jery und Bately,"
which met with deserved success. The music is of choice quality
throughout, according to the criticism of Richard Pohl, and the dramatic
climax is excellently worked up by the fact that each successive number
is purposely made more effective than the one preceding it. The same
power and beauty of expression shows itself in her later songs, written
mostly for the poems of Bodenstedt. These are in many cases well able to
stand the test of comparison with the best of the German _Lieder_. A
number of pieces for 'cello and piano are of equal value, as are also
her violin works. Her last opera, "Konig Hiarne," suffers again from a
weak libretto, but is made of worthy musical material. It was rated as a
successful work, but some of the wiser critics doubt if its power of
melodic expression can wholly atone for the lack of certain essentially
dramatic qualities.

In 1887 the Hanover post was exchanged for a similar one at Weimar.
There her husband performed excellent service in keeping alive the
traditions of Liszt and his followers. After eight years of work, Von
Bronsart retired from public duty. A short period of travel followed,
after which the musical pair settled down to a life of quiet at Munich.
There, too, lives the daughter of the family, who is said to have
inherited a full share of the musical ability shown by her parents.

Among the composers of Norway, Mme. Betty Holmberg has devoted herself
to the violin, publishing an excellent suite and other compositions for
it. Magda Bugge, who has made America her home, is the author of many
piano pieces and songs. The most famous Norwegian woman composer,
however, is Agathe Backer-Groendahl. Born in 1847, she received a
thorough musical training, counting among her teachers Kjerulf, Kullak,
Von Buelow, and Liszt. Her work has won her many honours, including the
royal gold medal of Sweden. Her compositions are not many in number, but
all of them show the most delightful freshness and originality. Like her
great fellow countryman, Grieg, she aims to give her music a distinctive
style of its own, and not make it a mere imitation of the usual models.
Her andante for piano and orchestra and her orchestral scherzo are
excellent works, which meet