e field.

Poland, though divided among the nations, can boast a few women
composers. In the eighteenth century, the Countess Clementine Grabowska
wrote a number of piano pieces, among them a set of effective
polonaises. Marie Szymanowska, born in 1790, was a pupil of John Field,
and became one of the leading pianists of her time. Her fame was largely
increased by the poet Goethe, who made her one of the many idols of his
vagrant affections. He spoke of her playing in the highest terms,
placing her above Hummel. But the verdict of Mendelssohn is probably
more accurate: "Those who rate her so high," he says, "think more of her
pretty face than of her not pretty playing." Her works consist chiefly
of display pieces for the piano, a set of twelve concert etudes
receiving high praise from Schumann.

Julie von Baroni-Cavalcabo, who flourished in the last century, was
another brilliant pianist, numbering among her teachers one of Mozart's
sons. She seems to have won the esteem of Schumann, who dedicated his
humoreske to her, and gave high praise to many of her works. According
to his reviews, her Second Caprice is "fresh and rhythmical, full of
life and vivacity and delicate workmanship;" her fantasie, "Adieu et
Retour," has two movements that are "highly original, characteristic,
and scarcely offering a weak point for attack;" while her waltzes are
spoken of as almost the best that appeared in their time at Vienna.
Besides her many piano pieces, she published some excellent songs.

Adele Kletzinsky has published some violin works and other concerted
music, as well as the usual amount of songs and piano pieces. Nathalie
Janotha has become familiar to American audiences as a pianist. She was
a pupil of Clara Schumann and Woldemar Bargiel, and has won honours and
diplomas in many European cities. Her works consist of piano selections
and songs. Pauline Fechner is another renowned Polish pianist who has
published many pieces for her instrument. The Countess Margit Sztaray
has done some work for voice and organ. Thekla Badarczewska, who lived
and died at Warsaw, is known widely, if not always favourably, by her
"Maiden's Prayer" for piano.

In Russia, the Grand Duchess Alexandra Josephowna has written some
ambitious church music, including several psalms for soloists, chorus,
and orchestra. She has also produced some piano duets. The Grand Duchess
Olga is another royal Russian composer, whose "Parademarsch" for
orchestra has b