If the term America be applied, as is often the case, only to the United States, then the list of its women composers will still be found to include practically all who have done work in this line in the Western hemisphere. By far the larger part of these women are living now, for our musical growth has taken place in recent years. The record is already a worthy one, and will become still more extensive in the near future.

At the head of the list stands Mrs. H. H. A. Beach, the one great name to be found in our country. She was born in Henniker, N. H., on September 5, 1867, her maiden name being Amy Marcy Cheney. She is descended from one of the oldest New England families, and her middle name indicates her relationship to the Marcy line, which includes the famous cabinet officer, William L. Marcy.

Mrs. Beach’s love of music, which she inherited from her mother’s family, began to show itself almost at once. From the time when she was only a year old, she began to amaze her family and their friends by the most astonishing musical feats. She proved herself possessed of absolute pitch; she memorized dozens of tunes; she listened for hours at a time to violin music, while pieces in minor keys caused her such grief that they were employed by her parents in place of punishments. At the age of two she was given a photographic sitting, and at the critical moment she electrified the group about her by suddenly singing Handel’s “See, the conquering hero comes.” The photographer, who had been rehearsing that work for the first peace jubilee, was astounded to find that she gave it with the most perfect accuracy. Her power of memory exerted itself in other fields, and almost as soon as she learned to read she was able to recite long and difficult selections. She also showed a marked ability to improvise melodies and sing an accompanying part to any given theme. Her active mind associated a certain definite colour with each musical key, a habit which continues to the present time.

At the age of four she succeeded in obtaining permission to touch the piano, although she was so small that she had to improvise a pedestal in order to reach the keys. She soon learned many pieces, and began to compose little waltzes of her own. One of these was thought out wholly without the piano, and played correctly three months afterward. She read from printed notes before she knew their names, and found no trouble in making transpositions at will. At six she insisted on having regular lessons, which were begun by her mother, and continued for two years at home. During that period she learned many difficult works, including etudes by Heller and Czerny, some Chopin valses, and various movements of the Beethoven sonatas, including the whole of the first one. At this time also she grew interested in the works of Bach, and learned to understand and appreciate the beauty of the interweaving voices in a fugue.

At the age of eight, her parents took her to Boston to pursue her general education. The musical authorities who heard her play insisted that she was able to enter any one of the great European conservatories, but with due regard to her health and her other studies, her parents wisely decided not to let her go. She was sent to Mr. W. L. Whittemore’s private school, where she manifested all her usual quickness of attainment. Her piano work was greatly aided by her quick ear and accurate memory, and she was able, for example, to reproduce a Beethoven sonata without notes, merely after hearing a fellow pupil practise it. Another use to which she put this accomplishment was the collection of bird songs, of which she now possesses a complete volume. Her skill in this direction was employed by ornithologists in obtaining the notes sung by the California larks.

Her more serious musical education was pursued under Mr. Ernst Perabo at first, and afterward under Junius W. Hill, of Wellesley College, and Carl Baermann. Under Professor Hill she took a single course of harmony, but in all the important subjects of counterpoint, fugue, musical form, and instrumentation, she carried on her work entirely alone. Among the tasks she set for herself was the translation of the books on orchestration by Berlioz and Gevaert. Another consisted in memorizing Bach fugues and rewriting them with a voice on each staff.

She made her Boston debut as a pianist in 1883, at the age of sixteen, playing a Moscheles concerto and a Chopin rondo. Her success was instantaneous, and in the same season she gave several recitals with similar result. In the next year she played a Chopin concerto with the Boston Symphony Orchestra, and a Mendelssohn work with the Thomas Orchestra. Since then she has appeared constantly in all of our large cities, often devoting whole programmes to her own works. At one of the Symphony concerts she brought out her own concerto. In December, 1885, she married Doctor Beach, and has since then made Boston her permanent home.

The first performances of her large works have often been events of importance. In 1892, when she brought out her mass in E flat at the Handel and Haydn concerts, she was on the programme for the piano part of Beethoven’s Choral Fantasie, and the ovation she received on her appearance will not soon be forgotten by those present. Her “Jubilate” cantata was written for the dedication of the women’s building at the Chicago Exposition, and scored a great success there. During the fair, she played for the first time her romance for violin and piano, in conjunction with Miss Maud Powell. A violin sonata, which she composed later and played with Mr. Franz Kneisel, has become a favourite with the most famous artists in Paris, Berlin, London, and other great musical centres. The same popularity and favourable mention have been accorded to her piano pieces and songs, the Italian audiences especially becoming enthusiastic over some of the latter.

Her Gaelic Symphony, built on real Gaelic themes, was another ambitious work. It was first given at Boston in 1896, and since then has gone the rounds of all the great American cities. Among her other large works are three cantatas, with orchestral accompaniment that can be reduced to dimensions suitable for piano. They are “The Rose of Avontown,” for female voices, “The Minstrel and the King,” for male chorus and soloists, and “Sylvania,” a wedding cantata recently published. Another vocal work of great merit is an a capella motet, while among her earlier compositions is the scena for contralto and orchestra, entitled “Eilende Wolken,” on a text from Schiller’s “Maria Stuart.”

Mrs. Beach’s piano works consist of a cadenza to Beethoven’s C minor concerto, a valse-caprice, a ballade, four sketches, a “Bal Masque” Waltz, a Children’s Carnival and Children’s Album, her concerto in C sharp minor, a transcription of Richard Strauss’s “Serenade,” five pieces (Barcarolle, Menuet Italien, Danse des Fleurs, Scottish Legend, Gavotte Fantastique), and a set of six duets entitled “Summer Dreams.” For violin and piano, besides the two works already mentioned, are three pieces, “La Captive” (G string), “Berceuse,” and “Mazurka,” all three being arranged for ’cello and piano also. Her vocal works include more than sixty songs, most of which are well known to American music lovers. Some are provided with violin obligato, while others have orchestral accompaniments. There are a number of part-songs for different combinations of voices, and several sacred selections for various occasions. Among her songs the favourites are “Fairy Lullaby,” “Ecstasy,” “Thy Beauty,” “Scottish Cradle Song,” “Elle et Moi,” “Spring,” “Hymn of Trust,” some sets of Shakespeare, Browning, and Burns poems, and many others, in fact, practically the entire list.

Margaret Ruthven Lang, another of Boston’s gifted musical women, was born November 27, 1867. The name of her father, Mr. B. J. Lang, is familiar to all Americans who can claim to know anything of music. Her mother was an exquisite amateur singer, and in the musical atmosphere of the family the daughter’s talents have had every opportunity to develop. She commenced her piano study under a pupil of her father’s and continued it under paternal direction. She took up violin with Louis Schmidt in Boston, and carried it on with Drechsler and Abel in Munich, where she also began composition with Victor Gluth. After her return she continued her work for a time with Prof. John K. Paine and J. C. D. Parker, finishing her orchestration with George W. Chadwick. Her own persistent study has been of great advantage to her.

She began composing at the age of twelve, numbering among her early works several songs and a movement of a piano quintette. Her efforts in larger forms have been unusually well received. Her “Dramatic Overture” was given by the Boston Symphony Orchestra in 1893, and in the same year Theodore Thomas performed her overture, “Witichis.” Still another overture, “Totila,” is in manuscript. Among other works are three orchestral arias, “Sappho’s Prayer to Aphrodite,” for alto; “Armida,” for soprano; and the yet unperformed “Ph[oe]bus,” for baritone. An orchestral ballade won much success in Baltimore in 1901. She has also written an orchestral cantata, a string quartette, and several works for violin and piano.

Miss Lang has published a number of successful part-songs for men’s, women’s, and mixed voices. Of her fifty or more songs, all are more or less widely known. The favourites among them seem to be “My Lady Jacqueminot,” “Meg Merrilies,” “Deserted,” “Eros,” and the well-known sets, “Five Norman Songs,” “Six Scotch Songs,” “Three Songs of the Night,” and “Three Songs of the East.” Her piano music is also excellent, among the best examples being the Rhapsody, the Meditation, a poetic revery, the charming Spring Idyll, and her early suite, entitled “Petit Roman.”

Clara Kathleen Barnett, now Mrs. Rogers, is also a resident of Boston. Born in England, she received her earliest musical education from her parents. They were of a talented family, for her grandfather was the famous song-writer, Robert Lindley. In 1856 she was sent to the Leipsic Conservatory, studying piano with Moscheles, ensemble playing with David and Rietz, and harmony with Richter. Her singing, by which she first became famous, was begun with Goetze and finished at Berlin under Frau Zimmermann. Under the name of Clara Doria, she appeared with success in many Italian cities, and finally came to America, where she married and settled in Boston. Her present work consists of teaching and composing. In the former field, her book, “The Philosophy of Singing,” contains much new and valuable material. Among her compositions is first of all a string quartette of excellent workmanship. There are also sonatas for violin and for ’cello with piano, and a piano scherzo. Her songs are many in number and excellent in quality. Among them are two sets of Browning Songs, six Folk Songs, and such favourites as “The Rose and the Lily,” “Clover Blossoms,” “Confession,” “At Break of Day,” and many others.

In the front rank of American pianists is Julia Rive-King. A native of Cincinnati, she began her musical education under William Mason and S. B. Mills, finishing abroad with Reinecke and Liszt. At her debut, in Leipsic, she scored a great success, and since then has been steadily before the public. Her compositions are mostly for piano, including some excellent Liszt and Scarlatti transcriptions. Among her own works are a Polonaise Héroïque, Polka Caprice, Gems of Scotland, and many other popular numbers.

Another pianist well known to American audiences is Mme. Helen Hopekirk Wilson. Although her birthplace and home are in England, she has spent so much time in this country that she may well be regarded as belonging to it. She, too, was a pupil of the Leipsic Conservatory, finishing with Leschetizky, and making a successful debut with the Leipsic Gewandhaus orchestra in 1878. She has shown ability in the larger forms, her own concerto being produced in a Henschel concert at Edinburgh. She has several orchestral works still in manuscript, as well as a violin sonata. Her many songs and piano works make a list as long as it is honourable.

Several of the younger American women are beginning to make efforts in orchestral work. Clara Korn, a pupil of Bruno Klein, is responsible for two suites for orchestra, as well as one for violin, and various piano pieces and songs. Grace Marckwald has also tried her hand in the larger forms. Edna Rosalind Park, a native of Boston, now residing in New York, has shown decided talent in the songs she has published, and has several important works in manuscript. Margaret Williams, a Baltimore student who was born in Tennessee, produced a concert overture at one of the Peabody Symphony Concerts, and has also composed the words and music for a five-act opera, entitled “Columbus.” Eliza Woods, another student at the same place, has written a full manuscript score for an overture, as well as a double fugue, a sonata, and a number of songs. Edith Noyes Porter, of Boston, is also at work on some extensive compositions, her published works to date being chiefly songs.

In the operatic field, Emma Steiner stands at the head. Born at Baltimore, she showed a taste for music at an early age, and was able to read and write notes when only seven. Her parents objected to a musical career for her, but she continued her practice, and earned money for further study by writing waltzes and other popular dance music. She became proficient in making orchestral arrangements, and has been eminently successful as a leader of many large New York organizations. Among her operettas are “The Alchemist,” also a version of the old French romance, “Fleurette,” and an adaptation from Tennyson, called “Day Dreams.” She is also the author of many songs.

Lillie Mahon Siegfried, of Buffalo, has also produced an operetta, besides the song, “The Beautiful Land of Nod,” and several other songs and lullabies. Miss Estabrook has over forty songs to her credit, besides the operetta, “The Tournament.” Mrs. John Orth has composed a children’s operetta, also a number of simple songs and piano works for beginners. Laura Sedgwick Collins, who has already won a high rank, wrote the music to “Pierrot,” besides many excellent songs and violin works.

In chamber music, Marguerite Melville has produced some worthy works. Among them is a remarkably good piano quintette, while she has also written a sonata and a romanza for violin and piano, besides several beautiful songs. Alicia Van Buren, also author of a number of worthy songs, has published a string quartette with Breitkopf and Haertel. Alice Locke Pitman, now Mrs. Wesley, has written several violin works, besides a number of songs. Mary Knight Wood, another gifted member of the new generation, studied with Arthur Foote and B. J. Lang. She has already produced a piano trio, and her songs, such as “Ashes of Roses,” “Heartsease,” “Autumn,” and so forth, are imbued with the most exquisite refinement. Marie von Hammer and Laura Danziger have written pieces for the ’cello, the latter supplementing this work by a number of piano compositions.

Organ music is well represented by the work of Helen Josephine Andrus, of Poughkeepsie. She is a graduate of Vassar, where she won a degree by her musical studies. Her compositions include several organ pieces and a cantata for organ and strings, also anthems and various church music, as well as piano works and songs. Clara Rees is another organist who has produced a number of compositions. Lucina Jewell, a New England Conservatory graduate, is the author of an introduction and fugue for organ, besides some effective songs and other works. Faustina Hasse Hodges was another able organist who wrote church music.

Helen Hood is one of America’s few really gifted musical women. Boston has been her home and the scene of her chief work, although she has travelled abroad, and studied for two years with Moszkowski. Endowed with absolute pitch, she has composed from her earliest years, and her music won for her a medal and diploma at the Chicago Exposition. Her most important work is a piano trio, while her two violin suites are also made of excellent material.

Mrs. Jessie L. Gaynor has won an enviable position for herself, chiefly as a composer of children’s songs. Her work is marked by bright and pleasing rhythms, excellent discretion in the proper choice of harmony, and a fluent ease that makes her productions unusually singable. It is not given to many composers to be able to make any real appeal to younger hearers, but Mrs. Gaynor is possessed of the sympathetic insight that enables her to win the utmost popularity with them. Her work is not confined to this vein, but includes some more ambitious songs for older performers, and even vocal quartettes.

Eleanor Smith is another song writer who believes that children should be given the best of music, and not allowed to listen wholly to the popular rag-time tunes of the day. Her position as music teacher in the Cook County Normal School has enabled her to put her ideas in practice, and her songs for boys are delightful bits of worthy music. She, too, has done more ambitious work, such as a Rossetti Christmas Carol, the contralto solo, “The Quest,” eight settings of Stevenson’s poems, the Wedding Music for eight voices, piano, and organ, and a cantata, “The Golden Asp.”

Mrs. C. Merrick, who publishes her works over the name of Edgar Thorn, is another talented woman who displays great gifts in small forms. Her “Amourette,” for piano, has often figured on concert programmes. In her two collections, “Forgotten Fairy Tales” and “Six Fancies,” many of the numbers show a rare imaginative charm. The same composer has produced several effective male choruses, which have been sung by the Mendelssohn Glee Club and other organizations.

Among other song-writers, Mildred Hill, of Louisville, has been able to preserve the real Southern flavour in some of her works, a result that is seldom attained, in spite of the countless efforts in this direction. She, too, has insisted in putting good music into her children’s songs. Mrs. Philip Hale, a resident of Boston, has produced a number of songs and piano works, the latter under the pseudonym of Victor René. 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.