At each recital Annie Grey sang one or two songs in Gaelic, to illustrate the beauty of that language, accompanying herself on the clarsach or ancient Scottish harp, once the national instrument, before it was supplanted by the bagpipes. The instrument she used was made especially for her, and had stops so arranged that the key could be quickly changed. It was a great favorite everywhere she went. Her mother, Madame Ogilvie Grey, an eminent pianist, travelled with her, filling two numbers on the programme with Scotch melodies on the piano and also playing many of her daughter’s accompaniments in a really wonderful way. The subjects of Annie Grey’s song recitals were: “The Lays, Lilts, and Legends of Scotland,” “Robert Burns: His Pathos and Humor Told in Poetry and Song,” and “The Gathering of the Clans.” In the latter she graphically told in song and story the stirring incidents connected with the Jacobite rising in 1745, to which period Scotland owes many of the best of her ballads. In the musical world Annie Grey holds a position of unique importance, and enthusiastic audiences and appreciative remembrances are hers by right of conquest in her chosen field of Scottish minstrelsy. Here no one can touch her: she is supreme. In Scotland, in all parts of England, on the Continent, and in the United States, the delightful entertainments of her own devising and her own single-handed performance have brought the wealth of Scottish minstrelsy, with its marvellous power over the emotions of men and women, home to the understanding and hearts of thousands. Being in love with her subject, she carries her audience with her from first to last, making it laugh or thrill or sadden as she wills. Her voice is perfectly modulated for lecturing and reciting purposes, and her singing of Scottish songs stands apart and above anything that has ever been attempted in the same line in this country. Certainly at the present time it would be difficult to name any professional woman who can sing “The Auld Scots Sangs,” grave and gay, patriotic and humorous, with more fervor and feeling than Annie Grey. Her distinct enunciation of the words, and the expression she puts into them, make her singing most enjoyable. Where necessary, she also infuses a good deal of dramatic passion into her performance. She gave interesting accounts of the composition of various ballads and songs, and told graceful and pathetic details of the lives and circumstances of their authors. Of “Annie Laurie,” which she sang with remarkable expression, she said: “I am surprised to find in America the thought that ‘Annie Laurie’ was written two hundred years ago, for I have the honor of a personal acquaintance with Lady John Scott, its author, who is now in her ninetieth year, and who, I can assure you, has no thought of being an antiquity.”