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 officer 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.