Of her many works, the most ambitious are a piano concerto, the "Souvenir d'Angleterre" for piano and orchestra, and two sets of piano variations with orchestral accompaniment. Among her numerous examples of chamber music are found variations for string quartette and piano, two piano quartettes, a piano trio, several violin sonatas, a polonaise, and sets of variations for 'cello, violin, and flute with piano. She has composed a grand duet and a number of solos for piano, also numerous vocal duets and songs. Her operetta, "Die Raeuber und die Saenger," was successfully produced at Vienna. One of Germany's greatest women composers was Emilie Mayer. Hers was a fortunate position, for she was always well provided for, and could exercise her powers without the need to think of the financial result. She was born in Friedland in 1812, her father being "Apotheker," a position of far more importance in German towns than that held by our pharmacists. Emilie showed the usual signs of musical talent, and was given the best of teachers. After advanced work with Carl Loewe, the great ballad composer, she entered the musical life of the German capital. Here she gave a concert as her introduction, playing the piano herself, and making the programme entirely of her own compositions. On this occasion were given a concert-overture, a string quartette, Psalm 118 for voices and orchestra, and two symphonies, the "Militaire" and the B minor. This was an imposing array, but it was only a beginning, and her productive career continued until her death in 1883. Not all of her works have been published, but all show good thematic material and an unusual sense of musical form. The list includes many dances and songs, two string quartettes, two piano quartettes, two quintettes, ten piano trios, eight violin sonatas, twelve overtures, Psalm 118 with orchestra, seven symphonies, and an operetta. This is certainly an extensive catalogue for any composer. Among the printed works, the best are the "Faust" overture, Op. 46; the violin sonatas, Op. 17 and 21, also the nocturne, Op. 48, an expressive work; the 'cello sonata, Op. 47; the piano trio, Op. 13; and for piano solo an allemande, Op. 29, that is full of masculine power and energy.