With the exception of symphony and opera, her compositions include practically every form used in modern music. Her Concert Overture, Op. 23, first performed in 1882, has been repeatedly given in Germany. Her Festival Overture, also, has met with a warm reception. Her piano concerto, Op. 37, is another work that is frequently heard, while the Fantasia, Op. 25, for piano and orchestra, practically another concerto, is rich in musical beauty, and contains a _finale_ of exceptional strength. Among orchestral works with chorus, her oratorio, "Ruth," Op. 27, is a work of extreme beauty, and one which has been heard in all the important cities of Germany, Austria, and Holland. The cantata "Hadumoth" is another valuable work, showing great dramatic strength and an excellent handling of large choral effects. A concert aria for baritone and orchestra, "Im Saengersaal," is also worthy of mention. It is her chamber music, however, that is responsible for her greatest triumphs. This is marked by the utmost clearness of thought and theme, and shows a most pleasing originality. It has been highly complimented by such a great musician as Lachner, and one of her pieces for 'cello and piano carried off first prize in a competition at Hamburg, in 1882, in which many noted composers had entered. Of great merit is a quartette, Op. 28, for piano, violin, 'cello, and viola. Another worthy work is the string quartette, Op. 34. Her trio, Op. 15, for piano, violin, and 'cello, the 'cello sonata, Op. 17, and the violin sonata, Op. 10, have been classed with the very best examples of their kind. Her other works include a number of piano pieces, among them some excellent fugues, three solos for the humble and seldom-heard viola, and a lovely romance for violin and piano. A number of other German women have attained prominence through their concerted music. Josephine Kanzler, born at Tolz in 1780, wrote two string quartettes, besides piano sonatas and songs. She was a pupil of the famous Abt Vogler. Helene Liebmann, about fifteen years later, produced several quartettes of the same sort, as well as two piano trios and a number of violin sonatas, piano pieces, and songs. Clementine Batta has published a Melodie Religieuse for voice, piano, 'cello, and organ. Louise Kern has shown a fondness for combining violin, organ, and piano. Louise Langhans (maiden name Japha), born at Hamburg in 1826, is usually given an honourable place in the German lists of women composers. She studied with Robert Schumann, at Duesseldorf, and became famous as a pianist. Her compositions, not all published, include several string quartettes, a piano trio, sonatas, choral works, fragments of an opera, and a number of effective piano pieces. Among contemporary composers, Mathilde von Kralike has published a piano trio of some interest.