Among those who have written for the violin, Francesca Lebrun, one of the earliest, was born at Mannheim in 1756. A remarkably great singer and accomplished pianist, she won laurels in composition by her musicianly piano trios and her sonatas with violin accompaniment. Pauline Fichtner, born in 1847, became one of Liszt's pupils, and won many public triumphs as a pianist. Her works, mostly piano pieces and songs, contain two fantasies for violin and piano. Marie Hendrich-Merta, five years younger, is the author of an excellent piano trio, besides the usual song and piano selections. Mary Clement has written a violin sonata and shorter pieces that have won encomiums from no less a man than Max Bruch. Henrietta Heidenreich has composed a number of violin pieces, and Mathilde Heim-Brehm has done the same. The Countess Stephanie Vrabely Wurmbrand wrote a violin sonata, also several piano works and incidental music to "Die Schoene Melusine." In the field of piano music, Emilie Belleville-Oury is worthy of mention. Born at Munich in 1808, she made that city her residence until her death in 1880. She became extremely proficient as a pianist, and won many public triumphs. In one of Robert Schumann's criticisms is an interesting comparison between her work and that of Clara Schumann. "They should not be compared," says the great critic. "They are different mistresses of different schools. The playing of Madame Belleville is technically the finer of the two; Clara's is more impassionate.... Madame Belleville is a poetess, Clara is poetry itself." The works of this virtuoso are largely made up of transcriptions and arrangements, but contain some excellent compositions of her own.