The first performances of her large works have often been events of importance. In 1892, when she brought out her mass in E flat at the Handel and Haydn concerts, she was on the programme for the piano part of Beethoven's Choral Fantasie, and the ovation she received on her appearance will not soon be forgotten by those present. Her "Jubilate" cantata was written for the dedication of the women's building at the Chicago Exposition, and scored a great success there. During the fair, she played for the first time her romance for violin and piano, in conjunction with Miss Maud Powell. A violin sonata, which she composed later and played with Mr. Franz Kneisel, has become a favourite with the most famous artists in Paris, Berlin, London, and other great musical centres. The same popularity and favourable mention have been accorded to her piano pieces and songs, the Italian audiences especially becoming enthusiastic over some of the latter. Her Gaelic Symphony, built on real Gaelic themes, was another ambitious work. It was first given at Boston in 1896, and since then has gone the rounds of all the great American cities. Among her other large works are three cantatas, with orchestral accompaniment that can be reduced to dimensions suitable for piano. They are "The Rose of Avontown," for female voices, "The Minstrel and the King," for male chorus and soloists, and "Sylvania," a wedding cantata recently published. Another vocal work of great merit is an _a capella_ motet, while among her earlier compositions is the _scena_ for contralto and orchestra, entitled "Eilende Wolken," on a text from Schiller's "Maria Stuart." Mrs. Beach's piano works consist of a cadenza to Beethoven's C minor concerto, a valse-caprice, a ballade, four sketches, a "Bal Masque" Waltz, a Children's Carnival and Children's Album, her concerto in C sharp minor, a transcription of Richard Strauss's "Serenade," five pieces (Barcarolle, Menuet Italien, Danse des Fleurs, Scottish Legend, Gavotte Fantastique), and a set of six duets entitled "Summer Dreams." For violin and piano, besides the two works already mentioned, are three pieces, "La Captive" (G string), "Berceuse," and "Mazurka," all three being arranged for 'cello and piano also. Her vocal works include more than sixty songs, most of which are well known to American music lovers. Some are provided with violin _obligato_, while others have orchestral accompaniments. There are a number of part-songs for different combinations of voices, and several sacred selections for various occasions. Among her songs the favourites are "Fairy Lullaby," "Ecstasy," "Thy Beauty," "Scottish Cradle Song," "Elle et Moi," "Spring," "Hymn of Trust," some sets of Shakespeare, Browning, and Burns poems, and many others,--in fact, practically the entire list.