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Rh master of her instrument, her fine musical nature and cultivated taste find little difficulty in correctly rendering the works of the great masters. In 1877 she became the wife of P. V. M. Raymond, and in 1885 settled in Lincoln, Neb. Soon after that she drew together a little company of musicians for the purpose of doing chorus work. In doing that she encountered many obstacles, but by perseverance and ability as a musical director she overcame them. She spared neither time nor effort in her work, and she was at length rewarded in knowing that her chorus was considered one of the best drilled in the West. In 1887 she organized an annual musical festival, during which some of the great masterpieces were to lie performed. Among those already given are Handel's "Messiah" and "Judas Maccalxeus," Haydn's "Creation" and "Spring," Mendelssohn's "Elijah" and "Lobgesang," Spohr's "Last Judgment," Gaul's "Holy City," Gounod's "Messe Solennolle" and Gade's "Crusaders." She was in the habit of drilling and preparing the chorus for the festivals and then landing over the baton to an imported director, but in May, 1891, the members of the chorus prevailed upon her to conduct the music in the festival. The works given on that occasion were Haydn's "Creation," with full chorus and orchestra and Gade's "Crusaders," quite sufficient to test her ability as a director. Success crowned her efforts. That was undoubtedly the first instance in the history of music where a woman filled that position in the rendition of an oratorio. In the December following she conducted Mendelssohn's "Lobgesang" with marked success. In May, 1892, the "Messiah," Cowen's "Sleeping Beauty and a miscellaneous concert were given. The work of the orchestra in those concerts was especially commented upon. An attractive feature of the miscellaneous programmes has been a chorus of one-hundred-fifty misses, which is under the complete control of Mrs. Raymond's magnetic personality and always charms the audience. In July, 1892, she was director of music in the Crete, Neb., Chautauqua Assembly, during which a number of successful concerts were given.

RAYMOND, Mrs. Emma Marcy, musical composer, born in New York, N. Y., 16th March, 1856. She is the daughter of Dr. Erastus Egerton Marcy, of New York City.

She showed a remarkable aptitude for music at a very early age, having composed her first song before the completion of her fifth year. She inherits her musical talents from her parents, both of whom are gifted amateurs. She was reared in an atmosphere of music, and had the advantage of studying under the best teachers who visited this country. She studied the piano with Gottschalk and Raccoman, vocal music with Ronconi, and counterpoint and harmony with the bestGerman masters. Her musical sympathies are almost entirely with the Italian and French schools. Being a firm believer in the gift of free and spontaneous melody, she believes that, where human emotions are to be portrayed in music, the proper means to use in such portrayal is the human voice, and she leaves to the instruments the task of accompanying. She is a prolific writer and is equally at home in the composition of a waltz, a ballad, an operetta or a sacred song. Her opera "Dovetta" was produced in New York in 1889. She is the author of several pieces sung by Patti, and her productions cover the entire field of music.

RAYNER, Mrs. Emily C., author and journalist, born in Boston, Mass., 8th March, 1847. She is the only daughter of the late Stephen Bartlett and Eliza Cook Hodgdon, and is of Puritan descent. She was graduated from Ipswich Seminary,

Massachusetts, in 1865, and in 1866 became the wife of Thomas J. Rayner, second son of Thomas Lyle and Eunice L. Rayner, of Boston. Since her marriage Mrs. Rayner has resided in New York