The French composer, born of Irish parentage in Paris in 1843, tackled the largest genres of her day—including opera, symphonic poems, and grand choral works—generally considered by the male-dominated musical establishment to be too demanding for women. She created over 130 songs, each hallmarked by her gift for lyrical melody, and several setting poetic texts she wrote herself. Lifted by the rising tide of nationalism, Holmès composed a series of symphonic works, Irlande and Pologne impressive among them, that expressed sympathy for national independence. Her choral work Ludus pro patria reflects Holmès’ patriotic pride in France. Following her mother’s death, young Augusta was encouraged to study music by the poet Alfred de Vigny, her godfather (possibly her natural father). Her passion for Wagner’s operas deepened after she met the composer, and developed in the 1870s when she became associated and probably studied with César Franck. Holmès embraced a range of musical styles, from the Romantic harmonies of her song cycle Le Sept Ivresses and Wagnerian heft of the symphonic poem Andromède to the variety of her individual songs, such as the seductive charm of “Soir d’hiver” and haunting simplicity of “Les Lavandières.” Following her separation from the poet and librettist Catulle Mendès, with whom she had five children, she continued to compose until her death in 1903.