Augusta Holmès (1847–1903) was a French composer of Irish descent, known for her bold and imaginative orchestral and vocal works. Born in Versailles, she showed early musical talent but was initially discouraged from pursuing composition professionally. Despite these barriers, she studied privately with composer Henri Litolff and later became a protégé of César Franck, who encouraged her to develop her unique voice. Unlike many women of her time, Holmès wrote large-scale works, including operas, symphonic poems, and patriotic choral pieces, earning recognition in the male-dominated world of late 19th-century French music.

Holmès was particularly known for her ambitious compositions, which often featured grand orchestration and dramatic themes. Her opera La Montagne Noire was performed at the Paris Opéra in 1895, and her symphonic poem Irlande reflected her Irish heritage. She also composed large-scale choral works, such as Ludus Pro Patria and Ode Triomphale, the latter written for the 1889 Exposition Universelle. Her music was often compared to that of Wagner and Berlioz, reflecting her affinity for lush harmonies and grand structures. Additionally, she wrote many songs and mélodies, showcasing a more intimate and expressive side of her artistry.

Although her works were well received during her lifetime, Holmès’ music gradually fell into obscurity after her death. Her legacy was overshadowed by the dominance of male composers in music history, despite the originality and craftsmanship of her compositions. However, in recent years, there has been a revival of interest in her music, with new recordings and performances bringing her works back into the spotlight. Holmès remains an important figure in the history of French music, illustrating both the challenges and achievements of women composers in the 19th century.