However, Esther Palliser, in a survey of women composers active in 1896, describes Overbeck as Norwegian. [6]
Palliser, Esther, Modern Women Song Writers (The Girl's Own Paper): "Of the babies among my song-writers, I must mention Ella Overbeck and Sybil Palliser. The former is a curiously-interesting little Norwegian girl, who has a unique talent, and makes use of it in unique fashion. There is a boldness, a carelessness, sometimes an almost Eastern flavouring running through her songs —melodies and harmonies—that seem to me to be quite unlike any other woman I know of. Certainly she is novel, her setting of Kingsley’s “ Slave Girl’s Song ” proves that." [7]
Fuller, Sophie, Queer Episodes in Music and Modern Identity: "Pachmuss transliterates Overbeck as Overbach...Her title "baroness" is widely acknowledged."
[1]
Matich, Olga, Erotic Utopia: the Decadent Imagination in Russia's Fin de Siecle:
[2]
Fuller, Sophie, Queer Episodes in Music and Modern Identity: "Nina Auerbach, a biographer of the Craigs' mother, Ellen Terry, refers to Overbeck as 'Edy's cross-dressing friend, the Baroness 'Jimmy' Overbeck.'" [3]
Fuller, Sophie, Queer Episodes in Music and Modern Identity: "[Temira Pachmuss, translating the memoirs of Zinaida Hippius] mistakenly claims [Overbeck] was of German descent, although it is clear from Hippius's own writings as well as from later British reviews of Overbeck's music that she was Russian. Her title "baroness" is widely acknowledged."
[4]
Matich, Olga, Erotic Utopia: the Decadent Imagination in Russia's Fin de Siecle: "As to Elizabeth von Overbek (sic), Hippius wrote to V.D. Komarova in 1898 that although Overbek had grown up and lived in England, where her parents had taken her at a young age, she was Russian. Her parents died shortly after their arrival there. A 'proper' Englishwoman, she graduated from the London conservatory, published many of her compositions, and conducted an orchestra."
[5]
