Scholars of nineteenth-century music often use the term “long nineteenth century” to refer to the 125-year period between the beginnings of the French Revolution and the First World War. If the nineteenth century was long, however, it was also deep, containing vast numbers of musical scores that extend well beyond the canonical works that have dominated scholarly journals, recital halls, and course syllabi. My chapter focuses on a composer from the deepest regions of the Lied genre—Marie Franz—who wrote inventive and affecting songs that raise important questions about the analysis and performance of nineteenth-century song. Franz’s songs suggest that as much as we should attend to the activities that women musicians engaged in during this period, we should also attend to the pieces that they wrote, no matter how small in size or few in number. They prove that even in the most private spaces women were composing songs of bracing originality, and that discovering the full scope of that originality often requires digging deeply for unpublished repertoire. And they show that to fully illuminate the astonishing, extensive, and little-studied songs from this century, we need the commitment not just of scholars, but also of performers.