Supplementary musical examples, figures, and audio tracks for

Musical Examples

The musical examples that appear in chapter four of the book are in reduced form. The orchestral scores can be found at the links below.

• Example 4.1. Marianna Martines, “Conservati fedele,” mm. 17–31. From Scelta d’arie composte per suo diletto (San Pietro a Majella in Naples I-Nc, Arie 417 A).
• Example 4.2. Marianna Martines, “Conservati fedele,” mm. 34–43. From Scelta d’arie composte per suo diletto (San Pietro a Majella in Naples I-Nc, Arie 417 A).
• Example 4.3. Marianna Martines, “Conservati fedele,” mm. 47–51. From Scelta d’arie composte per suo diletto (San Pietro a Majella in Naples I-Nc, Arie 417 A).
• Example 4.4. Marianna Martines, “Conservati fedele,” mm. 69–79. From Scelta d’arie composte per suo diletto (San Pietro a Majella in Naples I-Nc, Arie 417 A).
• Example 4.5. Johann Adolf Hasse, “Conservati fedele,” mm. 1–27. From Artaserse, 1760 Naples revival (Leipzig University Library, Biblioteca Albertina, D-LEu N.I.10286a).
• Example 4.6. Marianna Martines, “So che il bosco, il monte, il prato,” mm. 1–42. From L’inverno (Civico Museo Bibliografico Musicale, Bologna, I-Bc, GG 157).
• Example 4.7. Marianna Martines, “So che il bosco, il monte, il prato,” mm. 110–135. From L’inverno (I-Bc, GG 157).
• Example 4.8. Marianna Martines, “Ma tu tremi, o mio Tesoro,” mm. 1–21. From La tempesta (Österreichisches Nationalbibliothek, A-Wn, Mus. Hs. 16569).
• Example 4.9. Marianna Martines, “Alfin fra le tempeste,” mm. 1–25. From La tempesta (A-Wn, Mus. Hs. 16569).

Audio Examples

The links below contain the audio examples referred to throughout the book. We are grateful to Acis Productions for granting permission to reproduce tracks 2.1, 2.2, 2.3, 2.4, 3.1, 3.2, 3.3, 3.4, 3.5, and 5.1 on this companion website.

• Audio Example 2.1. Johann Sebastian Bach (?), Sonata BWV 1031, movement 2, Siciliano, in the arrangement for flute, violin, and basso continuo. From the Raritan Players, In Sara Levy’s Salon (Acis Productions, 2017). Steven Zohn, flute; Rebecca Harris, violin; Rebecca Cypess, fortepiano.
• Audio Example 2.2. Johann Sebastian Bach, organ trio BWV 526 in C minor, movement 1, in the arrangement for two keyboards. From the Raritan Players, In Sara Levy’s Salon (Acis Productions, 2017). Yi-heng Yang, fortepiano; Rebecca Cypess, harpsichord.
• Audio Example 2.3. Johann Sebastian Bach, Sonata BWV 1039 in G major, movement 3, in an unnotated arrangement for two keyboards created using the method described by François Couperin and shown in figure 2.1. From the Raritan Players, Sisters, Face to Face: The Bach Legacy in Women’s Hands (Acis Productions, 2019). Rebecca Cypess, harpsichord; Yi-heng Yang, fortepiano.
• Audio Example 2.4. Johann Schobert, Trio op. 6 no. 2 in C minor, movement 1, Andante non molto. From the Raritan Players, In the Salon of Madame Brillon (Acis Productions, 2021). Dongmyung Ahn, violin; Eve Miller, cello; Rebecca Cypess, square piano.
• Audio Example 3.1. Anne-Louise Boyvin d’Hardancourt Brillon de Jouy, Duet in C minor for harpsichord and piano, movement 2, Andante. From the Raritan Players, In the Salon of Madame Brillon (Acis Productions, 2021). Rebecca Cypess, harpsichord; Yi-heng Yang, square piano.
• Audio Example 3.2. Anne-Louise Boyvin d’Hardancourt Brillon de Jouy, “Viens m’aider o dieu d’amour,” from Romances: 1er et 2d œuvres. From the Raritan Players, In the Salon of Madame Brillon (Acis Productions, 2021). Sonya Headlam, soprano; Rebecca Cypess, square piano.
• Audio Example 3.3. Anne-Louise Boyvin d’Hardancourt Brillon de Jouy, Sonata IV in G minor, movement 1, Andante con espressione. From Troisième recueil de sonates pour le piano forte avec accompag.t par Madame Brillon (ad libitum violin part lost). From the Raritan Players, In the Salon of Madame Brillon (Acis Productions, 2021). Rebecca Cypess, square piano.
• Audio Example 3.4. Luigi Boccherini, Sonata op. 5 no. 4 in D major, movement 1, Andante. From Sei sonate di cembalo e violino obbligato dedicate, a Madama Brillon de Jouy . . . opera V (Paris: Veuve Leclair, 1768). From the Raritan Players, In the Salon of Madame Brillon (Acis Productions, 2021). Dongmyung Ahn, violin; Rebecca Cypess, square piano.
• Audio Example 3.5. Luigi Boccherini, Sonata op. 5 no. 4 in D major, movement 2, Allegro assai. From Sei sonate di cembalo e violino obbligato dedicate, a Madama Brillon de Jouy . . . opera V (Paris: Veuve Leclair, 1768). From the Raritan Players, In the Salon of Madame Brillon (Acis Productions, 2021). Dongmyung Ahn, violin; Rebecca Cypess, square piano.
• Audio Example 4.1. Marianna Martines, “Conservati fedele,” mm. 17–31. From Scelta d’arie composte per suo diletto (San Pietro a Majella in Naples I-Nc, Arie 417 A). Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Daniel Elyar, viola; Eve Miller, cello; Heather Miller Lardin, bass; Geoffrey Burgess, oboe; Stephanie Corwin, bassoon; Rebecca Cypess, harpsichord.
• Audio Example 4.2. Marianna Martines, “Conservati fedele,” mm. 34–43. From Scelta d’arie composte per suo diletto (San Pietro a Majella in Naples I-Nc, Arie 417 A). Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Daniel Elyar, viola; Eve Miller, cello; Heather Miller Lardin, bass; Rebecca Cypess, harpsichord.
• Audio Example 4.3. Marianna Martines, “Conservati fedele,” mm. 47–51. From Scelta d’arie composte per suo diletto (San Pietro a Majella in Naples I-Nc, Arie 417 A). Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Daniel Elyar, viola; Eve Miller, cello; Heather Miller Lardin, bass; Geoffrey Burgess, oboe; Stephanie Corwin, bassoon; Rebecca Cypess, harpsichord.
• Audio Example 4.4. Marianna Martines, “Conservati fedele,” mm. 69–79. From Scelta d’arie composte per suo diletto (San Pietro a Majella in Naples I-Nc, Arie 417 A). Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Daniel Elyar, viola; Eve Miller, cello; Heather Miller Lardin, bass; Rebecca Cypess, harpsichord.
• Audio Example 4.5. Johann Adolf Hasse, “Conservati fedele,” mm. 1–27. From Artaserse, 1760 Naples revival (Leipzig University Library, Biblioteca Albertina, D-LEu N.I.10286a). Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Daniel Elyar, viola; Eve Miller, cello; Heather Miller Lardin, bass; Rebecca Cypess, harpsichord.
• Audio Example 4.6. Marianna Martines, “So che il bosco, il monte, il prato,” mm. 1–42. From L’inverno (Civico Museo Bibliografico Musicale, Bologna, I-Bc, GG 157). Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Daniel Elyar, viola; Eve Miller, cello; Heather Miller Lardin, bass; Rebecca Cypess, harpsichord.
• Audio Example 4.7. Marianna Martines, “So che il bosco, il monte, il prato,” mm. 110–135. From L’inverno (Civico Museo Bibliografico Musicale, Bologna, I-Bc, GG 157). Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Daniel Elyar, viola; Eve Miller, cello; Heather Miller Lardin, bass; Rebecca Cypess, harpsichord.
• Audio Example 4.8. Marianna Martines, “Ma tu tremi, o mio Tesoro,” mm. 1–21. From La tempesta (Österreichisches Nationalbibliothek, A-Wn, Mus. Hs. 16569). Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Daniel Elyar, viola; Eve Miller, cello; Heather Miller Lardin, bass; Rebecca Cypess, harpsichord.
• Audio Example 4.9. Marianna Martines, “Alfin fra le tempeste,” mm. 1–25. From La tempesta (Österreichisches Nationalbibliothek, A-Wn, Mus. Hs. 16569). Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Daniel Elyar, viola; Eve Miller, cello; Heather Miller Lardin, bass; Geoffrey Burgess, oboe; Todd Williams, horn; Rebecca Cypess, harpsichord.
• Audio Example 5.1. Carl Philipp Emanuel Bach, Quartet for flute, viola, and keyboard in D major, Wq. 95, movement 1, Allegretto. From the Raritan Players, In Sara Levy’s Salon (Acis Productions, 2017). Steven Zohn, flute; Dongmyung Ahn, viola; Rebecca Cypess, fortepiano.
• Audio Example 6.1. Text by Fortunata Sulgher Fantastici, “Anacreontica,” from Poesie (Florence: Nella Stamperia Granducale, 1796), 68, set to the musical formula labeled “Corilla,” from Carl Ludwig Fernow, Römische Studien 2 (1806), unpaginated appendix. Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Eve Miller, cello; Rebecca Cypess, square piano.
• Audio Example 6.2. Text by Teresa Bandettini, “La morte d’Ercole,” from Rime estemporanee di Amarilli Etrusca conservate in varie città (Lucca: Presso Francesco Bertini, 1807), 56. The musical formula is codified in the manuscript Nicola Nicolini, Musiche per Poesie estemporanee ad uso di Nicola Nicolini (Parri, Fondo Malvezzi, b. 12, fasc. 43/17), 2–3. Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Eve Miller, cello; Rebecca Cypess, square piano.
• Audio Example 6.3. Text by Teresa Bandettini, “La morte d’Ercole,” from Rime estemporanee di Amarilli Etrusca conservate in varie città (Lucca: Presso Francesco Bertini, 1807), 56. The musical formula is codified in the manuscript Nicola Nicolini, Musiche per poesie estemporanee ad uso di Nicola Nicolini (Parri, Fondo Malvezzi, b. 12, fasc. 43/17), 4–5. Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Eve Miller, cello; Rebecca Cypess, square piano.
• Audio Example 6.4. Text from “Incontro di Petrarca e M. Laura,” in Amarilli Etrusca [Teresa Bandettini], Saggio di versi estemporanei (Pisa: Antonio Peverata, 1799), 7. The musical formula for violin 1, violin 2, and basso is codified in the manuscript Nicola Nicolini, Musiche per poesie estemporanee ad uso di Nicola Nicolini (Parri, Fondo Malvezzi, b. 12, fasc. 43/17), 66–67, with elaborated voice part. Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Eve Miller, cello; Rebecca Cypess, square piano.
• Audio Example 6.5. Voice part from the “Terzine” formula codified in Carl Ludwig Fernow, Römische Studien (fig. 6.11). String parts in the manuscript Nicola Nicolini, Musiche per poesie estemporanee ad uso di Nicola Nicolini (Parri, Fondo Malvezzi, b. 12, fasc. 43/17) [unpaginated]. Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Eve Miller, cello; Rebecca Cypess, square piano.
• Audio Example 6.6. Music from the “Passagallo Romano,” from Carl Ludwig Fernow, Römische Studien 2 (1806), unpaginated appendix, accommodated to the versi sciolti in Fortunata Fantastici’s poem dedicated to Angelica Kauffman, printed in Fortunata Fantastici, Poesie (Livorno: Nella Stamperia di Tommaso Masi e Comp., 1794), 87. Sonya Headlam, soprano; Leah Nelson, violin 1; Mandy Wolman, violin 2; Eve Miller, cello; Rebecca Cypess, square piano.
• Audio Example 7.1. Music from “The Birks of Endermay,” from Robert Bremner, Thirty Scots Songs Adapted for a Voice and Harpsichord by Robert Bremner. The Words by Allen Ramsey (London: Robert Bremner, 1770), 5. Texts from Annis Boudinot, “Doubt a pastoral ballad,” and Elizabeth Graeme’s “Hymn to the beauties of Creation. Air, the birks of Invermay.” Sonya Headlam, soprano; Eve Miller, cello; Rebecca Cypess, square piano.
• Audio Example 7.2. Francis Hopkinson, “Sing to his shade a solemn strain,” from Hopkinson’s manuscript Duets / Songs, Marian S. Carson Collection, Library of Congress ML96 .H83 no. 2, Washington, DC, USA. Sonya Headlam, soprano; Eve Miller, cello; Rebecca Cypess, square piano.

Figures

The links below contain color reproductions of the images that appear throughout the book.

• Figure 0.1. Michel Barthelemy Ollivier (or Olivier), Tea at the house of the Princesse de Conti, Palais du Temple (1766). Château de Versailles, France / Bridgeman Images.
• Figure 1.1. Thomas Gainsborough, Portrait of Miss Ann Ford later Mrs. Philip Thicknesse. Cincinnati, Cincinnati Art Museum, Ohio, USA. Bequest of Mary M. Emery/Bridgeman Images.
• Figure 1.2. Excerpt from “Plans and architectural drawings of the exterior and interior, and landscaping of the residence erected by Madame Lavoisier (Countess Rumford) in Paris, [18—].” Lavoisier Manuscript Collection, Box 27h, Division of Rare and Manuscript Collections, Kroch Library, Cornell University Library, USA.
• Figure 1.3. Charles Willson Peale, Portrait of Julia Stockton Rush (Mrs. Benjamin Rush), Philadelphia, Pennsylvania, United States (1776), 1960.0392 A. Gift of Mrs. Julia B. Henry. Courtesy of Winterthur Museum, Winterthur, Delaware, USA.
• Figure 2.1a. Johann Sebastian Bach, Organ trio BWV 526 in C minor in the arrangement for two keyboards, Österreichische Nationalbibliothek, Mus.Hs.5008. First opening of the two part books, side by side. Reproduced by permission of the Österreichische Nationalbibliothek, Austria.
• Figure 2.1b. Johann Sebastian Bach, Organ trio BWV 526 in C minor in the arrangement for two keyboards, Österreichische Nationalbibliothek, Mus.Hs.5008. First opening of the two part books, side by side. Reproduced by permission of the Österreichische Nationalbibliothek, Austria.
• Figure 2.2. Two women at a vis-à-vis keyboard instrument. Drawing from Recueil. Musique e musiciens, vol. 9, Instruments à cordes, Bibliothèque Nationale de France, Kd-3 (9)-Fol. Image courtesy of the Bibliothèque nationale de France.
• Figure 2.3. Johann Schobert, Ein sonderbares musicalisches Stuck; welches auf dem Clavier, der Violin und dem Bass, und zwar auf verschiedene Arten, kan gespielet werden (Nürnberg: Winterschmidt, n.d.). Image courtesy of the Bibliothèque nationale de France.
• Figure 2.4. Daniel Chodowiecki, engraving of a chamber music scene, in Johann Bernhard Basedow, Das Elementarwerk für die Jugend und ihre Freunde (Berlin and Dessau: Basedow, 1774), table VIIIa. / G. Dagli Orti / De Agostini Picture Library / Bridgeman Images.
• Figure 2.5. Johann Christian Bach, Sonata no. 4 in C major, movement 1, Andante, from Six sonates pour le clavecin accompagnées d’un violon ou flute traversière et d’un violoncello, op. 2 (London: Welcker, 1770). Image courtesy of the Bibliothèque nationale de France.
• Figure 3.1. Jean-Honoré Fragonard, L’Étude. Portrait of Anne-Louise Boyvin d’Hardancourt Brillon de Jouy (late 1760s). Musée du Louvre, Paris, France. Scala/Art Resource.
• Figure 3.2. Anne-Louise Boyvin d’Hardancourt Brillon de Jouy, Duet in C minor for harpsichord and pianoforte, movement 2, detail of the harpsichord part book. Image courtesy of the American Philosophical Society, Philadelphia, USA.
• Figure 3.3. Anne-Louise Boyvin d’Hardancourt Brillon de Jouy, “Romance attribuée a Chibaut comte de Champagne, accom.t avec la grande pédale et le plus doux possible,” from Brillon’s manuscript Romances: 1e et 2d œuvres. Image courtesy of the American Philosophical Society, Philadelphia, USA.
• Figure 3.4. Music for Moncrif’s “Viens m’aider o dieu d’amour” from M. D. L. [Charles de Lusse], Recueil de romances. Tome second (s.l.: Par de Lusse d’après Barbier, 1774), unpaginated appendix. Image courtesy of the Bibliothèque municipale de Lyon, France.
• Figure 3.5. Title page of Luigi Boccherini, Sei sonate di cembalo e violino obbligato dedicate, a Madama Brillon de Jouy . . . opera V (Paris: Veuve Leclair, 1768). Image courtesy of the Bibliothèque nationale de France.
• Figure 4.1. Anton von Maron, Portrait of Marianna Martines (ca. 1773). Wien Museum Inventory no. 158.809. ©Wien Museum, Austria. The inscription, as transcribed by Michael Lorenz, translates to “Maria Anna Martines. Pupil of Pietro Metastasio. Born in Vienna, on the fourth day before the Nones of May 1744, member of the Philharmonic Academy.” See Michael Lorenz, “Martines, Maron and a Latin Inscription” (October 12, 2012), http://michaelorenz.blogspot.com/2012/10/martines-maron-and-latin-inscription.html (accessed July 17, 2020).
• Figure 4.2. Giovanni Domenico Porta (?), Portrait of Maria Rosa Coccia (ca. 1800). Museo Civico Bibliografico Musicale, Bologna, Italy. The open volume bears an inscription that reads “Componimenti mus[icali] / di / Maria Rosa Coccia / Maestra di capella romana / e Accademia filarmonica di Bologna.” Luisa Ricciarini/Bridgeman Images. The attribution to Porta is in Candida Felici, Maria Rosa Coccia: maestra compositore romana (s.l.: Colombo Duemila, 2004), 57.
• Figure 4.3a. Pietro Metastasio (text and music), “La libertà,” printed in Charles Burney, Memoirs of the Life and Writings of the Abate Metastasio. In which are Incorporated, Translations of his Principal Letters (London: G. G. and J. Robinson, 1796), 1:128.
• Figure 4.3b. Pietro Metastasio (text and music), “La libertà,” printed in Charles Burney, Memoirs of the Life and Writings of the Abate Metastasio. In which are Incorporated, Translations of his Principal Letters (London: G. G. and J. Robinson, 1796), 1:129.
• Figure 5.1. One of the Itzig daughters, probably Sara Levy, née Itzig. Silverpoint engraving by Anton Graff (1786). Reproduced in Otto Waser, Anton Graff von Winterthur: Bildnisse des Meisters (s.l.: Winterthur Kunstverein, 1903). Courtesy of Christoph Wolff with thanks to Peter Wollny.
• Figure 5.2. Cover page of Johann Schobert, “Sonatina a quatuor,” op. 7 no. 1 in E-flat major in the manuscript owned by Sara Levy. D-Bsa SA 4858. Note Levy’s distinctive ex libris stamp. The remainder of the manuscript is in part books for the individual instruments. Image courtesy of Staatsbibliothek zu Berlin—Preußischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv, Depositum Archiv der Sing-Akademie zu Berlin, Germany.
• Figure 5.3. Carl Philipp Emanuel Bach, Quartet for flute, viola, and keyboard in D major, Wq. 95. Autograph manuscript, D-Bsa SA 3328. Image courtesy of Staatsbibliothek zu Berlin—Preußischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv, Depositum Archiv der Sing-Akademie zu Berlin, Germany.
• Figure 6.1.Angelica Kauffman, Self-Portrait of the Artist Hesitating Between the Arts of Music and Painting. Signed on the artist’s sash: Angelica Kauffn. Sc. & P. Pinxit, Rome, 1794. Nostell Priory, Yorkshire, United Kingdom. ©National Trust Images/John Hammond. Image no. 81290.
• Figure 6.2. Angelica Kauffman, Fortunata Sulgher Fantastici (1792). Oil on canvas. Inventory no. 4339, Palazzo Pitti, Galleria Palatina, Florence, Italy. By permission of the Ministero per i beni e le attività culturali e per il turismo, Gallerie degli Uffizzi, Florence, Italy.
• Figure 6.3. Portrait of the Impromptu Virtuoso Teresa Bandettini Landucci as Muse (1794). Kunstpalast Düsseldorf, Werner G. Linus Müller Bequest, inv. no. mkp M 2008–2. © Düsseldorf, Germany, Kunstpalast. Photo: Horst Kolberg—ARTOTHEK.
• Figure 6.4. Engraving based on Richard Samuel, The Nine Living Muses of Great Britain. Printed in The Ladies New and Polite Pocket Memorandum-Book, for the Year of Our Lord 1778: Being the Eighteenth of King George III and the Twenty Seventh of the New Stile of Great Britain: Embellished With a Beautiful Copper Plate Representing the Nine Living Muses of Great Britain in the Temple of Apollo (London: J. Johnson, 1777), foldout plate. Courtesy of the Folger Shakespeare Library. LUNA: Folger Digital Image Collection, call number 193-495q.
• Figure 6.5. Angelica Kauffman, Self-Portrait (ca. 1764). ©National Trust Images/John Hammond. Saltram, Devon, United Kingdom. Image reference 49685.
• Figure 6.6. The Artist in the Character of Design Listening to the Inspiration of Poetry (1782). Inscribed (top): “For George Bowles Esq.” English Heritage, Kenwood (The Ernest Edward Cook Bequest Presented by the National Art-Collections Fund). Kenwood House accession number 88029077. Photo credit: Historic English Archive.
• Figure 6.7. Musical formula titled “Passagallo Romano,” from Carl Ludwig Fernow, Römische Studien 2 (1806), unpaginated appendix. Courtesy of Bayerische Staatsbibliothek, Munich, Germany.
• Figure 6.8. Musical formula titled “Corilla,” from Carl Ludwig Fernow, Römische Studien 2 (1806), unpaginated appendix. Courtesy of Bayerische Staatsbibliothek, Munich, Germany.
• Figure 6.9. Musical formula titled “Bandettini,” from Carl Ludwig Fernow, Römische Studien 2 (1806), unpaginated appendix. Courtesy of Bayerische Staatsbibliothek, Munich, Germany.
• Figure 6.10. Musical formula titled “Terzine,” from Carl Ludwig Fernow, Römische Studien 2 (1806), unpaginated appendix. Courtesy of Bayerische Staatsbibliothek, Munich, Germany.
• Figure 7.1. Francis Hopkinson, “Sing to His Shade a Solemn Strain,” from Hopkinson’s manuscript titled Duets / Songs, Marian S. Carson Collection, Library of Congress ML96 .H83 no. 2, Washington, DC, USA.
• Figure 7.2. Anonymous portrait of Elizabeth Graeme, Graeme Park, Horsham, Pennsylvania, USA. Photo courtesy of Graeme Park, Pennsylvania Historical and Museum Commission.
• Figure 7.3. View of Graeme Park, Horsham, Pennsylvania, USA. Photo courtesy of Graeme Park, Pennsylvania Historical and Museum Commission.
• Figure 7.4. George Frideric Handel, “Let Me Wander Not Unseen,” from Handel’s Songs Selected from His Oratorios for the Harpsichord, Voice, Hoboy or German Flute (London: John Walsh, ca. 1765?).
• Figure 7.5. Elizabeth Graeme, title page introducing her Psalm paraphrases: “A paraphrase on the Psalms. Attempted by a young woman in the years 1766, 1767, [17]68. In meter of light syllables from the Bible. English Psalms translated in James Reign.” From Graeme’s manuscript titled Sunday Matters [Psalms commonplace book] [1760–1780s]. Elizabeth Graeme Fergusson Collection, Am.067, Volume 1, Historical Society of Pennsylvania. Reproduced with permission from the Historical Society of Pennsylvania.
• Figure 7.6. “The Birks of Endermay,” from Robert Bremner, Thirty Scots Songs Adapted for a Voice and Harpsichord by Robert Bremner. The Words by Allen Ramsey (London: Robert Bremner, 1770), 5.
• Figure 7.7. “The Lass of Peatty’s Mill,” from Robert Bremner, Thirty Scots Songs Adapted for a Voice and Harpsichord by Robert Bremner. The Words by Allen Ramsey (London: Robert Bremner, 1770), 6.

The keyboard instruments used in the audio examples are a double–manual harpsichord rebuilt by Willard Martin from a Zuckerman Flemish kit (1977) after the 1638 Ruckers Amiens, courtesy of Willard Martin; a double-manual Franco-Flemish harpsichord by Robert L. Wilson (1970s) rebuilt extensively by Willard Martin, courtesy of the Music Department, Mason Gross School of the Arts, Rutgers University; a five-octave fortepiano by Rod Regier (1988) after Anton Walter, courtesy of the Music Department, Mason Gross School of the Arts, Rutgers University; and a square piano by Johannes Zumpe (1780) restored by Tim Hamilton (1993), courtesy of Leslie Martin.

In addition to the credits in the individual captions for the audio examples, the author acknowledges the indispensable contributions of audio engineer Loren Stata; producers Erin Banholzer and Christa Patton; the Music Department, Mason Gross School of the Arts, Rutgers University; Nicholas Music Center’s Production Stage Manager Mark Piotrowski; and keyboard technicians Willard Martin, Albert Bellefeuille, and David Miller.