Introduction

Traces the history of Bell's Dictionary and Digest from its first author through its subsequent editors, placing the only dictionary of Scots law in its wider international context

Music and elite identity in the English country house, c.1790-1840

In this thesis I investigate two untapped music book collections that belonged to two women. Elizabeth Sykes Egerton (1777-1853) and Lydia Hoare Acland (1786-1856) lived at Tatton Park, Cheshire, and Killerton House, Devon, respectively. Upon their marriage in the early nineteenth century, they brought with them the music books they had compiled so far to their new homes, and they continued to collect and play music after marriage. I examine the vocal music in Elizabeth’s and Lydia’s collections, and I aim to show how selected vocal music repertoires contributed toward the construction of landed elite identity in these women and their husbands, concentrating on gender, class, national identity and religion.In chapter one, I concentrate on songs that depict destitute and suffering individuals to move both listeners and performers to compassion. The songs are topical and provide insights into contemporary understandings of sympathy and landed elite responsibility for the distressed. In chapter two, I focus on the ingoing and outgoing movements of music in the country house, and the consumption of foreign music in the home. I divide the chapter into two sections, first examining Elizabeth’s Italian vocal music that she collected during her girlhood years in London and York in the 1790s. The Italian music that Elizabeth brought to Tatton complemented other Italian objects and items in the home. Italian culture appealed to the Egerton family both before and after Elizabeth and Wilbraham married. In the second section, I investigate Lydia and her family’s journey to Vienna for the Congress in 1814-1815. Lydia took away with her a book of vocal music to remind her of home in a foreign environment. While away in Vienna, the Aclands attended concerts and music salons, and they purchased music books to bring back home to add to their collection. In the final chapter, I concentrate on the man of the house at music and I consider the social expectations, duties and responsibilities that had befallen our landed elite men, Thomas Dyke Acland and Wilbraham Egerton. I discuss Thomas’s and Wilbraham’s musical engagements and occasions for performing music, and how men’s music-making contributed to a masculine identity.By placing the vocal music in broader social and cultural contexts, reading personal correspondence, newspaper articles, account books and diaries, we can begin to understand what our families thought about music, and how they used and experienced music in and around their homes, forming an important part of their lifestyle

Atoll research bulletin.

no.531-542 (2005

Piano lessons in the English country house, 1785-1845

Two largely unexplored collections form the basis for research on the significance of piano lessons in the country homes of the British elite in the years around 1800. The owners of the music libraries were the Egerton family at Tatton Park, Cheshire and the Aclands of Killerton House, Devon. The women who married into these families, along with their children, form casestudies that stretch the boundaries of domestic amateur music-making, within an overlooked area of English keyboard repertoire. The piano was emerging as the ideal instrument for girls and women in the home, and this study examines the instruments at their disposal, providing substantial new information on the important Broadwood grand that belonged to Lydia Hoare Acland. Teachers, pupils and pedagogical tools cast light on the transition from a girl’s polite pastime to an emerging school of excellence, and this thesis examines, in detail, the practice of preluding in the education of Elizabeth Sykes Egerton, placing it against the broader background of women’s instruction in the ‘science of music’. The repertoire in the two family collections is a huge, multi-layered resource that adds colour to the outlines of early piano pedagogy, and exemplifies a breadth of skill across three or four generations. In this thesis, I place these important printed music collections in the context of additional contemporary sources, including diaries, memoirs, manuscript music and a commonplace book. Considering these collections in this wider arena, not only reveals a rich picture of early piano pedagogy, but also yields insights into the lives of the individuals who bought and used music for performance, study and sociability

The First Fleet Piano: Volume One and Two

During the late eighteenth century, a musical–cultural phenomenon swept the globe. The English square piano—invented in the early 1760s by an entrepreneurial German guitar maker in London—not only became an indispensable part of social life, but also inspired the creation of an expressive and scintillating repertoire. Square pianos reinforced music as life’s counterpoint, and were played by royalty, by musicians of the highest calibre and by aspiring amateurs alike. On Sunday, 13 May 1787, a square piano departed from Portsmouth on board the Sirius, the flagship of the First Fleet, bound for Botany Bay. Who made the First Fleet piano, and when was it made? Who owned it? Who played it, and who listened? What music did the instrument sound out, and within what contexts was its voice heard? What became of the First Fleet piano after its arrival on antipodean soil, and who played a part in the instrument’s subsequent history? Two extant instruments contend for the title ‘First Fleet piano’; which of these made the epic journey to Botany Bay in 1787–88? The First Fleet Piano: A Musician’s View answers these questions, and provides tantalising glimpses of social and cultural life both in Georgian England and in the early colony at Sydney Cove. The First Fleet piano is placed within the musical and social contexts for which it was created, and narratives of the individuals whose lives have been touched by the instrument are woven together into an account of the First Fleet piano’s conjunction with the forces of history. Note: Volume 1 and 2 are sold as a set ($120 for both) and cannot be purchased separately

Struggling with shells: Drymaeus Albers, 1850 and Mesembrinus Albers, 1850 species (Mollusca, Gastropoda, Bulimulidae) from Peru—an illustrated checklist and descriptions of new species

We critically examine Peruvian taxa belonging to the genera Drymaeus Albers, 1850 and Mesembrinus Albers, 1850, verify their original reference, and figure type materials, if located in and available from museums. We include additional photographs of non-type material when they are deemed useful to show variation. Original figures from the literature are reproduced for some species where photographs of type material are unavailable. We list precise localities in Peru where each species has been collected and map each species. Where possible, the ecoregions in which each species occurs are indicated. A brief history of research on Drymaeus and Mesembrinus from Peru is included. We recognise 94 valid species of Drymaeus and Mesembrinus. Additionally, we list 10 taxa that have been erroneously or doubtfully reported from Peru, 10 that are nomina inquirandi, and four species that have been transferred to another genus. We believe that our checklist may serve as a baseline document for further research. It can be seen as an intermediate step in the revision of these genera, which will require additional anatomical or molecular study to achieve a stable classification. The following new species are introduced: Drymaeus araujoi Vega-Luz, Breure & Mogollón; Drymaeus nebulosum Breure & Ablett; Mesembrinus marmoratus Breure, Mogollón & Vega-Luz; Mesembrinus purpuralabrum Breure, Mogollón & Vega-Luz. Two species are reported from the Peruvian malacofauna for the first time: Drymaeus fusoides (d’Orbigny, 1835) and Drymaeus tigrinus (S.I. da Costa, 1898). We propose the following new combinations: Drymaeus combinai (Weyrauch, 1958); Mesembrinus acobambensis (Weyrauch, 1967); Mesembrinus anceps (Albers, 1854); Mesembrinus angulobasis (Pilsbry, 1944); Mesembrinus apicepunctata (Preston, 1914); Mesembrinus bequaerti (Weyrauch, 1956); Mesembrinus cactivorus (Broderip, 1832); Mesembrinus chrysomelas (E. von Martens, 1867); Mesembrinus clathratus (L. Pfeiffer, 1858); Mesembrinus coelestini (F. Haas, 1952); Mesembrinus cuzcoensis (Reeve, 1849); Mesembrinus cylindricus (S.I. da Costa, 1901); Mesembrinus eucosmetus (F. Haas, 1955); Mesembrinus farrisi (L. Pfeiffer, 1858); Mesembrinus inconspicuus (F. Haas, 1949); Mesembrinus lamas (Higgins, 1868); Mesembrinus laxostylus (Rolle, 1904); Mesembrinus leucomelas (Albers, 1854); Mesembrinus libertadensis (Pilsbry, 1898); Mesembrinus mexicanus (Lamarck, 1822); Mesembrinus miltochrous (Albers, 1854); Mesembrinus nigroapicatus (L. Pfeiffer, 1857); Mesembrinus paeteli (Albers, 1854); Mesembrinus pergracilis (Rolle, 1904); Mesembrinus phryne (L. Pfeiffer, 1863); Mesembrinus praetextus (Reeve, 1849); Mesembrinus pseudobesus (Breure, 1979); Mesembrinus pulcherrimus (H. Adams, 1867); Mesembrinus rosalbus (Pilsbry, 1932); Mesembrinus sachsei (Albers, 1854); Mesembrinus scitulus (Reeve, 1849); Mesembrinus silvanus (Zilch, 1953); Mesembrinus succinea (Pilsbry, 1901); Mesembrinus trujillensis (Philippi, 1867); Mesembrinus vespertinus (L. Pfeiffer, 1858); Mesembrinus zilchi (F. Haas, 1955); “Mesembrinus” vexillum (W. Wood Sr, 1828). The following junior subjective synonyms are established: Drymaeus aurantiostomus Thompson & Deisler, 1982 = Drymaeus branneri F. Baker, 1914; Drymaeus eusteirus Pilsbry, 1944 = Bulimus chanchamayensis Hidalgo, 1870; Drymaeus (Mormus) expansus flavilabrum Weyrauch, 1967 = Bulimus expansus L. Pfeiffer, 1848; Drymaeus (Orodrymaeus) farrisi quadritaeniatus Weyrauch, 1956 = Bulimus farrisi Pfeiffer, 1858; Drymaeus (Drymaeus) latitesta F. Haas, 1952 = Bulimus icterostomus E. von Martens, 1901; Drymaeus beyerleanus mitchelli Dall 1912 = Bulimus beyerleanus Hupé 1857; Bulimus (Liostracus) fuscobasis E.A. Smith, 1877 = Bulimus rectilinearis L. Pfeiffer, 1855; Bulimus recedens L. Pfeiffer, 1864 = Bulimus serratus L. Pfeiffer, 1855; Gonyostomus subhybridus S.I. da Costa, 1906 = Otostomus pulcherrimus H. Adams, 1867; Mesembrinus (Ornatimormus) henrypilsbryi densestrigatus Weyrauch, 1958 = Mesembrinus (Ornatimormus) henrypilsbryi pichitacalugaënsis Weyrauch 1958 = Mesembrinus (Ornatimormus) henrypilsbryi Weyrauch, 1958 = Bulimulus pergracilis Rolle, 1904; Bulimus canarius L. Pfeiffer, 1867 = Bulimus trujillensis Philippi, 1867; Bulimus serenus Philippi, 1867 = “Mesembrinus” vexillum (Wood, 1828). The generic placements of “Drymaeus” expansus (L. Pfeiffer, 1848) and “Mesembrinus” vexillum (W. Wood Sr, 1828) are provisionally pending future molecular study. The need for additional research is demonstrated by the fact that for 15 species only imprecise localities are known, while for 33 species no records are available within the last 50 years.Copyright ©The authors. This work is freely available under the Creative Commons Attribution 4.0 International licence (CC BY 4.0). The attached file is the published version of the article.NHM Repositor

The London Pianist: Theresa Jansen and the English Works of Haydn, Dusseck, and Clementi

Over the last decade, our understanding of the performance circumstances surrounding The London Pianoforte School (c. 1766-1860) has increased remarkably. This understanding not only has recognized the distinction of the English piano and repertoire from their counterparts in Vienna, but also has encouraged interest in the careers of pianists working in late eighteenth- and early nineteenth-century London. One of the significant figures represented in this group of professional musicians is virtuoso pianist, Theresa Jansen (c. 1770-1843). Jansen’s career as a pianist had a significant impact on English piano repertoire, as she was the dedicatee of concert sonatas by Jan Ladislav Dussek, Muzio Clementi, and Joseph Haydn. Arguably, the works dedicated to Jansen by Haydn represent the only English Classical piano works living in today’s canon of solo piano concert repertoire: the Grand Sonatas in C major, Hob. XVI: 50 and E-flat major, Hob. XVI: 52. Although Jansen’s most documented role in musical history has been her important connection to Haydn, Jansen was herself a composer and published one of the only known grand sonatas written by a woman, the Grand Sonata for the Piano Forte in A major. This essay will introduce Jansen’s compositions to modern scholarship and historical performance. It will also deepen our understanding of Jansen’s professional career by recognizing her important contribution to piano repertoire as a performer-dedicatee, and by encouraging her inclusion as a contributing member of the London Pianoforte School