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. View ‘The First Fleet Piano: Volume Two Appendices’. Note: Volume 1 and 2 are sold as a set ($180 for both) and cannot be purchased separately.

This text uses case studies of law students, lawyers and merchants to explore overlooked dimensions of Irish migration the middle class, community and the social geography of London in the eighteenth century.

Originally published in 2003, Charles Edward Horn's Memoirs of His Father and Himself is an annotated collection of the memoirs of Charles Edward Horn. They include an account of Horn’s father, Charles Frederick Horn, who arrived penniless in London in 1782 and rose to become music master to Queen Charlotte. Today he is most remembered for his pioneering publications of J.S. Bach’s music in England. Charles Edward Horn’s memoir covers his activities in England and Ireland and provide numerous details of English musical life in the Georgian era not previously known to scholars. They are supplemented in this book by transcripts of four other autobiographical accounts of the Horns, a summary of their extant correspondence and a chronology of their activities.

Ebenezer Sibly was a quack doctor, plagiarist, and masonic ritualist in late eighteenth-century London; his brother Manoah was a respectable accountant and a pastor who ministered to his congregation without pay for fifty years. The inventor of Dr. Sibly's Reanimating Solar Tincture, which claimed to restore the newly dead to life, Ebenezer himself died before he turned fifty and stayed that way despite being surrounded by bottles of the stuff. Asked to execute his will, which urged the continued manufacture of Solar Tincture, and left legacies for multiple and concurrent wives as well as an illegitimate son whose name the deceased could not recall, Manoah found his brother's record of financial and moral indiscretions so upsetting that he immediately resigned his executorship. Ebenezer's death brought a premature conclusion to a colorfully chaotic life, lived on the fringes of various interwoven esoteric subcultures. Drawing on such sources as ratebooks and pollbooks, personal letters and published sermons, burial registers and horoscopes, Susan Mitchell Sommers has woven together an engaging microhistory that offers useful revisions to scholarly accounts of Ebenezer and Manoah, while placing the entire Sibly family firmly in the esoteric byways of the eighteenth and early nineteenth centuries. The Siblys of London provides fascinating insight into the lives of a family who lived just outside our usual historical range of vision.