| My thanks are due to a number of people. In the first place, to my former harpsichord pupils at Croydon High School, without whom I would not have had the idea of writing this book. As the scope of the undertaking expanded, Jane Chapman, Malcolm Greenhalgh, David Sanger, Peter Bavington, Maggie Cole, Mary Cyr, and John Raymond all contributed helpful information or sparked ideas in discussion. In particular I am grateful to Bernard Harrison, of the University of Lancaster; Elizabeth Dodd, gambist and authority on historical dance; John Raymond, of the Russell Collection, Edinburgh; and Robert Deegan, harpsichord builder, who have read parts of the manuscript and made helpful suggestions, and to Bonnie Garrett who scrutinized the entire work from the viewpoint of the U.S. reader. John Edmonds, in Cumbria, and Claire Andreoli, in New York, did sterling work, far beyond the call of friendship, in helping me to check available editions. |
| The staff of Amadeus Press has coped heroically with the task of editing a book being written at the other side of the world, and I am grateful for their patience and help. It is my husband Peter, however, who has shared the greatest burden, making it possible for a totally non-technological person like myself to benefit from advanced computer technology and, latterly, the resources of the Internet. He created the font of ornament type, drew the diagrams, smoothed away my problems with music file writing, and gave invaluable help with formatting. Above all, he encouraged me in moments of doubt and despondency. Without him, this book would never have seen the light, and I dedicate it to him. |
| Acknowledgments are also due to the following: |
The Russell Collection, Edinburgh University, for the jacket illustration and figures 2, 3, 5, and 6.
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