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repertoire has lately been enlarged by the transcriptions for that instrument — in her own hand, mind you, for she can both read and write notes — of certain pieces of Handel and Gluck, never before heard in these parts. I will vouch for both her abilities and the pleasure they will bring you and your company.”
    The Governor, intrigued, feeling adventuresome, and hungry for the sound of a harp, acceded to Hugh’s request, and letters were exchanged making the arrangements.
    When Hugh visited the McRaes and informed them of the concert, the parents were stunned, excited, and anxious about the event, in that order.When they had recovered, they expressed their gratitude. “If you are not careful, sir,” said Madeline McRae to him privately, “you may win our deepest sentiments — and Etáin’s.”
    Hugh glanced across the drawing room at Etáin, who was talking with her father. “That, Madam, would not be an unwelcome development.”
    Etáin, who was both excited and frightened by the prospect of playing before the colony’s social elite, asked him, “But — what shall I play?”
    Hugh replied, “Some of the new music I brought you. I have seen your notes and heard you play them.” He told her what the Governor had agreed to add to his program. “But be sure to take some other music along, for I believe that you will so impress the company, they will request one or more encores.”
    And, so, on a cold Saturday morning in February, the McRaes in a borrowed chaise and Hugh on horseback wound their way along the frigid road that led to Williamsburg.
    The concert that evening was a great success. In the newly renovated ballroom, Fauquier and other amateur musicians performed a sonata each by Corelli and Campioni, followed by a vigorous rendition of a Vivaldi cello concerto, his four hundred and thirteenth. In the latter, the Governor proved his virtuosity on the cello. At his guests’ request, he performed a solo sonata by Domenico Alberti on the Palace’s new harpsichord, and Peter Pelham, the organist at Bruton Parish Church, played a somber Chabron sonata on a chamber organ.
    After a leisurely intermission, during which Fauquier treated his guests to a generous buffet, the Governor introduced Etáin McRae, “a young lady and prodigy from the fair town of Caxton on the York.” For a hushed and quickly dazzled audience, Etáin, wearing her customary green riding suit and ribbons in her hair, played Handel’s fourth
Coronation Anthem
, Gluck’s “Dance of the Blessed Spirits” from his opera
Orfeo e Euridice
, and Boyce’s
Hearts of Oak
.
    To no one’s surprise, the company requested encores. “I declare, sir,” remarked Fauquier to Hugh, “this wisp of a girl could play the most ruttish tune on that harp and convince God that she was honoring Him with a hymn!”
    “She has that talent, your honor,” replied Hugh.
    Etáin played her own transcriptions of a François Couperin concerto and a Telemann concerto, with the same reception by the guests. They would have requested more, except that the Governor saw that she wastired, and put no more demands on her.
    Fauquier was so pleased with her abilities and with her reception by the company that he presented her with five gold guineas. He spoke with her parents and urged them to send her to London to take lessons — “not that she would need them,” he assured the stupefied father — with a music master of his acquaintance, who taught children from the finest families — “I do believe that some time on a regular keyboard, together with a brush with theory, could only ensure her supremacy in the art” — and added that if and when they were amenable to the idea, he would be happy to write a letter of recommendation to the academy — “and perhaps even contribute something to the expense, if you are not averse to brooking a bit of disinterested charity.”
    “Thank you, your honor,” replied Ian McRae, who managed not to stammer. Madeline