7. The celebrated soprano Saint-Huberti (-Huberty) (1756–1812) performed regularly at the Concert Spirituel and in 1783 became a principal singer at the Opéra: Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians (2nd ed., 29 vols., London, 2001); Henriette-Louise von Waldner, baronne d’Oberkirch, Mémoires de la baronne d’Oberkirch sur la cour de Louis XVI et la société française avant 1789, ed. Suzanne Burkard (Paris, 1970), pp. 328–9, 335–6. Her performances around this time were praised in the Jour. de Paris, issues of Feb. 16 and March 15, 1783.

Hartmann (1750–1804), born in Germany, moved to Paris around 1774 and was renowned as a flutist and composer: New Grove Dictionary; John S. Sainsbury, ed., A Dictionary of Musicians from the Earliest Times (2 vols., London, 1825; reprint, New York, 1966), I, 334.

8. This prestigious concert series was performed by an orchestra of accomplished amateurs who were often joined by virtuoso performers from the Opéra and the king’s household. Founded in 1769 by farmer general Charles-Marin de La Haye (XXIII, 492n) and Claude-Jean Rigoley, baron d’Ogny, the series was dissolved around 1781 but was shortly thereafter revived under the auspices of the masonic Loge Olympique. Performances were held at the Hôtel de Bullion on the rue du Coq Héron until they moved to larger quarters in 1786, and often involved musicians from other lodges, including the Contrat Social (of which Hartmann was a member): Michel Brenet, Les Concerts en France sous l’ancien régime (Paris, 1900; reprint ed., New York, 1970), pp. 357–66; Marcelle Benoît, ed., Dictionnaire de la musique en France aux XVII et XVIII siècles (Paris, 1992), pp. 170–1; Le Bihan, Francs-maçons parisiens, pp. 17, 245; Roger Cotte, La Musique maçonnique et ses musiciens (2nd ed., Paris, 1987), pp. 45–8.