Abstract
Modern musicology has witnessed an unprecedented interest in the quasi-archaeological recovery of female composers from past epochs of Western music history whose lives and works have been largely forgotten since their own day. In this publication, the scholarly spotlight has fallen upon Anna Catharina Martinez (1744-1812), who came to be known as Marianna Martines. Written by Irving Godt and completed by John A. Rice following the author’s death, it represents the fruits of over a decade of meticulous archival research in that Martines’s surviving musical and biographical documents have, perhaps inevitably, not remained together as a single collection.