copy of his daughter Fanny Burney, when in 1786 she became lady-in-waiting to Queen Charlotte, wife of George III. Later that year, to Fanny's horror, the Queen requested that Fanny show her copy to her daughter Princess Elizabeth. The book was viewed by both the King and Queen, who accepted Fanny's hastily invented explanations of the markings; she similarly managed to excuse herself when Princess Elizabeth later read all the marked passages assuming them to be Fanny's favourites. Burney was aware of George III's preference for Handel when in 1785 he wrote in his account of the 1784 Handel Commemoration that "in his full, masterly and excellent organ-fugues, upon the most natural and pleasing subjects, he has surpassed Frescobaldi, and even Sebastian Bach, and others of his countrymen, the most renowned for abilities in this difficult and elaborate species of composition." His account was translated into German by Hiller. Writing anonymously in the Allgemeine Deutsche Bibliothek in 1788, C.P.E. Bach angrily responded that "there is nothing to be seen but partiality, and of any close acquaintance with the principal works of J.S. Bach for organ we find in Dr. Burney's writings no trace." Undeterred by such comments in 1789, a year after C.P.E. Bach's death, Burney echoed Scheibe's earlier comparison of Bach and Handel when he wrote in his General History of Music: Burney reflected the English predilection for opera when he added: Johann Nikolaus Forkel, from 1778 the director of music in the University of Göttingen, was another promoter and collector of Bach's music. An active correspondent with both of Bach's sons in Berlin, he published the first detailed biography of Bach in 1802, Bach: On Johann Sebastian Bach's Life, Art and Works: For Patriotic Admirers of True Musical Art, including an appreciation of Bach's keyboard and organ music and ending with the injunction, "This man, the greatest orator-poet that ever addressed the world in the language of music, was a German! Let Germany be proud of him! Yes, proud of him, but worthy of him too!" In 1779, Forkel published a review of Burney's General History of Music in which he criticized Burney for dismissing German composers as "dwarves or musical ogres" because "they did not skip and dance before his eyes in a dainty manner"; instead he suggested it was more appropriate to view them as "giants". Among his criticisms of Bach in the 1730s, Scheibe had