1 Roy E. Wates, Mozart: An Introduction to the Music, the Man, and the Myths (Amadeus, 2010): 26.
2 James Parakilas, Piano Roles: Three Hundred Years of Life with the Piano (Yale University Press, 2002): 65.
3 Wates, Mozart: 26.
4 Feb 25–26, 1778, in Wates, Mozart: 27
5 Quoted in Arthur Loesser, Men, Women and Pianos: A Social History (Dover Publications, 1990): 102–103.
6 Loesser, Men, Women and Pianos: 133.
7 Loesser: viii.
8 Statistics and Girls Own Annual taken from Cyril Ehrlich, The Piano: A History (Dent, 1976; revised edition Clarendon Press, 1990).
9 Hugh Reginald Haweis, Music and Morals (Strahan, 1871): 515.
10 Ehrlich, The Piano: 92.
11 Roland Barthes, ‘Musica Practica’, in Image Music Text, essays selected and translated by Stephen Heath (Fontana Press, 1977): 149–154.
12 Ehrlich, The Piano: 102.
13 Claire Tomalin, Jane Austen: A Life (Knopf, 1998): 211.
14 Robert K. Wallace, Jane Austen and Mozart: Classical Equilibrium in Fiction and Music (University of Georgia Press, 1983): 250.
15 Charles Czerny, Letters to a Young Lady, on the Art of Playing the Pianoforte, from the earliest rudiments to the highest state of cultivation: written as an appendix to every school for that instrument, trans. J.A. Hamilton (Firth, Pond & Co., 1851): Preface.
16 James Leggio, Music and Modern Art (Routledge, 2002): 58 n. 31.
17 David Michaelis, Schulz and Peanuts: A Biography (HarperCollins, 2008): 339. It beat out Victor Lasky, JFK:The Man and the Myth, in the wake of the president’s assassination.
18 Charles M. Schulz, Play It Again, Schroeder! (Ballantine, 2007).
19 Maxim Gorky, quoted in Georg Lukacs’ 1967 Postscript to his own work, Lenin:A Study on the Unity of His Thought (1924).
20 Umberto Eco, ‘On “Krazy Kat” and “Peanuts”’, translated by William Weaver in the New York Review of Books, 13 June 1985.
21 Alexander Wheelock Thayer, Life of Beethoven, volume I, edited by Elliot Forbes (Princeton University Press, 1967): 323.
22 Michaelis, Schulz and Peanuts: 348.
23 The words are scribbled across a sketch of composed music from c. 1809, reproduced in Lewis Lockwood, Beethoven: The Music and the Life (Norton, 2005): 281.
24 Glasgow Herald, 25 November 1891.
25 Loesser, Men, Women and Pianos: pp. 418–29.
26 All references are to Maria Tsvetaeva, ‘Mother and Music’, pp. 271–294 in Marina Tsvetaeva, A Captive Spirit: Selected Prose, edited and translated by J. Marin King (Ardis, 1980).
27 Yo Tomita, in his essay ‘The Inventions and Sinfonias’, published online at http://www.music.qub.ac.uk/~tomita/essay/inventions.html and used as the liner notes for Masaaki Suzuki’s 1998 recording of the Inventions, quotes this translation from the autograph fair copy in the Staatsbibliothek zu Berlin but does not identify the translator from the original German.
28 Letter dated 19 Jan 1864, in George Eliot’s Letters, edited by G.S. Height (Yale University Press, 1954).
29 Czerny, Letters to a Young Lady: 26.
30 François Noudelmann, The Philosopher’s Touch: Sartre, Nietzsche, and Barthes at the Piano, trans. Brian J. Reilly (Columbia University Press, 2012).
31 Nancy B. Reich, Clara Schumann: The Artist and the Woman (Cornell University Press, 1985): 285.
32 Henry Handel Richardson, Myself When Young (W.W. Norton & Company, 1948): 117.
33 Henry Handel Richardson: 117.
34 D.H. Lawrence, ‘Nottingham and the Mining Countryside’, in Phoenix: The Posthumous Papers of D. H. Lawrence (Heinemann, 1936), pp. 133–40: 138.
35 There is a Google Group devoted to the attribution of this description.
36 George Holbert Tucker, Jane Austen the Woman: Some Biographical Insights (Palgrave Macmillan, 1995): 104.
37 Aaron Williamon, ‘Memorising Music’, pp. 113–26, in Musical performance: a guide to understanding, edited by John Rink (Cambridge University Press, 2002): 113.
38 Reich, Clara Schumann: 272.
39 Fred M. Hall, It’s About Time: The Dave Brubeck Story (University of Arkansas Press, 1996): 63.
40 In the Course of Performance: Studies in the World of Musical Improvisation, edited by Bruno Nettle with Melinda Russell (Chicago University Press, 1998): 240.
41 Reich, Clara Schumann: 236 n. 66.
42 Czerny, Letters to a Young Lady: 74.
43 Nettle, In the Course of Performance: 255.
44 Letters dated 10 June and 22 June 1853, in Berthold Litzmann, Clara Schumann: An Artist’s Life Based on Material Found in Diaries and Letters, volume II (Litzmann Press, 2013): n.p.
45 Loesser, Men, Women and Pianos: 422.
46 See William Weber, The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms (Cambridge, 2008).
47 George Eliot, George Eliot’s Life, as Related in Her Letters and Journals, edited by John Cross (1885; Cambridge University Press, 2010): 26.
48 Williamon, ‘Memorising Music’: 114.
49 Charles Darwin, The Descent of Man, and Selection in Relation to Sex (Appleton, 1871): 272.
50 Charles Darwin: 272.
51 Loesser, Men, Women and Pianos: 335.
52 Parakilis, Piano Roles: pp. 127–28.
53 Ehrlich, The Piano: 97.
54 Wikipedia: https://en.wikipedia.org/wiki/HMAS_Berrima.
55 Holly Brubach, ‘A Pianist for Whom Never Was Never an Option’, The New York Times, 10 June 2007.
56 E. Altenmüller and H.-C. Jabusch. ‘Focal Dystonia in Musicians: Phenomenology, Pathophysiology and Triggering Factors’, in European Journal of Neurology 2010, 17 (Suppl. 1), pp. 31–36: 33.
57 Schulz, Play It Again, Schroeder!: 69.
58 https://www.findandconnect.gov.au/ref/nsw/biogs/NE01696b.htm
59 Reich, Clara Schumann: 265, n. 65.
60 Terry Eagleton, The Meaning of Life: A Very Short Introduction (Oxford University Press, 2008): pp. 98–100.