1. “Farinello” meaning “fodder” dates from the fourteenth century; mean-ing “rogue,” from the seventeenth century; Carlo Battisti and Giovanni Alessio, Dizionario etimologico italiano, 5 vols. (Firenze: Barbèra, 1975). [BACK]

2. Antoine-François Prévost d’Exiles, Le Pour et contre 90 (May? 1735), quoted in Otto Erich Deutsch, Handel, a Documentary Biography (London: Black, 1955), p. 390. [BACK]

3. The sources of this biographical sketch of Farinelli: Charles Burney, A General History of Music, from the Earliest Ages to the Present Period, ed. Frank Mercer, 2 vols. (New York: Dover, 1957; first published London, 1776–89), vol. 2, pp. 788–817, passim; idem, The Present State of Music in France and Italy (New York: Broude, 1969; reprint of 2d ed., London, 1773), pp. 204–5, 210–25; Jacques Casanova de Seingalt, Histoire de ma vie, 12 vols. (Wiesbaden/Paris: Brockhaus/Plon, 1960–62), vol. 12, pp. 137–38; Robert Freeman, “Farinelli,” in New Grove Dictionary, vol. 6, pp. 397–98; Gerber, “Broschi,” in Historisch-biographisches Lexicon der Tonkünstler, pt. 1, cols. 209–12; Franz Haböck, Die Gesangskunst der Kastraten, vol. 1, Die Kunst des Cavaliere Carlo Broschi Farinelli (Vienna: Universal-Edition, 1923); John Hawkins, A General History of the Science and Practice of Music, 2 vols. (New York: Dover, 1963; first published London, 1776), vol. 2, pp. 876–79; Henry Pleasants, The Great Singers, from the Dawn of Opera to Our Own Time (New York: Simon & Schuster, 1966), chap. 4; Giovenale Sacchi, Vita del cavaliere Don Carlo Broschi (Vinegia: Coleti, 1784). [BACK]

4. Burney, Present State of Music, pp. 213–14; see also idem, General History of Music, vol. 2, p. 919. While Burney placed this contest in a performance of Riccardo Broschi’s opera L’Isola d’Alcinea, others placed it in Nicola Porpora’s opera Eomene; Haböck, Kunst des Cavaliere Carlo Broschi Farinelli, pp. xv–xvi. [BACK]

5. Johann Joachim Quantz, “Johann Joachim Quantzens Lebenslauf, von ihm selbst entworfen,” in Friedrich Wilhelm Marpurg, Historisch-kritische Beyträge zur Aufnahme der Musik, 5 vols. (Hildesheim: Olms, 1970; reprint of Berlin ed., 1754–55), vol. 1, p. 234. [BACK]

6. Burney, Present State of Music, p. 216; see also idem, General History of Music, vol. 2, p. 790. [BACK]

7. Hawkins, General History of Science and Practice, p. 877 n. [BACK]

8. Freeman, “Farinelli,” in New Grove Dictionary, vol. 6, p. 398. [BACK]

9. Diderot, Neveu de Rameau, in Oeuvres, pp. 397, 452–53, 454. Of the reciprocal influence of violin and vocal music, Manfred Bukofzer writes: “Some extraordinary vocal cadenzas, for example those sung by the ‘divine’ Farinelli, have come down to us. They look as though they had been lifted bodily out of a violin concerto”; Manfred F. Bukofzer, Music in the Baroque Era, from Monteverdi to Bach (New York: Norton, 1947), p. 373. [BACK]

10. Boris Schwarz, “Paganini” and Nicholas Temperley, “Chopin,” in New Grove Dictionary, vol. 14, p. 86, and vol. 4, p. 305, respectively; Geraldine I. C. de Courcy, Paganini the Genoese, 2 vols. (New York: Da Capo, 1977; reprint of 1st ed., Norman, Okla., 1957), vol. 1, p. 46. [BACK]

11. One of the autobiographical sketches was recorded by Peter Lichtenthal, the other by Julius Schottky. The Lichtenthal version first appeared in Italian under the heading “Nachrichten,” in the Allgemeine musikalische Zeitung 32, no. 20 (19 May 1830), cols. 324–27; then in Italian and French parallel texts under the title “Notice sur Paganini, écrite par lui-même,” in La Re-vue musicale, 1st ser., 9 (August–November 1830): 138–45; more recently in English in Courcy, Paganini the Genoese, vol. 2, pp. 366–68; it will henceforth be referred to as the “autobiographical sketch recorded by Lichtenthal.” The Schottky version first appeared in German under the title “Paganini als Knabe und Jüngling, und ein Wort über seine Familie” in Julius Max Schottky, Paganinis Leben und Treiben als Künstler und als Mensch (Prague: Taussig and Taussig, 1830), pp. 249–59; more recently in English in Courcy, Paganini the Genoese, vol. 2, pp. 368–73; it will henceforth be referred to as the “autobiographical sketch recorded by Schottky.” The source of the passage quoted here: Paganini, autobiographical sketch recorded by Schottky. [BACK]

12. Courcy, Paganini the Genoese, vol. 1, pp. 32–33. The source of Paganini’s quotations: the autobiographical sketch recorded by Schottky. See also Carlo Gervasoni, Nuova teoria di musica…a cui si fanno precedere varie notizie storico-musicali (Parma: Blanchon, 1812), p. 214; Jeffrey Pulver, Paganini, the Romantic Virtuoso (New York: Da Capo, 1970; reprint of 1st ed., London, 1936), p. 31. [BACK]

13. The source of all the quotations in this paragraph: Paganini, autobiographical sketch recorded by Schottky. Since Paganini identified the Leghorn gift only as “a Guarneri” and he had several Guarneri violins, certainty is lacking that it was the 1742 Guarneri, his favorite concert instrument. F.-J. Fétis says it was, both in “Paganini,” in Biographie universelle des musiciens, vol. 6, p. 407, and in Biographical Notice of Nicolo Paganini, with an Analysis of His Compositions, trans. uncredited (New York: AMS, 1976; reprint of London edition, 1876; first published Paris, 1851), p. 30. [BACK]

14. Courcy, Paganini the Genoese, vol. 1, pp. 21, 40–41; Harry Hearder, Italy in the Age of the Risorgimento, 1790–1870 (London: Longman, 1983), p. 45; Carlo Botta, History of Italy during the Consulate and Empire, 2 vols., trans. uncredited (London: Baldwin and Craddock, 1828), vol. 1, pp. 33, 46, 242; Paganini, autobiographical sketch recorded by Schottky. [BACK]

15. Fétis, “Paganini,” in Biographie universelle des musiciens, vol. 6, p. 408; idem, Biographical Notice of Nicolo Paganini, p. 32; Paganini, autobiographical sketch recorded by Lichtenthal; Paganini, autobiographical sketch recorded by Schottky. The source of Paganini’s quotation: Schottky, Paganinis Leben und Treiben, pp. 368–69. See also Pulver, Paganini, the Romantic Virtuoso, pp. 51–56; Courcy, Paganini the Genoese, vol. 1, pp. 66–80, 95–101. [BACK]

16. The source of Paganini’s quotations: Schottky, Paganinis Leben und Treiben, pp. 368–69. See also Paganini, autobiographical sketch recorded by Lichtenthal; Wolfgang Amadeus Mozart et al., The Letters of Mozart and His Family, trans. and ed. Emily Anderson, 2 vols. (London: Macmillan, 1966), vol. 2, pp. 683–85; Paul David and David Charlton, “Clement,” in New Grove Dictionary, vol. 4, p. 482; Marc Pincherle, The World of the Virtuoso, trans. Lucile H. Brockway (New York: Norton, 1963), pp. 26–27. [BACK]

17. The source of Paganini’s quotation: Paganini, autobiographical sketch recorded by Lichtenthal (Courcy’s rendering of this passage is inaccurate in her translation of the autobiographical sketch). See also Courcy, Paganini the Genoese, vol. 1, pp. 102–12; Pulver, Paganini, the Romantic Virtuoso, pp. 58–68; Ole Bull, “Violin Notes,” an app. to Sara C. Bull, Ole Bull, a Memoir (London: T. Fisher Unwin, 1886), p. 370. [BACK]

18. Courcy, Paganini the Genoese, vol. 1, pp. 47, 67, 113, 234. On the incident in Ferrara: Schottky, Paganinis Leben und Treiben, pp. 286–96. [BACK]

19. Ludwig Spohr, Lebenserinnerungen, ed. F. Göthel, 2 vols. (Tutzing: Schneider, 1968), vol. 1, p. 268. [BACK]

20. Ernst Ludwig Gerber, “Scheller,” in Neues historisch-biographisches Lexicon der Tonkünstler, 4 parts (Graz: Akademische Druck- und Verlagsanstalt, 1966–77; reprint of 1st ed., Leipzig, 1812–14), pt. 4, cols. 46–48; Gerber twice heard Scheller perform in concert. [BACK]

21. Fétis, “Durand,” in Biographie universelle des musiciens, vol. 3, p. 87. On Durand, see also Gerber, “Durand,” in Neues historisch-biographisches Lexikon der Tonkünstler, pt. 1, col. 959; Spohr, Lebenserinnerungen, vol. 1, p. 219; Barbara Chmara-Zaczkiewicz, “Duranowski,” in New Grove Dictionary, vol. 5, p. 740. [BACK]

22. Percy M. Young, “Concert,” and Ronald Lewcock, “Acoustics, §1: Rooms,” in New Grove Dictionary, vol. 4, pp. 616–25, and vol. 1, pp. 62–63 (quoted passage), respectively; Percy M. Young, The Concert Tradition, from the Middle Ages to the Twentieth Century (New York: Roy, 1969), pp. 34–36, 39–40, 63, 94–97; Brenet, Concerts en France, pt. 2, chap. 1. [BACK]

23. The source of Joseph II’s quotation: Franz Xaver Niemetschek, Ich kannte Mozart: Leben des k. k. Kapellmeisters Wolfgang Gottlieb Mozart, ed. Jost Perfahl (Munich: Bibliothek zeitgenössischer Literatur, 1984; first pub-lished Prague, 1798), p. 23. See also Pincherle, World of the Virtuoso, p. 25; Otto Jahn, The Life of Mozart, trans. Pauline D. Townsend, 3 vols. (London: Novella, Ewer, 1891), vol. 1, p. 27; Geraldine I. C. de Courcy, Chronology of Nicolo Paganini’s Life (Wiesbaden: Erdmann, 1961), passim. [BACK]

24. [Peter Lichtenthal], “Nachrichten: Mayland,” Allgemeine musikalische Zeitung 16, no. 14 (6 April 1814), col. 232 (emphasis in the original). [BACK]

25. Schottky, Paganinis Leben und Treiben, p. 300. [BACK]

26. Arturo Codignola, Paganini intimo (Paganini’s correspondence, annotated by Codignola) (Genova: Il Municipio, 1935), pp. 125–27; Courcy, Paganini the Genoese, vol. 1, pp. 121–26, 147; Fétis, Biographical Notice of Nicolo Paganini, pp. 39–40; [Peter Lichtenthal], “Nachrichten: Mayland,” Allgemeine musikalische Zeitung 18, no. 21 (22 May 1816), col. 344. The debate over “who won” continued for many years; see, e.g., G. Imbert de Laphalèque [pseud. of Louis-François L’Héritier de l’Ain], Notice sur le célèbre violiniste Nicolo Paganini (Paris: Guyot, 1830); The Harmonicon, a Journal of Music 8 (April 1830): 177–78, and (May 1830): 184. [BACK]

27. Letter of Paganini, quoted in Courcy, Paganini the Genoese, vol. 1, p. 215; Codignola, Paganini intimo, pp. 210–13, 274–75; Schottky, Paganinis Leben und Treiben, p. 236; Docteur Bennati, “Extraits d’une notice physiologique sur le célèbre violoniste Nicolo Paganini,” La Revue musicale, 1st ser., 11, no. 15 (14 May 1831): 113–16; Pulver, Paganini, the Romantic Virtuoso, pp. 163–64; John Sugden, Niccolo Paganini: Supreme Violinist or Devil’s Fiddler? (Neptune City, N.J.: Paganiniana Publications, 1980), lithograph on p. 90. A twentieth-century physician has written an entire book about Paganini’s medical problems: Pietro Berri, Il Calvario di Paganini (Savonna: “Liguria,” 1941). [BACK]

28. For the Verona story: Imbert de Laphalèque [L’Héritier de l’Ain], Notice sur le célèbre violoniste Nicolo Paganini, pp. 58–61; The Athenæum [of London], no. 121 (20 February 1830): 109; no. 190 (18 June 1831): 395. For the Padua and prison stories: Letter of Paganini, in La Revue musicale, 1st ser., 11, no. 12 (23 April 1831): 95; Stendhal, Vie de Rossini, 2 vols. (Paris: Le Divan, 1929), vol. 2 (vol. 30 of the Le Divan edition of Stendhal’s works), p. 149. For the devil story: Franz Liszt [and Marie d’Agoult], “Sur Paganini, à propos de sa mort,” La Revue et gazette musicale de Paris 7, no. 50 (23 August 1840), p. 431. For the Trieste story: Francesco Regli, Storia del violino in Piemonte (Torino: Dalmazzo, 1863), pp. 91–92. On Paganini as propagator of stories about himself: Ludolf Vineta [pseud. of Ludolf Wienbarg], Paganini’s Leben und Charakter nach Schottky (Hamburg: Hoffman and Campe, 1830), pp. 23–24. [BACK]

29. Codignola, Paganini intimo, pp. 226–74. On Paganini’s brevet from the Pope: Schottky, Paganinis Leben und Treiben, pp. 319–20. See also Pulver, Paganini, the Romantic Virtuoso, pp. 118–31; Courcy, Paganini the Genoese, vol. 1, pp. 229–53. [BACK]

30. For the quotations from Viennese critics: Österreichische Beobachter of 19 April 1828, quoted in Schottky, Paganinis Leben und Treiben, p. 18; “Nachrichten: Wien,” Allgemeine musikalische Zeitung 30, no. 19 (7 May 1828), col. 309; Vienna Theaterzeitung of April 1828, quoted in Schottky, Paganinis Leben und Treiben, p. 18, respectively. For information on Paganini’s stay in Vienna: ibid., pp. 28–41 (the quotation is on p. 29). [BACK]

31. The source of Paganini’s quotation: Schottky, Paganinis Leben und Treiben, p. 278. See also Courcy, Paganini the Genoese, vol. 1, p. 276; Imbert de Laphalèque, Notice sur le célèbre violoniste, p. 21; Codignola, Paganini intimo, pp. 272–74. [BACK]

32. Pulver, Paganini, the Romantic Virtuoso, pp. 151–54 (in which a passage from a Prague newspaper concerning the ticket prices is quoted), 187, 213, 232–36; Courcy, Paganini the Genoese, vol. 1, pp. 292–93. The sources of the quotations: Georg Harrys, Paganini in seinem Reisewagen und Zimmer (Tutzing: Schneider, 1982; reprint of 1st ed., Braunschweig, 1830), p. 29; Codignola, Paganini intimo, p. 281. [BACK]

33. The source of Schottky’s quotation: Schottky, Paganinis Leben und Treiben, pp. iii–vi. The source of Boswell’s quotation: Frederick A. Pottle, James Boswell: The Earlier Years, 1740–1769 (New York: McGraw-Hill, 1966), p. 152. For Paganini’s authorization of Schottky: Codignola, Paganini intimo, p. 281. See also Pottle, James Boswell, chap. 11 (Boswell and Rousseau), chaps. 15–16, 20–23 (Boswell and Paoli). [BACK]

34. The source of Zelter’s quotation: Karl Friedrich Zelter, Selbstdarstellung, ed. Willi Reich (Zurich: Manesse, 1955), p. 391. See also Pulver, Paganini, the Romantic Virtuoso, pp. 176–77 (Paganini and king of Prussia), 195 (Paganini in Munich); Courcy, Paganini the Genoese, vol. 1, pp. 324–26 (Paganini and king of Prussia), 367 (Paganini in Munich). For Paganini and tsar of Russia: Codignola, Paganini intimo, p. 291. The source of Goethe’s quotation: Johann Peter Eckermann, Gespräche mit Goethe, 2 March 1831. See also Harrys, Paganini in seinem Reisewagen und Zimmer, pp. 20 (Paganini’s man-ager’s quotation), 58 (Paganini and Bosco). [BACK]

35. The source of the quotation: James H. Johnson, Listening in Paris: A Cultural History (Berkeley: University of California Press, 1995), p. 219. Lon-don and Paris were the first and second cities in Europe to accumulate a million inhabitants, which happened in the first half of the nineteenth century; Tertius Chandler and Gerald Fox, Three Thousand Years of Urban Growth (New York: Academic Press, 1974), pp. 19–20. Paganini and Rossini first met in the late 1810s in Milan or Bologna; Fétis, Biographical Notice of Nicolo Paganini, p. 39; Courcy, Paganini the Genoese, vol. 1, pp. 175–76. Paganini launched Rossini’s opera Mathilde de Shabran in Rome in 1821; Radiciotti, Gioacchino Rossini, vol. 1, pp. 418–19, 426–27. [BACK]

36. On conservatories: Denis Arnold, “Education in Music, §V: Conservatories,” in New Grove Dictionary, vol. 6, pp. 18–21. On piano teachers: Boris Schwarz, French Instrumental Music between the Revolutions (1789–1830) (New York: Da Capo, 1987), p. 223. The source of Chopin’s quotation: Frédéric Chopin, Correspondance de Frédéric Chopin, ed. B. E. Sydow, S. Chainaye, and D. Chainaye, 3 vols. (Paris: Richard-Masse, 1981), vol. 2, p. 39. [BACK]

37. David Charlton and John Trevitt, “Paris, §VI, 6: 1789–1870, Criticism, Publishing and Instrument Making,” in New Grove Dictionary, vol. 14, p. 219. On Paganini and Vuillaume: Codignola, Paganini intimo, pp. 392–93; [Louis-]Antoine Vidal, Les Instruments à archet: Les feseurs, les joueurs d’instruments, leur histoire sur le continent europé , 3 vols. (Paris: Claye, 1874–78), vol. 2, pp. 186–88. On Érard and Pleyel: [F.-J.] Fétis, “Esquisse de l’histoire du piano et des pianistes,” pts. 3, 4, La Revue musicale, 1st ser., 8 (May–August 1830): 225–33, 257–67, respectively; Edwin M. Good, Giraffes, Black Dragons, and Other Pianos: A Technological History from Cristofori to the Modern Concert Grand (Stanford, Calif.: Stanford University Press, 1982), chap. 6, “The French Take the Lead,” esp. pp. 137–44, 155–65. [BACK]

38. On the concert series: David Charlton and John Trevitt, “Paris, §VI, 4: 1789–1870, Concert Life,” in New Grove Dictionary, vol. 14, pp. 215–18; Young, Concert Tradition, pp. 126–29, 175–78; Schwarz, French Instrumental Music, chaps. 1, 2, esp. pp. 1, 36. On the firms Érard and Pleyel: Margaret Cranmer et al., “Érard,” in New Grove Dictionary, vol. 6, pp. 219–20; Rita Benton, “Pleyel (i),” and Margaret Cranmer, “Pleyel (ii),” in New Grove Dictionary, vol. 15, pp. 6–11 and 11–12, respectively. [BACK]

39. Hector Berlioz, Mémoires, 2 vols. (Paris: Garnier-Flammarion, 1969), vol. 2, pp. 17–20. [BACK]

40. Franz Liszt [and Marie d’Agoult], “Revue Critique. M. Thalberg,” La Revue et gazette musicale de Paris 4, no. 2 (8 January 1837): 18. [BACK]

41. On the 1821 Opéra: Hillairet, Dictionnaire historique, vol. 2, pp. 37–38. The sources of the quotations: [F.-J.] Fétis, “Premier concert de Paganini,” La Revue musicale, 1st ser., 11, no. 6 (12 March 1831): 41–43; [François-Henri] Castil-Blaze, “La Chronique musicale,” Journal des débats, 15 March 1831, reproduced in [François-Henri] Castil-Blaze, L’Académie impériale de musique…de 1645 à 1855, 2 vols. (Paris: Castil-Blaze, 1855), vol. 2, pp. 222–23; Le Moniteur universel, 10 March 1831, p. 501. [BACK]

42. Paganini’s first biography, 1830: Imbert de Laphalèque, Notice sur le célèbre violiniste. See also Fr[ançois-Joseph-Marie] Fayolle, Paganini et Bériot; ou, Avis aux jeunes artistes qui se destinent à l’ seignement du violon (Paris: Legouest, 1831). For Paganini’s influence on Bériot: Boris Schwarz, Great Masters of the Violin, from Corelli and Vivaldi to Stern, Perlman and Zuckerman (New York: Simon and Schuster, 1983), pp. 207–9. On Paganini’s secret: G. E. Anders, Nicolo Paganini: Sa vie, sa personne et quelques mots sur son secret (Paris: Delaunay, 1831); Schottky, Paganinis Leben und Treiben, pp. 280–82. [BACK]

43. The source of the quotation from Camillo Sivori, a student of Paganini: David Laurie, Reminiscences of a Fiddle Dealer (London: T. W. Laurie, 1924), pp. 60–62. On Paganini’s secretiveness: Harrys, Paganini in seinem Reisewagen und Zimmer, pp. 13–14, 47–48; Andreas Moser, Geschichte des Violinspiels, 2 vols. (Tutzing: Schneider, 1966), vol. 2, pp. 138–40. [BACK]

44. Charles Guhr, L’Art de jouer du violon de Paganini, trans. not credited (Paris: Schott, [1830]), passim, esp. pp. 5 (the longer quotation), 50 (the shorter quotation). For review by Fétis: La Revue musicale, 1st ser., 10 (November 1830–<$f$>January 1831): 44–50, 78–85. [BACK]

45. Franz Liszt, Briefe, ed. La Mara [pseud. of Marie Lipsius], 8 vols. (Leipzig: Breitkopf and Härtel, 1893–1905), vol. 1, p. 7. [BACK]

46. The source of Bull’s quotation: Bull, “Violin Notes,” in Ole Bull, a Memoir, p. 374. On Bull and Paganini: Fétis, “Bull,” in Biographie universelle des musiciens, vol. 2, pp. 107–8; John Bergsagel, “Ole Bull,” in New Grove Dictionary, vol. 3, pp. 445–48. The source of the Times quotation: “King’s Theatre,” Times (London), 2 June 1836, p. 6; see also the review of Ole Bull’s first London concert, “King’s Theatre,” Times (London), 23 May 1836, p. 5. The source of the “absorb and assimilate” quotation: Schwarz, “Paganini,” in New Grove Dictionary, vol. 14, p. 89. For Paganini’s influence on French and Belgian violinists: idem, Great Masters of the Violin, pp. 207–11. [BACK]

47. On Paganini’s totals for Paris in 1831: Courcy, Paganini the Genoese, vol. 2, pp. 20–21 n. 42. The source of the Times quotation: “Paganini’s Concert,” Times (London), 6 June 1831, p. 7; see also the reviews of Paganini’s London concerts in the Times, 11 June 1831, p. 3, 14 June 1831, p. 2; Courcy, Chronology of Nicolo Paganini’s Life, pp. 46–70. The Sonata Maria Luisa may have been written as early as 1816; idem, Paganini the Genoese, vol. 2, pp. 381–82. [BACK]

48. The source of the quotation: Berlioz, Mémoires, vol. 1, pp. 297–98. On “Baron Paganini”: Le Moniteur universel, 15 January 1833, p. 98; Lillian Day, Paganini of Genoa (New York: Macaulay, 1929), plate facing p. 250 (photograph of calling card of “Baron Paganini”); Codignola, Paganini intimo, pp. 374–76; Courcy, Paganini the Genoese, vol. 2, pp. 116–23. [BACK]

49. On Paganini’s gift to Berlioz: Berlioz, Mémoires, vol. 2, pp. 31–33; La Revue et gazette musicale de Paris, vol. 5, no. 51 (23 December 1838), p. 516; Codignola, Paganini intimo, pp. 575–79. On Casino Paganini: ibid., pp. 516–646, passim; Pulver, Paganini, the Romantic Virtuoso, pp. 292–304; Courcy, Paganini the Genoese, vol. 2, chaps. 32–37; idem, Chronology of Nicolo Paganini’s Life, pp. 68–73. [BACK]

50. Pulver, Paganini, the Romantic Virtuoso, p. 304; Courcy, Paganini the Genoese, vol. 2, app. 5, “List of Instruments in Paganini’s Possession at the Time of His Death.” [BACK]

51. Harrys, Paganini in seinem Reisewagen und Zimmer, p. 32. [BACK]

52. The source of the quotation: Joseph d’Ortigue, “Études biographiques: Frantz Listz” [sic], Gazette musicale de Paris 2, no. 24 (14 June 1835): 199. The first biographical sketch of Liszt: Anon., “Litz” [sic], in Biographie universelle et portative, vol. 3, pp. 310–11. [BACK]

53. d’Ortigue, “Études biographiques,” La Gazette musicale 2, no. 24, p. 198; Émile Haraszti, “Le Problème Liszt,” Acta musicologica 9, nos. 3–4 (June–December 1937): 130. [BACK]

54. The source of the quoted passages: Carl Czerny, “Recollections from my Life” (written in 1842), trans. Ernest Sanders, Musical Quarterly 42, no. 3 (July 1956): 314–16 (emphasis in original). For information on Czerny: Alice L. Mitchell, “Czerny,” in New Grove Dictionary, vol. 5, pp. 138–41. For a chronology: d’Ortigue, “Études biographiques,” p. 198. [BACK]

55. “Nachrichten: Wien,” Allgemeine musikalische Zeitung 25, no. 4 (22 January 1823), cols. 53–54; unidentified Munich newspaper of 17 October 1823, quoted in J. Duverger [pseud. of Marie d’Agoult], “Franz Liszt,” Le Biographe universel 5, no. 2 (April 1843): 121 (“a new Mozart”). For a chronology: Alan Walker, Franz Liszt, vol. 1, The Virtuoso Years, 1811–1847 (Ithaca, N.Y.: Cornell University Press, 1987), pp. 68–92. [BACK]

56. On Liszt’s not being admitted to the Conservatoire: d’Ortigue, “Études biographiques,” La Gazette musicale 2, no. 24, p. 199; Franz Liszt [and Marie d’Agoult], “De la situation des artistes et de leur condition dans la société” (first published as a series of seven articles in La Gazette musicale de Paris in 1835), in Franz Liszt [and Marie d’Agoult], Pages romantiques, ed. Jean Chantavoine (Paris/Leipzig: Alcan/Breitkopf and Härtel, 1912), pp. 38–40. On Liszt as a student of Paer: J.-G. Prod’homme, “Liszt et Paris,” La Revue musicale, new ser., 9, no. 7 (1 May 1928): 106–7. On the number of concerts: Walker, Franz Liszt, vol. 1, p. 96. For the Paris press on young Liszt: A. Martinville, “Concert du jeune List” [sic], Le Drapeau blanc, 9 March 1824, quoted in Pierre-Antoine Huré and Claude Knepper, Liszt en son temps: Documents choisis, présentés et annotés (Paris: Hachette, 1987), p. 97, and in Duverger, “Franz Liszt,” Biographe universel 5, no. 2, pp. 126–27 (from which the quotation here is taken); Anon., “Litz [sic],” in Biographie universelle et portative, vol. 3, p. 311. [BACK]

58. d’Ortigue, “Études biographiques,” La Gazette musicale 2, no. 24, pp. 199–200; Huré and Knepper, Liszt en son temps, pp. 83–84; Walker, Franz Liszt, vol. 1, pp. 103–22. [BACK]

59. On Liszt’s opera: Émile Haraszti, “Liszt à Paris,” La Revue musicale, new ser., 17, no. 165 (April 1936): 253, says Liszt had a lot of help from Paer; Walker, Franz Liszt, vol. 1, pp. 114–16, says Liszt had little help from Paer; Anon., “Litz [sic],” in Biographie universelle et portative, vol. 3, p. 311, calls the opera a “mystification.” [BACK]

60. F.-J. Fétis, “Nouvelles de Paris: Concerts spirituels,” La Revue musicale, 1st ser., 3 (February–July 1828): 254. [BACK]

61. Duverger, “Franz Liszt,” Biographe universel 5, no. 2, pp. 133–34; d’Ortigue, “Études biographiques,” La Gazette musicale 2, no. 24, pp. 200–201; Walker, Franz Liszt, vol. 1, pp. 124–33. [BACK]

62. Émile Haraszti, “Deux franciscains: Adam et Franz Liszt,” La Revue musicale, new ser., 18, no. 174 (May 1937): 269–71; Walker, Franz Liszt, vol. 1, pp. 39–41, 56; Duverger, “Franz Liszt,” Biographe universel 5, no. 2, pp. 131–36; d’Ortigue, “Études biographiques,” La Gazette musicale 2, no. 24, pp. 199–201; Charles Hallé, The Autobiography of Charles Hallé, ed. Michael Kennedy (London: Elek, 1972; first published as The Life and Letters of Sir Charles Hallé in London, 1896), p. 103. [BACK]

63. The source of the quotation from his student’s mother: Mme Auguste Boissier, Liszt pédagogue: Leçons de piano données par Liszt à Mlle Valérie Boissier à Paris en 1832 (Paris: Champion, 1928), pp. 39–40. On Liszt’s friend-ship with Hugo: Antoine Fontaney, Journal intime (1831–36), ed. René Jasinski (Paris: Presses Françaises, 1925), pp. 117, 133, 135, 148, 164. Haraszti, Franz Liszt, p. 9, writes: “Génie hongrois, Liszt n’ a pas moins été formé entièrement par le romantisme français.” The obituary of Liszt published by Le Corsair is reproduced in Émile Haraszti, “Liszt à Paris” (suite et fin), La Revue musicale, new ser., 17, no. 167 (July–August 1936): 9; English translation in Walker, Franz Liszt, vol. 1, pp. 134–35, whence, too, the reference to Liszt portraits bearing the death date 1828. Guy de Pourtalès, La Vie de Franz Liszt (Paris: Gallimard, 1983; first published Paris, 1926), p. 46, says that the newspaper L’Étoile also ran an obituary of Liszt around this time. [BACK]

64. On the rue du Mail: Hillairet, Dictionnaire historique, vol. 2, p. 88. On the Érards’ gift to Liszt: Walker, Franz Liszt, vol. 1, pp. 92–93. On the advantages of the double-escapement mechanism: Good, Giraffes, Black Dragons, and Other Pianos, p. 142. On Liszt’s use of rapid repetition of notes, see the following articles in Franz Liszt: The Man and His Music, ed. Alan Walker (London: Barrie and Jenkins, 1970): Arthur Headley, “Liszt the Pianist and Teacher,” p. 27; Louis Kentner, “Solo Piano Music (1827–1861),” pp. 110–14; David Wilde, “Transcriptions for Piano,” p. 184. [BACK]

65. On Beethoven’s pianos: Good, Giraffes, Black Dragons, and Other Pianos, chap. 3, “Beethoven and the Growing Grand.” On steel piano strings: Ad, comte de Pontécoulant, Organographie; essai sur la facture instrumentale, art, industrie et commerce, 2 vols. (Amsterdam: Knuf, 1971; reprint of 1st ed., Paris, 1861), vol. 1, p. 231; Good, Giraffes, Black Dragons, and Other Pianos, pp. 153–54. [BACK]

66. On the modifications to Paganini’s concert violin: Guhr, L’Art de jouer, pp. 3–4. On the “contraviola Paganini”: untitled short item in La Gazette musicale de Paris 1, no. 27 (6 July 1834): 220. On Ole Bull as an instrument maker: Bergsagel, “Ole Bull,” in New Grove Dictionary, vol. 3, p. 447. On Liszt’s commissioning of a new keyboard instrument: Franz Liszt, Franz Liszt, l’artiste, le clerc; documents inédits, ed. Jacques Vier (Paris: Éditions du Cèdre, 1950), p. 68. On Liszt’s favoring of a new keyboard: Apel, “Keyboard,” in Harvard Dictionary of Music, pp. 451–52; Good, Giraffes, Black Dragons, and Other Pianos, pp. 220–25. [BACK]

67. On organs with free reeds: Alfred Berner, “Harmonium,” in New Grove Dictionary, vol. 8, pp. 169–74; Apel, “Harmonium,” in Harvard Dictionary of Music, p. 371. On Liszt’s “clavecin-orchestre”: Richard Pohl, Gesammelte Schriften über Musik und Musiker, vol. 2, Franz Liszt: Studien und Erinnerungen (Walluf bei Wiesbaden: Sä–ig, 1973; reprint of 1st ed., Leipzig, 1883), pp. 63–71; Haraszti, Franz Liszt, p. 166; Alan Walker, Franz Liszt, vol. 2, The Weimar Years (1848–1861) (Ithaca, N.Y.: Cornell University Press, 1993), pp. 77, 79. On Maelzel’s Panharmonicon, see chapter 5 in this volume. [BACK]

68. On Liszt’s piano transcriptions: Humphrey Searle, “Liszt,” in New Grove Dictionary, vol. 11, pp. 33–35; idem, The Music of Liszt (New York: Dover, 1966), pp. 36, 7–8. The source of the quoted passage: Hallé, Autobiography of Charles Hallé, p. 57; see also the rave review in La Revue et gazette musicale de Paris 2, no. 2 (11 January 1835): 15. [BACK]

69. For Chopin’s quotation: letter written by both Chopin and Liszt to pianist Ferdinand Hiller, 20 June 1833, in Liszt, Briefe, vol. 1, p. 9. For Heine’s quotation: letter dated Paris, 20 March 1843, and published in the Augsburger Gazette shortly thereafter, in Heinrich Heine, Lutèce: Lettres sur la vie politique, artistique et sociale de la France (vol. 19 of Heines Werke, Säkularausgabe) (Berlin/Paris: Akademie-Verlag/Éditions du C.N.R.S., 1977; first published 1855), p. 176. [BACK]

70. d’Ortigue, “Études biographiques,” La Gazette musicale 2, no. 24, p. 201; Duverger, “Franz Liszt,” Biographe universel 5, no. 2, pp. 137–38; Walker, Franz Liszt, vol. 1, pp. 173–77. [BACK]

71. On the respective contributions of Liszt and d’Agoult to these articles: Émile Haraszti, “Franz Liszt: Author Despite Himself,” trans. John A. Gutman, Musical Quarterly 33, no. 4 (October 1947): 490–516; Jacques Vier, La Comtesse d’Agoult et son temps, 6 vols. (Paris: Colin, 1955–63), vol. 1, pp. 190–91, 274, 395, 409–10; Serge Gut, Franz Liszt: Les éléments du langage musical (Paris: Klincksieck, 1975), chap. 3, “Liszt écrivain”; Walker, Franz Liszt, vol. 1, pp. 20–23; Robert Wangermée, “Conscience et inconscience du virtuose romantique: À propos des années parisiennes de Franz Liszt,” in Music in Paris in the 1830s, ed. Peter Bloom (Stuyvesant, N.Y.: Pendragon, 1987), pp. 557–58. [BACK]

72. The source of the quotation: comtesse Dash [pseud. for vicomtesse de Poilloüe de Saint-Mars], Mémoires des autres, 6 vols. (Paris: Librairie Illustrée, 1896–97), vol. 4, pp. 149–50. On Liszt’s appreciation of La Symphonie fantastique: Berlioz, Mémoires, vol. 1, chap. 31; idem, Correspondance générale, 5 vols. to date (Paris: Flammarion, 1972–<$f$>), vol. 1, pp. 384–85. On Liszt in concert with others: idem, Mémoires, vol. 1, pp. 293–95; La Gazette musicale de Paris 1, no. 49 (7 December 1834): 393–94; no. 52 (28 December 1834): 427. [BACK]

73. The source of the quotation: Liszt [and d’Agoult], “Lettres d’un bachelier ès musique” (first published as a series of twelve articles in La Revue et gazette musicale de Paris in 1837–39), in Pages romantiques, p. 108. On Gusikow: Fétis, “Gusikow,” in Biographie universelle des musiciens, vol. 4, pp. 165–66; Sigmund Schlesinger, Joseph Gusikow und dessen Holz- und Stroh-instrument (Vienna: Lendler, 1836); numerous reports of Gusikow’s tour in La Revue et gazette musicale de Paris in 1836 and 1837. Thanks to Prof. Heidi Tilghman for her help with Schlesinger’s book. [BACK]

74. On the concert count for Salles Érard and Pleyel: Walker, Franz Liszt, vol. 1, p. 235. For Berlioz on Thalberg: Hector Berlioz, “Premier concert du Conservatoire,” La Revue et gazette musicale de Paris 3, no. 5 (31 January 1836): 38–39. For Berlioz on Liszt: idem, “Le Retour de Liszt,” La Revue et gazette musicale de Paris 3, no. 24 (12 June 1836): 198–200. For Liszt on Thalberg: Franz Liszt [and Marie d’Agoult], “Revue Critique. M. Thalberg,” La Revue et gazette musicale de Paris 4, no. 2 (8 January 1837): 17–20. Three reviews called the Liszt-Thalberg contest a draw: Jules Janin, Feuilleton, Le Journal des débats, 3 April 1837; Anon., “Concert donné…dans les salons de Mme la princesse de Belgiojoso,” La Revue et gazette musicale de Paris 4, no. 15 (9 April 1837): 125–26; Fétis, “MM. Thalberg et Liszt,” La Revue et gazette musicale de Paris 4, no. 17 (23 April 1837): 137–42. In 1840, three years after the contest, the composer Mendelssohn judged that Liszt and Thalberg were still about equal; Felix Mendelssohn, Letters, ed. G. Selden-Goth (New York: Pantheon, 1945), pp. 289–90. [BACK]

75. Franz Liszt, Marie d’Agoult, de Vigny, Ollivier, and Belgiojoso, Autour de Mme d’Agoult et de Liszt (a collection of letters), ed. D. Ollivier (Paris: Grasset, 1941), pp. 135–36, 141; Searle, Music of Liszt, pp. 33–34; idem, “Liszt,” in New Grove Dictionary, vol. 11, p. 36; Walker, Franz Liszt, vol. 1, pp. 240–42. [BACK]

76. The source of the quotations: Liszt [and d’Agoult], “Lettres d’un bachelier ès musique,” in Pages romantiques, pp. 214–16; comtesse [Marie] d’Agoult, Mémoires (1833–1854) (Paris: Calmann-Lévy, 1927), p. 129. [BACK]

77. d’Agoult, Mémoires (1833–1854), pp. 135–147 (the quotation is on p. 135). [BACK]

78. The source of the quotations: Liszt and d’Agoult, Correspondance, vol. 1, pp. 218, 220. For other letters of Liszt to d’Agoult, comparing his reception to that of Thalberg or Paganini: Liszt and d’Agoult, Correspondance, vol. 1, pp. 223, 224, 225, 280, 406, 421, 439; vol. 2, p. 212; see also the letter of Liszt to Lambert Massart in Liszt, Franz Liszt, l’artiste, le clerc, p. 45. [BACK]

79. The source of d’Agoult’s quotation: d’Agoult, Mémoires (1833–1854), p. 147. The source of Liszt’s quotation: Liszt [and d’Agoult], “Lettres d’un bachelier ès musique,” in Pages romantiques, p. 236. On Liszt’s contribution: Walker, Franz Liszt, vol. 1, p. 254. [BACK]

80. On the children of Liszt and d’Agoult: Huré and Knepper, Liszt en son temps, pp. 115–16. On Liszt’s compositions: Searle, Music of Liszt, chap. 1, “The Early Works.” [BACK]

81. Liszt [and d’Agoult], “Sur Paganini, à propos de sa mort,” La Revue et gazette musicale 7, no. 50, pp. 431–32. [BACK]

82. On Paganini and Lipinski: Schottky, Paganinis Leben und Treiben, p. 190; Józef Powrozniak, “Lipinski,” in New Grove Dictionary, vol. 11, p. 14; Pulver, Paganini, the Romantic Virtuoso, pp. 101, 179; Day, Paganini of Genoa, p. 88. On Paganini and Ernst: Moser, Geschichte des Violinspiels, vol. 2, pp. 138–40 (Ernst’s quotation); Schwarz, Great Masters of the Violin, p. 203; idem, “Ernst,” in New Grove Dictionary, vol. 6, p. 238. [BACK]

83. Ignaz von Seyfried, “Ludwig van Beethoven, eine biographische Skizze,” in Ludwig van Beethoven, Ludwig van Beethoven’s Studien in Generalbasse, Contrapunkte und in der Compositionslehre, ed. Ignaz von Seyfried (Hamburg: Schuberth, [1853?]; first published Vienna, 1832), p. 5 (biographical sketch separately paginated); help with the translation from Alexander Wheelock Thayer, Life of Beethoven, rev. and ed. Elliot Forbes (1866–79; Princeton, N.J.: Princeton University Press, 1967), p. 206. [BACK]

84. Franz Wegeler and Ferdinand Ries, Biographische Notizen über Ludwig van Beethoven (Berlin: Schuster and Loeffler, 1906; first published in Coblenz, 1858), p. 97; help with the translation from Thayer, Life of Beethoven, p. 257. [BACK]

85. On Liszt v. Thalberg in La Revue et gazette musicale de Paris: Fétis, “MM. Thalberg et Liszt,” vol. 4, no. 17 (23 April 1837): 137–42; Franz Liszt [and Marie d’Agoult], “À M. le Professeur Fétis,” vol. 4, no. 20 (14 May 1837): 169–72; Fétis, “À M. le Directeur de la Gazette musicale de Paris, ” vol. 4, no. 21 (21 May 1837): 173–75; Liszt [and d’Agoult], “Lettre d’un bachelier ès musique,” vol. 4, no. 29 (16 July 1837): 339–43; Henri Heine, “Lettres confidentielles. II.,” vol. 5, no. 5 (4 February 1838): 41–44. On Liszt v. Thalberg in contemporary scholarship: Walker, Franz Liszt, vol. 1, p. 240. On Liszt v. Mendelssohn: Harold C. Schonberg, The Great Pianists, from Mozart to the Present (New York: Simon and Schuster, 1987), p. 169. On Liszt v. Hallé: Hallé, Autobiography of Charles Hallé, p. 105. On Liszt v. Dreyschock: William Kuhe, My Musical Recollections (London: Bentley, 1896), pp. 137–39. [BACK]

86. La Revue et gazette musicale de Paris, vol. 6, no. 52 (20 October 1839): 415; vol. 7, no. 1 (2 January 1840): 10; vol. 7, no. 2 (5 January 1840), p. 19; Liszt and d’Agoult, Correspondance, vol. 2, pp. 106, 178; Ernest Newman, The Man Liszt: A Study of the Tragi-Comedy of a Soul Divided against Itself (London: Cassell, 1934), pp. 289–90, including footnotes. [BACK]

87. Liszt and d’Agoult, Correspondance, vol. 1, pp. 341 (“my elegance” quotation), 345, 355, 364. The source of the “excessive pretensions” quotation: Revue des deux mondes 24 (15 November 1840): 612–13. On the saber episode: Liszt and d’Agoult, Correspondance, vol. 1, p. 410; vol. 2, pp. 43–47. On Liszt in Hungary in the winter of 1839–40: Franz von Schober, Briefe über F. Liszt’s Aufenthalt in Ungarn (Berlin: Schlesinger, 1843). [BACK]

88. For the quoted letter of Liszt to Belgiojoso: Liszt, Briefe, vol. 1, p. 25; Liszt et al., Autour de Mme d’Agoult, pp. 152–53 (the letter appears in both of these collections). On Liszt’s London recitals: Liszt and d’Agoult, Correspondance, vol. 1, p. 428; Charles Salaman, “Pianists of the Past; Personal Recollections,” Blackwood’s Edinburgh Magazine 170, no. 1031 (September 1901): 314–15 (Salaman’s quotation); “Liszt’s Recitals,” Times (London), 2 July 1840, p. 6 (the Times quotation); Schonberg, Great Pianists, pp. 129–30. The French word récital, which has no other meaning than that of a concert given by one musician alone, was not adopted from English until the 1870s. On Liszt’s concerts in Great Britain: Liszt and d’Agoult, Correspondance, vol. 2, pp. 25, 74. [BACK]

89. On Liszt’s itinerary: Liszt and d’Agoult, Correspondance, vol. 2, passim; Huré and Knepper, Liszt en son temps, pp. 116–18; Walker, Franz Liszt, vol. 1, pp. 294–95. On Liszt in Berlin, winter 1841–42: Rudolf Schade, ed., “Le Voyage de Liszt à Berlin (extraits des papiers posthumes d’un témoin, le poète et nouvelliste Rudolf von Bayer),” La Revue musicale, new ser., 9, no. 7 (1 May 1928): 73; Abendzeitung of Berlin, 1842, no. 8, quoted in Huré and Knepper, Liszt en son temps, p. 292; L Rellstab, Franz Liszt (Berlin: Trautwein, 1842), pp. 37, 43. [BACK]

90. Heine, “Saison musicale, Paris, 25 avril 1844,” in Lutèce, pp. 223–24. [BACK]

91. Hector Berlioz, “Fêtes musicales de Bonn” (originally published as two articles in Le Journal des débats, 22 August 1845, and 3 September 1845), in Les Soirées de l’orchestre (Westmead, Eng.: Gregg, 1969; reprint of 1st ed., Paris, 1853), pp. 367–86 (the quotations are on pp. 380, 375); Henry F. Chorley, Modern German Music, 2 vols. (New York: Da Capo, 1973; reprint of London ed., 1854), vol. 2, pt. 4, chap. 3, “The Beethoven-Festival at Bonn, 1845,” chap. 4, “Beethoven’s Music at Bonn”; Léon Kreutzer, “Grands festivals de Bonn, à l’occasion de l’inauguration de la statue de Beethoven,” La Revue et gazette musicale de Paris, 17 August 1845, reproduced in Huré and Knepper, Liszt en son temps, pp. 337–47; Walker, Franz Liszt, vol. 1, pp. 418–26; Newman, The Man Liszt, p. 101 n. The 1845 festival was reviewed at length in the Allgemeine musikalische Zeitung but received only passing mention in Schumann’s Neue Zeitschrift für Musik. [BACK]

92. On Liszt’s hoped-for title of nobility: Liszt and d’Agoult, Correspondance, vol. 1, pp. 331, 382; vol. 2, p. 273. On Liszt as “amusoir” (the word is a neologism of Liszt or d’Agoult): idem, “Encore quelques mots sur la subalternité des musiciens,” La Gazette musicale de Paris 2, no. 46 (15 November 1835): 369–72. On “all the women and aristocrats”: idem, Correspondance, vol. 1, p. 382. On Liszt’s Légion d’Honneur cross: Huré and Knepper, Liszt en son temps, p. 117. [BACK]

93. On Liszt’s high ticket prices: R[obert] Sumann], “Liszt,” Neue Zeitschrift für Musik 12, no. 30 (10 April 1840): 118–20; “Nouvelles,” La Revue et gazette musicale de Paris 8, no. 23 (21 March 1841): 183–84; “Nachrichten: Berlin,” Allgemeine musikalische Zeitung 44, no. 14 (6 April 1842), cols. 291–93. On Liszt’s benefit concerts: Robert Bory, Une Retraite romantique en Suisse; Liszt et la comtesse d’Agoult (Geneva: Sonor, 1923), pp. 50–58; La Revue et gazette musicale de Paris 4, no. 32 (6 August 1837): 370; no. 33 (13 August 1837): 378; Allgemeine musikalische Zeitung 43, no. 40 (6 October 1841), col. 822; Chorley, Modern German Music, vol. 2, p. 245. On Liszt’s giving free piano lessons: Liszt, Briefe, vol. 2, p. 281; Bory, Retraite romantique en Suisse, pp. 39–42; Walker, Franz Liszt, vol. 1, p. 17. [BACK]

94. On Liszt’s itinerary: Huré and Knepper, Liszt en son temps, pp. 117–18. Walker, Franz Liszt, vol. 1, pp. 285 (Liszt’s concert count and Liszt’s performing from memory), 292–95 (Liszt’s itinerary), 297–305 (Liszt’s technique), app. entitled “Catalogue of works which Liszt played in public, 1838–1848, compiled by himself” (Liszt’s repertoire). On Liszt’s Berlin concerts: Rellstab, Franz Liszt, p. 41. On Liszt’s capacity for learning music: Schonberg, Great Pianists, pp. 175–76. On Paganini’s performing from memory: Pulver, Paganini, the Romantic Virtuoso, p. 134. On Liszt’s technique: Searle, “Liszt,” in New Grove Dictionary, vol. 11, pp. 33–35. The source of Hallé’s quotation: Hallé, Autobiography of Charles Hallé, p. 57. [BACK]

95. Searle, Music of Liszt, p. 53 (quotation), chap. 3, “The Weimar Years (1848–61).” [BACK]

96. Balzac, Gambara, in Comédie humaine, vol. 9, p. 453. [BACK]

97. Liszt, “Mon Testament,” in Briefe, vol. 5, p. 53. [BACK]

98. On the Liszt Foundation and Museum: Ernst Burger, Franz Liszt: A Chronicle of His Life in Pictures and Documents, trans. Stewart Spencer (Princeton, N.J.: Princeton University Press, 1989), p. 328. On the street named for Liszt: Hillairet, Dictionnaire historique, 1972 suppl., p. 62. [BACK]

99. Liszt, Briefe, vol. 1, p. 250. [BACK]

100. The sources of this biographical sketch of Lind: Hans Christian Andersen, The Story of My Life, [trans. Horace Scudder] (Boston: Houghton Mifflin, 1871), passim; P[hineas] T[aylor] Barnum, Struggles and Triumphs; or, The Life of P. T. Barnum, Written by Himself, 2 vols. (New York: Knopf, 1927), vol. 1, pp. 317–90; Julius Benedict, “Jenny Lind,” Scribner’s Monthly 22 (1881): 120–32; August Bournonville, My Theatre Life, trans. Patricia N. McAndrew (Middletown, Conn.: Wesleyan University Press, 1979; first published Copenhagen, 1848–78), passim; Joan Bulman, Jenny Lind (London: Barrie, 1956); Henry Chorley, Thirty Years’ Musical Recollections (New York: Knopf, 1926), passim; Elizabeth Forbes, “Lind,” in New Grove Dictionary, vol. 10, pp. 865–66; Richard Hoffman, “Some Musical Recollections of Fifty Years,” Scribner’s Magazine 47, no. 4 (April 1910): 428–33; Henry Scott Holland and W. S. Rockstro, Memoir of Madame Jenny Lind-Goldschmidt: Her Early Art-Life and Dramatic Career, 1820–1851, 2 vols. (London: Murray, 1891) (Lind’s authorized biography); C[harles] G. Rosenberg, Jenny Lind in America (New York: Stringer and Townsend, 1851); Gladys Denny Shultz, Jenny Lind, the Swedish Nightingale (Philadelphia: Lippincott, 1962); George P. Upton, Musical Memories: My Recollections of Celebrities of the Half Century 1850–1900 (Chicago: McClurg, 1908), passim; M. R. Werner, Barnum (New York: Harcourt, Brace, 1923), pp. 114–97; Nathaniel Parker Willis, Famous Persons and Places (Freeport, N.Y.: Books for Libraries Press, 1972; reprint of 1st ed., New York, 1854), pp. 392–432; idem, Memoranda of the Life of Jenny Lind (Philadelphia: Peterson, 1851). [BACK]

101. Bournonville, My Theatre Life, pp. 664 (Andersen and Lind), 214 (quotation). [BACK]

102. On twenty thousand people’s welcoming Lind to New York: Barnum, Struggles and Triumphs, vol. 1, p. 332; Rosenberg, Jenny Lind in America, p. 9, says thirty to forty thousand welcomed her. On five thousand people’s attending Lind’s New York début: Barnum, Struggles and Triumphs, vol. 1, p. 340; Willis, Famous Persons and Places, p. 394, says six thousand attended; John S. Dwight, concert review in the New York Tribune, quoted in Willis, Memoranda of the Life, p. 109, says seven thousand attended. On the audience being seven-eighths male: John S. Dwight, concert review in the New York Tribune, quoted in Willis, Memoranda of the Life, p. 110; Rosenberg, Jenny Lind in America, p. 19, says it was nine-tenths. On Jenny Lind’s gloves, bonnets, riding hats, shawls, etc.: Barnum, Struggles and Triumphs, vol. 1, p. 333; Upton, Musical Memories, pp. 20–21; Rosenberg, Jenny Lind in America, p. 57 n. On Delmonico’s Jenny Lind pancake: Shultz, Jenny Lind, the Swedish Nightingale, p. 188; Upton, Musical Memories, p. 21. On the sale of “Lind’s” hair: ibid., p. 23. On Lind’s earnings: Barnum, Struggles and Triumphs, vol. 1, pp. 388–90; Rosenberg, Jenny Lind in America, passim. On Barnum’s attraction to Lind’s dual reputation: Barnum, Struggles and Triumphs, vol. 1, pp. 378–79. [BACK]

103. For Lind’s enumeration of the most popular songs of her tour: letter of Lind quoted in Holland and Rockstro, Memoir of Madame Jenny Lind-Goldschmidt, vol. 2, p. 421. For descriptions of the songs: ibid., vol. 1, pp. 181, 188, 222; vol. 2, pp. 32–33 (Meyerbeer’s trio with two flutes), 296, Appendix of Music, pp. 21, 24 (“The Norwegian Echo Song”); Hoffman, “Some Musical Recollections of Fifty Years,” Scribner’s Magazine 47, no. 4 (April 1910): 430 (Berg’s “Herdegossen” and “The Norwegian Echo Song”); Andersen, The Story of My Life, p. 401 (Taubert’s “Ich muß singen”); Shultz, Jenny Lind, the Swedish Nightingale, pp. 243–46 (“Home, Sweet Home”). The source of the quotation “I sing after no one’s méthode ”: letter of Lind quoted in Holland and Rockstro, Memoir of Madame Jenny Lind-Goldschmidt, vol. 2, pp. 445–47. [BACK]