The Europeans

References

LIST OF ABBREVIATIONS

Archives

ANF

Archives Nationales, Paris

APP

Archive de la Préfecture de Police, Paris

ASR

Archivo Storico Ricordi, Milan

BL

British Library Manuscripts Division, London

BMD

Bibliothèque Marguerite Durand, Paris

BMO

Bibliothèque-Musée de l’Opéra (BNF), Paris

BNF

Bibliothèque Nationale de France, Paris

DR

Durand-Ruel Archive, Paris

FM

Fitzwilliam Museum, Department of Manuscripts, Cambridge

GARF

State Archive of the Russian Federation

GK

Generallandesarchiv Karlsruhe, Karlsruhe

HL

Houghton Library, Harvard

IRL

Institute of Russian Literature (Pushkin House), St Petersburg

JMA

John Murray Archive, Edinburgh

NYPL

New York Public Library, Manuscripts Division, New York

OR

Manuscript Division, Russian National Library, St Petersburg

RGALI

Russian State Archive of Literature and Art, Moscow

ROH

Royal Opera House Archives, London

SBB

Stadtarchiv Baden-Baden, Baden-Baden

SHM

State Historical Museum, Moscow

SP

St Petersburg Public Library, Manuscripts Division, St Petersburg

TCA

Thomas Cook Archive, Peterborough

TCL

Trinity College Library, Cambridge

TMS-L

Turgenev Museum Spasskoe-Lutovinovo, Orel

Published Primary Sources

Cahiers

Cahiers Ivan Tourguéniev, Pauline Viardot, Maria Malibran

GJ

Jules and Edmond Goncourt, Journal-Mémoires de la Vie Littéraire. Texte intégrale établi et annoté par Robert Ricatte, 3 vols. (Monaco, 1956)

IPA

Iz parizhskogo arkhiva I. S. Turgeneva, 2 vols. Literarturnoe nasledstvo, vol. 73 (Moscow, 1964)

LI

Lettres inédites de Tourguénev à Pauline Viardot et à sa famille, ed. Henri Granjard and Alexandre Zviguilsky (Lausanne, 1972)

NCI

Ivan Tourguénev, Nouvelle correspondance inédite, ed. A. Zviguilsky, 2 vols. (Paris, 1971–2)

NPG

N. P. Generalova (ed.), I. S. Turgenev: Novye issledovaniia i materialy, 4 vols. (Moscow–St Petersburg, 2009–11)

PSS

I. S. Turgenev, Polnoe sobranie sochinenii i pisem: v tridtsati tomakh: Pis’ma v vosemnadtsati tomakh, Pis’ma, 16 vols. (Moscow, 1982–2014)

Soch.

I. S. Turgenev, Polnoe sobranie sochinenii i pisem v tridtsati tomakh. Sochineniia v dvenadtsati tomakh (Moscow, 1978–86)

TMS

Thérèse Marix-Spire (ed.), Lettres inédites de George Sand et de Pauline Viardot, 1839–1849 (Paris, 1959)

Turg.

I. S. Turgenev, Polnoe sobranie sochinenii i pisem v dvadtsati vos’mi tomakh. Pis’ma v trinadtsati tomakh (Moscow, 1961–8)

Vosp.

I. S. Turgenev v vospominaniiakh sovremennikov. Perepiska I. S. Turgeneva s Polinoi Viardo i ee sem’ei (Moscow, 1988)

Zvig.

Alexandre Zviguilsky, Correspondance Ivan Tourguéniev–Louis Viardot: Sous le sceau de la fraternité (Paris, 2010)

INTRODUCTION

1. Rapport fait à la commission sur le tracé des embranchements dirigés du chemin de fer de Paris à Lille (Paris, 1844), p. 7.

2. Le Messager du Nord, 17 June 1846.

3. L’Écho du Nord, 18 June 1846.

4. Guy Gosselin, La Symphonie dans la cité: Lille au XIXe siècle (Paris, 2011), pp. 165–6.

5. Berlioz, Correspondance générale, eds. Pierre Citron, Frédéric Robert and Hugh Macdonald, 8 vols. (Paris, 1972–2003), vol. 3, no. 1045.

6. Le National, 15 June 1846, p. 2.

7. The study of international cultural transfers has a well-established bibliography in French and German but not in English. See e.g. Michel Espagne and Michael Werner (eds.), Transferts: Les Relations interculturelles dans l’espace Franco-Allemand (XVIIIe–XIXe siècles) (Paris, 1988); Frédéric Barbier (ed.), Est–ouest: Transferts et réceptions dans le monde du livre en Europe (XVIIe–XXe siècles) (Leipzig, 2005); Béatrice Joyeux-Prunel, Nul n’est prophète en son pays? L’internationalisation de la peinture des avant-gardes parisiennes, 1855–1914 (Paris, 2009); Philipp Ther and Peter Sachel (eds.), Wie europäisch ist die Oper? Die Geschichte des Musiktheaters als Zugang zu einer kulturellen Topographie Europas (Vienna, 2009); Christophe Charle, ‘Comparaisons et transferts en histoire culturelle de l’Europe: Quelques réflexions à propos de recherches récentes’, Les Cahiers Irice, no. 5, 2010/11, pp. 51–73; Sylvain Briens, Paris: Laboratoire de la littérature scandinave moderne, 1880–1905 (Paris, 2010); Sven Müller et al., Oper im Wandel der Gesellschaft: Kulturtransfers und Netzwerke des Musiktheaters im modernen Europa (Vienna, 2010).

8. Kenneth Clark, Civilisation: A Personal View (London, 1969), p. 160.

9. Edmund Burke, ‘First Letter on a Regicide Peace’ (1796), Writings and Speeches, ed. Paul Langford, 9 vols. (Oxford, 1981–2000), vol. 9, pp. 242–3.

1 EUROPE IN 1843

1. Severnaia pchela, no. 244, 30 Oct. 1843, no. 248, 4 Nov. 1843, no. 268, 27 Nov. 1843.

2. Lettres et papiers du Chancelier Comte de Nesselrode, 1760–1856, 11 vols. (Paris, 1908–12), vol. 8, p. 220; Heinrich Heine, Lutèce: Lettres sur la vie politique, artistique et sociale de la France (Paris, 1855), p. 412.

3. Camille Saint-Saëns on Music and Musicians, ed. R. Nicholls (Oxford, 2008), p. 167.

4. Gerd Nauhaus (ed.), The Marriage Diaries of Robert and Clara Schumann, trans. Peter Ostwald (Boston, Mass., 1993), p. 200.

5. Severnaia pchela, no. 247, 3 Nov. 1843.

6. HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1887.

7. HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1887.

8. Julie Buckler, The Literary Lorgnette: Attending Opera in Imperial Russia (Stanford, 2000), pp. 42–4.

9. Rutger Helmers, ‘“It just reeks of italianism”: Traces of Italian Opera in “A Life for the Tsar”’, Music & Letters, vol. 91, no. 3, Aug. 2010, p. 387.

10. Alexander Pushkin, Eugene Onegin: A Novel in Verse, trans. James Falen (Oxford, 2009), p. 226.

11. BNF, NA Fr. 162778, Papiers Viardot, vol. 7, Varia, f. 1, ‘Engagement de Pauline Viardot avec le théâtre de St Petersbourg’.

12. Richard Taruskin, ‘Ital’yanshchina’, in Defining Russia Musically: Historical and Hermeneutical Essays (Princeton, 1997), pp. 196–8; Buckler, Literary Lorgnette, p. 60.

13. Carlotta Sorba, ‘Teatro d’opera e società nell’Italia ottocentesca’, in Bollettino del diciannovesimo secolo, vol. 4, no. 5, 1996, p. 38.

14. Jutta Toelle, ‘Opera as Business? From Impresari to the Publishing Industry’, Journal of Modern Italian Studies, vol. 17, no. 4, 2012, pp. 448–59.

15. Stendhal, Life of Rossini, trans. Richard N. Coe (New York, 1957), p. 1.

16. Bruno Cagli and Sergio Ragni (eds.), Gioachino Rossini: Lettere e documenti, 3 vols. (Pesaro, 1992–2000), vol. 1, pp. 65–86. See also Philip Eisenbeiss, Bel Canto Bully: The Life and Times of the Legendary Opera Impresario Domenico Barbaja (London, 2013), pp. 51–2.

17. Alan Kendall, Gioacchino Rossini: The Reluctant Hero (London, 1992), p. 123.

18. ANF, AJ/13/1161, I, Nominations et engagements de Rossini comme compositeur puis comme directeur du Théâtre-Italien.

19. Patrick Barbier, Opera in Paris 1800–1850 (Portland, 1995), pp. 188–91; Hervé Lacombe, The Keys to French Opera in the Nineteenth Century, trans. Edward Schneider (Berkeley, Calif., 2001), p. 50; David Cairns (trans. and ed.), The Memoirs of Hector Berlioz, Member of the French Institute, Including His Travels in Italy, Germany, Russia and England, 1803–1865 (New York, 1969), p. 90.

20. Arthur Loesser, Men, Women and Pianos: A Social History (London, 1955), p. 344.

21. William Ashbrook, Donizetti and His Operas (Cambridge, 1982), pp. 209–10.

22. Herbert Weinstock, Donizetti and the World of Opera in Italy, Paris and Vienna in the First Half of the Nineteenth Century (London, 1963), p. 55.

23. Catherine Menciassi-Authier, ‘La profession de chanteuse d’opéra dans le premier xix^e siècle’, Annales historiques de la Révolution française, no. 379, 2015, pp. 183–201.

24. ‘Madame Malibran à Naples’, Revue et Gazette de Paris, no. 16, 20 Apr. 1834, p. 130; Gabriella Dideriksen, ‘Repertory and Rivalry: Opera and the Second Covent Garden Theatre, 1830–56’, Ph.D. diss., King’s College London, 1997, p. 31; M. Sterling Mackinlay, Garcia the Centenarian and His Times (London, 1908), pp. 111–12.

25. Donald Sassoon, The Culture of the Europeans: From 1800 to the Present (London, 2006), p. 531; Mai Kawabata, Paganini: ‘Demonic’ Virtuoso (Woodbridge, 1988), pp. 78–83. On the element of spectacle: Gillen Wood, Romanticism and Music Culture in Britain (Cambridge, 2010), pp. 9, 105–23, 169.

26. Serge Gut and Jacqueline Bellas (eds.), Correspondance de Liszt et de la comtesse d’Agoult, 2 vols. (Paris, 1933–4), vol. 2, p. 377.

27. Alan Walker, Franz Liszt: The Virtuoso Years, 1811–47 (Ithaca, NY, 1988), pp. 130, 289; Nauhaus (ed.), Marriage Diaries of Robert and Clara Schumann, p. 233.

28. Patrick Barbier, Pauline Viardot (Paris, 2009), p. 14.

29. See John Rosselli, ‘From Princely Service to the Open Market: Singers of Italian Opera and Their Patrons, 1600–1850’, Cambridge Opera Journal, vol. 1, no. 1, Mar. 1989, pp. 1–32.

30. James Radomski, Manuel Garcia (1775–1832): Chronicle of the Life of a Bel Canto Tenor at the Dawn of Romanticism (Oxford, 2000), pp. 34–5.

31. BNF, NA 16274, Papiers de Pauline Viardot, vol. 3, Lettres adressées à Louis Viardot, Pauline Viardot to Louis Viardot.

32. Benjamin Walton, ‘Italian Operatic Fantasies in Latin America’, Journal of Modern Italian Studies, vol. 17, no. 4, 2012, pp. 460–71.

33. BNF, NA Fr. 16278, Papiers Viardot, vol. VII, Varia, f. 120.

34. April Fitzlyon, Maria Malibran: Diva of the Romantic Age (London, 1987), p. 44.

35. See e.g. NYPL, JOE 82-1, 14, Letter from Pauline Viardot to Julius Rietz, 21 Jan. 1859; HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1887.

36. Michèle Friang, Pauline Viardot (Paris, 2008), p. 15.

37. Radomski, Manuel Garcia, p. 286.

38. BNF, NA Fr. 16278, Papiers Viardot, vol. 4, IV, Lettres, p. 472 (Letter from Maria Malibran to Joaquina Briones, July 1827).

39. HL, MUS 264 (365), Pauline Viardot Journal, entry July 1879, memoir dated 1887.

40. BNF, NA Fr. 16278, Papiers Viardot, vol. VII, Varia, f. 175; HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1887.

41. Gazette musicale de Paris, 4 Sept. 1836.

42. HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1887; Gazette musicale de Paris, 24 Dec. 1837; 3 June 1838.

43. Ernest Legouvé, ‘Concerts de M. de Bériot et de Mlle Garcia’, Revue et Gazette musicale de Paris, no. 51, 23 Dec. 1838; Alfred de Musset, ‘Concert de Mlle Garcia’, Revue des deux mondes, 1 Jan. 1839.

44. Cited in April Fitzlyon, The Price of Genius: A Life of Pauline Viardot (London, 1964), p. 52.

45. TMS, p. 21.

46. HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1887 (where she claims the fee was 6,000 francs for each performance, but this cannot be correct).

47. Pauline Garcia to Celeste Nathan, 13 May 1839. Private collection.

48. Cited in Barbara Kendall-Davies, The Life and Work of Pauline Viardot-Garcia, vol. 1: The Years of Fame, 1836–1863 (Amersham, 2004), p. 87.

49. BNF, NA 16274, Papiers de Pauline Viardot, vol. 3, Lettres adressées à Louis Viardot, f. 17, Charles de Bériot to Louis Viardot, 26 July 1838.

50. BNF, NA 16274, Papiers de Pauline Viardot, vol. 3, Lettres adressées à Louis Viardot, f. 157, Malibran to Louis Viardot, 15 Dec. 1833; Louis Viardot, Espagne et beaux-arts: Mélanges (Paris, 1866), pp. 443–4; A. Pougin, Maria Malibran: Histoire d’une cantatrice (Paris, 1911), p. 97.

51. Louis Viardot, Souvenirs de chasse (Paris, 1849), p. 9.

52. Louis Viardot, Lettres d’un Espagnol, 2 vols. (Paris, 1826); Viardot, Espagne et beaux-arts, p. 79.

53. See further, Daniel L. Rader, The Journalists and the July Revolution in France: The Role of the Political Press in the Overthrow of the Bourbon Restoration 1827–1830 (The Hague, 1973).

54. Ibid., pp. 459–61.

55. BNF, Aux Électeurs … de Seine-et-Marne. Louis Viardot [20 Mar. 1848].

56. The best account of the fire is Jean-Louis Tamvaco, Les Cancans de l’Opéra: Chroniques de l’Académie royale de musique et du théâtre, à Paris sous les deux Restaurations: Première édition critique intégrale du manuscrit Les cancans de l’Opéra, ou, Le Journal d’une habilleuse, de 1836 à 1848, 2 vols. (Paris, 2000), vol. 1, pp. 384–6.

57. BMO, LAS Viardot 1, Lettre de Louis Viardot à Robert, London, 20 June 1838.

58. ANF, AJ/13/1160, 1, Contract between Robert and Viardot for the management of the Théâtre-Italien (1838).

59. Armando Rubén Puente, Alejandro Aguado: Militar, banquero, mecenas (Madrid, 2007), pp. 19–21; Jean-Philippe Luis, L’Ivresse de la fortune: A. M. Aguado, un génie des affaires (Paris, 2009).

60. Louis Véron, Mémoires d’un bourgeois de Paris, 6 vols. (Paris, 1853–5), vol. 2, p. 253; Louis Viardot, Galerie Aguado, choix des principaux tableaux (Paris, 1839); Ilse Hempel Lipschutz, Spanish Painting and the French Romantics (Cambridge, Mass., 1972), pp. 123–8.

61. ANF, AJ/13/1160, II, Rossini Archives. Letter from Aguado to Rossini, 28 Dec. 1831 (giving him 100,000 francs); Cagli and Ragni, Gioachino Rossini, p. 265.

62. Anne-Sophie Cras-Kleiber, ‘L’Exploitation de l’Académie royale de Musique sous la monarchie de Juillet’, diss., École de Chartres, 1996, p. 145; Cagli and Ragni, Gioachino Rossini, pp. 522–9.

63. ANF, AJ/13/180, II, Cahier des charges et supplément (1831).

64. Cras-Kleiber, ‘L’Exploitation’, p. 141; ANF, AJ/13/1160, 1, Contract between Robert and Viardot for the management of the Théâtre Italien (1838).

65. Tamvaco, Les Cancans, vol. 1, pp. 183–4, 242–4, 251, 429, 503.

66. Ibid., pp. 435–9.

67. Duc de Montmorency, Lettres sur l’Opéra (1840–1842) (Paris, 1921), pp. 176–8.

68. See her correspondence with the Philharmonic Society in London: BL MUS, RPS 328, f. 129.

69. Montmorency, Lettres sur l’Opéra, p. 172.

70. Letter from Pauline Garcia to Joaquina Briones, Sept. 1839, private collection.

71. Alfred de Musset, ‘Les Débuts de Mademoiselle Pauline Garcia’, in Oeuvres complètes, 11 vols. (Paris, 1866), vol. 9, pp. 123, 125–6; Gustave Dulong, Pauline Viardot, tragédienne lyrique, Cahiers, no. 8, 1984, p. 78; Théophile Gautier, Historie de l’art dramatique en France depuis vingt-cinq ans, 6 vols. (Paris, 1858–9), vol. 2, p. 92.

72. George Sand, Journal intime (Paris, 1926), p. 104.

73. La Revue indépendante, vol. 1, 1841, pp. v–xx.

74. HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1887.

75. BNF, NA Fr. 16272, Papiers Viardot, vol. 1, Lettres adressées à Pauline Viardot, f. 304, Jaubert to Pauline Viardot, 17 June 1840.

76. HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1887.

77. Allgemeine Musikalische Zeitung, no. 41, Oct. 1838, p. 677.

78. NYPL, JOE 82-1, 27, Letter from Pauline Viardot to Julius Rietz, Paris, 17 Mar. 1859

79. Ibid., 4, Letter from Pauline Viardot to Julius Rietz, Weimar, Dec. 1858.

80. TMS, p. 24.

81. TMS, p. 217.

82. As her mother and former manager, Joaquina continued to advise her on her singing engagements (BNF, NA Fr. 16272, Papiers de Pauline Viardot, vol. 1, Joaquina Garcia to Pauline Viardot, Brussels, 23 Mar. 1847, ff. 128–9).

83. BNF, NA Fr. 162778, Papiers Viardot, vol. 7, Varia, ff. 1–32.

84. John Rosselli, Singers of Italian Opera: The History of a Profession (Cambridge, 1995), pp. 66–7.

85. ANF, AJ/13/180, IV, Dissolution of the Duponchel and Las Marismas company and its replacement by a company formed by Léon Pillet; Montmorency, Lettres sur l’Opéra, p. 157.

86. On Stolz, see Karin Pendle, ‘A Night at the Opera: The Parisian Prima Donna’, The Opera Quarterly, vol. 4, no. 1, 1986, pp. 82–3.

87. ‘Critique théatrale’, La Revue indépendante, vol. 1, 8 Dec. 1841, p. 524.

88. BNF, Aux Électeurs … de Seine-et-Marne. Louis Viardot [20 Mar. 1848].

89. TMS, p. 57. See further, Tom Kaufman, ‘The Grisi–Viardot Controversy, 1848–1852’, The Opera Quarterly, vol. 14, no. 2, 1997, pp. 7–22.

90. TMS, p. 101.

91. Ibid., pp. 47–8.

92. HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1887.

93. TMS, pp. 159–61.

94. Ibid., pp. 60, 159, 181; Patrick Waddington, ‘Some Gleanings on Turgenev and His International Connections, with Notes on Pauline Viardot and Her Family’, New Zealand Slavonic Journal, 1983, p. 209.

95. TMS, p. 181.

96. Ibid., pp. 187–8.

97. Gerhard Stahr, ‘Kommerzielle Interessen und provinzielles Selbstbewusstsein: Die Eröffnungsfeiern d. Rhein. Eisenbahn 1841 u. 1843’, in Manfred Hettling (ed.), Bürgerliche Feste: Symbolische Formen politischen Handelns im 19. Jh. (Göttingen, 1993), p. 49.

98. Willim Makepeace Thackeray, The Roundabout Papers: The Biographical Edition of the Works of William Makepeace Thackeray, vol. 12 (London, 1914), p. 233.

99. Cited in Wolfgang Schivelbusch, The Railway Journey: The Industrialization of Time and Space in the Nineteenth Century (Berkeley, Calif., 1986), p. 38.

100. Jules Michelet, cited in Nicholas Faith, The World the Railways Made (London, 1990), p. 58.

101. Waltraud Linder-Beroud, ‘Das Eisenbahnzeitalter in Lied und populärer Kultur: Zur Mentalitätsgeschichte der Mobilität am Beispiel der Eisenbahn’, in Nils Grosch (ed.), Fremdheit, Migration, Musik: Kulturwissenschaftliche Essays für Max Matter (Münster, 2010), p. 312.

102. Camillo Cavour, Le strade ferrate in Italia, ed. A. Salvestrini (Florence, 1976), pp. 61–3.

103. Remo Ceserani, Treni di carta. L’immaginario in ferrovia: L’irruzione del treno nella letteratura moderna (Genoa, 1993), pp. 50, 53.

104. Schivelbusch, Railway Journey, pp. 70–71.

105. Karl Marx, Grundrisse: Foundations of the Critique of Political Economy, trans. Martin Nicolaus (London, 1993), p. 524; Linder-Beroud, ‘Eisenbahnzeitalter’, p. 311; Jürgen Osterhammel, The Transformation of the World: A Global History of the Nineteenth Century (Princeton, 2014), p. 726.

106. W. F. Rae, The Business of Travel: A Fifty Years’ Record of Progress (London, 1891), p. 5.

107. Stefano Maggi, Le ferrovie (Bologna, 2017), p. 70.

108. Schivelbusch, Railway Journey, p. 233.

109. TMS, pp. 121, 184.

110. Henryk Opieńsky (ed.), Chopin’s Letters, trans. E. Voynich (New York, 1988), p. 363.

111. For an excellent survey of this transformation, see Tim Blanning, The Culture of Power and the Power of Culture: Old Regime Europe, 1660–1789 (Oxford, 2003).

112. Frédéric Barbier, ‘Les marchés étrangers de la librairie française’, in Roger Chartier and Henri-Jean Martin (eds.), Histoire de l’édition française, 4 vols. (Paris, 1983–7), vol. 3: Le Temps des éditeurs: Du Romanticisme à la Belle Époque, pp. 279–80. On the importance of the German market for French book exports, see Frédéric Barbier, ‘Les Échanges de librairie entre la France et l’Allemagne 1850–1914’, in Espagne and Werner (eds.), Transferts, pp. 236–52.

113. Frédéric Barbier, L’Empire du livre: Le livre imprimé et la construction de l’Allemagne contemporaine (1815–1914) (Paris, 1995), pp. 213–15.

114. W. E. Yates, ‘Internationalization of European Theatre: French Influence in Vienna between 1830 and 1860’, Austrian Studies, vol. 13, 2005, Austria and France, p. 45.

115. Gosselin, La Symphonie dans la cité, p. 170.

116. Sophie de Schaepdrijver, Elites for the Capital? Foreign Migration to Mid-Nineteenth-Century Brussels (Amsterdam, 1990), p. 16.

117. Carlo Gatti, Il Teatro alla Scala nella storia e nell’arte, 1778–1963, 2 vols. (Milan, 1964), vol. 2, pp. 11–27.

118. Viardot, Souvenirs de chasse, p. 58.

119. Peter Kemp, The Strauss Family: Portrait of a Musical Dynasty (London, 1985), pp. 31–2.

120. Cairns (trans. and ed.), Memoirs of Hector Berlioz, p. 420.

121. Cited in Richard Osborne, Rossini: His Life and Works (Oxford, 2007), p. 116.

122. John Mayne (trans. and ed.), The Painter of Modern Life and Other Essays (New York, 1964), p. 13.

123. F. M. Scherer, Quarter Notes and Bank Notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries (Princeton, 2004), p. 147; Tim Blanning, The Romantic Revolution (London, 2010), p. 176.

124. Christopher Prendergast, For the People by the People? Eugène Sue’s ‘Les Mystères de Paris’: A Hypothesis in the Sociology of Literature (Oxford, 2003), p. 66; B. P. Chevasco, Mysterymania: The Reception of Eugène Sue in Britain, 1838–1860 (Berne, 2003), p. 40; James Allen, In the Public Eye: A History of Reading in Modern France, 1800–1940 (Princeton, 1991), p. 55.

125. Martyn Lyons, Le Triomphe du livre: Une histoire sociologique de la lecture dans la France du XIXe siècle (Paris, 1987), p. 50; Henri Loustalan, La Publicité dans la presse française (Paris, 1933), p. 20; Pierre Pellissier, Émile de Girardin: Prince de la presse (Paris, 1985), pp. 98ff.

126. Jean-Louis Bory, Eugène Sue (Paris, 1962), p. 296.

127. Nora Atkinson, Eugène Sue et le roman feuilleton (Paris, 1929), p. 38.

128. Brynja Svane, Les Lecteurs d’Eugène Sue: Le Monde d’Eugène Sue II, Textes: Cultures & Société, 3-86 (Copenhagen, 1986), p. 347; Atkinson, Eugène Sue, p. 28; F. W. J. Hemmings, The King of Romance: A Portrait of Alexandre Dumas, p. 117.

129. Ibid., pp. 118, 138.

130. ‘Notes from Paris’, Punch, no. 5, 1843, p. 12; Charles Augustin Sainte-Beuve, ‘Vérités sur la situation en littérature’, Portraits contemporains, 5 vols. (Paris, 1888), vol. 3, p. 431.

131. Simon Eliot and Jonathan Rose, A Companion to the History of the Book (Chichester, 2009), pp. 273–4, 291–2.

132. Alexis Weedon, Victorian Publishing: The Economics of Book Production for a Mass Market 1836–1916 (The Nineteenth Century Series; Farnham, 2003), p. 66; Jean-Yves Mollier, Louis Hachette (Paris, 1999), p. 301; Barbier, L’Empire du livre, p. 454; Ronald Fullerton, The Foundation of Marketing Practice: A History of Book Marketing in Germany (London, 2016), p. 54.

133. Allen, In the Public Eye, table A.7.

134. Frédéric Barbier, ‘Une production multipliée’, in Chartier and Martin (eds.), Histoire de l’édition française, vol. 3, p. 105.

135. Allen, In the Public Eye, table 1.1; Eliot and Rose, Companion, p. 304.

136. Dietrich Bode, Reclam: Daten, Bilder und Dokumente zur Verlagsgeschichte 1828–2003 (Stuttgart, 2003), p. 14.

137. J.-Y. Mollier, Michel & Calman Lévy ou la naissance de l’édition moderne 1836–1891 (Paris, 1984), p. 264.

138. Anik Devriès, ‘La “Musique à bon marché” en France dans les années 1830’, in Peter Bloom (ed.), Music in Paris in the Eighteen-Thirties (Stuyvesant, 1982), p. 245.

139. Yves Chevrel, Lieven D’hulst and Christine Lombez (eds.), Histoire des traductions en langue française: XIXe siècle (1815–1914) (Paris, 2012), pp. 290–91; Isavelle Olivero, ‘The Paperback Revolution in France, 1850–1950’, in John Spiers (ed.), The Culture of the Publisher’s Series, 2 vols. (London, 2011), vol. 1: Authors, Publishers and the Shaping of Taste, pp. 76–8.

140. Olivero, ‘Paperback Revolution’, pp. 83–4.

141. Frédéric Barbier, ‘Libraires et colporteurs’, in Chartier and Martin, Histoire de l’édition française, vol. 3, pp. 237–40; Frédéric Barbier, ‘La diffusion en Eure-et-Loire au XIXe siècle’, in Jean-Yves Mollier (ed.), Le Commerce de la librairie en France au XIX siècle 1789–1914 (Paris, 1998), pp. 162–3; Lyons, Le Triomphe du livre, pp. 152, 159; Martyn Lyons, Reading Culture and Writing Practices in Nineteenth-Century France (Toronto, 2008), pp. 50, 53–4.

142. Olivero, ‘Paperback Revolution’, p. 167.

143. [Carlo Collodi,] Un romanzo in vapore: Da Firenze a Livorno. Guida storicaumoristica di Carlo Lornezini (Florence, 1856).

144. Christine Haug, ‘Ein Buchladen auf Stationen, wo sich zwei Linien kreuzen, müsste gute Geschäfte machen’: Der deutsche Bahnhofs- und Verkehrsbuchhandel von 1850 bis zum Ende der Weimarer Republik im internationalen Vergleich’, in Monika Burri, Kilian T. Elsasser and David Gugerli (eds.), Die Internationalität der Eisenbahn 1830–1970 (Zurich, 2003), pp. 71–89.

145. Barbier, ‘Libraires et colporteurs’, pp. 246–7; Jean Mistler, La Librairie Hachette de 1826 à nos jours (Paris, 1964), pp. 81, 131.

146. Viardot, Espagne et beaux-arts, pp. 360, 368; Anne Marie de Brem, L’Atelier d’Ary Scheffer (Paris, 1992), p. 18; Mrs Grote, Memoir of the Life of Ary Scheffer (London, 1860), pp. 26–8, 49.

147. NYPL, JOE 82-1, 7, Letter from Pauline Viardot to Julius Rietz, Weimar, 24 Dec. 1858; Camille Saint-Saëns, Musical Memories (London, 1921), pp. 145–6.

148. See Peter Burke, ‘Art, Market and Collecting in Early Modern Europe’, in Artwork through the Market (Bratislava, 2004), pp. 71–7.

149. Nicholas Green, ‘Circuits of Production, Circuits of Consumption: The Case of Mid-Nineteenth-Century French Art Dealing’, Art Journal, vol. 48, no. 1, 1989 (Spring), p. 30.

150. Ibid., p. 98.

151. André Joubin (ed.), Correspondance générale d’Eugène Delacroix, 5 vols. (Paris, 1936–8), vol. 2, pp. 191–2. The critic Ludovic Vitet attacked the painting in ‘Exposition des tableaux en bénéfice des Grecs; II. M. Delacroix’, Le Globe, 3 June 1826, pp. 372–4.

152. Michèle Beaulieu, ‘Louis-Claude Viardot, collectionneur et critique d’art’, Société d’Histoire de l’Art Français, séance du 4 février 1984, in Bulletin de la Société d’Histoire de l’Art Français, 1984, pp. 243–62.

153. Pamela Fletcher and Anne Helmreich (eds.), The Rise of the Modern Art Market in London: 1850–1939 (Manchester, 2013), pp. 27–9; Dianne Macleod, Art and the Victorian Middle Class: Money and the Making of Cultural Identity (Cambridge, 1996), pp. 24, 49–55, 93, 393–4, 420, 447, 473–4. See also James Hamilton, A Strange Business: Making Art and Money in Nineteenth-Century Britain (London, 2014).

154. Thomas M. Bayer and John R. Page, The Development of the Art Market in England: Money as Muse, 1730–1900 (London, 2011), p. 96; Marie-Clause Chaudonneret, ‘Collectionner l’art contemporain (1820–1840): L’Exemple des banquiers’, in Monica Preti-Hamard and Philippe Sénechal (eds.), Collections et marchés de l’art en France 1789–1848 (Rennes, 2005), pp. 274–6; GJ, vol. 1, p. 877.

155. Antoine Étex, Essai d’une revue synthétique sur l’Exposition Universelle de 1855 (Paris, 1856), p. 56.

156. Constance Cain Hungerford, Ernest Meissonier: Master in His Genre (Cambridge, 1999), pp. 106–9.

157. Samuel Hall, Retrospect of a Long Life from 1815 to 1883, 2 vols. (London, 1883), vol. 1, pp. 346–7.

158. Brem, L’Atelier d’Ary Scheffer, pp. 45–6, 50–55.

159. On this practice, see Patricia Mainardi, ‘The 19th-Century Art Trade: Copies, Variations, Replicas’, The Van Gogh Museum Journal (2000), pp. 61–73.

160. Vincent Pomarède, ‘Eugène Delacroix: The State, Collectors and Dealers’, in Arlette Sérullaz and Vincent Pomarède, Delacroix: The Late Work (London, 1999), p. 59.

161. Hubert Wellington (ed.), The Journal of Eugène Delacroix, trans. Lucy Norton (London, 2010), p. 181. See further, Sérullaz and Pomarède, Delacroix; Stephen Pinson, ‘Reproducing Delacroix’, Visual Resources, vol. 14, no. 2, 1998, pp. 155–87.

162. Maxime du Camp, Le Salon de 1857 (Paris, 1857), p. 51.

163. Malcolm Warner, ‘Millais in the Marketplace: The Crisis of the Late 1850s’, in Fletcher and Helmreich (eds.), Rise of the Modern Art Market, p. 222.

164. Kisiel Marine, ‘La peinture impressionniste et la décoration, 1870–1895’, Sociétés & Représentations, no. 39, 2015/1 (Spring), pp. 257–88.

165. Marquis de Custine, L’Espagne sous Ferdinand VII, 2 vols. (Paris, 1838), vol. 2, pp. 234–6.

166. Louis Viardot, ‘Une nuit du Pâques au Kremlin du Moscou’, L’Illustration, 11 April 1846, p. 86.

167. Marquis de Custine, Russia, 3 vols. (London, 1844), vol. 3, p. 353.

168. TMS, pp. 207–9.

169. See the classic account by Edward Said, Orientalism (New York, 1978). For a longer perspective on the idea of Europe, Federico Chabod, Storia dell’idea d’Europa (Milan, 2007).

170. See Roberto Dainotto, Europe (In Theory) (Durham, 2007), and Maria Todorova, Imagining the Balkans (Oxford, 1997).

171. Ibid., p. 73.

172. A. Hugo, ‘Ce que nous entendons par l’Orient’, Revue de l’Orient. Bulletin de la Société Orientale, vol. 1, nos. 1–4, 1843, p. 7.

173. Katarina Gephardt, The Idea of Europe in British Travel Narratives, 1789–1914 (Farnham, 2014), pp. 65–75.

174. Théophile Gautier, Voyage en Espagne (Paris, 1981), pp. 236–7. On the Romantic myth of Spain, Luis Méndez Rodriguez, La imagen de Andalucía en el arte del siglo XIX (Seville, 2008); Calvo Serraller, La imagen romántica de España: Arte y arquitectura del siglo XIX (Madrid, 1995); James Parakilas, ‘How Spain Got a Soul’, in Jonathan Bellman (ed.), The Exotic in Western Music (Boston, Mass., 1998), pp. 137–93.

175. Viardot, Lettres d’un Espagnol, vol. 1, pp. 28–9.

176. Albert Bensoussan, ‘Traducir el Quijote’, Mélanges de la casa de Velázquez: Cervantès et la France, vol. 37, no. 2, 2007, pp. 11–31; Chevrel, D’hulst and Lombez (eds.), Histoire des traductions, pp. 569–71; Marta Giné-Janer, ‘Voyages des textes: Les récits fantastiques de Mérimée en Espagne’, Cahiers, no. 27, 2003, pp. 119–38; NCI, vol. 2, p. xv.

177. Viardot, Lettres d’un Espagnol, vol. 1, pp. 28–9; Heine, Lutèce, p. 412.

178. J. G. Kohl, Russia (London, 1844), p. 506.

179. Françoise Genevray, George Sand et ses contemporains Russes (Paris, 2000), p. 31.

180. TMS, pp. 81–2.

181. Turgenevskii sbornik, vol. 5, p. 352; N. S. Nikitina (ed.), Letopis zhizni i tvorchestva I. S. Turgeneva: 1818–1858 (St Petersburg, 1995), p. 88.

182. PSS, vol. 13, p. 248.

183. Tamara Zviguilsky, ‘Varvara Pétrovna Loutovinova (1788–1850): Mère d’Ivan Tourguéniev’, Cahiers, no. 4, 1980, p. 50; M. M. Stasiulevich i ero sovremenniki v ikh perepiskakh, 5 vols. (St Petersburg, 1911–13), vol. 3, p. 222; N. A. Ostrovskaia, Vospominaniia o Turgeneve (Petrograd, 1915), p. 27; GJ, vol. 2, p. 541; Leonard Schapiro, Turgenev: His Life and Times (Oxford, 1978), p. 56.

184. Maksim Kovalevskii, ‘Vospominaniia ob I. S. Turgeneve’, Minuvshie gody, vol. 1, August 1908, p. 10.

185. I. B. Toman, ‘I. S. Turgenev i nemetskaia kul’tura’, Turgenevskii sbornik (Moscow, 1988), p. 31.

186. James L. Rice, ‘Varvara Petrovna Turgeneva in Unpublished Letters to Her Son Ivan (1838–1844)’, Slavic Review, vol. 56, no. 1, 1997 (Spring), p. 6.

187. Anton Seljak, Ivan Turgenevs Ökonomien: Eine Schriftstellerexistenz zwischen Aristokratie, Künstlertum und Kommerz (Basel, 2004), pp. 89–90; Schapiro, Turgenev, p. 31.

188. The knout was deemed so dreadful that it was abolished by the tsarist government in 1845, although it was soon replaced by the gauntlet. See Daniel Beer, The House of the Dead: Siberian Exile under the Tsars (London, 2016), pp. 272–3.

189. Ivan Turgenev, ‘Avtobiografiia’, PSS, vol. 15, p. 207; Seljak, Ivan Turgenevs Ökonomien, pp. 66, 81; Zviguilsky, ‘Varvara Pétrovna Loutovinova’, p. 64.

190. Turgenevskii sbornik, vol. 5, p. 352.

191. Fitzlyon, Price of Genius, p. 164.

192. Nauhaus (ed.), Marriage Diaries of Robert and Clara Schumann, pp. 248, 266; Nancy Reich, Clara Schumann: The Artist and the Woman (London, 1985), p. 96.

193. BNF, NA Fr. 16278, Papiers Viardot, vol. 7, Varia, f. 1, ‘Engagement de Pauline Viardot avec le théâtre de St Petersbourg. Codicil, 26 Jan. 1844’.

194. Fitzlyon, Price of Genius, p. 180.

195. T. N. Livanova, Opernaia kritika v Rossii, vol. 1, vyp. 2 (Moscow, 1967), p. 66.

196. TMS, p. 218.

197. Patrick Waddington, ‘The Role of Courtavenel in the Life and Work of Turgenev’, in Issues in Russian Literature before 1917: Selected Papers for the Third World Congress for Soviet and East European Studies (Columbus, Ohio, 1989), p. 109.

198. HL, MUS 232/10, Meyerbeer to Louis Viardot, 1 Feb. 1846; Viardot, Souvenirs de chasse, p. 154; BNF, NA 16274, Papiers de Pauline Viardot, vol. 3, Lettres adressées à Louis Viardot, f. 259, Lettre d’Eugène Scribe, Aug. 1845.

199. Livanova, Opernaia kritika, p. 45.

200. Louise Héritte-Viardot, Une famille de grands musiciens (Paris, 1923), p. 68; Viardot, Souvenirs de Chasse, p. 215; Zvig., p. 69.

201. HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1887.

2 A REVOLUTION ON THE STAGE

1. Ute Lange-Brachmann and Joachim Draheim (eds.), Pauline Viardot in Baden-Baden und Karlsruhe (Baden-Baden, 1999), p. 148; Zvig., p. 220.

2. PSS, vol. 1, pp. 208–9.

3. Ibid., p. 210.

4. Eduard Hanslick, Hanslick’s Music Criticism (New York, 1963), p. 34.

5. BNF, NA Fr. 16274, Papiers Viardot, vol. 7, Lettres adressées à Louis Viardot, Meyerbeer to Louis Viardot, f. 169; HL, MUS 232/10, Meyerbeer to Pauline Viardot, 8 May 1851.

6. BNF, NA Fr. 16272, Papiers Viardot, vol. 1, Lettres adressées à Pauline Viardot, Meyerbeer to Pauline Viardot, 1 July 1845; Meyerbeer to Pauline Viardot, 20 July 1846; HL, MUS 232/10, Meyerbeer to Pauline Viardot, 14 July 1845; Meyerbeer to Louis Viardot, 13 May 1846.

7. TMS, p. 232.

8. BMO, LA-VIARDOT PAULINE-65, Louis Viardot to George Sand, 22 Feb. 1847.

9. PSS, vol. 1, pp. 213–14.

10. I. S. Turgenev v vospominaniiakh sovremennikov, 2 vols. (Moscow, 1988), vol. 2, pp. 259–60.

11. BNF, NA Fr. 162778, Papiers Viardot, vol. 7, Varia: f. 3, Contract with Beale, 27 Mar. 1847; p. 16, Contract with Gye, 27 Feb. 1852; p. 18, Contract with Gye, 19 Mar. 1855; TMS, p. 240.

12. Reiner Zimmermann, Giacomo Meyerbeer: Eine Biografie nach Dokumenten (Berlin, 2014), p. 336; Jean-Claude Yon, ‘Le Prophète, un opéra dans la tourmente politique’, in Brzoska and Strohmann (eds.), Meyerbeer: Le Prophète, p. 152.

13. A. J. Meindre, Histoire de Paris et de son influence en Europe depuis les temps les plus reculés jusqu’à nos jours, 5 vols., (Paris, 1855), vol. 5, p. 332; P. Mansel, Paris Between Empires (London, 2001), p. 354.

14. Robert Letellier, Giacomo Meyerbeer: A Reader (Newcastle, 2007), p. 128. See also Jane Fulcher, ‘Meyerbeer and the Music of Society’, The Musical Quarterly, vol. 67, no. 2, Apr. 1981, pp. 213–29.

15. Jennifer Jackson, Giacomo Meyerbeer: Reputation Without Cause? A Composer and His Critic (London, 2011), p. 83.

16. John Rosselli, The Life of Bellini (Cambridge, 1996), p. 119.

17. Anselm Gerhard, The Urbanization of Opera: Music Theater in Paris in the Nineteenth Century, trans. Mary Whittall (Chicago, 1998), pp. 318–41; Fabien Guilloux, ‘Le Livret du Prophète: Notes en marge d’une édition critique’, in Brzoska and Strohmann (eds.), Meyerbeer: Le Prophète, pp. 41–2.

18. David Charlton (ed.), The Cambridge Companion to Grand Opera (Cambridge, 2003), part IV: ‘On the Italian Assimilation of Grand Opera’; Gloria Staffieri, ‘Grand Opera in Preunified Italy: Metamorphoses of a Political Genre’, The Opera Quarterly, vol. 25, nos. 3–4, July–Oct. 1939, pp. 203–29.

19. See further, Jane Fulcher, The Nation’s Image: French Grand Opera as Politics and Politicized Art (Cambridge, 1987).

20. Véron, Mémoires, vol. 3, p. 104.

21. Steven Huebner, ‘Opera Audiences in Paris 1830–1870’, Music & Letters, vol. 70, no. 2, May 1989, pp. 206–25.

22. BMO, Série FO 143, ‘Académie royale de musique Direction-entreprise Véron, journal des recettes et des dépenses commencé le 1er juin 1831’.

23. Gerhard, Urbanization of Opera, pp. 25–33; William Crosten, French Grand Opera: An Art and a Business (New York, 1948), pp. 27–31; Tamvaco, Les Cancans, pp. 215–16; Véron, Mémoires, vol. 3, p. 115.

24. Véron, Mémoires, vol. 3, p. 182.

25. ANF, AJ/13/187/V, Direction Véron, Représentation de Robert le Diable (1831).

26. Jackson, Giacomo Meyerbeer, p. 104.

27. Henri Blaze de Bury, Meyerbeer et son temps (Paris, 1856), pp. 61–2; Letellier, Meyerbeer: A Reader, p. 368; Robert Letellier, Meyerbeer Studies: A Series of Lectures, Essays and Articles on the Life and Work of Giacomo Meyerbeer (Madison, 2005), p. 23.

28. The Diaries of Giacomo Meyerbeer, trans. Robert Letellier, 4 vols. (Madison, 1999–2004), vol. 1: 1791–1839, p. 16.

29. See Murray Pittock (ed.), The Reception of Sir Walter Scott in Europe (London, 2006).

30. Opieńsky (ed.), Chopin’s Letters, p. 157.

31. Cited in Crosten, French Grand Opera, pp. 62–3.

32. See A. Randier-Glenison, ‘Maurice Schlesinger, éditeur de musique et fondateur de la Gazette musicale de Paris, 1834–1846’, Fontis artis musicae, vol. 38:1, 1991, pp. 37–48; Katharine Ellis, Music Criticism in Nineteenth-Century France: ‘La Revue et Gazette Musicale de Paris’ 1834–1880 (Cambridge, 1995); Katharine Ellis, ‘The Uses of Fiction: Contes and nouvelles in the Revue et Gazette musicale de Paris, 1843–1844’, vol. 90, no. 2, 2004, pp. 253–81; Emily Dolan and John Tresch, ‘A Sublime Invasion: Meyerbeer, Balzac and the Opera Machine’, The Opera Quarterly, vol. 27, no. 1, 2011, pp. 4–31.

33. Rémy Campos, ‘Le commerce de la critique: Journalisme musical et corruption au milieu du xix^e siècle’, Sociétés & Représentations, no. 40, 2015/2 (Autumn), pp. 221–45.

34. John Rosselli, The Opera Industry in Italy from Cimarosa to Verdi: The Role of the Impresario (Cambridge, 1984), p. 144.

35. Crosten, French Grand Opera, pp. 24–5.

36. Kerry Murphy, Hector Berlioz and the Development of French Music Criticism (Ann Arbor, 1988), pp. 53, 70–71; Henry Raynor, Music and Society since 1815 (New York, 1976).

37. Tamvaco, Les Cancans, vol. 1, pp. 285–6.

38. Véron, Mémoires, vol. 3, pp. 232–41; Crosten, French Grand Opera, pp. 41–5; Théophile Gautier, Histoire de l’art dramatique en France, vol. 1, p. 192.

39. Heinrich Heine, ‘Über die französische Bühne: Vertraute Briefe an August Lewald’, in Sämtliche Schriften, ed. Klaus Briegleb, 6 vols. (Munich, 1968), vol. 3, p. 339.

40. Cited in Carlotta Sorba, ‘To Please the Public: Composers and Audiences in Nineteenth-Century Italy’, The Journal of Interdisciplinary History, vol. 36, no. 4, Opera and Society: Part II (Spring 2006), p. 609.

41. Stendhal, Life of Rossini, p. 207 (Stendhal’s emphasis).

42. Robert Letellier, Meyerbeer’s Robert le diable: The Premier Opéra Romantique (Newcastle, 2012), p. 108.

43. Arthur Loesser, Men, Women and Pianos: A Social History (London 1955), pp. 156–7.

44. Ibid, p. 362

45. Ibid., p. 235.

46. Mary Burgan, ‘Heroines at the Piano: Women and Music in Nineteenth-Century Fiction’, in Nicholas Temperley (ed.), The Lost Chord: Essays on Victorian Music (Bloomington, 1989), p. 43.

47. Cyril Ehrlich, The Piano: A History (Oxford, 1976), pp. 10, 27–34, 37, 109–10.

48. Loesser, Men, Women and Pianos, p. 386; Andreas Ballstaedt and Tobias Widmaier, Salonmusik: Zur Geschichte und Funktion einer bürgerlichen Musikpraxis (Wiesbaden, 1989), p. 32.

49. Benjamin Vogel, ‘The Piano as a Symbol of Burgher Culture in Nineteenth-Century Warsaw’, The Galpin Society Journal, vol. 46, Mar. 1993, pp. 137–46.

50. Anne Swartz, ‘Technological Muses: Piano Builders in Russia, 1810–1881’, Cahiers du monde russe, vol. 43, no. 1, Jan.–Mar. 2002, p. 122.

51. Ivan Turgenev, Home of the Gentry, trans. Richard Freeborn (London, 1970), pp. 169–70.

52. Ballstaedt and Widmaier, Salonmusik, p. 194.

53. Leon Botstein, ‘Listening Through Reading: Musical Literacy and the Concert Audience’, 19th-Century Music, vol. 16, no. 2, 1992 (Fall), p. 135.

54. Thomas Christensen, ‘Four-Hand Piano Transcription and Geographies of Nineteenth-Century Musical Reception’, Journal of the American Musicological Society, vol. 52, no. 2, 1999 (Summer), pp. 255–98 (statistics on p. 257).

55. Richard Wagner, My Life, trans. Andrew Gray (Cambridge, 1983), p. 155.

56. H. C. Robbins Landon (ed.), Haydn: Chronicle and Works, 5 vols. (London, 1976–80), vol. 1, pp. 350–51; Blanning, Culture of Power, pp. 166–8.

57. Jan Swafford, Johannes Brahms: A Biography (New York, 1997), p. 153.

58. Jan Swafford, Beethoven: Triumph and Anguish (New York, 2014), pp. 453–4, 477.

59. Ibid., p. 263. See further, Staffan Albinsson, ‘Early Music Copyrights: Did They Matter for Beethoven and Schumann?’, International Review of the Aesthetics and Sociology of Music, vol. 43, no. 2, 2012, pp. 265–302.

60. Rosselli, Life of Bellini, p. 64.

61. Ibid., pp. 75–7; Timothy King, ‘Patronage and Market in the Creation of Opera before the Institution of Intellectual Property’, Journal of Cultural Economics, vol. 25, no. 1, Feb. 2001, p. 40; John Rosselli, ‘Verdi e la storia della retribuzione del compositore italiano’, Studi Verdiani, vol. 2, 1983, p. 17.

62. Guido Zavani (ed.), Donizetti: Vita, musiche, epistolario (Bergamo, 1948), p. 515.

63. Stefano Baia Curioni, Mercanti dell’opera: Storie di Casa Ricordi (Milan, 2011), p. 103; Luke Jensen, Giuseppe Verdi and Giovanni Ricordi with Notes on Francesco Lucca (New York, 1989), p. 40.

64. Curioni, Mercanti dell’opera, p. 107.

65. Ibid., pp. 151–3; Rosselli, ‘Verdi e la storia’, pp. 22–3.

66. Jensen, Giuseppe Verdi, Appendix to ch. 2.

67. Ibid., pp. 35, 41, 73.

68. Curioni, Mercanti dell’opera, pp. 77, 244.

69. Nauhaus (ed.), Marriage Diaries of Robert and Clara Schumann, p. 200.

70. Beatrix Borchard, ‘“Ma chère petite Clara – Pauline de mon coeur”: Clara Schumann et Pauline Viardot, une amitié d’artistes franco-allemande’, Cahiers, no. 20, 1996, p. 138; Fitzlyon, Price of Genius, pp. 210–11.

71. Jackson, Giacomo Meyerbeer, pp. 128–9. See further, Leon Plantinga, Schumann as Critic (New Haven, 1967).

72. PSS, vol. 1, p. 286.

73. Hector Berlioz, Evenings with the Orchestra, ed. and trans. Jacques Barzun (New York, 1956), p. 68.

74. William Weber, ‘The Origins of the Concert Agent in the Social Structure of Concert Life’, in Hans Bödeker, Patrice Veit and Michael Werner (eds.), Le Concert et son public: Mutations de la vie musicale en Europe de 1780 à 1914 (Paris, 2002), p. 134; Jeffrey Cooper, The Rise of Instrumental Music and Concert Series in Paris 1828–1871 (Ann Arbor, 1983), pp. 102–3.

75. Cyril Ehrlich, First Philharmonic: A History of the Royal Philharmonic Society (Oxford, 1995), pp. 33–44.

76. William Weber, ‘Wagner, Wagnerism and Musical Idealism’, in David Large and William Weber (eds.), Wagnerism in European Culture and Politics (Ithaca, NY, 1984), p. 50.

77. Murphy, Hector Berlioz, pp. 137–8.

78. Peter Schmitz, Johannes Brahms und der Leipziger Musikverlag Breitkopf & Härtel (Göttingen, 2009), p. 71.

79. Weber, ‘Wagner, Wagnerism and Musical Idealism’, p. 38.

80. James Garratt, Music, Culture and Social Reform in the Age of Wagner (Cambridge, 2010), p. 117; Botstein, ‘Listening Through Reading’, p. 133; Cecelia Hopkins Porter, ‘The New Public and the Reordering of the Musical Establishment: The Lower Rhine Music Festivals, 1818–67’, 19th-Century Music, vol. 3, no. 3, Mar. 1980, pp. 219–23.

81. William Weber, Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna (London, 1975, new edn 2004), p. 24.

82. Cooper, Rise of Instrumental Music, pp. 69–70.

83. William Weber, The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms (Cambridge, 2008), pp. 162–4.

84. ‘What is the Meaning of the Word “Classical” in a Musical Sense?’, Musical Library Monthly Supplement, no. 25, Apr. 1836, pp. 64–5; Weber, Great Transformation, pp. 122–4.

85. Melanie Stier, Pauline Viardot-Garcia in Grossbritannien und Irland (Hildesheim, 2012), pp. 175–9, 213–16; FM, Gen/G/Gounod/3, Charles Gounod to Henry Chorley, 21 Feb. 1851. See also Nikolai Žekulin, ‘Pauline Viardot et la “Musique ancienne”’, Cahiers, no. 34, 2010, pp. 47–77. The first performance of a full Handel opera after the composer’s death in 1759 was Oskar Hagen’s production of Rodelinda in Göttingen in 1920 (communication by Barbara Diana).

86. Walker, Franz Liszt: The Virtuoso Years, p. 289.

87. Cairns (trans. and ed.), Memoirs of Hector Berlioz, p. 250.

88. HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1887.

89. See James Hudson, Listening in Paris: A Cultural History (Berkeley, Calif., 1995); Richard Sennett, The Fall of Public Man: On the Social Psychology of Capitalism (New York, 1974). See also Weber, Music and the Middle Class, p. xxix.

90. Christina Bashford, ‘Public Chamber-Music Concerts in London, 1835–50: Aspects of History, Repertory and Reception’, Ph.D. diss., King’s College London, 1996, p. 173.

91. Antje Pieper, Music and the Making of Middle-Class Culture: A Comparative History of Nineteenth-Century Leipzig and Birmingham (London, 2008), pp. 99–103.

92. Christopher Gibbs and Dana Gooley (eds.), Franz Liszt and His World (Princeton, 2006), pp. 153–60.

93. Devriès, ‘La “Musique à bon marché”’, p. 231.

94. Garratt, Music, Culture and Social Reform, pp. 117–21.

95. Joel-Marie Fauquet, ‘L’Association des artistes musiciens et l’organisation du travail de 1843 à 1853’, in Hughes Dufourt and J.-M. Fauquet, La Musique et le pouvoir (Paris, 1987), pp. 103–11.

96. Swafford, Beethoven, pp. 934–5; Berlioz, Evenings with the Orchestra, p. 343; Opieńsky (ed.), Chopin’s Letters, p. 295.

97. PSS, vol. 1, pp. 231–2.

98. Ibid., p. 248.

99. Afanasy Fet, Moi vospominaniia, 2 vols. (Moscow, 1890–91), vol. 1, p. 113.

100. PSS, vol. 1, pp. 307–8.

101. Héritte-Viardot, Une famille de grands musiciens, p. 118.

102. See Waddington, ‘Role of Courtavenel’.

103. TMS, pp. 204–8.

104. Michael Steen, Enchantress of Nations. Pauline Viardot: Soprano, Muse and Lover (Cambridge, 2007), p. 153.

105. Zavani (ed.), Donizetti, p. 641.

106. ROH, Collections, SC 1/1/10-11, Frederick Gye Diaries and Correspondence, 18–20 July 1849, 27 Oct. 1850.

107. HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1887.

108. Mackinlay, Garcia the Centenarian, pp. 96–7.

109. Belinda Jack, George Sand: A Woman’s Life Writ Large (London, 2001), p. 304.

110. Jeffrey Kallberg, ‘Chopin in the Marketplace: Aspects of the International Music Publishing Industry’, Notes, vol. 39, no. 3, Mar. 1983, p. 549; Opieńsky (ed.), Chopin’s Letters, p. 169; Tad Szulc, Chopin in Paris: The Life and Times of the Romantic Composer (New York, 1998), p. 223.

111. Breitkopf und Härtel in Paris: The Letters of Their Agent Heinrich Probst between 1833 and 1840, trans. Hans Lenneberg (Stuyvesant, 1990), pp. 25, 61.

112. Kallberg, ‘Chopin in the Marketplace’, p. 550; Opieńsky (ed.), Chopin’s Letters, vol. 1, pp. 334, 358, 648–9.

113. TMS, p. 105.

114. Alan Walker, Fryderyk Chopin: A Life and Times (London, 2018), pp. 564–5.

115. Jean-Jacques Eigeldinger, Chopin vu par ses élèves (Neuchâtel, 1979), p. 264.

116. Carolyn Shuster, ‘Six Mazurkas de Frédéric Chopin transcrites pour chant et piano par Pauline Viardot’, Revue de Musicologie, vol. 75, no. 2, 1989, pp. 265–83. See further Magdalena Chylińska, John Comber and Artur Szklener (eds.), Chopin’s Musical Worlds: The 1840s, trans. John Comber (Warsaw, 2007), pp. 126–37.

117. Cited in Seljak, Ivan Turgenevs Ökonomien, p. 89.

118. Ibid., p. 92.

119. PSS, vol. 1, p. 215.

120. PSS, vol. 1, p. 232.

121. Nikitina (ed.), Letopis zhizni i tvorchestva I. S. Turgeneva, p. 135.

122. PSS, vol. 1, p. 267.

123. BNF, NA Fr. 16274, Papiers Viardot, vol. 7, Lettres adressées à Louis Viardot, f. 23.

124. BNF, Aux Électeurs … de Seine-et-Marne. Louis Viardot [20 Mar. 1848].

125. Jean Larnac, George Sand révolutionnaire (Paris, 1947), p. 163.

126. ANF, AJ/13/180, 2, AJ 13/1160, 9, Correspondence between Ledru-Rollin and Duclot, 1848; ANF, AJ/13/180, 2, Fermeture, ‘Au nom du peuple’, April 1848.

127. TMS, p. 248.

128. Ibid., pp. 249–50.

129. BNF, NA 16274, Papiers de Pauline Viardot, vol. 1, f. 130, Manuel Garcia to Pauline Viardot.

130. Shuster, ‘Six Mazurkas’, p. 270; Mackinlay, Garcia the Centenarian, p. 170; BL MUS 329, f. 129, 31 May 1848; Letter from Paulin Viardot to Lord Falmouth, June 1848, private collection.

131. NYPL, JOE 82-1, 14, Letter from Pauline Viardot to Julius Rietz, 7 June 1839; TMS, p. 256.

132. TMS, p. 259.

133. Brzoska and Strohmann (eds.), Meyerbeer: Le Prophète, pp. 152–6.

134. Diaries of Giacomo Meyerbeer, vol. 2: 1840–1849, p. 296.

135. BNF, NA 16274, Papiers de Pauline Viardot, vol. 3, Lettres adressées à Louis Viardot, ff. 177–8, Meyerbeer to Louis Viardot, 24 June 1848.

136. Zimmermann, Giacomo Meyerbeer, p. 339; Diaries of Giacomo Meyerbeer, vol. 2, pp. 295–8.

137. Letellier, Meyerbeer Studies, p. 196.

138. L’Âne à Baptiste, ou, Le Berceau du socialisme, grande folie lyrique en quatre actes et douze tableaux (Paris, 1849).

139. Zimmermann, Giacomo Meyerbeer, p. 326.

140. Gerhard, Urbanization of Opera, pp. 254 ff.

141. Karin Pendle, Eugène Scribe and French Opera of the Nineteenth Century (Ann Arbor, 1979), pp. 502–4.

142. Frederic Coubes, ‘Pauline Viardot dans Le Prophète’, Cahiers, no. 2, 1978, pp. 109–16.

143. Stier, Pauline Viardot-Garcia in Grossbritannien, pp. 44–6, 50.

144. Gautier, Histoire de l’art dramatique, p. 86.

145. Marie-Hélène Coudroy, La Critique parisienne des ‘grands opéras’ de Meyerbeer (Paris, 1988), p. 11.

146. Brzoska and Strohmann (eds.), Meyerbeer: Le Prophète, p. 158; Giacomo Meyerbeer, Briefwechsel und Tagebücher, ed. Heinz Becker, 8 vols. (Berlin, 1959, 2006), vol. 4, pp. 487–8; Fitzlyon, Price of Genius, p. 245; TMS, p. 273.

147. BMD, 091 VIA, Letter from Pauline Viardot to Mme Puzzi (1849); Meyerbeer, Briefwechsel und Tagebücher, vol. 2, pp. 372–3.

148. FM, GEN/T/Turgenev, Turgenev to Henry Chorley, 6 November 1849.

149. PSS, vol. 1, p. 300.

150. Ibid.; Brzoska and Strohmann (eds.), Meyerbeer: Le Prophète, p. 465; Robert Letellier, The Operas of Giacomo Meyerbeer (Cranbury, NJ, 2006), pp. 197–8; Johannes Weber, Meyerbeer: Notes et souvenirs d’un de ses secrétaires (Paris, 1898), p. 90; Le Journal des débâts, 20 and 29 April, 27 October 1849.

151. Murphy, Hector Berlioz, p. 134; La France musicale, 29 Apr. 1849, p. 3; A. Gozenpud, I. S. Turgenev (St Petersburg, 1994), p. 46; Wellington (ed.), Journal of Eugène Delacroix, p. 102.

152. Wagner, My Life, p. 436.

153. Ibid., pp. 129–42.

154. Tom Kaufman, ‘Wagner v Meyerbeer’, The Opera Quarterly, vol. 19, no. 4, 2003, pp. 648–9.

155. Ibid.

156. Meyerbeer, Briefwechsel und Tagebücher, vol. 3, p. 28.

157. Letellier, Meyerbeer: A Reader, p. 306; Kaufman, ‘Wagner v Meyerbeer’, p. 649.

158. Paul Rose, Wagner: Race and Revolution (London, 1996), pp. 80–82.

159. Hans Becker, Der Fall Heine–Meyerbeer (Berlin, 1958), p. 101; Henri Blaze de Bury, Meyerbeer et son temps, p. 217.

160. Jim Samson, Chopin (Oxford, 1996), p. 260.

161. Benita Eisler, Chopin’s Funeral (London, 2003), p. 3; PSS, vol. 1, p. 332.

162. FM, GEN/T/Turgenev, Turgenev to Henry Chorley, 6 Nov. 1849.

3 THE ARTS IN THE AGE OF MECHANICAL REPRODUCTION

1. ‘La Villa Medicis en 1840: Souvenirs d’un pensionnaire’, Gazette des beaux-arts, 1 April 1901, p. 272; Charles Gounod, Mémoires d’un artiste (Paris, 1896), p. 175.

2. Thérèse Marix-Spire, ‘Gounod and His First Interpreter, Pauline Viardot – Part 1’, The Musical Quarterly, vol. 31, no. 2, Apr. 1945, pp. 195–6.

3. See his letter to Henry Chorley, in which he writes about her input into the first act in which she helped him change the ‘ode of Sapho’, but asks the music critic to keep this to himself: FM, Gen/G/Gounod/1, Charles Gounod to Henry Chorley, 11 Oct. 1850.

4. A. I. Gertsen, Sobranie sochinenii v tridtsati tomakh (Moscow, 1954–64), vol. 24, p. 17.

5. Patrick Waddington, ‘Turgenev and Gounod: Rival Strangers in the Viardots’ Country Nest’, New Zealand Slavonic Journal, no. 2, 1976, p. 14.

6. NCI, vol. 1, p. 41.

7. PSS, vol. 2, p. 21.

8. NCI, vol. 1, pp. 36–9.

9. Ibid., vol. 2, p. 20; Waddington, ‘Turgenev and Gounod’, pp. 18–20.

10. NCI, vol. 1, p. 41.

11. Waddington, ‘Turgenev and Gounod’, p. 25.

12. BNF, NA 16278, Papiers Viardot, IV, Lettres, ff. 368–9, Pauline Viardot to Ivan Turgenev, June 1850; Waddington, ‘Turgenev and Gounod’, pp. 25–7.

13. Ibid., p. 28.

14. I. S. Turgenev, Moskovskoe Vremia (Moscow, 2018), p. 89.

15. A. Ostrovskii, Turgenev v zapiskakh sovremennikov (Leningrad, 1929), pp. 91–2; Turgenevskii sbornik: materialy k polnomu sobranii sochinenii i pisem I. S. Turgeneva, 5 vols. (Moscow, 1964–9), vol. 2, p. 326.

16. PSS, vol. 2, pp. 40–41.

17. Ibid., pp. 71–3.

18. Ibid., pp. 74, 82; Seljak, Ivan Turgenevs Ökonomien, p. 110.

19. BNF, NA Fr. 16274, Papiers Viardot, vol. 7, Lettres adressées à Louis Viardot, George Sand to Louis Viardot, 28 Apr. 1858.

20. Gounod, Mémoires, p. 187.

21. See Steven Huebner, The Operas of Charles Gounod (Oxford, 1990), p. 31.

22. BNF, NA Fr. 16278, Papiers Viardot, vol. 7, Varia, f. 15, 28 Feb. 1851.

23. The Times, 11 Aug. 1851, p. 3. See Stier, Pauline Viardot-Garcia in Grossbritannien, pp. 112 ff.

24. Pauline Viardot to Joaquina Garcia, July 1851, private collection.

25. Paul Young, Globalization and the Great Exhibition: The Victorian New World Order (Basingstoke, 2009), pp. 51–2; Charles Babbage, The Exposition of 1851 (London, 1851), pp. 42–3.

26. Karl Marx and Friedrich Engels, ‘Review: May–October 1850’, Neue Rheinische Zeitung, cited from Marxist-org Internet Archive.

27. Clare Pettitt, Patent Inventions: Intellectual Property and the Victorian Novel (Oxford, 2004), p. 86.

28. Walter Benjamin, The Arcades Project, ed. Rolf Tiedemann, trans. Howard Eiland and Kevin McLaughlin (New York, 2002).

29. Pettitt, Patent Inventions, pp. 145–6; Charles Fay, The Palace of Industry 1851 (Cambridge, 1951), p. 53.

30. Valentin Kovalev, ‘Zapiski okhotnika’, I. S. Turgeneva: voprosy genezisa (Moscow, 1980), pp. 54–8; V. P. Botkin and I. Turgenev, Neizdannaia perepiska, 1851–1869 (Moscow–Leningrad, 1930), p. 12.

31. W. Rowe, Through Gogol’s Looking Glass (New York, 1976), p. 113; PSS, vol. 2, p. 122.

32. GJ, vol. 2, p. 499.

33. A. Dunin, ‘Ssylka I. S. Turgeneva v Orlovskuiu gub.’, Minuvshchie gody, no. 8, 1908, pp. 34–6; Vsemirnyi vestnik, no. 1, 1901, Prilozhenie (Appendix), p. 31; Waddington, ‘Some Gleanings on Turgenev’, p. 211; PSS, vol. 2, pp. 134–5.

34. PSS, vol. 2, p. 135; Kovalev, ‘Zapiski okhotnika’, p. 196; Yulian Oksman, I. S. Turgenev. Issledovaniia i materialy (Odessa, 1921), pp. 18–20, 31–42.

35. Russkoe bogatstvo, no. 8, August 1894, p. 476.

36. B. Sokolov, ‘Muzhik v izobrazhenii Turgeneva’, in I. N. Rozanov and Iu. M. Sokolov (eds.), Tvorchestvo Turgeneva: svornik statei (Moscow, 1920), p. 203.

37. See e.g. ‘Photographs from Russian Life’, Fraser’s Magazine, Aug. 1854, p. 210; Alphonse de Lamartine, ‘Littérature Russe: Ivan Tourgueneff: CXXXI Entretien’, in Cours familier de littérature par mois (Paris, 1866); N.M., ‘Cherty iz parizhskoi zhizni I. S. Turgeneva’, Russkaia mysl’, no. 11, 1883, p. 325.

38. Kovalev, ‘Zapiski okhotnika’, p. 120; Patrick Waddington, Turgenev and George Sand: An Improbable Entente (London, 1981), p. 66.

39. Dunin, ‘Ssylka’, p. 38; PSS, vol. 2, pp. 34, 40, 42–3, 165, 197.

40. HL, MUS 232/10, Meyerbeer to Pauline Viardot, 14 May 1852.

41. PSS, vol. 2, 159; T. N. Livanova, Opernaia kritika v Rossii, vol. 1, vyp. 2 (Moscow, 1967), pp. 11, 34.

42. HL, MUS 264 (76), Pauline Viardot to Louis Viardot, 17 Mar., 22 Apr. 1853; Pauline Viardot to Louis Viardot, 25 Apr. 1853, private collection.

43. HL, MUS 264 (76), Pauline Viardot to Louis Viardot, 27 Mar. 1853.

44. Philip Taylor, Anton Rubinstein: A Life in Music (Bloomington, 2007), p. 41; V. T. Sokolov, ‘A. S. Dargomyzhskii v 1856–1869 gg.’, Russkaia Starina, vol. 46, no. 5, 1885, p. 345.

45. PSS, vol. 2, p. 200; Fitzlyon, Price of Genius, pp. 291–2.

46. ‘Turgenev v dnevnike P. A. Vasil’chikova’, in I. S. Turgenev. Novye materialy i issledovaniia: Literaturnoe Nasledstvo (Moscow, 1967), p. 349; Dunin, ‘Ssylka’, p. 37; PSS, vol. 2, p. 244.

47. Soch., vol. 7, pp. 220–29.

48. Seljak, Ivan Turgenevs Ökonomien, pp. 114–16, 491; PSS, vol. 3, pp. 62, 77, 143.

49. René Bouvier and Édouard Maynial, Les Comptes dramatiques de Balzac (Paris, 1938), p. 85. Honoré de Balzac, Correspondance, ed. Roger Pierrot (Paris, 1962), vol. 2, pp. 621, 740.

50. Pettitt, Patent Inventions, p. 65; Christophe Charle, ‘Le Champ de la production littéraire’, in Chartier and Martin (eds.), Le Temps des éditeurs (Paris, 1985), vol. 3, pp. 148–50.

51. Frédéric Barbier, ‘Le commerce international de la librairie française au XIXe siècle (1815–1913)’, Revue d’histoire moderne et contemporaine, vol. 28, no. 1, 1981, pp. 94–117.

52. Christine Haynes, Lost Illusions: The Politics of Publishing in Nineteenth-Century France (Cambridge, Mass., 2010), p. 76; Herman Dopp, La Contrefaçon des livres français en Belgique 1815–1852 (Louvain, 1932), pp. 74–6, 81, 94.

53. Catherine Seville, The Internationalisation of Copyright Law: Books, Buccaneers, and the Black Flag in the Nineteenth Century (Cambridge, 2006), p. 16; Peter Baldwin, The Copyright Laws: Three Centuries of Trans-Atlantic Battle (Princeton, 2014), p. 110; Richard Swartz, ‘Wordsworth, Copyright, and the Commodities of Genius’, Modern Philology, vol. 89, no. 4, 1992, pp. 482–509; T. B. Macaulay, Speeches by Lord Macaulay: With His Minute on Indian Education, ed. G. M. Young, Oxford, 1935, p. 164.

54. Isabelle Diu and Élisabeth Parinet, Histoire des auteurs (Paris, 2013), pp. 344–7.

55. Graham Robb, Balzac: A Biography (London, 1994), p. 239; Honoré de Balzac, ‘Lettre adressée aux écrivains français du XIXe siècle’, in Oeuvres diverses, ed. Pierre-George Castex, vol. 2 (Paris, 1990), p. 1250.

56. Victor Hugo, Oeuvres complètes de Victor Hugo: Actes et paroles, 3 vols. (Paris, 1937–40), vol. 1, pp. 306–8.

57. Stephan Füssel, Schiller und seine Verleger (Frankfurt, 2005), p. 311; Michael Westren, ‘Development and Debate over Copyright in Imperial Russia, 1828–1917’, Russian History, vol. 38, nos. 1–2, Spring–Summer 2003, p. 160.

58. Maria Iolanda Palazzolo, ‘I tre occhi dell’editore: Cultura meridionale e mercato librario tra Otto e Novecento’, Meridiana, no. 5, ‘Città’, 1989, pp. 169–98.

59. Alessandro Manzoni, Epistolario di Alessandro Manzoni, ed. Giovanni Sforza, 2 vols. (Milan, 1883), vol. 2, pp. 49–53.

60. Laura Forti, ‘Alle origini dell’industria musicale italiana: Casa Ricordi e il diritto d’autore (1808–1892)’, diss., Università Commerciale Luigi Bocconi, 2006, pp. 29–50; Curioni, Mercanti dell’opera, p. 80.

61. Olivero, ‘Paperback Revolution’, in Spiers (ed.), Culture of the Publisher’s Series, vol. 1, p. 83.

62. Chartier and Martin (eds.), Histoire de l’édition française, vol. 3, pp. 138–9, 197–202; Diu and Parinet, Histoire des auteurs, p. 171; Ernest Vizetelly, Emile Zola: Novelist and Reformer (London, 1904), p. 114.

63. GJ, vol. 2, p. 867; George Sand, Correspondance, ed. Georges Lubin, 26 vols. (Paris, 1964–91), vol. 22, pp. 32, 45.

64. Haynes, ‘The Politics of Authorship’, p. 106; Frederick Brown, Flaubert: A Biography (London, 2007), pp. 429–30.

65. Kathryn Hughes, George Eliot: The Last Victorian (London, 1998), pp. 210–11.

66. Diu and Parinet, Histoire des auteurs, p. 369.

67. Émile Zola, ‘Gustave Flaubert’, Oeuvres complètes, 21 vols., ed. Henri Mitterand (Paris, 2002–10), vol. 10, p. 151; Francis Steegmuller (ed. and trans.), The Letters of Gustave Flaubert, 1857–1880 (London, 1982), p. 78.

68. Simon Nowell-Smith, International Copyright Law and the Publisher in the Reign of Queen Victoria (Oxford, 1968), pp. 43–4; A. Parménie and C. Bonnier de la Chapelle, Histoire d’un éditeur et de ses auteurs: P.-J. Hetzel (Paris, 1953), pp. 233–4.

69. Barbier, ‘Le commerce international de la librairie française’, pp. 97–9.

70. Jean-Yves Mollier, ‘Les Réseaux des libraires européens au milieu du XIXe siècle: L’Exemple des correspondants de la maison d’édition Michel Lévy frères, de Paris’, in Barbier (ed.), Est–ouest, pp. 126–31. For more on Lacroix and Les Misérables, see David Bellos, The Novel of the Century: The Extraordinary Adventure of ‘Les Misérables’ (London, 2017).

71. Jules Hetzel, La Propriété littéraire et le domaine public payant (Brussels, 1860), p. 48.

72. ANF, AJ 13/1178, Le Droit, Journal des Tribunaux, 16 Oct. 1856, ff. 1–2.

73. Forti, ‘Alle origini dell’industria musicale italiana’, p. 40.

74. Nicholas Žekulin, ‘Early Translations of Turgenev’s “Zapiski okhotnika” into German, French and English’, New Zealand Slavonic Journal, Festschrift in honour of Patrick Waddington (1994), pp. 229–34.

75. ‘Photographs from Russian Life’, p. 210; ‘Zapiski okhotnika’, I. S. Turgeneva (1852–1952): sbornik statei i materialov (Orel, 1955), pp. 45–7, 112–16.

76. Pavel Annenkov, The Extraordinary Decade: Literary Memoirs, ed. Arthur P. Mendel, trans. Irwin R. Titunik (Ann Arbor, 1968), p. 201.

77. Xavier Darcos, ‘Mérimée slavophile’, Cahiers, no. 27, 2003, p. 15; Gilbert Phelps, The Russian Novel in English Fiction (London, 1956), p. 16; John L. Chamberlain, ‘Notes on Russian Influences on the Nineteenth-Century French Novel’, The Modern Language Journal, vol. 33, no. 5, 1949, pp. 374–6.

78. M. Cadot, La Russie dans la vie intellectuelle française (1839–1856) (Paris, 1967), p. 428; Wellington (ed.), Journal of Eugène Delacroix, p. 218.

79. Christophe Charle, Les Intellectuels en Europe au xix^e siècle: Essai d’histoire comparée (Paris, 1996), pp. 123–7.

80. Michel Espagne, Le Paradigme de l’étranger: Les Chaires de littérature étrangère au xix^e siècle (Paris, 1993), pp. 156–7, 195, 275; Thomas Loué, ‘La Revue des deux mondes et ses libraires étrangers dans la lutte contre la contrefaçon belge (1848–52)’, in Mollier (ed.), Le Commerce de la librairie, p. 327.

81. Sassoon, The Culture of the Europeans, pp. 33, 51.

82. Chevrel, D’hulst and Lombez (eds.), Histoire des traductions, pp. 266 ff.

83. Lieven D’hulst, ‘Traduire L’Europe en France entre 1810 et 1840’, in Michel Ballard (ed.), Europe et traduction (Ottawa, 1998), pp. 137–55; Chevrel, D’hulst and Lombez (eds.), Histoire des traductions, pp. 286, 293–4; Michael Hollington (ed.), The Reception of Charles Dickens in Europe, 2 vols. (London, 2013), vol. 1, pp. 20, 169.

84. Sassoon, Culture of the Europeans, p. 39; Peter France and Kenneth Haynes (eds.), The Oxford History of Literary Translation in English, vol. 4: 1790–1900 (Oxford, 2006), p. 34.

85. Norbert Bachleitner, ‘Produktion, Tausch und Übersetzung im österreichischen Buchhandel im 19. Jahrhundert’, in Barbier (ed.), Est–ouest, pp. 115, 122.

86. Isabelle Olivero, L’Invention de la collection: De la diffusion de la littérature et des savoirs à la formation du citoyen au XIXe siècle (Paris, 1999), p. 106; Jean-François Botrel, ‘L’Exportation des livres et modèles éditoriaux français en Espagne et en Amérique latine (1814–1914)’, in Jacques Michon and Jean-Yves Mollier (eds.), Les Mutations du livre et de l’édition dans le monde du XVIIIe siècle à l’an 2000 (Paris, 2001), p. 224.

87. Sassoon, Culture of the Europeans, p. 51; Adriaan van der Weel, ‘Nineteenth-Century Literary Translations from English in a Book Historical Context’, in Martine de Clercq, Tom Toremans and Walter Verschueren (eds.), Textual Mobility and Cultural Transmission (Leuven, 2006), pp. 27–40.

88. Philippe Régnier, ‘Littérature nationale, littérature étrangère au XIXe siècle: La Fonction de la Revue des deux mondes entre 1829 et 1870’, in Michel Espagne and Michael Werner (eds.), Philologiques. III. Qu’est-ce qu’une littérature nationale? Approches pour une théorie interculturelle du champ littéraire (Paris, 1994), p. 300.

89. Hollington (ed.), Reception of Charles Dickens in Europe, vol. 1, pp. xxv–xxviii, 6–7, which incorrectly dates the first Russian translation of a work by Dickens, Dombey and Son, in 1847. The Pickwick Papers was translated into Russian in an abridged edition in 1838, and in a complete edition in 1840.

90. Cited in Stephen Regan (ed.), The Nineteenth-Century Novel: A Reader (London, 2001), p. 23. See further, Joseph T. Flibbert, ‘Dickens and the French Debate over Realism: 1838–1856’, Comparative Literature, vol. 23, no. 1, 1971 (Winter), pp. 18–31.

91. Hollington, Reception of Charles Dickens in Europe, pp. 20 ff.

92. Patrick Waddington, ‘Dickens, Pauline Viardot, Turgenev: A Study in Mutual Admiration’, New Zealand Slavonic Journal, no. 1, 1974, pp. 59–60.

93. Ibid., p. 60.

94. Champfleury, Le Réalisme (Paris, 1857), p. 6.

95. Elizabeth Barrett Browning, Aurora Leigh (New York, 1996), p. 149.

96. Champfleury, Réalisme, p. 2.

97. George Eliot, ‘The Natural History of German Life’, The Essays of ‘George Eliot’ Complete, ed. Nathan Sheppard (New York, 1883), p. 143; Aleksandr Zviguil’skii, Ivan Turgenev i Frantsiia: Sbornik statei (Moscow, 2010), p. 92.

98. Peter James Bowman, ‘Fontane and the Programmatic Realists: Contrasting Theories of the Novel’, The Modern Language Review, vol. 103, no. 1, Jan. 2008, pp. 130–31. On Turgenev and Viedert, see Vladimir Viedert and Nicholas Žekulin, ‘The Viedert– Turgenev Correspondence’, New Zealand Slavonic Journal, 1991, pp. 1–50.

99. Eliot, ‘Natural History of German Life’, p. 271. See further, John Rignall, George Eliot, European Novelist (Farnham, 2011).

100. PSS, vol. 2, pp. 191, 201, 205, 306; Zvig., p. 168.

101. Elizabeth McCauley, Industrial Madness: Commercial Photography in Paris, 1848–1871 (New Haven, 1994), pp. 39, 73; Elizabeth McCauley, A. A. E. Disdéri and the Carte de Visite Portrait Photograph (London, 1985); Peter Hamilton and Roger Hargreaves, The Beautiful and the Damned: The Creation of Identity in Nineteenth-Century Photography (London, 2001); Quentin Bajac, ‘“Une branche d’industrie assez importante”: L’Économie de daguerréotype à Paris, 1839–1850’, in Le Daguerréotype français: Un objet photographique (Paris, 2003), pp. 47–8.

102. Charles Baudelaire, ‘Le Public moderne et la photographie: Lettre à M. le Directeur de la Revue française sur le Salon de 1859’, Revue française, vol. XVII, 20 June 1859, p. 263.

103. Galerie des contemporains. Texte biographie par Dollingen. Portraits en pied, photographés par Disdéri (Paris, 1861).

104. NYPL, JOE 82-1, 32, Letter from Pauline Viardot to Julius Rietz, 23 Apr. 1859; TMS, p. 286.

105. Theodore Zeldin, France, 1848–1945, 2 vols. (Oxford, 1973–7), vol. 2: Intellect, Taste and Anxiety, pp. 435–6; Dominique de Font-Réaulx, Painting and Photography: 1839–1914 (Paris, 2012), pp. 144 ff; Hamilton and Hargreaves, Beautiful and the Damned, p. 45.

106. There is an extensive literature on Dickens, English realist literature and the impact of photography in the mid-Victorian era. For a good introduction, see Nancy Armstrong, Fiction in the Age of Photography: The Legacy of British Realism (Cambridge, Mass., 1999).

107. Charles Dickens, Bleak House (1853).

108. See e.g. Gustave Flaubert, Correspondance, 5 vols., eds. Jean Bruneau and Yvan Leclerc (Paris, 1973–2007), vol. 2, p. 35 (letter to Louise Colet, 16 Jan. 1852).

109. GJ, vol. 1, p. 642.

110. Flaubert, Sentimental Education, p. 25.

111. Roland Barthes, ‘The Reality Effect’, The Rustle of Language, trans. Richard Howard (New York, 1986), pp. 141–8.

112. Champfleury, Réalisme, p. 96.

113. Viardot, Espagne et beaux-arts, p. 353.

114. Charles Baudelaire, ‘The Salon of 1859’, in The Mirror of Art: Critical Studies (London, 1955), pp. 228–9.

115. Roubert Paul-Louis, ‘La critique de la photographie, ou la genèse du discours photographique dans la critique d’art, 1839–1859’, Sociétés & Représentations, no. 40, 2015/2 (Autumn), pp. 213–14.

116. Émile Zola, ‘L’École française de peinture à l’exposition de 1878’, Oeuvres complètes, pp. 992–3.

117. Albert de la Fizilière, ‘Les Auberges illustrées’, L’Illustration, vol. 22, 24 Dec. 1853, p. 425.

118. See the John Rand Collection at the Smithsonian Institution: http://www.aaa.si.edu/collections/john-goffe-rand-papers-6737/more.

119. On the impact of photography on the Barbizon landscape painters, see: Kermit Champa, The Rise of Landscape Painting in France: Corot to Manet (Manchester, NH, 1991), pp. 82 ff; André Jammes and Eugenia Janis, The Art of French Calotype (Princeton, 1983), pp. 82–91; Kimberly Jones et al., In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet (New Haven, 2008), pp. 154–63; Malcolm Daniel, Eugène Cuvelier: Photographer in the Circle of Corot (New York, 1996), pp. 13–15; Aaron Scharf, Art and Photography (London, 1979), pp. 77–9, 89–92.

120. I. S. Zil’bershtein, ‘Vospomonaniia I. E. Tsvetkova, 1874’, in I. S. Turgenev. Novye materialy i issledovaniia: Literaturnoe Nasledstvo, p. 417.

121. I. S. Turgenev, Sketches from a Hunter’s Album (1852), p. 247; Alphonse Daudet, Quarante ans de Paris, 1857–1897 (Geneva, 1946), p. 268. See also Cynthia Marsh, ‘Turgenev and Corot: An Analysis of the Comparison’, The Slavonic and East European Review, vol. 61, no. 1, Kiev Congress Papers, Jan. 1983, pp. 107–17.

122. René Brimo, L’Évolution du goût aux États-Unis d’après l’histoire des collections (Paris, 1938), p. 51.

123. Simon Kelly, ‘Early Patrons of the Barbizon School: The 1840s’, Journal of the History of Collections, vol. 16, no. 2, 2004, pp. 161–72; Rolande Miquel and Pierre Miquel, Théodore Rousseau: 1812–1867 (Paris, 2010), p. 110.

124. Nicholas Green, The Spectacle of Nature: Landscape and Bourgeois Culture in Nineteenth-Century France (Manchester, 1990), pp. 118–19; Jones et al., In the Forest of Fontainebleau, pp. 21–3.

125. Petra ten-Doesschate Chu (ed. and trans.), The Letters of Gustave Courbet (Chicago, 1992), pp. 60, 98–9.

126. Petra ten-Doesschate Chu, The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media Culture (Princeton, 2007), pp. 50–52, 148.

127. Cited in Font-Réaulx, Painting and Photography, p. 60.

128. BNF, Yb3 1739 (1)-4, Gustave Courbet to Champfleury, Nov. 1854.

129. Ibid., Courbet to Champfleury, Nov. 1854. For this interpretation of L’Atelier: Béatrice Joyeux-Prunel, Les Avant-gardes artistiques 1848–1918 (Paris, 2015), p. 53.

130. Paris Universal Exhibition, 1855. Catalogue of the Works Exhibited in the British Section of the Exhibition, in French and English; Together with Exhibitors’ Prospectuses, Prices Current, &c. (London, 1855), p. 2.

131. Pierre Assouline, Discovering Impressionism: The Life of Paul Durand-Ruel (New York, 2004), p. 58.

132. Gerstle Mack, Gustave Courbet (New York, 1951), p. 137. See further, Oskar Bätschmann, The Artist in the Modern World: The Conflict between Market and Self-Expression (Cologne, 1997), pp. 122–30.

133. Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, trans. J. A. Underwood (London, 2008), p. 12.

134. Bayer and Page, Development of the Art Market in England, pp. 86, 247.

135. Ibid., p. 120; Jeremy Maas, Gambart: Prince of the Victorian Art World (London, 1975), pp. 115–16. Gambart outlined the business plan in a letter to his fellow print dealer George Pennell on 12 Nov. 1860. It is reproduced in Robert Verhoogt, Art in Reproduction: Nineteenth-Century Prints after Lawrence Alma-Tadema, Jozef Israëls and Ary Scheffer (Amsterdam, 2007), pp. 185–6.

136. Pamela Fletcher, ‘Creating the French Gallery: Ernest Gambart and the Rise of the Commercial Art Gallery in Mid-Victorian London’, Nineteenth-Century Art Worldwide, vol. 6, no. 1, 2007 (Spring).

137. Goupil’s exploitation of this legal loophole led to a lawsuit brought by the descendants of Scheffer, Delaroche and Vernet against his company. See Agnès Penot, La Maison Goupil: Galerie d’art internationale au XIXe siècle (Paris, 2017), pp. 56–7.

138. Verhoogt, Art in Reproduction, pp. 292–4, 304.

139. Henri Béraldi, Les Graveurs du XIXe siècle, 12 vols. (Paris, 1885–92), vol. 12, p. 17.

140. Émile Zola, ‘Nos peintres au Champ-de-Mars’, Écrits sur l’art (Paris, 1991), p. 184.

141. PSS, vol. 2, pp. 279, 283, 305, 315; vol. 3, p. 11.

142. Aileen Kelly, Toward Another Shore: Russian Thinkers between Necessity and Chance (New Haven, 1998). p. 41.

143. PSS, vol. 2, p. 320.

144. PSS, vol. 3, pp. 85, 106, 117.

145. Ibid., pp. 132, 134.

146. Mark Everist, ‘Enshrining Mozart: Don Giovanni and the Viardot Circle’, 19th-Century Music, vol. 25, nos. 2–3, 2001–2 (Fall/Spring), pp. 165–72; Catherine Vallet-Collot, ‘Don Giovanni: Un manuscrit légendaire’, Revue de la BNF, no. 54, 2017/1, pp. 108–19.

147. NYPL, JOE 82-1, 12, 7, Letter from Pauline Viardot to Julius Rietz, 7 Jan. 1859; Saint-Saëns, Musical Memories, p. 148; Héritte-Viardot, Une famille de grand musiciens, p. 93.

148. John Forster, The Life of Charles Dickens, ed. B. W. Matz, 2 vols. (London, 1911), vol. 2, p. 185; Waddington, ‘Dickens, Pauline Viardot, Turgenev’, pp. 56–8.

149. BNF, NA 16274, Papiers de Pauline Viardot, vol. 1, f. 255, Gounod to Pauline Viardot.

150. Thérèse Marix-Spire, ‘Gounod and His First Interpreter, Pauline Viardot – Part II’, The Musical Quarterly, vol. 31, no. 3, July 1945, pp. 299–317; PSS, vol. 2, p. 141.

4 EUROPEANS ON THE MOVE

1. PSS, vol. 3, p. 201.

2. Ibid., pp. 195, 219.

3. LI, pp. xvi, 83–4, 89.

4. I. S. Zil’bershtein, ‘Poslednii dnevnik Turgeneva’, IPA, vol. 1, p. 366.

5. PSS, vol. 3, pp. 161–2, 251.

6. NYPL, JOE 82-1, 10, Letter from Pauline Viardot to Julius Rietz, 1 Jan. 1859.

7. Zil’bershtein, ‘Poslednii dnevnik Turgeneva’, p. 366.

8. BNF, NA Fr. 16278, Papiers Viardot, vol. 7, Varia, ff. 74–6, Testament de Louis Viardot.

9. PSS, vol. 4, p. 211; Zvig., p. 28; Kendall-Davies, The Life and Work of Pauline Viardot-Garcia, vol. 1, p. 416.

10. Schapiro, Turgenev, p. 163; PSS, vol. 3, pp. 236, 257.

11. Botkin and Turgenev, Neizdannaia perepiska, 1851–1869, pp. 116–17, 138–9.

12. Fet, Moi vospominaniia, vol. 1, p. 212; PSS, vol. 3, p. 264.

13. IRL RAN, f. 365 (Botkin), op. 1, d. 68, l. 107; I. M. Grevs, Turgenev i Italia (Leningrad, 1925), pp. 33–41; PSS, vol. 3, pp. 269, 278.

14. Ivan Turgenev, ‘Poezdka v Al’bano i Frascati’, in Soch., vol. 11, p. 81; PSS, vol. 3, p. 307.

15. Ivan Turgenev, Literary Reminiscences, trans. David Magarshack (Chicago, 1958), p. 193; Richard Freeborn, ‘Turgenev at Ventnor’, Slavonic and East European Review, vol. 51, no. 124, July 1973, pp. 387–8.

16. P. V. Annenkov, Literaturnye vospominaniia (Moscow, 1960), p. 452.

17. Freeborn, ‘Turgenev at Ventnor’, p. 389.

18. Allan Mitchell, The Great Train Race (New York, 2000), p. 70; James M. Brophy, Capitalism, Politics and Railroads in Prussia, 1830–1870 (Columbus, 1998), p. 70.

19. GJ, vol. 2, p. 2.

20. Jeremy Black, The British Abroad: The Grand Tour in the Eighteenth Century (New York, 1992), pp. 7–12, 57–9; John Towner, ‘The Grand Tour: A Key Phase in the History of Tourism’, Annals of Tourism Research, vol. 12, no. 3, 1985, pp. 310–12; Jozsef Borocz, ‘Travel-Capitalism: The Structure of Europe and the Advent of the Tourist Source’, Comparative Studies in Society and History, vol. 34, no. 4, Oct. 1992, pp. 710–12; Jan Palmowski, ‘Travels With Baedeker – The Guidebook and the Middle Classes in Victorian and Edwardian Britain’, in Rudy Koshar (ed.), Histories of Leisure (Oxford, 2002), p. 107; ‘A Flight’, Household Words, 30 August 1851.

21. Borocz, ‘Travel-Capitalism’, p. 721.

22. The Edinburgh Review, vol. 138, no. 282, Oct. 1873, p. 497; Theodor Fontane, ‘Modernes Reisen: Eine Plauderei’ (1873), in Von, vor und nach der Reise: Plaudereien und kleine Geschichten (Berlin, 1999), p. 5.

23. PSS, vol. 3, pp. 216, 231; Exhibition of Art Treasures of the United Kingdom, Held at Manchester in 1857: Report of the Executive Committee (Manchester, 1859). Elizabeth A. Pergram, The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, Connoisseurs and the Public (Farnham, 2011), p. 63.

24. Nick Prior, Museums and Modernity (Oxford, 2002), pp. 37 ff; James J. Sheehan, Museums in the German Art World: From the End of the Old Regime to the Rise of Modernism (Oxford, 2000), pp. 83–4.

25. Ian Ousby, The Englishman’s England: Taste, Travel and the Rise of Tourism (London, 1990), pp. 38–9; Gail Marshall, ‘Women Re-Read Shakespeare Country’, in Nicola Watson (ed.), Literary Tourism and Nineteenth-Century Culture (Basingstoke, 2009), p. 95; Bodo Plachta, ‘Remembrance and Revision: Goethe’s Houses in Weimar and Frankfurt’, in Herald Hendrix (ed.), Writers’ Houses and the Making of Memory (London, 2007), p. 55.

26. Barbara Schaff, ‘John Murray’s Handbooks to Italy: Making Tourism Literary’, in Watson (ed.), Literary Tourism, pp. 106 ff; Handbook for Travellers in Central Italy, 5th edn (London, 1858), p. 270; The Complete Works of Charles Dickens: Pictures from Italy and American Notes (New York, 2009), pp. 65–6.

27. On Joanne and the Viardots: TMS, p. 174; Daniel Nordman, ‘Les Guides-Joanne: Ancêtres des Guides-Bleus’, in Pierre Nora (ed.), Les Lieux de mémoire, II: La Nation, 3 vols. (Paris, 1986), vol. 1, pp. 530–35.

28. John Mackenzie, ‘Empires of Travel: British Guidebooks and Cultural Imperialism in the Nineteenth and Twentieth Centuries’, in John Walton (ed.), Histories of Tourism: Representation, Identity and Conflict (Clevedon, 2005), p. 22; Nicholas Parsons, Worth the Detour: A History of the Guidebook (Thrupp, 2007), p. 182; John R. Gretton, Introduction in W. B. C. Lister (ed.), A Bibliography of Murray’s Handbooks for Travellers (Dereham, 1993), p. ii.

29. Johann Ebel, Anleitung auf die nützlichste und genussvollste Art die Schweiz zu bereisen, 2 vols. (Zurich, 1793).

30. JMA, MS.40035, Karl Baedeker to John Murray, 20 Oct. 1852.

31. Rudy Koshar, ‘What Ought to be Seen: Tourist Guidebooks and National Identities in Modern Germany and Europe’, Journal of Contemporary History, vol. 33, no. 3, 1998, p. 323.

32. Jemima Morrell, Miss Jemima’s Swiss Journal (London, 1963), p. 23; Henri Heine, Reisebilder: Tableaux de voyages, 2 vols. (Paris, 1856), vol. 2, p. 171; Michal Wiszniewski, Podrdz do Wioch, Sycylii i Malty, ed. H. Barycz (Warsaw, 1982), p. 110; John Pemble, The Mediterranean Passion: Victorians and Edwardians in the South (Oxford, 1987), p. 72.

33. James Buzard, The Beaten Track: European Tourism, Literature, and the Ways to ‘Culture’ 1800–1918 (Oxford, 1993), p. 77.

34. Charles Dickens, The Complete Works of Charles Dickens (in 30 volumes, Illustrated), vol. 1: Little Dorrit (London, 2009), p. 201.

35. Jill Steward, ‘“How and Where to Go”: The Role of Travel Journalism in Britain and the Evolution of Foreign Tourism, 1840–1914’, in Walton (ed.), Histories of Tourism, p. 46; TCA, Cook’s Excursionist and International Tourist Advertiser, 28 August 1863, p. 5; Guide to Cook’s Tours in France, Switzerland and Italy (London, 1865), p. 32.

36. ‘Continental Excursionists’, Blackwood’s Magazine, vol. 97, Jan.–June 1865, pp. 231–2.

37. Edward Cook and Alexander Wedderburn (eds.), The Works of John Ruskin, 39 vols. (London, 1903–12), vol. 5, pp. 380–81; vol. 18, p. 89.

38. Fontane, Modernes Reisen, p. 5.

39. Ivan Turgenev, ‘Iz-za granitsy: pis’mo pervoe’, in Soch., vol. 11, pp. 303–7.

40. See Buzard, Beaten Track, chs. 1 and 2.

41. Mollier, Louis Hachette, p. 343; Chartier and Martin, Histoire de l’édition française, vol. 3, p. 39.

42. Elsa Damien ‘Ruskin vs. Murray: Battles for Tourist Guidance in Italy’, Nineteenth-Century Contexts, vol. 32, no. 1, 2010, pp.19–30; Keith Hanley and John Walton, Constructing Cultural Tourism: John Ruskin and the Tourist Gaze (Bristol, 2010), pp. 78, 133–4, 144–5.

43. See Maxence Mosseron, ‘Du “grand musée européen” au musée intérieur: Frontières de l’art et de la création chez Théophile Gautier’, Romantisme, no. 173, Mar. 2016, pp. 79–87.

44. Beaulieu, ‘Louis-Claude Viardot’, pp. 243–62.

45. J. Towner, An Historical Geography of Recreation and Tourism in the Western World, 1540–1940 (New York, 1996), pp. 106–11; Black, British Abroad, pp. 10, 23, 59.

46. Parsons, Worth the Detour, p. 203; Rolf Lessenich, ‘Literary Views of English Rhine Romanticism, 1760–1860’, European Romantic Review, vol. 10, nos. 1–4, 1999, p. 497.

47. Mary Shelley, Frankenstein, or The Modern Prometheus (Oxford, 1969), p. 155; George Byron, Childe Harold’s Pilgrimage, in The Poetical Works of Lord Byron (London, 1837), p. 34.

48. Cecelia Hopkins Porter, The Rhine as Musical Metaphor: Cultural Identity in German Romantic Music (Boston, 1996), pp. 46–53, 61, 112, 120–22.

49. Michael Heafford, ‘Between Grand Tour and Tourism: British Travellers to Switzerland in a Period of Transition, 1814–1860’, Journal of Transport History, 3rd Series, vol. 27, no. 1, March 2006, pp. 25–47.

50. Catherine Lavenir, La Roue et le Stylo: Comment nous sommes devenus touristes (Paris, 1999), pp. 299 ff; Alain Corbin, The Lure of the Sea: The Discovery of the Seaside in the Western World, 1750–1840 (Los Angeles, 1994), pp. 270–77; Peter Borsay and John K. Walton (eds), Resorts and Ports: European Seaside Towns since 1700 (Buffalo, 2011), pp. 39–40; Gabriel Désert, La Vie quotidienne sur les plages normandes du Second Empire aux Années folles (Paris, 1883), pp. 59–60. On the Bohemian spa towns: Mirjam Zadoff, Next Year in Marienbad: The Lost Worlds of Jewish Spa Culture, trans. William Templer (Philadelphia, 2007).

51. See John Davis, The Victorians and Germany (Oxford, 2007).

52. John Pudney, The Thomas Cook Story (London, 1953), p. 74; Mark Twain, Innocents Abroad (Oxford, 1996), p. 427.

53. The Times, 12 Jan. 1850.

54. Théophile Gautier, Les Beaux-Arts en Europe, 1855 (Paris, 1855), pp. 1–2; Patricia Mainardi, Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867 (New Haven, 1989), p. 70.

55. Théophile Thoré, ‘Des tendances de l’art au xix^e siècle’, Revue universelle des arts, vol. 1, 1855, p. 83.

56. ‘Tourguéniev et la France: Actes du Congrès International de Bougival, 8–9 Mai 1981’, Cahiers, no. 5, 1981, p. 35; Phelps, Russian Novel in English Fiction, p. 54; PSS, vol. 1, p. 284, and vol. 2, p. 27; Annenkov, Extraordinary Decade, p. 203.

57. Emmanuel de Las Cases, Mémorial de Saint-Hélène, 2 vols. (Paris, 1842), vol. 2, pp. 144–5.

58. Giuseppe Mazzini, A Cosmopolitanism of Nations: Giuseppe Mazzini’s Writings on Democracy, Nation Building, and International Relations, ed. Stefano Recchia and Nadia Urbinati (Princeton, 2009), p. 2.

59. Victor Hugo, Oeuvres complètes, eds. Jacques Seebacher and Guy Rosa, 15 vols. (Paris, 1985–90), vol. 10, pp. 6, 302.

60. Walter Benjamin, ‘Paris, the Capital of the Nineteenth Century’, in The Writer of Modern Life: Essays on Charles Baudelaire (Cambridge, Mass., 2006), pp. 30–45.

61. HL, MUS 264 (76), f. 88–9, Pauline Viardot to Louis Viardot, 9 Dec. 1857.

62. LI, p. 318.

63. See Hilary Poriss, ‘Pauline Viardot, Travelling Virtuosa’, Music and Letters, vol. 96, no. 2, 2015, pp. 185–208

64. HL, MUS 262 (76), Pauline Viardot to Louis Viardot, undated.

65. NYPL, JOE 82-1, 29, Letter from Pauline Viardot to Julius Rietz, 26 Mar. 1859 (trans. from ‘Pauline Viardot-Garcia to Julius Rietz, Letters of Friendship’, The Musical Quarterly, vol. 1, no. 4, Oct. 1915, pp. 549, 552).

66. HL, MUS 264 (76), Pauline Viardot to Louis Viardot, 17 Dec. 1857 (trans. Poriss, ‘Pauline Viardot’, p. 205).

67. HL, MUS 264 (76), Pauline Viardot to Louis Viardot, 15 Jan. 1858 (trans. Poriss, ‘Pauline Viardot’, p. 199).

68. HL, MUS 264 (76), Pauline Viardot to Louis Viardot, 21 Dec. 1857.

69. Revue et Gazette musicale de Paris, 15 Aug. 1858.

70. BNF, NA Fr. 16275, Papiers Viardot, vol. IV, Lettres adressées à Claudie et George Chamerot, Ivan Tourgenev et divers, ff. 342–3, Pauline Viatrdot to Ivan Turgenev, 18 Nov. 1858.

71. NYPL, JOE 82-1, 29, Letters from Pauline Viardot to Julius Rietz, 26 Jan., 13 Feb. 1859 (trans. from ‘Pauline Viardot-Garcia to Julius Rietz, Letters of Friendship’, The Musical Quarterly, vol. 1, no. 4, Oct. 1915, pp. 532, 538).

72. See William Gibbons, Building the Operatic Museum: Eighteenth-Century Opera in Fin-de-Siècle Paris (Rochester, NY, 2013).

73. Joël-Marie Fauquet, ‘Berlioz’s Version of Gluck’s Orphée’, in Peter Bloom (ed.), Berlioz Studies (Cambridge, 2006), p. 195.

74. Berlioz, Correspondance générale, vol. 5, p. 645.

75. Ibid., pp. 713–14; ‘Pauline Viardot-Garcia to Julius Rietz, Letters of Friendship’, The Musical Quarterly, vol. 2, no. 1, Jan. 1916, p. 42.

76. BNF, NA Fr. 16272, Papiers Viardot, vol. 1, Lettres adressées à Pauline Viardot, f. 35.

77. Berlioz, Correspondance générale, vol. 6, pp. 36, 41n.

78. Henry Chorley, Thirty Years’ Musical Recollections, 2 vols. (London, 1862), vol. 2, pp. 55–60.

79. Patrick Waddington, ‘Pauline Viardot-Garcia as Berlioz’s Counselor and Physician’, The Musical Quarterly, vol. 59, no. 3, July 1973, p. 395; Flaubert, Correspondance, vol. 3, p. 83.

80. Charles Dupêchez, Marie d’Agoult, 1805–1876 (Paris, 1994), p. 264.

81. HL, MUS 264 (360), Pauline Viardot-Garcia Papers, ‘Costumi’, 1858 and undated; BMO, LAS Delacroix (Eugène) 1, Delacroix to Pauline Viardot, 18 Sept. 1859; BNF, NA Fr. 16272, Papiers Viardot, vol. 1, Lettres adressées à Pauline Viardot, f. 87, Delacroix to Pauline Viardot, 21 Sept. 1859.

82. BNF, NA Fr. 16272, Papiers Viardot, vol. 1, Lettres adressées à Pauline Viardot, f. 298, Ingres to Pauline Viardot, 5 Jan. 1862. On painters inspired by Viardot’s Orpheus see Katrin Müller-Höcker, Pauline Viardots Orpheus-Interpretation in der Berlioz-Fassung von Glucks Orphée, in Viardot-Garcia-Studien, vol. 5 (Hildesheim, 2016), pp. 225–8.

83. ‘Pauline Viardot-Garcia to Julius Rietz, Letters of Friendship’, The Musical Quarterly, vol. 2, no. 1, Jan. 1916, p. 44.

84. Fitzlyon, Price of Genius, p. 356.

85. Charlton (ed.), Cambridge Companion to Grand Opera, part IV, pp. 197 ff.

86. BNF, NA Fr. 16272, Papiers Viardot, vol. 1, Lettres adressées à Pauline Viardot, f. 102; Waddington, ‘Dickens, Pauline Viardot, Turgenev’, pp. 42–3.

87. Berlioz, Correspondance générale, vol. 6, p. 160.

88. Ibid., p. 223; Waddington, ‘Viardot-Garcia as Berlioz’s Counselor and Physician’, pp. 396–7.

89. Peter Bloom and Hans Vaget, ‘Berlioz und Wagner: Épisodes de la vie des artistes’, Archiv für Musikwissenschaft, vol. 58. no. 1, 2001, pp. 1–22.

90. David Cairns, Berlioz, vol. 2: Servitude and Greatness 1832–1869 (London, 1999), pp. 651 ff. Wagner, My Life, p. 498.

91. PSS, vol. 3, p. 205.

92. Ibid., vol. 4, p. 64.

93. Ibid., vol. 4, p. 211.

94. Ibid., vol. 4, pp. 64, 241.

95. BNF, Tourguéniev, Ivan, Manuscrits parisiens. Slave 88, XV, cote 25. See also, Andre Mazon, Manuscrits parisiens d’Ivan Tourguénev, notices et extraits (Paris, 1930), pp. 61–2, 68, 87.

5 EUROPE AT PLAY

1. HL, MUS 264 (365), Journal, 12 July 1863.

2. PSS, vol. 5, p. 175.

3. Memoirs of Eugenie Schumann, trans. Marie Busch (London, 1985), p. 109; NYPL, JOE 82-9, Letter from Pauline Viardot to Julius Rietz, 1 Jan. 1859.

4. Revue et Gazette musicale de Paris, 25 Aug. 1861, 12 Jan. 1862, 30 Mar. 1862.

5. PSS, vol. 3, p. 181.

6. PSS, vol. 3, pp. 214, 218; vol. 11, p. 223; Kovalevskii, ‘Vospominaniia ob I. S. Turgeneve’, p. 16.

7. Viardot, Espagne et beaux-arts, p. 380.

8. Cited in Johannes Brahms in Baden-Baden und Karlsruhe (Catalogue, Baden Landesbibliothek in Karlsruhe, 1983).

9. Klaus Fischer, ‘Dernières traces de Tourguéniev à Baden-Baden’, Cahiers, no. 6, 1982, p. 23; N. P. Generalova, I. S. Turgenev: Rossiia i Evropa: Iz istorii russko evropeiskikh literaturnykh i obshchevstvennykh sviazei (St Petersburg, 2003), p. 241.

10. Charles Clark, ‘Baden-Baden in 1867’, Temple Bar, 21 (Oct. 1867), pp. 384, 387; Ivan Turgenev, Smoke, trans. Michael Pursglove (London, 2013), p. 3.

11. Berlioz, Correspondance générale, vol. 4, no. 1627; Hector Berlioz, Les Grotesques de la musique (Paris, 1859), p. 121.

12. BNF, département Estampes et photographie, YD-1 (1863-04-01)-8, Catalogue des tableaux anciens et dessins formant la belle collection de M. Louis Viardot.

13. ANF, O/5/1698, ‘Ordonnance de payement’, f. 368; ANF, 20144790/129, Letter from Kiewert to the Chief Restorer of Painting at the Musée Impériale, 28 July 1857.

14. Julius Kraetz, ‘Iwan Turgenjew: Seine Wohnsitze’, Baden-Baden: Beiträge zur Geschichte der Stadt und des Kurortes Baden-Baden, no. 13, 1976: Pauline Viardot – Iwan Turgenjew; Gerhard Ziegengeist (ed.), I. S. Turgenev und Deutschland: Materialien und Untersuchungen (Berlin, 1965), p. 26; Lange-Brachmann and Draheim (eds.), Pauline Viardot, p. 250; Patrick Waddington, ‘Role of Courtavenel’, p. 124.

15. Nicholas G. Zekulin, The Story of an Operetta: Le Dernier Sorcier by Pauline Viardot and Ivan Turgenev (Munich, 1989), pp. 11–14; PSS, vol. 7, p. 178.

16. PSS, vol. 5, p. 159, vol. 7, p. 82, vol. 9, pp. 17, 19, vol. 11, pp. 65, 79; Tamara Zviguilsky, ‘Tourguéniev et sa fille, d’après leur correspondance’, Cahiers, no. 12, 1988, p. 40.

17. PSS, vol. 7, pp. 139 ff., 170, 174, vol. 9, p. 43; Seljak, Ivan Turgenevs Ökonomien, pp. 190–94, 201–16.

18. PSS, vol. 4, p. 132, vol. 5, p. 157; Seljak, Ivan Turgenevs Ökonomien, pp. 131–2, 147.

19. GJ, vol. 2, p. 941.

20. Seljak, Ivan Turgenevs Ökonomien, pp. 134–7, 143, 151.

21. Ibid., p. 131; PSS, vol. 5, p. 219, vol. 6, pp. 8, 56, 69, vol. 7, p. 75, vol. 9, pp. 16, 26, 60.

22. OR RNB, f. 654, op. 1, d. 89, l. 3 (V. A. Rubinshtein, ‘Otgoloski proshlogo. Vospominaniia’).

23. NYPL, JOE 82-9, 10, Letter from Pauline Viardot to Julius Rietz, 1 Jan. 1859.

24. See Robert Priest, The Gospel According to Renan: Reading, Writing, and Religion in Nineteenth-Century France (Oxford, 2015), ch. 4.

25. L.V. [Louis Viardot], Apologie d’un incrédule (Paris, 1868), pp. 8, 10, 14–15.

26. OR RNB, f. 654, op. 1, d. 89, l. 6 (V. A. Rubinshtein, ‘Otgoloski proshlogo. Vospominaniia’).

27. La France musicale, no. 17, 26 Apr. 1863, p. 130.

28. Beatrix Borchard, Pauline Viardot-Garcia: Fülle des Lebens (Vienna, 2016), p. 108.

29. Ostrovskaia, Vospominaniia o Turgeneve, p. 5; Lange-Brachmann and Draheim (eds.), Pauline Viardot in Baden-Baden und Karlsruhe, p. 88.

30. Borchard, Pauline Viardot-Garcia, p. 232.

31. B. Litzmann (ed.), Letters of Clara Schumann and Johannes Brahms, 1853–96, 2 vols. (London, 1927), vol. 1, p. 171.

32. Ludwig Pietsch, ‘Heimfahrt auf Umwegen’, in Iwan Turgenjew: Briefe an Ludwig Pietsch. Mit einem Anbang: Ludwig Pietsch über Turgenjew (Berlin, 1968), p. 150.

33. Adelheid von Schorn, Zwei Menschenhalter: Erinnerungen und Briefe aus Weimar und Rom (Stuttgart, 1913), p. 153.

34. HL, MUS 264 (365), Journal, 23 July 1863.

35. Ostrovskaia, Vospominaniia o Turgeneve, pp. 13–14.

36. Alexandre Zviguilsky, ‘Louise Héritte-Viardot 1841–1918’, Cahiers, no. 15, 1991, pp. 103–12.

37. PSS, vol. 4, p. 241.

38. Gustave Dulong, Pauline Viardot, tragédienne lyrique, Cahiers, no. 8, 1984, p. 273.

39. See Alison F. Frank, ‘The Air Cure Town: Commodifying Mountain Air in Alpine Central Europe’, Central European History, vol. 45, no. 2, 2012, pp. 185–207.

40. Derek Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (London, 2011), pp. 131 ff.; Peter Kemp, The Strauss Family (London, 1989), pp. 66–7.

41. Heinrich Jacob, Johann Strauss (London, 1937), pp. 165–70; Hans Fantel, Johann Strauss: Father and Son and Their Era (Newton Abbot, 1971), pp. 123–9.

42. Michael Musgrave, A Brahms Reader (New Haven, 2000), p. 106.

43. Hervé Maneglier, Paris impérial: La Vie quotidienne sous le Second Empire (Paris, 1991), pp. 87–92; Roger Williams, ‘Jacques Offenbach and Parisian Gaiety’, The Antioch Review, vol. 17, no. 1, 1957, p. 121.

44. Weber, Great Transformation, pp. 208–31.

45. GJ, vol. 1, p. 1046.

46. François Caradec, Le Café-concert (Paris, 1980), p. 34; Patrice Higonnet, Paris: Capital of the World (Cambridge, Mass., 2002), trans. Arthur Goldhammer, p. 292; Maneglier, Paris impérial, pp. 175–6.

47. Maneglier, Paris impérial, pp. 179–80; T. J. Clark, The Painting of Modern Life: Paris in the Art of Manet and His Followers, rev. edn (London, 1990), pp. 206–34.

48. GJ, vol. 1, p. 632.

49. Nathalie Coutelet, ‘Les Folies-Bergère: une pornographie “select”’, Romantisme, no. 163, 2014/1, pp. 111–24.

50. Peter Bailey (ed.), Music Hall: The Business of Pleasure (Milton Keynes, 1986), pp. 16–17, 22–4; Derek Hudson, Munby, Man of Two Worlds: The Life and Diaries of Arthur J. Munby, 1828–1910 (London, 1972), p. 119.

51. Irene Lawford-Hinrichsen, Music Publishing and Patronage. C. F. Peters: 1800 to the Holocaust (Kenton, 2000), p. 18; A Short History of Cheap Music as Exemplified in the Records of the House of Novello, Ewer and Company (London, 1887), pp. 78–9, 103–6; Derek Scott, The Singing Bourgeois: Songs of the Victorian Drawing Room and Parlour, 2nd edn (London, 2001), pp. 122–30; Paula Gillett, ‘Entrepreneurial Women Musicians in Britain: From the 1700s to the Early 1900s’, in William Weber (ed.), The Musician as Entrepreneur, 1700–1914: Managers, Charlatans, and Idealists (Bloomington, 2004), pp. 206–7.

52. Zekulin, Story of an Operetta, pp. 15–19; PSS, vol. 7, p. 31; Paul Viardot, Souvenirs d’un artiste (Paris 1910), p. 19.

53. On the Weimar premiere, see Klaus-Dieter Fischer and Nicholas Zekulin, Die Beziehungen Pauline Viardots und Ivan S. Turgenevs zu Weimar, in Viardot-Garcia-Studien, vol. 5 (Hildesheim, 2016), pp. 41–72.

54. Zekulin, Story of an Operetta, p. 26; PSS, vol. 7, p. 220.

55. BNF, NA 16274, Papiers de Pauline Viardot, vol. 3, Lettres adressées à Louis Viardot, ff. 192–4; Offenbach to Louis Viardot, 19 July 1868.

56. Alain Decaux, Offenbach, roi du Second Empire (Paris, 1958), pp. 142–3; Alexander Faris, Jacques Offenbach (London, 1980), pp. 102–4.

57. Robert Schipperges, ‘Offenbach – Antisemitismus – Nazismus: Zu einigen Topoi der Rezeption’, in Peter Csobádi et al. (eds.), Das (Musik-)Theater in Exil und Diktatur: Vorträge und Gespräche des Salzburger Symposions 2003 (Salzburg, 2005), pp. 314–30.

58. GJ, vol. 3, p. 64.

59. Siegfried Kracauer, Jacques Offenbach and the Paris of His Time (New York, 2002), p. 163.

60. Jean-Claude Yon, Jacques Offenbach (Paris, 2000), p. 146.

61. Kracauer, Jacques Offenbach, pp. 204, 211–12; James Harding, Jacques Offenbach: A Biography (London, 1980), pp. 115–16; Williams, ‘Jacques Offenbach and Parisian Gaiety’, p. 122.

62. Jacques Offenbach, Henri Meilhac and Ludovic Halévy, La Belle Hélène: Opéra-bouffe en trois actes (Paris, 1864), p. 253.

63. Jacques Offenbach, Henri Meilhac and Ludovic Halévy, La Vie parisienne: Opéra-bouffe en 5 actes ou 4 actes (Paris, 1866), pp. 4, 45.

64. PSS, vol. 7, p. 217.

65. Ibid., p. 219.

66. Ibid.

67. Ibid., p. 218.

68. See Thomas Hall, Planning Europe’s Capital Cities: Aspects of Nineteenth-Century Urban Development (London, 1997), pp. 344 ff.

69. Mémoires du baron Haussmann, 2nd edn, 3 vols. (Paris, 1890), vol. 2, pp. 199–200.

70. Alfred Delvau, Les Plaisirs de Paris: Guide pratique et illustré (Paris, 1867), p. 4; Charles Baudelaire, The Painter of Modern Life and Other Essays, trans. Jonathan Mayne (New York, 1964), p. 9. See further, Hazel Hahn Haejeong, ‘Du flâneur au consommateur: spectacle et consommation sur les Grands Boulevards, 1840–1914’, Romantisme, no. 134, 2006/4, pp. 67–78.

71. Yon, Jacques Offenbach, pp. 347, 359.

72. Williams, ‘Jacques Offenbach and Parisian Gaiety’, p. 127; Faris, Jacques Offenbach, p. 150.

73. Parturier, Une amitié littéraire, p. 154; PSS, vol. 7, p. 172.

74. Fantel, Johann Strauss, pp. 153, 56, 165–8.

75. Marguerite and Jean Alley, A Passionate Friendship: Clara Schumann and Brahms (London, 1956), p. 132.

76. For a listing of her compositions: Patrick Waddington, The Musical Works of Pauline Viardot-Garcia (1821–1910): A Chronological Catalogue (Upper Hutt, 2001).

77. The Athenaeum, 19 Jan. 1850, p. 79.

78. NCI, vol 1 (1971), p. xx; LI, p. 327; Franz Liszt, ‘Pauline Viardot-Garcia’, in Gesammelte Schriften, 6 vols. (Leipzig, 1881), vol. 3, p. 126.

79. PSS, vol. 1, p. 207, vol. 5, pp. 148, 184, 209, 215, 244, 249, vol. 6, p. 171, vol. 12, p. 60, vol. 14, p. 58.

80. Ibid., vol. 6, p. 146.

81. Thérèse Marix-Spire, ‘Vicissitudes d’un opéra-comique: La Mare au diable de George Sand et de Pauline Viardot’, Cahiers, vol. 3, 1979, pp. 66–7.

82. Nancy B. Reich, ‘Women as Musicians: A Question of Class’, in Ruth A. Solie (ed.), Musicology and Difference: Gender and Sexuality in Music Scholarship, (Berkeley, 1993), pp. 134–6.

83. Sebastian Hensel, The Mendelssohn Family 1729–1847, 4th rev. edn, 2 vols. (London, 1884), vol. 1, p. 82; Letters of Felix Mendelssohn Bartholdy from 1833 to 1847, ed. Paul Mendelssohn Bartholdy, trans. Lady Wallace (London, 1864), p. 113.

84. HL, MUS 264 (365), Pauline Viardot Journal, memoir dated 1889.

85. Marcia J. Citron, Gender and the Musical Canon (Cambridge, 1993), pp. 56–7; Borchard, ‘“Ma chère petite Clara”’, p. 136.

86. Anna Eugénie Schoen-René, America’s Musical Inheritance (New York, 1941), p. 134.

87. BMO, NLA 357, Pauline Viardot to Henri Heugel, 21 Feb. 1882.

88. Marix-Spire, ‘Vicissitudes d’un opera-comique’, p. 66.

89. Anton Chekhov, Three Sisters, in Plays, trans. Peter Carson (London, 2002), p. 265.

90. François-Joseph Fétis, Biographie universelle des musiciens et bibliographie générale de la musique: Supplément et complément (Paris, 1878), p. 314. See further, Bea Friedland, Louise Farrenc, 1804–1875: Composer, Performer, Scholar (Ann Arbor, 1980).

91. GJ, vol. 1, p. 941.

92. Gustave Flaubert, Lettres inédites à Tourgueneff (Monaco, 1946), p. 3.

93. Ibid.; Lettres de Gustave Flaubert à George Sand (Paris, 1884), p. 73

94. Flaubert, Lettres inédites, p. 21; PSS, vol. 8, p. 199.

95. PSS, vol. 10, pp. 146–7, vol. 15, p. 22.

96. Anton Fedyashin, Liberals Under Autocracy: Modernization and Civil Society in Russia, 1866–1904 (Madison, 2012), p. 5; V. E. Kel’ner, Chelovek svoego vremeni (M. M. Stasiulevich: izdatel’skoe delo i liberal’naia oppozitsiia) (St Petersburg, 1993), p. 58.

97. Thierry Ozwald, ‘Autour d’une collaboration littéraire: Les destins croisés de Mérimée et Tourguéniev’, Cahiers, no. 15, 1991, pp. 79–101.

98. Rolf-Dieter Kluge, ‘Ivan Turgenev und seine deutschen Freunde’, in Dittmar Dahlmann, Deutschland und Rußland: Aspekte kultureller und wissenschaftlicher Beziehungen im 19. und frühen 20. Jahrhundert (Wiesbaden, 2004), p. 5.

99. Ibid., p. 136; Peter Brang, ‘Tourguéniev et l’Allemagne’, Cahiers, no. 7, 1983, p. 76; Toman, ‘I. S. Turgenev i nemetskaia kul’tura’, pp. 31–58; PSS, vol. 5, p. 12. On Wolfsohn and Glümer: Luis Sundkvist, ‘Vil’gel’m Vol’fson, Kler fon Gliumer i pervye nemetskie perevody romana “Otsy i deti”’, in NPG, vol. 4: K 200-letiiu I. S. Turgeneva (1818–2018) (Moscow, 2016), pp. 76–165.

100. PSS, vol. 8, pp. 191–2.

101. Ibid., vol. 9, pp. 94–5; ‘M. Tourgueneff and His English Traducer’, Pall Mall Gazette, 3 Dec. 1868.

102. OR RNB, f. 654, op. 1, d. 89, l. 7 (V. A. Rubinshtein, ‘Otgoloski proshlogo. Vospominaniia’); Taylor, Anton Rubinstein, p. 107; PSS, vol. 11, p. 32.

103. V. V. Stasov, Izbrannye sochineniia, 2 vols. (Moscow, 1937), vol. 2, p. 557.

104. Ts. A. Kiui, Izbrannye stat’i (Leningrad, 1952), p. 43; Turgenev, Smoke, p. 89.

105. PSS, vol. 7, p. 130.

106. Benjamin Curtis, Music Makes the Nation: Nationalist Composers and Nation Building in Nineteenth-Century Europe (Amherst, 2008), pp. 128–9; John Tyrrel, Czech Opera (Cambridge, 1988), pp. 216–27.

107. See the classic work by Eric Hobsbawm and Terence Ranger (eds.), The Invention of Tradition (Cambridge, 1983).

108. Jonathan Bellman, ‘Toward a Lexicon for the Style hongrois’, The Journal of Musicology, vol. 9, no. 2, 1991, pp. 214–37; Lynn Hooker, Redefining Hungarian Music from Liszt to Bartók (Oxford, 2013), p. 139.

109. Joseph Frank, Dostoevsky: The Miraculous Years 1865–1871 (Princeton, 1996), pp. 189–204; Anna Dostoevsky, Dostoevsky Reminiscences, trans. Beatrice Stillman (London, 1977), p. 130.

110. Turgenev, Smoke, pp. 3–4.

111. Frank, Dostoevsky: The Miraculous Years, pp. 212–13.

112. Ibid., pp. 215–16.

113. PSS, vol. 8, p. 87.

114. Fyodor Dostoevsky, The Possessed, trans. David Magarshack (London, 1973), pp. 452, 454, 474–5.

115. Frank, Dostoevsky: The Miraculous Years, p. 211; PSS, vol. 11, p. 86, vol. 12, p. 71.

116. Schapiro, Turgenev, p. 197.

117. Letopis’ zhizni i tvorchestva I. V. Turgeneva (1867–1870) (Moscow, 1997), pp. 4, 33, 56; PSS, vol. 7, pp. 205, 207.

118. PSS, vol. 6, pp. 45–6.

119. HL, MUS 264 (365), Pauline Viardot Journal, 24 May 1868.

120. Ibid., Feb. 1869.

121. Frithjof Haas, Hermann Levi: From Brahms to Wagner (Toronto, 2012), pp. 51–5; Julien Tiersot (ed.), Lettres françaises de Richard Wagner (Paris, 1935), pp. 285–6.

122. Schoen-René, America’s Musical Inheritance, pp. 69–71; NCI, vol. 1, p. 354.

123. Ziegengeist (ed.), Turgenev und Deutschland, pp. 279–80; Schapiro, Turgenev, pp. 191–2; PSS, vol. 9, p. 21, vol. 10, p. 44. See further: Karl-Dietrich Fischer, ‘Turgenev und Richard Wagner’, Zeitschrift für Slawistik, vol. 31, no. 2, 1986, pp. 228–32.

124. ‘Pauline Viardot-Garcia to Julius Rietz’, The Musical Quarterly, vol. 2, no. 1, Jan. 1916, p. 58.

125. Albert Goldman and Evert Sprinchorn (eds.), Wagner on Music and Drama: A Selection from Richard Wagner’s Prose Works, trans. H. Ashton Ellis (London, 1970).

126. Max Horkheimer and Theodor Adorno, ‘The Culture Industry: Enlightenment as Mass Deception’, in Dialectic of Enlightenment (Stanford, 2002 [1944]). See further, Nicholas Vazsonyi, Richard Wagner: Self-Promotion and the Making of Brand (Cambridge, 2010), p. 89 and passim.

127. Robert Hartford (ed.), Bayreuth: The Early Years (Cambridge 1980), pp. 16–28; Frederic Spotts, Bayreuth: A History of the Wagner Festival (New Haven, 1994), p. 40.

128. Haas, Hermann Levi, pp. 53–5; Lange-Brachmann and Draheim (eds.), Pauline Viardot in Baden-Baden und Karlsruhe, pp. 101–2.

129. Zekulin, Story of an Operetta, p. 58.

130. Heinz Becker and Gudrun Becker, Giacomo Meyerbeer: A Life in Letters (London, 1989), p. 14.

131. Zekulin, Story of an Operetta, pp. 58–9.

132. Rolf Kabel (ed.), Eduard Devrient aus seinen Tagebüchern, 2 vols. (Weimar, 1964), vol. 2, p. 567; PSS, vol. 10, p. 145; Zekulin, Story of an Operetta, pp. 54–5.

133. Zekulin, Story of an Operetta, pp. 56 ff.; PSS, vol. 10, p. 145.

134. Fischer and Zekulin, Die Beziehungen Pauline Viardots, p. 91.

135. PSS, vol. 10, pp. 192, 195.

136. Turgenev, Sochinenii, vol. 10, p. 313.

137. Litzmann (ed.), Letters of Clara Schumann and Johannes Brahms, vol. 1, p. 248.

138. PSS, vol. 10, pp. 216, 249; N. Mikhailov, ‘Vitse-presidenta kongressa’, in Shakhmaty v SSSR (Moscow, 1970), pp. 24–5.

139. PSS, vol. 10, pp. 231–2; Turgenevskii sbornik, p. 58.

140. Memoirs of Eugénie Schumann, p. 127.

141. PSS, vol. 10, pp. 233, 237–8.

142. Ibid., p. 239; Waddington, Turgenev and England, p. 141.

143. Decaux, Offenbach, pp. 208–9.

144. BNF NA 16274, Papiers de Pauline Viardot, vol. 3, Lettres adressées à Louis Viardot, George Sand to Louis Viardot, 8 Sept. 1870.

145. BMO, LA-VIARDOT PAULINE-66, Lettre de Pauline Viardot à Madame Crémieux.

146. HL, MUS 264 (365), Journal, 18 Oct. 1870.

147. PSS, vol. 10, p. 252.

6 THE LAND WITHOUT MUSIC

1. Waddington, Turgenev and England, p. 144.

2. Barbara Kendall-Davies, The Life and Work of Pauline Viardot-Garcia, vol. 2: The Years of Grace, 1863–1910 (Amersham, 2013), p. 1; Litzmann (ed.), Letters of Clara Schumann and Johannes Brahms, vol. 1, p. 253; Viardot, Souvenirs d’un artiste, pp. 21–2.

3. Michèle Beaulieu, ‘Louis-Claude Viardot, collectionneur et critique d’art’, Société d’Histoire de l’Art Français, Séance du 4 février 1984, Bulletin de la Société d’Histoire de l’Art Français, 1984, pp. 252–3.

4. Stier, Pauline Viardot-Garcia in Grossbritannien, pp. 241–6.

5. HL, MUS 232/1, Gounod to Pauline Viardot, 31 Jan. 1864.

6. TCL, Houghton MSS, Q 47/1, Louis Viardot to Thomas Milner Gibson, 23 March 1871.

7. Herman Klein, Thirty Years of Musical Life in London, 1870–1900 (London, 1903), pp. 34–41; Waddington, Turgenev and England, p. 145; PSS, vol. 10, p. 268.

8. PSS, vol. 11, pp. 18, 55.

9. PSS, vol. 11, p. 88.

10. Thomas C. Jones and Robert Tombs, ‘The French Left in Exile: Quarante-Huitards and Communards in London, 1848–1880’, in Martyn Cornick and Debra Kelly (eds.), A History of the French in London: Liberty, Equality, Opportunity (London, 2013), pp. 165–8, 235–7; Jerry White, London in the Nineteenth Century: ‘A Human Awful Wonder of God’ (London, 2007), pp. 142–3.

11. Jones and Tombs, ‘French Left in Exile’, pp. 170–71; B. Porter, The Refugee Question in Mid-Victorian Politics (Cambridge, 1979), pp. 182–3.

12. White, London in the Nineteenth Century, pp. 142–7; Lucio Sponza, Italian Immigrants in Nineteenth-Century Britain: Realities and Images (Leicester, 1988), pp. 2–4. On the German community in London, see Rosemary Ashton, Little Germany: Exile and Asylum in Victorian England (Oxford, 1986).

13. Christine Corton, London Fog: The Biography (London, 2015), ch. 5.

14. Flora Tristan, Promenades dans Londres (Paris, 1840), pp. 49–50.

15. Fabrice Bensimon, ‘The French Exiles and the British’, in Sabine Freitag (ed.), Exiles from European Revolutions: Refugees in Mid-Victorian England (New York, 2002), p. 91; Theodor Fontane, A Prussian in Victorian London, ed. John Lynch (London, 2014), p. 107.

16. Waddington, Turgenev and England, pp. 141–2.

17. GJ, vol. 1. p. 1138.

18. Londres et son environs: Collection des Guides-Joannes (Paris, 1882), p. 16.

19. Viardot, Souvenirs de chasse, pp. 53, 63.

20. TMS, p. 101; LI, p. 311.

21. Alexander Herzen, My Past and Thoughts: The Memoirs of Alexander Herzen, trans. Constance Garnett, 4 vols. (London, 1968), vol. 3, p. 1048.

22. Edward Carr, The Romantic Exiles: A Nineteenth-Century Portrait Gallery (London, 1949), p. 119; Edmondo De Amicis, Memories of London, trans. Stephen Parkin (London, 2014), pp. 63–4; Vallès cited in Higonnet, Paris: Capital of the World, p. 241.

23. Viardot, Souvenirs de chasse, p. 300.

24. Henry Taine, Taine’s Notes on England, trans. Edward Hyams (London, 1957), p. 242.

25. Ian Buruma, Anglomania: A European Love Affair (New York, 1998), pp. 105–6; Litzmann (ed.), Letters of Clara Schumann and Johannes Brahms, vol. 1, p. 187; G. Karpeles (ed.), Heinrich Heine’s Memoirs, trans. G. Cannan, 2 vols. (London 1910), vol. 1, pp. 192–3.

26. Iwo Zaluski and Pamela Zaluski, ‘Chopin in London’, The Musical Times, vol. 133, no. 1791, May 1992, p. 227.

27. Alley, Passionate Friendship, p. 160.

28. Davis, Victorians and Germany, pp. 248–9.

29. Jonathan Parry, The Politics of Patriotism: English Liberalism, National Identity and Europe, 1830–1886 (Cambridge, 2006), pp. 9–10.

30. Lucy Riall, Garibaldi: Invention of a Hero (New Haven, 2007), pp. 336 ff.

31. Pemble, Mediterranean Passion, pp. 268–9.

32. Cited in Antoni Ma˛czak, ‘Gentlemen’s Europe: Nineteenth-Century Handbooks for Travellers, Annali d’Italianistica, vol. 21: Hodoeporics Revisited / Ritorno all’odeporica (2003), p. 360.

33. See Linda Colley, Britons: Forging the Nation 1707–1837 (New Haven, 1992).

34. Henry Mayhew, German Life and Manners: As Seen in Saxony at the Present Day, 2 vols. (London, 1864), vol. 1, pp. viii–ix.

35. Waddington, Turgenev and England, p. 203.

36. Sassoon, Culture of the Europeans, pp. 37–40.

37. Taine, Taine’s Notes on England, p. 25.

38. Albinsson, ‘Early Music Copyrights’, p. 276; Franz Joseph Haydn, The Collected Correspondence and London Notebooks of Joseph Haydn, ed. H. C. Robbins Landon (Fair Lawn, 1959), p. 252.

39. Rudolf Evers (ed.), Mendelssohn: A Life in Letters (New York, 1986), p. 106; Cairns, Berlioz, vol. 2, p. 509.

40. Verdi, Lettere, p. 170.

41. Rosselli, Singers of Italian Opera, pp. 142–3.

42. Matthew Ringel, ‘Opera in “The Donizettian Dark Ages”: Management, Competition and Artistic Policy in London, 1861–70’, Ph.D. diss., King’s College London, 1996, p. 29.

43. Christophe Charle, ‘La circulation des opéras en Europe au xixe siècle’, Relations internationales, no. 155, 2013/3, pp. 11–31; Dideriksen, ‘Repertory and Rivalry’, pp. 286–8.

44. Henry Wyndham, The Annals of Covent Garden Theatre, 2 vols. (London, 1906), vol. 2, pp. 243–4.

45. Ibid., pp. 49–51, 71–3.

46. Henri Moulin, Impressions de voyage d’un étranger à Paris: Visite à l’Exposition Universelle de 1855 (Mortain, 1856), p. 47.

47. Oscar Schmitz, The Land without Music (London, 1918), p. 26; Carl Engel, An Introduction to the Study of National Music (London, 1866), p. 3.

48. Guido Guerzoni, ‘The British Painting Market 1789–1914’, in M. North and W. Koln (eds.), Economic History and the Arts (Vienna, 1996), pp. 97–132; Bayer and Page, Development of the Art Market in England, p. 96.

49. M. F. MacDonald, P. de Montfort and N. Thorp (eds.), The Correspondence of James McNeill Whistler, 1855–1903 (Glasgow, 2003), no. 08050.

50. Ross King, The Judgement of Paris: The Revolutionary Decade That Gave the World Impressionism (New York, 2006), pp. 239–40; Edward Morris, French Art in Nineteenth-Century Britain (London, 2005), pp. 156–7.

51. GJ, p. 596.

52. Assouline, Discovering Impressionism, p. 99.

53. Paul Durand-Ruel, Memoirs of the First Impressionist Art Dealer (1831–1922) (Paris, 2014), p. 122; John House, ‘New Material on Monet and Pissaro in London,’ Burlington Magazine, Oct. 1978, pp. 636–7; Morris, French Art, p. 157.

54. Caroline Corbeau-Parsons, ‘Crossing the Channel’, in Corbeau-Parsons (ed.), The EY Exhibition. Impressionists in London: French Artists in Exile 1870–1904 (London, 2017), p. 19; Anne Robbins, ‘Monet, Pissaro and Fellow French Painters in London, 1870–1’, in ibid., p. 61.

55. Moulin, Impressions, p. 47.

56. Louis Viardot, The Wonders of Sculpture (London, 1872), pp. 271–2.

57. BNF, NA 16273, Lettres à Pauline Viardot, ff. 395–6, Turgenev to Pauline Viardot, 4 June 1879.

58. GJ, vol. 2, p. 369.

59. PSS, vol. 11, p. 15.

60. Ibid., p. 88.

61. BMO, LA-VIARDOT PAULINE-57, Pauline Viardot to François Schwab, 15 May 1871.

62. PSS, vol. 11, p. 102.

63. Ibid., p. 118.

64. Waddington, Turgenev and England, pp. 161–2.

65. PSS, vol. 11, p. 116; Waddington, Turgenev and England, pp. 115, 122–3.

66. Waddington, Turgenev and England, pp. 131, 130.

7 CULTURE WITHOUT BORDERS

1. PSS, vol. 11, p. 158; Waddington, ‘Some Gleanings on Turgenev’, p. 212.

2. Vosp., pp. 318, 322; ‘Vospominaniia A. I. Abarinovoi’, Istoricheskii vestnik, vol. 83, Jan. 1901, p. 219.

3. Maria Ge, ‘Vospominaniia (Iz znakomstva c Ivanom Sergeevichem Turgenevym)’, Novyi zhurnal dlia vsekh, no. 2, 1915, p. 23; Maurice Guillemot, ‘Un Russe de jadis’, Le Figaro, 7 Nov. 1925; A. F. Koni, Na zhiznennom puti, 5 vols. (St Petersburg, 1912–29), vol. 2, p. 40; E. O. Repchanskaia, ‘Moi vospominaniia o Viardot i ee otnosheniiakh k Turgenevu’, Angara (Irkutsk), no. 1 (58), 1963, p. 117; Héritte-Viardot, Une famille de grands musiciens, p. 130.

4. P. D. Boborykin, ‘U romanistov (Parizhskie Vpechatleniia)’, Slovo, no. 11, 1878, p. 38; P. D. Boborykin, ‘Turgenev doma i za granitsei’, in I. S. Turgenev v vospominaniiakh sovremennikov, pp. 187–8.

5. APP BA art. 1287: Tourgeneff, Cabinet du Préfet: affaires générales, 106409, ‘Rapports’, 28 Oct. 1873, 3 Mar. 1880, 8 Sept. 1883.

6. Ibid., 10 Jan. 1877.

7. In October 1870, he had written to George Sand asking her to help him get elected as a republican deputy for the Indre département, where she lived: Sand, Correspondance, vol. 22, p. 208.

8. APP BA art. 1294: Viardot, Cabinet du Préfet: affaires générales, 128027, ‘Rapports’, 1 and 9 Dec.1874, 9 Oct. 1875.

9. Flaubert, Correspondance, vol. 5, p. 140.

10. Ibid., vol. 4, p. 723.

11. GJ, vol. 10, p. 75; Leon Edel (ed.), Henry James Letters, vol. 2: 1875–83 (London, 1974), pp. 16, 45.

12. Alphonse Jacobs (ed.), Gustave Flaubert–George Sand: Correspondance (Paris, 1981), pp. 222, 273.

13. The George Sand–Gustave Flaubert Letters, trans. A. L. McKenzie (New York, 1921), p. 289.

14. N.M., ‘Cherty is parizhskoi zhizni’, p. 314.

15. BNF, NA, 25877, pp. 1–2; B. Rees, Camille Saint-Saëns: A Life (London, 1999), p. 93.

16. Edel (ed.), Henry James Letters, vol. 2, p. 37.

17. Caroline Franklin Grout, Heures d’autrefois: Mémoires inédits. Souvenirs intimes (Rouen, 1999), pp. 84–5.

18. Elena Apreleva (E. Ardov), ‘Iz vospominanii ob I. S. Turgeneve’, Russkie vedomosti, 15 and 18 Jan. 1904; Viardot, Souvenirs d’un artiste, pp. 47–8.

19. Kovalevskii, ‘Vospominaniia ob I. S. Turgeneve’, p. 18.

20. L. N. Nazarova, ‘Ochagi russkoi kul’tury v Parizhe’, in NPG, vol. 1, pp. 7–9; Maria Ge, ‘Vospominaniia’, pp. 21–6.

21. GARF, f. 109, op. 1, d. 2159, l. 1 ff.

22. Ibid., p. 45; PSS, vol. 11, p. 223; Friang, Pauline Viardot, pp. 235–6.

23. Michael Strasser, ‘The Société Nationale and Its Adversaries: The Musical Politics of L’invasion germanique in the 1870s’, 19th-Century Music, vol. 24, no. 3, 2001 (Spring), pp. 225–51.

24. PSS, vol. 13, p. 172; ‘Vospominaniia A. I. Abarinovoi’, pp. 220–21.

25. BMO, LA-VIARDOT PAULINE-67, Pauline Viardot to Théodore Dubois, 23 June 1877.

26. HL, MS Mus 232, Massenet to Pauline Viardot, 9 Apr. 1878; Jules Massenet, Mes Souvenirs (Paris, 1912), p. 17; Demar Irvine, Massenet: A Chronicle of His Life and Times (New York, 1994), pp. 71–3; Alexandre Zviguilsky, ‘Jules Massenet et Pauline Viardot d’après une correspon dance inédite’, Cahiers, no. 16, 1992, pp. 171, 177.

27. BMO, LA-VIARDOT PAULINE-67, Berlioz to Pauline Viardot, 20, 22 Feb. 1851.

28. Celsa Alonso, ‘La Réception de la chanson espagnole dans la musique française du XIXe siècle’, in François Lesure (ed.), Échanges musicaux franco-espagnols, XVIIe–XIXe siècles (Paris, 2000), pp. 123–60; Hervé Lacombe, ‘L’Espagne à l’ Opéra-Comique avant Carmen: Du Guitarrero de Halévy (1841) à Don Cesar de Bazan de Massenet (1872)’, in Lesure (ed.), Échanges musicaux, pp. 161–94.

29. See Francesca Zantedeschi, ‘Pan-National Celebrations and Provençal Regionalism’, in Joep Leerssen and Ann Rigney (eds.), Commemorating Writers in Nineteenth-Century Europe: Nation-Building and Centenary Fever (London, 2014), pp. 134–51; Francesca Zantedeschi, ‘Panlatinismes et visions d’Europe, 1860–1890’, in Philippe Darriulat et al. (eds.), Europe de papier: Projets européens au XIXe siècle (Villeneuve d’Ascq, 2015), pp. 281–94.

30. See e.g. HL MUS 264, 77, Pauline Viardot to Sebastián Yradier, Paris, 23 July 1856.

31. Hervé Lacombe, Georges Bizet: Naissance d’une identité créatrice (Paris, 2000), p. 654.

32. NYPL, JOE 82-1, 38, Letter from Pauline Viardot to Julius Rietz, 12 June 1859; HL, MUS 264, 236–47; Julien Tiersot, ‘Bizet and Spanish Music’, The Musical Quarterly, vol. 13, no. 4, Oct. 1927, p. 581. For a musical analysis: Ralph P. Locke, ‘Spanish Local Colour in Bizet’s Carmen: Unexplored Borrowings and Transformations’, in Mark Everist and Annegret Fauser (eds.), Music, Theater, and Cultural Transfer: Paris, 1830–1914 (Chicago, 2009), pp. 318–32.

33. Cited in Kerry Murphy, ‘Carmen: Couleur locale or the Real Thing?’, in Everist and Fauser (eds.), Music, Theater, and Cultural Transfer, p. 301.

34. Winton Dean, Georges Bizet: His Life and Work (London, 1965), pp. 117–18.

35. P. I. Chaikovskii, Polnoe sobranie sochinenii, vol. 9 (Moscow, 1965), p. 195; Mina Curtiss, Bizet and His World (London, 1959), p. 430.

36. Elizabeth Kertesz and Michael Christoforidis, ‘Confronting “Carmen” beyond the Pyrenees: Bizet’s opera in Madrid, 1887–1888’, Cambridge Opera Journal, vol. 20, no. 1, Mar. 2008, pp. 79–110; Murphy, ‘Carmen’, pp. 313–14.

37. BNF, NA, 16273, Papiers de Pauline Viardot, vol. II, Lettres adressés à Pauline Viardot (S–Z), Letter from Turgenev to Pauline Viardot, 10/22 Apr. 1880, ff. 411.

38. V. V. Stasov, ‘Iz vospominaniia ob I. S. Turgeneva’, in V. G. Fridliand and S. M. Petrov (eds.), I. S. Turgenev v vospominaniiakh sovremennikov, 2 vols. (Moscow, 1983), vol. 2, pp. 96–114; PSS, vol. 13, pp. 85, 87.

39. Rollo Myers, ‘Claude Debussy and Russian Music’, Music & Letters, vol. 39, no. 4, Oct. 1958, pp. 336–42; Edward Lockspeiser, ‘Debussy, Tchaikovsky, and Madame von Meck’, The Musical Quarterly, vol. 22, no. 1, Jan. 1936, pp. 38–44.

40. PSS, vol. 11, p. 80.

41. P. I. Chaikovskii–S. I. Taneev: Perepiska (1874–1893) (Moscow, 1951), p. 15; E. Blaramberg, ‘Vospominaniia ob I. S. Turgeneve’, in Fridliand and Petrov (eds.), I. S. Turgenev v vospominaniiakh sovremennikov’, vol. 2, p. 192; Vosp., p. 166.

42. Donald Mackenzie Wallace, Russia, 2 vols. (London, 1877); Anatole Leroy-Beaulieu, L’Empire des tsars et les Russes, 3 vols. (Paris, 1881–9).

43. V. V. Stasov, ‘Vtoroi russkii kontsert’, ‘Poslednye dva kontserta v Parizhe’, Sobranie sochinenii V. V. Stasova 1847–1886, Khudozhestvenyye stat’i, vol. 3 (St Petersburg, 1894), pp. 331–9, and 342–50; Alexandre Zviguilsky, ‘En marge d’une lettre inédite de Tchaikovsky à Edouard Colonne’, Cahiers, no. 14, 1990, p. 154.

44. OR, f. 124, d. 2499, l. 2 (Ernst Karlovich Lipgart, ‘Moi vospominaniia o Turgeneve’); PSS, vol. 14, pp. 30, 39, vol. 15, pp. 31, 78; Émile Zola, ‘Le Salon de 1876’, in Oeuvres complètes, ed. Henri Mitterand, 15 vols. (Paris, 1966–9), vol. 10, p. 958.

45. OR, f. 124, d. 2499, l. 2 (Lipgart, ‘Moi vospominaniia o Turgeneve’).

46. IRL, f. 7, no. 12, ll. 55–6; PSS, vol. 13, kn. 1: 1880–1882, p. 48; Turgenevskii sbornik, vol. 5, pp. 393–7.

47. I. S. Zil’bershtein, ‘Vystavka khudozhnika V. Vereshchagina’, in Iz Parizhskogo arkhiva I. S. Turgeneva, Neizvestvnye proizvedeniia, in Literaturnoe nasledstvo, vol. 73, kn. 1 (Moscow, 1964), pp. 291, 305, 312, 317–18; V. V. Stasov, ‘Venskaia pechat’ o Vereshchagine’, and ‘Vystavka Vereshchagina v Berline’, Sobranie sochinenii V. V. Stasova 1847–1886, Khudozhestvenyye stat’i, vol. 2 (St Petersburg, 1894), pp. 538–40, 563–4.

48. I. E. Repin, Dalekoe blizkoe (Moscow, 1960), p. 217; I. E. Repin i V. V. Stasov: perepiska, 1871–[1906], 3 vols. (Moscow, 1948–50), vol. 1, p. 75.

49. I. E. Repin i V. V. Stasov: perepiska, 1871–[1906], vol. 1, pp. 92–3; Gabriel Simonoff, ‘Répine et Tourguéniev: des relations amicales difficiles’, Cahiers, no. 19, 1995, pp. 23–7.

50. Simonoff, ‘Répine et Tourguéniev’, p. 89; I. E. Repin i I. N. Kramskoĭ; perepiska, 1873–1885 (Moscow, 1949), pp. 99–100, 106; I. S. Zil’bershtein, Repin i Turgenev (Moscow–Leningrad, 1945), p. 44; Elizabeth Kridl Valkenier, ‘Politics in Russian Art: The Case of Repin’, The Russian Review, vol. 37, no. 1, Jan. 1978, p. 18.

51. Émile Bergerat, Souvenirs d’un enfant de Paris, vol. 2: La Phase critique de la critique 1872–1880 (Paris, 1912), p. 189; Pierre Miquel, ‘Les maîtres du paysage français dans la collection Tourguéniev’, Cahiers, no. 5, 1981, p. 124; Steegmuller (ed. And trans.), Letters of Gustave Flaubert, p. 587.

52. PSS, vol. 13, p. 141, vol. 16, p. 23; Seljak, Ivan Turgenevs Ökonomien, pp. 137.

53. See Zvig., pp. 311, 315, 321.

54. Vosp., pp. 222–3, 340–41; Bergerat, Souvenirs d’un enfant, vol. 2, p. 195.

55. Hilary Spurling, The Unknown Matisse: A Life of Henri Matisse, vol. 1: 1869–1908 (London, 1998), p. 123. PSS. vol. 13, kn. 2: 1882–1883, pp. 24–7.

56. GJ, vol. 1, p. 822.

57. Ibid., vol. 2, p. 148. See also Robert Dessaix, Twilight of Love: Travels with Turgenev (New York, 2004), pp. 146–7.

58. Alexandre Zviguilsky, ‘Tourguéniev à Bougival’, Cahiers, no. 5, 1981, pp. 19–22; Zvig., p. 273; Jean-Claude Menou, ‘Sauver, protéger, animer la datcha d’Ivan Tourguéniev et la villa de Pauline Viardot’, Cahiers, no. 5, 1981, pp. 7–10; PSS, vol. 12, p. 161.

59. Communication by Paul-Louis Durand-Ruel and Flavie Durand-Ruel based on the ‘Recueil d’Estampes’ published by Durand-Ruel in 1873–5; Sylvie Patry (ed.), Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market (London, 2015), p. 71.

60. Durand-Ruel, Memoirs, p. 117.

61. Merete Bodelsen, ‘Early Impressionist Sales 1874–94 in the Light of Some Unpublished “Procès-Verbaux”’, The Burlington Magazine, vol. 110, no. 783, June 1968, pp. 330–39; Patry (ed.), Inventing Impressionism, p. 39.

62. Lionello Venturi, Les Archives de l’impressionnisme (Paris, 1939), pp. 34, 115; Henry James, Parisian Sketches: Letters to the New York Tribune (New York, 1957), pp. 131, 166; Daniel Hannah, ‘Henry James, Impressionism, and Publicity’, Rocky Mountain Review of Language and Literature, vol. 61, no. 2, 2007 (Fall), pp. 28–43.

63. Anne Distel, Impressionism: The First Collectors, trans. Barbara Perroud-Benson (New York, 1989), pp. 57–60.

64. I. E. Repin i V. V. Stasov, p. 132.

65. Émile Zola, ‘M. Manet’, in Oeuvres complètes, vol. 12, p. 802; F. W. J. Hemmings, ‘Zola, Manet and the Impressionists (1875–1880)’, PMLA, 93, 1959, p. 407.

66. Émile Zola, ‘Une exposition: Les Peintres impressionnistes’, in Oeuvres complètes, vol. 12, pp. 973–4.

67. GJ, vol. 2, p. 186 (14 Dec. 1868); Michel Robida, Le Salon Charpentier et les impressionnistes (Paris, 1958), p. 65.

68. Marcel Proust, In Search of Lost Time, vol. 6: Time Regained, trans. Andreas Mayor and Terence Kilmartin (London, 1996), p. 38.

69. Ibid., pp. 45, 71, 81–2.

70. Distel, Impressionism, pp. 95, 125–37, 177 ff., 195–7, 202, 207.

71. Assouline, Discovering Impressionism, pp. 81–93, 126; Patry (ed.), Inventing Impressionism, p. 28. On the role of reproduction in the internationalization of the art market: Paolo Serafini (ed.), La Maison Goupil: Il successo italiano a Parigi negli anni dell’impressionismo (Milan, 2003), pp. 57 ff.

72. PSS, vol. 15, p. 152, vol. 16, p. 199; Zvig., pp. 312, 318.

73. Distel, Impressionism, pp. 83, 103–4.

74. Collection de M. Ivan Tourguéneff et collection de M.X. (Paris, 1878); Miquel, ‘Les maîtres du paysage français’, pp. 131–4; PSS, vol. 12, kn. 1: 1876–1878, pp. 283, 310.

75. Francis Steegmuller, Maupassant: A Lion in the Path. (New York, 1972), pp. 64, 93.

76. Émile Zola, ‘Flaubert et Tourgueneff’, Les Annales politiques et littéraires, 12 November 1893, p. 307.

77. Edel (ed.), Henry James Letters, vol. 2, pp. 20, 52; Alphonse Daudet, Trente ans de Paris (Paris, 1888), p. 333.

78. On Flaubert’s sociability and his image as a recluse, see Thierry Poyet, La Gens Flaubert: La Fabrique de l’écrivain entre postures, amitiés et théories littéraires (Paris, 2017), pp. 37–171.

79. Barbara Beaumont (ed.), Flaubert and Turgenev: A Friendship in Letters. The Complete Correspondence (New York, 1987), pp. 69, 71.

80. PSS, vol. 14, p. 146.

81. Sylvain Kerandoux (ed.), Gustave Flaubert, Guy de Maupassant: Correspondance (1873–1880) (Rennes, 2009), p. 167.

82. Beaumont (ed.), Flaubert and Turgenev, p. 157.

83. Gustave Flaubert, Oeuvres complètes: Correspondance, ser. 7: 1873–1876, (Paris, 1930), pp. 120, 138–40; PSS, vol. 13, pp. 77, 95.

84. Flaubert, Correspondance, vol. 5, p. 113.

85. OR RNB, f. 293 op. 1 d. 1466, l. 7; op. 3, d. 132, l. 1; Nikolai Zhekulin, ‘Turgenev – Perevodchik Flobera: Legenda o Sv. Iuliane Milostivom’, Slavica Litteraria, vol. 15, 2012/1, pp. 57–8, 68; PSS, vol. 15, kn. 2, pp. 68, 77.

86. Alain Pagès, ‘La topographie du discours (Sur quelques textes de Zola publiés en 1879)’, Les Cahiers naturalistes, no. 54, 1980, pp. 174–84.

87. P. Boborykin, Stolytsi mira (Tridsat’ let vospominanii) (Moscow, 1911), pp. 183–9.

88. Vizetelly, Emile Zola, pp. 65, 114, 136; E. Halpérine-Kaminsky (ed.), Ivan Tourguéneff d’après sa correspondance avec ses amis français (Paris, 1901), pp. 189–90.

89. PSS, vol. 14, pp. 9, 28, 44, 66, 77, vol. 15, kn. 1, p. 17; M. M. Stasiulevich i ero sovremenniki v ikh perepiskakh, vol. 3, p. 610; M. Kleman, ‘Zola v Rossii’, Literaturnoe nasledstvo, 2, 1932, pp. 243, 245; Émile Zola, Correspondance, ed. B. H. Bakker, Colette Becker and Henri Mitterand, 10 vols. (Paris, 1978–1995), vol. 2: 1868–1877, pp. 502, 557; Florence Montreynaud, ‘La correspondence entre Zola et Stassioulevich, directeur du “Messenger de l’Europe” (Deuxième partie)’, Les Cahiers naturalistes, no. 47, 1974, pp. 34–8.

90. Phillip Duncan, ‘The Fortunes of Zola’s Parizhskie Pis’ma in Russia’, Slavonic and East European Journal, vol. 3, no. 2, 1959, p. 108; Kleman, ‘Zola v Rossii’, p. 235; PSS, vol. 13, p. 95; Vestnik Evropy, vol. 10, no. 1, 1875, pp. 253–328, no. 2, pp. 694–774, no. 3, pp. 271–365.

91. Paul Alexis, Émile Zola: Notes d’un ami (Paris, 1882), p. 119.

92. Zola, Correspondance, vol. 2, pp. 453, 455, 457–8, 465–7; PSS, vol. 15, kn. 1, pp. 69, 238–9, vol. 15, kn. 2, p. 46.

93. GJ, vol. 3, p. 180. Translation taken from Edmond and Jules de Goncourt, Pages from the Goncourt Journal, ed. and trans. Robert Baldick (New York, 2007), p. 229.

94. HL, Mus 232, Letter from Jules Vallès to Turgenev, 13 Oct. 1877; A. Fifis, ‘Al’fons Dode –Sotrudnik Petersburgskoi gazety “Novoe Vremia”’, in NPG, vol. 1, pp. 210–12; Vosp., p. 300; Zola, Correspondance, vol. 2, p. 553, vol. 3, p. 89; N. P. Generalova, ‘Neopublikovannoe pis’mo k Turgenevu Zhiulia Vallesa (1877)’, in NPG, vol. 4, pp. 629–30.

95. M. M. Stasiulevich i ero sovremenniki v ikh perepiskakh, vol. 3, pp. 193, 224; PSS, vol. 14, pp. 86, 163, 77–8, 90–91.

96. PSS, vol. 8, pp. 191–2, vol. 13, p. 98; Chevrel, D’hulst and Lombez (eds.), Histoire des traductions, pp. 620–21.

97. L. N. Tolstoi, Polnoe sobranie sochinenii, 90 vols. (Moscow–Leningrad, 1928–64), vol. 62, p. 446; Fet, Moi vospominaniia, pp. 369–71; Ostrovskaia, Vospominaniia o Turgeneve, p. 41.

98. Ilia Zilberstein, ‘Le Roman Guerre et Paix et la France: Ivan Tourgueniev s’emploie à faire connaître l’oeuvre de Léon Tolstoï’, in Tolstoï aujourd’hui: Colloque international Tolstoï tenu à Paris du 10 au 13 Octobre 1978 (Paris, 1980), pp. 225–7; Ostrovskaia, Vospominaniia o Turgeneve, p. 40.

99. Tolstoi, Polnoe sobranie sochinenii, vol. 62, p. 446; PSS, vol. 12, kn. 1, p. 323.

100. Zilberstein, ‘Le Roman Guerre et Paix’, pp. 226–30; PSS, vol. 12, kn. 2, 1879–1880, p. 197

101. Zilberstein, ‘Le Roman Guerre et Paix’, p. 230; Beaumont (ed.), Flaubert and Turgenev, pp. 174–5.

102. PSS, vol. 10, p. 381; Seljak, Ivan Turgenevs Ökonomien, p. 143; Rissa Tachnin and David H. Stam (compilers), Turgenev in English: A Checklist of Works by and about Him (New York, 1962), pp. 17–19.

103. PSS, vol. 12, pp. 48, 72, vol. 15, kn. 1, p. 157, vol. 15, kn. 2, p. 257, vol. 16, pp. 482–3.

104. Bachleitner, ‘Produktion, Tausch und Übersetzung’, in Barbier, ed., Est–ouest, p. 118; Dorrotaya Liptak, ‘Die Sozialgeschichte der Literatur oder die übersetzte Literatur in den Wochenzeitschriften Prags und Budapests gegen Ende des 19. Jahrhunderts’, in Barbier, ed., Est–ouest, p. 202.

105. Paul Aron and Pierre-Yves Soucy, Les Revues littéraires belges de langue française de 1830 à nos jours (Brussels, 1998), p. 17; Paul Aron, ‘La Belgique francophone, carrefour du cosmopolitisme européen’, in Jacqueline Pluet-Despatin, Michel Leyarie and Jean-Yves Mollier (eds.), La Belle Époque des revues 1880–1914 (Paris, 2002), p. 329.

106. Carlos Serrano, ‘Les Revues littéraires dans l’Espagne fin-de-siècle’, in Pluet-Despatin, Leyarie and Mollier (eds.), La Belle Epoque des revues, p. 387.

107. Julian Schmidt, ‘Iwan Turgenjev’, in Bilder aus dem geistigen Leben unserer Zeit (Leipzig, 1870), pp. 428–71.

108. Kluge, Ivan Turgenev und seine deutschen Freunde, p. 126.

109. PSS, vol. 6, p. 111; Mikhail Alexeev, ‘Lamartine et Tourguéniev’, Cahiers, no. 14, 1990, p. 20; M. P. Alekseev and Iu.D. Levin, Vil’iam Rol’ston –propagandist russkoi literatury i fol’klora (St Petersburg, 1994), pp. 32–7.

110. Christine Richards, ‘Occasional Criticism: Henry James on Ivan Turgenev’, Slavonic and East European Review, vol. 78, no. 3, 2000, p. 463; Dale E. Peterson, The Clement Vision: Poetic Realism in Turgenev and James (Port Washington, 1975), pp. 10 ff.

111. Pauline Gacoin Lablanchy, ‘Le vicomte Eugène-Melchior de Vogüé et l’image de la Russie dans la France de la IIIe République’, Bulletin de l’Institut Pierre Renouvin, no. 39, 2014/1 (Spring), pp. 65–78; Edmund Gosse, Portraits and Sketches (London, 1913), pp. 243–63; F. W. J. Hemmings, The Russian Novel in France 1885–1914 (Oxford, 1950), pp. 49–52.

112. Sylvain Briens, ‘La mondialisation du théâtre nordique à la fin du XIXe siècle: Le fonds Prozor de la Bibliothèque nordique de Paris lu au prisme de la sociologie de l’ acteur-réseau’, Revue de littérature comparée, no. 354, 2015/2, pp. 137–50.

113. Franco Moretti, Atlas of the European Novel 1800–1900 (London, 1998), p. 176.

114. Régnier, ‘Littérature nationale, littérature étrangère’, in Espagne and Werner, eds., Philologiques III, pp. 299–300.

115. Moretti, Atlas of the European Novel, pp. 184–5.

116. René Ternois, Zola et ses amis Italiens (Paris, 1967), p. 43; Pascale Casanova, La République mondiale des lettres (Paris, 1999), pp. 146–7.

117. A. Dezalay (ed.), Zola sans frontières (Strasbourg, 1996), p. 177.

118. Bard H. Bakker, ‘Zola aux Pays-Bas, 1875–1885: Contribution à l’étude du naturalisme européen’, Revue des sciences humaines, vol. XL, 1975, pp. 581–8; Joseph Hurt, ‘The Reception of Naturalism in Germany’, in Brian Nelson (ed.), Naturalism in the European Novel: New Critical Perspectives (Oxford, 1992), pp. 101–3.

119. Steegmuller (ed. and trans.), Letters of Gustave Flaubert, p. 624.

120. Émile Zola, ‘L’Ouverture de l’Exposition Universelle’, in Oeuvres complètes, vol. 10, pp. 342, 347–8; Zola, Correspondance, vol. 3, p. 32.

121. P. Boborykin, Stolitsy mira: tridtsat’ let vospominaniia (Moscow, 1911), pp. 193–4.

122. Ibid., p. 194; Graham Robb, Victor Hugo (London, 1997), pp. 493–6

123. LI, p. xxviii.

124. Ibid., p. 494; E. M. Garshin, ‘Vospominaniia o Turgeneve’, Istoricheskii vestnik, no. 14, 1883, pp. 381–2.

125. Congrès littéraire international de Paris, 1878. Présidence de Victor Hugo. Compte rendu in extenso et documents (Paris, 1879), pp. 112–13.

126. Ibid., pp. 102–3.

127. PSS, vol. 8, pp. 76–81, 174, vol. 9, p. 94, vol. 11, p. 275, vol. 12, pp. 16, 52, 86–7, vol. 15, kn. 2, pp. 119–20.

128. Jac Ahrenberg, Människor som jag känt: personliga minnen, utdrag ur bref och anteckningar, 6 vols. (Helsingfors, 1904–14), vol. 3, pp. 75–7.

129. PSS, vol. 12, kn. 1: 1876–1878, pp. 322, 326–7; M. P. Dragomanov, Vospominaniia o znakomstve c I. S. Turgenevym (Kazan, 1906), pp. 7–8.

130. Congrès littéraire international de Paris, 1878, pp. 186–90, 330–50; Patrick Waddington, ‘I. S. Turgenev and the International Literary Congress of 1878’, New Zealand Slavonic Journal, 1983, pp. 62–4; B. L. Chivilev, ‘Otryvochnye vospominannia o Turgeneve’, Russkie vedomosti, no. 270, 2 Sept. 1883; Kovalevskii, ‘Vospominaniia ob I. S. Turgeneve’, pp. 5–6; Dragomanov, Vospominaniia, p. 9.

131. PSS. vol. 12, kn. 1, p. 333; Flaubert, Correspondance, vol. 5, p. 398.

132. PSS. vol. 12, kn. 2: 1879–1880, p. 81; Waddington, ‘Turgenev and the International Literary Congress’, p. 66.

133. Laurent Tissot, ‘Naissance d’une Europe ferroviaire: la convention internationale de Berne (1890)’, in Les Entreprises et leurs réseaux: Hommes, capitaux, techniques et pouvoirs, XIXe–XXe siècles. Mélanges en l’honneur de François Caron (Paris, 1998), pp. 283–95.

8 DEATH AND THE CANON

1. PSS, vol. 16, kn. 1, pp. 74, 92.

2. Vosp., p. 536.

3. Samuel Fiszman, ‘Ivan Turgenev’s Unknown Letter and His Stay in Russia in 1879’, Slavic Review, vol. 40, no. 1, 1981 (Spring), p. 82. On Turgenev’s fears of arrest, see Vasili Vérechtchaguine, ‘I. S. Tourguénieff, 1879–1883’, Cahiers, no. 16, 1992, p. 48.

4. Vosp., p. 538.

5. Ibid., p. 235.

6. Nora Gottlieb and Raymond Chapman (eds. and trans.), Letters to an Actress: The Story of Turgenev and Marya Gavrilovna Savina (London, 1973), p. 70.

7. Gottlieb and Chapman (eds. and trans.), Letters to an Actress, pp. 50 ff.

8. D. W. Martin, ‘The Pushkin Celebrations of 1880: The Conflict of Ideals and Ideologies’, Slavonic and East European Review, vol. 66, no. 4, Oct. 1988, p. 506; Marcus C. Levitt, Russian Literary Politics and the Pushkin Celebration of 1880 (Cornell, 1989), pp. 3–4.

9. PSS, vol. 12, kn. 2 (Moscow, 1967), p. 247; Martin, ‘Pushkin Celebrations’, p. 506.

10. Soch., pp. 341–50; Levitt, Russian Literary Politics, p. 125. Turg, vol. 12, kn. 2, p. 272.

11. David Magarshack, Turgenev: A Life (London, 1954), p. 295; Steegmuller, Maupassant, pp. 128–9.

12. Émile Zola, ‘Gustave Flaubert’, in Oeuvres complètes, ed. Henri Mitterand (Paris, 1966–9), vol. 11, pp. 124–6.

13. PSS, vol. 12, kn. 2: 1879–1880, p. 322; André Billy, The Goncourt Brothers, trans. Margaret Shaw (London, 1960), pp. 258–60; GJ, vol. 3, p. 496.

14. GJ, vol. 3, pp. 497–8.

15. Letopis’ zhizni i tvorchestva F. M. Dostoevskogo, 3 vols. (St. Petersburg, 1995), vol. 3, pp. 547, 558–9; Réné Fülöp-Miller, ‘The Posthumous Life of Dostoevsky’, Russian Review, vol. 15, no. 4, Oct. 1956, pp. 259–65.

16. Joseph Frank, Dostoevsky: The Mantle of the Prophet, 1871–1881 (Princeton, 2003), pp. 752–4; PSS, vol. 13, kn. 1: 1880–1882, pp. 56–7.

17. Tombeau de Victor Hugo (Paris, 1985), pp. 61, 164; Robb, Victor Hugo, pp. 522–3; Avner Ben-Amos, Funeral, Politics, and Memory in Modern France, 1789–1996 (Oxford, 2000), p. 281.

18. Maurice Barrès, Les Déracinés (Paris, 1920), p. 443; Robb, Victor Hugo, pp. 527–9; Avner Ben-Amos, ‘Les Funérailles de Victor Hugo’, in Nora (ed.), Lieux de Mémoire, I: La République (Paris, 1984), pp. 499, 516.

19. APP BA art. 1294: Viardot, Cabinet du Préfet: affaires générales, 31 May 1878.

20. Jean-Marie Goulement and Éric Walter, ‘Les Centenaires de Voltaire et de Rousseau’, in Nora (ed.), Lieux de Mémoire, I, pp. 396, 409.

21. Jane Mayo Roos, ‘Rodin’s Monument to Victor Hugo: Art and Politics in the Third Republic’, The Art Bulletin, vol. 68, no. 4, 1986, pp. 632–56; Ben-Amos, ‘Funérailles de Victor Hugo’, pp. 473–4.

22. Elizabeth Emery, Photojournalism and the Origins of the French Writer House Museum (1881–1914): Privacy, Publicity, and Personality (London, 2012), pp. 161–4, 175 ff.

23. Calculated from the database of 19th-Century Statues at http://romanticnationalism.net.

24. Marshall, ‘Women Re-Read Shakespeare Country’, p. 95; Julia Thomas, ‘Shakespeare and Commercialism’, in Gail Marshall (ed.), Shakespeare in the Nineteenth Century (Cambridge, 2012), p. 252.

25. PSS, vol. 10, p. 298.

26. See George Martin, ‘Verdi, Politics and “Va Pensiero”: The Scholars’ Squabble’, The Opera Quarterly, vol. 21, no. 1, Jan. 2005, p. 110. Contemporary accounts of the funeral do not mention this singing of the ‘Va Pensiero’ chorus, but Martin cites an interview with Carlo Gatti, the Verdi scholar, who was at the funeral.

27. Roger Parker, Studies in Early Verdi, 1832–1844: New Information and Perspectives on the Milanese Musical Milieu and the Operas from Oberto to Ernani (New York, 1989), p. 139. See further Ann Smart, ‘Liberty on (and off) the Barricades: Verdi’s Risorgimento Fantasies’, in Albert Ascoli and Krystyna von Henneberg (eds.), Making and Remaking Italy: The Cultivation of National Identity around the Risorgimento (Oxford, 2001).

28. Joep Leerson, ‘Schiller 1859: Literary Historicism and Readership Mobilization’, in J. Leerson and A. Rigney (eds.), Commemorating Writers in Nineteenth-Century Europe: Nation-Building and Centenary Fever (London, 2014), p. 27 (list of statues corrected from database of 19th-Century Statues at http://romanticnationalism.net).

29. An de Rider, ‘Conscience 1883: Between Flanders and Belgium’, in Leerson and Rigney, Commemorating Writers, pp. 188 ff.

30. S. Prawer, Karl Marx and World Literature (London, 2011), pp. 143–5; K. Marx and F. Engels, The Communist Manifesto (London, 1848).

31. L. E. Obolenskii, ‘Literaturnye vospominaniia i kharakteristiki (1854–1892)’ Istoricheskii vestnik, 1902, vol. 87 (Jan.–Mar.), pp. 504–5; PSS, vol. 12, kn. 2: 1879–1880, p. 327.

32. BNF, NA Fr. Papiers de Pauline Viardot, 16275, Lettres adressées a Claudie et George Chamerot, Ivan Tourgénev et divers, ff. 257–8, Maupassant to Turgenev.

33. William Weber, ‘Mass Culture and the Reshaping of European Musical Taste, 1770–1870’, International Journal of the Aesthetics and Sociology of Music, vol. VIII, 1977, pp. 5–21.

34. Cooper, Rise of Instrumental Music, p. 157.

35. Taylor, Anton Rubinstein, p. 219; Weber, Musician as Entrepreneur, p. 118.

36. Georg Jäger, ‘Der Musikalienverlag’, in Jäger (ed.), Geschichte des deutschen Buchhandels im 19. und 20. Jahrhundert: Das Kaiserreich 1871–1918, vol 2 (Frankfurt am Main, 2003), pp. 7–61.

37. Lawford-Hinrichsen, Music Publishing and Patronage, pp. 18–20, 27.

38. Ringel, ‘Opera in “The Donizettian Dark Ages”’, p. 58; The Times, 8 July 1861.

39. Ibid., pp. 73–4.

40. Albert Soubies, Le Théâtre-Italien de 1801 à 1913 (Paris 1913), appendix table.

41. See Charle, ‘Comparaisons et transferts’, p. 31.

42. John Rosselli, ‘Materiali per la storia socio-economica del San Carlo nel Ottocento’, in Lorenzo Bianconi and Renato Bossa (eds.), Musica e cultura a Napoli dal XV al XIX secolo (Florence, 1983), p. 376; Jutta Toelle, Bühne der Stadt: Mailand und das Teatro alla Scala zwischen Risorgimento und Fin de Siècle (Munich, 2009), p. 81.

43. Katharine Ellis, ‘Unintended Consequences: Theatre Deregulation and Opera in France, 1864–1878’, Cambridge Opera Journal, vol. 22, no. 3, 2010, pp. 327–52; Katharine Ellis, ‘Systems Failure in Operatic Paris: The Acid Test of the Théâtre-Lyrique’, in Everist and Fauser (eds.), Music, Theater, and Cultural Transfer, pp. 53–5, 67.

44. Faith, World the Railways Made, p. 279.

45. Jutta Toelle, ‘Der Duft der grossen weiten Welt: Ideen zur weltweiten Ausbreitung der italienischen Oper im 19. Jahrhundert’, in Müller et al. (eds.), Oper im Wandel der Gesellschaft, p. 259.

46. Ibid., p. 71.

47. Jutta Toelle, Oper als Geschäft: Impresari an italienischen Opernhäusern, 1860–1900 (Kassel, 2007), pp. 53–5; Toelle, Bühne der Stadt, p. 113.

48. Annegret Fauser, “Cette musique sans tradition”: Wagner’s Tannhäuser and Its French Critics’, in Everist and Fauser (eds.), Music, Theater, and Cultural Transfer, p. 238.

49. Forti, ‘Alle origini dell’industria musicale italiana’, pp. 109–11.

50. Hans Busch (ed.), Verdi’s Aida: The History of an Opera in Letters and Documents (Minneapolis, 1978), pp. 365, 397–400, 499–553; Toelle, Bühne der Stadt, p. 93.

51. Ibid., pp. 94 ff.

52. See Philipp Ther, ‘Wie national war die Oper? Die Opernkultur des 19. Jahrhunderts zwischen nationaler Ideologie und europäischer Praxis’, in Ther and Sachel (eds.), Wie europäisch ist die Oper?, pp. 110–11.

53. Fellner & Helmer: Die Architekten der Illusion. Theaterbau und Bühnenbild in Europa: anlässlich des Jubiläums ‘100 Jahre Grazer Oper’ (Graz, 1999), pp. 10–11.

54. Toelle, Bühne der Stadt, p. 100; Annibale Alberti, Verdi intimo, 1861–1886 (Milan, 1931), p. 17.

55. On the problems of data collection: Mark O’Neill, Sara Selwood and Astrid Swenson (2019): ‘Looking Back: Understanding Visits to Museums in the UK and beyond since the Nineteenth Century’, Cultural Trends, DOI: 10.1080/09548963.2019.1559472. On the Rijksmuseum: Ellinoor Bergvelt and Claudia Hörster, ‘Kunst en publiek in de Nederlandse rijksmusea voor oude kunst (1800–1896): Een vergelijking met Bennets Birth of the Museum’, De Negentiende Eeuw, vol. 34, no. 3, 2010, pp. 232–48; Claudia Hörster, ‘Visiting the Trippenhuis: Social History of the Rijksmuseum Amsterdam 1800–1885’, diss., Universiteit van Amsterdam, 2010. Figures for number of visitors communicated by Ellinoor Bergvelt. See also: Liesbet Nys, De intrede van het publiek: Museumbezoek in België 1830–1914: (Leuven, 2012); Bénédicte Savoy and Philippa Sissis (eds.), Die Berliner Museumsinsel: Impressionen internationaler Besucher, 1830–1990. Eine Anthologie (Vienna, 2013).

56. Louis Viardot, Les Merveilles de la peinture (Paris, 1868); Les Merveilles de la sculpture. Ouvrage illustré … par Chapuis, etc. (Paris, 1871); Wonders of European Art. Illustrated by Reproductions by the Woodbury Permanent Process, and Wood Engravings (London, 1871); Wonders of Sculpture: Illustrated (London, 1872); A Brief History of the Painters of all Schools (London, 1877).

57. Théophile Gautier, ‘Le Musée ancien’, La Presse, 10 Feb. 1849, p. 2.

58. McCauley, Industrial Madness, pp. 265–74. On the nineteenth-century cult of these two artists, see Alison McQueen, The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France (Amsterdam, 2014); Berthold Hinz, Dürers Gloria: Kunst, Kult, Konsum (Berlin, 1971).

59. Gérôme & Goupil: Art et entreprise (Paris, 2000), p. 23; Alexandre Benois, Memoirs, trans. Moura Budberg (London, 1960), p. 103.

60. Anthony Hamber, ‘Facsimile, Scholarship, and Commerce: Aspects of the Photographically Illustrated Art Book (1839–1880)’, Studies in the History of Art, vol. 77: Symposium Papers LIV: Art and the Early Photographic Album, 2011, p. 144.

61. Austen Barron Bailey, ‘Vetting the Canon: Galerie contemporaine, 1876–1884’, Studies in the History of Art, vol. 77, Symposium Papers LIV, pp. 173–94

62. Turgenevskii sbornik, vol. 2, pp. 286–7; Kel’ner, Chelovek svoego vremeni, p. 95; Fedyashin, Liberals Under Autocracy, pp. 89–90.

63. Olivero, ‘Paperback Revolution’, in Spiers, ed., Culture of the Publisher’s Series, vol. 1, p. 78.

64. Olivero, L’Invention de la collection, pp. 41, 166–9.

65. Alvaro Ceballos Viro, ‘The Foreign Series of Herder Verlag by 1900: International Catholic Literature’, in Spiers, ed., Culture of the Publisher’s Series, vol. 2: Nationalisms and the National Canon, pp. 62–81.

66. Frederic Barbier, L’Empire du livre: Le livre imprimé et la construction de l’Allemagne contemporaine (1815–1914) (Paris, 1995), pp. 92–7; Bode, Reclam, pp. 14–15; Olivero, L’Invention de la collection, pp. 81–2.

67. Liptak, ‘Sozialgeschichte der Literatur’, pp. 203 ff.; Olivero, L’Invention de la collection, p. 107; Mariella Colin, ‘La naissance de la littérature romanesque pour la jeunesse au xixe siècle en Italie; Entre l’Europe et la nation’, Revue de littérature comparée, no. 304, 2002, pp. 507–18; Marisa Fernândez-Lépez, ‘La naissance du roman hispanique à la lumière de ses modèles français, anglais et américain’, Revue de littérature comparée, no. 304, 2002, pp. 493–505.

68. Simonetta Soldani and Gabriele Turi, Fare gli Italiani: Scuola e cultura nell’Italia contemporanea, 2 vols. (Bologna, 1993), vol. 1, p. 50; Jean-François Botrel, La Diffusion des livres en Espagne (1868–1914): Les libraires (Madrid, 1988), p. 127; David Vincent, The Rise of Mass Literacy: Reading and Writing in Modern Europe (Oxford, 2000), p. 31.

69. Hermann Korte, ‘Gymnasiale Kanonarchitektur und literarische Kanonisierungspraxis 1871 bis 1918 am Beispiel Westfalens’, in Korte, Ilonka Zimmer and Hans-Joachim Jakob (eds.), Der deutsche Lektürekanon an höheren Schulen Westfalens von 1871 bis 1918 (Frankfurt/M. 2011), pp. 11–122; Jana Mikota, ‘For the Love of Words and Works: Tailoring the Reader for Higher Girls’ Schools in Late Nineteenth-Century Germany’, in Lynne Tatlock (ed.), Publishing, Culture and the Reading Nation: German Book History in the Long Nineteenth Century (Rochester, 2010), pp. 181–203.

70. M. Guiney, Teaching the Cult of Literature in the French Third Republic (London, 2004), pp. 102–5; Richard Altick, The English Common Reader: A Social History of the Mass Reading Public 1800–1900 (Chicago, 1957), p. 185; Mary Hammond, Reading, Publishing and the Formation of Literary Taste in England, 1880–1914 (Aldershot, 2006), p. 87.

71. Moretti, Atlas of the European Novel, p. 146.

72. Maurice Pellison, Les bibliothèques populaires à l’étranger et en France (Paris, 1906), p. 57; The English Public Library, 1850–1939: Introduction to Heritage Assets (English Heritage, 2014), p. 3.

73. Pellison, Bibliothèques populaires, p. 169; Eugène Morel, Bibliothèques: Essai sur le développement des bibliothèques publiques et de la librairie dans les deux mondes (Paris, 1908), pp. 128–9.

74. Pellison, Bibliothèques populaires, pp. 95–102; Giovanni Lazzari, Libri e popolo: Politica della biblioteca pubblica in Italia dal 1861 ad oggi (Naples, 1985), p. 45; Sassoon, Culture of the Europeans, p, 610.

75. Marie-Laure Malingre, ‘Le roman dans les bibliothèques populaires au dix-neuvième siècle’, in Lectures et lecteurs au XIXe siècle: La Bibliothèque des Amis de l’instruction (Paris, 1985), pp. 110–18.

76. PSS, vol. 12, kn. 2, 1879–1880, pp. 48, 58, 428–9.

77. PSS, vol. 13, kn. 1, 1880–1882, p. 245.

78. Turgenevskii sbornik, vol. 2, p. 331.

79. Patrick Waddington, Turgenev’s Mortal Illness: From Its Origins to the Autopsy (Pinehaven, 1999), pp. 2–7, 14–15; Patrick Waddington, ‘Turgenev’s Last Will and Testament’, New Zealand Slavonic Journal, no. 2, 1974, pp. 39–64.

80. M. K. Tenisheva, Vpechatleniia moei zhizni (Leningrad, 1991), p. 46.

81. Henri de Saint-Simon, ‘Viardot et Tourgueneff’, Le Figaro, 8 May 1883, pp. 1–2.

82. BMO, NLA 357, Pauline Viardot to unknown, 4 May 1883.

83. PSS, vol. 13, kn. 2, 1882–1883, p. 180.

84. RGALI, f. 1573, op. 3, d. 1325, l. 27.

85. Waddington, Turgenev’s Mortal Illness, pp. 58–60; Vosp., pp. 409–11.

86. Vosp., pp. 412, 420; M. M. Stasiulevich i ero sovremenniki v ikh perepiskakh, vol. 3, p. 230.

87. Waddington, Turgenev’s Mortal Illness, p. 61; ‘Pauline Viardot o konchine Turgeneva’, Knizhnye novosti, no. 10, 1937, p. 55.

88. APP BA art. 1287: Tourgeneff, Cabinet du Préfet: affaires générales, 106409, Police reports on Turgenev funeral; ‘Les obsèques de Tourguéneff’, La France, 8 Sept. 1883, p. 3; H. de L., ‘Nécrologie’, Le Clairon, 8 Sept. 1883, p. 3.

89. Vosp., p. 418.

90. M. M. Stasiulevich i ero sovremenniki v ikh perepiskakh, vol. 3, pp. 230–34, 273; Waddington, Turgenev’s Mortal Illness, p. 57.

91. M. M. Stasiulevich i ero sovremenniki v ikh perepiskakh, vol. 3, p. 265; Soch., p. 182.

92. L. D. Obolenskii, ‘U groba Turgeneva’, pp. 942–4; Le XIXe siècle, 3 Oct. 1883, p. 1; ‘Ernest Renan, Tourguéniev et Pauline Viardot’, Cahiers, no. 16, 1992, p. 25.

93. M. Stasiulevich, ‘Iz vospominanii o poslednikh dniakh I. S. Turgeneva i ego pokhorony’, in I. S. Turgenev v vospominaniiakh sovremennikov, vol. 2, pp. 420–24.

94. Ibid., pp. 424–7.

95. Ibid., p. 428; Novoe vremia, 28 Sept. (10 Oct.) 1883, pp. 1–2; Iz Parizhskogo arkhiva I. S. Turgeneva, kniga pervaia, neizvestvnye proizvedeniia, in Literaturnoe Nasledstvo, p. 328; Tamara Zviguilsky, Le Musée Tourguéniev (Bougival, 1993), p. 52.

EPILOGUE

1. Friang, Pauline Viardot, p. 252; Héritte-Viardot, Une famille de grands musiciens, p. 65.

2. BMD, 091 VIA, Pauline Viardot to Edmond Cottinet, 13 Jan. 1892; Borchard, Pauline Viardot-Garcia, p. 48.

3. Dnevniki P. I. Chaikovskogo (1873–1891) (St Petersburg, 1993), p. 64; Chaikovskii, Polnoe sobranie sochinenii, vol. 9, pp. 355–8, 383–4.

4. RGALI, f. 1573, op. 3, d. 1325, ll. 21, 26–9.

5. Vosp., p. 169.

6. Ibid., pp. 353, 355.

7. M. A. Arzumanova, ‘Zaveshchanie I. S. Turgeneva’, in I. S. Turgenev (1818–1883–1958): Stat’i i materiali (Orel, 1960), pp. 264–86.

8. Kluge, ‘Ivan Turgenev und seine deutschen Freunde’, pp. 128–9.

9. Christophe Charle, ‘Champ Littéraire francais et importations étrangères: de la vogue du roman russe à l’émergence d’un nationalisme littéraire (1886–1902)’, in Espagne and Werner, eds., Philologiques III, p. 255; Phelps, Russian Novel in English Fiction, p. 39.

10. GJ, vol. 3, p. 67.

11. Henry James, The House of Fiction: Essays on the Novel (London, 1957), p. 170.

12. Chevrel, D’hulst and Lombez, eds., Histoire des traductions, pp. 257–8.

13. Béatrice Joyeux-Prunel, Nul n’est prophète en son pays? L’internationalisation de la peinture des avant-gardes parisiennes, 1855–1914 (Paris, 2007), p. 61.

14. Comte de Saint-Simon, De la réorganisation de la société européenne (Paris, 1914), pp. 108–11.

15. Friedrich Nietzsche, Human, All Too Human, trans. Marion Faber and Stephen Lehmann (London, 1994); Nietzsche, The Joyous Science, trans. R. Kevin Hill (London, 2018); Nietzsche, Beyond Good and Evil, trans. R. Hollingdale (London, 2003), pp. 172–3.

16. Georg Brandes, ‘Verdenslitteratur’ (1899), in Samlede Skrifter, 18 vols. (Copenhagen, 1899–1910), vol. 12, pp. 23–8.

17. Paul Valéry, ‘The Crisis of the Mind’, in The Outlook for Intelligence, trans. Denise Folliot and Jackson Mathews (Princeton, 1989), pp. 26–8.

18. BNF, NA Fr. 17273, Papiers Pauline Viardot, vol. 2, ff. 10–11, Camille Saint-Saëns to Pauline Viardot, 19 Dec. 1909.

19. Borchard, Pauline Viardot-Garcia, p. 105.

20. BNF, VM BOB-21366, Lettres de Pauline Viardot à Gabriel Fauré, 1907–1910, nos. 299–305.

21. HL MUS 264 (366), Pauline Viardot Journal, ‘La viellesse (la mienne)’.

22. See Richard Taruskin, Stravinsky and the Russian Traditions, 2 vols. (Oxford, 1996), vol. 1: A Biography of the Works through Mavra, pp. 637–45.

23. At least, there is no mention of a meeting in any of the relevant archives: BNF (Viardot, Boris Kochno), ANF (Viardot, Comtesse de Greffulhe, Princesse de Polignac), HL (Viardot), BMO (Viardot, Diaghilev), IRL (Diaghilev, Panaev-Kartseva), RGALI (Diaghilev) or NYPL (Gabriel Astruc Papers).

24. Héritte-Viardot, Une famille de grands musiciens, p. 65; Les Annales politiques et littéraires, no. 1405, 29 May 1910, p. 3.