¹ Allen Lott, R., From Paris to Peoria: How European Virtuosos Brought Classical Music to the American Heartland (Oxford: Oxford University Press, 2003)CrossRefGoogle Scholar.

² Macleod also cites Ellis, Katherine, “Female Pianists and Their Male Critics in Nineteenth-Century Paris,” Journal of the American Musicological Society 50 (Summer–Fall, 1997): 353–85CrossRefGoogle Scholar.

³ Levine, Lawrence, Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge: Harvard University Press, 1988)Google Scholar.

⁴ The repertory list also shows evidence of a loyalty to Chicagoans and fellow Leschetizky pupils.

⁵ Bloomfield-Zeisler also expressed a desire to educate listeners: “I am asked sometimes why I attempt the last sonata of Beethoven in a little town. But just such audiences listen to that work with rapt attention; they hang on every note. How are they to learn what is best in music unless we are willing to give it to them?” Brower, Harriett, Piano Mastery (New York: Frederic Stokes, 1915), 186.Google Scholar