¹ Winter, Robert, ‘The Most Unwitting Foes of the Romantic Piano May Be Those Well-Intentioned Curators Who Lend Their Instruments for Recording Sessions’ Early Music 12 (1984): 21–5CrossRefGoogle Scholar.

² Winter, Robert, ‘Orthodoxies, Paradoxes, and Contradictions: Performance Practices in Nineteenth Century Piano Music’, in Nineteenth-Century Piano Music, ed. Todd, R. Larry (New York: Routledge, 2004), 16–54Google Scholar. On interpretive authenticity and its relationship to oral tradition and pianistic lineage in the music of Chopin, see Taruskin, Richard, Text and Act: Essays in Music and Performance (New York: Oxford University Press): 180–81Google Scholar.

³ Naomi Cumming, The Sonic Self: Musical Subjectivity and Signification (Bloomington: Indiana University Press), 258–62.

⁴ Cook, Nicholas, ‘Between Art and Science: Music as Performance’, Journal of the British Academy 2 (2013): 15Google Scholar.

⁵ Winter, ‘Orthodoxies, Paradoxes, and Contradictions’, 28.

⁶ Samson, Jim, ‘Chopin, Past and Present’, Early Music 29 (2001): 382CrossRefGoogle Scholar.

⁷ Bellman, Jonathan, ‘Chopin and His Imitators: Notated Emulations of the “True Style” of Performance’, 19th-Century Music 24 (2000): 160CrossRefGoogle Scholar.