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6 Berlioz, Evenings with the Orchestra, 57-59. For Gilbert and Sullivan, see M. Aingier, Gilbert andSullivan (Oxford: Oxford University Press, 2002), 94, 174-82.

7 In the parliamentary committee of 1904, members disagreed on whether a piracy produced in the room was photographed or not; they eventually concurred that it was a photographic but nonidentical copy. See Report of the Departmental Committee ... to Inquire into the Piracy of Musical Publications (Cd.186o. London: HMSO, 1904), 14. Henceforth this is cited as Report (1904). Note that the report proper, and the minority report by Caldwell, are separately paginated from the records of the interviews.

8 See C. Ehrlich, The Piano: A History, rev ed. (Oxford: Clarendon Press, 199o), 88-io7.

9 David Day saw his first action in 1897, against a pirate reprinting The Soldiers of the Queen (using movable type, in this early instance, not photography): Report (1904), 27, 28.

io Report (19o4), 8-9, 33.

11 Report (1904), 33;J. Coover, Music Publishing Copyright and Piracy in Victorian England (London: Mansell, 1985), 84-85. Coover's collection of snippets from primary sources is the essential starting point for this story.

12 For "commandoes," see also the letter by `Anti-Pirate" quoted in Coover, Music Publishing 85.

13 Report (1904), 33;J Abbott, The Story ofFrancis, Day andHunter (London: Francis, Day and Hunter, 1952), 31.

14 British Library (BL), Music Library (ML), MS. M. 55, henceforth cited as Preston, scrapbook, fragment from Leeds, n.d.; Coover, Music Publishing 88.

15 Coover, Music Publishing 108-9.

16 St. Helens, January 8,1904; Preston, n.d.: both in Preston, scrapbook.

17 Report (i9o4),17.

18 Report (1904), 67.

19 Report (1904), 33-35.

20 Report (1904),15, 29.

21 Report (1904), 32.

22 A. Lamb, Leslie Stuart: Composer ofFloradora (New York: Routledge, 2002), 166.

23 Report (1904),19-20, 31-32.

24 Report (1904), 45.

25 The obvious inference is a background in minstrelsy, or else in the less formal world of late Victorian street musicians, who sometimes adopted blackface. But I have found no firm evidence either way.

26 Preston, scrapbook. Preston also amassed a collection of 268 piracies on his travels, presumably to help with prosecutions; these are now bound in several large volumes under the title "Pirated music" as BL ML H.i848. The items are direct copies of originals, sometimes including publishers' names and warnings (although these are occasionally blacked out). The print quality is variable, and often poor; but almost all would be usable. Most of the pieces are light fare like Sousa marches and operetta and music-hall songs.

27 Report (1904), 49.

28 Report (19o4), 16, 5o.

29 Liverpool Express, October 15,1903; fragment in Preston, scrapbook. For the O'Neile raid, see also Report (1904), 48.

3o Report (19o4), 17.

31 J. Coover, "Victorian Periodicals for the Music Trade," Notes, March 19go, 609-21, esp. 616 n23.

32 Report (1904), 49. Many of the middlemen in the pirate trade were portrayed in the press in terms that implied Irish or Continental Jewish descent.

33 Preston, scrapbook, fragment from Cardiff, n.d. Cf. P. Stallybrass and A. White, The Politics and Poetics of Transgression (Ithaca, N.Y.: Cornell University Press, 1986), 27-31.

34 Report (r9o4), 52. For Cohen, see various fragments in Preston's scrapbook, e.g., Manchester Evening News, October 7, 1903.

35 Preston, scrapbook, July 28, 1904; cf. also another fragment, also from Sheffield, dated February 24,1902, when Preston actually gave up the prosecution rather than go through this ordeal.

36 Report (r9o4), 9, 15, 16.

37 Report (1904), 29.

38 Sheffield Telegraph, December r, 1903, in Preston, scrapbook.

39 On the raid, see Report (1904), 18. On his embezzlement, see Report (1904), 85.

4o Report (r904), r2, 16, 35, 51-52, 77-

41 See Preston, scrapbook, for all these actions (and many more).

42 Report (1904),76-83.

43 Report (1904), 32.

44 Report (1904),77- For a r90r denunciation of this "ring," see Coover, Music Publishing 77-

45 Report (1904),79-