The Domestic Piano Repertoire

Arcs record documented market presence (an edition, agent, deposit, or attested stock in that city), not sales volume; most arrival years are approximate and every arc carries its evidence class. Publication ≠ sales ≠ playing — see the companion database (README) for the tiered-evidence method, sources, and confidence scores. The minimum-confidence slider filters arcs and city bubbles by evidence robustness (derived from class per the DB convention: A→4, B→3, C→2): at 1 the full speculative reach is shown; raise it to reveal only the documented core. Each city carries two circles — gold for editions/commercial circulation and blue for press mentions/critical attention, two distinct popularity axes that often diverge (a salon hit could sell in the thousands yet draw almost no critical notice); toggle each axis above. The Americas appear in the inset at reduced scale; arcs crossing its frame cross the Atlantic. Ottoman Istanbul is drawn from documented Pera trade houses (Comendinger, Bellolo, Millas). Data: Domestic Piano Repertoire DB v41 (264,096 market works), July 2026. The map traces a curated subset (40 works with multi-city documented spreads) — city lists are cumulative documented presences of that subset, not totals or new-edition counts; gaps mean not-yet-traced, not not-published. Dotted city rings show the count of documented publications per city in the database, log-scaled — this measures archive depth (Paris reflects Gallica’s digitization scale, not Parisian dominance), a deliberate reminder that the record is shaped by what survives and what is digitized.