Music teaching formed an important source of income for many musicians in the nineteenth century, whether within a ‘portfolio’ career, to support composing or performing activities, or as part of the ‘flood’ of dedicated private teachers in the expanding market of the last quarter of the century. 1 As such, however, it had a reputation as a low-status part of the profession. This was particularly true given its association with female teachers, many of whom were part-time, unqualified and often ill equipped. Sources from throughout the century suggest music teaching was often a thankless task, with musicians working extensive hours in order to make ends meet, and established teachers complaining of being undercut by young ladies and amateur practitioners.