Analysis of addressee and writer–recipient relationships is a common methodology for the interpretation of written correspondence of ‘great’ composers. By contrast, when a musical text is the object of study, music philologists and performers alike tend to neglect such a contextual perspective when attempting to reveal its meaning – as if composers had no particular audience in mind when they wrote their piano music. This chapter attempts a characterisation of Schubert’s pianistic audience in Vienna as reflected in contemporary Viennese pianoforte treatises. The first part presents evidence to support such a geographically focused source selection – the distinctly nationalist stance of the Viennese pianoforte scene in the aftermath of the Napoleonic Wars and the Congress of Vienna. The second part compiles a brief genre history of the Viennese pianoforte treatise – both produced in Vienna and imported from abroad – during Schubert’s lifetime. The third part deduces several common principles from this fascinating corpus of sources and reads selected passages from Schubert’s works through this lens, exemplifying how some of the traditional ‘problems’ can be resolved in the context of early nineteenth-century Viennese pianism.