The Violoncello and Its History

List of Names and Index

(The Gamba-players mentioned in the Introduction are expressly so indicated in the following Index, in order to distinguish them from the Violoncellists.)

	PAGE
Abbé (l’Abbé),	see Saint-Sévin.
Abel, Karl Friedr. Gambist	32
Abaco	54
Adamowski, Joseph	209
Aimon, Esprit	95
Albrecht	200
Alexander	84
Aliprandi, Bernardo	63
Alois, Wladislaw	206
Amadio, Pippo	53
Amati, Andreas. Instrument maker	7, 39, 42
Appy, Charles Ernest	185
Ariosti, Attilio	48
Arnold, Joh. Gottfried	84
Aubert, François Olivier	94
Auberti	59
Bach, Joh. Seb.	26, 61, 67
---- Philipp Emmanuel	27, 85
Bagge, Selmar	148
Baisson. Gambist	20
Barbot, Jean François	170
Barni, Camillo	64
Baroni, Leonora. Singer and Gamba-player	14, 36
Batistin (Joh. Baptist Struck)	52, 56
Batta, Alexander	181
Baudiot, Charles Nicolas	99
Bauersachs, Christian Friedrich	84
Battanchon, Felix	170
Baumgärtner, Joh. Baptist	69
Becker	174
---- Hugo	136
Beethoven, Ludwig van	77, 210
Bekker, P. R.	179
Bella, Domenico della	53
Bellmann, Richard	131
Bellerman, Constantin. Gambist	30
Beneke, Friedrich Ernst	78
---- Philipp Friedrich	78
Berteau	87
Bertoja, Brothers	62
Bideau (Bidaux), Dominique	94
Bieler, August	165
Birnbach, Henrich August	140
Bischoff, Joh. Christoph.	78
Blainville, Charles Henri	93
Boccherini, Luigi	64, 114
Bockmühl, Robert Emil	167
Bohrer, Max	79
Böckmann, Ferdinand	165
Böhm, Karl Leopold	144
Boerngen, Emil	132
Bonometti. Composer	6
Boubée, Albert	173
Bouman, Antoon	188
Brade, William. Gambist	17
Braga, Gaetano	112
Brandoukoff, Anatole	201
Bréval, Jean Baptiste	98
Brewer, Thomas. Gambist	19
Brodeczky, Johann	204
Brückner, Oscar	135
Büchler, Ferdinand	160
Buononcini, Giovanni Battista	49
Cabisius, Julius	149
Calmus	76
Caporale	54
Cardon, Pierre	95
Castagnoli	112
Centola	112
Cervetto (Jacopo Bassevi)	51
---- James	52
Chevillard, Pierre Alex. François	182
Chorschevsky	199
Chrétien, Gilles Louis	102
Christian, Prince of Wittgenstein-Berleberg	85
Cristiani, Lisa B.	173
Cirri, Giambatista	63
Cooper (Coperario), John. Gambist	18
Corrette, Michel	38, 56
Cossmann, Bernhard	122
Cristelli, Casper	68
Crosdill, John	190
Crouch, F. W. N.	194
Cudmore, Richard	194
Cupis, Jean Baptiste	88
Czerwenka, Aurel V.	138
Czižek, Wenzel	204
Dall’Oglio, Giuseppe	54
Dammen (Dahmen), Jean Arnold	175
Dancla, Arnaud	171
Danielschenko, Peter	201
Danzi, Franz	81
Dardelli, Pietro. Instrument maker	7
Davidoff, Carl	199
Dechert, Hugo	155
Delsart, Jules	174
Demunck (De Munck), François	179
---- Ernest	180
Desmarets. Gambist	20
Deswert (De Swert), Jules	154, 178
---- Isidore	181
Domergue, Claude	93
Dont, Joseph Valentin	205
Dotzauer, Justus Joh. Friedr.	120
---- Karl Ludwig	121
Drechsler, Karl	124
---- Louis	125
Duiffopruggar, Gaspard. Instrument maker	7
Duport, Jean Pierre	51, 77, 89
---- Jean Louis	77, 90
Eberle, Oscar	131
Ebert, Ludwig	149
Ebner, Karl	162
Eder, Karl Kaspar	82
Edouard	93
Emmerling. Gambist	30
Espenhahn, L.	158
Ferabosco, Alphonso. Gambist	16, 35
Ferrari, Carlo	55
Fesch, Wilhelm de	174
Filtz, Anton	70
Fischer, Adolphe	178
Fitzenhagen, Karl Fried. Wilh.	133
Fleischmann, Joh. Georg.	77
Forqueray, Antoine. Gambist	21
---- Jean Bapt. Antoine. Gambist	21
Franchomme, Auguste	169
Franciscello (Francischello)	35, 50, 56
Franco-Mendès, Jacques	184
Fraticelli, Marco. Gambist	36
Friedel, S. L.	77
Fredrick William II., King of Prussia	77
Funk, David. Gambist	22
Fürst, Johann	81
Gabrieli, Domenico	48
Gamba,	see Viola da Gamba.
Ganz, Moritz	151
Gasparini, Quirino	62
Gasparo	199
Gasparo da Salò. Instrument maker	6, 7, 38
Gatti, Teobaldo. Gambist	35
Geist, Maria	162
Gerle, Hans. Instrument maker	5, 9
Giese, Fritz	153
---- Joseph	152
Gleen	200
Goltermann, Georg Eduard	164
---- Johann, Aug.	123
Gowa, Albert	166
Grabau, Joh. Andreas	162
Graf, Gebhard	160
Granier. Gambist	12
Graul, Markus Henrich	72, 76
Graziani	63, 77
Gretsch	79
Griebel, Julius	158
Gross, Joh. Benjamin	166
Grosse, Heinrich	77
Grünfeld, Heinrich	148
Grützmacher, Friedrich Wilhelm	126
---- Friedrich	128
---- Leopold	128
Guarneri, Guiseppe del Gesù. Instrument maker	42
Gunn, John	192
Haillot	102
Hansmann, O. F. G.	77
Hard, Joh. Daniel. Gambist	30
Hardy, Henry (of Oxford)	191
Hauer	75
Hausmann, Robert	154
Hauschka, Vincenz	76
Haydn, Joseph	34, 85
Handel, George Frederick	26
Häusler, Ernst	80
Hebden, John	190
Heberlein, Hermann	130
Hegar, Emil	130
Hegenbarth, Franz	147
Hegyesi, Louis	209
Hemmerlein, J. G.	78
Herbeck, Emil	162
Herbig	77
Hermann, Adam	207
---- (Hermanowski)	207
Hervelois, Caix de. Gambist	21
Hesse, Ernst Christian. Gambist	28
---- Ludwig Christian. Gambist	30
Hettisch (Hetes), Johann	204
Heyn, A.	138
Hextel, Joh. Christian. Gambist	30
Hilpert, Friedrich	129
Himmelbauer, Wenzel	69
Hizelberger	79
Hoffman, Johann	75
Hottmann. Gambist	20
Howell, Edward	195
Huber, Franz Xaver	78
---- Joseph	147
Hume, Tobias. Gambist	16
Hummer, Reinhold	146
Hus-Deforges	100
Hüttner, Johann Nepomuk	147
Immler	82
Jacchini, Giuseppe	53
Jacobowsky, Hermann	158
Jacquard, Leon Jean	171
---- Louis Auguste	170
Janson, Jean Baptiste Aimé	88
---- Louis Auguste Joseph	89
Jäger, Ernst	74
---- Johann	72
---- Joh. Zacharias Leonhard	73
---- Hugo	137
Jenkins, John. Gambist	17
Joannini di Violoncello	62
Johnson, Barthol.	190
Kahnt, Moritz	128
Karasowski, Moritz	208
Karauschek	79
Karlowicz, Johann	209
Kaufmann, Johann	80
Kellerman, Christian	197
Kelz, Johann Friedrich	150
Kerlino, Joan. Instrument maker	5
Klengel, Julius	130
Kletzer, Feri.	209
Klietz, Magnus	153
Knee-viol,	see Viola da Gamba.
Knoop, Gustave	162
Koch, Friedrich	157
Kohl, Johann. Instrument maker	7
Komorowski, Ignaz	207
Kontski, Sigismund	208
Korczmiet (Kaltschmidt)	207
Kossowski, Samuel	208
Kousnetzoff	200
Köhler, Otto	135
Kraft, Anton	140
---- Friedrich	142
---- Nikolaus	141
Kriegck, J. J.	78
Krumbholz, Theodor	138
Kummer, Friedrich August	121
Küffel	75
Kühnel, August. Gambist.	23
---- Johann, Michael. Gambist.	23
Lamare, Jaques Michel Hurel de	96
Lang, Anton	148
Lange, Daniel de	186
Lanzetti, Salvatore	54
Lasserre, Jules	173
Lebouc, Charles Joseph	171
Lee, Louis	165
---- Sebastian	164
Le Grand, Peter	80
Leo, Leonardo	53
Levasseur, Jean Henri	96
---- Pierre François	95
Lidl, Anton. Baryton-player	34
Liègeois	174
Linarolli, Venturi. Instrument maker	7
Lindley, Robert	192
Lindner, August	125
---- Wilhelm	125
Linke, Joseph	142
Lochner, Karl	81
Loeb	174
Lolli, Filipo	64
Lotze, Wilhelm	152
Lucas, Charles	194
Lunati, Carlo Ambrosio. Gambist	36
Lübbe, Karl	137
Lübeck, Louis	187
Lüdemann, Otto	157
Maaré, Th. C. de	188
Maggini, Paolo. Instrument maker	6
Magrini, G.	112
Mangold, August Daniel	160
Mara, Ignaz	202
---- Johann Baptist	202
Marais, (Marin). Gambist	20
---- Roland. Gambist	20
Marteau	75
Marx, Joseph M.	145
Matern, A. W. F.	78
Mattioli	112
Maugars. Gambist.	13, 20
Maximilian, Joseph, Elector of Bavaria.	31
Meerens, Charles	178
Megelin, Heinrich	76
Mensi, Franz	204
Menter, Joseph	159
Merk, Joseph	143
Mollenhauer, Heinrich	162
Monhaupt, Karl	134
Moniuszko, Boleslaw	208
Montecchi	112
Moralt, Joseph	159
---- Philipp	159
Morella, Morglato. Instrument maker	7
Moria	63
Müller, Hippolyte	159
---- Theodor	163
---- Valentin	161
---- Wilhelm	154, 163
Müntzberger, Joseph	175
Nebelong, Siegfried	197
Néruda, Franz	167
Nochez	93
Norblin, Emile	98
---- Louis Pierre Martin	97
Offenbach, Jacques	172
Ould, Charles	196
Paque, Guillaume	180
Parasisi	53
Pasqualini	55
Paxton, William	190
Petersen, Albert	134
Pezze, Alessandro	112
Piarelli	63
Piatti, Alfredo	110
Pini	112
Platel, Nicolas Joseph	101
Polliari, Cicio	199
Poorten, Arved	200
Popper, David	150
Portheim, Joseph Edler von	148
Possen, Lauxmin. Instrument maker	7
Powell, Thomas	195
Prell, August Christian	164
---- Joh. Nikolaus	164
Prill, Paul	156
Quarenghi, Guglielmo	111
Rabaud	174
Radziwill, Heinrich, Count	206
Raoul, Jean Marie	102
Rauppe, Johann Georg	83
Recitative, Accompanying of	40
Reicha, Joseph	82
Reinagle, Hugh	192
---- Joseph	191
Rensburg, Jacques	186
Ried, Dorothea v. Gamba-player	31
Riedel	68
Rietz, Julius	151
Ripfel, Karl	166
Ritter, Peter	81
Robinson, Thomas. Gambist	16
Romano, Allessandro della Viola. Gambist	35
Romberg, Bernhard	82, 114, 169
---- Cyrian	118
Ronchini	112
Rose, Joh. Heinr. Victor	72
Roth, Philipp	155
Rousseau, Frédéric	92
---- Jean, Gambist	21
Rousselot, Scipion	99
Röver, Heinrich	144
Ruhoff, H.	138
Rüdel, Albert	154
Rüdinger, Albert Christian	197
Sainte-Colombe. Gambist	20, 21
Saint-Sévin, Philipp Pierre (l’Abbé l’Aîné)	87
---- Pierre (l’Abbé cadet)	87
Sandonati	64
Sandow, Eugen	163
Saradscheff, Ivan	201
Sbolci	112
Schapler, Julius	118
Scheidl, Cajetan Gottlieb	76
Scheidler, Johann David	78
Schenk, Emil	135
---- Johann. Gambist	24
Schetky, Johann Georg	70
Schindler, Joh. Christian Gottlieb	82
Schindlöker, Philipp	69
---- Wolfgang	70
Schlesinger, Karl	145
Schlick, Johann Konrad	78
Schönchen, H.	162
Schönebeck, Karl Sigmund	82
Schrödel, Friedrich	72
Schröder, Alwin	168
---- Karl	138
Schuberth, Karl	123
Schübel, Heinrich	162
Schwachhofer, Andreas	82
---- Joseph	82
Schwarz, Anton	79, 81
Seligmann, Hippolyte Prosper	171
Serato	112
Servais, Adrien François	176
---- Joseph	179
Shevioni	62
Simon, Ludwig	81
Simpson, Thomas. Gambist	18
Smith, Johannes	189
Snoer, Johan	189
Spotorni, Brothers	63
Spork, Count	204
Stahlknecht, Julius	153
Stainer, Jakob. Instrument maker	39
Stiastny (Stiasny), Bernhard Wenceslaus	205
---- J.	204
Sulzer, Joseph	146
Sympson, Christopher. Gambist	19
Szablinski, Joseph	208
Szczepanowski, Stanislaus	208
Tardieu, Abbé	38, 46
Tartini, Giuseppe	28
Ten Cate, Andreas	184
Thalgrün, Stanislaus	207
Thieme, Bernhard	125
Tielke, Joachim. Instrument maker	7
Tillière, Joseph Bonaventure	89
Tolbecque, Auguste	172
Toscanini	112
Tourte, François. Bow maker	42
Träg, Anton	144
Tricklir, Jean	94
Triemer, Johann Sebald	68
Uber, Alexander	74
Udel, Karl	145
Vandini, Antonio	53
Venzano, Luigi	110
Vidal, Louis Antoine	170
Vieuxtemps, Ernest	184
Viola	1, 2
Viola d’amore	34
Viola bastarda	9, 34
Viola di bordone	34
Viola da braccio	9
Viola da Gamba	5, 9, 11, 36, 47
Viola da Spalla	39
Violoncello	38, 40, 41, 45
Violoncino	39
Virgili (Virgil), Michel	79
Voigt, Karl Ludwig	124
Vollraht, Richard	132
Volxem, J. B. van	182
Warot, Constant Nöel Adolph	183
Weigl, Franz Joseph	70
Wergbilowitsch	200
Werner	68
---- Joseph	161
Whitehouse, William Edward	195
Wielhorski, Matthieu, Count	199
---- Michael, Count	199
Wihan, Hans	148
Wilfert, Bruno	129
Willman, Maximilian	82
Winkis, Peter Wilhelm	174
Winneberger, Paul	79
Woczitka, Franz Xaver	206
Zanetto, Peregrino. Instrument maker	7
Zappa, Francesco	63
Zumpsteeg, Johann Rudolph	80
Zyka, Joseph	203
Zygmantowski, Nicol	206

Footnotes

1 In the fifteenth and sixteenth centuries the name “Geige” violin, then in ordinary use, must not be confounded with the violin of our time. This term was not applied to the more modern instrument until later.

2 A more detailed account of the above stringed instruments and their precursors is contained in my work, “The Violin and its Masters,” Second Edition (Leipsic: Breitkopf and Härtel), and “History of Instrumental Music in the Sixteenth Century” (Berlin: Brachvogel and Ranft), therefore a repetition of what is there said is unnecessary.

3 The “big fiddle” of the sixteenth century must not be confounded with the stringed instrument of that time, of which the pitch answered to our modern Contra-basso, and in Italy was already called “Violone,” as appears from Laufranco’s “Scintille,” 1533.

4 The word “beschriben” refers to the letters which, for the convenience of the player, it was the custom to mark for the fingers on the fingerboard.

5 The artist who drew the sketches of the instrument for Gerle’s “Musica Teutsch” has left out the bridge in the “great viola.” See page 2.

6 See the article “Kerl.”

7 Also at the present time it is a family name. We need only mention G. H. Bruno Kerl, Professor of the Royal Berg Academy at Berlin.

8 Other authorities, however, say he was a Breton—Fétis, Casimir Colomb &c.—(Tr.)

9 The name Duiffopruggar doubtless came from the same source as the surname Tieffenbrucker, still existing in South Germany.

10 Mr. Heron Allen in his “Violin Making, &c.,” page 74, says that two were recovered.—(Tr.)

11 The same Prince to whom Corelli dedicated his “Concerti Grossi,” published in 1712.

12 Herr Obernetter, of Munich, has taken two beautiful photographs of this richly decorated instrument, which reproduce with great accuracy all its peculiarities. As far as I know they can still be purchased.

13 Here may be mentioned also a third magnificent gamba, that of Vincenzo Ruger, said to have been made in Cremona in 1702. It is distinguished not only for its beautiful exterior in every respect, but also by an extraordinarily sonorous and unusually fine quality of tone, which combines the resonant character of the gamba with that of the violoncello. The latter circumstance is attributed to the fact that the back, which is usually flat in the ordinary gamba, is arched in this one. This instrument, which has been lately purchased by the Prussian Government for the Berlin Museum, was formerly in the possession of Herr Paul de Wit, in Leipsic. The account of instrument making published by him contains (Vol. VI., No. 21) a description and illustration of the gamba in question.

14 Violuntzes is synonymous with the old French instrument, violonsse. Vide Grimm’s Dictionary of the German Language.

15 The Kammerthon or chamber-pitch, as distinguished from the obsolete “Chorton” or choir-pitch, which formerly prevailed in German churches, was a tone, or even more, higher than the secular pitch.—(Tr.)

16 “Faburden,” according to Mr. Niecks.—(Tr.)

17 Concerning this, see my “History of Instrumental Music” in the Century, page 107.

18 By the word concert, Mersennus means concerted piece.

19 Maugars is called in the “Historiettes de Tellemant des Réaux,” as Fétis informs us, the “greatest fool that had ever lived.” His “Réponse faite à un curieux” (completely unprejudiced, although somewhat conceited) in no way agrees with this. It is easy to discover that Maugars was not liked by his countrymen, because he openly declared that French music was far behind the Italian. On that account he had incurred the displeasure of French artists. The Parisian musician, Corrette, in the eighteenth century, was guilty of the same offence. He had been candid enough to say to the French that the standard of French violin playing of the eighteenth century was, compared to the Italian, in a disorganised condition. In retaliation they called his pupils scornfully “les anachorètes” (“les ânes à Corette”).

20 I give this and the following quotations from Maugars’ writings, according to my translations in the monthly parts of the “History of Music,” published in the year 1878.

21 The English writers on music affirm that the well-known composer, Ferabosco, who was born at Greenwich in the second half of the sixteenth century, and who was also called Alfonso, was the son of the above Ferabosco, with which the remarks of Maugars agree. Fétis doubts the truth of the assertion made by the English writers on music. The younger Ferabosco appears also to have been a gamba player, for he published, in the year 1609, in London, “Lessons for one, two, and three viols.” He died in 1665.

22 See my work “The Violin and its Masters,” Part ii., p. 203.

23 His name was usually written Sympson, but he sometimes himself spelled it Simpson.—(Tr.)

24 This seems to have been the title of the first edition, a copy of which is in the possession of Messrs. Hill, of New Bond Street.—(Tr.)

25 This work contains, besides the viola tutor, an introduction to violin playing. It is the first attempt at a violin school.

26 Thomas Campion was a physician, poet, and musician in the reign of Queen Elizabeth, and an authority on music. He published two books of Ayres, and various other pieces, besides the above.—(Tr.)

27 He has already been mentioned, p. 13.

28 Michael Corrette ascribes this to Sainte-Colombe in his violoncello school, which appeared in 1741, concerning which we shall speak farther on.

29 Concerning this instrument, Mattheson says: “The Angelique, somewhat resembling the lute, must have been far easier to play, and has more cords or strings, which one can accurately touch by reason of their arrangement without moving the left hand much. There is nothing specially besides to remember.” It was, therefore, an instrument of the lute kind.

30 He was perhaps a brother or relation of the instrument maker Tielke mentioned pp. 7 and 8 of this work.

31 Compare p. 8.

32 It is worthy of observation that this second fugue (D minor) has the theme which Mozart, nearly 100 years later, made use of for the second Finale of the “Magic Flute.” There is no doubt this was purely accidental, as Mozart could hardly have seen Schenk’s work.

33 A MS. copy exists in the Royal Library at Berlin.

34 The MS. is preserved in the Royal Library at Berlin.

35 It is to be found in the autograph collection of Count Wimpfen at his estate near Gratz.

36 According to Fürstenau, Abel was engaged as violoncellist at Dresden. See his “History of Music and of the Theatre at the Elector of Saxony’s Court,” Vol. II., p. 240.

37 Sebastian Bach’s youngest son, Joh. Christian, was born in 1735, in Leipsic, and died in London in 1782, whither he had gone in 1759 as Band Conductor.

38 According to Pohl, the number of these metal strings was raised to twenty-seven. (S. C. F. Pohl: “Haydn,” I., 250.) Information regarding the barytone and barytone compositions are to be found there.

39 Pohl: “Haydn,” I., 257.

40 Gerber mentions him as a violoncellist, which must be a mistake, since in the Parisian Opera orchestra, up to 1727, as far as is known, only gambists were employed. He may, however, have played both instruments.

41 See “The History of the Violin,” by W. Sandys and Simon Andrew Forster. London, 1864.

42 What would Gerber have said had he lived to see the present demand for instruments required to make up an orchestra?

43 Gerber’s “Old Musical Lexicon,” p. 617, and Note, p. 86.

44 In the preface to the violoncello tutor already mentioned, by Corrette, the untenable assertion is made that the violoncello was discovered by Bonocin (Buononcini), “preséntement Maître de Chapelle du Roi de Portugal.” A Bononcini, with the Christian name of Domenico, actually lived in 1737 at the Lisbon Court. At that period, according to Fétis, he must have been eighty-five years old. He must therefore have been born in 1652. He could not have invented the violoncello (if one could call it an invention), as it evidently existed before his birth. It is not even certain that Domenico Bononcini was a cellist. Possibly Corrette confounded him with Giov. Battista Bononcini mentioned later.

45 Another inaccuracy in Fétis’s “Stradivari,” p. 46, is that the name of violino “had already appeared in Lanfranco’s work ‘Scintille’ of 1533.” This announcement has caused some confusion. Before Lanfranco’s work was accessible to me, I also in bonâ fide had made the same assertion in my “History of Instrumental Music of the Sixteenth Century” (p. 73), and I now correct it. The word “Violino” is not mentioned by Lanfranco, but in every case only the termination “Violone,” which is bass viol.

46 See monthly Magazine for the History of Music, Year XVI., No. 3.

47 The well-known violin maker, Aug. Riechers, in Berlin, possesses a violoncello by Gaspard da Salò (small size).

48 The French call this kind of recitative accompaniment “le recitatif italien.”

49 Accompanying the recitative with the cello was customary far into our century. I heard it in Italy at the representation of the old operas up to the year 1873. I am unable to say if the practice is continued. It has been abolished in Germany for the last ten years.

50 The widespread opinion that Gius. Guarneri of the Gesù did not make violoncellos is unfounded. Aug. Riecher informs me that Major H——r, in Berlin, is in possession of a cello which is undoubtedly genuine. Yet it seems as if this member of the Guarneri family had only made a limited number.

51 The above sketch is taken from Corrette’s Violoncello Tutor, which was published in 1741.

52 In my paper “The Violin and its Masters,” second edition (Breitkopf and Härtel), I have given a more detailed account of it as well as of the productions of the Italian, German, and French masters, which it is unnecessary to repeat here. See also the fabrication of musical instruments in Saxon Voigtland, by Fürstenau and Berthold, 1876.

53 Mattheson expresses himself about this in his original manner as follows: “The growling Violone (French, Basse de Violon; German, Grosse Bass Geige) is quite twice the size of the former, sometimes even more, consequently the strings, in thickness and length, are in proportion. They are of sixteen-feet tone, and most useful on the stage as a solid foundation for polyphonous pieces, such as choruses and similar things, as well as for airs and recitatives; its deep humming tone penetrates farther than the clavier and other bass instruments. It must, however, be heavy work if one has to practise this monster for three or four hours unceasingly.”

54 Concerning this, I refer to my work “The Violin and its Masters,” second edition, 1883. (Breitkopf and Härtel, Leipsic.)

55 Michael Corrette in the preface to his Violoncello Tutor refers to a stringed instrument in general use before the introduction of the violoncello into France with the tuning B, F, C, G, which he calls Basse de Violon. The instrument must be identical with the one described by Mattheson as Basse de Violon.

56 Fürstenau: “On the History of Music and the Theatre at the Court of the Princes of Saxony.”

57 Hiller, Weekly News of May 21, 1770.

58 Mattheson says, in his “Neu eröffneten Orchestre,” that this instrument (Basse de Viole) was singularly prized and cultivated.

59 H. Leblanc published a “Défense de la Basse de Viole contre les entreprises du Violon et les prétentions du Violoncel.” Amsterdam, 1740.—(Tr.)

60 Some pieces composed for the viola d’amore by Ariosti, consisting of Cantabile, Vivace, Adagio, and Minuet, have been arranged by Alfred Piatti for the violoncello, and brought out lately in London.

61 Concerning the diverse vicissitudes of Bononcini’s and Ariosti’s lives, which can find no particular mention here, see “Musical Lexicons,” extant.

62 Born in 1649, at Trapani, in Sicily; died on October 24, 1725, at Naples. In Grove’s Dictionary, 1659 is given as the date of his birth—other authorities as above.—(Tr.)

63 Gerber gives Venice as his birthplace; but in the Weekly News of the year 1770, Padua is mentioned, which is probably correct.

64 In Jahn’s biography of Mozart is found the notice that Ferrari had been appointed to the Court of the Archbishop of Salzburg; at what period is not mentioned.

65 Fétis says in his “Biographie universelle des Musiciens” (Vol. II., 365): “The first edition of Corrette’s music tutor appeared in 1761.” On the title page, however, is plainly printed MDCCXL1. Fétis has inadvertently put the number L before the X instead of after.

66 The first edition of this appeared under the title: “Versuch einer Gründlichen Violinschule.”

67 These cello pieces by Bach existed in all probability during this master’s directorship at Köthen (1717-1723). Spitta: “Joh. Seb. Bach,” I., 678 and 707.

68 Born towards the end of the seventeenth or the beginning of the eighteenth century, in Milan; died after 1770, in which year Burney found him still living.

69 Born, in 1758, in Rome; died, 1832, in Paris. The two sonatas by San Martini and Porta have already been mentioned, p. 49.

70 P. 29.

71 “That which renders Boccherini’s compositions unlike all others of the kind is that he commonly assigns the principal part to the first violoncello.”—(Tr.)

72 Fétis mentions him as a mediocre composer. He was born at Perpignan in 1691, and died in Paris in 1765.

73 The sketch of Schetky contained in Forster’s “History of the Violin,” deviates substantially from Gerber’s information, which I have followed. Forster says that this artist studied jurisprudence at Jena and, under Frederick the Great, followed as a volunteer the forces commanded by Blucher in the seven years’ war. Then he also mentions his being a pupil of Philip Em. Bach. Whether this statement have any real foundation, and to what extent, must remain undetermined.

74 Gerber gives 1745 as the year of Jäger’s birth, and Lauterbach in Upper Hesse as the place.

75 Ed. Hanslick: “History of Concert Life in Vienna,” p. 115.

76 See p. 72.

77 See p. 28.

78 Concerning the brothers Duport, see the following section.

79 According to Fétis. Gerber says in his “Dictionary of Musicians” that, about the year 1755, a cellist, by name Virgil Michel, belonged to the orchestra at Munich. Apparently he is identical with the one mentioned by Fétis.

80 See the next section.

81 Fétis has mentioned the greater number of these compositions in the respective articles of his “Biographie Universelle des Musiciens.”

82 It is to be found in Carl Bank’s recently published Haydn Symphonies in score. Compare also Pohl’s “Haydn Biography,” I., 229 and 285.

83 Recently has come out a Duet (D major) in three movements for violin and violoncello, by J. Haydn, which he must have composed during his residence in London for a certain William Forster. These compositions recall, not only in respect of form, Tartini’s manner, so that one is induced to look upon them as Haydn’s early work, which he wrote down from memory as a recollection.

84 This has already been mentioned. Page 49.

85 Compare with p. 52 of this book.

86 His name was written in various ways—viz., Bertaut, Bertault, Bertaud, and Berthaud. The above is the right way.

87 Franciscello must accordingly have written for the cello.

88 The “Concert Spirituel,” which was the oldest concert institution of the French capital, was founded in the year 1725.

89 Compare pp. 77 and 83 of this book.

90 Fétis says 1788. The title-page, however, of this Sonata bears the date 1787, by the engraver’s own hand.

91 This must not be taken word for word, for Corrette, in his violoncello school, gives directions with regard to double stopping, though very insufficient.

92 See pp. 51 and 54 this book.

93 Fétis says that Aubert published “deux méthodes de violoncelle,” but immediately after speaks of one “livre élémentaire” of the same author, so that it may easily be concluded the first assertion was an error.

94 Fétis says from the elder Duport. This is, however, impossible as he had already settled in Berlin, in 1773, from which place he did not again absent himself.

95 Tillière’s violoncello school appeared in 1764, and those of Cupis and Müntzberger, to all appearance, came out before 1800.

96 Here is an example or two: Alexander in his cello school, which appeared in 1801, takes up quite arbitrarily an “ordinary,” a “half,” and a “whole,” as well as a “mixed” theory of fingering, and Fr. Kummer divides the fingerboard into “whole” and “half” positions. Müntzberger says in his cello school, which appeared apparently in 1800, he wished that people could accustom themselves to say to the pupil as for the violin: “take this or that position.” Here is given a distinct indication of the application of the violin positions. In other cello schools, on the contrary, there is no reference to positions.
Duport, however, makes use of positions 1st, 2nd, and 3rd, &c., throughout his volume.—(Tr.)

97 In the last century there existed in Naples four Conservatoires. But in 1806 they amalgamated into one musical Institute.

98 Caffaro, opera and church music composer, was Director of the Neapolitan Conservatoire della Pietá. Milico was then famous as a stage singer.

99 See my work, “The Violin and its Masters.” 2nd Ed., 365.

100 In spite of every effort, I have not succeeded in gaining any more details concerning the above violoncellists.

101 This artist was a violinist, and was born on April 27, 1767, at Vechta, in Oldenburg, and died on November 21, 1821, as Hofkapellmeister, in Gotha.

102 Bagge was a Prussian Chamberlain, who then lived in Paris, built a house there, and acted the part of an art patron. He died there in 1791.

103 This notice is by the Court Chaplain of Hohenlohe in Kirchberg, Carl Ludwig Junker.

104 Not 1820 in the Hartz, as is elsewhere said.

105 Page 77 of this work.

106 P. 78.

107 The first of these appeared at Schott’s, in Mayence; the other, for “Elementary instruction,” at Haslinger’s, Vienna.

108 Concerning Dotzauer’s violoncello compositions, Philipp Roth’s “Guide to Violoncello Literature” may be consulted with special reference to their degree of difficulty.

109 See under the violoncello players of Russia.

110 See page 72.

111 Not to be confounded with the excellent cellist, Wilhelm Lindner, who was Chamber Musician of the Grand Duchy of Baden, and died on August 19, 1887.

112 Compare p. 91.

113 He is now member of the Royal Theatre Band at Cassel. No information about him could be obtained.

114 See page 69 of this book.

115 Fétis erroneously says that Bagge was born in Bohemia, about 1815.

116 Not to be confounded with Georg Eduard Golterman, to be mentioned farther on.

117 Also the two Maras (father and son) had an important effect on Violoncello playing in Berlin, though not so great as that of the brothers Duport. Concerning the elder and younger Mara, the necessary details will be given in speaking of the Bohemian violoncellists.

118 Fétis contests this, for he says: “The German biographers of Kelz affirm that he (Kelz) was advised by Duport; but this is erroneous, as at this time (1811) Duport was no longer in Berlin.” This could only refer to L. Duport, for his brother remained until his death in the Prussian capital.

119 At Breitkopf and Härtel’s.

120 See p. 79 of this book.

121 See amongst the Belgian Cellists.

122 See p. 153.

123 See p. 138.

124 See p. 138.

125 See p. 130.

126 See p. 97.

127 Alphonse d’Eve received the appointment of Choirmaster at the Antwerp Cathedral on November 5, 1718, having previously directed during a long period the choir of the church of St. Martin in Courtrai. The announcement of Fétis that d’Eve composed a solemn Mass in the year 1719, for two choirs, with accompaniment for instruments, amongst which there was an obbligato for Violoncello, is a matter of interest to us.

128 Fétis points out that he was at the Favart Theatre. Müntzberger, however, calls himself on the title-page of the Cello School: “Professeur de Violoncelle au Théâtre Feydeau.”

129 Fétis gives the year of his birth 1812. His brother, Joseph, was born 1816.—(Tr.)

130 For the Cellists, Hegar and Giese, see pp. 130 and 152.

131 See p. 131.

132 See p. 153.

133 Alfred Heyn, a pupil of Fr. Grützmacher, was then solo cellist in the municipal orchestra at Aix and now lives at Darmstadt. Compare p. 138.

134 See p. 15.

135 Grove’s Dictionary gives the date of birth as 1751. Leslie Stephen, 1751 or 1755.—(Tr.)

136 Grove gives 1776 as the date of his birth.—(Tr.)

137 See Rob. Schumann’s biography, by the author of this book (Auf. III., p. 195). Leipsic: Breitkopf and Härtel.

138 See p. 133.

139 Fétis says that Zyka was born about 1730. But his birth must have been earlier, for according to Fürstenau’s account (History of Music and the Theatre at the Electoral Court of Saxony), he had been already, in 1743, appointed to the Dresden band, though Fétis erroneously makes him a member only in 1756.

140 Michael Kleophas, Count Oginski, was born at Gurow, near Warsaw, on September 25, 1765, and died in Florence on October 31, 1833. He was High Treasurer of Lithuania.

141 Not on September 2, as occasionally given.

142 In all probability Beethoven’s Cello Sonatas (Op. 5), composed at latest in 1796, were the first of their kind. The Sonatas for Piano and Violoncello, written by Bonifazio Asioli, of which F. Grützmacher has brought out a new edition, appeared, as may be concluded from the dates given by Fétis in his “Biographie Universelle,” Vol. I, p. 155, first at the beginning of our century.

143 I have only mentioned above the most noteworthy portion of the newer and newest Violoncello compositions. For the remainder I refer to Philippe Roth’s “Guide to Violoncello Literature” (Breitkopf and Härtel, Leipsic, 1888).

144 This list is not chronological, but arranged alphabetically according to the initial letters of the authors.