[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._)
THE
ART OF VIOLONCELLO PLAYING
IN THE NINETEENTH CENTURY.