At p. 107, I said that only Johann Baptist Baumgärtner’s tutor (p. 76)
could give an explanation concerning the method practised in Germany,
with regard to the fourth finger in the thumb position, during the
second half of the last century. It was only after this was in the
press that the title of a second German Violoncello School of that time
became known to me. It is that of Kauer, who was formerly distinguished
as an operetta composer in Vienna--“Concise explanation how to play the
Violoncello”--which appeared in 1788. It may probably be seen from this
work of instruction what the opinion was at that time regarding the
fourth finger in the case referred to.