[70] Gerber was a Thuringian.
[71] P. 38.
[72] Forkel, pp. 40, 41.
[74] In addition to the above-mentioned professional pupils, all amateurs living near obtained at least a few lessons from “so great and celebrated a man.”—Forkel, p. 42.
[76] This description of the Manieren is extracted from the Introduction to vol. vii. of the Bach Gesellschaft Edition.
[77] In “The Compleat Tutor for the Harpsichord or Spinnet, wherein is shown the Italian manner of Fingering, &c.” by S. and S. Thompson, the date of which is later than 1742, since it contains the minuet in Samson, the little finger is never used in a scale, and fingers are made to go under one another, in the way the thumb is used nowadays. The English numbering is used; and the example of an ascending and descending scale on p. [153] shows the chaotic condition of things.
[78] Our readers will remember the familiar case in Schumann’s pianoforte quartet, where he lowers the C string to B♭ for a particular effect. De Beriot raises his fourth (violin) string to A for certain passages.
[79] M. Vivien, a pupil of Léonard, and one of the first violins in the orchestra at Brussels about 1876, had a violin of which the bridge was cut nearly flat at the top. This enabled him to play on three and (with a little extra pressure of the bow) four strings at once, by which he produced very full effects.