[61] See Moritz Fürstenau, Zur Geschichte der Musik und des Theaters zu Dresden (Dresden, 1861-1862), vol. ii. p. 60.
[62] See “Carl Heinrich Graun als Opernkomponist,” by Albert Mayer-Reinach, Intern. Mus. Ges., Smbd. i. 3 (Leipzig, 1900), pp. 516-517 and 523-524, where musical examples are given.
[63] Cf. Chrysander, Haendel, ii. 146.
[64] See Moritz Fürstenau, op. cit. ii. 58.
[65] See Ludwig von Köchel, Die kaiserliche Hofkappelle in Wien (Vienna, 1869), p. 80.
[66] See Victor Mahillon, Catalogue descriptif, vol. ii. No. 1160, p. 389.
[67] Op. cit. ii. 60.
[68] The Department of State Archives for Saxony in Dresden possesses no documents which can throw any light upon this point, but, through the courtesy of the director, the following facts have been communicated. Two documents concerning Anton Joseph Hampel are extant: (1) An application by his son, Johann Michael Hampel, to the elector Friedrich August III. of Saxony, dated Dresden, April 3, 1771, in which he prays that the post of his father as horn-player in the court orchestra—in which he had already served as deputy for his invalid father—may be awarded to him. (2) A petition from the widow, Aloisia Ludevica Hampelin, to the elector, bearing the same date (April 3, 1771), wherein she announces the death of her husband on the 30th of March 1771, who had been in the service of the house of Saxony thirty-four years as horn-player, and prays for the grant of a monthly pension for herself and her three delicate daughters, as she finds herself in the most unfortunate circumstances. There is no allusion in either letter to any musical merit of the deceased.
[69] There is an instrument of this early type, supposed to date from the middle of the 18th century, in Paul de Wit’s fine collection of musical instruments formerly in Leipzig and now transferred to Cologne; see Katalog, No. 645, p. 148.
[70] See Dictionnaire de l’acad. des beaux arts, vol. iv. (Paris), article “Cor.”