[71] See Dr Gustav Schilling, Universal Lexikon der Tonkunst (Stuttgart, 1840), Bd. vi., “Trompete”; also Capt. C. R. Day, pp. 139 and 151, where the term Invention is quite misunderstood and misapplied. See Gottfried Weber in Caecilia (Mainz, 1835), Bd. xvii.
[72] Gerber in the first edition of his Lexikon does not mention Hampel or award him a separate biographical article; we may therefore conclude that he was not personally acquainted with him, although Hampel was still a member of the electoral orchestra in Dresden during Gerber’s short career in Leipzig. In the edition of 1812 Gerber renders him full justice.
[73] Vollständige theoretisch-praktische Musikschule (Bonn, 1811), pt. iii. p. 7.
[74] See Victor Mahillon, “Le Cor,” p. 28; Chladni, op. cit. p. 87.
[75] See Fröhlich, op. cit. 7; and Gerber, Lexikon (ed. 1812), p. 493; “Le Cor,” pp. 34 and 53.
[76] See Praetorius and Mersenne, op. cit.; the latter gives an illustration of the trumpet mute.
[77] Methode de premier et de second cor (Paris, c. 1807). The passage in question was discovered and courteously communicated by Hofrat P. E. Richter of the Royal Library, Dresden. There is no copy of Domnich’s work in the British Museum.
[78] See William Tans’ur Senior, op. et loc. cit.
[79] See Allgemeine musikalische Zeitung (Leipzig), Nov. 1802, p. 158, and Jan. 1803, p. 245; and E. Hanslick, Geschichte des Concertwesens in Wien (Vienna, 1869), p. 119.
[80] See Allgem. mus. Ztg., 1815, p. 844.