[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.)
[97] In the last century there existed in Naples four Conservatoires. But in 1806 they amalgamated into one musical Institute.
[98] Caffaro, opera and church music composer, was Director of the Neapolitan Conservatoire della Pietá. Milico was then famous as a stage singer.
[99] See my work, “The Violin and its Masters.” 2nd Ed., 365.
[100] In spite of every effort, I have not succeeded in gaining any more details concerning the above violoncellists.
[101] This artist was a violinist, and was born on April 27, 1767, at Vechta, in Oldenburg, and died on November 21, 1821, as Hofkapellmeister, in Gotha.
[102] Bagge was a Prussian Chamberlain, who then lived in Paris, built a house there, and acted the part of an art patron. He died there in 1791.
[103] This notice is by the Court Chaplain of Hohenlohe in Kirchberg, Carl Ludwig Junker.