[7] Also at the present time it is a family name. We need only mention G. H. Bruno Kerl, Professor of the Royal Berg Academy at Berlin.
[8] Other authorities, however, say he was a Breton—Fétis, Casimir Colomb &c.—(Tr.)
[9] The name Duiffopruggar doubtless came from the same source as the surname Tieffenbrucker, still existing in South Germany.
[10] Mr. Heron Allen in his “Violin Making, &c.,” page 74, says that two were recovered.—(Tr.)
[11] The same Prince to whom Corelli dedicated his “Concerti Grossi,” published in 1712.
[12] Herr Obernetter, of Munich, has taken two beautiful photographs of this richly decorated instrument, which reproduce with great accuracy all its peculiarities. As far as I know they can still be purchased.
[13] Here may be mentioned also a third magnificent gamba, that of Vincenzo Ruger, said to have been made in Cremona in 1702. It is distinguished not only for its beautiful exterior in every respect, but also by an extraordinarily sonorous and unusually fine quality of tone, which combines the resonant character of the gamba with that of the violoncello. The latter circumstance is attributed to the fact that the back, which is usually flat in the ordinary gamba, is arched in this one. This instrument, which has been lately purchased by the Prussian Government for the Berlin Museum, was formerly in the possession of Herr Paul de Wit, in Leipsic. The account of instrument making published by him contains (Vol. VI., No. 21) a description and illustration of the gamba in question.
[14] Violuntzes is synonymous with the old French instrument, violonsse. Vide Grimm’s Dictionary of the German Language.
[15] The Kammerthon or chamber-pitch, as distinguished from the obsolete “Chorton” or choir-pitch, which formerly prevailed in German churches, was a tone, or even more, higher than the secular pitch.—(Tr.)
[16] “Faburden,” according to Mr. Niecks.—(Tr.)