[55] Michael Corrette in the preface to his Violoncello Tutor refers to a stringed instrument in general use before the introduction of the violoncello into France with the tuning B, F, C, G, which he calls Basse de Violon. The instrument must be identical with the one described by Mattheson as Basse de Violon.
[56] Fürstenau: “On the History of Music and the Theatre at the Court of the Princes of Saxony.”
[57] Hiller, Weekly News of May 21, 1770.
[58] Mattheson says, in his “Neu eröffneten Orchestre,” that this instrument (Basse de Viole) was singularly prized and cultivated.
[59] H. Leblanc published a “Défense de la Basse de Viole contre les entreprises du Violon et les prétentions du Violoncel.” Amsterdam, 1740.—(Tr.)
[60] Some pieces composed for the viola d’amore by Ariosti, consisting of Cantabile, Vivace, Adagio, and Minuet, have been arranged by Alfred Piatti for the violoncello, and brought out lately in London.
[61] Concerning the diverse vicissitudes of Bononcini’s and Ariosti’s lives, which can find no particular mention here, see “Musical Lexicons,” extant.
[62] Born in 1649, at Trapani, in Sicily; died on October 24, 1725, at Naples. In Grove’s Dictionary, 1659 is given as the date of his birth—other authorities as above.—(Tr.)
[63] Gerber gives Venice as his birthplace; but in the Weekly News of the year 1770, Padua is mentioned, which is probably correct.
[64] In Jahn’s biography of Mozart is found the notice that Ferrari had been appointed to the Court of the Archbishop of Salzburg; at what period is not mentioned.