If to these be added the numberless compositions which Violoncellists of our century have produced in Concertos, Concert pieces, Variations, Fantasias, and Duets for their instrument, it must be admitted that Violoncello literature in the course of time has increased very extensively. The “Etudes” compositions for the Violoncello left much to be desired during the first decade of the present century. On this account the theorist Siegfried Wilhelm Dehn, of some consideration in his time, and who occupied himself in his younger years with Cello playing, may have been induced to arrange a portion--twenty-two in number--of the Kreutzer Violin studies for the Violoncello. This work, however, published by him in June, 1831, cannot be accounted a particularly successful accomplishment. The finger and bow technique of the Violoncello require an entirely different manner of treatment from that of the Violin. And as these Studies were written according to the capacities of the latter instrument it is evident they can only be made available in a limited degree for the Violoncello. It is not then to be wondered at that the Kreutzer “Etudes,” transcribed by Dehn with the best intention, should have fallen into oblivion, since Violoncellists have more and more sought after a thoroughly suitable system of “Etudes” literature, which has now grown to be a very rich field. During the last ten years the solo manipulation of the Violoncello has, in certain respects, undergone a change to its advantage in a very remarkable manner. The higher and highest tones of the instrument are no longer unduly preferred, as in Romberg’s time; but the tenor positions, more in accordance with its character, are chiefly used, without, however, neglecting altogether the lower and the higher parts. The execution of passages has greatly gained thereby. In this respect, it is true, the Violoncello cannot rival the Violin in brilliancy and agility. The strings of the former being so much longer and thicker, of which the two lower ones are made of correspondingly stout wire, form a natural impediment to the rapid emission of tones in quick runs and groups. In addition the somewhat muffled, though at the same time powerful and full tone of the deeper strings renders difficult a brilliant execution. This is felt more especially in Violoncello Concertos with full orchestral accompaniment. The Violoncello has, however, this advantage: that it lends itself far less to virtuoso exaggerations and confusions than does the easily portable violin, so favourably disposed for every variety of unworthy trifling. The masculine character of the Violoncello, better adapted for subjects of a serious nature, precludes this. But then this instrument does not offer the same wealth in means of execution which the Violin is capable of developing as a solo instrument. In harmonics and _pizzicato_ indeed it is at least equal to it, but in the speed and flexibility of