passages, as well as in double-stopped playing, its limits are defined. It follows that on account of the larger dimensions of the Violoncello, and the character of the instrument, double-stopped combinations are far less suitable for the deeper than for the higher strings, a circumstance of which there is no question at all on the Violin. One of the strongest points which the Violoncello possesses in its favour is its suitability as a solo instrument in _Cantilena_ playing, in which it is not surpassed by any other. If the Violin, with melting soprano and tenor-like voice, speaks to us now with maidenly tenderness, now in clear jubilant tones, the Violoncello, grandly moving for the most part in the tenor and bass positions, stirs the soul by its fascinating sonority and its imposing power of intonation, not less than by the pathos of its expression, which by virtue of its peculiar quality of tone more specially belongs to it than to the Violin. There is no rivalry between the two instruments, but rather do they mutually enhance each other’s power. Even so is it with the themes which devolve on each in the sphere of chamber and orchestral music. It is greatly to be desired that future generations may foster and maintain what has been done for the art of Violoncello playing in so meritorious a manner by unwearied, self-sacrificing labour; but it is to be hoped, at the same time, that the technique of the instrument, so carefully and finely formed, to the subject of which this book is dedicated, may be ever applied in the service of true and noble Art only. SUPPLEMENTARY. At p. 107, I said that only Johann Baptist Baumgärtner’s tutor (p. 76) could give an explanation concerning the method practised in Germany, with regard to the fourth finger in the thumb position, during the second half of the last century. It was only after this was in the press that the title of a second German Violoncello School of that time became known to me. It is that of Kauer, who was formerly distinguished as an operetta composer in Vienna--“Concise explanation how to play the Violoncello”--which appeared in 1788. It may probably be seen from this work of instruction what the opinion was at that time regarding the fourth finger in the case referred to. FOOTNOTES: [142] In all probability Beethoven’s Cello Sonatas (Op. 5), composed at latest in 1796, were the first of their kind. The Sonatas for Piano and Violoncello, written by Bonifazio Asioli, of which F. Grützmacher has brought out a new edition, appeared, as may be concluded from the dates given by Fétis in his “Biographie Universelle,” Vol. I, p. 155, first at the beginning of our century. [143] I have only mentioned above the most noteworthy portion of the newer and newest Violoncello compositions. For the remainder I refer to Philippe Roth’s “Guide to Violoncello Literature” (Breitkopf and Härtel, Leipsic, 1888). APPENDIX. A.