Of his many unpublished compositions, there are amongst them Church pieces, Cantatas, an Opera, Suites for the lute, Concertos for the Oboe d’Amour and the Flute, Clavier Concertos with violin, and Overtures; here only six Sonatas for Flute, Gamba, and Clavier will be noticed. The year of his death is unknown. Amongst the German gambists of the first half of the eighteenth century a lady held a prominent position, DOROTHEA V. RIED, one of the five daughters of the Austrian musician, Fortunatus Ried. Johann Frauenlob says of them, according to Gerber, in his Essay on Learned Women: “That although two of them were still very young--one was scarcely eight years old--their father had brought them on so well in music that with their two brothers they had given at Vienna, Prague, Leipsic, Wittenberg, and other places such evident proofs of their talent as to have excited universal admiration, for people thought they heard heavenly rather than earthly music.” Here also must be mentioned a royal personage--namely, the Elector MAXIMILIAN JOSEPH, born March 28, 1728; died December 30, 1777. He played the violin and the cello, but was especially an excellent gambist. Burney, who heard him in 1772, says that he needed not to be a great prince in order to discover that his skill, his rendering of adagio, and his accuracy in time were perfect. Maximilian also composed. His teacher for composition was Bernasconi. Finally, CARL FRIEDRICH ABEL must also be mentioned as a gambist of the first rank. He was born at Köthen, 1725, where his father held the appointment of gamba player in the Hofkapelle. “The young Abel,” says Gerber, “seems to have had instruction, as Thomas’ scholar, at Leipsic, from the great Seb. Bach; then came in 1748 to the Hofkapelle at Dresden, where, during the more flourishing period of Hasse’s life, and for nearly ten years, he found time enough to form his taste.[36] His small salary and a split with the director Hasse caused him to leave that Court, according to Burney, in 1758, with three thalers in his purse. In order to increase this capital, he went on foot to Leipsic, laden with the MS. of six symphonies, where, through the generosity of the publisher of these symphonies, he became six ducats richer. He now went from one German court to another, and, by repeated good receptions and applause, he regained not a little confidence. Finally he turned to London, in 1759, where he found a great patron in the lately deceased Duke of York, who supported him until the formation of the Queen’s Band, to which he was appointed in the capacity of chamber musician, receiving an annual payment of £300.