[24] This seems to have been the title of the first edition, a copy of which is in the possession of Messrs. Hill, of New Bond Street.--(_Tr._) [25] This work contains, besides the viola tutor, an introduction to violin playing. It is the first attempt at a violin school. [26] Thomas Campion was a physician, poet, and musician in the reign of Queen Elizabeth, and an authority on music. He published two books of Ayres, and various other pieces, besides the above.--(_Tr._) [27] He has already been mentioned, p. 13. [28] Michael Corrette ascribes this to Sainte-Colombe in his violoncello school, which appeared in 1741, concerning which we shall speak farther on. [29] Concerning this instrument, Mattheson says: “The Angelique, somewhat resembling the lute, must have been far easier to play, and has more cords or strings, which one can accurately touch by reason of their arrangement without moving the left hand much. There is nothing specially besides to remember.” It was, therefore, an instrument of the lute kind. [30] He was perhaps a brother or relation of the instrument maker Tielke mentioned pp. 7 and 8 of this work. [31] Compare p. 8. [32] [Illustration] It is worthy of observation that this second fugue (D minor) has the theme which Mozart, nearly 100 years later, made use of for the second _Finale_ of the “Magic Flute.” There is no doubt this was purely accidental, as Mozart could hardly have seen Schenk’s work. [33] A MS. copy exists in the Royal Library at Berlin. [34] The MS. is preserved in the Royal Library at Berlin. [35] It is to be found in the autograph collection of Count Wimpfen at his estate near Gratz. [36] According to Fürstenau, Abel was engaged as violoncellist at Dresden. See his “History of Music and of the Theatre at the Elector of Saxony’s Court,” Vol. II., p. 240. [37] Sebastian Bach’s youngest son, Joh. Christian, was born in 1735, in Leipsic, and died in London in 1782, whither he had gone in 1759 as Band Conductor. [38] According to Pohl, the number of these metal strings was raised to twenty-seven. (S. C. F. Pohl: “Haydn,” I., 250.) Information regarding the barytone and barytone compositions are to be found there. [39] Pohl: “Haydn,” I., 257. [40] Gerber mentions him as a violoncellist, which must be a mistake, since in the Parisian Opera orchestra, up to 1727, as far as is known, only gambists were employed. He may, however, have played both instruments. [41] See “The History of the Violin,” by W. Sandys and Simon Andrew Forster. London, 1864. [42] What would Gerber have said had he lived to see the present demand for instruments required to make up an orchestra? [43] Gerber’s “Old Musical Lexicon,” p. 617, and Note, p. 86.