The greater number of these compositions, whether emanating from violoncello players or not, are interesting only in so far as from them may be gathered what position German violoncello playing held in the second half of the last century. We have now only to state that the technique at the end of the period mentioned had made great progress, and that Germany, as compared with Italy, even taking into consideration certain cello pieces by Boccherini, was not behindhand. A universally current method for the manipulation of the fingerboard and also for bowing had indeed not yet been attained in either of the two countries. The testing in every way of the executive capabilities of the violoncello naturally followed, as well as discovering the various combinations for playing double stops, the formation of passages and ornaments, and the endeavour to develop and present them in a manner suitable to the nature of the instrument. This tedious work must on the outset have necessarily led to productions in which the question of imagination would not be taken into consideration. In fact, it is with few exceptions of very little value, and as further the figures and runs are antiquated, the compositions in question can awaken no real sympathy. But these trial stages which cello composition had to pass through were necessary in order to arrive at a literature of artistic worth. FOOTNOTES: [72] Fétis mentions him as a mediocre composer. He was born at Perpignan in 1691, and died in Paris in 1765. [73] The sketch of Schetky contained in Forster’s “History of the Violin,” deviates substantially from Gerber’s information, which I have followed. Forster says that this artist studied jurisprudence at Jena and, under Frederick the Great, followed as a volunteer the forces commanded by Blucher in the seven years’ war. Then he also mentions his being a pupil of Philip Em. Bach. Whether this statement have any real foundation, and to what extent, must remain undetermined. [74] Gerber gives 1745 as the year of Jäger’s birth, and Lauterbach in Upper Hesse as the place. [75] Ed. Hanslick: “History of Concert Life in Vienna,” p. 115. [76] See p. 72. [77] See p. 28. [78] Concerning the brothers Duport, see the following section. [79] According to Fétis. Gerber says in his “Dictionary of Musicians” that, about the year 1755, a cellist, by name VIRGIL MICHEL, belonged to the orchestra at Munich. Apparently he is identical with the one mentioned by Fétis. [80] See the next section. [81] Fétis has mentioned the greater number of these compositions in the respective articles of his “Biographie Universelle des Musiciens.” [82] It is to be found in Carl Bank’s recently published Haydn Symphonies in score. Compare also Pohl’s “Haydn Biography,” I., 229 and 285.