The Violoncello and Its History

The holding of the bow was again rather different from the present manner. Corrette gives three ways for this. According to Corrette’s testimony, the most usual way in Italy consisted in placing the 2nd, 3rd, 4th, and 5th fingers upon the rod and the thumb beneath it, so that the bow was held not exactly at the nut, but about a hand’s breadth from it, as formerly and even at the beginning of our century was done by many players. The second way of holding the bow was, the other four fingers being placed as above, to lay the thumb upon the hair. Finally, the bow was also held, so that the 2nd, 3rd, 4th, and 5th fingers were laid upon that part of the rod to which the nut is attached, while the thumb had its place beneath the nut.

Corrette does not give the preference to either of these ways of holding the bow, which in the course of the second half of the last century became more and more obsolete. He was of opinion that they were all good, but left it to each one to choose the manner in which the most power could be attained. It seems, however, noteworthy that Corrette laid it down as a rule that the middle of the bow should be used in playing, whereby its use was limited to a third of its length.

In the preface to his method Corrette speaks of several systems amongst violoncellists, but adds, the best and most generally followed was that of Bononcini, of which also the most skilful masters in Europe made use. From this remark it follows, that in the composition of his school, he took Bononcini’s manner of playing, which he was able to study, soon after the latter’s arrival in Paris, as his guide. In surveying the above principles, detailed by Corrette, regarding the technique of violoncello playing, it must be admitted that, needing improvement in almost every respect about the middle of the last century, it had not progressed, with few exceptions, beyond the elementary stages. The chamber sonatas and suites of Joh. Seb. Bach for violoncello solo, the last of which were originally composed for the Viola pomposa, cannot be cited as proofs to the contrary. In them Bach forestalled the technical capacity of his time by a decade. Although they are composed for that part of the fingerboard on which there is no question of the thumb position, yet they contain difficulties of an extraordinary kind which Bach’s contemporaries had not been able to master.⁶⁷ And even in the second half of the last century there could have been no cellist who would have been fully capable of playing them. Therefore it must be considered either, that these compositions, so remarkable of their kind, were not absolutely composed for the cello; or that the violoncello technique took another direction, which was called out by these suites of Bach.

The violoncello, like the violin, is primarily an instrument for the voice. As such it was chiefly used by the Italians, who, up to the second half of the last century, gave the impulse to stringed instrument playing. This is to be gathered from the cello pieces by Italian composers belonging to this period. As instances, next to the sonatas already mentioned, two musical pieces of the same kind may be cited, by San Martini (Giov. Battista Sammartini)⁶⁸ and Bernardo Porta.⁶⁹ Neither of these composers were violoncellists. Their sonatas are, however, adapted to the nature of the instrument for which they were composed. As compositions they are indeed of little importance, and as regards the technique, they do not rise above the measure of the modest demands which were then required.

With regard to cello technique the younger Cervetto, whose compositions have already been mentioned, p. 52, goes really farther. In them there is a greater variety in the manner of playing, in the use of double-stops and different passages derived from the scale and the chord. Such ways of playing could naturally only at first be found out and perfected in a proper manner by those who were already experienced practised players on an instrument of extreme difficulty on account of its extensions.

The cello pieces of Cervetto formed after the manner of Tartini’s violin sonatas are, as to their contents, quite antiquated, and are only interesting in a purely technical point of view. Like the compositions already considered, they occupy mostly the parts of tenor and bass. Only twice in the first Allegro of the tenth Sonata of his Op. 4 does Cervetto venture to the twice-lined E, and at the conclusion of the same piece to the twice-lined A. In both cases he has to use the treble clef, which does not appear elsewhere.

Besides Cervetto the younger, amongst Italians who cultivated cello playing must be mentioned Gasparini, Moria, Joannini di Violoncello, Zappa, Cirri, Aliprandi, Graziani, Piarelli, Spotorni I. and II., Barni, Bertoja I. and II., Lolli, Sandonati, and Shevioni. We give below the meagre information which exists regarding them.

Quirino Gasparini, a distinguished cellist, was in 1749 Kapellmeister at the Court of Turin. He remained there until 1770. As a composer, he was chiefly occupied with church music, no cello pieces are known by him.

Of Moria, the fact only is known that, in 1755, he was heard at the “Concert Spirtuel” in Paris.

Joannini di Violoncello, from the year 1759 Kapellmeister at St. Petersburg, had a great reputation in his own country as a player.

Zappa, called Francesco, according to Gerber was making a concert tour in 1781, and “enchanted his hearers in Dantsic by his soft and delightful execution.”

Giambattista Cirri, born in the first half of the eighteenth century, at Forli, lived and worked for a long time in England. On the title page of his first work, published at Verona in 1763, he called himself a “Professore di Violoncello.” Of his compositions there appeared in print seventeen different works in London, Paris, and Florence.

As a clever violoncellist, Bernardo Aliprandi, son of the opera composer, Aliprandi, born in Tuscany, was distinguished. His father was composer and Court band-conductor in Munich during the first half of the previous century; but he himself became a member of the orchestra there, where he still was in 1786. His cello pieces, of which several were published, are as obsolete as those of Cirri.

Gerber, in his dictionary, says of Graziani, that after the death of the gamba player, Louis Christian Hesse,⁷⁰ he was summoned to Potsdam to take his place as tutor to the Crown Prince of Prussia. When the French violoncellist, Duport (the elder), came to Berlin, in 1773, Graziani lost his post at Court. He died at Potsdam in 1787. The six violoncello solos, Op. 1 (printed in Berlin about the year 1780), as well as the six cello pieces brought out in Paris (Op. 2), mentioned by Gerber in his old Musical Dictionary under the name of Graziani, must have appeared in the latter years of the author’s life.

In the second half of the last century there was a violoncello virtuoso, by name Piarelli, who, about 1784, had printed in Paris six violoncello solos. This is all that is known about him.

Of the brothers Spotorni, Gerber only says that, in 1770, in Italy, “their native land, they were esteemed as violoncellists.”

A very skilful player was Camillo Barni, born on January 18, 1762, at Como. He received his first instructions in cello playing at the age of fourteen years from his grandfather, David Ronchetti. Later on, Giuseppe Gadgi, Canon of the Cathedral at Como, taught him for a few months. At the age of twenty Barni joined the opera orchestra of Milan, of which he became first violoncellist in 1791. In the year 1802 he went to reside permanently in Paris, where he appeared as solo player, and then, for several years, was an active member in the orchestra of the Italian Opera. Between 1804 and 1809 he published several duets for his own instrument and the violin. He also wrote a cello concerto.

Concerning the brothers Bertoja, Gerber only says that both were employed in Venice about 1800, as virtuosi on the violoncello, and were reputed in Italy the first masters of their instrument.

Filippo Lolli, son of the violin virtuoso, Antonio Lolli, was born at Stuttgard, in 1773; practised the cello from early youth, and at eighteen years of age made a concert tour, which led him to Berlin. Here he was heard by the King, who was so pleased with his performance that he recognised it by an honorarium of 100 louis d’or. Lolli then went to Copenhagen, and in the year 1804 played at concerts in Vienna. There is no more information about him extant.

Of Sandonati, Gerber says that he lived in Verona in 1800, and was one of the most renowned violoncellists of those times. Gerber announces the same of the Mantuan, Shevioni, who worked about the same time apparently in Verona.

While all these men were endeavouring to make an advance in violoncello playing, and especially in violoncello compositions, the Italian nation possessed in Boccherini an artist who surpassed in every direction his countrymen.

Luigi Boccherini, the son of a contra-basso player, was born on February 19, 1743, at Lucca. He there received his first musical instruction from the archbishop’s choirmaster, Vanucci. Besides the cultivation of theory, he devoted himself with peculiar zeal to cello playing, of which he was to prove a master. The very promising progress which he made decided his father to send him to Rome for the further prosecution of his studies, and where his talents attained their full development.

When Boccherini, after the course of a few years, returned to his native town, he found there Tartini’s pupil, Filippo Manfredini, his countryman, who was an excellent violinist. He soon formed an intimate friendship with him, which led to an arrangement for making a concert tour. The two artists went to Spain, afterwards to Piedmont, to Lombardy, and the South of France. The favourable reception which the friends experienced encouraged them about 1768 to proceed to Paris. In the French capital they had a splendid success. The compositions of Boccherini gained such great applause that the Parisian music publishers, La Chevardière and Venier, declared themselves ready to undertake the expense of printing all the works already heard. Notwithstanding, he received very little for his compositions, and later on he was not more fortunate.

At the persuasion of the Spanish ambassador in Paris the artists proceeded, at the end of 1768, or the beginning of the next year, to Madrid. Here Boccherini roused the special interest of the Infanta Don Luis, who named him his “Compositore e virtuoso di camera.” When this prince died, on August 7, 1785, Boccherini became Court Kapellmeister of King Charles III. of Spain, a post which he also filled under the succeeding king, Charles IV. He received a still further recognition from the King Frederick William II. of Prussia, who designated him his chamber-composer, when he, in the year 1787, dedicated a work to this art-loving monarch, who conferred on him a considerable honorarium. From that time Boccherini dedicated to him everything that he composed. We may conclude that he was adequately remunerated, for when the king died in November, 1797, and the allowance ceased, Boccherini fell into difficulties, his compositions being badly paid by the publishers. At the same time he seems to have lost his place as Kapellmeister to the King of Spain. However it was, he spent the last years of his life with his family in great need, from which death only released him on May 28, 1805.

Having in view the great quantity of his compositions, Boccherini must be distinguished as an extremely prolific composer. There are in existence 400 instrumental works by him. They consist of 20 symphonies, 125 string quintets—amongst them are 113 for two cellos, of which the first cello is more or less an obbligato—91 string quartets, and numberless trios, septets, quintets with flute or oboe, violin sonatas, as well as several vocal compositions for the church, &c. Very little has proved capable of surviving, and this little only awakens a limited interest. The cause of it seems to be in a certain simplicity which underlies all Boccherini’s music. With great cleverness of form, added to an apt and easy flow, it is certainly not wanting in originality, which has even a humorous tendency; but the manner of expression is characterised by a certain formality which gives to Boccherini’s music an antiquated air. His ideas are wanting in power of thought and depth of feeling; they rarely rise above the pleasing and agreeable.

At the beginning of the century the chamber compositions of Boccherini had an extraordinary popularity, especially amongst the dilettanti. From that time, however, they have been little played, at least in Germany. The interest in them was maintained much longer in France, where they were unusually prized, according to Fétis’s “Biographie Universelle des Musiciens.” There also they have been for some time laid on one side.

Boccherini composed six concerti specially for the violoncello. There are also extant several cello sonatas with bass by him. It is surprising that there is no mention made of them in the list of Boccherini compositions by Fétis. Six of these sonatas have been republished on the one hand by Friedrich Grützmacher, and, on the other, by Alfred Piatti, with piano accompaniment. The violoncello concerti of Boccherini, on the contrary, have fallen almost entirely into oblivion. They are only so far interesting in that by them is shown to what degree of technique cello playing was developed by this master. We must here observe that he was one of the first of the Italian school who gave decided expression to the solo and virtuoso side of his instrument. He not only made possible for cello music the higher and highest parts of the thumb position, with the exception of the complicated harmonics first discovered and made available after his time, but he also considerably extended beyond his predecessors the playing of double stops as well as the execution of passages.⁷¹

If in form they were somewhat superficially elaborate and worked out after the manner of studies, yet instructive material for practice of an extent and variety hitherto unknown was provided for cellists. For Italy it was a sensible loss that Boccherini spent the greater part of his life abroad, his native land was in consequence deprived of the advantage which the personal influence and example of his strikingly artistic proficiency might have gained. If he had remained there he would, doubtless, have been to his countrymen as regards cello playing what Corelli and Tartini were to Italian violin playing. But under the prevailing conditions Italy lacked a recognised musician who might have been the means of further successfully developing that branch of art. Moreover, the decided preference of the Italians for opera from the end of the last century, which prevailed to the cost of all other musical efforts, checked for a time further impulse to or demand for the cultivation of stringed instrument playing, which until then had been so successfully pursued on the Apennine Peninsula. What, however, Italy’s sons attained in the art of violoncello playing was not lost, but was further perfected by German and French masters, concerning which the following sections will give the necessary explanation.

II.—GERMANY

The Violoncello had already found its place as an orchestral instrument about the year 1680 at Vienna, and in 1709, in the Dresden Royal orchestra, as we saw. Towards 1720 it had penetrated also into Northern Germany, since the band of the Duke of Holstein-Gottorp evidently possessed one. At the same period this stringed instrument must have been extensively used in other parts of Germany—otherwise Joh. Seb. Bach would scarcely have conceived the idea of composing for it his solo sonatas, which were already extant between the years 1717-1724. There were even at that time two German violoncellists who appeared to Gerber of sufficient importance for him to give them a place in his Dictionary of Music. Their names are: Triemer and Riedel.

Johann Sebald Triemer was born at the end of the seventeenth or the beginning of the eighteenth century, in Weimar, where he was instructed in instrumental playing by the Ducal Chamberlain and Musician, Eylenstein, and in the theory of music by Ehrbach, an old musician of Weimar. As soon as Triemer had made progress sufficient to figure as a soloist, he undertook a concert tour which led him to Hamburg, for, in 1725, he was a member of the theatre orchestra there. Two years after he went to Paris, and remained until 1729. During this time he pursued the study of composition under the direction of Boismortier.⁷² He then went to the Dutch city of Alkmaar, and, later on, to Amsterdam, where he died in 1762. At Amsterdam he had six “Sonate a Violoncello solo e continuo” published.

The Silesian, Riedel, was not only a cellist, but also chief of the Fencing School at Liegnitz. He must have been a very good player for his time. About 1727 he went to St. Petersburg, and was there the instructor of the Emperor Peter II. (who, as is known, only reigned three years—1727-1730), both in cello playing and in fencing.

Riedel was also member of the Russian Court band, where he still was in 1740.

The number of German violoncello players very soon increased. Amongst them, Werner must next be mentioned, born at the beginning of the eighteenth century in Bohemia, and died in Prague, 1768. He must have been a most excellent player, since, as Gerber says, in his time no foreign cellist ventured to play in Prague. Werner was for some time established at the Crusaders’ Church, in Prague. Of his numberless concertos and solos for violoncello, none seem to have been printed.

The violoncellist, Caspar Cristelli, born in Vienna at the beginning of the eighteenth century, was, in 1757, chief composer in the service of the Archbishop of Salzburg. He specially distinguished himself as an accompanist, a talent at that time highly prized, for the cellists who accompanied the vocal recitatives played an important part. Cristelli also wrote several compositions for his instrument.

Johann Baptist Baumgärtner, born 1723, in Augsburg, died May 18, 1782, at Eichstädt, as chamber virtuoso of the Prince Bishop, was educated in Munich, and then made a concert tour through Germany, England, Holland, and Scandinavia. Besides some violoncello concertos he wrote: “Instruction de musique théoretique et pratique a l’usage de violoncelle.” This instruction book appeared in 1774 or 1777, at the Hague.

Wenzel Himmelbauer, born 1725, in Bohemia, was in Prague in 1764; went, however, to Vienna, and had a good reputation as cellist. His playing was chiefly famed for firmness of the bow stroke and quickness at sight reading. C. F. Daniel Schubart remarks of him in his “Ideen zu einer Aesthetik der Tonkunst”: “He was a sincere and a most agreeable violoncellist, without any artistic pride; a man of the most upright and amiable heart”; and he further remarks: “No one uses his bow so quietly and easily as this master. He executes the most difficult passages with the most extraordinary ease, and especially pours out his heart in the Cantabile. His sweet expression, his delightful phrasing, and, moreover, his great power in the middle tints are the wonder of all connoisseurs and hearers.” He composed little for his instrument, but this little has all the more intrinsic value.

Of Himmelbauer’s compositions there appeared at Lyons, 1776, as Op. 1, duets for flute or violin and violoncello. A few duets for two violoncellos remained unpublished. The MS. was, in 1795, in the possession of the Bohemian cellist, Emeric Patrzik, and later fell into the hands of the author of “The Art Lexicon for Bohemia,” G. J. Dlabacz.

Philipp Schindlöker must be mentioned as a noteworthy pupil of Himmelbauer’s. Born on October 25, 1753, at Mons, in Hennegau, he went very young to Vienna, whither his parents betook themselves. There he began the study of the violoncello. In 1795 he was appointed solo violoncellist at the Royal Opera House, Vienna, and three years later to the orchestra of the Cathedral, S. Stephan. In the year 1806 he received the title of Imperial Chamber Virtuoso. He died April 16, 1827. Sixteen years previously he had already retired into private life. Of his compositions only a serenade for the Violoncello and Guitar was published. The rest, consisting of a Concerto, Sonatas with bass accompaniment, and a Rondo also with bass accompaniment, remained unpublished.

His nephew, Wolfgang Schindlöker, born in 1789 at Vienna, was educated by him as a clever cellist. After he had been heard at fourteen years of age at a concert, he went in 1807 as chamber musician into the service of the Court at Würzburg. His compositions consisted of a “Grand duo” and three Duets, which were published.

Franz Joseph Weigl belonged to the best German cellists of the last century; he was the father of the opera composer, Joseph Weigl, formerly in much repute. He was born on March 19, 1740, in a Bavarian village, and through the special recommendation of Joseph Haydn was received on June 1, 1761, into the orchestra of Count Esterhazy. In 1769 he left and joined the orchestra of the Italian opera in Vienna. After three years of active work there he was appointed to the Imperial band, and made Court and Chamber musician; his death took place on January 25, 1820. Weigl composed, but if for his own instrument is unknown.

Anton Filtz, a member of the Electoral Chapel at Mannheim, was a gifted cellist and composer. He died in 1768 in early manhood, before his talent had fully developed. He left in MS. several duets and solos, as well as Concertos for the Violoncello.

Joh. Georg Schetky, born 1740, at Darmstadt, deserves special mention as a pupil of Filtz, whose instruction he enjoyed for one month, after his father, who was Secretary to the Grand Duke of Darmstadt and tenor singer at the Cathedral, had given him his first musical education. He seems to have taken up cello playing by himself at first, but his theoretical education was carried on by the Concertmaster Enderle. In the year 1761 Schetky went for six months with his father and two sisters to Hamburg. There he had the opportunity of hearing great artists, which incited him to zealous study on his instrument. On his return to Darmstadt he found a post in the orchestra there. Now and then he performed at concerts in the neighbouring towns. After the death of his parents he finally quitted Darmstadt in 1768. He visited Hamburg and then London, where the patronage of Joh. Christoph Bach was of service to him. Schetky did not however remain long in the English capital, as he received a proposal to go to Edinburgh, which he accepted. He very soon, in consequence of his marriage with a rich widow, retired into private life, being known to fame only through his compositions. These, taking no account of an important collection of various orchestral and chamber music works, consist of numberless Violoncello Concertos, Duets for Violin and Violoncello, Sonatas for Violoncello and Bass, and “Twelve Duets for two Violoncellos, with some Observations and Rules for playing that Instrument” (Op. 7). In these duets, as the title says: “Schetky had a scholastic aim in view.” Yet they can scarcely be called a violoncello school.

One of the last of Schetky’s published works is his Op. 13, which contains six Sonatas for Violoncello with unfigured bass. The compositions therein contained give a distinct idea of his fluent though superficially mechanical manner of writing. It can readily be discerned that Schetky had for the time in which he lived a remarkable technique in playing. He must have been able with ease to play at sight the first violin part in Quartets, a talent which proves at once his skill and readiness. His power and agility in bowing as well as his staccato playing in up and down strokes were famous.

According to Gerber’s account, Schetky died in Edinburgh in 1773. In Forster’s “History of the Violin” it is said, on the contrary, that his death took place only in 1824.⁷³

As a “clever and solid concert player and composer for his instrument,” Markus Heinrich Graul, who was born in the first half of the last century, is mentioned by Gerber. In the year 1766 he belonged to the Royal orchestra at Berlin. He also composed pieces for the cello, but did not publish them.

His pupil, Joh. Heinrich Viktor Rose, born on December 7, 1743, at Quedlinburg, was early instructed to play on various instruments by his father, who was town musician in the above-named place. The Princess Amalie, who then filled the office of Abbess in the Quedlinburg Convent, became interested in him, and took him with her to Berlin in 1756, where he studied cello playing for some years under Graul and Mara. In 1763 he entered the service of the Prince of Anhalt-Bernberg. Four years later he relinquished that in order to travel, and accepted a place in the band of the Duke of Dessau. He did not long remain there, for in the year 1772 he accepted an offer to be organist at the place of his birth. According to Gerber’s account he possessed not only an extraordinary readiness on the violoncello, but also a most expressive, graceful rendering. Of his compositions, there were three solos with bass accompaniment published as Op. 1.

His best pupil was Friedrich Schrödel, born on February 4, 1754, in Baruth; died January 10, 1800, at Ballenstedt. Gerber calls him one of the greatest masters on the violoncello of that period, and adds that many were of opinion that he surpassed the famous Mara in precision and delicacy.

Johann Jäger must be noticed with special distinction as belonging to the German cellists of the last century. Schubart, who must have known him personally, says in his eccentric manner: “Jäger is quite original; his bowing new, unconstrained, and impetuously fiery. All masters apply the thumb to the D string, and so bring out the high passages; but Jäger departs entirely from this method—a proof that his genius has more than one way of attaining his aim. He goes with lightning dexterity up to the D and A strings in the highest parts and brings out the most delicate phrases with the greatest tenderness and sweetness.... Jäger is also a great reader, prima vista—that is, he can play from the music at sight the most difficult pieces with wonderful art.”

In regard to the Jäger Violoncello compositions, which altogether remained unpublished, Schubart remarks: “He follows no rules in composition, but is guided solely by his ear. His Concertos and Sonatas consist chiefly of original themes, which are grand, noble, adapted to the instrument, and full of difficulties. Jäger caused his pieces to be revised by good musicians, whereby they were put into correct form. At the same time it must be confessed that the superfluous boughs, the offspring often of an unbridled fancy, have not all been pruned off.”

As Jäger’s compositions are not extant there is no possibility of putting to the proof the justice of Schubart’s judgment.

We can only gather that Jäger was self-taught. He appears to have been so even as a player. There is nowhere any intimation that he had any regular instruction on the violoncello. Gerber makes only the remark that Jäger became, under the influence of the Kapellmeister at Würtemburg, “the great man” whom the world admired.

As Fétis informs us, Jäger was born on August 17, 1748, in the little town of Schlitz.⁷⁴ He was originally oboe player in the service of Holland. He cultivated at first as his favourite instrument the French horn. After he had been actively engaged at the Court of Stuttgard, the post of chamber virtuoso in the Anspach Bayreuth orchestra fell to his lot. The position left him a great deal of spare time, so that he was able to practise diligently the violoncello, and also to undertake concert tours, which led him to London in 1781.

Jäger had two sons who were educated as violoncellists under his direction. The elder, Johann Zacharias Leonhard, born 1777, at Anspach, showed an early development and was able, even at nine years of age, to execute solos with rapidity, certainty, and accuracy. In 1787 he played at the Prussian Court, and on that occasion so greatly excited the admiration of the Queen that she wished to acquire him for the Royal band in Berlin, to which, however, the father of the boy would not yield on account of his youth. The Queen, therefore, proved her interest in him by granting him a life-long pension of 100 thalers. On his return home the Margrave of Anspach appointed him his chamber musician. He did not, however, remain long in this position, and went with his father to Breslaw. There Jäger’s younger son was born, whose christian name was Ernst. He possessed even more talent than his brother, for it was not long before he overtook him in cello playing, to which the instructions he received from Bernhard Romberg greatly contributed. Until the year 1825 he lived at Breslaw, after having travelled through a great part of Germany and Hungary. Then he responded to a summons from the Bavarian Court to go as solo cellist to Munich.

Besides his two sons, Johann Jäger educated also Alexander Uber, born at Breslaw, 1783, as a capable violoncellist. His father, by profession a solicitor, was an enthusiastic lover of music, occupied his leisure hours with the composition of chamber music, and instituted weekly two concerts in his house. At one of them symphonies were produced, at the other quartets and quintets. At the beginning of our century, Carl Maria v. Weber, who began his career at the Breslaw Theatre, took part in these musical entertainments, as did also the Director of music in the University at Berne and the piano player Klingohr. The intercourse with these men was not of less importance for the musical development of young Uber than his musical life in his father’s house. At first he enjoyed the violin instruction of Jannizeck, while Schnabel conducted his theoretical studies. But he very soon took up the violoncello, for which Jäger was his teacher. In the year 1804 he undertook his first tour, but returned soon to Breslaw. In the course of time Uber filled many positions as Kapellmeister, until about 1820 he settled at Basle, where he was married. In 1823 he undertook the post of Conductor with the Count of Schönaich and Prince von Karolath, but, in the following year, death carried him off. Of his compositions for the violoncello, Uber published a Concerto (Op. 12), Variations with Quartet accompaniment (Op. 14), Six Caprices (Op. 10), and Sixteen Variations upon a German air.