JenkinsN., and ChurginB.: Thematic Catalogue of the Works of Giovanni Battista Sammartini: Orchestral and Vocal Music (Cambridge, Mass.: 1976) 27.
2.
In the 18th century, variation in spelling for surnames was common. Berteau's name has perhaps an unusually high degree of variation, however, appearing at times as ‘Bertau,’ ‘Bertault,’ and ‘Bertaud.’ See the article by Adas for more.
3.
AdasJ.: “‘Le célèbre Berteau’”, Early Music17 (August 1989) 368–380.
4.
WaldenV.: One Hundred Years of Violoncello: A History of Technique and Performance Practice, 1740-1840. (Cambridge: Cambridge University Press, 1998) 79–145.
5.
DuportJean-Luis: Essai sur le doigté du violoncelle et sur la condoite de l'archet (Paris: Janet et Cotelle, 1806); The 21 Etudes from the Essai are available in several editions, including this G major etude by Berteau.
6.
Breval: Traité du violoncello, op. 42 (1804)
7.
The Leonard Rose edition for International (New York, 1962) was preceded by an edition by J. Stutchewsky for International (New York, 1948). I have not tracked down a copy of the Stutchewsky version for comparison.
8.
See the article “Choosing Baroque Editions: Learning from the Accompaniments” by Jane Girdham in the May 2005 issue of American String Teacher for further related information.
9.
AdasJane, ed. “Mid Eighteenth-Century Cello Sonatas: Continuo Sonatas for Cello.”The Eighteenth-Century Continuo Sonata v. 7 (New York: Garland, 1991) 217–242.
10.
DuportJean-Louis: Essay on Fingering the Violoncello trans. John Bishop (London, 1853) 145.
