Title: The Violoncello and Its History
Author: Wasielewski, Wilhelm Joseph von
Language: English
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THE VIOLONCELLO AND ITS HISTORY.


[Illustration: Robt. Lindley]


THE VIOLONCELLO AND ITS HISTORY

by

WILH. JOS. V. WASIELEWSKI

Rendered into English by Isobella S. E. Stigand

With Illustrations, Musical Examples and
Portrait of Robert Lindley
(From the Original Oil Painting).



London: Novello and Company, Limited
and
Novello, Ewer and Co., New York.
1894.

All Rights Reserved.



    THIS TRANSLATION
    IS INSCRIBED TO

    My dear Sisters.



AUTHOR’S PREFACE.


In the following pages I present to the musical world the History of
the Violoncello and Violoncello playing. I have preceded it by the
History of the Viola da Gamba, for the reason that this instrument must
be considered the precursor of the Violoncello. For my work I have
made use of the musical dictionaries extant, especially Gerber’s old
and new musical Lexicon as well as Fétis’s “Biographie Universelle des
Musiciens.” What has been borrowed from other works will be indicated
in the course of the narrative. The great courtesy of Herr Friedrich
Grützmacher, the Royal Concert-director of Saxony, in placing at my
disposal his extensive collection of old and new Violoncello Literature,
has been of especial value to me in my undertaking. By its means I
have been enabled to find my way through the historical development
of Violoncello composition. I willingly seize this opportunity of
expressing my thanks to him for it.

        V. WASIELEWSKI.

    SONDERSHAUSEN,
    _December, 1888_.



TRANSLATOR’S PREFACE.


It may be that we are not a musical people, but if so the encouragement
and appreciation which the sister Art to painting has of late years
received in England is not a proof of the truth of the assertion
frequently made. Our Concert-rooms are always crowded to overflowing;
foreign artists think it worth while to come year by year to England;
schools of music are multiplying, and eagerly attended by amateurs as
well as professionals; and I think it may now be taken for granted that
a musical education may be as thoroughly acquired here as abroad. Every
kind of musical instrument is taken up, if not always with a really
serious intention; but no instrument has more rapidly or more certainly
come into favour amongst all lovers of music, as well with those who
study as with those who listen, than the Violoncello. It is therefore
somewhat surprising that up to the present time no book has been
published in English, either as regarding its History or its Literature.
This consideration, as well as the hope that not only those who devote
themselves to the Violoncello, either as professors or amateurs, may
be interested in its History, but also the general musical public who
delight in listening to its deeply pathetic tones as produced by the
great masters of it, has induced me to attempt the translation of Mr.
Wasielewski’s interesting work. We love to know and often take pains to
enquire into the history of any favourite picture, to learn something
of the artist’s life, the circumstances under which he painted it, and
often the origin of its conception. I therefore hope that the story of
the Violoncello will be acceptable to all who love it and give their
lives to the development of its many beauties and capabilities.

The account of the Violoncello’s forerunner, the Viola da Gamba, cannot
but be especially interesting, this instrument having been formerly
cultivated in England to so great an extent. The frequent allusions
which Praetorius in his “Syntagma Musicum” makes to English Gamba
players, with a decided preference to their manner of playing and
tuning their instruments, is a proof of how high their reputation was
abroad; and if any further evidence were wanting the dictum of Mersennus
that English Gambists excelled all other nations in Gamba playing, is
sufficient to show that in the sixteenth and part of the seventeenth
centuries they held the first rank. If for a short period we have no
violoncellist of extraordinary merit to chronicle, more modern times
have produced artists who will bear comparison with any of the greatest
players on the Continent. Concerning these and English Gamba players I
have ventured to add a few more particulars than Mr. Wasielewski has
given, hoping they would prove interesting to English readers. These
details have been gathered from Grove’s Dictionary, Leslie Stephen’s
Nat. Biography, and various other works. For the technical portion, Mr.
Niecks’s Dictionary of Musical Terms has been consulted, as well as
Mendel and Dommer. I have supplemented the Violoncello Schools by others
collected from Mr. Heron Allen’s Bibliography, and various sources,
introducing some of the old Instruction books for the Gamba.

I must here thank Mr. Wasielewski for his kind permission to translate
his valuable work, as well as Messrs. Breitkopf and Härtel for their
courteous assistance. I beg Mr. George Herbert to accept my grateful
acknowledgment for his most kind help and encouragement, and Mr. Heron
Allen for the interest he has taken in my work. To Mr. Arthur Hill I am
indebted for much kind advice, and to Mr. Nosèda of the Strand for his
courteous permission to reproduce from his oil-painting the portrait of
Robert Lindley as a Frontispiece.

    THE TRANSLATOR.



CONTENTS.


    Introduction.
                                                                PAGE
    HISTORY OF THE VIOLA DA GAMBA (Basso di Viola)                 1

    THE TRANSITION TO THE VIOLONCELLO                             36

    The Art of Violoncello Playing in the Eighteenth Century.

       I. ITALY                                                   48
      II. GERMANY                                                 67
     III. FRANCE                                                  87

    The Art of Violoncello Playing in the Nineteenth Century.

      IV. ITALY                                                  109
       V. GERMANY                                                113
      VI. FRANCE, BELGIUM, AND HOLLAND                           169
     VII. ENGLAND AND SCANDINAVIA                                189
    VIII. THE SLAV STATES AND HUNGARY                            198

    CONCLUSION                                                   210

    APPENDIX                                                     215

    METHODS AND SCHOOLS                                          217

    VIOLA DA GAMBA                                               217

    VIOLONCELLO SCHOOLS FROM THE MIDDLE OF THE EIGHTEENTH
    CENTURY UNTIL THE PRESENT TIME                               217

    LIST OF NAMES AND INDEX                                      221



INTRODUCTION.



Viol da Gamba.


The history of the Violoncello and Violoncello playing is connected in
its early stages up to a certain point with that of the Viola da Gamba
and its forerunner, “the Basso di Viola,” of the sixteenth century. This
last-named instrument formed the bass in the string quartets of that
time, to which also belonged, according to the Italian designation,
the “Discant-Viola” or “Violetta,” as well as the “Viola d’Alta” and
“di Tenore.” In Germany these instruments were called Diskant, Alto,
Tenor, and Bass viols. The terms Viola and Violin,[1] were at that time
consequently synonymous. From the foregoing remarks it will be perceived
that it is a question not of one kind, but of a whole family of stringed
instruments. Descriptions and illustrations of them are found in the
following music-authors of the sixteenth century.

SEBASTIAN VIRDUNG: “Musica getutscht,” 1511; HANS JUDENKÜNIG: “Ain
schöne kunstliche Vnderwaisung,” u.s.w., 1523; MARTIN AGRICOLA: “Musica
instrumentalis deutsch,” 1528; HANS GERLE: “Musica Teusch” (Teutsch),
1532; OTTOMAR LUSCINIUS: (Nachtgall), “Musurgia seu praxis Musicæ,”
1536; and GANASSI DEL FONTEGO: “Regola Rubertina,” 1542. Agricola’s and
Gerle’s works appeared in various editions. The work of the former, as
well as Luscinius’ “Musurgia,” are partly reproductions of Virdung’s
“Musica getutscht.”

[Illustration]

According to the descriptions of the above-named authors, violas or
violins were of two kinds.[2] Some of them had no bridge, others, on
the contrary, were provided with one. For the object before us the last
only claim our consideration, of which, as well as of the bridgeless
violins, there were four different examples. The alto and the tenor
were the same size, but of different methods of tuning. The so-called
violas (fiddles) were provided with six strings which were called, like
the six lute chords, Great Bumhardt (Bombarte), middle ditto (tenor);
small ditto (counter-tenor); middle string (great mean); vocal string
(small mean); and quint string (treble). The “Great Bumhardt” was left
out in those instruments provided with five strings only. In Italy the
six strings were called: Basso, Bordone, Tenore, Mezzanella or Mezzana,
Sottanella or Sotana, and Canto. In France, according to Mersennus:
Sixiesme, Cinquiesme, Quatriesme, Troisiesme, Seconde, and Chanterelle.
The same author gives for the violas the names: “Dessus,” “Haut Contre,”
“Taille,” and “Basse Contre.”

In Judenkünig’s and Hans Gerle’s works are found the accompanying
illustrations of stringed instruments provided with a bridge. Their
identity is unmistakable, though they differ from each other in many
peculiarities of form. Both instruments represent the so-called “big
fiddle”[3] or “Basso di Viola.” The tuning was that of the lute, which,
as an older stringed instrument, served in this respect as its model.
Only in regard to the pitch did any difference exist. Judenkünig makes
it thus:--

[Illustration]

Hans Gerle, on the contrary, writes it thus:--

[Illustration]

Here the pitch of the second is a fifth lower than the first.
Judenkünig’s pitch represents the tenor and that of Gerle the bass.
Agricola says in his “Musica instrumentalis,” regarding the height of
pitch for the lute:

    “Zeuch die Quintsait so hoch du magst
    Das sie nicht reist wenn du sie schlagst.”

    (Draw up the fifth string as high as you may,
    That it may not be broken when on it you play.)

And in Hans Neusiedler’s Lute-book (1535) it is said: “He who wishes to
learn how to tune the lute, let him draw up the Quint string, not too
high, and not too low, a medium height, as much as the strings will
bear.” Similar instructions are to be found in Gerle’s “Musica Teutsch.”

The capability of tension of the Quint string was consequently the
guide for the pitch in tuning the lute--beyond this there was as yet
no normal pitch--and in stringed instruments it was in every case so
maintained. In playing with wind instruments the stringed instruments
had, therefore, to adapt the pitch to them.

The “great violins” were, in the first half of the sixteenth century at
least, according to all appearance played in two ways. From the drawing
in Judenkünig’s treatise, a mode of handling is seen which requires no
further explanation. That the handling of the “great violin” represented
by Judenkünig without any explanation is treated of as not exceptional
appears also from the accompanying vignette of another publication of
that period.

[Illustration]

The bass viol performing with the two lutists represents the same
position and manner of playing as the woodcut in Judenkünig’s treatise,
with the sole difference that he is holding his instrument in the left
hand, whereas the peg-box of the instrument, bent sharply backwards,
of Judenkünig’s player rests on his shoulder. It is very evident that
in both cases scarcely more could be executed than the simplest bass
accompaniment. More, however, was eventually to be produced according
to the treatment of the “great violin” prescribed by Gerle. He says
regarding it: “When you have according to my instructions ‘beschriben’
(noted),[4] tuned and drawn up the violin, and wish to begin playing,
proceed thus: Take the neck of the instrument in the left hand and the
bow in the right, sit down and press the viola between the legs, that
you may not strike it with the bow, and take care when you play that you
draw the bow directly and evenly over the strings neither too far from
nor too near the bridge[5] on which the strings lie, and that you do
not draw the bow over two strings at once, but only over that which is
placed under the figuring in the Tablature, and this must be especially
attended to.”

It appears, according to Gerle’s instructions, that the instrument
of which he speaks was a so-called “Knee violin”--in Italian, “Viola
da gamba.” It seems, however, that in the sixteenth century this
description was not in common use. Hans Gerle, a native of Nuremberg,
born about 1500, had already received important consideration during
the first twenty years of the sixteenth century, not only as a skilful
performer, but also as a maker of lutes and viols. Yet the making of
these instruments, and especially of viols, had already been carried on
at a much earlier period by others. The oldest fiddle or viola maker
of whom we have any mention is a certain Kerlino, who, according to
Fétis’s account, lived and worked in Brescia. It is most probable that
he was a German, or at least of German extraction, for the name Kerl,
in every kind of variation, both as a common and individual or family
name, had been constantly in use among the German races. In the German
dictionary[6] of the Brothers Grimm are indicated the various forms of
the name “Kerl”: Kerle, formerly Kärle; Kerls, Kerles, Kerlis, Kerli,
Kerlin, Kerel, Kaerl, Kerdel, and Kirl. They are of German origin,
and are derived from middle or low German, whereas the Anglo-Saxon
equivalents are “Carl,” or “Ceorl.”

Originally the word “Kerl” (kerle), according to Grimm, was synonymous
with “Mann” (man), and also with Ehemann (husband). But it was also used
as a family or tribal name, as is proved from the names Jacob de Kerle
(sixteenth century), Joh. Kaspar von Kerll (also written Kerl, Kherl,
Cherle), born 1628, and Vitus Kerle (in the eighteenth century).[7]

Another form of “Kerl,” Kerlin, was, according to Grimm, used in the
sixteenth and seventeenth centuries. Who can doubt then that the
Brescian instrument maker Kerlino was of German origin?[8] He was,
evidently, originally called Kerl or Kerlin, to which name was added by
the Italians either the diminutive syllable “ino” or the vowel “o.” It
cannot be of Italian origin, for the Italian has no “k.”

Fétis informs us that Kerlino must be considered as the founder of the
school of Brescian viola makers which, as the oldest in Italy from the
middle of the sixteenth century, attained such a great reputation,
through Gaspar da Salò and his reputed pupil, Giov. Paolo Maggini. If
what appears so extremely probable has any real foundation, to a German,
or, at least, to a man of German extraction, must be justly conceded the
merit of having, in a measure, been the originator of the art of Italian
stringed instrument making which later on developed to the highest
point.

Further, we learn from Fétis that in the year 1804 a Parisian violin
maker, named Koliker, was in possession of a violin which had been
previously described by the French writer on music, de la Borde,
containing the inscription

    “JOAN. KERLINO, ANN. 1449,”

and which originally had been a “Viola da braccio.” Doubtless this
remarkable instrument exists at the present time. Fétis, who saw it
himself, describes its quality of tone as “agreeably soft and faintly
subdued.” Among the composers who wrote for the viola, we must mention
Giov. Battista Bonometti, born at Bergamo about the end of the sixteenth
century. In 1615 he caused to be published in Vienna a collection of
trios for two violas and a bass.

After Kerlino there appeared in North Italy as noted lute and viola
makers the monk Pietro Dardelli, in Mantua about 1500; Gaspard
Duiffopruggar, in Bologna, 1510; Venturi Linarolli (Linelli), in Venice,
1520; Peregrino Zanetto, in Brescia in 1530; and Morglato Morella, in
Venice, 1550. Amongst these G. Duiffopruggar is evidently of German
birth,[9] and remarkable as having, as far as we can see, made the first
violins.

This artist was in 1515 summoned to France by King Francis I.; he at
first lived in Paris and then at Lyons. He made some excellent Bass
viols (Gambas), of which two fine specimens are extant in France. A
similar bass viol was represented by Raphael in his painting of St.
Cecilia. This splendid picture, in the Pinacothek at Bologna, existed in
1515.

After Duiffopruggar, Andreas Amati (1520 to about 1580), the founder of
the Cremona school, distinguished himself in the making of violas (as
well as violins). His instruments obtained such a great reputation that
Charles IX. of France, an enthusiastic amateur of music, had twenty-four
violins, six tenors, and eight basses made by him. Amongst the latter
there were several bass viols, like the viola da gamba. The instruments
made for Charles IX. by Andrea Amati were every one of them destroyed
during the French Revolution of 1792.[10]

Contemporaneously with Andreas Amati the manufacture of stringed
instruments was vigorously carried on by Gaspard da Salò, in Brescia.

In Germany, from the second half of the sixteenth century, LAUXMIN
POSSEN, in 1550, at Schongau, subsequently instrument maker for the
Hofkapelle at Munich; JOH. KOHL, who at the same time worked at Munich
and in 1599 was appointed Court instrument maker there, and also JOACHIM
TIELKE were successively celebrated. The latter lived, as Gerber informs
us, at Hamburg from about 1660 to 1730, and even made lutes of real
ivory and ebony, the necks of which were inlaid with gold and silver and
mother-of-pearl, but one especially with nine pegs of the most beautiful
tortoiseshell. Tielke, however, made also violins and excellent gambas.
One of these, a costly instrument which was formerly in the possession
of the Elector Joh. Wilhelm of the Palatinate,[11] was brought from
Mannheim to the Duke of Maxburg’s Museum at Munich, and thence into the
Royal Bavarian National Museum, where it is preserved as a treasure of
rare value. The peg-box, the fingerboard, the tail-piece, the sides,
and the back are all decorated with designs of flowers, foliage, and
tendrils, as well as symbolical and allegorical representations taken
from mythology, the subjects representing for the most part love and
music. These decorations and designs are inlaid work in tortoiseshell,
ivory, ebony, mother-of-pearl and silver.[12]

Another valuable specimen of a gamba made by Tielke in the year 1701,
which belonged to the famous cello virtuoso, F. Servais, has been
described and represented by A. J. Hipkins, of Edinburgh, in his lately
published work, “Musical Instruments: Historic, Rare and Unique.”[13]

During the second half of the sixteenth century there must have been a
considerable multiplication of the different kinds of violas then in
use, and especially of the bass viol, for Michael Prätorius mentions
in his “Syntagma musicum,” which appeared in 1614-1620, the following
examples:

1. Very large Bass Viol with four strings (corresponding to the modern
Contrabasso).

2. Great Bass Viol de Gamba in three different tunings, with five and
also six strings (also like the Contrabasso).

3. Small Bass Viol de Gamba, five different examples with six, four,
and three strings (answering in tone, in some measure, to the modern
Violoncello).

4. Tenor and Alto Viol de Gamba, in two different pitches, with six,
five, four, and three strings (answering partly to the Violoncello and
partly to the modern Tenor).

5. Cant Viol de Gamba (Violetta piccola), four different kinds with six,
five, four, and three strings (the tone also partly answering to the
Tenor and partly to the Violin).

6. Viol Bastarda, in five different pitches, with six strings (the tone
corresponding to that of the Cello).

7. Viola de Braccio, four different examples, with five and four strings
(corresponding in tone partly to the Violoncello and partly to that of
the Tenor).

Moreover, Prätorius mentions, under the heading “Viole de Braccio
Viols,” the “Discant Viol” (our modern Violin), the small “Discant Viol”
(tuned a fourth higher than our Violin), and two “very small Viols with
three strings,” of which the lowest string of the first is a ninth and
of the second an octave higher than the G String of the Violin.

Of the multitude of these different kinds of Viols then in use, which
later on by manifold improvements were gradually reduced to a smaller
number, until they resulted in the modern Violin and Tenor, as well as
the Violoncello and Contrabasso, we must keep in view, for the object of
the present work, the “Viola da Gamba” only, which must be regarded as
the precursor of the violoncello. Prätorius gives a sketch (annexed) of
the so-named instrument.

A comparison of these gambas with the sketches of viols by Judenkünig
and Gerle shows what substantial alterations the stringed instrument in
question underwent in the course of the second half of the sixteenth
century. The neck had assumed a more modern and more convenient form
for the technique of the left hand and the sounding-board had acquired
more elegant and attractive outlines. At the same time the sound-holes,
corresponding to the curves of the belly, were turned round and placed
in a position more agreeable to the eye.

Prätorius expresses himself regarding the Viola da Gamba as follows:
“Violas, viols, and violuntzes[14] are of two kinds--1. Viole de gamba;
2. Viole de braccio (or de brazzio)--and the former is so called from
having been held between the legs; for gamba is an Italian word and
means a leg; le gambe, the legs. And since they have much larger bodies
and, on account of the length of the neck, have strings of a much longer
tension, they produce a mellower resonance than others, ‘di braccio,’
which are held on the arm. The two kinds are distinguished by town
musicians: the viole de gamba by the name of violas: the viole ‘di
braccio’ (among which Prätorius includes violins) by the name of fiddles
or pollish fiddles....

[Illustration]

“The Violes de Gamba have six strings and are tuned in fourths and in
the middle a third, exactly like the six-stringed lute. Englishmen
when they play them alone sometimes tune them a fourth, sometimes a
fifth lower, so that the lowest strings are tuned--the bass to D, the
tenor and alto to A, and the canto to E. On other occasions each one
(reckoning by the chamber-pitch)[15] a fifth lower--as, for example,
the bass to G G, the tenor and alto to D, the canto to A; and tuning in
this manner produces much more agreeable, grander, and more majestic
harmonies than when the instruments are at the usual pitch.”

What Prätorius says regarding the mode and way of English viol-tuning
is supplemented by Mersennus in his “Harmonie Universelle” (1636-37).
This author says: “Il faut remarquer que les Anglois ioüent
ordinairement leurs pièces un ton plus bas que les Français, afin
d’entendre l’harmonie plus douce et plus charmante, et conséquemment que
leur sixiesme chorde à vuide fait le C sol au lieu que la nostre fait le
D re sol.”

The pitch then in England was a varying one, though the series of
intervals borrowed from the lute, to which the gamba like the bass viol
was tuned, were those which commonly prevailed.

In other respects, Mersennus gives no more explicit directions for the
handling of the Viola da Gamba than Prätorius. He does not use this
name for the instrument in question, but calls it “Basse de Viole.”
The French designation, “Viole de jambe,” corresponding to the Italian
name, appears consequently to have been in vogue later and to have been
generally little used.

Like Gerle’s “great fiddle” (Basso di Viola), the Viola da Gamba had
also as a rule seven frets on the fingerboard like the lute, for fixing
the tones and semitones.

The gamba was played in various ways, and used for a variety of musical
purposes, as a solo instrument, as well as in orchestral performances,
and as an accompaniment to singing. The way in which it was valued
during the first half of the seventeenth century as an obbligato
accompaniment to singing, may be seen from the preface to Heinrich
Schütz’s “Historia of the joyful and victorious resurrection of our
only Saviour,” and so on, published in 1623. It is there said, after
Schütz has named the instruments which are to accompany the parts of the
Evangelists: “But when it can be done it is better that the organ and
everything else should be left out and instead of these only four Viole
di Gamba (which must also be present), should be used to accompany the
parts of the Evangelists.”

“It will, however, be necessary that the four viols should be thoroughly
‘_practised_’ with the part of the Evangelist in the following manner:
The Evangelist takes his part to himself, and recites it straight
through without any fixed time, just as it seems correct to him, but
not holding longer on one syllable than is customary in ordinary slow
and distinct speaking. The violas must not mark any particular time,
but only pay attention to the words recited by the Evangelist, and to
their parts written below the ‘falso-bordone’ and so doing they cannot
go wrong. A viola may also ‘passegiren’ amongst the others, as is usual
with the falso-bordone,[16] and this gives a good effect.”

It appears from the explanation that the gambas were used to support the
harmonies of recitatives. The “passegiren” suggested by Schütz of one
of the accompanying violas was nothing else than the usual improvised
ornamental colorature or diminuendos used at that time and up to the
eighteenth century.[17]

For solo playing gambas were used not only for the execution of
monotone--viz., compositions of one part only; but also for several
parts, and especially for double-stops and chords.

The oldest French gambist of whom we have any account is a certain
Granier. Gerber says, concerning him, that he had been “in the service
of Queen Margaret of France,” and died, about 1600, in Paris, and that
he was the greatest artist of his time on the gamba.

Concerning the artistic use of violas, amongst which, as already said,
gambas were included, Mersennus writes as follows: “Encore que les
Violes soient capables de toutes sortes de musique, et que les exemples
que j’ay donné (_sic_) pour le concert,[18] des violons leur puissent
servir, néantmoins elles demandent des pièces, plus tristes et plus
graves, et dont la mesure soit plus longue et plus tardiue; de là vient
qu’elles sont plus propres pour accompagner les voix. Or l’on peut jouer
toutes sortes de pièces non seulement à cinq parties, comme l’on fait
ordinairement sur les Violons, mais à six, à sept, à douze et à tout
autant de parties que l’on veut.”

At the beginning of the above-quoted passage it is remarked, that
violas were used for every kind of music, but the use of these
instruments for solo playing is not expressly mentioned. In another
passage of his work Mersennus says, however, with regard to gamba
playing and the French performers of his time:--

“Personne en France n’égale Maugars et Hottman, hommes très habiles
dans cet art: ils excellent dans les diminutions et par leurs traits
d’archet incomparables de delicatesse et de suaveté. Il n’y a rien dans
l’harmonie qu’ils ne savent exprimer avec perfection, surtout lorsqu’une
autre personne les accompagne sur le clavicorde. Mais le premier exécute
seul et à la fois deux, trois ou plusieurs parties sur la basse de viole
avec tant d’ornements et un prestesse de doigts dont il parait si peu se
préoccuper, qu’on n’avait rien entendu de pareil auparavant par ceux qui
jouaient de la viole ou même de tout autre instrument.....”

It is here clearly expressed that solo playing on the gamba, and notably
in several parts, was much cultivated and highly appreciated.

The Maugars[19] here mentioned by Mersennus expresses himself regarding
his own performances as a gamba player in his “Réponse fait a un curieux
sur le sentiment de la Musique d’Italie écrite à Rome le premier
Octobre, 1639,” which was published either at the end of 1639 or the
beginning of 1640. After having spoken of his intercourse with the
artistic family Baroni during his residence in Rome, he relates:--

“In this worthy house, at the solicitation of these gifted people, I
was induced for the first time to exhibit in Rome the talent with
which God had endowed me. It happened in the presence of ten or twelve
of the most experienced people of Italy, who, after they had listened
to me attentively, bestowed on me some eulogiums; not, however, quite
ungrudgingly.

“In order to test me further the Signora Leonora (Baroni) induced me to
leave my viola at her house, and begged me to return the following day.
This I did, and as it was reported to me by a friend that it was said I
played studied things very well, on the second occasion I gave them so
many kinds of preludes and fantasias that they really granted me more
appreciation than the first time. The respect, however, of these worthy
people did not succeed in winning over the experts, who were somewhat
over-refined and reticent to concede applause to a foreigner. It was
told me they acknowledged that I played very well alone, and that they
had never heard such harmonised viola playing, but they doubted if I
were capable of extemporising a theme and playing variations on it. You
know, sir, that in this I am not a little successful. The same words
had been told me on the eve of St. Louis’ day in the French church,
while I was listening to the fine music then being performed there. This
determined me on the next day, excited thereto by the name of Saint
Louis, as well as for the honour of the nation and the thirty-three
cardinals who were present and taking part in the Mass, to ascend
into the gallery. When I had been greeted with applause, I was given
fifteen to twenty notes, in order to make myself heard after the third
Kyrie with the accompaniment of a small organ. This subject I treated
with such infinite variety that great satisfaction was shown, and the
cardinals caused me to be invited to play again after the Agnus Dei.

“I considered myself very fortunate that I had been able to afford this
little pleasure to so distinguished a company. I was given another
somewhat more cheerful theme than the first, which I treated with
so many variations and such a diversity of movements that they were
extremely astonished, and immediately came to me in order to requite me
with eulogiums. On account of the friendship which you cherish for me,
my dear sir, I am convinced you will not accuse me of vanity in this
digression. I have only made it in order that you may know that if a
Frenchman desires to gain a reputation in Rome he must be well armed;
and so much the more because it is thought here that we are not capable
of improvising on a given theme. In fact, whoever plays an instrument
deserves no extraordinary consideration, unless he shows himself equal
to such a demand, especially for the viola--to play on which, by reason
of its few strings and the consequent difficulty of playing in parts,
is always a thankless task--it is necessary to possess some individual
talent in order to be inspired by a subject and expand into beautiful
inventions as well as agreeable variations. The capacity to do this
requires two real and innate qualifications--viz., a lively and strong
imagination and skilful execution, in order promptly to carry out one’s
ideas.”[20]

The unlimited tribute of praise which Mersennus pays to the performances
of Maugars, renders credible the remarkable account given by himself.
Maugars’ gamba playing excited in Rome the greatest consideration,
because at that time neither there nor anywhere else in Italy was there
any prominent artist for that instrument. “As regards viola playing,
Maugars declares there is no one in Italy who is distinguished for it,
and in Rome it is very little cultivated. This has greatly astonished
me, as formerly they had a certain Horace of Parma who performed
wonderfully on this instrument, and left behind him some excellent
compositions, which some of our musicians cleverly made use of for other
instruments besides those for which they were composed. The father of
the great Italian, Ferabosco, was the first to make them known to the
English, who from that time have excelled all other nations.”

From the last words it is to be inferred that gamba playing in
England was much in vogue at the time of Maugars. The Ferabosco
(Ferrabosco)--with the christian name of Alfonso--mentioned by him, who
first made the English acquainted with this art, can be no other than
the composer of that name referred to by Fétis as born in Italy about
1515. He settled in London about 1540, and about the year 1587 appears
to have been in the service, as “gentilumo,” of the Duke of Savoy.[21]

Amongst English gambists of distinction must be named Thomas Robinson,
Tobias Hume, William Brade, and John Jenkins. Probably they were all
pupils of the elder Ferabosco.

Concerning THOMAS ROBINSON, who was born in the second half of the
sixteenth century, and lived and worked in the beginning of the
seventeenth in London, nothing further is known than that he published
a curious work under the title, “The Schoole of Musicke: the perfect
method of true fingering the Lute, Pandora, Orpharion, and Viol da
gamba. London, 1603.”

His contemporary, TOBIAS HUME, was an officer in the English army, and
spent much of his time in Sweden. He was reputed one of the cleverest
gambists of that period; he caused to be published, in 1605, a work
with the following title: “The first part of Ayres, French, Pollish,
and others together, some in Tabliture and some in Pricke song. With
Pauines, Galliards, and Almaines for the Viole di gamba, and other
Musicall Conceites for two Basse-viols, expressing five partes, with
pleasant Reportes one from the other; and also for two Leero-Viols, and
also for the Leero-Viole with two Treble Viols, or two with one Treble.
Lastly, for the Leero-Viole to play alone; and some Songes to bee sung
to the Viole with the Lute, or better with the Viole alone. Also an
Invention for two to play upon one Viole. Composed by Tobias Hume,
gentleman. Printed by John Windet Loud, dwelling at the sign of the
Cross Keyes, at Powles Wharfe, 1605.” It is evident that the composition
of arrangements for two instruments, which might also be played on one
only, was no invention of the Salzburg violinist, Joh. Hein. Biber.[22]
In 1607 he published another work, under the title “Captain Hume’s
Poeticall Musicke, principally made for two basse viols yet so contrived
that it may be plaied eight severall waies upon sundry instruments
with much facilitie. London.” This work, of which the British Museum
possesses a copy, was dedicated to Anne of Denmark. He was received into
the Charterhouse as a poor brother in 1629, and known as “Captain Hume.”
His mind seems to have given way, and he died there on April 16, 1645.

WILLIAM BRADE flourished about 1615, and spent much of his life out of
England. He was appointed violist to the Duke of Holstein-Gottorp and
of the city of Hamburg at the beginning of the seventeenth century. In
1619 he seems to have been Capellmeister to the Margrave of Brandenburg
and went subsequently to Berlin. He was esteemed a good performer on
the gamba, and published in 1609, 1614, and 1621 a number of Paduans or
Pavans, Gaillards, Canzonets, Volts, Courantes, in five and six parts
(Berlin, 1621). A great confusion exists regarding the bibliography of
his works, authorities differ as to their titles. They are of unusual
interest, as containing many English airs, some of which are mentioned
by Shakespeare. He is said to have died at Frankfort in 1647.

JOHN JENKINS, born at Maidstone in 1592, was one of the most celebrated
composers of music for viols. In early life he made choice of music as
a profession, and was appointed musician in ordinary to Charles I. He
lived in the family of Sir Hamon l’Estrange and instructed his sons in
music. In 1660 he gave lessons to the sons of Lord North at a salary of
£1 a quarter! Roger North in his autobiography calls him, “that eminent
master of his time, Mr. Jenkins, not conceited nor morose, but much a
gentleman.” He was appointed musician to Charles II., and spent the last
years of his life with Sir Philip Wodehouse, at Kimberley, in Norfolk,
where he died on October 27, 1678. He had for his time extraordinary
capacity on the lute, viol, and several bowed instruments, and wrote
a great number of compositions for viols, which were not printed; but
in 1660 he published “Twelve Sonatas for two violins and a bass, with
a thorough-bass for the organ or theorbo” (London, 1660), the first of
the kind produced by an Englishman. Indeed he is credited with having
been the earliest English composer of instrumental music. Most of
his compositions he called Rants or Fancies. He also wrote music for
“Theophila, or Love’s Sacrifice; a Divine Poem, by Edward Benlowes,
Esq., several parts thereof set to fit Aires by Mr. Jenkins” (London,
1652). Many of his MSS. exist at Christchurch, Oxford. Hawkins reports
that it was said of him, “he was a little man, but had a great soul.”

THOMAS SIMPSON is another Englishman who stands out conspicuously as
a violist and gamba player; in 1615 he was appointed violist in the
service of the Prince of Holstein-Schaumberg. He published: Opusculum,
Neuer Pavanen, Gaillards, Couranten und Volts (Frankfurt, 1610); besides
Pavanen, Volts und Gaillards (Frankfurt, 1611), and a “Tafel-Consort,”
containing all kinds of cheerful songes for four Instruments and a
Thorough-Bass (Hamburg, 1621).

JOHN COOPER, born about 1570, was a most distinguished performer on, and
good composer for the Viol da Gamba. In his youth he travelled in Italy,
and returned with the Italianised name of Coperario. He was master to
the children of James I., who was himself not only very musical, but
had an excellent judgment on music. He is said to have played eight
different instruments, amongst them especially well the harp. Two of
Cooper’s pupils were the celebrated musicians, William and Henry Lawes.
The elder, William, besides his other numerous compositions, wrote his
“Great Consort,” consisting of six Suites for two treble viols, two
theorbos, and two bass-viols. Charles I. was also Cooper’s pupil and
played the gamba well, since he was able to perform the organ fantasias
of his master on that instrument. Cooper published a great number of
compositions, and among them were many for the Gamba. He died during the
Protectorate.

By far the most eminent English gamba player was CHRISTOPHER
SYMPSON[23] (or Simpson), who was born at the beginning of the
seventeenth century, and died in London between 1667 and 1670. He was a
follower of Charles I., and served as a soldier in the army commanded
by the Duke of Newcastle against the Parliament. After the defeat of
the Royalists, Sir Rob. Bolles, an important adherent of this party,
granted him a refuge in his house and entrusted to him the education of
his son, John Bolles, who was noted as a very clever musical dilettante
and player on the gamba; he died in Rome, 1676, where his mortal
remains were laid in the Pantheon. Christopher Sympson is the author
of several noteworthy instruction books on music, of which we shall
mention only those relating to the viol da gamba. The first of them has
the title, “The Division-violist, or the Introduction to the playing
upon a ground. Divided in two parts--the first, directing the hands,
with other preparative instructions; the second, laying open the manner
and method of playing, or composing division to a ground. London: John
Playford. 1659.”[24] The title of the second of Sympson’s works referred
to for the gamba is “A brief Introduction to the Skill of Music. In two
books. The first contains the grounds and rules of music. The second,
instructions for the viol and also for the treble violin.[25] The third
edition enlarged. To which is added a third book, entituled ‘The Art of
Descant or Composing Music in Parts,’ by Dr. Thom. Campion,[26] with
annotations thereon by Mr. Ch. Simpson. London, 1660.”

THOMAS BREWER was also a celebrated performer on the gamba, who was born
in 1611. He was admitted to Christ’s Hospital at three years of age, and
learnt the viol from his music master. He composed various fantasias for
his favourite instrument, besides airs, catches, rounds, as well as
Pavins, Courantes, &c., for which kind of composition he seems to have
been noted.

The English gambists of the first half of the seventeenth century must
then have had some considerable reputation abroad, for the Frenchman,
André Maugars, already mentioned, went about 1620 to London, lived
there for nearly four years, and perfected himself after the models
of the best gamba players. He does not seem to have had pupils. But
his compatriot and rival Hottmann[27] (or Hotteman) not only taught,
but distinguished himself especially by some charming compositions.
One of his most noted pupils was Marais (Marin), born in Paris on the
31st of March, 1656. At first a choirboy in the Sainte Chapelle, he
educated himself further under the direction of Hotteman, and then under
Sainte-Colombe, another excellent Parisian gamba player at that time.
Lully gave him instructions in composition. In 1685 Marais became solo
gambist at the Court Chamber Music Concerts, which position he held
until 1725. He died August 15, 1728.

Besides Sainte-Colombe there were at that time two able French gamba
players--namely, Desmarets and Baisson. Marais, however, excelled them
in artistic execution. He added to the six strings of the instrument
tuned in the accepted manner--

[Illustration]

also a seventh, the A of the “contra octave.”[28] This enabled him to
surpass in harmonised playing all his predecessors and contemporaries.
He was the first who caused the lowest strings of the gamba to be
cased in metal wire so as to give them greater tension and resonance,
a step in advance which was soon adopted for the two lower strings
of the violoncello. Besides some operas, Marais was the author of a
considerable number of gamba compositions which appeared in five parts.
The fifth of them, for one and two gambas with a bass, was printed in
1705.

Out of his nineteen children, three sons and a daughter devoted
themselves to the study of the gamba. Amongst them the most
distinguished for his performances was

ROLAND MARAIS. In the year 1725 he succeeded his father as solo
gambist at the Royal Chamber Music Concerts, the prospect of which had
been assured to him some years previously. Quantz, who heard him in
1726, reported him as a very skilful player. He published, in 1711,
a “Nouvelle méthode de musique,” and in the years 1735 and 1738 two
volumes of gamba pieces with figured bass.

The Sainte-Colombe mentioned above had, besides Marais, two noteworthy
pupils, ROUSSEAU and HERVELOIS. Jean Rousseau perfected himself as a
distinguished gamba player, and was actively engaged in Paris during the
second half of the seventeenth century. He also made himself more widely
known by the production of two “livres de pièces de viole,” as well as a
gamba school, “Traité de la viole.” The latter work appeared in Paris in
1687.

CAIX DE HERVELOIS, born about 1670, became, under the direction of
Sainte-Colombe, an excellent player, and after further study entered
the service of the Duke of Orleans. In Amsterdam he had two books of
his compositions published: “Pièces pour la basse viole avec la basse
continue.”

Another French gambist of distinction in the seventeenth century was
Antoine Forqueray. He was born in 1671 in Paris, and was one of the
performers at the chamber music Concerts of Louis XIV. Forqueray
received instruction from his father. At the age of five years he
already excited the astonishment of the king by his performances, who
called him “his little wonder.” In the year 1745, on June 28, he died at
Nantes, whither he had retired upon his pension.

His son, Jean Baptiste Antoine, born on April 3, 1700, in Paris, was
esteemed as the most able French gamba player of his time. He also at
five years of age was heard with such favourable result before Louis
XIV. that he later on became a member of the royal music society. He
again had a son, whose christian name was Jean Baptiste, born about
1728, who was also a gambist and published several books of compositions
for his instrument. He does not seem, however, to have made himself
conspicuous as a performer.

Gerber mentions in his musical Lexicon a Parisian gambist of the
eighteenth century of the name of Forcroix, or Forcroy, “whose
delightful playing Quantz, who was in Paris in 1726, admired.” Possibly
this artist may be identified as the A. Forqueray mentioned above.

The art of gamba playing was pursued in Germany with as great or perhaps
greater zeal than in England and France. While the pursuit of music by
the English and French was confined chiefly to London and Paris, there
were in Germany many courts who admired and cherished with fostering
care the art of music; and the result was, especially after the tumult
of the thirty years’ war had subsided, a widely-spread musical life
throughout the whole of the German nation.

Amongst the first German players to be mentioned is DAVID FUNK, born
about 1630, in the Saxon town of Reichenbach. Gerber says of him, he was
“an excellent musician and master of the violin, the viola da gamba, the
angelica,[29] the clavier, and guitar”; and then goes on: “Funk was in
every way a genius. His chief study, which he carried to no small degree
of perfection, was that of the law. He was, besides, a wit and a poet,
and was reckoned among the good German poets of that time. As a musician
he was not only a virtuoso on all the above-named instruments, but he
was also a composer, and won the applause of the public in a variety
of styles, for the church as well as for the chamber.... How and where
he had gained all these distinctions there is no account. He was first
known as a composer in the year 1670, by the publication of his work on
the gamba.” This enthusiastic account emanated, according to Gerber’s
report, from the precentor Joh. Martin Steindorf, of Zwickau, who was
personally acquainted with Funk.

In the year 1682 Funk gave up his appointment in Reichenbach and
accompanied the “East Friesland Princess” into Italy as secretary,
where he remained with his mistress seven years. After her death there
in 1689 he returned to his native land, and, driven by the necessity
of beginning again to earn his livelihood, he had no other choice but
to accept, at “Wohnsiedel (Wunsiedel?), the miserable post of organist
and girls’ schoolmaster.” Funk’s dissolute character led him to misuse
his office as teacher to immoral purposes with the girls entrusted to
his care, so that he was compelled “by night and fog to fly in order to
escape the rage of the parents.”

From that time Funk led a vagabond life. He next betook himself to
Schleitz, and remained three months at the Court there. Thence he
was obliged to decamp as he was rigorously pursued by the police of
Wohnsiedel. He made his way to Arnstadt, but did not reach that place.
He was found one day lying dead underneath a hedge.

At the same time as Funk, the virtuoso August Kühnel was at work--born
August 5, 1645, in the little town of Delmenhorst, in Oldenburg. From
1695 to 1700 he lived at Cassel, holding a position at the Court. During
this time he published “Sonatas or Parts for one or two Viole da gamba,
together with a bass, 1698.” According to Gerber, several of his works
should be in the Museum at Cassel. In composition, Kühnel was a pupil
of Agostino Steffani during his residence in Hanover. His successor in
office appears to have been a certain Tielke,[30] for he was from 1700
to 1720 gambist in the Cassel chapel.

Another gambist of the name of Kühnel (Johann Michael) lived in the
second half of the seventeenth century, and was engaged at the Berlin
Court. From here he went, in 1717, to Weimar, and later on to Dresden,
in the service of Field-marshal Flemming. He seems to have ended his
life in Hamburg. Of his compositions there appeared at Rogers’s in
Amsterdam, “Sonates à 1 et 2 Violes de gamba.”

One of the most important gamba players of Germany at the end of the
seventeenth and beginning of the eighteenth century was Johann Schenk.
As he appears to have had his second work, “Konst œffeningen,” printed
at Amsterdam in 1688, consisting of fifteen sonatas for the gamba and
bass, it may be concluded that he was born about the middle of the
seventeenth century. Towards the end of it he was chamber musician in
the Elector Palatine’s service, which post however he must have given
up at the beginning of the eighteenth century, for he is said to have
settled in Amsterdam about that time. Whether he remained there to the
end of his life is doubtful, for on the title-page of his sixth work,
“Scherzi musicali, per la viola di gamba con basso continuo ad libitum,”
he calls himself “Chamber Commissary and Chamberlain of the Elector
Palatine.” On the other hand, Mattheson informs us that he (Schenk) was
named inspector of the fish market, because he had played the gamba so
well! On the whole, he published eight works, chiefly pieces and sonatas
for the gamba, as well as for the violin with a bass; a copy of the
one, of which the title is mentioned above, is preserved in the Royal
Library at Sondershausen. This comprehensive collection, consisting of
101 musical pieces, is dedicated to the Elector Palatine Prince William,
consequently to the same art-devoted Prince to whom Corelli, in the year
1712, dedicated his “Concerti Grossi.”[31]

The title-page of the “Scherzi musicali” bears no date, but it maybe
assumed that they appeared between 1692 and 1693, for Schenk published
his Op. 3 in the first and his Op. 7 in the latter year, and the
collection in question, as already observed, bears 6 as the number of
the work. The compositions which it contains are grouped after the
manner of “Chamber Sonatas” or “Suite.” It is true that the author has
made use of neither of these terms, but the keys chosen by him leave
no manner of doubt as to the description of instrumental compositions
to which these “Scherzi musicali” belong. We know that it was usual
for all the subjects of a suite at that period to be in the same key.
Looking from this point of view at Schenk’s work for the gamba, it is
apparent that it contains twelve suites or chamber sonatas, of which
some indeed are unusually long. For example, the second suite (F major)
and the fourth (A minor) consist of fourteen pieces. Dances, such as
Allemandes, Courantes, Sarabandes, Gigues, Gavottes, and Minuets, make
up by far the greater portion of the volume. There are also a couple of
Bourrées; but then the composer gives also Chaconnes and Passacailles
with variations, which in some cases are of great length, as well as
Rondos and “Arias.” The fourth sonata contains moreover a Canzone and
an “Allabreve”; the ninth, a Fugue; the eleventh, the same[32] and
an Overture. The greater number of the suites begin with a Prelude,
though, on the contrary, the second begins with a Fantasia, the fourth
with a “Sonata con Basso obligato,” and the eighth with an “Overture,”
the ninth with a “Capriccio,” and the twelfth with a “Caprice.” The
mode of writing alternates from one to several parts, and the chords,
by frequently doubling the intervals, are extended to five notes
struck simultaneously. For the notation Schenk required four different
keys--viz., bass, alto, discant, and treble, by which means the compass
extends from [Illustration] to [Illustration] We conclude from this
that Schenk, like the French gambist Marais, used a gamba with seven
strings, and, indeed, the highest of them must have been tuned up to
the one-lined G. Schenk must have gone considerably above the seventh
fret of the fingerboard in order to reach the twice-lined B flat. With
regard to the artistically musical quality of Schenk’s compositions for
the gamba, they are mediocre; they bear no comparison with the violin
compositions of Corelli of the same period. He succeeded best in the
dances, compared with which the more elaborate productions appear poor
and are in some measure incorrect. Especially is this true of the two
so-called fugues, which do not rise above feeble attempts at fugues. It
is, however, interesting to know what position Schenk took as one of the
best reputed gamba virtuosos at that time with regard to composition,
for his productions give an average idea of the executive capabilities
of his contemporaries. At the same time, Schenk’s works prove very
surely what double-stoppings, chords, and figures were possible on the
gamba, and in this respect reveal a remarkable richness in various
styles of playing.

Opposed to this by its simplicity in a technical point of view is a
“Sonata a Cembalo Obligato col Viol da Gamba,” by Handel. Double-stops
and chords are altogether omitted. It is true that he has quite another
object in view, for Handel treated the gamba not like Schenk, as a
solo instrument, but as subsidiary only to carry out a musical idea,
thus placing it on a level with the clavier. He chiefly uses also the
middle positions of the gamba in the alto key throughout. Otherwise this
Sonata,[33] though solid in form, is of small importance, and gives the
impression of a composition quickly thrown off for some special
occasion.

Handel’s great contemporary, Joh. Seb. Bach, treated this instrument,
in his three sonatas composed for it and the clavier, in quite another
manner. It is true that with rare exceptions he makes no use of the
scored and harmonised technique for the gamba; but the artistic and
complete mode of working out by which all his instrumental works are
more or less distinguished is also peculiar to the gamba sonatas just
mentioned, of which the most important are the first in G major and the
third in G minor.

Charmingly and with characteristic effect did Bach employ the gamba in
his Passion Music from the Gospel of St. Matthew and St. John, as well
as in some of his Cantatas. One has only to recall the splendid, deeply
touching alto aria “It is finished,” in the Passion Music of St. John.
Now at the performance of this sublime work the gamba part in the aria
referred to is played by the violoncello, which does not quite express
the deeply melancholy, pathetic tone that Bach’s music was designed
to express. But there is no more appropriate substitute in the modern
orchestra for the gamba than the violoncello.

One peculiarity of Joh. Seb. Bach is that, with a rare knowledge of art,
he made use for his purpose of all the instruments current in his time
which adapted themselves in any way to the representation of a special
effect. But he further conceived the idea of enriching the choir of
instruments by an invention of his own. During his work at Köthen he
constructed the “Viola Pomposa,” a stringed instrument of the cello
kind, though, like the violin, for the hand, which had five strings
tuned to C, G, d, a, ē--

[Illustration]

Gerber remarks concerning it: “The limited way in which the violoncello
in Bach’s time was handled compelled him, for the quick basses in his
works, to the invention of the so-called viola pomposa, which, rather
longer and higher than a tenor, had a fifth string, e, in addition to
the four lower strings of the violoncello, and was placed on the arm.
This convenient instrument enabled the player to execute more easily the
high and rapid passages which occurred.”

It may be seen from Bach’s Suites for Violoncello Solo, which were
originally written for the viola pomposa, the compass of this instrument
extended from the great octave C [Illustration] to the thrice-accented
G [Illustration] However, the “Viola pomposa” did not attain to general
use. It scarcely survived its inventor, and disappeared, as it seems,
even before the gamba, out of the musical sphere.

Bach’s eldest son, Philipp Emmanuel, also wrote for the gamba. Amongst
other things a sonata in three movements, with the clavier, in G
minor,[34] which was apparently composed about 1759. The three-part
movement in this is solid, though somewhat meagre and dry.

Amongst the gamba compositions of the previous century, which have
lasted up to our time, there is also to be noted an unpublished Concerto
by Joseph Tartini, the famous founder of the old Paduan violin school,
with accompaniment for four stringed instruments and two horns.[35]
Possibly Tartini wrote it during his three years’ residence in Prague
(1723-1726) for a German gambist, as about that time the gamba was
still cultivated in Germany with great enthusiasm, though it had been,
in Italy, thrust into the background of music by the violoncello. The
Concerto bears all the marks of the author’s manner of expression, but
it is in the main quite as antiquated as all his violin concertos.
The introduction and _Finale_ are in G; the “Grave” between the two
movements is in D minor. The single part theme of the solo, with the
exception of a few double-stoppings and chords, is throughout written
in tenor and bass clef. It is worthy of remark that all the pieces are
provided before the full close with cadences, written at full length,
for the solo instrument, after Tartini’s usual manner in all his violin
concertos.

As a contemporary of Schenk, the War Minister of Hesse-Darmstadt, ERNST
CHRISTIAN HESSE, who was born on the 14th April, 1676, in the Thuringian
town of Grossengottern, distinguished himself. Gerber says of him,
that he was the first and most famous gambist of his time in Germany.
Having spent his school years at Langensalza and Eisenach, he entered
the Darmstadt chancery service as supernumerary and followed the Court
of his new master in 1694 to Giessen. At the Academy there he continued
his work and also his legal studies. In 1698 he had permission from the
Court to go to Paris in order to perfect himself there on the viol da
gamba, which he had already begun to study in early life. He remained
there three years and had instruction at the same time from the two
famous masters, Marais and Forqueray. As privately they were at enmity
with each other he was compelled to give his name to one as Hesse and
to the other as Sachs. Both were delighted with his skill and progress,
and severally boasted of the excellent pupil whom he had taught. At last
they challenged each other to put to the test, in a concert arranged
for that object, the proficiency of their pupil. But what was their
astonishment on Herr Hesse’s appearance to find he was the pupil of
both! He did his two masters, each in his own manner, special credit,
but immediately after the occurrence left Paris.

After his return to the Darmstadt Court, in the year 1702, Hesse was
named Secretary of the War Department and Foreign Office. In the
following year he married.

In the year 1705 Hesse travelled through Holland and England, and
two years later he betook himself to Italy, in order to increase his
knowledge in the art of composition. Everywhere his gamba playing
excited the greatest admiration. On his return journey from Italy he
visited Vienna and was heard at Court, together with Hebenstreit,
famous in his time as the inventor of a dulcimer-like instrument,
called Pantaleon. The Emperor was so charmed with his playing that he
presented him with a gold chain and his portrait. In the year 1713 he
lost his wife. About the same period the vacant post of Kapellmeister
at the Darmstadt Court was given to him _ad interim_. He then married
his second wife, the famous singer, Johanna Eliz. Doebbrecht (Döbricht),
and in 1715 he was promoted to the post of War Commissary and eleven
years later to the dignity of Minister of War. “In 1719,” says Gerber,
“Hesse made another musical tour with his wife to Dresden, to the
famous festivals held in honour of the Elector’s marriage and where
several operas by Lotti and Heinichen were represented. They both
gained extraordinary honour and abundant appreciation. From this time
he devoted himself quietly to the Court until his eighty-sixth year,
and died May 16, 1762, after he had participated in every kind of good
fortune. Besides the airs which he arranged for the church during the
time that he filled the Kapellmeister’s vacancy, he left behind him many
Sonatas and Suites for the Viola da gamba, which fully bring out all
the possibilities of this instrument.”

Hesse had twenty children, only eight of whom, however, survived him.
His eldest son, Louis Christian, became, under his father’s tuition, a
clever gambist, and entered as such into the service of the Prince of
Prussia in 1768.

Besides his son, Hesse formed the excellent gamba player, JOH. CHRIST.
HEXTEL, born 1699, in the Swabian town of Oettingen. His father, who was
Kapellmeister to the Prince of Oettingen, and then worked in the same
capacity at the Ducal Court of Merseburg, wished that the boy should
study, and entered him, in 1716, at the University of Halle. Here he
occupied himself by preference with music, and when he returned home he
gained his father’s permission to devote himself exclusively to the art.
The Duke of Merseburg announced his willingness to grant him the means
of pursuing his studies either in Paris, under Marais and Forqueray, or
at Darmstadt, under Hesse’s direction. The young Hextel himself decided
for Hesse, who took him as a pupil under exceptional conditions. After
two years’ study he left Darmstadt, performed at concerts at the Courts
of Eisenach, Merseburg, Weissenfels, Zerbst, and Köthen, and accepted a
post in the Eisenach Kapelle. During the years 1723-27 he was travelling
in Germany and Holland; played in 1732 before Frederick the Great at
Ruppin, while he was still Crown Prince; and then undertook the post
of Concert Director at Eisenach. When, after the death of its prince
(1742), the Eisenach band was dissolved, through the recommendation
of Franz Benda he was appointed Concert Director at the Court of
Strelitz. He filled this place until 1753, and died a year after. Of his
numberless compositions only six sonatas for violin “solo e continuo,”
1727, were published at Amsterdam.

As noteworthy German gambists belonging to the first half of the
eighteenth century must be mentioned--

EMMERLING, HARD, and BELLERMAN. The former of these, born at Eisleben,
was in the year 1730 Chamber Musician and Viola da Gambist to the
Margrave Louis of Brandenburg, and also, as Gerber says, instrumental
composer.

JOH. DANIEL HARD, born May 8, 1696, in Frankfurt on the Main, remained
at the outset of his musical career for five years in the service of
King Stanislaus during his residence at Zweibrücken, and then was
Chamber Musician to the Bishop of Würzburg and the Duke of Franken, Joh.
Phil. Franz von Schönborn. After four years he gave up this service
and took a post as Chamber Musician at the Wurtemburg Court. Later on
he again became Concertmeister and finally Capellmeister to the Duke
Carl Eugene. He still filled this office at Stuttgard in 1757. Further
accounts of him are wanting.

CONSTANTINE BELLERMAN, “Imperial Crowned Poet” (poet laureate), as
Gerber calls him, studied as amateur gamba player. He was born in 1696
at Erfurt, there studied law, and also pursued music theoretically and
practically, playing the lute, gamba, violin, and flute. He was called
to Münden as Cantor, and then, in 1741, as Rector of the School there.

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.

“This salary was considerably increased by the music dealers giving him
a stipulated sum of £150 for six symphonies. His duty at the Queen’s
Concerts was generally to play the tenor on his gamba, and now and
then, in the absence of Bach,[37] to accompany on the piano. For some
years he lived in Paris during the summer, where he found in the house
of a _fermier-général_ not only a friendly reception, but also what he
liked better than all, the best of wine. On his first appearance in
London, his discretion, his taste, and his pathetic manner of expression
in the rendering of his adagios so captivated the young virtuosi that
they very soon followed his school, with less expenditure of notes and
with more successful result. His taste and knowledge especially made
him the umpire on all contested points, so that he was looked upon in
all difficult cases as an infallible oracle. With his dexterity on the
gamba he also possessed the talent, like many other older virtuosi,
of exciting the astonishment and admiration of his hearers by free
fantasias and learned modulations. And although he had considerably less
power on the harpsichord, yet he knew how to modulate in arpeggio with
consummate skill and in endless changes.”

“Abel remained in London until 1782, in which year the desire of
once more seeing his brother and his country induced him to return
to Germany. It was on this journey that he displayed, both at Berlin
and Ludwigslust, the greatness of his talent, his wonderful power of
expression, the richness of his tones, and his stirring execution on the
gamba. The present king, then Crown Prince of Prussia, before whom he
performed in Berlin, presented him with a costly casket and 100 louis
d’or. A few years later he stayed some time in Paris on account of the
disordered condition of his finances. But he returned again to London
and died there on June 22, 1787, after a three days’ lethargy, without
the least suffering. Shortly before his death he played a recently
finished solo which astonished his warmest admirers. His cadences
especially were excellent.”

It is remarkable that, amongst Abel’s numberless published works, which
consist partly of concertos and orchestral pieces and partly of chamber
music, there are no compositions for the gamba. This must be explained
by the fact that the zenith of gamba-playing had been reached, and the
art was on its decline, at the beginning of the second half of the
eighteenth century. It went out of fashion, and with it also gamba
music, and in its place only violoncello compositions were in request.
In many ways this change was as much lamented as was the case at the
banishment of the lute to cabinets of curiosities or the lumber room.

After Abel there were no German gambists of conspicuous importance
to mention. From the middle of the last century the gamba was more
and more neglected, in consequence of the violoncello being brought
forward, and the younger geniuses devoted themselves by preference to
this instrument, which approached more nearly to the violin, then at the
summit of all instrumental music.

Amongst stringed instruments, which had shared the same fate as the
gamba, belong the Viola bastarda and the Viola di Bordone (English,
Barytone). The first instrument was in shape somewhat thicker than
the gamba and was provided with six or seven strings.[38] In order to
increase the resonance, as many steel strings were introduced under the
fingerboard and bridge, which were tuned to the same pitch as those
above, like the Viola d’amore. Another variety of the gamba was the
barytone, which was cultivated in the last century.

In Leopold Mozart’s violin tutor is found the following description
of it: “This instrument has from six to seven strings like the gamba.
The neck is very broad and the back part hollow and open, down which
nine or ten brass or steel strings are run beneath, which are touched
and pinched by the thumb; so that, at the same time as the principal
part is played with the bow on the upper cat-gut strings, the thumb by
striking the strings stretched under the neck of the instrument can play
the bass; and therefore the music must be arranged specially for it.
Moreover, it is a most agreeable instrument.” From this description it
is evident that the barytone was a bass instrument resembling the Viola
d’amore. The barytone in its time was much liked in Austria. Several
Austrian composers, as Cybler, Weigl, and Pichl, and at their head
Joseph Haydn, composed for this instrument. The latter was incited to
it by his benefactor, the Prince Esterhazy, who looked with particular
favour on the barytone. Haydn wrote no less than 175 pieces for it.[39]
The tuning of the strings on the fingerboard of the barytone was on the
same principle as that of the gamba.

The Viennese, ANTON LIDL, who was born about 1740, was much esteemed
as a most distinguished barytone virtuoso. Gerber says of him, “that
he rendered still more perfect his instrument, which had been invented
about the year 1700. It is in shape like the Viola da gamba, except
that it has brass strings at the back, which are played at the same
time with the thumb. These lower strings he increased to twenty-seven
and the semitones were played with them.” He must have been an
extraordinary artist on this instrument. The author of the _Almanack_
of 1782 says: “His performance united the most charming sweetness to
German vigour, the most surprising syncopations with the most harmonious
melody.” According to Burney, Lidl was no longer living in 1789. Up to
1783 he had published, in Amsterdam and Paris, Duets, Quartets, and
Quintets--altogether seven works. His compositions for the gamba were
not published.

The barytone disappeared with the gamba, in the course of the second
half of the last century, from musical practice.

The same change took place in Italy about the same time or somewhat
earlier, when a lively interest in the violoncello was aroused there
by Franciscello, of whom we shall speak farther on. It appears,
indeed, that in the land of the arts, as the quotations already given
from Maugars’ papers inform us, no predilection had prevailed for the
higher study of the gamba, either for the reason that among stringed
instruments the cultivation of the violin--which from the seventeenth
century had decidedly usurped the first place in the study of music--was
chiefly pursued, or that the Italian composers did not specially concern
themselves with the gamba. As a matter of fact, so far as can be
perceived, with the exception of Tartini, no noteworthy Italian composer
considered it worth his while to bring it into the field of creative
activity. Besides Ferabosco, of whom mention has already been made,
there are amongst famous Italian bass violin players and gambists to be
named: Allessandro Romano with the cognomen “della Viola,” and Teobaldi
Gatti. ROMANO was born about 1530 at Rome, and in 1560 was a singer in
the Papal (Sixtine) Chapel. He later became a monk of the monastery of
Mount Olivet, under the name of Giulio Cesare. But he did not find his
sojourn there agreeable, for he was at strife and contention with one or
other of the monks of his order through incompatibility of temper. His
compositions, published between the years 1572-1579, consist of “Canzone
alla Napolitana” for five voices and a book of Motets in five parts.

TEOBALDI GATTI, born at Florence about 1650, not only distinguished
himself as a gamba player, but also made himself known in his time as
an operatic composer. In the latter respect he was influenced by Lully,
whose first opera-overtures so impressed him that he resolved to go to
Paris in order to do homage to his illustrious countryman. Lully, who
was flattered, showed his gratitude for this attention by making Gatti a
member of the Parisian Opera orchestra, which post he filled for nearly
fifty years uninterruptedly.[40] He died in 1727, in Paris. There were
published in 1696 twelve “Airs Italiens” by him, two of which are duets.

As skilful Italian gambists are conspicuous also MARCO FRATICELLI and
CARLO AMBROSIO LUNATI,[41] of Milan, with the cognomen “Il gobbo della
Regina.” The latter came to England during the reign of James II.
Nothing further is known concerning either of these instrumentalists. It
is worthy of remark in this place that the famous Italian singer, Lenora
Baroni, born about 1610, was, according to Maugars’ testimony, a clever
theorbo and gamba player. As such she was in the habit of accompanying
herself in singing.

It has already been pointed out that the viola da gamba, which for
nearly three hundred years (for the “Basso di viola,” or Gerle’s
“great violin,” was, in fact, a gamba, although as yet of a somewhat
primitive form) had played an important part both as an orchestral and
solo instrument, was replaced by the violoncello in the course of the
eighteenth century. Subsequently when the violin as a leading instrument
in melody usurped the place of the cornet (Zinken), and the discant
viola (French par dessus de viole), it became necessary to provide an
equivalent for the bass part of string quartets, as the tone of the
gamba in _ensemble_ playing proved too weak and thin in proportion to
the violin.

Mattheson says of it, in his “Neu eröffneten Orchestre,” which appeared
in 1713: “The plaintive Viola da gamba (Fr., Basse de Viole, properly
so called) is a beautiful delicate instrument, and he who wishes to
signalise himself on it must not keep his hands long in his pockets....
Its chief use in concerts is only for the strengthening of the basses,
and some indeed pretend to execute a ‘Thorough Bass’ on it, of which, up
to now, I have never seen a good attempt.”

In opposition to this last somewhat sarcastic remark of Mattheson
is what Gerber states a hundred years later (Vol. I., p. 6, of his
“New” Musicians’ Lexicon) concerning the gamba. He there says: “It is
remarkable in the history of music that his (Abel’s) instrument was
buried with him in the year 1787 in total oblivion: the indispensable
gamba, without which for a hundred years neither church nor chamber
music could be arranged, which in all public and private concerts had
the exclusive right to be heard before all other instruments from the
beginning to the end, and which therefore, like caskets, must not only
be exquisitely finished in every size, large and small, but was also
ordered, bought, and paid for adorned with the most costly artistic
carving--ivory, tortoiseshell, gold, and silver--then available. In the
course of time there will be no vestige left in the whole of Europe of
this instrument, once so universal and admired; henceforth it will have
to be sought for amongst the old woodcuts in Prätorius, or specimens
of it, stringless and worm-eaten, in a royal music chamber. Another
sad proof how greatly Apollo is overruled by the goddess Fashion. The
taste of our forefathers for these soft, modest, humming viola tones
is also remarkable; they were a quiet, contented, peace-loving people!
In the present time the instruments for our musicians cannot be chosen
sufficiently high and shrill.”[42] It is plain that although Gerber
himself played the cello, this instrument was also known to him, and he
had not only remarked the disproportion between the tone of the violins
and those of the gambas in the orchestra with regard to strength,
but also the circumstance that, by the creative faculty of Haydn and
Mozart in the region of higher instrumental music, the gamba had become
wholly superfluous. The superior qualities of the violoncello to the
gamba as a solo instrument had escaped him, although the conspicuous
success of cello players in the second half of the last century could
not have remained unknown to him. It seems, therefore, as if Gerber had
a special predilection for the gamba--a taste which only a few of his
contemporaries shared with him.

Gerber’s[43] confident assertion that the French priest, Tardieu, of
Tarascon, had invented the violoncello “in the year 1708,” is simply
to be relegated to the region of fable, for the instrument had already
existed long before in Italy.[44]

Fétis remarks (p. 47) in his article “Antoine Stradivari” (Paris, 1856):
The violoncello had already been mentioned by Prätorius in his “Syntagma
Mus.” (1614-1620), which is a mistake, for the work referred to contains
neither the name nor the illustration of this instrument.[45] But the
violoncello must already have been in use about this time in Italy,
for (according to Rob. Eitner)[46] it is mentioned in a publication
of the year 1641, and then in a work of Freschi’s, which appeared in
1660 as “Violoncino.” In Arresti’s Sonatas in two and three parts, of
the year 1665, it is called “Violoncello.” It was of great importance
for the Italian instrument makers to produce a bass instrument of
the violin type which had already been in use from the middle of the
sixteenth century, and this certainly happened towards the end of that
period. This is proved by the Brescian Gaspard da Salò[47] (1550-1612).
Whether Andreas Amati, the founder of the famous Cremona school (born
1520, died 1580), constructed similar instruments appears doubtful.
Apparently the gamba as well as the violin served as guides for the
proportions in the construction of the violoncello. From the violin were
borrowed the outlines of the soundbox, the arched back, which the more
ancient gambas, whose backs were flat, did not have; also the F holes
and the fingerboard without frets. From the gamba were taken the large
proportions of the violoncello. It was at first constructed like the
gamba, in smaller and larger dimensions, until Stradivarius established
a standard size. Whether the most famous German violin maker, Jacob
Stainer (born 1621, died 1683), made violoncellos is much doubted by
experts. It is, however, certain that he made gambas, which were often
converted into violoncellos.

According to Eitner’s previously mentioned assertion, it appears that
the last-named instrument was at first called “Violoncino,” and a
little while after “Violoncello.” The Italian affixes “ino” and “ello”
have a diminutive meaning, and therefore both names have an identical
signification. As violino is the diminutive of viola, violoncino and
violoncello are the diminutives of “violone.” The tenor of our day,
which also at that time sprang from the alto or tenor viola, after the
pattern of the violin, received the name of Viola da braccio, which
means “arm viola.” Besides the Viola da braccio there was also a “Viola
da Spalla,” which was not placed beneath the chin, but rested on the
left shoulder. Concerning this bass instrument Mattheson remarks: “The
Viola da spalla, or shoulder-viola, has a particularly grand effect in
accompaniment from its penetrating and pure tone. A bass can never be
more distinctly and clearly brought out than by this instrument. It is
fastened by a ribbon to the chest and thrown over the right shoulder,
but has nothing which can stop or prevent in the smallest degree its
resonance.”

To return to the violoncello. It offered the player two very important
advantages over the gamba. First, the finger technique was wholly
unlimited because the fingerboard had no frets, which, in regard to runs
and cadences, as well as change of positions, opposed a substantial
hindrance to the gamba player. Then the player on the violoncello could
obtain more tone than on the gamba, by drawing the bow more forcibly
over a single string. The upper edge of the bridge of the gamba,
over which the strings passed, was so flatly cut for harmonised or
part-playing that it was necessary to avoid a strong tone, lest the
neighbouring strings should be thereby sympathetically affected. But
the bridge of the cello, on the contrary, was of a more convex form,
whereby playing in parts was indeed precluded. As is known, on the cello
as on the violin, only double stops and chords are possible, and the
last only broken up. In this manner the violoncello was used formerly
at the performances of operas and oratorios as solo accompaniment of
recitatives, for which of course it was requisite that the player should
have a thorough knowledge of music theoretically, as he had to execute
at sight figured basses.

Corrette gives already in his violoncello tutor (1741) instructions for
accompanying recitative. These directions are, however, by no means
exhaustive; such are first found in the cello tutor compiled for the
Paris Conservatoire by De Baillot, Levasseur, Catel, and Baudiot, which
appeared in print in 1804. Therein it is said:

“In order to accompany well a recitative, a complete knowledge of
harmony and of the violoncello is necessary; one must be intimate with
figured basses, and know how to execute them readily. He who can do
this has reached the summit of art; for it presupposes a great deal of
necessary information, and still more the power of judging how to turn
it to account.

“If the bass player is not certain of the resolutions of discords, if
he is unable positively to indicate to the singer when he is to make a
complete or a broken cadence, if in his concords he does not know how
to avoid forbidden fifths and octaves--he is in danger of confusing the
singer, and in any case he will produce a most disagreeable effect.

“As in good compositions, a recitative always follows a well-defined
progression and adapts itself to the character of the part, to
the situation portrayed, and to the voice of the singer: in the
accompaniment--1. The strength of the tone must be regulated according
to the effect to be produced, for the accompaniment must sustain and
embellish the singing and not spoil and drown it. 2. The chord must not
be repeated, except when the harmony changes. 3. The accompaniment must
be quite simple, without flourishes or runs. Good accompanying always
has in view the best rendering of the subject, and when the player
allows himself to fill up certain gaps with a short interlude, this must
only consist of the notes of the chord. 4. The chord must be played
without Arpeggio, ordinarily in the following manner”--[48]

[Illustration]

Baudiot in his violoncello tutor, which appeared later than the above,
makes the following remark concerning the accompaniment of recitative:
“It sometimes happens that the actors linger on the scene without
reciting (speaking), be it that they have forgotten the text of what
they have to recite, or that for some other reason they are silent.
At times their appearance on the boards is delayed. In such cases,
the accompanist (_i.e._, the cellist) can perform short preludes and
embellishments at his pleasure. But he must be modest about it, and
employ his ornaments at the right moment, and always with taste.”[49]

To the art of violoncello making the same applies as to the violin. The
productions of the Italian makers surpass those of all other nations.
Amongst them, those manufactured by Nicholas Amati, Stradivari, and
Gius. Guarneri del Gesù are most to be preferred and justly so.[50]

Stradivari and Amati made their cellos of two different sizes; the
larger one was formerly called “il Basso,” while the smaller was
distinguished as the Violoncello proper. The latter is the more
preferable as being more manageable; in these days it is used as a
valuable model.

As to the violoncello bow, which had the following form in the first
half of the eighteenth century,[51] its progress went hand in hand with
that of the violin bow. The improvements which were successively made on
the latter were effected on the former. The greatest perfection reached
by the bow was the work of a Frenchman, François Tourte. To this day he
has never been excelled in this department. (See Appendix A.)

[Illustration]

The fabrication, however, of good violin and cello bows has latterly
become very general; and especially in Markneukirchen the manufacture of
bows as well as instruments has received a great impulse.[52]

FOOTNOTES:

[1] In the fifteenth and sixteenth centuries the name “Geige” violin,
then in ordinary use, must not be confounded with the violin of our
time. This term was not applied to the more modern instrument until
later.

[2] A more detailed account of the above stringed instruments and their
precursors is contained in my work, “The Violin and its Masters,” Second
Edition (Leipsic: Breitkopf and Härtel), and “History of Instrumental
Music in the Sixteenth Century” (Berlin: Brachvogel and Ranft),
therefore a repetition of what is there said is unnecessary.

[3] The “big fiddle” of the sixteenth century must not be confounded
with the stringed instrument of that time, of which the pitch answered
to our modern Contra-basso, and in Italy was already called “Violone,”
as appears from Laufranco’s “Scintille,” 1533.

[4] The word “beschriben” refers to the letters which, for the
convenience of the player, it was the custom to mark for the fingers on
the fingerboard.

[5] The artist who drew the sketches of the instrument for Gerle’s
“Musica Teutsch” has left out the bridge in the “great viola.” See page
2.

[6] See the article “Kerl.”

[7] Also at the present time it is a family name. We need only mention
G. H. Bruno Kerl, Professor of the Royal Berg Academy at Berlin.

[8] Other authorities, however, say he was a Breton--Fétis, Casimir
Colomb &c.--(_Tr._)

[9] The name Duiffopruggar doubtless came from the same source as the
surname Tieffenbrucker, still existing in South Germany.

[10] Mr. Heron Allen in his “Violin Making, &c.,” page 74, says that two
were recovered.--(_Tr._)

[11] The same Prince to whom Corelli dedicated his “Concerti Grossi,”
published in 1712.

[12] Herr Obernetter, of Munich, has taken two beautiful photographs of
this richly decorated instrument, which reproduce with great accuracy
all its peculiarities. As far as I know they can still be purchased.

[13] Here may be mentioned also a third magnificent gamba, that of
Vincenzo Ruger, said to have been made in Cremona in 1702. It is
distinguished not only for its beautiful exterior in every respect, but
also by an extraordinarily sonorous and unusually fine quality of tone,
which combines the resonant character of the gamba with that of the
violoncello. The latter circumstance is attributed to the fact that the
back, which is usually flat in the ordinary gamba, is arched in this
one. This instrument, which has been lately purchased by the Prussian
Government for the Berlin Museum, was formerly in the possession of Herr
Paul de Wit, in Leipsic. The account of instrument making published by
him contains (Vol. VI., No. 21) a description and illustration of the
gamba in question.

[14] Violuntzes is synonymous with the old French instrument, violonsse.
_Vide_ Grimm’s Dictionary of the German Language.

[15] The Kammerthon or chamber-pitch, as distinguished from the obsolete
“Chorton” or choir-pitch, which formerly prevailed in German churches,
was a tone, or even more, higher than the secular pitch.--(_Tr._)

[16] “Faburden,” according to Mr. Niecks.--(_Tr._)

[17] Concerning this, see my “History of Instrumental Music” in the
_Century_, page 107.

[18] By the word concert, Mersennus means concerted piece.

[19] Maugars is called in the “Historiettes de Tellemant des Réaux,”
as Fétis informs us, the “greatest fool that had ever lived.” His
“Réponse faite à un curieux” (completely unprejudiced, although somewhat
conceited) in no way agrees with this. It is easy to discover that
Maugars was not liked by his countrymen, because he openly declared that
French music was far behind the Italian. On that account he had incurred
the displeasure of French artists. The Parisian musician, Corrette, in
the eighteenth century, was guilty of the same offence. He had been
candid enough to say to the French that the standard of French violin
playing of the eighteenth century was, compared to the Italian, in a
disorganised condition. In retaliation they called his pupils scornfully
“les anachorètes” (“les ânes à Corette”).

[20] I give this and the following quotations from Maugars’ writings,
according to my translations in the monthly parts of the “History of
Music,” published in the year 1878.

[21] The English writers on music affirm that the well-known composer,
Ferabosco, who was born at Greenwich in the second half of the sixteenth
century, and who was also called Alfonso, was the son of the above
Ferabosco, with which the remarks of Maugars agree. Fétis doubts the
truth of the assertion made by the English writers on music. The younger
Ferabosco appears also to have been a gamba player, for he published, in
the year 1609, in London, “Lessons for one, two, and three viols.” He
died in 1665.

[22] See my work “The Violin and its Masters,” Part ii., p. 203.

[23] His name was usually written Sympson, but he sometimes himself
spelled it Simpson.--(_Tr._)

[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.

[44] In the preface to the violoncello tutor already mentioned, by
Corrette, the untenable assertion is made that the violoncello was
discovered by Bonocin (Buononcini), “preséntement Maître de Chapelle
du Roi de Portugal.” A Bononcini, with the Christian name of Domenico,
actually lived in 1737 at the Lisbon Court. At that period, according to
Fétis, he must have been eighty-five years old. He must therefore have
been born in 1652. He could not have invented the violoncello (if one
could call it an invention), as it evidently existed before his birth.
It is not even certain that Domenico Bononcini was a cellist. Possibly
Corrette confounded him with Giov. Battista Bononcini mentioned later.

[45] Another inaccuracy in Fétis’s “Stradivari,” p. 46, is that the name
of violino “had already appeared in Lanfranco’s work ‘Scintille’ of
1533.” This announcement has caused some confusion. Before Lanfranco’s
work was accessible to me, I also in _bonâ fide_ had made the same
assertion in my “History of Instrumental Music of the Sixteenth Century”
(p. 73), and I now correct it. The word “Violino” is not mentioned by
Lanfranco, but in every case only the termination “Violone,” which is
bass viol.

[46] See monthly _Magazine for the History of Music_, Year XVI., No. 3.

[47] The well-known violin maker, Aug. Riechers, in Berlin, possesses a
violoncello by Gaspard da Salò (small size).

[48] The French call this kind of recitative accompaniment “le recitatif
italien.”

[49] Accompanying the recitative with the cello was customary far into
our century. I heard it in Italy at the representation of the old operas
up to the year 1873. I am unable to say if the practice is continued. It
has been abolished in Germany for the last ten years.

[50] The widespread opinion that Gius. Guarneri of the Gesù did not make
violoncellos is unfounded. Aug. Riecher informs me that Major H----r, in
Berlin, is in possession of a cello which is undoubtedly genuine. Yet it
seems as if this member of the Guarneri family had only made a limited
number.

[51] The above sketch is taken from Corrette’s Violoncello Tutor, which
was published in 1741.

[52] In my paper “The Violin and its Masters,” second edition (Breitkopf
and Härtel), I have given a more detailed account of it as well as of
the productions of the Italian, German, and French masters, which it
is unnecessary to repeat here. See also the fabrication of musical
instruments in Saxon Voigtland, by Fürstenau and Berthold, 1876.



    THE
    ART OF VIOLONCELLO PLAYING
    IN THE EIGHTEENTH CENTURY.



Violoncello.


In the seventeenth century the violoncello still occupied a very
subordinate and modest position; during the period mentioned, with
very few exceptions, it was employed only as a bass instrument in the
orchestra. At the beginning of the eighteenth century, however, there
was already a great change; for Mattheson says in his “Neu eröffneten
Orchestre,” which appeared in 1713:--

“The PROMINENT Violoncello, the Bass Viol, and the Viola da Spalla are
small bass fiddles (viols) similar to the larger ones, with five or six
strings, on which can be played all kinds of quick things, variations
and movements much more easily than on the larger machines” (Mattheson
means the contra-basso).[53]

It is, therefore, quite conceivable that some time was necessary, before
the players, who were unaccustomed to the undivided fingerboard of the
cello, were sufficiently confident of a finger technique differing
so completely from that of the gamba. They were at first limited to
the lower part of the fingerboard, as was the case primarily with the
violin.[54] The position of the thumb, by means of which the higher and
highest positions on the fingerboard could alone be fixed and maintained
with certainty, could hardly have been known before the beginning of
the eighteenth century. The violoncello at this time, as appears from
Mattheson’s account just mentioned, had sometimes a set of five or even
six strings like the gamba. On the five-stringed instruments the tuning
was:--

[Illustration]

The Abbé Tardieu already referred to, who played the violoncello,
according to Gerber, had the same tuning on his instrument. About
the third decade of the last century, those who used five-stringed
instruments gave up the highest string--(the D). From that time the
four-stringed instrument with the tuning C, G, D, A came very generally
into use. The latter was not altogether a novelty. Prätorius mentions it
in his “Syntagma Mus.” as the “Bass Viol de Braccio.”[55]

In Germany the use of the violoncello as an orchestral instrument
ensued later than in Italy, though much sooner than in France. For
although it had been introduced into the Parisian Opera in 1727, by the
cellist Batistin, to be mentioned later on, it had been already in use
since 1680 in the Vienna Hofkapelle. The Saxon Hofkapelle at Dresden
next followed by the installation of four violoncellists. Their names
are Daniel Hennig, Agostino Antonio de Rossi, Jean Baptiste José du
Houbondel, and Jean Prach de Tilloy.[56] As two of these players have
French names, it is to be assumed that the violoncello had already found
representatives in France at the beginning of the eighteenth century.

The example set by Vienna and Dresden was soon imitated also by other
German Courts. The band of Duke Charles Ulrich of Holstein-Gottorp
affords a case in point. As this prince, the future son-in-law of Peter
the Great, found himself obliged, in 1720, to reside at the Russian
Imperial Court, his private musicians followed him thither, amongst whom
there was a cellist.[57]

As the gamba enjoyed a great amount of favour[58] in Germany, the
introduction of the violoncello was not effected without difficulty,
to which indeed the gambists, who thought their pretended rights were
thereby infringed, not a little contributed. For in a paper which
appeared in 1757 in the French language, “Observations sur la Musique,”
&c., it is said: “La seule basse de viole a déclaré la guerre au
violoncelle qui a remporté la victoire et elle a été si complète que
l’on craint maintenant que la fameuse viole, l’incomparable sicilienne
ne soit vendue à quelque inventaire à un prix médiocre et que quelque
luthier profane ne s’avise d’en faire une enseigne.”[59]

It was not quite so bad as the last words of the announcement lead
one to suppose. Even if the violoncello caused the gamba to be quite
superfluous in the orchestra, the latter was cultivated as a solo
instrument for some time longer, and many of the good old gambas were in
course of time metamorphosed into violoncellos, and made available for
further use; while the more insignificant specimens were destroyed, if
they were not required for completing instrumental collections and so
preserved from destruction.

The art of violoncello playing in the first stages of its development
was, as regards the method of treatment, not so much favoured as violin
playing. To the latter a definite direction for imitation was early
given, as soon indeed as the end of the seventeenth century, by the
Roman school founded by Arcangelo Corelli, which was soon followed
by the foundation of the Paduan and Piedmontese schools. Violoncello
playing lacked such classical parent schools. When a few prominent
artists of this instrument had brought it into greater consideration,
centres were formed by distinguished masters for the study of the cello,
which supplied the want of proper schools, about which we shall have
more to say farther on.

It is easy to understand how it followed that the violoncello was first
valued in the land of its birth--that is, in Italy, not only as an
orchestral instrument but also for solo playing. How this important
branch of art was there developed we shall see in the next section.

FOOTNOTES:

[53] Mattheson expresses himself about this in his original manner as
follows: “The growling Violone (French, Basse de Violon; German, Grosse
Bass Geige) is quite twice the size of the former, sometimes even more,
consequently the strings, in thickness and length, are in proportion.
They are of sixteen-feet tone, and most useful on the stage as a solid
foundation for polyphonous pieces, such as choruses and similar things,
as well as for airs and recitatives; its deep humming tone penetrates
farther than the clavier and other bass instruments. It must, however,
be heavy work if one has to practise this monster for three or four
hours unceasingly.”

[54] Concerning this, I refer to my work “The Violin and its Masters,”
second edition, 1883. (Breitkopf and Härtel, Leipsic.)

[55] Michael Corrette in the preface to his Violoncello Tutor refers
to a stringed instrument in general use before the introduction of the
violoncello into France with the tuning B, F, C, G, which he calls Basse
de Violon. The instrument must be identical with the one described by
Mattheson as Basse de Violon.

[56] Fürstenau: “On the History of Music and the Theatre at the Court of
the Princes of Saxony.”

[57] Hiller, _Weekly News_ of May 21, 1770.

[58] Mattheson says, in his “Neu eröffneten Orchestre,” that this
instrument (Basse de Viole) was singularly prized and cultivated.

[59] H. Leblanc published a “Défense de la Basse de Viole contre les
entreprises du Violon et les prétentions du Violoncel.” Amsterdam,
1740.--(_Tr._)



I.--ITALY.


Italy has the claim of priority in violoncello as well as violin
playing. It was the birthplace of the violin and of the cello, and from
thence emanated the artistic executive development of both instruments.
The first famous Italian cellist of whom we have any notice is--

DOMENICO GABRIELI, with the surname of MENGHINO DEL VIOLONCELLO, born
about 1640 at Bologna, died in 1690. This artist found a sphere of
work in the church of San Petronio in his native town. Then he entered
the service of Cardinal Pamfili in Rome. Gabrieli was also a composer
of some repute. Fétis mentions eight of his operas which were written
partly for Bologna and partly for Venice. His other works consist of a
“Cantata a voce sola,” in a collection of Motets, entitled “Vexillum
pacis,” for alto solo and instrumental accompaniments, as well as
“Baletti, gighe, correnti, e sarabande a due violini e violoncello,
con basso continuo” (Op. 1). These three works, of which the last is a
reprint, appeared successively in 1691, 1695, and 1703, consequently
after Gabrieli’s death. He appears to have composed nothing specially
for the cello.

More remarkable as a cellist must have been ATTILIO ARIOSTI, the
Dominican monk, born at Bologna in 1660. Gerber at least says of him
that he was one of the most excellent violoncellists of his time.
But he was also a distinguished performer on the Viola d’amore. He
occupied himself chiefly, however, with opera compositions, for which
the Pope granted him a dispensation from the rule of his order, as
without it, being a Dominican, he was forbidden to meddle with anything
connected with the theatre. In 1698 Ariosti was sent for to Berlin as
Kapellmeister to the Elector of Brandenberg. Thence he went in 1716
to London, where, in the proximity of Handel, he could make no way,
and therefore at last returned to his fatherland. He chose Bologna as
his place of residence. Like Gabrieli, he appears to have produced no
independent[60] violoncello compositions.

His fellow-country man, GIOVANNI BATTISTA BONONCINI (Buononcini),[61]
famous as an able cellist, also devoted his talent by preference to the
operatic stage. He was the eldest son of the choirmaster, Giov. Maria
Bononcini, at the church S. Giovanni, in Monte, at Modena, and was born
in 1672, or, according to Fétis, in 1667 or 1668. At first instructed in
music by his father, and then perfected by Colonna at Bologna, he betook
himself, at twenty-two or twenty-three years of age, to Vienna, where
he found a post as cellist in the Imperial Kapelle. Here he turned to
opera, which at that time was a favourite means of entertainment for the
seeing and listening public, and promised more reputation and gain than
all other kinds of composition.

Fétis mentions twenty operas by Bononcini, but he doubtless wrote more.
Even in his eightieth year he was occupied for the theatre in Venice.
Besides, he wrote an Oratorio, “Joshua,” several orchestral pieces,
masses, chamber duets, “Trattenimenti da Camera,” &c., some of which
were composed before his entrance into the Vienna Hofkapelle. He also
wrote “Sinfonie” for violin and violoncello as well as cello solos. Of
the latter there appeared at J. Simpson’s (London) a sonata for two
violoncellos in a collection of sonatas by Pasqualini, San Martino,
Caporale, Spourni, and Porta. As Caporale was born in 1750 and Porta
in 1758, the publication of this collection must have taken place late
in the second half of the eighteenth century. The Bononcini sonata
contained in it does not give a very favourable impression of this
composer’s talent. The development is dry and in places very formal,
even here and there somewhat incorrect. To the two figured parts are
given accompanying basses, partly simple and partly contrapuntal. The
interest which attaches to this composition, consisting of an _Allegro_,
with introductory _Andante_, a movement marked “_Grazioso_,” and a
“_Minuet_,” after which the “_Grazioso_” is to be repeated, rests
chiefly on the light which it throws upon the technical condition of
cello playing at the beginning of the eighteenth century (for doubtless
the composition belongs to that period). In reference to this is to be
remarked: the principal part is confined chiefly to the middle tones;
the lower ones are only occasionally touched, and the compass of the
higher notes reaches to the one-lined A; the thumb position does not
come into use. Figure is little developed, and only modest attempts are
made at playing double stoppings and chords; the notation is in tenor
and bass clefs.

It is reported that during Bononcini’s residence in Paris, between
1735-1748, he composed a Motet with cello obbligato accompaniment, for
the royal band there, which last he himself played at the performance of
his work in the presence of the king.

Alessandro Scarlatti,[62] the founder of the Neapolitan opera school,
had given an example of this use of the violoncello about twenty-five
years before in one of his cantatas. Geminiani, Corelli’s pupil, related
that this cello part was performed during Scarlatti’s presence in Rome,
and with his assistance on the clavier, by the famous violoncellist,
Franciscello (Francischello); his playing was so beautiful that
Scarlatti described it as heavenly.

This event must have occurred in the year 1713, when Scarlatti was in
Rome the last time. Consequently, Franciscello’s birth must be placed
with all probability in the year 1692. He would have been twenty-one
years of age when he played with the Neapolitan master.

Gerber says that Franciscello went from Rome to Naples in 1725. That
he was actually there in the year mentioned is affirmed by Quantz,
who himself heard him play. Through Franciscello’s extraordinary
performances the violoncello was soon so generally accepted in Italy,
that the gamba had, in 1730, almost entirely disappeared from the
Italian orchestras.

In the year 1730, Franciscello was summoned to Vienna as Imperial
chamber musician, a proof that his name had already penetrated beyond
his country. Franz Benda, afterwards celebrated as a violinist, and
founder of the Berlin violin school, heard him in the Austrian capital.
Franciscello’s manner of playing so impressed him that he took him from
that time as his model.

Franciscello remained, it appears, ten years in Vienna. If a notice in
the “Musical Almanack for Germany, of the year 1782,” is to be credited,
he had already been a member of the Imperial Court and Chamber Music
Society in 1766, which is by no means beyond the bounds of possibility,
though not very probable. We hold then to the assumption that he was
born in 1692 so that, in 1766, he would be already seventy-four years
old. It is not known where Franciscello closed his life. Tradition
only says that at an advanced age he resided in Genoa, to which the
supposition was attached that that city had been his birthplace. It is
stated that the elder Duport, the cello virtuoso, who was born in 1741,
went from Paris to visit him there.

During his long period of work at Vienna, Franciscello doubtless
instructed pupils in cello playing; who they were is however, as little
known as the question if or what he composed for his instrument. On both
points we are no better off than concerning his somewhat older
compatriot

CERVETTO, called JACOPO BASSEVI, who was born in 1682. Until his
forty-sixth year he remained in his fatherland. Then, like so many
other Italian musicians of this time, he was seized with a desire to
travel, and betook himself to London. There he trafficked at first in
instruments which he had brought with him from Italy; this, however,
was so little remunerative that he very soon gave it up, and joined
the orchestra of Drury Lane Theatre. According to Burney’s judgment,
Cervetto was, for his time, a very clever violoncellist, who knew how
to manipulate the fingerboard with much dexterity; but his tone must
have been rough and harsh. Of his eccentricity the following anecdote
is an illustration: Once when the famous Garrick was representing a
drunkard and sank down senseless upon a seat, Cervetto broke upon the
sudden stillness with an unseemly loud and long-drawn yawn. Garrick
immediately got up, severely censuring such behaviour, upon which
Cervetto pacifying him answered: “I beg your pardon, I always yawn when
I am very pleased.” A few years later Cervetto became Director of Drury
Lane Theatre, and thus he laid the foundation of his fortune.

Cervetto must have had a very strong constitution, for he lived to the
unusual age of 101 years. His death took place on January 14, 1783.
He left a fortune of £20,000 sterling, which he bequeathed to his son
James, who was also a cellist; but soon after inheriting from his father
he retired into private life. He, also, reached a respectable age, for
as he came into the world (in London) in 1747, and died February 5,
1837, he was ninety years old. In 1783 he was performing at the Court
concerts of the Queen, as well as taking part in the musical _réunions_
in the house of Lord Abington as one of the best reputed cellists in
London. Of cello compositions he published: 1. Twelve “Solos for a
Violoncello, with a Thorough Bass for the Harpsichord”; this work,
dedicated to the Elector Palatine of Bavaria and Jülich-Eleve-Berg,
appeared at the author’s own expense, without date. 2. “Six Solos for
a Violoncello, with a Thorough Bass for the Harpsichord, Opera Terza.”
London. 3. “Twelve Sonatinas for a Violoncello and a Bass, Op. 4^{ta}.”
London. Fétis adds, besides, “Six solos pour la flûte” and “Six trios
pour deux violons, et violoncelle,” which must have been in existence
not long before the end of the last century. We shall have occasion to
refer again farther on to Cervetto’s violoncello compositions.

Taking up again the chronological thread, after Cervetto the elder,
the cellist Batistin, whose real name was JOH. BAPTIST STRUCK, must
be mentioned. He was of German origin and was born in Florence in
the second half of the seventeenth century, from thence he went to
Paris at the beginning of the eighteenth century. He there entered
the band of the Duke of Orleans and the opera orchestra, in which he,
conjointly with the brothers Abbé (properly Philippe Pierre and Pierre
de Saint-Sévin), played the cello parts. He must have performed well,
since Louis XIV., in order to retain him in the French capital, gave him
a liberal allowance and, in addition, a sum of 500 francs for certain
theatrical compositions to be supplied by him. Besides this he wrote a
long list of ballets and operas specially for Court festivities. There
appeared in print, by him, during the years 1706 and 1714, in Paris,
four books of “Cantatas” and a collection of airs. He does not appear to
have composed for the violoncello. He died on December 9, 1755, at the
scene of his work. Among the masters of the Neapolitan school, LEONARDO
LEO, at that time the famous opera composer, distinguished himself
as a violoncellist, who was born, 1694, at S. Vito degli Schiavi, in
the province of Lecco, and died at Naples in 1746. He also composed
six cello concertos with quartet accompaniments, which belong to the
years 1737 and 1738. The MSS. of these are in the Library of the Royal
Conservatoire at Naples. It is supposed that these are the oldest of
existing cello concertos.

Another Italian cellist of that time was DOMENICO DELLA BELLA, of whom
nothing further is known than that, in 1704, he published, in Venice,
Twelve Sonatas “a due violini e violoncello.”

The information is equally meagre regarding the cellist PARASISI, of
whom Gerber says he was an extraordinary artist on his instrument and
was with the Italian Opera orchestra at Breslau in 1727.

Concerning the Italian violoncellists JACCHINI, AMADIO, VANDINI, ABACO,
DALL’OGLIO, and LANZETTI, born in the second half of the seventeenth and
the beginning of the eighteenth century, we know very little.

JACCHINI, whose Christian name was Giuseppe, noted by Gerber as one
of the first cellists of his time, was appointed to the church of S.
Petronio in Bologna at the beginning of the eighteenth century. That he
had distinguished himself as an artist is proved by his nomination as
a member of the Bologna Philharmonic Society, a distinction which is
only conferred on men of great musical reputation. Of his compositions
there is a work entitled “Concerti per Camera a 3 e 4 stromenti, con
violoncello obligato (Op. 4). Bologna, 1701,” to be mentioned.

PIPPO AMADIO, who flourished about the year 1720, was, according to
Gerber’s account, a violoncellist, “whose art surpassed all, that up to
his time had been produced on his instrument.”

ANTONIO VANDINI, first violoncellist at the church of S. Antonio,
Padua, seems to have been no less remarkable. The Italians called his
manner of playing and his expression “parlare”--he understood how to
make his instrument speak. He was on terms of such close friendship with
Tartini, who as is known was engaged at the same church at Padua as solo
violinist, that he accompanied him in 1723 to Prague, and remained with
him for three years in the service of Count Kinski. Vandini was still
living in Padua in 1770. The year of his death is unknown.

ABACO, born at Verona, according to information contained in the
second year of the “Leipsic Musical Paper” (p. 345), was a prominent
violoncellist, who lived in the first half of the eighteenth century.
Gerber possessed a cello solo of his composition, of which he says that
it appeared to have been written in the year 1748.

GIUSEPPE DALL’OGLIO, the younger brother of the famous violin player,
Domenico dall’Oglio, was born about 1700 at Padua,[63] and went to St.
Petersburg in 1735. There he remained in the Russian imperial service
twenty-nine years, after which he returned to his native land. On his
journey thither he stopped at Warsaw, on which occasion King August of
Poland nominated him his agent for the Venetian Republic.

SALVATORE LANZETTI, born at the beginning of the eighteenth century in
Naples, was pupil of the Conservatorio there, Santa Maria di Loreto,
and was during the greater part of his life in the service of the King
of Sardinia. He died in Turin in 1780. In the year 1736 two volumes
of violoncello sonatas appeared by him, and later also a book of
instruction, the title of which Fétis gives as: “Principes du doigter
pour le Violoncelle dans tous les tons.” It is somewhat differently
named by Gerber: “Principes ou l’applicatur de Violoncel par tous les
tons.” Lanzetti must have carried out with great skill the staccato
touch both up and down the instrument.

We are somewhat better informed regarding the violoncellist CAPORALE.
Neither the place of his home nor the year of his birth nor that of
his death are, indeed, known to us, but of his life and work in England
we possess some information. In 1735 he came to London and worked under
Handel, who wrote for him a cello solo in the third act of his opera
“Deidamia” composed in 1739.

His musical education could not have been very thorough, but he must
have had certain qualifications which induced Handel to connect himself
with him. Simpson’s Collection (see p. 49), published in London,
contains a Cello Sonata by Caporale, which does not speak much for his
talent in composition. It consists of _Adagio_, _Allegro_, and a _Theme_
with three variations after the manner of studies. As a player Caporale
was remarkable for his tone, but as regards finish he could not rival
either the elder CERVETTO or PASQUALINI.

This last-named artist, by whom a sonata, scarcely rising above the
level of Caporale, was contained in the volume already mentioned
as appearing at Simpson’s, was performing in London, in 1745, as a
concertist of great repute. Further information regarding him does not
exist.

Greater consideration must be yielded to CARLO FERRARI, brother of
the violinist Domenico Ferrari, so often referred to in the previous
century. On account of an injured foot he was called “the lame.” Born
at Piacenza about 1730 he betook himself to Paris in 1758 and appeared
with great success in the “Concert spirituel.” In 1765 he accepted an
engagement offered to him by the Count of Parma.[64] He remained in
this position until his death, which took place in 1789. It is reported
of Ferrari that he was the first Italian cellist who made use of the
thumb position. If this be true, France must have been beforehand in
the difficult matter of the art of fingering; for the thumb position
was already known in Paris, as we have seen, before 1740, consequently
at a time when Ferrari was only ten or twelve years old. But if it be
acknowledged that violoncello playing was cultivated much earlier in
Italy than in France, and had already advanced beyond the elemental
stage before it had found representatives among the French, we must be
inclined to concede to the Italians the discovery of the thumb position,
and indeed to the predecessors of Ferrari. It is highly probable that
Franciscello and Batistin already availed themselves of its assistance
for the use of the upper parts of the fingerboard. The trick must have
been brought into France by the last-named artist who, as we know,
settled in Paris at the beginning of the eighteenth century.

The proof that the thumb position was known in Paris before 1740
is established by the violoncello method of Michel Corrette in the
year 1741, and which, as far as one can see, was the first work of
instruction for the instrument in question. Considering the scarcity
at that time of cello compositions this instruction book is the more
important, as from it is to be determined with certainty the average
standard to which violoncello playing had attained towards the middle of
the previous century. This circumstance seems to justify our entering
somewhat more fully into Corrette’s school.

The title is: “Méthode, théoretique et pratique, pour apprendre en peu
de temps, le violoncelle ... dans sa perfection composée par Michel
Corette. XXIV^e Ouvrage à Paris, chez l’auteur, M^e Boivin et le S^r le
Clerc; à Lyon chez M. de Bretonne. Avec Privilège du Roy. MDCCXL1.”[65]

After some introductory paragraphs regarding the use of the F and C
clef, in notation for violoncello music, concerning the value of notes
and pauses, the formation of sharps, flats, and naturals, as well as
regarding the usual marks, the various measures and syncopes, Corrette
treats:

1. Of the manner of holding the violoncello; 2. Of the holding and
action of the bow; 3. Of its use in the up and down strokes; 4. Of the
tuning of the violoncello; 5. Of the division of the fingerboard into
diatonic as well as chromatic tones; 6. Of the fingering in the lower
(first) and following positions; 7. Of the way and manner of returning
from the higher positions to the first; 8. Of trills and appogiaturas;
9. Of the various kinds of bow action; 10. Of double-stops and
arpeggios; 11. And also of the thumb position. He also gives instruction
for those who wish to go from the gamba to the violoncello, and then
in conclusion gives hints for the accompaniment of singing and for
instrumental solos.

It is evident that the directions of Corrette have chiefly a mere
historical importance, as the technique of the violoncello, after
the appearance of his method, underwent substantial changes. His
explanation concerning the finger positions of that period and the
thumb position which in the higher parts of the fingerboard takes the
place of a moveable nut, concerning the manipulation of the bow, and
the considerations to be observed in exchanging the gamba for the
violoncello have a special interest for us.

With regard to the first of these four points, we remark that the finger
position adopted by Corrette for the diatonic scale on all the strings
was, in the first two positions, 1, 2, and 4; in the “third position,”
1, 2, 3, 4; and in the “fourth,” 1, 2, and 3; after the latter position
the fourth finger was as a rule no longer needed, for which Corrette
adduces as a reason that it is too short to be made use of in the higher
positions of the fingerboard; in case however it should be necessary to
use it, the use of the left arm would be impeded. In exceptional cases,
says Corrette in another part of his school, the fourth finger could
be used in the “fourth position,” without altering the thumb position,
for the B flat and B on the A string, for the E flat on the D string,
for the A flat on the G string, and for the D flat on the C string.
The finger positions were then, in the first half and about the middle
of the last century, somewhat different in the diatonic scale of the
violoncello than they were later on. It is especially to be remarked
that the E and the B were touched with the second finger upon the two
lower strings, though the notes marked were far more convenient for the
third finger, which very shortly took the place of the second.

As to the exclusion of the fourth finger, when playing with the thumb
position, no proof is needed to show the reason was that it gave an
awkward manner of holding the left hand. The finger positions for the
chromatic scale still more widely differed from the fingering employed
later, as the following scale shows--

[Illustration]

It very nearly happened, that as early as the seventeenth century when
a stringed instrument was so much desired as a standard one for the
violoncello, that the violin mode of fingering was adopted for the
former, which according to the foregoing remarks really was the case,
with the exception of the use of the third finger. It had however been
overlooked that the cello, on account of its much larger dimensions,
demanded an entirely different method of fingering. The regulation of
this important point, which offered peculiar difficulties, occupied
cellists up to the beginning of our century. In some measure the
fingering which Corrette teaches for descending intervals of a second
from the higher to the lower tones is unavoidable. He gives the two
following examples--

[Illustration]

[Illustration]

He gave the preference to the second example.

The almost total exclusion of the fourth finger caused a very great
restriction in playing with the thumb position. But when Corrette wrote
his work this limitation would hardly have been felt, as the higher
parts of the fingerboard were little, and, only in exceptional cases,
used by cello players and composers. Corrette mentions, as the highest
tone, the one-lined B. Caporale and Pasqualini do not go beyond this
note in their sonatas, already mentioned, excepting in one instance,
when Caporale casually uses the two-lined C. It appears that, with many
cellists, in place of the thumb the first finger was made use of in
the higher positions as a support, for Corrette remarks concerning his
method: “If the first finger is used instead of the thumb the fourth
finger must necessarily be made use of; it is, however, on account of
its shortness, really useless in the upper ‘positions.’” To beginners
Corrette recommended the attempt then in vogue--but a little later
combated by Leopold Mozart in his violin school[66]--to introduce marks
on the fingerboard indicating the intervals in order to learn to play
clearly in tune. For gamba players who, following the spirit of the
time, gave up their instrument and turned to the violoncello, which was
rapidly coming into use, this means of assistance had a certain value,
accustomed as they were to the frets of the gamba fingerboard, for
the finger positions of both instruments differ considerably from one
another, as appears from the comparison given below by Corrette.

[Illustration:

  Scale on the gamba.

  7. String. 6. String. 5. String. 4. String. 3. String. 2. String.
  1. String.

  Scale on the Cello.

  C String. G String. D String. A String. Thumb-position.]

The figures placed under the gamba scale relate to the frets which are
to be attended to by the player, while those of the cello scale are the
finger positions to be used.

The lower C, which the string itself forms on the cello, had on the
gamba to be touched at the third fret; the succeeding D on the gamba was
the open string, while on the cello it was to be touched with the first
finger, and so on.

The four highest tones, _e_, _f_, _g_, _a_, fell in the gamba on the
2nd, 3rd, 5th, and 7th frets, whereas, according to Corrette’s account,
those in the cello required the use of the thumb position. It is plain
that the gamba players who took up the violoncello had to adopt an
entirely different system of fingering.

To a certain extent the handling of the bow presented difficulties
to those who exchanged the gamba for the violoncello. The former
instrument, on account of the flatness of the bridge, did not allow of
an energetic use of the bow. From the violoncello, on the contrary,
a powerful tone must be brought out, which had to be learnt by gamba
players. Besides, they had also to accustom themselves to other strokes
of the bow for the cello. What was played by the latter instrument with
a down stroke, was played by an upward one on the gamba, and the
reverse.

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.

FOOTNOTES:

[60] Some pieces composed for the viola d’amore by Ariosti, consisting
of Cantabile, Vivace, Adagio, and Minuet, have been arranged by Alfred
Piatti for the violoncello, and brought out lately in London.

[61] Concerning the diverse vicissitudes of Bononcini’s and Ariosti’s
lives, which can find no particular mention here, see “Musical
Lexicons,” extant.

[62] Born in 1649, at Trapani, in Sicily; died on October 24, 1725,
at Naples. In Grove’s Dictionary, 1659 is given as the date of his
birth--other authorities as above.--(_Tr._)

[63] Gerber gives Venice as his birthplace; but in the _Weekly News_ of
the year 1770, Padua is mentioned, which is probably correct.

[64] In Jahn’s biography of Mozart is found the notice that Ferrari
had been appointed to the Court of the Archbishop of Salzburg; at what
period is not mentioned.

[65] Fétis says in his “Biographie universelle des Musiciens” (Vol.
II., 365): “The first edition of Corrette’s music tutor appeared in
1761.” On the title page, however, is plainly printed MDCCXL1. Fétis has
inadvertently put the number L before the X instead of after.

[66] The first edition of this appeared under the title: “Versuch einer
Gründlichen Violinschule.”

[67] These cello pieces by Bach existed in all probability during this
master’s directorship at Köthen (1717-1723). Spitta: “Joh. Seb. Bach,”
I., 678 and 707.

[68] Born towards the end of the seventeenth or the beginning of the
eighteenth century, in Milan; died after 1770, in which year Burney
found him still living.

[69] Born, in 1758, in Rome; died, 1832, in Paris. The two sonatas by
San Martini and Porta have already been mentioned, p. 49.

[70] P. 29.

[71] “That which renders Boccherini’s compositions unlike all others of
the kind is that he commonly assigns the principal part to the first
violoncello.”--(_Tr._)



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.

During the second half of the last century the art of violoncello
playing had already very extensively spread throughout Germany and
had many more noteworthy representatives than in Italy and France. In
the latter country the higher pursuit of music was confined chiefly
to Paris, and in Italy, as we have already remarked in a previous
paragraph, the opera was most decidedly in the foreground, while there
was no great demand for instrumental music. On the contrary, Germany
called out more instrumental vigour in order to satisfy the need
of good musicians for the numberless Courts. According to Gottlieb
Friedrich Krebel’s European genealogical handbook of the year 1770,
there were, including the Romaic-German Emperor and the King of Prussia,
over two hundred secular and spiritual princes and sovereign counts,
the greater number of whom supported Kapelle (bands) or at least
chamber music. These persons considered it of utmost importance to
have about them not only good violin and wind instrument players, but
also capable violoncellists, and consequently more talented young men
devoted themselves in Germany to instrumental music, and especially to
violoncello playing, than elsewhere.

We have already seen that the introduction of the Violoncello from Italy
to Germany was by way of Vienna. At least, up to the present time, there
are no proofs that the appreciation of this instrument and its reception
into the orchestra had taken place sooner in other German places than in
the Austrian capital. There was an eager demand for music from the reign
of Maximilian I., to which the musical inclinations of the Imperial
family contributed. Maximilian II., Ferdinand III., Leopold I., Charles
VI., Francis I., and Joseph II., each in his own way, presented to the
inhabitants of Vienna a good example as regarded the encouragement of
music. Already several decades before the birth of the last-mentioned
prince, who himself played the violoncello, this instrument had been
naturalised in Vienna as an orchestral instrument. Under his reign,
after the advent of Franciscello, whose performances gave an impulse
to emulation, Vienna was already in possession of some remarkable solo
cellists. To them belong the two SCHINDLÖKERS and JOSEPH WEIGL, who
have already been mentioned, as well as JOHANN HOFFMANN, member of the
Court band, MARTEAU, HAUER, and KÜFFEL;[75] somewhat later followed the
cellists CAJETAN, GOTTLIEB, SCHEIDL, and HAUSCHKA.

Nothing is known concerning Scheidl. We have more information regarding
VINCENZ HAUSCHKA, who was born on January 21, 1766, at Mies, in Bohemia,
and died in Vienna, 1840. He received his first musical education as
choirboy in the Prague Cathedral. After six years’ study he devoted
himself to violoncello playing, in which the Bohemian, Christ,
instructed him for a short time. He eventually studied independently. At
sixteen he had made such progress that he found a place in the Kapelle
of Count Thun. Two years later he was released from this engagement
by the death of his benefactor. Hauschka then undertook a tour in
Germany. In 1792 he appeared in Vienna, where he gained everywhere
applause by his performances. Later, a situation was offered to him in
the Imperial State service. From that time he made no professional use
of his art. But he did not quite abandon it, as he took part in the
foundation of the “Society of the Friends of Music,” or “Gesellschaft
der Musikfreunde,” as well as the “Concert Spirituel,” and was occupied
also in both these musical institutions which were of such importance to
musical life in Vienna.

The Dresden Hofkapelle possessed, in the second half of the last
century, two noteworthy cellists, HEINRICH MEGELIN and CALMUS. The
first, according to Gerber’s testimony, was counted amongst the
cleverest players of his instrument. Calmus belonged, in 1797, to the
orchestra of the Altona “National Orchestra,” and was then a highly
reputed member of the Hofkapelle at Dresden, where he died January,
1809.

In Berlin the violoncello first came to be appreciated at its due value
through Frederick William II. It is true it had been already well
represented under Frederick the Great, in the Court band, by GRAUL[76]
and the two cellists MARA (father and son), to be mentioned elsewhere;
but that great monarch, whose favourite instrument was the flute, does
not appear to have thought much of the violoncello, which he feigned to
allude to as the “nasal instrument,” an expression which might have been
bestowed formerly on the gamba.

His nephew, Frederick William II., liked the violoncello, and well
understood how to handle it. He appears to have played the gamba in
his younger days, for it is reported that the gambist Hesse[77] first
taught him, though this instruction might also have referred to the
violoncello, which many gambists took up at the same time. Later on the
cellist GRAZIANI was master to the Prussian heir to the throne. But when
DUPORT THE ELDER came to Berlin, in 1773, GRAZIANI was dismissed in
favour of him. The future king, Frederick William II., must have played
with taste and readiness. It is well known that Beethoven dedicated to
him his two Cello Sonatas (Op. 5).

Amongst the cellists who belonged to the Berlin Chapel towards the end
of the last century must be mentioned--

JOHANN GEORGE FLEISCHMANN, a skilful player, who was at first in the
service of the Duke of Courland, but afterwards went to Berlin. In 1792
he followed the king, on his expedition against the French, as his
accompanist.

A second cellist, who worked at the same time in the Berlin Kapelle, was
S. L. FRIEDEL.

As a pupil of Duport the younger, HEINRICH GROSSE, born at Berlin, is
distinguished. In 1798 he joined the Royal band.

The elder Duport[78] educated the cellist O. F. G. HANSMANN, who
was born at Potsdam on May 30, 1769, and was engaged at fifteen
years of age in the Berlin Kapelle. In 1790 he undertook the post of
Choir-director at the opera. He appears to have quite given up his work
as Kapellmeister when, in 1809, the place of Organist at the Church of
St. Peter, at Berlin, was given to him. He continued in the service of
the church until the year 1833, when he was appointed Royal Accountant.
Three years later, on May 4, 1836, death called him away.

Finally, the Berlin Kapelle possessed, in HERBIG, a pupil of the younger
Mara.

At the Court of Mecklenberg, in 1785, FRANZ XAVER HUBER, born in
the little Bavarian town of Öttingen, was working as a much esteemed
violoncellist.

In the Brunswick Kapelle was A. W. F. MATERN, after the middle of the
last century a player of some repute, who brought up his two sons as
cellists.

Hanover was represented by the brothers FRIEDRICH ERNST and PHILIPP
FRIEDRICH BENEKE. Both belonged to the Elector’s Court and Chamber Music
Society.

The Hofkapelle at Dessau possessed, in JOH. CHRISTOPH BISCHOFF, born in
1748 at Erfurt, a very fair violoncellist.

As one of the most creditable cellists of the second half of the last
century, JOH. CONRAD SCHLICK must be mentioned. He is said to have
been born at Münster in 1759, and died at Gotha in 1825, where he was
established for more than forty years with the title of Concertmaster
of the Ducal band, after he had, about 1776, belonged to the Episcopal
Chapel at Münster. In the year 1785 he married the very celebrated
violin virtuoso, Regina Strinasacchi, with whom he was engaged, in the
winter of 1799-1800, as solo player at the Leipsic Gewandhaus.

Schlick had a gifted pupil in J. G. HEMMERLEIN, born at Bamberg, who
held the post of Concertmaster to the Elector Bishop of Fulda at the end
of last century.

At the same time with Schlick, JOHANN DAVID SCHEIDLER, born in 1748,
died on October 20, 1802, was employed as a much-liked violoncellist in
the Gotha Kapelle.

The Ducal band of Meiningen also possessed a good violoncellist. It was
J. J. KRIEGCK, originally violinist and member of the Flemish Opera at
Amsterdam. During his residence in Paris he took up the violoncello,
and received there instruction from the younger Duport. After he had
studied for awhile under this artist he was engaged by Prince Laval
Montmorency, in whose service he remained four years, when he was
summoned to Meiningen. There he worked and was still living in the year
1810. Kriegck was born on June 25, 1750, at Bibra, in the neighbourhood
of Eckertsberga, in the district of Merseburg. His cello compositions,
consisting of three Concertos and some Sonatas with bass, are among the
best of that period.

The violoncellist HIZELBERGER was, in 1786, in the service of the Bishop
of Würzburg as chamber musician.

At the Court of Wallenstein, about 1790, PAUL WINNEBERGER was engaged
as Director of the Royal Hunt and Table Music. In the year 1800 he
exchanged this post for that of cellist and composer to the French
Theatre at Hamburg.

In the Thurn-and-Taxis Kapelle at Regensburg were two cellists, GRETSCH
and KARAUSCHEK. The first was there until his death, which occurred
in 1784. Karauschek, on the contrary, who was famous as an excellent
cellist, only belonged to it from 1750-1760. Religious fanaticism caused
him later to go into a Carmelite cloister. He died in 1789.

To the Munich Court music, in the second half of the last century,
belonged VIRGILI.[79] He is remarkable as having given his first
instruction to the violoncellist MORALT. This last artist, who was
born in the Bavarian capital in 1780, and died in 1829, finished his
training under the violoncellist ANTON SCHWARZ, of Mannheim, and, having
completed his studies, went into the Hofkapelle of his native city.

Another pupil of Anton Schwarz whose name is well known was MAX BOHRER,
born at Munich in 1785. He made such progress, that already as a boy
of fourteen years of age he entered the Hofkapelle there. Soon after
he undertook a concert tour with his brother Anton, who was an able
violinist, and this led him to Vienna. There he heard Bernhard Romberg,
who henceforth became his model. Towards 1830, after he had for a time
been a member of the Royal band at Berlin, he went to Paris, where
his fine tone and his ease in surmounting the most difficult passages
excited admiration. Then he travelled through Germany, in 1832 was
appointed first cellist to the King of Wurtemburg with the title of
Concertmeister, went in 1838 (for the second time) to St. Petersburg,
and then proceeded to Italy. The years 1842-1843 he spent in America
giving concerts. He took his last journey, which led him to the
countries of Northern Europe, in 1847, but he was not able to obtain
the same amount of approbation, for he had lost a great deal of his
power of execution. He died in 1867. He edited three Concertos, several
“Airs variés,” a “Fantasia” on a Russian Volkslied, a Rondoletto with a
quartet accompaniment, and some Duets with violin.

Contemporary with the above-named Moralt in the Bavarian Court Kapelle,
“PETER THE GREAT,” so-called, according to Gerber, “on account of his
talent,” born at Zweibrücken, in 1778, was actively engaged, and in 1792
was promoted to be member of the Bavarian Hofkapelle.

For Stuttgard the violoncellists Zumpsteeg and Kaufmann deserve
consideration.

JOH. RUDOLPH ZUMPSTEEG was the more important. He was born on January
10, 1760, at Sachsenflur, in the Odenwald, and died on January 27,
1802, at Stuttgard. The royal Kapellmeister Poli (at Wurtemburg) was
his teacher. Under his direction Zumpsteeg became not only an excellent
performer, but also a creditable composer of music. He received a
learned education at the Karlschule, where he entered into friendly
relations with Schiller, and set to music many of his poems. He made
himself particularly known through ballad compositions, which were first
attempted by him.

After he had quitted the Karlschule, Zumpsteeg devoted himself entirely
and actively to art. Up to the year 1792 he was simply member of the
Stuttgard Court band, of which he became the head after the decease of
his master, Poli. Zumpsteeg played the violoncello with “deep feeling,
rare precision, and decisive power,” as Gerber remarks. He wrote for it
a Concerto, Sonatas, a Duet, and a Trio.

JOHANN KAUFMANN, born in 1760, was likewise a pupil at the Karlschule,
whence also came--

ERNST HÄUSLER, born in 1761, in Stuttgard. He led a somewhat variable
life. In the year 1788 he went on an artistic tour, during which he
played especially in Vienna and Berlin. Soon after he took an engagement
in the band of the Prince of Donaueschingen. But in 1791 he relinquished
this position in order to obey a summons to Zurich. Thence, six years
later, he returned to his native town, and in 1801 went to Augsburg,
and, in 1802, to Vienna, to hold concerts. Finally he assumed the
office of choir director at the Evangelical Church at Augsburg, in which
place he died on February 28, 1837.

The Electoral Kapelle at Mannheim possessed in CARL LOCHNER, born about
1760, died 1795, as well as in PETER RITTER, remarkable cellists.
Ritter, born at Mannheim in 1760, must have had higher claims to
distinction on account of his musical education than Lochner, for
he was promoted to the direction of the opera at the theatre of his
birthplace. With the exception of a journey to Berlin, undertaken in the
year 1785, where he played before the Court, he seems to have pursued
uninterruptedly his official duties.

To the Mannheim orchestra belonged the violoncellists, JOHANN FÜRST,
LUDWIG SIMON, and ANTON SCHWARZ, already mentioned.

As an offspring of Mannheim, FRANZ DANZI must also be mentioned, the son
of the first violoncellist in the orchestra there, Innocenz Danzi. His
father gave him instruction on the cello, and Abt Vogler in composition.
He soon made such rapid progress in playing that already, in 1778,
he was received into the Electoral Kapelle, which, as is known, was
transferred to Munich about this time in consequence of the union of
Bavaria with the Palatinate. He immediately began his work as a composer
for the opera. Meantime, in the year 1790, he was united in matrimony
to the exquisite singer, Margaretha Marchand, daughter of the Opera
Director in Munich. The following year the young couple went to Leipsic
and Prague, where Danzi conducted the opera of Guardassoni’s Italian
Opera Company, while his wife took part as a singer. In 1794-1795 he
travelled with his wife in Italy, and in 1797 they both returned to
Munich on account of the failing condition of the latter’s health.
Danzi was immediately appointed Vice-Kapellmeister, and displayed most
praiseworthy activity. He was, however, so overcome by the death,
in 1799, of the partner of his life, that for many years he seemed
unable to perform the duties of his vocation, and as it was repugnant
to his feelings to take up work again in the place where his family
happiness had been wrecked, he obeyed a summons to Stuttgard as Court
Kapellmeister. He there remained a year, at the end of which he assumed
the direction of the opera at Carlsruhe. Danzi was born May 15, 1763,
and died April 13, 1826.

In the chapel at Mainz, in the year 1783 to 1784, there were the clever
cellist and lutist, JOH. CHRISTIAN GOTTLIEB SCHINDLER, the brothers
JOSEPH and ANDREAS SCHWACHHOFER, and at the Court of Treves was also at
that time CARL CASPAR EDER, born 1751 in Bavaria, who made himself known
as a cello player in several tours.

To the Electoral Kapelle at Bonn belonged JOSEPH REICHA and MAXIMILIAN
WILLMAN.

REICHA, uncle of the gifted composer, Anton Reicha, was born at Prague
in 1746; found at first a position with Count Wallenstein, and a few
years later received the appointment of Concert leader at Bonn. He was
working there with some reputation until his death in 1795.

WILLMAN, born in 1768, at Forchtenberg, a village between Würzburg and
Mergentheim, was member of the Bonn Hofkapelle in the last decade of
the past century, after he had been resident for a few years in Vienna.
Later on he returned to Vienna and found a post there as solo player at
the theatre. Willman, who died in 1812, had two daughters, the elder
of whom was a pupil of Mozart for the pianoforte, and the younger an
excellent singer. Louis von Beethoven solicited the hand of the latter,
but in vain.

Besides Reicha and Willman, the celebrated violoncellist, BERNHARD
ROMBERG, belonged to the Kapelle at Bonn from 1790-1793. With regard to
this artist the necessary information will be given in the next section
on Germany, for the distinctive influence of his work belongs to the
nineteenth century. To the above-mentioned German violoncellists are to
be added Immler, Schönebeck, Rauppe, Bauersachs, Alexander, and Arnold.

IMMLER, born in 1750, at Weitramsdorf, near Coburg, found a sphere for
work in Göttingen. His playing was distinguished especially for its fine
tone and agreeable manner of rendering. He was also a good violinist.

KARL SIEGMUND SCHÖNEBECK, born on October 26, 1758, at Lübben, in Lower
Lusatia, was originally destined for the surgical profession, but felt
himself so irresistibly drawn towards music that all attempts to hold
him back from it failed through his opposition. In the fourteenth
year of his age he was made town musician in his native place. During
his fifteenth year he devoted himself, mostly alone, to the learning
of various instruments. Then he went as assistant to the town band
of the Silesian town of Grüneberg. There he had the opportunity of
hearing a travelling violoncellist, whose performances so inspired him
that he forthwith resolved to devote himself to cello playing, with
which until then he had never occupied himself. He was his own master.
After two years of energetic work, Schönebeck went as cellist into the
private band of a Count Dohna, though he only remained in it until
1780, preferring to undertake a post which was offered to him as town
musician at Sorau. A journey to Berlin procured him the possibility of
hearing the violoncello virtuoso Duport, at Potsdam, which incited him
to renewed study. Soon after he made, at Dresden, the acquaintance of
the French cellist Tricklir,[80] whose playing gave him fresh impulse.
From that time Schönebeck led a restless, wandering life, which
prevented his attaining to the concentration of his powers. At short
intervals he filled, one after the other, positions at the Court of the
Duke of Courland, at Sagan; with Count Truchsez, at Waldenberg; and
still further at Königsberg. At length, wearied with a musical life,
he returned home and devoted himself to husbandry, but did not long
persevere with this, and resumed again his artistic career. In the year
1800 he performed at Leipsic, where his pleasing cello compositions,
and his playing “with a fine intonation, and rare finish,” met with
applause, as Gerber remarks.

JOH. GEORG RAUPPE, born in July, 1762, at Stettin, devoted himself in
early youth to cello playing, and under the elder Duport attained to the
rank of a master. His studies ended, he travelled through North Germany
as well as Denmark and Sweden. In the year 1786 he betook himself to
Amsterdam, and there fulfilled the duties of first cellist in the German
Opera as well as at concerts. While in that position he died on June 15,
1814. His playing was famed for the beauty and power of his tone, as
well as for readiness and purity of rendering.

CHRISTIAN FRIEDRICH BAUERSACHS, born on June 4, 1767, at Pegnitz,
in the principality of Anspach, was not only unusually clever on
the violoncello, but also played the basset-horn with great skill.
He travelled through Hungary and Italy, and then also in Germany,
giving concerts with good success. Yet he did not succeed in gaining a
permanent post. He therefore gave up music as a means of livelihood, and
devoted himself to a miner’s career. On December 14, 1845, he died at
Sömmerda.

JOSEPH ALEXANDER, who, in 1800, lived at Duisburg, and worked there, is
worthy of mention on account of two books of Studies, which however are
long since obsolete. They consist of a violoncello school, published
in 1801, and of an “Air avec xxxvi Variations progressives pour le
Violoncelle avec le doigté en différentes clefs, accomp. d’un violon et
d’une basse” (1802).

JOHANN GOTTFRIED ARNOLD, born on February 1, 1773, in the Würtemburg
town of Niedernhall, died July 26, 1806, at Frankfort-on-the-Main, was
the son of a school teacher. He early applied himself to music, and
chiefly to the violoncello, so that at eight years of age he attracted
notice by his performances. In 1785 his father placed him under the
tuition of Lüngelsauer, the town musician, with whom he studied for
five years. At the expiration of that time Arnold found employment with
his uncle, who was Court and town musician at Wertheim. During this
period he pursued, alone, with great zeal, his cello studies, but at
the same time did not neglect theoretical study. After some fruitless
attempts to make himself known as a soloist beyond his native place,
he visited Regensburg, where just then the violoncellist Max Willman,
mentioned above, was residing. He gave Arnold, during some few months,
instructions on the cello, the first which he had received on this
instrument. In the year 1796 he had the opportunity, in Hamburg, of
hearing Bernhard Romberg and learning from him. Very soon after Arnold
was established in the theatre orchestra at Frankfort. At the same time
he gave private lessons. He was esteemed by his contemporaries as a
great violoncello virtuoso, whose playing, on account of its “enchanting
tone,” was excellent, not only in _Allegro_, but also in _Adagio_
passages. Amongst the German violoncellists of the last century an
amateur deserves mention, who so distinguished himself, that he may
properly be counted among the artists of his instrument. It was the
PRINCE CHRISTIAN VON WITTGENSTEIN-BERLEBERG. He was born on December 12,
1753, and in his youth occupied himself eagerly with singing and clavier
playing. In more advanced years he learnt the violoncello and succeeded
so well that he was heard with the greatest applause publicly at a
concert in Wetzlar. He maintained towards the end of his life a private
band. This patron of art died October 4, 1800.

These distinguished men up to this period, with few exceptions,
endeavoured, besides their practical work, to create by their
compositions a literature for their instrument. They wrote concertos,
sonatas, and works with variations, in considerable numbers.[81] These
productions were substantially increased by other musicians who were not
cello players.

Before all, the most prominent are PHIL. EMANUEL BACH and JOSEPH HAYDN.

The former composed a Violoncello Concerto, the latter several pieces
of the same kind. What a lively interest Haydn, especially, took in
the violoncello is proved by the fact that he used it as an obbligato
in two of his Symphonies. The first of them (B flat major) appears
with the title, “Symphonie Concertante à Violon, Violoncell, Flutte,
Hautbois et Basson obligés,” as Op. 81; the other, called “le Midi,”
was written in 1761.[82] Therein the violoncello is employed as a solo
instrument, chiefly in the _Adagio_, the close of which ends with an
elaborate cadenza for violin and violoncello. The cello part in the
above-mentioned “Sinfonie Concertante” contains striking difficulties,
especially where it is employed in the higher tones.[83]

Amongst other composers of that period who composed Concertos for the
violoncello, we will only mention PAUL WRANITZKY, IGNAZ PLEYEL, FRANZ
ANTON HOFMEISTER, FRANZ CHRISTIAN NEUBAUER, LEOPOLD HOFFMANN, and JOHANN
LUDWIG WILLING. There were also amateurs who attempted compositions
of this kind, such as ERNST LUDWIG GERBER, the author of “The
Historical-Biographical Dictionary of Musicians,” and CHRISTIAN FERD.
DANIEL SCHUBART, who, though he had a musical education, was however
really by vocation an author. Further Joh. Geog. Albrechtsberger, Joseph
Eybler, F. A. Hoffmeister, C. G. Neubauer, Ignaz Pleyel produced Duets
for two violoncellos, violin and cello, or for viola and violoncello.
There is also in existence a Cello Sonata with unfigured Bass by the
contrabassist Christian Spurni (Spourni), who, born in Mannheim, was,
during the years 1763-1770, member of the orchestra of the Italian Opera
in Paris, and then of Her Majesty’s in London.[84]

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.

[83] Recently has come out a Duet (D major) in three movements for
violin and violoncello, by J. Haydn, which he must have composed
during his residence in London for a certain William Forster. These
compositions recall, not only in respect of form, Tartini’s manner, so
that one is induced to look upon them as Haydn’s early work, which he
wrote down from memory as a recollection.

[84] This has already been mentioned. Page 49.



III.--FRANCE.


Amongst the first noteworthy French violoncellists the brothers ABBÉ
must be mentioned. They were music masters of the parish church of Agen
under their own names of Philipp Pierre and Pierre de Saint Sevin. As
such, in conformity with the regulation of that time, they had to wear
the “collet” of the Catholic priests over their dress, on account of
which they were called shortly Abbé, or l’Abbé. They retained this name,
with the addition of “l’Aîné” and “Cadet,” after they had given up their
posts in Agen and had entered the Paris Opera Orchestra as cellists in
1727.[85] This is all that is known about them.

There is more information extant concerning BERTEAU.[86] This artist,
born at the beginning of the eighteenth century at Valenciennes, was
esteemed by his contemporaries as of eminent talent--indeed, as a
genius. In his youth he travelled through Germany, and during this time
he applied himself with vigour to gamba playing, under the direction
of a Bohemian of the name of Kozecz, and acquired great proficiency.
However, after he became acquainted with the superiority of the
violoncello, and had heard a solo piece for it by Franciscello,[87]
according to Fétis, he went over to that instrument. His progress was so
remarkable that he was ever without a rival, and was looked upon as a
wonder on his return to Paris, for he also performed unusually well on
the flageolet, the playing of which had been little developed. In the
year 1739 he was heard for the first time at the “Concert Spirituel”[88]
in a solo of his own composition, and aroused great enthusiasm. The
result was a frequent appearance at these concerts. His chief strength
lay in the production of an extraordinary richness of tone. He wrote
for the violoncello four Concertos as well as three Sonatas with bass
accompaniment. His death took place in 1756. Berteau was looked upon as
the founder of the French school of violoncello playing. Fétis asserts
as a proof of this that as pupils he educated CUPIS, JANSON, TILLIÈRE,
and the elder of the brothers DUPORT, who were the propagators of his
beautiful tone as well as his melodious manner of rendering.

JEAN BAPTIST CUPIS, born in 1741, in Paris, received his first lessons
from his father, and in his eleventh year became Berteau’s pupil. Before
he had passed the second decade of his life he was already esteemed as
one of the cleverest cellists in France. He was soon received into the
Opera Orchestra in Paris, and, indeed, with the distinction that he
was associated with those members of it who had to accompany the solo
singers.

In the year 1771 he gave up his connection with the opera in order
to undertake some concert tours. He visited a great part of Germany,
remained some time in Hamburg, and then went to Paris and Italy, where
he married the songstress Gasparini. In 1794 he was in Milan. From
that time nothing more is known about him. The requisite information
concerning his pupils, Jean Henri Levasseur and Bréval, will be given
farther on.

Cupis composed two Concertos and a couple of pieces with variations, of
which the second, for two violoncellos, appeared only as a “Posthumous
work” after his death. Besides these, he wrote a violoncello school. It
bears the title “Méthode nouvelle et raisonnée pour apprendre à jour du
violoncelle, où l’on traite de son accord, de la manière de tenir cet
instrument avec aisance, de celle de tenir l’archet, de la position de
la main sur la touche, du tact, de l’étendue du manche, de la manière de
doigter dans tous les tons majeurs et mineurs, etc. Paris, Boyer.”

Berteau’s second pupil, JEAN BAPTISTE AIMÉ JOSEPH JANSON, was born
at Valenciennes in 1742. At twenty-four he was heard for the first
time as solo-player at the “Concert Spirituel.” In 1767 he went as
accompanist to the heir-apparent of Brunswick to Italy, and remained
there till 1771. He then returned for a few years to Paris, after which
he travelled in Germany. From Hamburg, where he remained until 1783,
he visited Denmark, Sweden, and Poland. He everywhere reaped great
applause for his performances, which were distinguished for their broad
and fine tone. In the year 1789 he again found himself in Paris. The
value that was set upon his playing there is proved by his being offered
the post of teacher of the violoncello at the Conservatoire, which was
founded in the year 1795. He died September 2, 1803. Of his violoncello
compositions, Fétis mentions three Concertos (Op. 3), three Concertos
(Op. 7), both with a bass; six Concertos with orchestra (Op. 15), and
six Sonatas with bass (Op. 4).

Janson had a younger brother, whose Christian names were LOUIS AUGUSTE
JOSEPH, whom he instructed as a skilful cellist, after his father had
prepared him for it. In 1789 he was given a place in the Parisian
Orchestra, which he held till 1815. He died a few years later. He was
born on July 8, 1749. He only published six Sonatas for the violoncello
with bass.

JOSEPH BONAVENTURE TILLIÈRE, of whom neither the day of birth nor death
is known, was about 1760 in the service of the Prince de Conti, after
he had finished his studies under Berteau. He had the reputation of
being a clever player. His published works consist of six Sonatas for
violoncello and bass, nine Duets for two violoncellos, of which three
appeared as Op. 8, and also of a violoncello school, published in 1764:
“Méthode pour le Violoncelle, contenant les principes nécessaires pour
bien jouer de cet instrument.” This work appeared in several editions.

Berteau’s best pupil was JEAN PIERRE DUPORT, called the elder,[89] whose
father was a dancing master. He was born in Paris, November 27, 1741.
He was heard at twenty years of age, with unanimous applause, in the
“Concert Spirituel.” At the same time (1761) he was appointed one of the
private musicians of the Prince de Conti. He gave up the post in 1769 in
order to travel. He first went to England, two years later he visited
Spain, and in 1773 he went to Berlin, where he remained, as Frederick
the Great engaged him for his chamber musician as well as for the opera.
He was at the same time teacher to the future King Frederick William
II., who named him in 1787 superintendent of chamber music. From that
time Duport no longer worked in the Opera, but only played at Court. On
December 31, 1818, he died at Berlin. Duport published, in 1787,[90] at
Berlin, six Sonatas for violoncello and bass, as well as three Duets for
two violoncellos, known as Op. 1.

Gerber, who had the opportunity of hearing this artist in 1793, in
Berlin, gives an enthusiastic account of his playing. He especially
commended his strong, full tone, and his powerful bowing. According to
Fétis, however, his younger brother, JEAN LOUIS, surpassed him, and he
seems to have been remarkably gifted. He had at first chosen the violin
as his instrument, but took up by preference the violoncello, when he
saw the artistic success of his brother, whose pupil he became. He very
soon acquired considerable reputation by his appearance at the “Concert
Spirituel” and at the “Société Olympique,” formerly known under the name
of “Concerts des Amateurs”; and also by his connection with the house
of Baron Bagge, so much frequented at that time by native and foreign
artists of note.

When Viotti came to Paris, either at the end of 1781 or the beginning
of 1782, and Duport heard him, he took his characteristic style of
playing as his model, and his performances gained considerably thereby.
He undertook his first concert tour to London in company with the
English cellist, Crosdill, who was connected with him, and he there
met with a most animated reception. This journey kept him six months
away from Paris. But he did not remain then long at home. The ominous
events which, in 1789, preceded the Revolution caused him, like a
great many others, to fly from Paris. He betook himself to his brother
in Berlin, where he soon found employment in the Royal orchestra, to
which he was attached for seventeen years. During this time he had many
pupils, whose names unfortunately are unknown. His pupils of French
nationality--Rousseau, Levasseur, and Platel--will be noticed later.

The events of 1806, so unfortunate for Prussia, obliged Duport to leave
Berlin. He returned again to Paris. But during his long absence he had
been forgotten, and he had to gain for himself another public.

A single public appearance in the year 1807, in which he was supported
by the assistance of the singer, Colbran, Rossini’s future wife, was
sufficient for this. He could not, however, attain to any certain or
decided position again by reason of the entire change of circumstances
little favourable to Art in Paris. This obliged him to enter the service
of Charles IV. of Spain, who had been dispossessed by Bonaparte, and who
was then at Marseilles. But this connection came to an end in 1812, when
Charles IV. went to Rome, and Duport consequently was obliged to return
to Paris. He took part in three concerts, and in spite of his advanced
age of sixty-five years, had so great a success that he was named solo
cellist to the Emperor and teacher at the Conservatoire. He lost the
latter post on the re-organization of the above-named Institution in
the year 1816. He remained, however, in his position at Court, which
meantime had been changed from an imperial to a monarchical one. But
only three years after he succumbed to a liver attack, on September 7,
1819. He was born on October 4, 1749.

Louis Duport was the author of a tolerable number of cello compositions.
They consist of four books of Sonatas with bass accompaniment, three
Duets for two violoncellos, and eight “Airs Variés” with orchestra or
quartet accompaniment. Besides these he composed, in connection with
Bochsa, nine Nocturnes for harp and violoncello, a “Fantasie” for piano
and violoncello in conjunction with Rigel, and a Romance with piano
accompaniment. As his _chef d’œuvre_ must be distinguished: “Essai
sur le doigter du violoncelle et la conduite de l’archet, dédie aux
professeurs de violoncelle.” This comprehensive instruction book, for
which the materials were collected by degrees during a long period of
years, was published by Duport during his residences in Berlin and
Potsdam. In the preface he says: “I have treated with minute detail
the subject of double-stops, and this I have done for two reasons: the
first is that until now nothing concerning them has been written,[91]
and they are so important for a good player; the second, because they
have so often served me as an argument, for without an established
mode of fingering, double notes are impossible. In the course of this
work things will be met with of which the performance is difficult,
but nothing will be presented which is really impracticable. I am not
writing a useless theory. I have put down no scales, no figures, no
passages, no exercises, without having repeatedly tried them myself. I
caused them to be repeatedly played by my brother, who was formerly my
master, and will ever remain so, as well as by the best of my pupils
in Berlin and Potsdam. I am therefore thoroughly convinced that the
work contains nothing that may not with ease be clearly and distinctly
carried out, and what at first appears impracticable will be practicable
for those who will give themselves continuous trouble, and make a point
of practising a regular course of fingering.”

It is evident that Duport devoted himself with the greatest care to
the working out of his book of instruction (which must be accounted
a violoncello school) in order to bring about distinctness in the
finger technique, not until then fully settled. For that time it was
a meritorious undertaking. A new edition of it, brought out by the
violoncellist, A. Lindner, is a proof that the work, in spite of its
age, is not quite without value. It is only to be regretted that the
original text has not throughout been faithfully adhered to, and that in
parts it has been suppressed. The editor should have reproduced the work
in its original form, and have enunciated his own dissenting opinions in
observations.

Of more value for our present purpose than Duport’s work just mentioned
are his Twenty-one “Exercices,” which contain much that is worthy of
consideration and of acquisition. Duport left a son who, for a long
time, belonged to the orchestra at Lyons, but then opened a piano
manufactory in Paris. The splendid Stradivari cello, which he inherited
from his father, he disposed of to the violoncello virtuoso, Franchomme,
for 25,000 francs.

Amongst Duport’s pupils, FREDERICK ROUSSEAU, born January 11, 1755,
at Versailles, must be mentioned. He was member of the Parisian Opera
Orchestra in 1787. In 1812 he retired from his position and established
a music school in his native town. He was of special importance in the
musical life of Paris as having been one of the founders of the Concert
Institute of the “Rue de Cléry,” formerly so popular. Amongst his
compositions he published six “Duos concertants” (Op. 3 and 4) as well
as a “Potpourri” for two violoncellos.

Taking up the chronological thread from Berteau, we have next to mention
the cellist CHARLES HENRI BLAINVILLE, who was born in a village near
Tours, in the year 1711, and died in Paris, in 1769. The intimate
circumstances relating to his life are unknown. Only so far is certain,
that he enjoyed the protection of the Marquise de Villeroy, who received
musical instruction from him, and that apparently through the influence
of this lady he obtained the position of a creditable “Maître de
Musique” in Paris. Blainville published several theoretical works and a
few compositions, amongst them two Symphonies, but nothing for his own
instrument.

The cellist NOCHEZ, born between 1720 and 1730, is known as a pupil
of Cervetto and Abaco.[92] In his early years he travelled in Italy
and was then member of the comic opera in Paris, from which he went
to the orchestra of the grand Opéra in 1749. In 1763 he received
the appointment of royal chamber musician. He died in 1800 after a
year spent in retirement. Nochez is the author of an article on the
violoncello which appeared in print in de La Borde’s “Essai sur la
musique ancienne et moderne” (Paris, 1780).

Concerning the violoncellist EDOUARD, only the following notice is
found in Gerber: “A violoncellist living in Paris, in 1737, was an
extraordinary artist on his instrument, and was much commended by
Telemann” (Ehrenpforte, 367).

CLAUDE DOMERGUE, born at Beaucaire in 1734, seems to have been
remarkable among French violoncellists, although he never left his home.
That Duport, when he was travelling in the South of France, stopped at
Beaucaire solely in order to make Domergue’s acquaintance is sufficient
proof of his unusual skill in execution. During the disturbances of
the Revolution he unhappily ended his days, with thirty of his fellow
citizens, on the scaffold, in 1794.

To the Paris Opera orchestra belonged FRANÇOIS JOSEPH GIRAUD, the
violoncellist, from 1752-1767. Besides this he was chamber musician.
He wrote a volume of Sonatas for his instrument. Further, he occupied
himself with vocal composition, and also wrote for the stage.

The next to be mentioned is JEAN TRICKLIR, already named, of German
extraction, born at Dijon in 1750, who passed only his youth in France.
Destined by his parents for the church, he went to the seminary of his
birthplace. In his leisure hours he occupied himself with cello playing.
His partiality for it increased by degrees as he advanced in skill, and
in his fifteenth year he embraced the resolution of devoting himself to
the art. For this object Tricklir went to Mannheim, where he remained
several years and reached a master-pitch by zealous study under the
direction of experienced teachers. After he had been several times to
Italy, he was received in March of the year 1783 as a member of the
Court band at Dresden, to which he belonged as a highly appreciated
artist until his death on November 29, 1813. His published compositions
consist of seven Concertos and six Sonatas for violoncello. It must also
be noticed that Tricklir thought to have discovered by a “Microcosme
Musical” a sure means of keeping stringed instruments continually in
even, pure tune. It was, however, an illusion, and this imaginary
invention disappeared as quickly as it had originated.

A remarkable scholar of Tricklir’s was DOMINIQUE BIDEAU, or BIDAUX,
as he called himself in his violoncello school. He belonged to the
orchestra of the “Théâtre Italien” in Paris. His compositions in
relation to the violoncello are “Six duos pour Violon et Violoncelle”
(Op. 1 and 2), Paris, 1796; “Trois grands divertissements concertants
pour violon et violoncelle,” “Un air ecossais varié avec quatuor,” “Deux
duos faciles pour deux violoncelles,” and some other things of the same
kind. The title of his violoncello school runs thus: “Grande et Nouvelle
Méthode raisonnée pour le Violoncelle, composée par Dominique Bidaux.
Paris, 1802.”

A contemporary of Bidaux, PIERRE FRANÇOIS OLIVIER AUBERT, born 1763 at
Amiens, also brought out a violoncello method.[93] He received his
first musical instruction in the “maîtrise” of his native town, but he
learned cello playing by himself, without any other assistance. After
his arrival in Paris, he found a place in the orchestra of the “Opéra
Comique,” to which he belonged for twenty-five years. His cello method
was, as Fétis remarks, the first good instruction book which followed
after the insufficient preparatory works by Cupis and Tillière.

Aubert wrote for his instrument twelve Duets in four parts, as Op. 3, 5,
6, and 7; some Studies, besides three Sonatas, Op. 8; and lastly, eight
Sonatas.

A second violoncellist of the same name, who was commonly called
AUBERTI, worked in the orchestra of the Paris Commédie Italienne. He
died in the year 1805. Of his compositions six Solos for the violoncello
(Op. 1) appeared, and six Duets for two violoncellos.

F. CARDON was a member of the Paris Opera orchestra in the middle of the
last century. He educated his nephew, PIERRE CARDON, born in 1751, who
at the same time studied singing under Richer. The latter seems to have
been his chief occupation, since he became a singer in the Royal Chapel
in 1788, and gave singing lessons. He was, however, also engaged as a
teacher of cello playing.

ESPRIT AIMON, born at Lisle (Vaucluse), in 1754, is also distinguished
as a clever violoncellist. He conducted for a long time the music of the
Danish Minister, Count Rantzau; he then settled down in Marseilles. In
the year 1828 he died in Paris.

The cellist, PIERRE FRANÇOIS LEVASSEUR, born at Abbeville, in 1753,
was intended for the church, and received for that end a liberal
education. He decided, however, in the eighteenth year of his life for
art. A certain Belleval directed for three months his practice on the
violoncello. This instruction, however, does not seem to have satisfied
him, for he preferred to be his own master. When he came to Paris, in
1782, he received a few lessons from Duport the younger,[94] whose tone
and style he adopted. In 1789 he played at the “Concert Spirituel” some
of his master’s solo pieces, and later he appeared at the concerts of
the “Théâtre Feydeau.” From 1785-1815 he was a member of the Opera
orchestra. Soon after his retirement from this he died. The compositions
which he published were twelve Duets for two violoncellos in two
volumes.

There was another cellist, LEVASSEUR, about ten years younger, who
sprang from another family so-called, and whose Christian name was JEAN
HENRI. He seems to have been more remarkable than his namesake mentioned
above. He was born in 1765 in Paris, was a pupil of Cupis, and belonged
consequently to Berteau’s school. After he had pursued his studies with
the former artist, he profited for some time by the instruction of the
younger Duport. He was then received into the Paris Opera orchestra,
to which he belonged as first violoncellist until 1823, the year
of his death. He was also for some time active as a teacher at the
Conservatoire. He likewise had a place at the Court Music of Napoleon,
and from 1814 in the Royal band. That he was amongst the first in rank
who belonged to the violoncello school of the Conservatoire, under the
direction of Baillot, is a proof of the repute in which he was held in
Paris. Of his own compositions, he only left a set of Sonatas with bass,
two sets of Duets, and a volume of “Exercices.”

Levasseur’s most prominent pupils were LAMARE and NORBLIN.

JAQUES MICHEL HUREL DE LAMARE, born on May 1, 1772, in Paris, died on
March 27, 1823, in the town of Caen, where he possessed some property,
was the son of poor parents and got his scientific as well as his
artistic education together with the Pages of the Court Music. In his
fifteenth year he began, under the direction of the younger Duport,
violoncello playing, for which he developed an extraordinary talent.
Before he had reached seventeen years of age, he left the Pages’
Institute and returned to his parents. In 1794 he found a place in the
orchestra of the Théâtre Feydeau. The then famous concerts of this
institution gave him the wished-for opportunity of making himself known
as a solo player. His excellent performances procured for him very soon
the reputation of first French violoncellist of his time. The Committee
of the Paris Conservatoire hastened to secure him as a teacher. But
he desired to go out into the world, and at the beginning of 1801 he
went to Germany. At Berlin he was brought into intimate relations with
Prince Louis Ferdinand, and played a great deal with him; as a mark of
distinction he presented him with a ring on condition that he would
exchange it with one that Lamare himself wore. From Germany Lamare went
to Russia. He lived there alternately at St. Petersburg and Moscow until
1808. During this period he was not only soloist at the Imperial Court,
but was also active in giving concerts. On his return to France he
took the route through Poland and Austria. In April, 1809, he returned
to Paris and soon organised a concert in the Odéon without, however,
exciting in any way his audience, which determined him not to play
publicly again. He only allowed himself to be heard in private circles,
where great admiration for his playing was conceded to him. He must have
been an excellent performer in ensemble and also in quartet playing. In
1815 he married a lady of fortune. From that time he only pursued his
art for pleasure. On March 27, 1823, he succumbed to an affection of the
larynx.

Lamare wrote nothing for his instrument. He was destitute of any gift of
form. The compositions published in Paris under his name, consisting of
four violoncello Concertos, Duets, and an “Air varié” for violoncello,
originated probably from the opera composer Auber, who was an intimate
friend of Lamare. Of the Concertos, the one in A minor is the best.

LOUIS PIERRE MARTIN NORBLIN was the son of the French painter, Norblin
de la Gourdaine, of some repute in his time, who, in 1772, selected
Warsaw as his permanent residence and there married a Polish lady.
The artist just now mentioned, born on December 2, 1781, was the
offspring of this union. In 1798 he went to Paris for the sake of the
Conservatoire and was first Baudiot’s and then Levasseur’s pupil. In the
year XI., according to the reckoning of the French Republic--that is,
1803--he received the first prize at a competition of the directors of
the above-named Institution for his performances in solo playing. Six
years later, 1809, he was appointed to the orchestra of the “Théâtre
Italien,” and, in 1811, solo violoncellist in the orchestra of the Grand
Opéra. In this position he remained until 1841. Besides this, he gave
instructions at the Conservatoire from January 1, 1826, as successor
of his master, Levasseur; on June 5, 1846, he gave this up, in order
to withdraw into private life. He died on July 14, 1854, at Château
Connautre, in the Department of the Marne.

Norblin was highly estimated, not only as a soloist, but also as
a delicate, tasteful quartet player. For many years he took the
violoncello parts in the Baillot String Quartets. He gained special
distinction from the musical world of Paris, for having assisted in
the foundation of the Conservatoire Concerts, called into existence by
Habeneck, in 1828.

His son and pupil, EMILE, born April 2, 1821, was a skilful
violoncellist, who received the Conservatoire prize. He, however,
devoted himself more to teaching than solo playing.

Cupis’s pupil, JEAN BAPTISTE BRÉVAL, already mentioned, born, in 1756,
in the Department of the Aisne, so quickly developed his talent that he
was able very early to appear at the “Concert Spirituel” with brilliant
success. He was a member of the Paris Opera orchestra from 1781 to 1806.
In 1796 followed his nomination as teacher of violoncello playing at the
Conservatoire. From this he was released in 1802, as the number of the
pupils at the Institution was not large enough to keep him employed.
Towards the end of his life Bréval retired to Chamouille, a village in
the neighbourhood of Laon. He shortly after died there, at the end of
the year 1825.

Bréval published for the violoncello seven Concertos, five sets of
Duets, three Sonatas with bass, and twelve “Airs variés.” Besides these
he wrote two Concertantes, Quartets, Trios, and an instruction book
under the title “Méthode raisonnée de Violoncelle,” which appeared in
Paris in 1804. His cello pieces were formerly much in request, but have
been long obsolete. As a player Bréval had a finished style, but in his
rendering lacked force and energy.

Of similar kind is the verdict regarding the pupil of the elder Janson,
CHARLES NICOLAS BAUDIOT, who was born on March 29, 1773, at Nancy, and
died in Paris on September 26, 1849. Fétis, who had heard him, says that
his rendering, though of great neatness and purity of tone, was cold and
without spirit. It appears that he possessed an extraordinary talent
for teaching, for he was, in 1802, the successor of his master at the
Conservatoire, and worked there until the year 1822 when he accepted a
pension. He had an official post in the Treasury as well as his artistic
occupation.

In 1807 he was unfortunate in exciting the ridicule of an audience,
at a concert given by the famous Catalani, in which he took part. The
occasion was of a very harmless nature. In the said concert a Symphony
of Haydn was played, and Baudiot had a solo to perform immediately
after. It was a “Fantaisie” on the _Andante_ of the German master’s
Symphony which had just been executed, and of the performance of which
the soloist had no suspicion, as he entered the hall when his turn
came. Scarcely had Baudiot begun Haydn’s Theme when the public, who
thought he wanted to have a joke, burst out into hearty laughter. The
artist, who was at a loss to explain the demeanour of his audience,
and ignorant of the connection of affairs, became excited and played
out of tune, whereupon the laughter was repeated with renewed vigour.
Having lost his self-control, and being on the point of fainting, he
left the platform, supported by a fellow artist. Baudiot wrote for the
violoncello two Concertos and two Concertinos, as well as a great number
of other compositions, consisting of Duets, Potpourris, Fantaisies,
Nocturnes, Sonatas, with bass accompaniment, and transcribed besides
violin pieces by Lafont and Beriot. He was also the author of a method
for his instrument, and under the direction of Baillot, and with the
co-operation of Levasseur, he took part also in the production of a
violoncello method for use in the Conservatoire.

Of Baudiot’s pupils, SCIPION ROUSSELOT, born at the beginning of our
century, deserves notice. During his attendance at the Conservatoire, he
received also instruction in composition from Reicha. At the completion
of his studies the first prize was allotted to him (1823). Rousselot
went later on to England. Besides several chamber music compositions
and a Symphony, there appeared by him three Sonatinas, some books of
Variations, and a “Morceau de Salon” for violoncello.

A fellow student of Baudiot’s, under Janson the elder, was PIERRE
LOUIS HUS-DESFORGES, grandson of the violin virtuoso, Jarnowick.
Hus-Desforges was born at Toulon in 1773, where his mother, Jarnowick’s
daughter, was performing as an actress. At the age of eight his parents
confided him to the boys’ choir of the Cathedral at La Rochelle. As he
had occupied his leisure hours with trumpet blowing, he accepted the
duty of trumpeter (1792) to the 14th Regiment in order to join in the
campaigns of the Revolutionary Army. Four years after he lost a finger
of his right hand by a musket ball and was consequently invalided. He
now tried his fortune as cellist, for during his sojourn at La Rochelle
he had acquired some facility on the violoncello. He succeeded in being
appointed to the theatre orchestra. In the course of six months he
relinquished this and chose Paris as his residence. Here he was received
into the Conservatoire and assigned to the pupils of Janson. After his
release from the Conservatoire, Hus-Desforges led, like his grandfather
Jarnowick, a perpetually changing life. In the year 1800 he went as head
of the orchestra with a French opera troupe to St. Petersburg, in 1810
he returned and made some concert tours in France, in 1817 came back to
Paris and undertook the functions of first cellist at the Theatre “Porte
Saint Martin,” in 1820 went to Metz and founded there a music school,
made fresh journeys, and in 1828 was the head of the orchestra at the
“Théâtre du Gymnase,” but at the end of a year asked for his dismissal.
He did the same again when in 1831 he had succeeded in obtaining the
office of Director of the orchestra at the Theatre of the Palais
Royal. He spent the end of his chequered career in the little town of
Pont-le-Roi, near Blois, as teacher at the music school there, where he
died January 20, 1838.

Hus-Desforges was a clever, skilful violoncellist, but he did not belong
to the number of prominent, practised artists of his time. His tone was
weak and his performances lacked force and brilliancy, as Fétis remarks.
His violoncello compositions, which were formerly somewhat liked,
consisted of four Concertos and nine Airs with variations, entitled
“Soirées Musicales,” four Duets, and two Sonatas with bass. Besides
these he wrote a violoncello method.

Of far greater importance to the art of violoncello playing was Duport
the younger’s pupil, NICOLAS JOSEPH PLATEL, who was born in the year
1777 at Versailles, and received his first musical instruction in the
Institution of royal pages. There was then no attempt at violoncello
playing, but about the tenth year of the boy’s age the inclination
for it was developed. Louis Duport, who discerned a disposition
favourable to it, devoted himself with special zeal to his training.
These relations were broken off, when Duport, at the end of 1789, left
France in order to seek a position in Berlin. From that period Platel
was thrown for a long time upon his own resources. In the year 1793 he
was drawn into close relations with Lamare, who sought in every way to
forward him. In 1796 Platel became a member of the orchestra of the
“Théâtre Feydeau.” He was deprived of his post on account of a love
affair with an actress of that institution, with whom he went to Lyons
at the end of 1797. When he returned to Paris in 1801, he appeared
several times at concerts with great success. He was then reputed the
best violoncellist in Paris, and the absence of Duport and Lamare abroad
stood him in good stead.

Platel might now have made his fortune in the French capital. However,
on account of the carelessness of his disposition and his unpractical
nature, he knew not how to turn his opportunities to advantage. In 1805
he left Paris in order to undertake a concert tour, but at Quimper,
where he made the acquaintance of a cello playing dilettante, he
remained quite two years. He then finally came to the resolution of
again beginning his wanderings. When he had appeared in concerts at
Brest and Nantes with great success, he went North with the intention of
visiting Holland and thence Germany. This plan, however, was not carried
out. Platel settled himself down, on the way to the former place, at
Ghent, remained there giving lessons several years, and then went to
Antwerp. An opera troupe was there at the time who engaged him as first
violoncellist. About six years later he undertook the same function
in the theatre at Brussels. This was the turning-point which decided
Platel’s destiny. The Prince of Chimay engaged him for the Royal Music
School of the Belgian Court, which was opened in 1831. By accepting this
office, to which he devoted himself until his death on August 25, 1835,
he became the founder of the Belgium school of violoncello playing, from
which emanated, under his direction, such artists as Batta, Demunck, and
Servais.

Platel’s compositions consist of five Concertos, of which the last is
entitled “Le Quart d’heure,” also of three books of Sonatas with bass
accompaniment, and eight “Airs Variés” of “Caprices ou Préludes,” and
six Romances with piano accompaniment. Besides these he wrote six Duets
for violoncello and violin, and three Trios for violin, viola, and
violoncello.

We must mention here three French cellists of the second half of last
century, whose master is not known--namely, Chrétien, Haillot, and
Raoul.

GILLES LOUIS CHRÉTIEN, born in 1754 at Versailles, and died in Paris,
March 4, 1811, at the age of twenty-two found a position as Royal band
musician. He possessed great readiness and a good tone, though he
played without expression. He lost his place by the Revolution, but was
indemnified in 1807 by being received into the Imperial orchestra. He
does not seem to have occupied himself with composition, but as a writer
on music, though without much success.

HAILLOT belonged to the orchestra of the “Comédie Italienne,” and was
also engaged in private teaching. By his arrangements of operas in the
form of duets he supplied the wants of amateur cello players.

Finally, JEAN MARIE RAOUL, an enthusiastic friend of art--who besides
his official position as crown lawyer and, later, as Justice at the
Paris Cour de Cassation, cultivated zealously the violoncello, on which
he distinguished himself--must be mentioned in this place as the author
of a violoncello school. It appeared under the title of “Méthode de
violoncelle, contenant une nouvelle exposition des principes de cet
instrument.” Raoul composed also some Sonatas and “Airs variés” for
his favourite instrument. His efforts, supported by Vuillaume, the
well-known Parisian violin maker, to restore the gamba to practical use
were in vain. Raoul was born in Paris, in 1766, and died there in 1837.

When we survey the progressive development of violoncello playing
from its commencement to the close of the eighteenth century under
all aspects, the following facts are presented to us: violoncello
playing was taken up, as we saw, in the first half of the seventeenth
century, and even before, by the Italians. It was at first used only
as an orchestral instrument and as a harmonised accompaniment of
recitative singing in the place of the gamba. But in the second half of
the seventeenth century there were some Italian artists, as GABRIELI,
ARIOSTI, and BONONCINI, who endeavoured to elevate the violoncello to
the rank of a solo instrument. Then appeared FRANCISCELLO, who worked
with uncommon success to the same end. By the last three named artists
violoncello playing was presented to the German nation with the idea of
artistically treating it, while in France Giov. Battista Struck, called
Baptistin, exercised an influence in the same direction.

In both these countries this new branch of Art soon received a great
impulse by means of native talent. The Germans brought to it more
that was empiric, the French what was methodic--consequently at the
beginning, it must be acknowledged, the latter gained a certain
advantage. It is very noteworthy that they made great efforts to arrange
systematically and establish the technique of violoncello playing
by instruction books and methods, and Corrette led the way with his
violoncello school, published in 1741, which was followed in the course
of the second half of the last century by similar works by Tillière,
Cupis, and Müntzberger.[95] In Italy and Germany, as far as one can
see, the first attempts at instruction books for the violoncello were
initiated after Corrette and Tillière had published their Schools.

But in spite of the laudable efforts which were made, especially in
France, to establish the science of cello playing on a sure and suitable
basis, it made very slow progress. A substantial hindrance existed
from the circumstance that the method of violin playing, which, at the
time, had already reached a high state of cultivation, had been in a
measure used as a model without taking into consideration the important
difference in the dimensions of the fingerboard in the two instruments.
Not only had the fingering of the diatonic and chromatic scales, but
also the principles of the so-called positions, been transferred from
the violin to the violoncello. With reference to the first point,
the necessary directions were given by description in the Method of
Corrette. As to the latter point it must be observed that for the
lower portion of the fingerboard four different positions were adopted
analogous to the technique of the violin. To this position-theory,
which has come down to the present time and is treated of in some of
the old as well as the new violoncello schools, no special authority,
strictly speaking, should be attached.[96] For the violin it has to a
certain extent a meaning, as on that instrument it is possible to play a
complete scale on all parts of the fingerboard without moving the hand.
On account of its wider dimensions the violoncello admits of this only
by the help of the thumb position, with the exception of the C major
scale by using the open strings. But even here, where an indication
of position would be applicable, it is not usual. Evidently there is
something inconsistent in this.

There was a singular conjuncture with regard to finger technique in the
use of the thumb, as we have already seen from Corrette’s violoncello
school. The fourth finger was excluded from co-operation as soon as the
use of the thumb was introduced, because it was thought that it was
too short. This view of it prevailed up to the end of last century. In
the method published by the Belgian violoncellist, Müntzberger, it is
literally said: “When the fourth position has been passed over, only
three fingers are used.” Later indeed, where Müntzberger speaks of the
use of the thumb, he somewhat modifies this rule, since he remarks:
“Many professors, when using the thumb, do not need the fourth finger.
I am of opinion that its use should not be rejected, in that he, who by
nature is endowed with a long finger, can make it available in certain
cases.”

In exceptional cases, therefore, Müntzberger advocated the use of the
little finger when playing with the assistance of the thumb. But it is
evident from his expression that the use of it was not usual at the
end of the last century. This is undoubtedly to be gathered from the
“Méthode de Violoncelle,” published conjointly by Baillot, Levasseur,
Catel, and Baudiot. In it is the following observation: “The use of
the fourth finger in the different positions of the thumb was not
known to the older violoncello teachers of France. It has only been
introduced a few years, since the necessity for it has been felt.” As
this violoncello school was in 1804 accepted as an instruction book
for the Conservatoire by a resolution of the General Committee, it
is clearly evident that in France at least the fourth finger had for
the most part remained unused until shortly before the close of the
last century. The cause of this was plainly an incorrect manipulation.
Concerning the practice pursued in Germany during the second half of the
last century with regard to the fourth finger, Joh. Bap. Baumgartner’s
Tutor, mentioned page 69, would alone be able to give an explanation, if
it were still extant. With some probability, however, it may be assumed
that the same opinion was held in reference to it as on the other side
of the Rhine. The influence of France on German violoncello playing in
the second half of the last century made itself felt in other ways. This
was chiefly through the means of the brothers Duport. The succeeding
sections will show in what way the further cultivation of this branch of
the art progressed.

FOOTNOTES:

[85] Compare with p. 52 of this book.

[86] His name was written in various ways--viz., Bertaut, Bertault,
Bertaud, and Berthaud. The above is the right way.

[87] Franciscello must accordingly have written for the cello.

[88] The “Concert Spirituel,” which was the oldest concert institution
of the French capital, was founded in the year 1725.

[89] Compare pp. 77 and 83 of this book.

[90] Fétis says 1788. The title-page, however, of this Sonata bears the
date 1787, by the engraver’s own hand.

[91] This must not be taken word for word, for Corrette, in his
violoncello school, gives directions with regard to double stopping,
though very insufficient.

[92] See pp. 51 and 54 this book.

[93] Fétis says that Aubert published “deux méthodes de violoncelle,”
but immediately after speaks of one “livre élémentaire” of the same
author, so that it may easily be concluded the first assertion was an
error.

[94] Fétis says from the elder Duport. This is, however, impossible as
he had already settled in Berlin, in 1773, from which place he did not
again absent himself.

[95] Tillière’s violoncello school appeared in 1764, and those of Cupis
and Müntzberger, to all appearance, came out before 1800.

[96] Here is an example or two: Alexander in his cello school, which
appeared in 1801, takes up quite arbitrarily an “ordinary,” a “half,”
and a “whole,” as well as a “mixed” THEORY OF FINGERING, and Fr. Kummer
divides the fingerboard into “whole” and “half” positions. Müntzberger
says in his cello school, which appeared apparently in 1800, he wished
that people could accustom themselves to say to the pupil as for
the violin: “take this or that position.” Here is given a distinct
indication of the application of the violin positions. In other cello
schools, on the contrary, there is no reference to positions.

Duport, however, makes use of positions 1st, 2nd, and 3rd, &c.,
throughout his volume.--(_Tr._)



    THE
    ART OF VIOLONCELLO PLAYING
    IN THE NINETEENTH CENTURY.



IV.--ITALY.


The most important epoch of Italian violoncello playing came to a close
with Boccherini. His early withdrawal from his native land caused a loss
all the more sensibly felt because there was no one of equal importance
to compensate for him in the further development of the art, from the
point to which he had attained both in its executive and productive
aspect. This task fell principally to Germans, French, and Belgians,
whilst Italy was deprived of the position of pre-eminence in regard to
violoncello playing which she is asserted to have held for a long time
in the previous century. The same phenomenon consequently was repeated
here as in regard to violin playing.

Already towards the end of the eighteenth century Art, and especially
instrumental music, in which the Italians had accomplished so much that
was praiseworthy, fell into decline on the Apennine Peninsula--although
Italy brought out some important productions, particularly in the
department of opera compositions. The Musical Almanack for Germany, of
1783, contains the correspondence of an anonymous German artist who
travelled in Italy in the year 1782. It is there said: “At Naples I
found in the Conservatoire[97] a veritable horror. Caffaro[98] is here
with Milico, whose music gave me the most pleasure. As for the rest it
is all miserable, heavy, modern Italian opera music, as well as in the
churches. I hoped to find a great deal at Venice, but it is no better
there. Above all, the execution in the whole of Italy is less good than
formerly.... But what astonishes me most is the extraordinarily little
appreciation of music in Italy now. It is almost a miracle to see people
of position who have a love of music. It created a great sensation when
we gave concerts in Rome which were frequented by sincere admirers and
friends. Instrumental music is at such a low ebb that it is almost
beneath any criticism.”

At the beginning of the present century things were not changed in this
respect. Louis Spohr, who was in Italy in 1816, expresses himself in his
autobiography concerning the condition of music there much in the same
manner as the anonymous writer cited above, and, a little later, Felix
Mendelssohn Bartholdy likewise.

Under these conditions it cannot excite surprise if Italy in consequence
did not produce so many representatives of violoncello playing in the
highest sense of the word as hitherto.

LUIGI VENZANO must be mentioned as one of the first distinguished
Italian cellists of this century. He was born in Genoa about 1815, and
was solo cellist in the orchestra of the Theatre Carlo Felice, as well
as teacher at the musical institute of his native town. He died on
January 27, 1878. As a composer he devoted himself to vocal and stage
compositions.

An incomparably more important player than the preceding artist, or his
countrymen to be subsequently mentioned, is ALFREDO PIATTI, born at
Bergamo on January 8, 1822, and not in 1823, as Fétis says. His father,
who died on February 27, 1878, and who early instructed him in music,
was not a singer but a violin player.[99] The boy soon decided for the
violoncello, on which he received his first lessons from his great
uncle, Zanetti, who was engaged as music master at Bergamo.

Later he was sent to Milan for the benefit of the Conservatoire. Here
the excellent violoncellist, Merighi, conducted his further education.
Piatti attended the above-named Institution until September, 1837,
after having appeared previous to this date at one of the concerts with
decided success. In April, 1838, he gave a concert of his own in the
Teatro della Scala, at Milan, with the profits of which he supplied
himself with the means of undertaking a concert tour. Soon after he
was heard very favourably at Venice and Vienna. In the latter town he
remained some time; then he returned to Italy and gave concerts at
Milan and Padua. In 1843 he went to Munich and joined in a concert
with Liszt there. In the following year he presented himself at
Frankfort-on-the-Maine, Berlin, Breslaw, and Dresden, when he afterwards
visited Paris. In 1845 he was in St. Petersburg, where his performances
met with unusual appreciation. Having returned to Milan, the post of
teacher was offered to him, in 1846, at the Conservatoire. He did
not, however, accept the offer, but established himself in the same
year in the English capital, which from that time he has only left
occasionally, either to undertake concerts or journeys to recruit his
health. In London he soon became one of the most distinguished artistic
celebrities, and he still remains in full favour with the public. His
performances are proportionably marked by fine tone, the greatest
purity, tasteful rendering, as well as by a perfect mastery of all
technical difficulties. He is not only the most important cellist in
England, but belongs altogether to the highest rank of artists of the
present time. He wrote for his instrument two Concertos (Op. 24 and 26),
a Concertino (Op. 18), a “Fantasia romantica,” Capriccios (Op. 22 and
25), a “Sérénade Italienne” (Op. 17), “Airs Baskyrs” (Op. 8), as well
as a long list of other works, consisting of Themes with variations and
drawing-room pieces of various kinds. Further he has brought out new
editions of old cello compositions and six Sonatas by Boccherini. He has
also published original songs with violoncello obbligato.

Two other pupils of the Milan Conservatoire are GUGLIELMO QUARENGHI
and ALESSANDRO PEZZE. The first, born on October 22, 1826, in Casal
Maggiore, was pursuing his studies during the years 1839-1842. Arrived
at maturity he was first violoncellist at the Teatro della Scala, at
Milan, and from 1851 he gave instruction also at the Conservatoire to
which he was indebted for his education. In February, 1879, he took the
place of Boucheron as Choirmaster at the Cathedral. He enjoyed this
position only a few years, for he died February 3 or 4, 1882. Amongst
his compositions the most noteworthy are--Six Capriccios, a “Chant
elégiaque,” with piano accompaniment; two Romances, a Scherzo, “Un
pensiero al lago,” and some Fantasias on _Motifs_ from Italian operas.

ALESSANDRO PEZZE, born 1835, at Milan, received from his father, a
clever dilettante, his first musical instruction, after which, in 1846,
he went to the Conservatoire of his native town. Merighi directed his
violoncello studies. After he had been for some time first cellist
at the Teatro della Scala, he was engaged by the English impresario,
Lumley, for Her Majesty’s Theatre in London. Pezze belonged to it until
1867, in which year the theatre was destroyed by fire. Later this artist
was employed in the orchestras of the Philharmonic Society and Covent
Garden. He is still living in London.

The Naples Conservatoire produced GAETANO BRAGA, born on June 9, 1829,
at Guilianuova in the Abruzzi. He was originally destined for the
church, but the inclination for music came out so strongly that he
could not be kept back from it. His parents now wished that he should
be educated as a singer; he, however, decided for the violoncello, on
which Gaetano Ciandelli directed his studies. He soon became a pupil of
Mercadante for composition. In the year 1852 he had finished his studies
at the Conservatoire. Soon after he undertook a concert journey to the
North of Italy, and from thence to Vienna, where he formed a connection
with Mayseder, and was a member of his String Quartet for a short time.
In 1855 he betook himself to Paris, where he was much in request as
a favourite solo player. He is at present living in Florence. As a
composer Braga devoted himself by preference to stage compositions. For
the violoncello he only wrote a Concerto, and some smaller pieces with
piano accompaniment, and a Serenade for voice with cello accompaniment.

Other Italian violoncellists at the present time worthy of notice
are--RONCHINI and G. MAGRINI in Milan, PINI in Venice, SERATO in
Bologna, TOSCANINI in Parma, SBOLCI and CASTAGNOLI in Florence, FURINO
in Rome, CENTOLA in Naples, MONTECCHI (who lives at present at Rennes in
Bretagne as a music teacher), and MATTIOLI, now in Cincinnati.[100]

FOOTNOTES:

[97] In the last century there existed in Naples four Conservatoires.
But in 1806 they amalgamated into one musical Institute.

[98] Caffaro, opera and church music composer, was Director of the
Neapolitan Conservatoire della Pietá. Milico was then famous as a stage
singer.

[99] See my work, “The Violin and its Masters.” 2nd Ed., 365.

[100] In spite of every effort, I have not succeeded in gaining any more
details concerning the above violoncellists.



V.--GERMANY


German violoncello playing had, during the second half of last century,
found unusual opportunities for expansion in consequence of the demand
for numberless competent artists for the various princely households,
as well as for the larger towns. Amongst the cellists mentioned in the
second part of this work, there were already some specially prominent
personages to distinguish. The branch of art, however, to which this
book is devoted first received a really important and sustained impulse
through means of BERNHARD ROMBERG. This artist acquired for German
violoncello playing a significance similar to that which Louis Spohr
gained for German violin playing, only with this difference--that the
latter master was far superior to the former as a composer. While
certain violin compositions of Spohr (not to speak of his other works),
on account of their intrinsic worth, are calculated to appear in concert
programmes, and will presumably do so in the future, the cello pieces
by Romberg have already for some time completely disappeared from them.
Yet they have, from a scholastic point of view, proved to be of value
even to the present day. In regard to this, what Romberg did for the
cultivation and perfecting, as well as the fine manipulation of his
instrument, merits for him the appellation of founder of the German
school of violoncello playing. His Concertos and concert pieces have
been of more importance, however, for taking such a direction than his
violoncello school, which by no means belongs to the best instruction
books of the kind, and is a proof that a man can be a distinguished
teacher--and Romberg was in any case this--without having the capacity
for the production of a thoroughly satisfactory instruction book. The
examples and music pieces in Romberg’s violoncello school are indeed
excellent, but some of the maxims which he enunciates seem peculiar, and
he goes too much into extraneous matter, instead of bringing forward the
more substantial principles with the necessary precision and accuracy.

It is noteworthy that Romberg advocated a simplified notation for
violoncello music. Primarily (besides the bass clef), in Italy and
Germany, only the tenor clef was used, and the alto clef in France.
But as the compass of violoncello playing was more and more extended
up to the high parts of the scale, by the use of the thumb positions,
keys used for the discant and violin were added. Boccherini, for the
notation of many of his compositions, made use altogether of five
clefs, sometimes indeed in one and the same piece--as, for example,
at the opening _Allegro_ of his Concerto (C major). There was nothing
arbitrary in this procedure. Boccherini had far more in view the object
of giving to the player starting-points for the finger positions to be
used in each case. In his later compositions, however, he abandoned
this, as the use of so many different clefs had its inconveniences; and
he restricted himself to the use of the bass, tenor, and violin clef.
This notation was subsequently generally accepted, particularly also by
Romberg, and is still in use up to the present time. In opposition to
the earlier favourite manner of writing the notes--by the use of the
violin clef an octave too high for the violoncello, as is the case in
Mozart’s and Beethoven’s compositions--Boccherini, by the application of
the clefs mentioned, wrote everything as it would sound. By this means
he gained the advantage that he was not obliged to make so much use of
ledger lines in the writing of his passages--which were continually
moving in the soprano part--as he must have done if he had followed
the custom of his contemporaries and had adhered to the higher system
of notation. It is readily understood why Romberg in his cello school
should declare himself in favour of the change introduced by Boccherini,
for he also, with special predilection, made use of the higher regions
of the fingerboard for his playing; wherefore it was said of him that
his handling of the violoncello was often after the manner of the
violin. From this point of view it is thoroughly rational that Romberg,
in regard to notation, should follow the example given by Boccherini. In
later times the too frequent and continuous use of the soprano clef--in
which a broad, energetic volume of tone, full of expression, is nearly
excluded--has been abandoned without, however, being neglected entirely;
while to the most beautiful and effective clef--namely, the tenor--has
been accorded its right place.

BERNHARD ROMBERG was the son of the bassoon player, Anton Romberg, of
some note in his time, and was born on November 11, 1767, in the village
of Dinklage, near the little Prussian town of Quakenbrück. It is unknown
whom he had as teacher for the violoncello. It was probably an orchestra
musician in Münster, to which place his parents had removed their home.
In any case, Romberg’s talent caused him to make the most of it, for
before he had passed his youth he was able to undertake with his cousin,
Andreas Romberg,[101] who was about the same age, a concert tour which
led them through Holland, and was extended to Paris, where they were
both heard with such success in the house of Baron Bagge[102] that they
were engaged in 1787 for the “Concert Spirituel.” After his return from
Paris Romberg devoted himself eagerly to progressive studies, and at the
same time worked in the orchestra at Münster.

Münster belonged then, as is known, to the Electorate of Cologne. The
Elector Maximilian Franz, who on his accession to his dominions (April
27, 1784) resided often in the Westphalian town, had his attention drawn
to the two Romberg artists, and engaged them for his Royal band at Bonn.
The announcement of the appointment bears the date of December 19, 1790.

When the Elector, in the autumn of the following year, went to reside
at Mergentheim, then the seat of the German order--whose Grand Master
he was--he caused about twenty members of his band to follow him from
Bonn. Amongst them, besides Beethoven, who in addition to his office
as organist was also tenor player at the Court, were also the two
Rombergs. In one of the musical entertainments which took place in the
apartments of the Elector, Bernhard Romberg was heard in a Concerto.
Boszler’s Musical Correspondence of the year 1791 contains a notice
of it in which is said[103]: “Romberg, the younger, combines in his
violoncello playing extraordinary rapidity with charming rendering;
this rendering is the more marked and decided when he is heard in
connection with the greater number of violoncellists. The tone which he
produces from his instrument is, moreover--especially in the expressive
parts--extremely clear, firm, and penetrating. Taking into consideration
the difficulty of the instrument, a thoroughly marked purity of tone, in
the extraordinarily quick rendering of the _Allegro_, must be attributed
to him in the highest degree. Yet this after all is mere mechanical
readiness; the connoisseur has another standard by which he measures the
greatness of artists; and this is, the manner of playing, the perfection
of expression or the spiritual interpretation. Once on this point, the
connoisseur will pronounce in favour of the expressive _Adagio_. It
is impossible more deeply to penetrate into the more delicate hues of
feeling--impossible to colour them with more variety--to enhance them,
moreover, by greater light and shade--impossible to hit more exactly
the very tones through which this feeling has utterance, tones which
appeal more directly to the heart than Romberg succeeds in doing in his
_Adagio_.”

“How acquainted he is with all the beauties of detail, which lie in the
nature of the piece in the peculiar kind of expression to be given, and
for which the composer has no signs for recognition? What effects he
is able to produce by the _crescendo_ of his tone, swelling up to the
strongest _fortissimo_, and then again by its dying away to a scarcely
audible _pianissimo_!!”

From this enthusiastic announcement we must conclude that Romberg’s
playing at that time--he was in his twenty-fourth year--showed already
a high degree of perfection. It is therefore quite conceivable that he
cherished the wish of obtaining a position in life adequate to the merit
of his performances, for in Bonn he received only a yearly salary of 600
florins, and, moreover, the existence of the Cologne Electorate, the
complete dissolution of which was accomplished in the autumn of the year
1794, had fallen into a very doubtful condition from the time of the
appearance of the revolutionary army on the Rhine (October, 1792).

Romberg therefore accepted with his cousin, Andreas, at Easter, 1794,
an engagement at the Schröder Theatre in Hamburg, but he did not long
remain there. Three years later they undertook together a concert
journey into Italy, gave concerts on their return at Vienna, supported
by Beethoven, and again betook themselves to Hamburg, whence, after
a two years’ residence, Bernhard Romberg visited London. He next
travelled in Portugal and Spain, in 1800 returned again to Paris,
and performed this time at the concerts of “La Rue de Cléry” and the
“Théâtre des Victoires” with such great success that he became teacher
at the Conservatoire. Romberg does not, however, appear to have felt
comfortable in this position, for after two years he withdrew from it
and again turned to Hamburg. In 1805 he responded to an invitation
to be solo cellist at the Berlin Hofcappelle. The calamities of war,
which broke over Prussia in the following year, compelled him once more
to become a wanderer. He next visited the Austrian States. After the
conclusion of the peace of Tilsit, he found himself again in Berlin,
remained there up to the year 1810, and then undertook a journey
through Silesia, Poland, and Russia. At St. Petersburg he met with
Ferd. Ries, and in conjunction with him gave concerts in the Southern
provinces of the Czar’s dominions. The artists wished to arrange a
visit to Moscow, but were prevented by the memorable burning of the
Kremlin which compelled the French army to retreat. They then turned to
Stockholm, and from thence went to Copenhagen and Hamburg. Here they
separated--Ries went to London, which he reached in March, 1813, and
Romberg took his way by Bremen to Holland and Belgium. From the latter
country he again visited Paris for a short time. Returned to Germany,
Romberg prepared for a second journey to Russia. On this occasion he
lingered two years at Moscow. After he had been, from 1815-1819, in the
service of the Berlin Court, he chose Hamburg as his settled residence.
Wherever Romberg played his highly finished performances excited great
enthusiasm. In this his violoncello compositions--which were entirely in
accordance with the taste of that period in a virtuoso point of view,
and which, moreover, were distinguished by their solid quality above all
other cello compositions of the time--had a substantial share.

During his many journeys through European countries, Romberg had
collected national airs, of which he availed himself in various ways
for his compositions under different names. Amongst them are to be
found Caprices on Swedish, Polish, Moldavian, Wallachian, and Spanish
songs, as well as a “Fantaisie” on Norwegian and a “Rondo brilliant”
on Polish melodies, besides four books of Variations on Russian
national airs. He further wrote ten Concertos, three Concertinos, a
Fantasia with orchestra, Polonaises, as well as Duets and Sonatas, with
bass accompaniment for the cello. He was also very productive in the
sphere of chamber music, and composed also for the stage. These last
compositions have, however, not survived him, while, on the other hand,
his cello pieces, as already noticed, maintain even at this time a
certain value for teaching.

There have been certain famous artists who in advanced age, in spite of
a considerable decay in their capacity for performance, have unwisely
indulged the inclination of still endeavouring to attract admiration.
Bernhard Romberg was one of these. In his seventy-third year he again
had a desire to visit Paris in order--though not in public--to appear
in artistic circles as a solo player. The failure which he experienced
appears to have had a prejudicial effect on his health, for he died soon
after his return home, on August 13, 1841.

Romberg promoted the advancement of German violoncello playing chiefly
by his activity as a soloist, and also by his compositions, for, on
account of his many concert journeys, which led him sometimes in one
direction and sometimes in another, he had not sufficient leisure for
continuous and regular teaching. A few young artists, however, enjoyed
the benefit of his instruction. Of these we will mention only here
his nephew, Cyprian, and Julius Schapler. Some others will be noticed
farther on.

JULIUS SCHAPLER was born on August 21, 1812, in Graudenz.[104] He
received his musical education in Berlin.

CYPRIAN ROMBERG, born in 1807 (according to other accounts, 1810), in
Hamburg, made himself known, after he had finished his studies, by his
journeys in Germany and Austria, and was then a member of the Imperial
band at St. Petersburg. In Hamburg, where he spent the last years of
his life, he was, unfortunately, drowned while bathing in the Elbe
in 1865. B. Romberg was at first his master for the violoncello, on
which also he received instruction from the pensioned chamber musician,
Hansmann.[105] After his education was concluded Schapler was heard as
solo player in the Opera House at Berlin, as well as in the Gewandhaus
at Leipsic, with great applause. He declined offers for engagements,
which were in consequence proposed to him, as he wished to make himself
known by concerts. Soon after, however, when the position of solo player
in the Court band of the Duke of Nassau was offered to him he accepted
it. In Wiesbaden, besides his official duties, he was much occupied with
composition. The fruits of it were not only several cello pieces, but
also three greater chamber music works--namely, a String Quartet, a Trio
for piano and violoncello, as well as a Quintet for piano, violin, tenor
violoncello, and contra-basso. These last compositions were all crowned
with success. A warm and appreciative critique of the String Quartet
appeared in 1842 from the pen of Robert Schumann, in his musical paper.

The unquiet year, 1848, caused the Duke of Nassau to dismiss the members
of his Kapelle (without pensions). Schapler returned to his home and
created for himself a lucrative field of work as music teacher in Thorn,
to which he devoted himself for many years. At the present time he is
living privately in Berlin.

Schapler belonged in his prime to the best violoncellists of Germany.
With fine tone-rendering he had complete mastery over his instrument.
Unfortunately, he did not succeed, after his departure from Wiesbaden,
in obtaining a post worthy of his excellent performances.

While Bernhard Romberg was raising to a position of high honour the
art of violoncello playing in Germany, several important centres were
forming for it in Dresden and Vienna.

The Dresden Court, which had always done a great deal for music, was
continually taking into consideration the means of attracting into its
neighbourhood distinguished instrumentalists; and if for some time a
succession of foreign, but specially Italian artists found a place
there, a certain amount of gain was the result in connection with
it--for the artist youth of Germany received thereby a progressive
impulse to their own endeavours. The Dresden Court orchestra had
already, in the last century, a distinguished reputation, and this was
more and more enhanced by the continual influx of talented and highly
gifted musicians. As regarded the violoncello especially, it gained not
long after the beginning of our century an exemplary representative in
DOTZAUER. From that time until the present day Dresden has remained an
important centre for violoncello playing.

JUSTUS JOHANN FRIEDRICH DOTZAUER, born on January 20, 1783, at
Häselrieth, near Hildburghausen, was the son of a minister there.
Instructed early in music, he devoted himself to the piano, violin, and
violoncello playing. The latter soon gained the ascendancy, and as the
inclination for an artistic career showed itself decisively in him, his
father sent him, in the year 1799, to Kriegk,[106] at Meiningen, under
whose direction he studied two years. After the expiration of that
period he found a post in the Meiningen Kapelle until 1805, when he went
to Leipsic, and from 1805-1811 he was a member of the orchestra.

From Leipsic he visited Berlin. Here he heard Romberg, with advantage
for the pursuit of his studies. In the year 1811 he accepted an
honourable position in the Dresden Court orchestra, to which he
belonged, from 1821-1850, as first solo cellist. He then lived in
retirement, which he enjoyed for ten years. He died in the place where
he had successfully worked for so many years on March 6, 1860.

Dotzauer was also well-skilled in composition, and attempted it in
various forms. He wrote an Opera, Overtures, Symphonies, a Mass, and
several chamber pieces. All these productions have long been forgotten.
Not so his violoncello works, which consist of nine Concertos, three
Concertinos, two Sonatas with bass, Variations, Divertissements,
Potpourris, and a great number of Duets, some of these at least are
still prized as objects of study. This is especially the case with
regard to his books of instruction, to which belong two violoncello
schools,[107] as well as a number of exercises of various kinds.[108]
Amongst these the most commendable on account of their excellence
are the eighteen “Exercices d’une difficulté progressive” (Op.
120), for beginners (with the exception of the two last numbers),
and the “Twenty-four Daily Studies for the acquiring and keeping of
Virtuosität.” The latter work is in every respect by far the best of
Dotzauer’s many studies. He also published a School for Flageolet
playing (Op. 147). His performances combined the gifts of great solidity
and fascinating sweetness. Of his two sons, the younger, Carl Ludwig,
devoted himself to the violoncello under the direction of his father. In
1820 he was member of the Hofkapelle at Cassel. He was born on December
7, 1811, at Dresden.

Dotzauer was distinguished not only as an executant artist but also as
a teacher. The most remarkable of his scholars are--Kummer, Schuberth,
Voigt, and Drechsler.

FRIEDRICH AUGUST KUMMER was born on August 15, 1797, at Meiningen. His
father, an accomplished oboist, belonged to the Ducal band there. At
the beginning of the century he entered the Hofkapelle at Dresden, and
here his son, who at first had taken up his father’s instrument, became
Dotzauer’s pupil. When his education was completed on the violoncello,
Kummer should have been admitted into the Dresden Hofkapelle; but as
there was just then no vacancy for his instrument he was obliged for
a while to content himself with being received as oboist. This was
in 1814. Three years later he was enrolled among the cellists. By
diligently prosecuted studies, Kummer gradually reached such a high
degree of artistic cultivation that when Dotzauer was pensioned, he was
appointed in his place as first violoncellist of the Royal band. In 1864
he celebrated his fiftieth Jubilee, and then gave himself up to his
well-deserved retirement. During his long tenure of office he displayed
a most extraordinary activity as soloist, quartet, and orchestra player,
as well as teacher. In the latter capacity he worked both privately and
at the Dresden Conservatoire, to which he belonged, until his death,
which took place on May 22, 1879. At the same time he wrote a good deal
for his instrument, a Concerto, two Concertinos, instructive Duets (some
easy and others more difficult), Variations, Etudes, Caprices, Studies
(amongst them, daily ones), diverse musical “Divertissements,” which
were formerly much in request amongst dilletanti, some of which are
still used as subjects for the practice of youthful players. He also
produced a violoncello school. It is at present the most generally used
work of the kind, short and clear, though only extending to a moderate
degree of difficulty; finally, Kummer published a useful compendium:
“Repertorium and Orchestral Studies,” containing important and difficult
cello pieces from oratorios, symphonies, overtures, and operas. Kummer’s
playing bore the stamp of great precision and correctness, united
to powerful and solid intonation. His technique “was in every point
thoroughly cultivated, but to acquire the ‘finesses’ of a virtuoso he
was of too simple a nature, which was better calculated to occupy itself
with the sphere of music in its intellectual aspect than in brilliant
display. All that he produced on his instrument was most correct and
defined, in which he was greatly assisted by his quiet and cautious
temperament. He was unable indeed to raise himself to the height of
poetical inspiration and unrestrained warmth of expression, though he
never did violence to a good composition. His manner of rendering was
always strictly objective and according to rule.” Amongst Kummer’s
pupils Cossmann and Julius Goltermann are prominent.

BERNHARD COSSMANN, born on May 17, 1822, in Dessau, studied at first
under Theodore Müller, the cellist of the formerly famous Müller String
Quartet, at Brunswick, and then under Kummer. During the years 1840-1841
he worked in the orchestra of the Grand Opéra in Paris, after which he
went to London. In 1848 he was engaged as solo player for the Leipsic
(Gewandhaus) Concert, in 1852 taken to Weimar by Franz Liszt, and in
1866 appointed teacher of cello playing to the Conservatoire at Moscow.
From 1870 to 1878 Cossmann lived privately in Baden-Baden and only
appeared to play at concerts. When the Conservatoire at Hoch was founded
in 1878, the office of teacher of his instrument was entrusted to him,
which post he now occupies. Cossmann belongs to the best cellists of the
present time. He has a fine, distinct tone, manages the fingerboard with
ease, and is not only a distinguished solo player but also an excellent
quartet player. Amongst his compositions the most worthy of notice are
a Concert piece with piano accompaniment, three “Fantasias” on _Motifs_
from the “Freischütz,” “Tell,” and “Euryanthe,” six Solos in two parts,
a Swiss Melody and a Neapolitan Canzonet, three Pieces (Op. 8), Etudes
de Concert (Op. 10), and Violoncello Studies.

JOHANN AUGUST GOLTERMANN, born on July 25, 1825, in Hamburg, after
he had perfected himself under Kummer, was appointed to the Prague
Conservatoire, to which he belonged from 1850 to 1862. In the latter
year he exchanged this employment for that of first solo cellist in the
Stuttgart orchestra. In 1870 he was pensioned, and on April 4, 1876, he
died. He was an able artist in his branch of it.

The next pupil of Dotzauer to be mentioned is CARL SCHUBERTH, born
on February 25, 1811, in Magdeburg. He received at first, from a
musician of his native town named Hesse, six years instruction, and
then repaired to Dresden to Dotzauer, with whom he remained two years.
On his return home he made his _début_ with success as a soloist at
a concert organised by Catalani, in Magdeburg. At the end of 1828 he
undertook a concert tour to the North. The destination was Copenhagen,
where, in the spring of 1829, he arrived and made a prolonged sojourn.
Later on Schuberth occupied the position of first violoncellist at the
Magdeburg Theatre, gave it up, however, in 1833, and undertook, in the
autumn of the same year, a journey through Western Germany and Belgium.
From the latter place he visited Paris. In the following year he went
to Holland, and during the season of 1835 he was heard in London.
Schuberth then went to St. Petersburg, where he found, as elsewhere, a
brilliant reception, and immediately a permanent position, for he was
not only named Director of the Imperial band, but also Inspector of
the Music School affiliated to the Court Theatre and Director of Music
at the University. He filled these posts until 1863, in which year
death overtook him during a journey for the benefit of his health, on
July 22, at Zurich. Schuberth’s playing was exceedingly clever, but in
expression more elegant and ornamental than impressive. His cello pieces
give evidence of this, which, with the exception of a Concerto, belong
to the description of so-called conversazione music; but they have not
survived their author. Amongst his pupils the most remarkable is Carl
Davidoff.[109]

CARL LOUIS VOIGT, the third of Dotzauer’s pupils above-mentioned, was
born on November 8, 1792, at Zeitz; he was the son of the organist
at St. Thomas’s Church, Leipsic, Joh. Georg Hermann Voigt. He played
several instruments, and amongst others the violoncello also, on
which his grandfather, Johann Heinr. Viktor Rose,[110] had given him
instruction at Quedlinburg. Besides his work as organist, he played
the violoncello with the orchestra of the theatre in the Gewandhaus
at Leipsic. He imparted to his son what he knew and was able to do as
cellist, who, in order to perfect himself, studied under Dotzauer’s
direction some time, and in 1811 took the latter’s place in the Leipsic
Orchestra, to which he had belonged since the winter of 1809-1810. Voigt
filled this post until his death, which took place on February 21, 1831.
His violoncello compositions extant, consisting of Sonatas, Duets,
Exercises, and a diversity of Drawing-room Pieces, are feeble, but may
be used for instruction--as, for example, the three Sonatas (Op. 40).

CARL DRECHSLER, finally, born on May 27, 1800, at Camenz, in the kingdom
of Saxony, early studied violoncello playing. He began his career as a
military musician at Dessau. At the same time he assisted as cellist in
the orchestra there. Through the recommendation of Friedrich Schneider,
who discerned the young man’s talent, the Duke of Dessau granted him
the means, in 1824, of placing himself under Dotzauer’s direction for
further cultivation. After this he undertook a long concert tour. The
great success of this caused his name to be well known, with the result
that, in the year 1826, he was permanently established in the orchestra
at Dessau, with the title of Concertmaster.

Drechsler’s performances were characterised as much by faultless purity
and refinement as by feeling and tasteful rendering. His playing was
not powerful, but pleasing by its grace and delicacy. He was everywhere
received with welcome, and, as he responded to all that was demanded
as an excellent leader of his instrument in the orchestra, he was an
eagerly sought guest at all musical festivals. After he was pensioned,
in 1871, he chose Dresden as his residence. He did not, however, long
enjoy the amenities of retirement, for he died in the year 1873.

His son, LOUIS, born on October 5, 1822, at Dessau, formed himself under
the direction of his father as a clever violoncellist. He lived and
worked as such for a long time in Edinburgh.

Drechsler, the father, was an excellent teacher. Through him Dessau was
for a time affiliated to the Dresden school of cello playing, in which
he educated excellent artists, amongst whom the best known are Lindner
and Grützmacher.

AUGUST LINDNER,[111] born on October 29, 1820, at Dessau, after he
had completed his studies, was appointed, in the year 1837, to the
Hofkapelle at Hanover, to which he belonged until his death (June,
1878). He enjoyed the reputation of a distinguished violoncellist. Of
his compositions we must mention a Concerto (Op. 34), Nine Drawing-room
Pieces (Op. 18), Six Fantasias (Op. 38), Divertissements for young
cellists (two parts, Op. 32), Concert au Salon (two parts), Three
Paraphrases on _Motifs_ from Meyerbeer’s “Huguenots” and “Le Prophète,”
as well as Verdi’s “Ernani” (Op. 12), and a long list of Opera
Potpourris. Besides these, Lindner produced a new edition of L. Duport’s
“Essai sur le doigter du Violoncelle.”[112]

His pupil, BERNHARD THIEME, born on June 11, 1854, in Altenburg, began
his musical career after he left school, under the town musician at
Penig, in Saxony, and when at eighteen he returned home from there, he
received cello instruction, for a short time, from the Kapellmeister,
Toller. He very soon found employment in the Berlin Orchestra. He then
went, as first cellist, with the Fliegen Orchestra, for a summer, to
St. Petersburg, in the same capacity; a few months later he entered the
Bückeburg Kapelle. He was subsequently occupied in the Hofkapelle at
Hanover for two years, and during this period he enjoyed the excellent
teaching of Aug. Lindner. Since 1879 he has filled the place of solo
cellist in the town orchestra at Baden-Baden.

The Dresden school of cello playing, founded by Dotzauer, and continued
by Kummer, received a still greater forward impulse through FRIEDRICH
WILHELM LUDWIG GRÜTZMACHER.

This far-famed artist, whose efficiency was a great ornament to the
Dresden “Kapellinstitute,” was born on March 1, 1832, in Dessau, and
after he had learned from his father, who was an esteemed member of
the Ducal band, the elements of music, benefited from the instruction
of Carl Drechsler. Thus the teaching of Dotzauer, whose pupil Carl
Drechsler was at the place whence it had emanated, was further
developed--a most valuable gain for the artistic life of the Court of
Saxony.

Grützmacher came to Leipsic in the year 1848, fundamentally well
prepared for his vocation, and entered a private choral society in order
to be thoroughly conversant with the necessary routine in orchestra
playing. He was soon invited to take part in the Gewandhaus and the
Euterpe Concerts. In the latter he made his _début_ at the beginning
of February, 1849, as solo player, with Variations by Franchomme. The
first violoncellist of the Leipsic Gewandhaus was a certain Wittmann.
As, however, his performances did not fully satisfy, Bernhard Cossmann
was engaged in 1848 for the solo parts and for the cello teaching at the
Conservatoire. Then when Cossmann responded to the invitation to go to
Weimar, Grützmacher took his place, although at the same time he was a
regular member of the opera orchestra. From that period he was the chief
representative of his instrument in Leipsic. Not the less however did
he strive indefatigably to progress in his Art, keeping unceasingly in
view the goal of perfection. How well he succeeded in reaching it is
proved by the dominant position which he gained and maintained. Julius
Rietz, who was himself an able violoncellist, and had had during his
Directorship in Leipsic many opportunities of observing Grützmacher’s
extraordinary executive capacity, rated him very highly, and was in the
habit of admiringly expressing himself with regard to the incomparable,
exemplary and thorough training of his left hand. It is, therefore, the
more intelligible that he made him every offer possible in order to gain
him for the Dresden Hofkapelle, after he had undertaken its direction.
This happened in 1860, and in the same year Grützmacher was summoned
to Dresden as Kummer’s successor. From this time he travelled through
Germany, Holland, England, Austria, Hungary, Italy, Denmark, Sweden,
and Russia, and was received everywhere with triumph; but he was also
distinguished in many ways at the place of his work. In course of time
he received from the King of Saxony the title of Chamber Virtuoso, later
he was appointed Royal Concert leader, and on his twenty-fifth jubilee
of service he was honoured far and wide in manifold ways.

In Grützmacher’s playing were happily united the endowments of a
finished mastery of complex technical difficulties and delicate manner
of expression, more especially in the rendering of _Cantilena_. He is
not only a virtuoso of the first rank, but also an excellent interpreter
of classical chamber music. For this latter qualification the foundation
had already been laid by a careful musical education under his father’s
roof, to which Friedrich Schneider had substantially contributed. He
pursued his theoretical studies under the direction of this master.

Grützmacher published a great number of compositions. Those which have
had the widest circulation are the two Concertos, Op. 10 (A minor) and
Op. 46 (E minor); the Hungarian Fantasia (Op. 7), the Nocturne (Op.
32), the Scherzo (Op. 30), the Transcriptions of Classical Music (Op.
60), the “Daily Studies,” the Twenty-four Studies (Op. 38), as well as
three Songs with Violoncello obbligato (Op. 50). He added considerably
to the enrichment of violoncello literature by his transcriptions of
Haydn’s, Mozart’s, Beethoven’s, and Schumann’s Sonatas, as well as of
two of Beethoven’s Violin Romances, and of Schumann’s “Kinderscenen.”
He further arranged for the Violoncello the Thirty-six “Songs without
Words” of Mendelssohn, about twelve selected Piano pieces by Schumann
and Chopin, the Violin Sonata (Op. 19) and the Romance (Op. 44) by
Rubinstein, the “Pensées fugitives” by Steph. Heller and Ernst, and
many other pieces of music. Grützmacher also brought out new editions
of classical and modern compositions, with the addition of careful
annotations. We must here mention the two Gamba Sonatas of Joh. Seb.
Bach, as well as his six Violoncello Suites; a Gamba Sonata by Handel
and by Phil. Em. Bach, six Boccherini Sonatas with the addition of a
piano accompaniment, a Sonata by Bonifazio Asioli, some Violoncello
Compositions of Beethoven, Mendelssohn, Schumann, and Chopin; a “Thème
Russe varié” by Ferd. Ries, the ten Concertos and six easy Instruction
Pieces for Violoncello by Bernhard Romberg, as well as twelve Exercises
by Dotzauer (Op. 107), with the addition of a second violoncello part.

In a special manner Grützmacher is deserving of merit by his highly
successful method of instruction in violoncello playing. Even during his
active work in Leipsic he formed several excellent cellists, whose names
are Leopold Grützmacher, Kahnt, Wilfert, Hilpert, and Hegar.

LEOPOLD GRÜTZMACHER, a younger brother of the cello master already
mentioned, born on September 4, 1835, at Dessau, was taught cello
playing first by Drechsler and then by his brother, while Fr. Schneider
conducted his theoretical education.

Leopold Grützmacher belonged successively to the Theatre and Gewandhaus
orchestras in Leipsic, to the Court band at Schwerin, to the orchestra
of the German National Theatre in Prague, and to the Meiningen Court
band. From the latter he was called, in 1876, to Weimar, as solo cellist
to the Grand Ducal Kapelle. Like his brother he was also distinguished
by the title of “Chamber Virtuoso” and “Concertmaster.” He published
for the violoncello two Concertos (Op. 6 and 9) and several smaller,
pleasing, and well worked out compositions.

Leopold Grützmacher educated his son, whose Christian name was
Friedrich, as a cellist. He has already afforded agreeable proofs of his
executive capacity in his public appearances, and is a member of the
Weimar Royal orchestra.

MORITZ KAHNT, born on April 27, 1836, in Löbnitz (near Leipsic),
received instruction in his parents’ house from his seventh to his
fourteenth year not only on the violin and the piano, but also on
several wind instruments. Later he devoted himself by preference to
violoncello playing, in which he was Grützmacher’s pupil for three
years in the Leipsic Conservatoire. During the same time he received
instruction at the above-named Institution in composition and the organ.
From the year 1855 he has been first cellist of the Concert Orchestra,
as well as teacher in the school of music at Basle. Besides his post as
organist he superintends the direction of a Musical Union there.

BRUNO WILFERT, born on July 26, 1836, at Schmalzgrube, in Saxony, began
his education first as violinist under the town musical director at
Kirchberg (in the neighbourhood of Zwickau), then went with him to
Glauchau, and there began cello playing. Twice a week he journeyed,
with his violoncello under his arm, to the town of Zwickau, three
hours distant, in order to get instruction from the violoncellist,
Fr. Herrmann, a pupil of F. A. Kummer, who belonged to the town
orchestra. Later on he became Grützmacher’s pupil at Leipsic. By his
unceasing industry Wilfert succeeded so well that in the year 1864 he
was appointed solo cellist to the German Theatre at Prague. Since the
foundation of the Prague Musical Union (1876) he has belonged as a
co-operating member to the Quartet Society. The cello compositions of
Wilfert which have appeared are Two Pieces (Op. 1), Hungarisch (Op. 2),
Fantasia on Airs from the “Masked Ball” (Op. 3), Two Drawing-room Pieces
(Op. 4), and a “Nocturne” for four Violoncellos (Op. 5).

FRIEDRICH HILPERT, born March 4, 1841, at Nuremburg, went to the Leipsic
Conservatoire, was there pupil of Grützmacher, and having finished his
studies found an appointment in the Karlsruhe orchestra. He then went to
Zurich, where he made the acquaintance of the distinguished violinist,
Jean Becker (who died on October 10, 1884); with him, in 1866, in
connection with the Italians Masi and Chiostri as second violin and
tenor, he founded that artistic union which, as the “Florentine String
Quartet,” attained to such great reputation on account of its excellent
performances. In 1875 Hilpert separated from his Quartet companions
in order to take the place, hitherto filled by Röver, which had been
offered to him in the Grand Opéra and the Conservatoire at Vienna.
After the lapse of a year, he gave up this appointment again, and
became, under the title of Chamber Virtuoso, a member of the Meiningen
Hofkapelle, and was employed as soloist in the concert tours under the
direction of Hans v. Bülow. When he relinquished this undertaking,
he entered the Royal orchestra at Munich, to which he still belongs.
Hilpert is reckoned one of the best German cellists of the present day.
The publication arranged by him of a collection of “classical studies”
by Couperin, Rameau, Bach, and Martini are worthy of notice.

EMIL HEGAR also, born on January 3, 1843, at Basle, received his
education, like the above-named cellists, from Grützmacher, at the
Leipsic Conservatoire. In the year 1866 he was appointed, on account
of his much esteemed performances, first Violoncellist of the Academy
Orchestra, as well as teacher at the Conservatoire at Leipsic. Compelled
by a nervous affection to abandon entirely, a few years later,
Violoncello playing, he devoted himself to the study of singing, and
became a singing master. He worked with success as such in the school of
music in his native town. The loss which cello playing sustained in him
is proved by his pupil,

JULIUS KLENGEL, one of the most excellent and purest violoncello
players of the younger generation. He was born on September 24, 1859,
at Leipsic, and is now working in his native town as first cellist in
the Gewandhaus Concerts and as teacher at the Conservatoire. Klengel
has not only made himself known outside the sphere of his work by his
remarkable playing, but also as a most attractive composer for his
instrument. Amongst his works we will mention only the compositions
published, as Op. 1, 3, 4, 5, 7, 9, 10, 11, 15, and 20. Of those of his
works not numbered must be named a collection of “Unsere Lieblinge,”
which contains “the most charming melodies of ancient and modern times,”
cleverly arranged with piano accompaniment.

A second pupil of Hegar’s is HERMANN HEBERLEIN, who also had the
advantage of Carl Schröder’s and Bernhard Cossmann’s instruction.
Born on March 29, 1859, at Marckneukirchen, in the kingdom of Saxony,
Heberlein went, from 1873-1877, to the Leipsic Conservatoire. In the
last years of that period he gave concerts in South Germany, and finally
was appointed to be solo cellist at the town theatre of Königsberg.
In 1883 he undertook the office of teacher of his instrument at the
music school there. He wrote “Elementary Studies” for the Violoncello,
“Practical Cello Studies” (2 books, Op. 5), Variations for the
Violoncello, with piano accompaniment (Op. 2), Two Cello Pieces (Op. 3),
four Pièces de Salon (Op. 6), and also published a Violoncello school.

The favourable results which had been attained in Leipsic by Friedrich
Grützmacher in the training of his pupils made him very soon the most
attractive teacher in Germany. As already mentioned, after he had
accepted the flattering invitations made to him to go to Dresden, pupils
came to him from all parts. Only the most famous amongst them are
noticed below.

OSCAR EBERLE, born June 5, 1841, at Krossen, on the Oder, received from
his father, who was town music director, his first instruction on the
cello. At fourteen he had already made such progress that he was taken
into the Bilse Orchestra, which at that time had its headquarters at
Liegnitz. He belonged to it for five years, in the course of which he
was also employed as soloist in the concerts of the Society. He was
then for two years Grützmacher’s pupil in Dresden; advancing rapidly
under his direction, he attained to artistic maturity. In 1867 Eberle
was summoned to Rotterdam as teacher to the music school there, as well
as solo cellist at the concerts given by the “Matchappy tot bevordering
der Toonkunst.” He was immediately engaged as soloist for the German
Opera at Rotterdam. He retired from the latter post in 1886. Eberle is
an honorary member of the Concert Society, with which he worked, as well
as of the Society of Students, “Sempre crescendo,” at Leyden, a proof of
how highly his talent is appreciated in Holland.

RICHARD BELLMANN, born on June 8, 1844, at Freiburg, in the kingdom
of Saxony, at first benefited by the instruction of F. A. Kummer, and
then went through a course under Grützmacher, after having for three
years frequented the Conservatoire at Dresden. He then went to Paris,
in order to study composition under the direction of Franchomme. This
connection, however, did not last long, as Bellmann was soon summoned
to the Grand Ducal Kapelle at Schwerin, as first solo cellist. His
performances met with such high appreciation that he was distinguished
by the Grand Duke with the bestowal of the title of Chamber Virtuoso. In
1878 Bellmann gave up his position at Schwerin, which he had occupied
for twelve years, took up his residence at Bonn, and was engaged chiefly
as a concert player. A short time after was formed at Cologne the
Heckmann String Quartet, which gained such reputation in recent years
during its tours in Germany, England, and Italy, which Bellmann joined,
and to which he still belongs as a special ornament.

Bellmann must be considered one of the most accomplished violoncellists
of the present time, not only as a soloist, but also as a quartet
player. With complete technical training, his playing is distinguished
by its exemplary purity, rarely fine tone, its elegance, and its noble
and accurate musical rendering.

EMIL BOERNGEN spent his youth in Emden, where his father was music
director. He was born on February 2, 1845, at Verden. He received his
first instruction in music from his father. He then began the study of
violoncello playing under the direction of the chamber virtuoso, C.
Mattys, in Hanover. He obtained, however, his higher education under
the direction of Grützmacher, and had the benefit of his tuition for
three years. In 1870 Boerngen went to Helsingfors. He there undertook
the post of cellist at the theatre. At the same time he was frequently
a much appreciated player both as soloist and in quartets. Two years
after he accepted the invitation to Strasburg Theatre as solo cellist.
After several years of activity he relinquished his post and went to
Salzburg, where he was engaged for the Mozarteum. Since 1875 he has been
teacher of violoncello playing at the Royal Music School at Würzburg.
In consideration of his successful work at that Institute, in 1883 he
received the title of Professor as a mark of distinction. During his
official activity he was also occupied as solo and quartet player.

RICHARD VOLLRATH was born on December 16, 1848, in the Thuringian town
of Sonneberg, belonging to Saxe-Meiningen, where his father filled the
office of town musician. The boy early tried several instruments,
till he at length showed his preference for the violoncello. His first
teacher was the royal chamber musician, Roda, at Rudolstadt. During
the years 1865-1867, he studied under the direction of Grützmacher.
Having fulfilled his military term at Coblenz, Vollrath belonged, from
1871-1873, to the Royal orchestra at Ems as cellist. In the following
winter he joined the Mannsfeld first orchestra at Dresden. He made use
of his residence there to renew his studies under Grützmacher. He then
went as first cellist for two years into the Wiesbaden orchestra. Since
September, 1876, he has belonged in the same capacity to the Municipal
orchestra at Mainz. Besides his official post he is also prominent as a
solo player and an appreciated teacher.

CARL. FRIEDR. WILH. FITZENHAGEN was educated under the guidance
of Grützmacher as a violoncello virtuoso of eminent rank. This
distinguished artist was born on September 15, 1848, in the little
town of Seesen, in Brunswick, where his father was music director. He
early began his practice--in his fifth year on the piano, in his eighth
on the violoncello, in his eleventh year on the violin. Besides these
instruments, he learned by degrees several wind instruments in order to
take part in his father’s musical entertainments when a vacancy occurred
in his orchestra. By means of this many-sided capacity, Fitzenhagen
gained, even in early youth, a certain routine in musical matters which,
later on, stood him in good stead.

Fitzenhagen received the first regular cello instruction, besides making
progress in piano and violin playing, from the Ducal chamber musician,
Plock, in Brunswick. But he soon made his appearance there as soloist.
His really serious study, however, was in the beginning of October of
the year 1862, when he became Theodore Müller’s pupil. After a lapse
of three years, Fitzenhagen was heard by the Duke of Brunswick in the
Theatre Royal. The trial performance was so satisfactory that the Duke,
in order to forward him in his artistic career, released him entirely
from military service. Patrons of high standing immediately supplied
him with the means of prosecuting his cello studies under Grützmacher.
This occurred in May, 1867. A year later, notwithstanding his youth,
he was named a member of the Hofkapelle of Saxony. From that time he
frequently made his appearance as a solo player; took part, in 1869, in
the general musical gathering in Leipsic, and in 1870 at the Beethoven
Festival. Franz Liszt wished to gain him for the orchestra at Weimar,
but Fitzenhagen preferred to accept an offer made to him to be Professor
at the Imperial Conservatoire in Moscow. From that time he has developed
an uncommonly active and successful artistic capability as a concert
player as well as chamber music performer. He gained striking results
in his professorial relations, for he is at present looked upon as the
cello master of greatest repute in Russia. The best of his pupils will
be mentioned in the last section of this book.

After Fitzenhagen had been appointed Concertmaster to the Russian
Imperial Musical Society, the direction of the Moscow Music and
Orchestral Union, which organises annually some concerts, was made over
to him some three years ago.

Fitzenhagen was very industrious as a composer. Besides a String
Quartet, which gained the prize of the St. Petersburg Chamber Musical
Union, he wrote four Cello Concertos, a Suite for Violoncello and
orchestra, a “Fantasia” on _Motifs_ from Rubinstein’s “Dämon,” with
orchestra; a long list of drawing-room pieces, amongst them twelve
little pieces which embraced a Quarto, a Ballade with orchestra, and a
book containing technical Cello Studies.

ALBERT PETERSEN, born on October 23, 1856, in Lübeck, after he had
studied under Grützmacher, was first cellist in the private bands at
Dresden, Kreuznach, and Cassel; accepted engagements for America and
Pawlowsk, near St. Petersburg, and has since filled for ten years the
position of solo cellist in Magdeburg, as well as that of cello master
at the Musical Institute there.

CARL MONHAUPT, born on March 9, 1856, in Hamburg, began his musical
studies with piano playing. In his fifteenth year he decided for the
violoncello, of which he learnt the elements from the cellist named
Katerbaum, of the Central Hall orchestra of his native town. In 1872 he
betook himself to Sondershausen, in order to pursue his studies under
the direction of his brother Fritz,[113] who at that time belonged
to the Royal orchestra of Sondershausen as first cellist. Here he
remained three years, when he went to Dresden in order to perfect his
education under Grützmacher’s guidance. At the present time he is first
violoncellist of the Musical Society and of the Orchestral Union at
Berne, as well as teacher at the music school there.

OSCAR BRÜCKNER, born on January 2, 1857, at Erfurt, received his first
cello instruction from the Concertmaster, Herlitz, in Ballenstedt,
after he had been prepared by his father for the musical career. But he
completed the most important part of his studies under Fr. Grützmacher,
in Dresden, where he also received instruction in the theoretical
portion from Felix Dräseke.

After he had finished his course of study, Brückner undertook concert
tours in Russia, Poland, and Holland. Wherever he was heard he was
marked by well-merited success. Besides his clever “technique” he
made a great impression by his broad and full tone. From 1882-1884
he was engaged as violoncellist at the Grand Ducal Court Theatre in
Neustrelitz. On retiring from this post he received the title of Chamber
Virtuoso. Since 1886 he has been solo cellist at the Theatre Royal,
Wiesbaden. At the same time he takes part in the Violoncello teaching at
the Wiesbaden Conservatoire.

Brückner’s official successor in Neustrelitz, OTTO KÖHLER, was born
December 21, 1861, at Neuhaldensleben (in the district of Merseburg). He
went to school at Chemnitz and having performed his military service,
he entered the Regiment of Life Grenadiers at Dresden. He there
remained until 1882, in order to perfect himself, under Grützmacher,
in Violoncello playing, which he had already pursued by himself. In
January, 1883, Köhler was engaged for the Kapelle of the Duke of Coburg
Gotha. He remained two years at this post, during which he went through
a theoretical course under the direction of the Court Kapellmeister,
Langert. In 1885 he was offered the post of solo cellist at Neustrelitz.
In this position he is at present.

A German-American is also amongst Grützmacher’s pupils. EMIL SCHENK,
born at the beginning of the sixties at Rochester, North America. In
1879 his father, a native of Baden, who had settled as music teacher
in the above-mentioned American town, sent him to Dresden to complete
his studies under Grützmacher’s direction. He made rapid progress,
and soon attracted the attention of the Dresden musical circle to so
great a degree that at the end of the same year he was appointed to the
Hofkapelle there. His engagement, however, was only temporary, for as
soon as Schenk had completed his studies under Grützmacher, he returned
to America. On his frequent public appearances in New York he has had
brilliant success. The well-known Director of the Philharmonic Concerts,
Theod. Thomas, did not let the favourable opportunity escape of gaining
over the highly gifted young artist as solo cellist for his orchestra.
He attained to ever-increasing appreciation and popularity. But as
Thomas so frequently undertook tours with his orchestra in the States
of the Union, this occupation became at length too irksome to him; he
released himself from the contract, and from that time, encouraged by
the sympathy of the public, he lives in New York as an independent
artist, and works not only as a concert player, but also as a teacher of
great repute.

Another excellent pupil of Grützmacher is HUGO BECKER, son of the famous
Violinist who founded the Florentine Quartet, but who unhappily died
in the flower of his age, in 1884. Hugo Becker was born on February
13, 1863, at Strasburg, in Alsace, and at the beginning of the sixth
year of his life received instruction from his father on the piano and
the violin. When he was nine years old, he heard a Violoncello played
in church, and this made such an impression on him, that he decided in
favour of that instrument. A pupil of Menter’s, the cellist Kündinger,
of Mannheim, whither Becker’s parents had gone in 1869, undertook his
education. At fifteen he had made such progress, that the place of
second cellist was offered to him in the orchestra of the Mannheim Court
Theatre, which he accepted. At the end of nine months he gave this up in
order to go through a course under Grützmacher, from whose instruction
he benefited for five months. Having returned home, his father undertook
his further tuition, and used to play to him studies and concert pieces
on the Violin which greatly assisted his progress in regard to their
comprehension and rendering. The circumstance that he was constantly
hearing in the parental home a great deal of chamber music in the best
manner and himself took part in it, was of great value for the young
man’s musical education. In the year 1880 Jean Becker resolved to
undertake concert tours with his son Hugo and his brother and sister
JEANNE (a pianist) and Hans (tenor), during which the young Cello
virtuoso, then seventeen years of age, gained his first laurels. While
the Becker family quartet was performing in London, Hugo Becker had the
opportunity of being brought a good deal in contact with Piatti, which
was not without producing some influence on his playing. The practices
at the De Swert Violoncello Concerts, under the direction of their
founder, also contributed to his progress.

For two years, from October, 1884, till the autumn of 1886, Becker
filled the office of solo cellist at the Frankfort Opera. From that
time he accepted no other post, in order to leave his time quite free
for concert engagements. Frankfort-on-the-Main has continued to be his
place of residence. We must mention that he has the title of Grand Ducal
Chamber Virtuoso of Baden.

KARL LÜBBE, born on February 11, 1839, in Halberstadt, began his musical
career as a member of the regimental band at Magdeburg, was appointed to
the Grand Ducal Berneburg orchestra at Ballenstedt, and came to Dessau
on the union of the Anhalt Duchies. As he showed himself very assiduous
the Duke of Dessau granted him the means of perfecting himself still
more under the guidance of Grützmacher. He gained great dexterity and
skill, but was inclined to the various experiments of a virtuoso, which
he carried out also in his compositions. His cello pieces have not been
published. After Drechsler was pensioned Lübbe became his successor as
first Violoncellist in the Court Chapel at Dessau. He died in his prime
on January 7, 1888.

HUGO JÄGER took his place, born on May 17, in Warmbrunn. He profited
by the instruction of Popper and Grützmacher, became then a member of
the Hofcapelle of the Prince of Hohenzollern, in Löwenberg, and after
relinquishing this was employed in Ems, Altenburg, and Brunswick. Since
1874 he has belonged to the Ducal band in Dessau.

AUREL V. CZERWENKA, born on December 31, 1860, at Karánsebes, in
the Hungarian state, Szöreny, was first a pupil of the Steiermark
Musical Union at Gratz. In 1882 he came to Dresden and frequented
the Conservatoire as a pupil of Grützmacher, under whose direction
he afterwards studied privately. On the completion of his education
he worked for a time as first cellist in the Mannsfeld orchestra in
Dresden, and then he undertook the office of solo cellist at the Land
Theatre, as well as that of teacher at the Steiermark Musical Union at
Gratz. His performances show genuine artistic talent and training.

Two other pupils of Grützmacher’s must be here mentioned concerning
whom there is very defective information. The first to be considered
is THEODOR KRUMBHOLZ, who unfortunately died while still young. He was
first Violoncellist at the Stuttgard Court Kapelle, with the title of
Royal Wurtemburg Chamber Virtuoso.

H. RUHOFF became, after he had finished his studies, first cellist at
the Theatre Royal at Pesth, but was obliged to give up his place on
account of a nervous affection, and still lives as a music master at
Zurich, where he teaches chiefly at his brother’s Musical Institute.

A. HEYN, born in Dresden, is exclusively a pupil of Grützmacher. After
his training he was first occupied in the orchestra of German Opera at
Rotterdam. He is now working as first Violoncellist in the Grand Ducal
band in Darmstadt. As regards the Violoncellists, Smith and Rüdinger,
who were likewise Grützmacher’s pupils, information will be given among
the Dutch and Danish cellists. As a third pupil of Drechsler--

KARL SCHRÖDER, born on December 18, 1848, in Quedlinburg, must be
here noticed with distinction. He had already made such progress
in cello studies at fourteen years of age that he was able to be
received into the Hofkapelle at Sondershausen. After he had joined
his brothers in forming a string quartet, which was distinguished
by his performances, he accepted, in 1873, the place offered to
him as first cellist in the Brunswick Kapelle. Only a year later,
however, he consented to go as first representative of his instrument
to Leipsic, and he also superintended at the same time the cello
instruction in the Conservatoire there. From Leipsic Schröder went, in
1881, as Hof-Capellmeister to Sondershausen. He worked at this post
for five years; he then undertook the direction of German Opera in
Rotterdam. Thence he went, in 1887, as Hof-Capellmeister to Berlin.
Since the autumn of 1888 he has been occupied as Capellmeister at the
Stadt-Theatre at Hamburg.

Schröder published the following Cello compositions: Three Concertos
(Op. 32, 36, and 55), three concerted pieces (Op. 38, 51, and 56),
an Allegro di Sonatina (Op. 13), Pieces of National Airs (Op. 14), a
Song without Words (Op. 15), and a Nocturne (Op. 42). Besides these
he produced a Violoncello school (Op. 16), a school of scales and
chords (Op. 29), a school of shakes and staccatos (Op. 39), a practical
course for Violoncello playing, as well as a long series of Etudes and
Exercises. The latter bear the Nos. 22, 25, 35, 40, 44, 45, 46, 48,
and 57. He also edited orchestral and concert studies as well as five
classical pieces.

The same continuity of Violoncello playing as that of the Dresden school
cannot be traced in Vienna because, though at the beginning of our
century several cello masters were actively working at the same time,
a similar connection did not exist amongst them as in Dresden. But the
Austrian capital had the advantage of a richly endowed musical life
by means of the heroes of instrumental music, which had a quickening
and progressive effect on all branches of executive art, and specially
on Violoncello playing. Although this influence was not confined to
Vienna alone--since the works of these highly-gifted men, after their
publication, spread over an ever-widening circle--still the musical
world of Vienna was the chief gainer thereby.

It was at the source and therefore had the opportunity of knowing and
studying the creations of these master composers at first hand. We need
only recall the Schuppanzigh Art Society, which practised and produced
Beethoven’s Quartets before they were published. The Violoncello was
represented at the end of last century and the beginning of the present
one by Anton Kraft and, later, by Joseph Linke. For the first Beethoven
composed the Cello part of the Triple Concerto (Op. 56). The Sonatas
(Op. 5, 69, and 102) of the great master may be here mentioned as
important works of Violoncello Literature.

ANTON KRAFT was born on December 30, 1752, in the little Bohemian town
of Rokitzan. After his school education was finished he entered the
University of Vienna, in order to study law. There he soon began his
musical career, and, as he had already diligently practised Violoncello
playing in his father’s house, and had acquired remarkable proficiency,
he did not find it difficult to procure a position in the Imperial
Hofkapelle. Joseph Haydn, to whom he was introduced as clever, appointed
him, in 1778, to the orchestra of the Prince Esterhazy. As, however,
this artist-patron died at the end of September, 1790, the band was
done away with, and Kraft returned again to Vienna, where, in the year
1793, by his conjunction with it, the Schuppanzigh String Quartet was
founded, which used to play every Friday morning in the house of Prince
Lichnowsky. Kraft was himself occupied, however, until 1795, in the band
of Prince Grassalkowitz, and later on in that of the Prince Lobkowitz.
He died at Vienna on August 20, 1820.

Of Kraft’s compositions were published--six Sonatas for Violoncello,
with Bass (Op. 1 and 2); three concerted Duets for Violin and
Violoncello (Op. 3); a Violoncello Concerto, with orchestra (Op. 4); two
Duets for two Violoncellos (Op. 5 and 6), and a Divertissement with
Bass.

Amongst Kraft’s pupils his son, Nicolas, and Birnbach must be mentioned.

HENRICH AUGUST BIRNBACH, born 1782 at Breslaw, went in 1792 to Berlin,
and there learnt Piano and Violoncello playing. The year 1802 found him
at Vienna, where he enjoyed the instructions of Kraft and was employed
in the opera orchestra. Two years later Count Lubomirski engaged him
for his private band in Galicia. But in 1806 he returned to Vienna, and
in 1812 he accepted an engagement as first Violoncellist at the Theatre
of Pesth. From 1822 to 1824 he remained at Vienna, occupied himself
zealously with the “Chitarra coll’arco,” invented by a certain Stauffer,
wrote a Concerto for it, and played it in a public assembly. In the
year 1825 he at length received an appointment in the Hofkapelle at
Berlin. He seems to have belonged to it until his death.

NICOLAS KRAFT, born at Esterhazy, in Hungary, on December 14, 1778,
began his musical practice in his fourth year, on a large tenor which
he possessed, something like a Violoncello. Two years later he played a
solo before the Prince Esterhazy, which his father had written specially
for him with this object in view. At eight years of age he made a tour,
accompanied by his father, and performed at concerts favourably in
Vienna, Presburg, Dresden, and Berlin. On his return, the young Kraft
sought to fill up the gaps in his general education, which, until then,
had been neglected, and this took up five years. During the time he
only occupied himself with his instrument as a recreation. In 1796 he
entered with his father into the Lobkowitz band. The prince, who took
a great interest in the youth, and cherished the wish that he should
cultivate still further his art, granted him the means of going through
a course with Louis Duport at Berlin. This happened in the year 1801. He
afterwards went to Holland, in order to be heard there. Prince Esterhazy
meantime desired his speedy return, so that he could not pursue farther
the journey he had begun. On his way home, he went to Leipsic, Dresden,
and Prague, exciting great enthusiasm everywhere by his performances.

Nicolas Kraft was engaged in the year 1809 as solo cellist for the
Imperial Opera, but retained also his connection with Prince Lobkowitz,
who offered him a permanent salary, under the condition that he should
never play anywhere without his permission, except in his Palace. This,
however, did not continue, because the Prince fell into serious money
difficulties from the year 1811, and was no longer free to dispose of
his ruined fortune. But Kraft was indemnified in another manner. At the
Congress of Princes in 1814, he played before an assemblage of crowned
heads in Vienna, and the King of Wurtemburg experienced such great
pleasure at his performances, that he named him his Chamber Virtuoso.
He now settled at Stuttgard, and thence took a journey, in 1818, to the
Rhine, which he extended as far as Hamburg. Here he became acquainted
with Bernard Romberg, who gave him every encouragement, and showed it
by giving with him two concerts publicly, when he went to Stuttgard in
1820. In the year 1824 Kraft wounded the first finger of his right hand,
on account of which, after futile attempts at curing it, he was obliged
to retire. He spent his pension in Stuttgard, where he died on May 18,
1853. Kraft composed for his instrument four Concertos, nine Duets
(three of which are marked as “Divertissements”), a Polonaise, a Bolero,
a “Scène pastorale,” a “Rondo à la chasse,” and two Fantasias, of which
one is an arrangement of airs from the “Freischütz.” Nicolas Kraft had
a son whose Christian name was FRIEDRICH, whom he likewise educated
as a clever cellist. He was born on February 12, 1807, in Vienna, and
belonged to the Stuttgard band as chamber musician. Nothing further is
known of him.

About the same time as Anton Kraft, Friedrich’s grandfather, JOSEPH
LINKE, the violoncellist already mentioned, was at work in Vienna for
some years as a distinguished quartet player. He was born on June
8, 1783, in the Silesian town of Trachenberg, received his first
instruction from his father, and after his death pursued his studies
under a certain Oswald. In his twelfth year he went to the Dominicans
at Breslaw. There his teachers in cello playing were Lose and Flemming;
for theory he studied under the organist Hanish. Lose was a member of
the theatre orchestra, and when he relinquished the post Linke took
his place. He remained there, however, only until 1808, when he went
to Vienna. He was engaged immediately by Schuppanzigh for the house
quartet of Count Rasoumowski, which existed until the year 1816. After
the dissolution of this Society, Linke was attracted to Croatia by the
family of Count Erdödisch. Two years later he again appeared in Vienna,
in order to work at the theatre there as soloist. Thirteen years later
he received an appointment in the same capacity at the Imperial Grand
Opera. His death took place on March 20, 1837.

Linke’s published cello compositions consist of a Concerto, three books
of Variations, a Polonaise, a “Rondoletto,” and a “Caprice” on Rossini
airs. Whilst the elder Kraft and Linke, whom Beethoven likewise held in
great esteem, represented in Vienna violoncello playing from a purely
artistic point of view,

JOSEPH MERK did so more especially on the virtuoso side. This artist,
born on January 18, 1795, at Vienna, who was originally to have been a
violinist, and had already in his younger years made great progress,
had the misfortune to be bitten so severely by a dog that, even after
the wound was healed, he was never able again to bring his left arm
into the requisite position for violin playing. He therefore took
up the Violoncello, on which he received instruction from Philippe
Schindlocker.[114] Under his direction, Merk made such rapid progress
that already after the lapse of a year he was engaged as quartet player
by a Hungarian magnate. He remained at this post two years, when he
made a tour through the Austrian dominions in order to make himself
known in a wider circle. In 1816 he was appointed first Violoncellist
to the Grand Opera at Vienna. Three years later he entered the
Imperial Kapelle, and, in 1821, the Professorship for the Violoncello
was entrusted to him at the Vienna Conservatoire, which institution
later on acquired such importance in regard to instrumental music.
He retained the latter office until 1848. In 1834 the Emperor named
him his chamber virtuoso. Soon after he undertook a prolonged tour,
visited Prague, Dresden, Leipsic, Brunswick, Hanover, Hamburg, and from
the last-mentioned town went to London. In Vienna, Merk enjoyed great
favour. “He was,” C. Hanslick says, in his “History of Vienna Concerted
Music” (p. 245), “indefatigable as an industrious concert-giver, and
continually encouraged by public sympathy. He frequently performed at
Concerts with Mayseder, whose compositions he played by preference, and
might properly be called the Mayseder of the Violoncello.... Merk also
performed, as cellist, in Böhm’s quartet productions. As virtuoso he
soon surpassed Linke as well as Friedrich Wranitzky. The latter, who
was a son of the violinist and Kapellmeister, Anton Wranitzky, held a
respectable position among the Viennese cellists of that period, and,
about his twentieth year, frequently played Duets with his brother, the
violinist, Anton Wranitzky, at concerts.”

Merk died in Vienna on July 16, 1852. Of his Violoncello compositions
were published--one Concerto, one Concertino, one Adagio and Rondo, one
Polonaise, four books of Variations, “Vingt Exercices” (Op. 11), and Six
Etudes (Op. 20). Formerly these compositions were much played, but, in
course of time, they have gradually gone out of fashion, like most of
the Cello productions of that period.

Amongst Merk’s numerous pupils, the most remarkable are--Böhm, Träg,
Marx, and the Dutchman, Franco-Mendez.

KARL LEOPOLD BÖHM, born November 4, 1806, at Vienna, profited by Merk’s
instruction in the Conservatoire there. He was successively member of
the orchestras of Josephstadt Theatre and of the Vienna Theatre. In
September of the year 1824 he went to Donaueschingen, where he was
appointed musician to the Prince of Fürstenburg. Thence he undertook
a successful concert tour to Switzerland and Germany. When in August,
1849, he was released from his engagement in the Donaueschingen Kapelle,
he went to Strasburg and entered the theatre orchestra, and also
undertook a series of concerts at Vichy. At the beginning of 1851 the
amateur Prince of Fürstenburg recalled some of the members of his former
band, in order to organize some chamber music. Amongst them was Böhm,
who now concluded his artistic career at Donaueschingen. Of his Cello
compositions he published a Concerto, Duets, Fantasias, Variations,
Polonaises, and some smaller pieces.

ANTON TRÄG, son of a Viennese composer, Andreas Träg, was born in 1818,
at Schwechat, near Vienna; began his musical education at six years of
age, and went to the Conservatoire at Vienna as a pupil of Merk’s. On
February 28, 1845, he was engaged as teacher of Cello playing for the
Conservatoire at Prague. Ten years later however he gave up the post and
returned to Vienna, where he died on July 7, 1860. Träg devoted himself
by special preference to classical music. He had abundant opportunity of
occupying himself with it in the Palace at Clam. Of his pupils,

HEINRICH RÖVER distinguished himself, who was born May 27, 1827.
Röver belongs to the number of those violoncellists who were at first
violinists. As early as eight years of age he decided in favour of the
violoncello. Fétis says of him: “He was about 1863 the cleverest player
of his instrument in Vienna.” Of his compositions may be cited--Idyll
(Op. 1), Mazurka (Op. 8), and “Sérénade du Savoyard” (Op. 11). Röver
died in 1876.

JOSEPH M. MARX, born in 1792 at Würzburg, where he also received his
musical education, began his artistic career as member of the Theatre
orchestra at Frankfort-on-the-Main, whence he went to Vienna, in order
to study under Merk. Later on he worked in the Stuttgard orchestra,
until he was appointed first Violoncellist at Carlsruhe. He finally
was musical director there, and died while working in this capacity on
November 11, 1836. His daughter, Pauline, made her appearance on the
stage as a singer during the years 1830-40. Concerning FRANCO-MENDEZ,
see the Cello players of Holland.

To the best Viennese violoncellists about the middle of our century
belongs CARL SCHLESINGER, born on August 19, 1813. The violin was
originally his instrument. After the lapse of three years he devoted
himself to the Violoncello. Who his master was is unknown. In 1838 he
was appointed solo cellist to the Pesth National Theatre. He gave up
this place in 1846, as the opportunity presented itself of entering the
Imperial Opera orchestra in the same capacity at Vienna. In 1862 the
office of cello teacher at the Conservatoire there was committed to him.
Schlesinger’s most noted pupils are: Udel, Sulzer, Hummer, and Hegyesi.

CARL UDEL, born on February 6, 1844, at Warasdin, in Croatia, was early
directed to the study of music by his father, who was Kapellmeister,
and went in September, 1859, to the Conservatoire at Vienna. He next
occupied himself there with violin playing under the guidance of
Professor Carl Heissler. Twelve months after he took up the Violoncello,
and for five years received instruction from Schlesinger. In 1867 he
was first Cellist at the opera in Pesth; a year later, however, he
returned to Vienna and was engaged there, in 1869, for the orchestra
of the new opera house. By degrees he rose in his profession, and in
May, 1876, he entered the Conservatoire as substitute for Röver, whose
duties were then performed by Hilpert for a year. After the resignation
of the former, Udel was again elected in his place. In 1878 Cello
instruction at the Conservatoire was divided between him and Hummer, who
in the interval had been nominated first Cello player of the Imperial
Hofkapelle. Hummer received the three upper and Udel the three lower
classes. After three years of work the latter obtained the title of
Professor. On account of an injured hand, Udel was obliged to give up
his place as member of the opera house, since when he has not played in
public. He now devotes himself entirely to teaching.

JOSEPH SULZER, born on February 11, 1850, at Vienna, emerged in 1869
from the Conservatoire as one of Schlesinger’s best pupils, and was
engaged for the Italian Opera, and as master for the Conservatoire
at Bucharest. He remained there four years. In 1875 Sulzer received
an appointment in the Vienna Opera orchestra. Illness, brought on
by over-exertion, compelled him for three years to withdraw from
his employment in the orchestra. On his recovery he still further
endeavoured to perfect himself, in which the friendly advice of Popper
was of service to him, and in 1880 he was appointed solo player at
the Imperial Opera. At the same time he gave concerts and taught. He
belonged to the Helmsberg Quartet from 1882 to 1885. Sulzer published
various compositions and productions for the Violoncello at Breitkopf &
Härtel’s, and D. Rahter’s, and Cranz’.

REINHOLD HUMMER, born on October 7, 1855, at Linz, on the Danube, began
his career with violin playing very early at Vienna, where he was
brought up, and pursued it with great eagerness for six years. Then an
ardent desire was awakened in him to learn the Violoncello. He forthwith
began the study of that instrument at the Vienna Conservatoire under
Schlesinger’s guidance. At his death, H. Röver became his master. On
the whole he was four years at the Conservatoire. His progress was so
rapid that he carried off the first prize against his fellow students by
unanimous consent. After he had left the establishment to which he was
indebted for his education, he immediately received an appointment in
the opera orchestra to which he has belonged since the year 1873. Four
years later he was appointed teacher at the Conservatoire, and in 1878
solo Cellist in the Imperial Court band; he was also given the title of
Professor. Besides his official employments, this much-favoured artist
worked at Vienna and elsewhere as concert and quartet player.

Hegyesi will be mentioned among the Hungarian violoncellists.

As an older pupil of the Vienna Conservatoire (1835 to 1839), JOSEPH
HUBER must be mentioned, who was born about 1816 at Vienna. According to
Fétis, he was heard during the years 1836 and 1837 at the Conservatoire
Concerts. Several of his Violoncello compositions appeared at Vienna.

       *       *       *       *       *

A succession of excellent German cellists emanated from the Prague
Conservatoire, opened in the year 1811. At this Institution JOHANN
NEPOMUK HÜTTNER, born on January 1, 1793, was actively engaged as
Violoncello teacher from 1822. He pursued his studies under J.
Zimmermann. After they were concluded Hüttner joined the orchestra
at the Pesth Theatre. Two years later he went to Lemberg. Thence he
undertook, in 1820, a concert tour in Poland and Russia, after which
he was appointed to the Prague Conservatoire, and the place of first
cellist was immediately given to him at the theatre. His playing was
distinguished by remarkable skill and delicate tone. In the _Adagio_ his
rendering was full of feeling. Hüttner was specially appreciated as a
quartet player.

Hüttner formed an excellent cellist in his pupil, FRANZ HEGENBARTH, born
on May 10, 1818, at Gersdorf, in Bohemia. On May 1, 1831, he entered the
Prague Conservatoire, and remained there as student until May 16, 1837.
Count Kinsky provided him with the means for his artistic education.
In May, 1865, the Professorship at the Prague Conservatoire was given
to Hegenbarth; it had until then been in the hands of Moritz Wagner,
Goltermann’s successor. He devoted himself to this until his death,
which occurred on December 20, 1887.

Besides several other compositions, Hegenbarth wrote a Violoncello
school, though nothing at all of his has been published. Amongst his
pupils the following are distinguished: Lang, Grünfeld, and Wihan.

ANTON LANG, born on November 10, 1850, at Carlsbad, from his tenth year
played both the Piano and Violin, but decided at thirteen in favour of
the Violoncello. In 1865 he became Hegenbarth’s pupil in the Prague
Conservatoire. When his training was ended Lang was employed as solo
player in several concert orchestras. Since 1877 he has been attached to
the Grand Ducal Kapelle in Schwerin as first cellist, with the title of
“Kammer Virtuoso.”

HEINRICH GRÜNFELD, born on April 21, 1855, at Prague, went to the
Conservatoire there, and profited by the instructions of Hegenbarth.
In 1873 he became solo cellist at the comic opera at Vienna and filled
this place for two years. In 1876 he went to Berlin, where he worked
as teacher of his instrument. From time to time he undertook some
successful concert tours in Germany, Russia, and Austria, with his
brother Alfred. Everywhere his beautiful tone and his tasteful rendering
were appreciated.

HANS WIHAN, born on June 5, 1855, at Politz, in Bohemia, is likewise
a pupil of the Prague Conservatoire, which he frequented from 1868
until 1873. At the end of this period he studied for awhile under the
direction of Davidoff. His excellent performances procured for him the
position of first Violoncellist in the Hofkapelle at Munich, which
he filled for eight years with honour. In the spring of 1888 he was
nominated to the Professorship of the Prague Conservatoire as successor
to his master, Hegenbarth.

Another of Hüttner’s pupils, SELMAR BAGGE, must be cited, born on June
30, 1823, at Coburg.[115] He received his musical education from the
year 1837 at the Prague Conservatoire, and after he had pursued a course
of composition under Simon Sechter, became a teacher of the theory at
the Vienna Conservatoire. He relinquished this post in the year 1855,
and from that time was chiefly engaged in composition, until in 1868 he
was summoned to Basle as Director of the music school.

Amongst Hüttner’s pupils there is also a gifted dilettante, Joseph
Edler von Portheim, born on January 6, 1817, at Prague. For many years
he has deserved the thanks of the musical world in his native town by
his zealous encouragement of chamber music, not only in his hospitable
house, frequented by native and foreign artists, but also abroad. Since
the foundation of the Prague Chamber Music Society (1876), he has been
at the head of the undertaking, to which he devotes his indefatigable
care.

Three other pupils of the Prague Conservatoire must be noticed in this
place. EBERT, CABISIUS, and POPPER. They all had the benefit of Joh.
August Jul. Goltermann’s[116] instruction, who from 1850-1862, as
successor to Träg, was teacher at the above-named establishment. (See
page 123.)

LUDWIG EBERT, born on April 13, 1834, at Schloss Kladrau, in Bohemia,
began early his musical training in the home of his father, who was
royal treasurer of Windischgratz, and was sent in 1846 to Prague in
order to study at the Conservatoire.

At first he received instruction from Träg. But when he went to Vienna,
Ebert studied two years more under Goltermann’s direction. From the
autumn of 1852 until Easter, 1854, he was cellist at the opera in
Temesvar, and was then engaged as first performer of his instrument
for the Oldenburg Hofkapelle, where he worked up to the year 1874.
Invested with the title of Concertmaster by the Grand Duke, as a mark
of distinction, Ebert, in the same year, accepted the offer of being
first cellist of the Gürzenich orchestra in Cologne, and teacher at the
Conservatoire of the Rhenish metropolis. In this place he remained until
April 1, 1888. At present Ebert is living at Wiesbaden, where he devotes
himself to teaching. He has published “Four pieces” for Violoncello and
Piano in the form of a Sonata (Op. 3), and three “Charakterstücke” (Op.
7).

JULIUS CABISIUS, born October 15, 1841, at Halle-on-the-Saal, received
his first instruction from his father. During the years 1855-1861, he
studied under Goltermann at the Prague Conservatoire. He then became a
member of the Court Kapelle at Löwenberg and Meiningen. From the latter
place he was summoned, in 1877, to be first Cellist in the royal band at
Stuttgard.

DAVID POPPER, born on June 18, 1845 or 1846, in Prague, soon gained
for himself, after leaving the Conservatoire of his native town, a
remarkable reputation during the concert tours, which he began in the
year 1863 as an excellent and cultivated solo player. He received
special honour, in 1865, at the Carlsruhe Musical Festival, and in 1867,
in Vienna, where, from 1868, he was engaged as first cellist at the
Imperial Opera. In 1873 he gave up this post, in order to undertake, in
company with his wife, the famous pianist, Sophie Menter, some concert
tours, which led him into Germany, France, England, and Russia. He is
at present teacher at the Pesth Conservatoire. Popper’s playing is
distinguished by its very pure and extremely clever technique, as well
as by a refined, graceful manner of rendering. He published for the
Violoncello two Concertos (Op. 8 and 24), two Suites (Op. 16 and 50), as
well as a considerable number of smaller drawing-room pieces, which are
in much favour among cellists.

       *       *       *       *       *

In Berlin, as we saw, a great influence was exercised by France through
the brothers Duport,[117] but in consequence of the political events
of the years 1806-1807, which were the cause of so much suffering in
Prussia, it was almost paralysed, for Louis Duport returned to France
on the outbreak of the war declared by Napoleon Buonaparte; and his
elder brother, who on account of his advanced age could no longer occupy
himself with Violoncello playing, went at the same time into retirement.
It is, however, possible and even probable that the Violoncellist,

JOHANN FRIEDRICH KELZ, born on April 11, 1786, at Berlin, if he did
not actually take regular lessons from him, was able to profit by his
occasional advice.[118]

His first years of study were spent by Kelz chiefly with the town
musician, Fuchs, under whose direction he occupied himself with
well-nigh every kind of musical instrument, amongst which the
Violoncello attracted him most. His uncle, Ad. Friedrich Milke, who was
himself not a bad cellist, assisted his progress on that instrument.
He also provided for his reception into the band of Prince Frederick
August of Brunswick-Öls, to which he belonged, from the year 1801, for
four years. When this prince died, in 1805, Kelz returned to Berlin, and
was nominated, in 1811, Royal Chamber Musician. In 1857 he went into
retirement, and died in January, 1862. He must have been much in request
as teacher of his instrument. His compositions, the number of which it
is pretended extend to about three hundred, are of a very superficial
description, and have long fallen into oblivion.

More remarkable than Kelz in Violoncello playing was MORITZ GANZ,
who was born at Mayence in the year 1804, and learnt the elements of
music from his father. In Violoncello playing he made further progress
under the Bohemian Cellist, Stiastny, who at that time was residing
at Frankfort-on-the-Maine. Ganz then joined the orchestra at Mayence
until, in 1826, he was appointed first Violoncellist in the Berlin
Kapelle. During this engagement he undertook, in the years 1833-1837,
concert tours to Paris and London. In appreciation of his performances
he received from the King of Prussia the title of Concertmaster. His
playing, which gave proof of solid cultivation, was artistic and in
every respect made an advantageous impression, without, however,
electrifying. His compositions are unpretending, and consist of
Concertos, Duets, and Variations.

Among the pupils educated by Ganz the most remarkable are--Rietz, Lotze,
Giese, and Klietz.

JULIUS RIETZ, born on December 28, 1812, at Berlin, had, besides Ganz,
also Bernhard Romberg for a short time as master, and developed so
rapidly that, as early as sixteen years of age, he was received into the
orchestra of the Royal Stadt-Theatre of his native town.

Six years later he went to Düsseldorf, and worked as assistant-director
at the theatre managed by Immermann, with Mendelssohn at its head;
when the latter retired he undertook the sole conduct of the opera,
and became also, when Mendelssohn was summoned to Leipsic, town Music
Director. He filled this place until 1847, in which year he went to
settle at Leipsic, in order to work as “Capellmeister” at the theatre.
His work so greatly increased at Leipsic--for he not only undertook the
direction of the Academy of Singing, but also, in 1848, the conducting
of the Gewandhaus Concerts--that he was obliged more and more to
neglect cello playing. In Dresden, whither Rietz went in 1860 as Court
Kapellmeister, he almost entirely discontinued performing. In private
circles only he now and then caused his instrument to be heard, as his
time was wholly taken up by his official occupations, as well as by the
direction of the Dresden Conservatoire, which was given over to him, and
by the editorial labours connected with the publication of the collected
works of the great classical composers, set on foot by Breitkopf and
Härtel. In the midst of this varied artistic activity he died on
September 17, 1877.

Rietz’s Violoncello playing was of an able but simply deserving kind
and was limited entirely to the more classical sphere of music. His
compositions consist of two Concertos and a Fantasia with orchestral
accompaniment. He produced the latter on February 15, 1844, in the
Gewandhaus, at Leipsic.

WILHELM LOTZE, born on January 17, 1817, at Berlin, acquired the first
elements of cello playing under the royal chamber musician, Töpfer
(1865), and then Ganz was his master. In 1837 he received an appointment
in the Royal Kapelle of his native town, and from 1838-1852 belonged to
the excellent Zimmermann String Quartet. Lotze was pensioned in 1872.

JOSEPH GIESE, born on November 24, 1821, at Coblenz on the Rhine,
undertook concert journeys through France and Switzerland after he had
for some time profited by the instruction of Ganz; he then went to the
Hague, where he became teacher at the Royal School of Music and first
Violoncellist at the French Theatre. He educated a large number of
pupils. Amongst them we shall mention only his son,

FRITZ GIESE, who was born on January 2, 1859, at the Hague. At ten years
of age he was so forward that he was able publicly to perform Romberg’s
second Concerto. He completed his studies under Grützmacher in Dresden
and under Jacquard in Paris. After he had made a journey through Sweden
and Denmark, he was for a year soloist in the Amsterdam Park orchestra,
and then entered, as a member, into the Mendelssohn Quintet Club of
Boston. As one of the chief supporters he took part for a long time in
the annual concert journeys of the Society, which extended to North
America and Australia. At present he is living as a soloist at Boston.

The fourth of the above-mentioned pupils of Ganz, MAGNUS KLIETZ, born
on April 29, 1828, at Altenkirchen, on the Island of Rügen, began his
musical career at fourteen as a pupil of the Greifswalder town music
director, Abel. After a year’s instruction on the violin and various
wood-wind instruments, he decided on learning the Violoncello, which
he chose as his principal instrument. In 1848 he went to Berlin to the
Concertmaster Ganz, pursued his studies under him for a year, and then
selected Hamburg as his settled place of residence. In 1850 he was
appointed first cellist at the Stadt-Theatre as successor to Joh. Aug.
Jul. Goltermann. In this position he remained seventeen years, giving
lessons as well. He then joined the Philharmonic orchestra and was one
of the founders of the Quartet Union now existing in Hamburg.

After him, as a remarkable Berlin violoncellist, must be mentioned
JULIUS STAHLKNECHT, born on March 17, 1817, in Posen. Both Drews and
Wranitzki were his masters. Their method of instruction must have
been good, for as early as twenty-one years of age (1838) Stahlknecht
was so far educated that he was admitted into the Berlin Hofkapelle.
He undertook later, in company with his brother Adolf, who was a
respectable violin player, a concert tour; and with him and the addition
of the pianist Carl Albert Löschhorn, from 1844 or 1846, he gave for
some years, Trio Soirées, which were very popular with the Berlin
public. After the death of Ganz he stepped into his place with the title
of “Concertmeister.” In 1881 he was pensioned. He had as his successor
the Cello virtuoso, Louis Lübeck. Of Cello compositions he published
two Concertos and several smaller pieces besides--as, for example,
Divertissements (Op. 3), a Fantasia (Op. 6), Three Pieces with Piano
(Op. 8) and a “Serénade Espagnole” (Op. 11).

Stahlknecht formed an excellent cellist in ALBERT RÜDEL, who was born
on February 29, 1840, at Wittstock in East Priegnitz, where his father
was musical Director. During the years 1859-1867 he pursued his studies
at Berlin, under Stahlknecht. On June 1, 1867, he was appointed Royal
Chamber Musician, and in the year 1880 solo Cellist of the Hofkapelle.
Rüdel often had the honour from that time of being admitted to take
part in the Royal Concerts. Kaiser William I. liked his playing,
and repeatedly expressed to him his approbation. Amongst Rüdel’s
compositions for the Violoncello must be mentioned: Romance (B major),
Elegie (D minor), Introduction, Andante e Tempo di Valse, four Fantasias
for Concert-room, and many little Drawing-room pieces for pupils. All
these productions have a piano accompaniment.

Violoncello playing received a fresh impulse in Berlin by the opening,
under the direction of Joachim, of a section of the Royal High School,
on October 1, 1869, for executive music. The Belgian cellist, JULES DE
SWERT, was one of the first to give the necessary instruction at the
above-named Institute. WILHELM MÜLLER succeeded him from 1873-1876 in
this office. Both masters were, however, at the establishment too short
a time to pave the way for any important results. These were first
attained by means of Hausmann’s appointment, who since the year 1876 has
been working as teacher of Violoncello playing at the Berlin High
School.

ROBERT HAUSMANN, born on August 23, 1852, at Rottleberode, in the
Harz, frequented the Gymnasium at Brunswick, and benefited there,
from 1861-1867, by the Violoncello instruction of Theodor Müller, who
advanced him considerably. He was then _Elève_ of the Berlin High
School for Music, and there prosecuted his studies for three years,
under the direction of Wilhelm Müller, nephew of the Brunswick master
just mentioned. Finally, he went to Piatti, and under him pursued a
course in London, and later on at his property at Caddenabia, on Lake
Como. Shortly after Hausmann took an engagement with Count Hochberg,
in Silesia, as Cellist of the string quartet formed by him, and after
this was dissolved, in 1876, he was named second master of Cello playing
at the Berlin High School for Music; three years later he rose to the
position of regular teacher, and from that time he fulfilled the duties
alone in his own department. In 1884 he received the title of Professor
in acknowledgment of his deserving work.

Hausmann at the present time belongs to the most eminent masters of his
instrument. He is not only a distinguished solo player, but also an
excellent quartet player, which is evident from the fact that Joachim
has chosen him as his usual quartet associate. Of the pupils formed
by Hausmann, until now the following have specially distinguished
themselves: Roth, Dechert, Prill, Koch, and Lüdemann.

PHILIPP ROTH, born on October 25, 1853, at Tarnowitz, in Upper Silesia,
occupied himself in his father’s house from his eighth to his twelfth
year with violin playing, and then went over to the Violoncello. After
he had for some time applied himself to quartet playing with his
brothers, he became the pupil of Wilhelm Müller, and later on of Robert
Hausmann, at the Berlin High School for Music. He soon took part in
the lessons, conducted by Joachim, in quartet and orchestra playing,
and also pursued the study of composition under Wilh. Taubert and
Woldemar Bargiel. Settled in Berlin for eighteen years, he only left
the capital in order to make concert tours, of which he undertook one
three years ago into Russia. He, however, has devoted his powers chiefly
to teaching. Roth has also been zealous in the publication of Cello
literature. Besides his original compositions, he has published a long
list of various kinds of attractive music pieces as arrangements for
Violoncello and Piano, as well as a Violoncello school and a “Guide
to Violoncello Literature,” which latter has also been published
separately.[119] This list, which ought to be recommended, will, it is
hoped, be continued and completed in later editions without delay.

HUGO DECHERT, born September 16, 1860, in Potschappel, near Dresden,
received from his father, who is a musician, instructions in violin
playing at six years of age, and from his twelfth year in Cello playing.
Until 1875 he profited by the instruction of the chamber musician,
Heinrich Tietz, in Dresden. Then began Dechert’s practical work. At
first he was for a year first Cellist in the orchestra of the Belvedere,
on the Brühl Terrace, at Dresden, and then, after some concert tours in
Saxony and Silesia, he was engaged at a Concert Orchestra in Warsaw.
In 1887 he went to Berlin. There he had the good fortune, by the
acquisition of a scholarship as well as by getting free instruction in
the High School for Music, to pursue and complete his studies under the
direction of Rob. Hausmann. Since 1881 he has belonged to the Royal
Kapelle at Berlin, and he is also occupied as a much-appreciated concert
and quartet player as well as teacher.

PAUL PRILL, born October 1, 1860, at Berlin, received from his father,
a royal Prussian military bandmaster, his first lessons both in piano
and violin playing. Later on the musical director, W. Handwerg,
undertook his instruction on the piano, and the chamber musician, W.
Sturm, the theoretical part. At the same time Paul Prill occupied
himself in learning the “Cornet à piston” with his father. Only in his
seventeenth year, after he had been performing at concerts with his
brother and sister under the conduct of his father in Germany, was
fulfilled his cherished wish to devote himself to Violoncello playing.
In this the chamber musician, Mahnecke, assisted him by giving him
gratuitous instruction. After a lapse of nine months he had made such
rapid progress on the Violoncello that, having undergone a previous
examination, he was received as a free pupil into the High School for
Music. He frequented it for four years, and then entered the so-called
master class, conducted by Bargiel, in order to perfect himself in the
theoretical department; but at the same time he also benefited further
by Hausmann’s tuition. He soon found an appointment as solo cellist
in the Berlin Symphony Kapelle, as well as in the orchestra of the
Italian Opera. From the beginning of September, 1882, until the end of
April, 1885, he worked as solo cellist in the “Bilse Orchestra.” Such
occupation did not suit him for a continuance; he aimed higher, and
desired to devote himself to the conducting branch of music. After Bilse
had dissolved his orchestra, he found an engagement as Director at the
Belle Alliance Theatre, in Berlin. Occasionally also he performed the
office of Conductor at the Wallner Theatre. This work, however, did
not have the hoped-for result, as there seemed no prospect of a more
remunerative sphere of conducting. Paul Prill then determined to accept
the place of solo cellist at the German Opera at Rotterdam. With this
the advantageous offer was made to him of performing at concerts in and
around Rotterdam, yet he did not lose sight of his ambition in regard to
the career of Conductor. His wish was fulfilled, for during some time he
has been second Kapellmeister of the Rotterdam Opera.

FRIEDRICH KOCH, descended from a well-known Berlin family of painters,
was born on July 3, 1862, and began his musical studies in his eleventh,
but Violoncello playing only in his fourteenth year. From 1879-1882
he was pupil of the Royal High School of Music, and specially under
Hausmann, as well as Succo and Bargiel for theory and composition. In
the summer of 1883 he was named Royal Chamber Musician, after he had
been submitted to a trial performance. In 1886 he founded, with three
of his colleagues, a string quartet, which within a short period has
gained a respected position in the Berlin musical world. Of Koch’s Cello
compositions only two, Op. 1 and 2, up to the present time have
appeared.

OTTO LÜDEMANN, born on September 7, 1864, at Bernkastel, on the Mosel,
after his father had prepared him, was from 1876-1880 Ebert’s pupil in
the Cologne Conservatoire, to whom he is indebted for part of his other
artistic education. At the beginning of 1880 he went to the Berlin High
School of Music, and benefited by Hausmann’s instruction, not only in
compulsory piano playing but in the theory of music until 1883. In
this year he took part in the playing competition for the possession
of a vacant cello place in the Royal Prussian Kapelle, in which he
succeeded so well that in the autumn of the year 1884 he was nominated
Royal Chamber Musician. Besides his official duty he was selected by
his master, Hausmann, to be his assistant in the High School of Music,
and also commissioned to prepare his advanced Cello pupils for the
upper classes--a proof of how highly his performances were appreciated.
Amongst others belonging to the older and more modern of Berlin
violoncellists are Griebel and Espenhahn.

JULIUS GRIEBEL, born on October 25, 1809, at Berlin, learnt cello
playing of his father, who was bassoon player in the Hofkapelle there.
As Max Bohrer belonged to it, he also received instruction from him.
At the beginning of the year 1827 Griebel was taken into the orchestra
and rose to be solo cellist next to Ganz. During the years 1835-1841 he
undertook successful journeys to Holland, and later on he visited also
Denmark. As chamber music player he found opportunity of distinguishing
himself in the Zimmermann Quartet, of which he had been permanent
cellist for many years since 1835. He died in 1865.

His pupil, HERMANN JACOBOWSKY, born on October 19, 1846, in Neustrelitz,
received instruction in piano playing during his school years from
his father, who was clarinetist of the Mecklenburg-Strelitz Court
band. At sixteen years of age he decided for the musical profession,
chose the Violoncello as his instrument, and went to Berlin in order
to take lessons from Griebel; at the same time Rich. Wuerst was his
master in theory. In 1864 Jacobowsky entered as solo cellist into the
Liebig “Symphonie Kapelle.” Six years later he was summoned to Jassy as
teacher of cello playing at the music school, but when the Franco-German
War broke out he had to hasten to the standard, and took part in the
campaign. When it was over, he received a place as Chamber Musician in
the Royal orchestra, which had already been promised to him in 1868,
consequent on a successful competition.

Jacobowsky has not only made himself known to advantage as solo player,
but also in connection with the Soirées in which he takes part with
Hans Bishoff and Waldemar Meyer. Besides some Drawing-room Pieces
for Violoncello, he published “Tonleiterübungen in fünf Stufen” and
twenty-two Elementary Exercises in the first position.

L. ESPENHAHN, born at Sandersleben, was at first member of the Dessau
Court band, but entered as assistant into the Prussian Hofkapelle, after
he had appeared in Berlin as a solo player. He did not, however, remain
in this place, but accepted an invitation to join the private band of
the Russian Prince Narischkin. After the death of the latter, he was
again received into the Berlin Kapelle. Since 1852 he has belonged to
the Zimmermann String Quartet, as successor to Griebel. He was also
occupied as teacher in Berlin. Espenhahn died in the year 1879.

For Munich during the first quarter of our century the chief
representative of Violoncello playing was PHILIPP MORALT.[120] He
belonged to a gifted Bavarian musical family, whose members were
employed in the Munich Court Kapelle. This family possessed in JOSEPH
MORALT a second younger Cellist. Nothing further is known about him
except the fact of his performing so well that he was admitted into the
Leipsic Gewandhaus Concert on January 21, 1847, for solo playing.

JOSEPH MENTER, however, who received his education from the elder of
the two Moralts just named, had a greater artistic importance. Born
on January 17, 1808, in the Bavarian village of Daudenkofen, near
Landshut, he began as so many of his colleagues did, with the violin,
but soon abandoned it to take up the Violoncello. He had scarcely
completed his twenty-first year before he found a position in the
Hohenzollern-Hechingen band. In 1833 his vocation took him to Munich. He
belonged to the Kapelle there until his death, which occurred on April
18, 1856. Menter--he is the father of the well-known Piano virtuosa of
that name--made himself known outside his sphere of work by concert
tours in Germany, Austria, Holland, Belgium, and England, as well as
by several Cello compositions, of which a few were published after his
decease.

Menter formed several good Cellists, amongst them the best is--

HIPPOLYTE MÜLLER. He was born on May 16, 1834, at Hilburghausen, and
received his first instruction from his father. His development was so
rapid that, at eleven years of age, he already appeared as soloist. He
was assigned to Menter for further cultivation, by whose assistance he
became a master of his art. In 1854 Müller joined the Munich Court Band
as first Cellist. He also undertook the tuition at the Conservatoire.
On August 23, 1876, he died at Munich. His pupil,

GEBHARD GRAF, for fourteen years first Violoncellist in the Grand Ducal
Kapelle at Brunswick, was born on February 4, 1843, at Waal, near
Buchloe, in Bavaria, and attended, from his fifteenth year, the Royal
Conservatoire at Munich. He was dismissed from it at the end of four
years with a certificate of merit, and then held concerts in Hamburg,
Warsaw, Amsterdam, Frankfort, and Munich. Later, he was six years as
solo Cellist in the Princes’ Kapelle at Sondershausen, worked with the
Bilse Orchestra for one year as first Cellist, and after that time had
elapsed he took an engagement in the Grand Ducal Kapelle at Strelitz.
Thence he was summoned to Brunswick.

FERDINAND BÜCHLER is also an excellent pupil of Menter’s, born on
March 17, 1817, at Darmstadt, where his father was Grand Ducal chamber
musician. As his first instructor he had the Darmstadt Concertmaster,
AUGUST DANIEL MANGOLD, born in July, 1775, at Darmstadt. He was a very
distinguished artist on his instrument, of the Romberg school, and
belonged to the Darmstadt orchestra from 1814 until his death, which
happened in 1842. Büchler got on well under Mangold’s training, but
went, in order to perfect himself, to Jos. Menter, whom he had met
during the winter of 1838-1839, at the Munich Quartet Soirées, when he
had undertaken a concert tour to Vienna. Having returned to Darmstadt he
again found an appointment in the band there to which he had belonged
previous to his absence in Munich, and was named first Cellist. An
injured arm, which was never entirely cured, compelled Büchler to
withdraw from playing in public as a soloist, though he still continued
as a chamber music player. In 1881, after forty-six years’ service, he
was pensioned.

Büchler pursued his theoretical studies under the guidance of the
Darmstadt Cantor, Rinck. They enabled him to compose a few cello pieces
which may be favourably distinguished from amongst others. This is
especially the case with regard to his five Studies; they are of value
particularly for the purposes of teaching, and consequently are admitted
into many music schools. Besides these, he wrote two pieces for
four Violoncellos, and transcribed also three pieces from Alessandro
Stradella’s Cantatas. At present there are now in the press arrangements
of twenty-five pieces of ancient and modern masters with the title
“Bunte Reihe.”

VALENTIN MÜLLER, born on February 14, 1830, at Münster, in Westphalia,
studied with Menter, and continued under Servais, in Brussels, in 1848.
During his many years’ residence in the Belgian capital, he performed
for some time the functions of Deputy-Professor at the Conservatoire. In
1858 he betook himself to Paris and filled the place of Chevillard[121]
in the Maurin Quartet. Ten years later he accepted a post at
Frankfort-on-the-Maine, where he worked as member of the Quartet of the
Museum Society, and as master at the Hoch Conservatoire.

JOSEPH WERNER, born on June 25, 1837, at Würzburg, was, in 1852, _Elève_
of the Munich Conservatoire, and educated himself there as Violoncellist
under Menter’s direction. In the year 1867 he went to Dresden to Fr.
Grützmacher in order to become better acquainted with his method of
instruction. After he had been solo cellist in the Court Kapelle at
Munich, he became teacher at the music school, and later on he received
the title of Royal Chamber Musician and Professor, which proves that he
was particularly esteemed in the music world of Munich.

In compositions Werner published a Quartet for four Violoncellos,
Studies, Etudes, Caprices, Solos, a book of Songs, as well as an
instruction book, with Piano accompaniment, under the title of
“Practical Violoncello School.” With regard to this the Munich
_Allgemeine Zeitung_, of September 12, 1886, remarks: “Concerning
this School, which is entirely devoid of theory--_i.e._, thoroughly
practical--there exist a whole list of witnesses from celebrated
authorities of that branch of Art, such as C. Davidoff, in St.
Petersburg, Jos. Rheinberger, Louis Abel, and so forth, as well as
many recommendations (from the Bavarian Ministry of Instruction) and
acknowledgments in the musical periodicals of the time on the subject.
All are unanimous that the above-named work must be considered in every
way the best instruction book amongst those of the highest rank.” The
Cello School of Werner has gone through five editions already since its
appearance.

Amongst Werner’s numberless pupils we can only here cite HEINRICH
SCHÜBEL, at Carlsruhe; H. SCHÖNCHEN, in Munich; EMIL HERBECK, at St.
Petersburg; FRL. MARIE GEIST and CARL EBNER, in Munich. The last-named
artist, born on November 6, 1857, in Deggendorf, near Munich, is Royal
Bavarian Chamber Musician, and takes part in the Trio Soirées, which are
held annually with the co-operation of Bussmayer and Walter, in Munich.
His Violoncello compositions, published as Op. 5, 6, 8, 9, 10, and 14,
belong to the Salon _genre_.

Meiningen possessed a very distinguished Violoncellist in GUSTAVE KNOOP,
who was born at Göttingen in 1805, and was member of the Meiningen Court
orchestra. He must have been, in regard to beauty of tone, a successful
rival of Romberg. It is related of him that he only married in order
to get into his possession a valuable Violoncello which belonged to
his wife; that soon after the wedding he set out on a journey with the
instrument, and did not return home again. It is a fact that Knoop went
to North America in 1843, and on December 25, 1849, he ended his life at
Philadelphia.

Of Knoop’s pupils two are worth mentioning: Grabau and Mollenhauer.

JOHAN ANDREAS GRABAU, born October 19, 1809, had, after benefiting by
Knoop’s instruction, Fr. Kummer as his master for a time. He chose
Leipsic as his settled residence, but only worked at his vocation until
his marriage, which made it possible for him to pursue music for his
pleasure only. He remained, however, until his death, which occurred
in August, 1886, a member of the Gewandhaus Orchestra. Grabau was less
occupied with solo than with quartet playing, in which he was a much
esteemed performer.

HEINRICH MOLLENHAUER, born on September 10, 1825, at Erfurt, was from
his fourth year taught piano and violin playing, and when only a
half-grown boy he made, with his brothers, under his father’s guidance,
a concert tour through Germany. He later devoted himself, under Knoop’s
direction, to Violoncello playing with great success. Mollenhauer
belonged for three years, from 1853, to the Royal band at Stockholm,
and then turned to New York. After he had travelled through the North
American States as a Concert-giver, he settled down, in 1867, at
Brooklyn, and founded there a music school.

In the sphere of chamber music the best performer was the Cellist of
the formerly famous MÜLLER STRING QUARTET, whose name was THEODORE. He
was born on September 27, 1802, in Brunswick, and died there on May 22,
1875. He is described as the very soul of the Quartet Band, which with
his brothers Carl (1st Violin), Georg (2nd Violin), and Gustave (Tenor),
he so carefully kept together for so many years, the most brilliant
period of which was from 1831-1855. During this time the brothers Müller
undertook journeys into Germany, Holland, Denmark, and Russia, which
were crowned with fame. They were also heard in Paris.

As is known, the Müller String Quartet was continued by the sons of
Charles, the eldest of the brothers, who belonged as Concert Master to
the Ducal Kapelle of Brunswick. The Violoncellist of the junior Quartet
Band was--

WILLIAM MÜLLER, born on June 1, 1834, in Brunswick. He had his uncle,
Theodore, as his master. After he had been working with his brothers in
the Meiningen orchestra, as well as in Wiesbaden and Rostock, he entered
the Berlin Court Kapelle as solo cellist, and also undertook the Cello
instruction in the Royal High School for Music. In this position he
remained three years, when he went to America. From that time there is
no more account of him.

His pupil, EUGEN SANDOW, born on September 11, 1856, in Berlin, occupied
himself from his sixth to his eighth year, under the direction of
his father, with violin playing; gave it up however in favour of the
Violoncello, and had as his next teacher the royal chamber musician,
A. Rohne. In 1870 he was taken into the High School for Music, and was
there, from 1873 to 1876, Müller’s pupil. In April of the year 1879
ensued his appointment as Chamber Musician in the Royal band.

       *       *       *       *       *

Since the beginning of the present century Hamburg has been
distinguished by excellent cellists. Foremost must be brought forward
here--

JOHANN NIKOLAUS PRELL. He was born on November 6, 1773, in Hamburg,
and earned the thanks of the musical world there especially by the
institution of regular Quartet Academies. He died on March 18, 1849. His
son--

AUGUST CHRISTIAN PRELL, under Romberg’s direction, whose last pupil
he was, reached a high degree of art. An extremely beautiful and
grand style of playing lent his performance a classic stamp. Already
at twelve years old he could perform in public. Four years later the
post of Chamber Musician in Meiningen was offered to him, and in 1824
he received a summons to Hanover as first Cellist of the Hofkapelle
there, to which he belonged until February 1, 1869, when he went into
retirement. He was born on August 1, 1805, and died on September 3,
1885, in Hanau. His fine Amati Violoncello passed into the possession of
Grützmacher.

In GEORG EDUARD GOLTERMANN, born on August 19, 1824, at Hanover, A. Ch.
Prell formed a distinguished Cellist. He received the last touch from
Joseph Menter during his two years’ residence in Munich (1847-1849).
He there also had instruction in composition from Lachner. After he
had made some journeys from 1850-1852, he became music director in
Würzburg, but remained there only a year, for he was summoned, in 1853,
to be second Kapellmeister at the Frankfort Theatre, and became in 1854
first Director. Goltermann has also made himself eminent as a composer
for his instrument. For the Violoncello, besides seven Concertos, he
wrote a tolerable list of Drawing-room Pieces, which have received a
considerable degree of favour.

Two other famous Hamburg Cellists are the BROTHERS LEE. The elder,
whose Christian name was Sebastian, was born on December 24, 1805, in
Hamburg, and was educated by Prell, the father. At twenty-five years
of age he made his first _début_ as solo player in his native town,
as well as in Leipsic, and then undertook a journey, by Cassel and
Frankfort, to Paris, where he arrived in April, 1832. He was heard then
with approbation in the Théâtre Italien. In 1836 he went to London, and
again returned to Paris, in order to join, as solo cellist, in the
orchestra of the “Grand Opéra.” He devoted himself to this work from
1837-1868, when he returned to Hamburg, and died there on January 4,
1887. Seb. Lee published a considerable number of compositions for his
instrument. Amongst them are Divertissements, Fantasias, Variations,
Etudes, as well as a great number of easy and more difficult Duets, of
which three books, under the title of “Ecole du Violoncelliste à l’usage
du Conservatoire de Paris,” have been published.

Two scholars of Seb. Lee worthy of mention are BÖCKMANN and BIELER.

FERDINAND BÖCKMANN, born January 28, 1843, at Hamburg, enjoyed Lee’s
instruction; and then Magnus Klitz,[122] who was at the time first
Cellist at the Hamburg Stadt-Theatre, was his master. In the autumn of
1861 he found an appointment in the Dresden Court band, and was then,
for a time, Kummer’s pupil. Böckmann is a clever Violoncellist, who made
himself known extensively by the editing of old Violoncello music.

AUGUST BIELER, born on May 9, 1863, at Hamburg, began his Cello studies
under Lee, in his fourteenth year, and continued them in Leipsic, where
he went in January, 1879, to be under Karl Schröder[123]; at Easter, in
1881, he was received into the Sondershausen band, of which he has been
first Cellist since 1885. He is at the same time giving instruction on
his instrument at the Conservatoire of Sondershausen. Bieler, who is
possessed of a remarkable technique, has distinguished himself both as a
solo and quartet player. His tone is powerful and full of energy, but,
at the same time, flexible and melodious, his manner of rendering full
of expression and extremely musical.

Lee’s younger brother, LOUIS, who is reputed to have had great skill in
bowing, was born in Hamburg in 1819. He also undertook several journeys,
during which he appeared at Leipsic, Cassel, Frankfort, Paris, and
Copenhagen. He published and wrote but very few cello compositions;
amongst them, “Trois Pièces gracieuses,” with piano accompaniment, must
have a prominent place.

Finally, another much valued Violoncellist of Hamburg, ALBERT GOWA,
must be mentioned, who obtained his education in the Leipsic Music
School, but on the Violoncello especially shared the instruction of F.
Grützmacher and Davidoff. He made himself advantageously known by his
public appearances, not only in German towns, but also in Copenhagen
and London; accepted an engagement from 1867-1868 at the Philharmonic
Society in his native town, and at the expiration of this he was
appointed solo cellist at the Bückeburg Court; he then returned to
Hamburg, where he is still living and working. He was born on April 14,
1843.

Some other German distinguished Violoncellists of modern times are
Ripfel, Gross, Bockmühl, Néruda, and Alwin Schröder.

KARL RIPFEL was a character, and moreover in his youth was a so-called
piano phenomenon, until the Minister of Baden, de Touche, persuaded him
to devote himself to Cello playing, and himself gave him instruction.
In regard to the technical branch of his art he made great progress,
but he was so nervous that he could never make up his mind, except
during his youth, to appear in public. His manner of rendering must
have been _bizarre_. Nevertheless he was a distinguished orchestra
player; assisted by an extraordinary memory he was able to play the
cello part in the opera without music on an occasion when his colleague
would not turn over the page at the right moment. He belonged to the
Frankfort Theatre orchestra for forty-five years. His grave has the
inscription: “Carl Ripfel, of Mannheim, died March 8, 1876, at the age
of seventy-seven years.” He must accordingly have been born in the year
1799. In the “Signalen für die Musikalische Welt,” of March 19, 1876,
the following is asserted of him: “Although not known in an extensive
circle, he was esteemed by Bernhard Romberg to be the greatest master
of technique on his instrument, which he was at last able to manipulate
almost as well as Paganini.”

Ripfel was also a composer, but never published any of his compositions.
When the Violin virtuoso, Jean Becker, asked him to let him have one of
his string trios, he was roughly refused.

JOHANN BENJAMIN GROSS, born at Elbing, on September 12, 1809, went in
his youth to Berlin in order to devote himself there to the study of
the Cello. It was not long before he found a position in the orchestra
of the Königstadt Theatre, which he gave up in 1831. He now turned to
Leipsic, was often heard there, even in the Gewandhaus, and in 1833
joined the Liphart String Quartet, at Dorpat, at the head of which was
Ferdinand David. In 1835 he was engaged for the Imperial Theatre in St.
Petersburg as first Cellist, where he continued until 1847. He then
returned with a pension to Germany, but soon appeared in St. Petersburg
again, the Grand Duke Michael having summoned him to his neighbourhood.
He did not long enjoy the pleasures of this intercourse, for on
September 1, 1848, he died of cholera. Of his compositions, the number
of which extend to about forty, there appeared for the Violoncello a
Concerto, Etudes, Duets, Variations, and a variety of Drawing-room
Pieces. He wrote also a Concerto for Piano and Violoncello, as well as a
Sonata for these two instruments.

ROBERT EMIL BOCKMÜHL, born 1820, in Frankfort-on-the-Maine, died on
November 3, 1881, was a clever Violoncellist, and an industrious
composer for his instrument. He published about seventy works,
consisting of “Fantasias,” Variations, Divertissements, and Rondos on
opera themes or national songs. Also an extensive book of studies under
the title: “Études pour le développement du mécanisme du violoncelle;
adoptées pour l’étude élémentaire de cet instrument au Conservatoire
royal de musique de Bruxelles, et au Conservatoire de musique de Bavière
à Munich” (Op. 17), in five parts. At the beginning of his fiftieth
year, Bockmühl settled in Düsseldorf. At that time Robert Schumann was
composing his Violoncello Concerto, for which he solicited Bockmühl’s
advice in regard to the technical questions.

FRANZ NÉRUDA, born on December 3, 1843, at Brünn, occupied himself from
his fifth year with Violin, and from his twelfth year with Violoncello
playing, to which latter he eventually devoted himself exclusively. In
the year 1855 he appeared publicly for the first time at Ischl. He then
made concert journeys in Germany and Russia, during which he attained
his twentieth year. In 1864 he was appointed to the Copenhagen Court
Kapelle, to which he belonged for twelve years. During this time he was
frequently heard as soloist in Copenhagen, as well as in London, where
he often took Piatti’s place at the Popular Concerts. He also performed
at Concerts in Manchester and Liverpool. Latterly he appeared at Vienna.
Néruda studied under his father, although he was indebted to Servais
for many good hints. He published about thirty of his Violoncello
compositions, amongst them a Violoncello Concerto, and some little
pieces for Cello with Piano accompaniment. It may be further remarked
that he is brother to the famous Violinist, Wilma Néruda.

ALWIN SCHRÖDER, brother to Karl Schröder,[124] was born at
Neuhaldensleben in 1855, where his father was music director. He
devoted himself to Violoncello playing only, after he had pursued from
the seventh year of his age piano, violin, and tenor playing, and
had attained to remarkable proficiency in them. In his youth he was
engaged in several orchestras in Berlin as tenor performer. During a
visit to his father’s house he conceived a great desire to take up the
Violoncello, and practised on his own account the Cello solo in the
Introduction to Rossini’s “Tell” Overture. He succeeded so well that
his brother Karl, to whom he played it, urged him to occupy himself
further with the Violoncello, which he did. In 1875 he had reached
such a degree of proficiency that he was engaged in the autumn of the
same year as first Cellist for the Liebig Orchestra. This position he
exchanged for one in the Fliegen Band. After he had been a member of the
Laube Kapelle, he chose Leipsic as his place of residence in 1880, and
occasionally took his brother Karl’s work in the orchestra. When the
latter accepted the post of Royal Kapellmeister in Sondershausen, he was
appointed in his brother’s stead, together with Klengel,[125] as first
Cellist of the Gewandhaus and Theatre Orchestra, as well as teacher in
the Conservatoire. Besides this, he is permanent member of the Peter
String Quartet. He received the title of Chamber Virtuoso from the
reigning Prince of Sondershausen. His playing is famous for its clever
technique, fine tone, perfect accuracy, and most expressive rendering.
He has been heard in the capitals of Germany, Belgium, and Russia with
remarkable success.

FOOTNOTES:

[101] This artist was a violinist, and was born on April 27,
1767, at Vechta, in Oldenburg, and died on November 21, 1821, as
Hofkapellmeister, in Gotha.

[102] Bagge was a Prussian Chamberlain, who then lived in Paris, built a
house there, and acted the part of an art patron. He died there in 1791.

[103] This notice is by the Court Chaplain of Hohenlohe in Kirchberg,
Carl Ludwig Junker.

[104] Not 1820 in the Hartz, as is elsewhere said.

[105] Page 77 of this work.

[106] P. 78.

[107] The first of these appeared at Schott’s, in Mayence; the other,
for “Elementary instruction,” at Haslinger’s, Vienna.

[108] Concerning Dotzauer’s violoncello compositions, Philipp Roth’s
“Guide to Violoncello Literature” may be consulted with special
reference to their degree of difficulty.

[109] See under the violoncello players of Russia.

[110] See page 72.

[111] Not to be confounded with the excellent cellist, Wilhelm Lindner,
who was Chamber Musician of the Grand Duchy of Baden, and died on August
19, 1887.

[112] Compare p. 91.

[113] He is now member of the Royal Theatre Band at Cassel. No
information about him could be obtained.

[114] See page 69 of this book.

[115] Fétis erroneously says that Bagge was born in Bohemia, about 1815.

[116] Not to be confounded with Georg Eduard Golterman, to be mentioned
farther on.

[117] Also the two Maras (father and son) had an important effect on
Violoncello playing in Berlin, though not so great as that of the
brothers Duport. Concerning the elder and younger Mara, the necessary
details will be given in speaking of the Bohemian violoncellists.

[118] Fétis contests this, for he says: “The German biographers of Kelz
affirm that he (Kelz) was advised by Duport; but this is erroneous, as
at this time (1811) Duport was no longer in Berlin.” This could only
refer to L. Duport, for his brother remained until his death in the
Prussian capital.

[119] At Breitkopf and Härtel’s.

[120] See p. 79 of this book.

[121] See amongst the Belgian Cellists.

[122] See p. 153.

[123] See p. 138.

[124] See p. 138.

[125] See p. 130.



VI.--FRANCE, BELGIUM, AND HOLLAND.


The prominent position which the French attained in respect to
Violoncello playing in the second half of the last century was
maintained by them subsequently. They exercised, however, with few
exceptions, no real influence in Germany after the period signalised
by Romberg’s appearance. On the contrary, this master influenced
in a certain way French Cello playing, as appears from a remark in
Baudiot’s school, mentioned on page 104, that Romberg had introduced
the use of the fourth finger in the thumb position. The sign Ϙ, by
which Romberg denoted the thumb position, also was adopted in France,
where, as in other places, it had been necessary until then to use a
variety of indications for it. In other respects the aim of the French
Violoncellists greatly inclined in the virtuoso direction, as was the
case with regard to violin playing, whereas in Germany greater stress
was laid on the more solidly musical aspect, without neglecting the
virtuoso side.

Taking up the thread again from the preceding section with France, the
first to be mentioned is

AUGUSTE FRANCHOMME. This artist, who belongs to the most important
masters of his department, was born at Lille on April 10, 1808, and
learnt the first elements of his instrument from a mediocre teacher
of his native town, whose name was Mas. In 1825 he went to the Paris
Conservatoire as pupil of Levasseur, and, after the latter retired
from his professorship, Norblin undertook his further instruction.
Franchomme’s great talent developed so rapidly, under the guidance
of these two masters, that immediately, during the first year of his
attendance at the Conservatoire, he gained the first prize at the
musical competition of the pupils of the establishment. He understood
how to extract from the instrument a full, sympathetic tone, and
possessed with an extraordinary intonation the rare gift of an
expressive and tasteful reading. He specially distinguished himself
by a charming _Cantilena_. It is easily understood that on his public
appearances he always aroused the greatest enthusiasm.

Franchomme filled various places successively in Paris. He at first
belonged, during the years 1825 and 1826, to the orchestra of the
Theatre “Ambigüe-Comique.” He then went over, in 1827, to the “Grand
Opéra,” but remained there only one year. He belonged for a longer
period to the Italian Opera, but he relinquished this position after a
few years. Instead, he established regular quartet evenings with the
famous violinist, Delphin Alard; and in 1846 he undertook the Cello
instruction at the Paris Conservatoire. He died on January 21 or 22,
1884. His compositions, consisting of a Concerto, Nocturnes, Etudes,
Variations, and a variety of smaller Drawing-room pieces, have still
some value for cello players. His best productions are the Twelve
Caprices (Op. 7), which for pieces of that kind have every claim to
consideration.

The best known pupils of Franchomme are VIDAL (the younger), JACQUARD,
and BARBOT.

LOUIS ANTOINE VIDAL, born at Rouen on July 10, 1820, devoted himself by
preference to the literary branch of music after he had finished his
Cello studies. By his valuable work, “Les instruments à archet,” he
attained to a prominent position among the French writers on music of
modern times.

The younger JACQUARD, whose Christian name was Louis Auguste, born on
December 26, 1832, at Pont-le-Roy, so distinguished himself as a scholar
of the Paris Conservatoire, that he gained in 1850 the second, and in
1852 the first prize. He is a permanent member of the Orchestra of the
Conservatoire Concerts.

JEAN FRANÇOIS BARBOT, born in 1847 at Toulouse, settled down in
his native town after he had completed his studies at the Paris
Conservatoire, and is still at the present time working there at his
profession as an artist. Other modern French cellists are--BATTANCHON,
SELIGMANN, DANCLA, LEBOUC, and JACQUARD THE ELDER. They were all
Norblin’s pupils.[126]

FELIX BATTANCHON, born on April 9, 1814, in Paris, frequented the
Conservatoire of his native town, and studied there under Vaslin and
Norblin, who turned him out as a clever Cellist. After he had worked in
various ways as a solo player, he was appointed in 1840 to the orchestra
at the Grand Opéra. His compositions consist of Etudes, which are fully
adapted to the object in view and of which several books have been
published; Caprices, Duets, Trios (for three Violoncellos), and light
pieces of various kinds. His Op. 4, which contains twenty-four Studies,
has been introduced into the Paris Conservatoire.

HIPPOLYTE PROSPER SELIGMANN, whose name suggests a German origin, was
born on July 28, 1817, in Paris, entered the Conservatoire there on
December 2, 1829, and had Norblin as his master for the Violoncello,
and Halévy for Composition. In 1834 he received the second prize and,
two years later, the first prize. After he left the Conservatoire, in
the middle of 1838, he played a great deal in public, and in course of
time made concert tours through Southern France, Italy, Spain, Belgium,
and Germany. For the beauty of his tone he is indebted to a valuable
Amati Cello of large size. As a composer, Seligmann only cultivated the
lighter kind of music. His Violoncello pieces are no longer used in solo
playing.

ARNAUD DANCLA, born January 1, 1820, at Bagnères-de-Bigorre, was
likewise Norblin’s pupil at the Paris Conservatoire. He was dismissed,
in 1840, with the first prize. Dancla distinguished himself especially
as a quartet player. In Cello compositions, he published Etudes (Op.
2), two books of Duets, a “Fantasia” on Themes from Auber’s “Sirène,”
“Melodies,” and a Cello School, “Le Violoncelliste moderne.”

CHARLES JOSEPH LEBOUC, born on December 22, 1822, at Besançon, attended
the Conservatoire in Paris, and at first had Vaslin as his teacher for
a short time, but subsequently Norblin. He also distinguished himself
in playing chamber music. Besides some pieces for Violoncello, with
piano accompaniment, he composed a “Methode complète et pratique de
Violoncelle.”

LEON JEAN JACQUARD, the elder, born on November 3, 1826, in Paris,
passed his youth at Pont-le-Roy, near Blois. Hus-Desforges had retired
thither, and from him Jacquard received his first cello instruction.
When Hus-Desforges died, at the beginning of 1838, a certain Levacq
undertook the further direction of Jacquard, until he went to Paris
to attend the Conservatoire. Here he was in Norblin’s classes. He so
distinguished himself amongst his fellow scholars that he received, in
1842, the second prize, and, in 1844, the first.

Jacquard enjoyed the reputation of a virtuoso-trained player. He
was, however, much appreciated as a member of the orchestra of the
Conservatoire Concerts, as well as of the chamber music concerts
instituted by the violinist, Armingaud, in which also the violinist,
Mas, and the tenor, Sabatier, took part. It is a proof of his
extraordinary ability, that in 1877 he was appointed teacher in that
institution as Chevillard’s successor, whose pupil he had been. Nine
years later (March 27, 1886) death summoned him away.

JACQUES OFFENBACH, the creator of the Stage productions which are known
by the name of “Bouffes Parisiens,” was born on June 21, 1819, at
Cologne, and occupied himself zealously with Violoncello playing in his
younger years. Partly to make himself more widely known, and partly to
perfect himself on his instrument, he went to Paris in 1842, and shared
for a time the instruction of the Vaslin Classes in the Conservatoire.
His efforts, however, to succeed as a Cellist were in vain; according
to the opinion of Fétis, because his bowing was inefficient. In
fact, he only succeeded in assisting in the orchestra of the Comic
Opera. This occupation did not please him for any length of time; he
withdrew and undertook the office, in 1847, of _Chef d’Orchestre_ at
the Théâtre Français. But Offenbach cherished more extensive plans,
which aimed at becoming a composer for the theatre. It is known that he
successfully attained to this, though not in the way of gaining a very
high reputation. Here, however, we are considering Offenbach solely
as a Violoncellist. Although he did not perform as such in any very
extraordinary manner, yet he possesses claims to be noticed in this
place, because he wrote a number of Cello compositions which gained
a certain amount of favour. Besides some light pieces he composed a
considerable list of Duets.

AUGUSTE TOLBECQUE, whose father was a distinguished pupil of Rudolphe
Kreutzer in violin playing, was born on March 30, 1830, in Paris, and
went in his eleventh year to the Conservatoire as a pupil of Vaslin.
In 1849 he obtained the first prize. Since 1858 he has been living and
working at Niort, the chief town of the Department Deux-Sèvres.

Two other French cellists are Lasserre and Boubée.

JULES LASSERRE, born on July 29, 1838, at Tarbes, went from 1852-1855
to the Paris Conservatoire, and was dismissed from there with the first
prize. He then successfully undertook journeys in France and Spain. In
1869 he settled down in London as his permanent residence, and became
first Cellist in the “Musical Union” as well as in Costa’s Orchestra. He
wrote several things for his instrument.

ALBERT BOUBÉE, born in 1850, at Naples, was originally destined for
commerce, and failing to persevere in this, it was intended he should
devote himself to teaching. But neither in this could he succeed, and
Boubée finally decided for the musical profession. The enthusiasm
excited in him by his cello teacher, Gaetano Ciandelli, and later on by
Servais and Piatti’s playing, really induced him to pursue the study of
music. In 1867 Boubée chose London as his residence, where since then
he has become completely naturalised, though from time to time he has
accepted engagements abroad. He worked on several occasions with the
orchestras at Spa and Scarborough, and travelled in Sweden, Norway,
and Denmark as a concert player, but he devotes himself chiefly to the
sphere of work which he has made for himself in the English capital. Of
his Cello compositions, which consist of several solo pieces, the best
known in England is “La Gymnastique du Violoncelliste.”

France possessed also a Violoncello virtuosa of reputation about the
middle of the century in LISA B. CRISTIANI, whose name really points
to an Italian descent. She played with delicate intonation charming
little pieces, pleasantly and gracefully, and performed them on her
journeys through Germany and Denmark to Russia, and also on October 18,
1845, at Leipsic. The general approbation which was everywhere lavished
upon her was substantially increased by her beautiful and imposing
appearance. Felix Mendelssohn considered it worth while to accompany her
performances on the piano at her Leipsic Concert, and to compose a “Song
without Words” for her. She was appointed Chamber Virtuosa by the King
of Denmark. In 1853 she died at Tobolsk, of cholera. She was born at
Paris, on December 24, 1827.

At the present time the best French cellists are: JULES DELSART, RABAUD
(both teachers at the Paris Conservatoire), LIÈGEOIS, LOEB, and BECKER.
Information regarding them is lacking up to the present time.

       *       *       *       *       *

In Belgium and Holland the Violoncello was introduced about the same
time as in France, though it made, indeed, but slow progress in both
these countries. This may be concluded by the very modest number of
Belgian and Dutch Cellists worthy of mention in the last century, of
which there are only four to notice. The oldest of these,

WILHELM DE FESCH, born in the Netherlands towards the end of the
seventeenth century, was not only cellist, but organist. In the latter
capacity he worked at the Antwerp Cathedral until 1725, when he
undertook, as d’Eve’s[127] successor, the office of Choirmaster. But
as he treated somewhat roughly the boys of the church choir entrusted
to his direction, he was dismissed in 1731, when he betook himself to
London. He was still living there in 1757, as appears from the portrait
of him in that year by Lacave. Amongst his published compositions
mentioned by Burney as dry and uninteresting, there are also six
Violoncello solos printed at Amsterdam (Op. 8). After Fesch,

PETER WILHELM WINKIS must be mentioned. Born in 1735 at Liège, he did
not remain at home, but travelled to Germany, where for a few years he
was in the service of the Cassel Court, and then (at the beginning of
1788), as Gerber notices, became Chamber Musician and Violoncellist to
the “Kapellinstitut” of the Queen of Prussia. He well understood how to
accompany with “much taste and observation.”

The third Violoncellist of consideration is

JEAN ARNOLD DAMMEN (Fétis calls him Jean André Dahmen), who belonged
to a large Dutch musical family, was born in 1760, at the Hague, and
had the reputation of being a clever player. About 1769 he was living
in London. Of his compositions, several books of Duets and Sonatas
appeared. In 1794 he was appointed to Drury Lane, and in the years 1796
and 1797 he travelled in South Germany.

Finally we must here mention JOSEPH MÜNTZBERGER. He was of German
extraction, and was born in Brussels in 1769, where his father,
Wenzeslaus Müntzberger, was chamber musician in the service of Prince
Charles of Lorraine, Governor of the Netherlands. Fétis informs us that
the young Müntzberger at six years of age played a Concerto before the
Prince, on a tenor viol, handled somewhat like the Violoncello. On
account of this performance he was induced to have the boy instructed
by the violinist, Van Maldere. This account must be erroneous, for Van
Maldere died on November 3, 1768, a year before Müntzberger’s birth. In
his fourteenth year he went to Paris. He there advanced himself--with
the sole assistance of Tillière’s Violoncello School--so far that he
was able to play the most difficult pieces of the Cello literature
of that period. In 1790 he accepted a place in the orchestra of the
“Théâtre Lyrique et Comique,” but after a time gave it up and entered
the orchestra of the “Théâtre Feydeau,”[128] of which he became first
cellist after Cardon’s resignation. Besides this, he was a member of
Napoleon the First’s band, as well as, later, of the King’s. During his
official occupation he often assisted at concerts, and specially at
those of the “Rue de Cléry,” which at the beginning of this century were
in great favour with the Parisians. In 1830 he retired on a pension, and
died in January, 1844.

Müntzberger, who, during his long residence in Paris, had not only
Gallicised himself as an artist, but also in regard to the pronunciation
of his name, composed a good deal for the Violoncello--namely, five
Concertos, a “Symphonie Concertante,” Trios, in which, besides the
Cello obbligato, the violin and bass take part; a great number of
Duets, Fantasias, and Variations; two books of Sonatas, with bass;
three of Etudes and Caprices, as well as a “Nouvelle Méthode pour le
Violoncelle.” The latter work in all probability appeared before 1800,
as in it, as in Boccherini’s compositions, besides the bass and tenor
and violin clefs, the alto and soprano clefs are used, which do not
occur in French books of instruction after this date.

Violoncello playing received a remarkable impulse in Belgium towards
the middle of our century. Platel (mentioned already on p. 101) greatly
contributed to this by founding the school of Violoncello playing which
subsequently gained such reputation. From it came out prominently,

ADRIEN FRANÇOIS SERVAIS, born on June 6, 1807, at Hal, near Brussels. He
began his career, like so many of his colleagues, with violin playing,
in which his father, who was a musician in the church at Hal, first gave
him instruction, and under whom he became acquainted with the elements
of theory. The child’s rare talent inspired the art-loving Marquis de
Sayve, who possessed an estate in the neighbourhood of Hal, with so
great an interest that he granted him the means of beginning to study in
earnest under the direction of the first violinist of that time in the
Brussels Theatre, of the name of Van der Planken. In Brussels, Servais
soon found an opportunity of hearing Platel, whose playing made a deep
impression on him, and excited in him the desire of devoting himself
to Violoncello playing. In order to become Platel’s pupil, he applied
for admission to the Brussels Conservatoire. His development was so
rapid that he surpassed all his fellow-students, and gained, before
the year was over, the first prize in the competition. Platel made him
his assistant in the Conservatoire, and at the same time he was placed
in the opera orchestra, to which he belonged for three years. During
this period, however, he did not succeed in gaining from his fellow
countrymen the appreciation which he soon after gained in Paris.

In the year 1834 Servais went to London. He acquired there also
remarkable success; but the applause of the public did not excite in
him self-satisfied content, for when he returned home he gave himself
up to renewed study, by means of which he attained to the highest
degree of masterly performance. In the beginning of 1836 he went to
Paris--the following year he travelled in Holland, and in 1839 visited
St. Petersburg, where he met with a brilliant reception. Such was the
case also when he re-appeared in his native land, and performed at
Brussels and Antwerp, after his return from Russia. In the beginning
of 1841 he undertook a second journey to the East, in which he aroused
great applause at St. Petersburg, Moscow, Warsaw, Prague, and Vienna
by his performances. In 1843 he gave concerts again in Holland, and
the following year in Germany, after which he again went to Russia.
In the winter of 1847 he was in Paris and later on he travelled into
Scandinavia. Now a quieter time was in store for him, for in 1848, after
he had been nominated solo violinist to the King of the Belgians, he
undertook the Professorship at the Brussels Conservatoire, which for a
time attached him to the place. At the beginning of 1866 he made another
journey to Russia, which he extended to Siberia. It is supposed that by
these unceasing efforts Servais laid the seeds of his death, which took
place on November 26 of the same year, at his birthplace, whither he had
resorted to recruit his health.

Servais was not only a virtuoso of the first rank, but also a thoroughly
original artist who was the means of effecting an important advance in
Cello playing, by opening out for it new lines. His performance was
distinguished by broad, energetic, and rich intonation, as well as by
the most careful finish and effective manipulation, for he understood
how to bring out into the clearest light all the advantages of his
instrument. Many connoisseurs consider him the first cellist of his
time; in any case, he competed successfully with his French colleagues,
and raised the Belgian school of Violoncello playing to extraordinary
reputation.

Servais as a composer for his instrument is well-deserving of notice.
Besides three Concertos, he wrote ten Fantasias, with orchestral
accompaniment. He united with J. Grégoire in composing fourteen Duets
for Piano and Violoncello, and with the violinist Léonard three Duets
for Violin and Violoncello, upon opera themes. In conjunction also
with Henri Vieuxtemps, a Duet of the same kind was produced. Finally,
he composed six Caprices in the Etude form, which, however, are not
so attractive as many of his other Cello pieces. Amongst these the
“Souvenir de Spa” and Variations on Schubert’s Sehnsucht Valses have had
the widest circulation.

Of the numerous pupils whom Servais formed, the best known are--Meerens,
Deswert, Fischer, and Bekker.

CHARLES MEERENS, born at Bruges on December 26, 1831, is the son
of a clever flutist, who in 1845 settled in Antwerp, where young
Meerens received his first Cello instruction from Joseph Bessems.
Later, a certain Dumon, in Ghent, was his teacher. Having returned to
his birthplace, Bruges, he founded an amateur musical society, “Les
Francs-Amis,” and superintended a music warehouse established by his
father. In 1855 he went to Brussels in order to study music under
Servais’s direction, but subsequently devoted his chief attention to
writing on music, especially in relation to acoustics.

JULES DESWERT, the most prominent pupil of Servais, and altogether one
of the best of Belgian cellists, was born on August 1, 1843, at Louvain,
and made himself a name, after having completed his studies under
Servais, by several concert journeys. In 1865 he stopped at Düsseldorf,
and was for a time engaged there. Three years later he entered the
Weimar Hofkapelle as first Cellist, whence he was summoned to Berlin,
in 1869, with the title of Concertmaster, as solo cellist of the Royal
band and teacher in the High School of Music. He gave up this in 1873
in order to devote himself to composition. After he had remained a few
years in Wiesbaden, he chose Leipsic as his residence in 1881. Besides
two operas, of which the one called “The Albigenses” was brought out
in 1878 at Wiesbaden, and the other, “Graf Hammerstein,” in 1884 in
Mayence, he wrote three Cello Concertos, as well as an important number
of Drawing-room Pieces, re-edited a collection of old Violoncello music
and arrangements of classical compositions, and published three books
of Etudes under the title of “Le Mecanisme du Violoncelle.” He also
produced a Cello school, which was brought out by Novello, in London.
Servais also formed a very distinguished artist in the Cellist,

ADOLPHE FISCHER, born November 22, 1850, in Brussels, whose name
implies a German origin. His father, who worked in the Belgian capital
as conductor, and founded the first Society for men-singers, prepared
him for attending the Brussels Conservatoire. His education, under the
guidance of Servais, went rapidly forward. At sixteen years of age the
first prize was conferred on him. After his studies were completed,
Fischer chose Paris as his residence, and soon met with general
appreciation. Since then he has undertaken several concert tours in the
larger towns of Germany.

The violoncellist, P. R. BEKKER, born on May 23, 1839, in the Dutch town
of Winschoten, was pupil of the Brussels School of Music from 1852-1855.
He progressed so far under Servais that he soon received the first
prize at the playing competition. Bekker sought and found a sphere of
work as music teacher at Utrecht. A testimony to the excellence of his
performances is the circumstance that, in 1861, he was granted the title
of solo Violoncellist by the King of Holland. He did not, however, long
enjoy the fruits of his industry, for he died in 1875.

Servais educated also the elder of his two sons, whose Christian name
was JOSEPH, as a very good cellist. From 1869-1870 he belonged to the
Weimar orchestra. In the year 1872 he was nominated professor of his
instrument at the Brussels Conservatoire. He was born November 23, 1850,
at Hal, the home of his father, where he died August 28 or 29, of the
year 1885.

Returning to Platel’s pupils, we have, after the elder Servais,
FRANÇOIS DEMUNCK (De Munck) to mention, who was born on October 6,
1815, in Brussels, where his father was teacher of music. Instructed
by him in the first elements of the art, he entered the Conservatoire
of his birthplace as a boy of ten years of age, and soon had Platel
as his master. In 1834 he left the Institution with the first prize,
and in the following year he was nominated as his master’s assistant.
When the latter died a few months after, Demunck was appointed his
successor. His star was gradually in the ascendant. Fétis says of him
that, about 1840, the hope was cherished that he was destined to be
at the head of the Violoncellists of his time, for his playing was
distinguished not only by the opposite fine qualities of energetic and
delicate intonation, but also by an expression full of feeling, and ease
in surmounting all difficulties. This hope was not, however, to be
fulfilled. Demunck fell into relations which had a paralysing effect on
the work of his profession. He neglected more and more the study of the
Cello; consequently his performances were deprived of their precision
and brilliancy; and, further, he ruined his health. Notwithstanding this
he still excited some consideration in London. Soon after, in the year
1845, he resigned his official work, in order to perform at concerts, in
company with a singer, in Germany. His performances, however, no longer
came up to the cherished expectations. In the year 1848 Servais stepped
into Demunck’s place as teacher at the Brussels Conservatoire, which
induced him to go to London, and labour for a time in the orchestra of
“Her Majesty’s” Theatre. But only too soon the results of his dissolute
life became apparent. He fell into doubtful circumstances, and, broken
in body and mind, he returned, in the spring of 1853, to Brussels,
where, on February 28 of the following year, he died.

Demunck published only a “Fantasia” with variations on a Russian theme
(Op. 1).

Of his two sons he brought up the younger, by name ERNEST, as cellist,
who was born in Brussels on December 21, 1840. As early as eight years
of age he was able to appear as a solo player in his native place, and
at ten in London. He then became, for a time, Servais’s pupil in the
Brussels Conservatoire. Later, in company with Julien, he travelled
all over Great Britain, then settled in London, but in 1868 went to
Paris, was there for two years member of the Maurin String Quartet, and
accepted, in 1871, the invitation made to him to be first Cellist of the
Weimar orchestra. His work for many years suffered impediment from an
injury to his left hand. Since his marriage with Carlotta Patti he has
resided in America.

As one of the elder Demunck’s pupils deserving notice,

GUILLAUME PAQUE must be mentioned, born at Brussels on July 24, 1825. At
ten years of age he became a pupil of the Conservatoire, where, during a
course of six years, he received his entire artistic training. Dismissed
from the institution with the first prize, he entered the orchestra
of the Royal Theatre in his native town. After he had belonged to it
for some years, he took up his abode in Paris, with the intention of
permanently settling there. But an offer which he received in 1840, of
entering, as solo cellist, the Italian Opera at Barcelona, induced him
to leave the French capital. Scarcely had he arrived at Barcelona, when
the Professorship of the Musical School was committed to him. In 1849
he played before the Queen of Spain in Madrid, and in 1850 he travelled
in the South of France giving concerts. In the same year he fixed his
residence in London, where he gained popularity as a chamber music
player. He found his particular sphere of work as solo cellist at the
Royal Italian Opera, as well as teacher at the London Academy of Music,
until his death on March 3, 1876. Amongst his compositions he published
several “Fantasias,” Variations, and Drawing-room pieces.

The elder Demunck had a second famous pupil in

ISIDORE DESWERT, not to be confounded with the Violoncellist of the
same name already mentioned. Isidore Deswert, the son of a musician
established at Louvain, was born there on January 6, 1830, and, after
he had completed his studies at the Brussels Conservatoire, he received
the first prize at the playing competition. In 1850 he found a position
as teacher at the music school of his native town, and six years later
he was invested with the office of solo cellist at the “Théâtre de la
Monnaie,” in Brussels. Since December 3, 1866, he has been occupied as
Director of the Violoncello Class at the Conservatoire there.

Of Platel’s pupils we have still to mention Batta and Van Volxem.

ALEXANDER BATTA, born on July 9, 1816, at Maestricht, received from
his father, a singing master, his first instruction in music, and
at first practised violin playing. After some time his father was
appointed “professeur de solfège” at the Brussels Conservatoire, and
in consequence the family Batta took up their abode in the Belgian
capital. There the talented boy heard the Cello master, Platel, play,
and the desire of emulating him was awakened. He succeeded in inducing
his father to let him share Platel’s instruction at the Conservatoire.
By persevering industry he succeeded in gaining the first prize with
Demunck at the competition of his class in 1834. In 1835 he went to
Paris, where he found a good reception. This decided him to make it his
home.

At this time the tenor, Rubini, was flourishing in Paris. All vied
in doing him homage, and Batta became such an unbounded admirer
of him, that he copied his manner of rendering. It is known that
instrumentalists can learn a great deal from good singers. Rubini,
however, with all the advantages of his manner of singing, had the
failing of making excessive contrasts of _forte_ and _piano_ without
the use of intermediate gradations, in order to produce startling
effects upon the public. Batta appropriated this merely for the sake of
attaining an easy effect, and therefore became for a time the recognized
darling of the Parisian public, and especially of the ladies, whom he
knew how to captivate by his sweetly coquettish style of playing. He
naturally possessed also valuable artistic qualities, but an apparently
virtuoso tendency ever after clung to him.

Batta published a respectable list of Drawing-room pieces and
transcriptions, as well as a Concerto and a couple of Concert Etudes
for his instrument. These productions were for a time made use of by
violoncellists: now they have ceased to excite any interest.

J. B. VAN VOLXEM, born on November 30, 1817, at Ucclelès-Bruxelles,
became, in 1833, a student of the Brussels Conservatoire as a pupil of
Platel. At the competition he gained the second prize for Cello playing
and composition. Later on he was Chorus Director in the Brussels Royal
Theatre. Since then he has by preference devoted himself to chorus
singing, and has deserved considerable merit for its diffusion in
Belgium.

Three other Belgian violoncellists must be added to those artists
already mentioned, namely: Chevillard, Warot, and Vieuxtemps, of whom
the first-named is distinguished as by far the most important and most
famous.

PIERRE ALEXANDRE FRANÇOIS CHEVILLARD, born on January 15, 1811, at
Antwerp, received--after he had been prepared for the musical profession
in the parental home--his higher education, as a pupil of Norblin, in
the Paris Conservatoire, to which he belonged from March 15, 1820, until
the year 1827. Dismissed from thence with the first prize, he undertook
the duties of solo cellist in the orchestra of the “Théâtre Gymnase.”
In this position, which afforded him abundant leisure for pursuing the
study of composition under Fétis’s direction, he remained until 1831.
He then became member of the orchestra of the Italian Opera. In the
year 1859 he undertook the Professoriate at the Paris Conservatoire in
Vaslin’s place.

Chevillard distinguished himself not only as a trained virtuoso player,
but also as a musician animated by a high artistic aim, which he proved
by his efforts to introduce the last String Quartets of Beethoven
into Parisian musical circles, for whom these magnificent “tone
poems” had until then been an unknown world. After repeated fruitless
attempts, which failed on account of the insufficient intelligence of
his associate players, he at length succeeded by means of the artists
Maurin, Sabattier, and Mas, who had the same aim in view, in gaining
the requisite force by which he was able to carry out his ideas. At
first the quartet confederates established private performances before a
few connoisseurs only. By degrees, however, the number of the audience
increased, so that they ventured on a public hearing, which took place
in the Pleyel Saloon. During the years 1855 and 1856 the four players
undertook tours in Germany in order to perform the last Beethoven
Quartet at Cologne, Frankfort, Darmstadt, Leipsic, Berlin, and Hanover.
Everywhere they found the appreciation which they deserved. In the year
1868 Demunck the younger joined the Quartet in the place of Chevillard,
who died at the end of 1877.

Chevillard’s cello compositions were a “Concerto, Quinze Mélodies,
Morceaux developpés pour Violoncelle et Orchestre ou Piano,” a
“Fantasia” on Themes from Marino Falliero “Lamenti, Adagio and Finale,”
and “Andante et Barcarolle.” Besides these he published a Cello school
which bears the title: “Méthode complète de Violoncelle, contenant la
théorie de l’instrument, des gammes, leçons progressives, études, airs
variés et leçons pour chacune des positions.”

CONSTANT NOËL ADOLPHE WAROT, born on November 28, 1812, at Antwerp,
began early the practice of music on the violin, but gave up this
instrument in favour of the violoncello. In 1852 he was appointed
teacher at the Brussels Conservatoire. Besides a Violoncello School,
which was introduced as a work of instruction to the Art Institute
mentioned, he wrote Duets for two Violoncellos, and an “Air Varié” with
piano accompaniment. He died on April 10, 1875, at the place of his
work.

Concerning JULES JOSEPH ERNEST VIEUXTEMPS, the younger brother of the
celebrated Violin virtuoso of the same name, nothing more is known than
the fact that he was for a long time solo cellist at the Italian Opera
in London, and that he is at present solo player in Hallé’s Orchestra at
Manchester.

       *       *       *       *       *

Amongst the Dutch Violoncellists we have--

ANDREAS TEN CATE, born in 1796, at Amsterdam. He was originally destined
for a commercial calling, but at the age of fourteen he decided for the
musical career, and became Jan Georg. Bertelmann’s pupil. In his riper
years he devoted himself chiefly to composition for the stage. He wrote,
however, some instrumental pieces; amongst them a couple of Violoncello
Concertos. He died on July 27, 1858.

JACQUES FRANCO-MENDÈS, who descends from a Portuguese family settled for
a long time in Amsterdam, has exercised a great, indeed the greatest
influence on Dutch cello playing. He was born in 1816[129] in the said
town, and in his earliest years began the practice of music. He received
instruction from Präger on the Violoncello, from Bertelmann in theory,
and, in order to educate himself still further in cello playing, he went
to Merk, at Vienna, in 1829.

Until then Franco-Mendès was undecided as to whether he should pursue
music for his pleasure or as his career. He soon decided for the latter,
and undertook with his brother Joseph, who was a gifted violin player,
a journey to London and Paris in the year 1831. He made his _début_ in
the former city at a concert given by Nepomuk Hummel and on his return
to Amsterdam he received from the King of Holland the title of Chamber
Violoncellist. In 1833 the brothers Franco-Mendès undertook together
a concert tour in Germany, and were heard with success in Frankfort,
Leipsic, and Dresden. In the following year Jacques was nominated
first solo Cellist of the King of Holland. In 1836 he again went
with his brother to Paris. The latter died in 1841, and this loss so
heavily affected Jacques that for a long time he could not resolve to
undertake any more art journeys but played only at a few concerts in
the chief towns of Holland. In 1845 the desire was again aroused in him
of making further efforts. He took part, in that year, in the musical
festival which was held at Bonn to celebrate the unveiling of the
Beethoven memorial, but on account of the overwhelming number of musical
productions he gained no success. In 1860 he took up his permanent abode
in Paris. As a composer, Franco-Mendès proved that to a certain extent
his aim was worthy of respect, for he occupied himself with chamber
music in its more serious aspect. He wrote two Quintets and a String
Quartet, one of which was distinguished by receiving a prize from the
Netherlands “Society for the advancement of Music.” He has also composed
a long list of Drawing-room pieces for his instrument, amongst them a
grand Duo for two Violoncellos, an Elégie, “Fantasias,” “Caprices,” and
more pieces of the same kind; some of them are still performed, as, for
example, the Adagio (Op. 48).

Among Franco-Mendès’ pupils,

CHARLES ERNEST APPY must be cited, who, springing from French parentage,
was born on October 25, 1834, at the Hague. His father was a tenor
player in the Royal band, but went away with his family to Amsterdam,
where his son at fourteen years of age began with piano playing under
Richard Hol. A year after he gave it up for the Violoncello, on which
the Belgian, Charles Montigny, and later, Merlen, the first cellist
at Amsterdam, gave him instruction. He received the final finish from
Franco-Mendès, under whom he also studied composition.

Appy began his work as a musician in 1851, as member of the Concert
orchestra at Zaandam. He soon received invitations to the provincial
towns of his Fatherland to assist as a solo player at concerts, and in
1854 he was engaged for six months by Joseph Gungl, as solo cellist for
Scotland. Two years later he was member of the Amsterdam Park orchestra,
as well as of the orchestra of the “Felix Meritis” Society. In 1857 he
worked for six months at the concerts of the London Crystal Palace,
and after his return he joined the orchestra of the “Cäcelia” Society
in Amsterdam. From 1862 he has belonged to the String Quartet of the
excellent violinist, Franz Coenen, for nine years, by which means he has
enjoyed the opportunity of playing with distinguished artists, such as
Ernst Lübeck, Alfred Jaël, and Madame Clara Schumann.

In the year 1864 Appy was appointed Cello teacher to the “Maatschappij
tot Bevordering van Toonkunst,” in which office he remained till 1883.
During this time, in 1871, he went for six months to New York, in order
to join in the Thomas Concerts as soloist. His substitute as teacher at
the Amsterdam Maatschappij was, meantime, Daniel de Lange.

Returned to Holland, Appy took up his residence in Haarlem, where he
gave lessons on the Cello and Piano. Thence he again went to Amsterdam
and opened there a prosperous music school, which he continues to
superintend at the present time. His cello compositions consist of
“Fantasias” on _Motifs_ from the “Freischütz” and “Robert le Diable,” as
well as some smaller light pieces.

The above-mentioned DANIEL DE LANGE, born about 1840, at Rotterdam, was
educated as a cellist by Simon Ganz and Servais, while Verhulst was his
master in theory. On the completion of his studies he travelled with
his brother, the pianist and organist, Samuel de Lange, through Austria
and went to the music school at Lemberg, to which he belonged for three
years. In 1863 he returned home and undertook the Cello instruction at
the Rotterdam Music School, which his master Ganz had until then carried
on. There is no further information regarding him.

JACQUES RENSBURG, born May 22, 1846, at Rotterdam, also began his
cello studies under Ganz in his ninth year, and continued them under
Giese, Daniel de Lange, and Emil Hegar.[130] Rensburg was destined
for a commercial and not an artistic career, but his inclination for
music so increased with time, that in 1867 he received permission from
his father to devote himself to Art. He now went about the middle
of the year named to Cologne, in order to pursue a course under the
talented Violoncellist, Schmitt. The latter, however, was already,
in consequence of a chest malady which, later, carried him off, so
suffering that Rensburg’s wish was not fulfilled of learning from him.
Instead of becoming Schmitt’s pupil he was his temporary assistant,
as first Cellist in the orchestra of the Gürzenich Concerts, as well
as teacher in the Rhenish School of Music at Cologne. Both offices
were given over to him definitely on April 1, 1868, on account of his
valuable services, for, in the meantime, Schmitt had died. Besides his
official duty, Rensburg frequently performed with favourable success
in the tours of the Rhenish Provinces, as well as in North Germany,
and in 1872, also, in the Leipsic Gewandhaus as a soloist; but the
ceaseless application with which he practised his profession brought on
a nervous affection, which compelled him to retire into private life.
In the autumn of 1874 he went to his native town, and since the spring
of 1880 he has been living at Bonn, where he is partner in a mercantile
undertaking. Of his compositions have appeared: “Recitative, Adagio, and
Allegro, in the form of a Concerto.”

An excellent Dutch Violoncellist is LOUIS LÜBECK, born on February
14, 1838, at the Hague. His father, the “Hof-Kapellmeister,” Johann
Heinr. Lübeck, so highly esteemed by the Dutch musical world (died on
February 7, 1865, at the Hague), gave him his first regular instruction,
after he had up to his seventeenth year occupied himself with music
as a dilettante. In order still further to perfect himself he studied
from 1857-1859 under Léon Jacquard’s direction in Paris. He then made
successful journeys through France and Holland, took up his residence
in Colmar, where he often joined in concerts with Clara Schumann and
Jul. Stockhausen; in 1866 he was summoned to Leipsic as first cellist at
the Gewandhaus Concerts and teacher at the Conservatoire. He fulfilled
these duties until 1868, in which year he occupied a similar position
in Frankfort-on-the-Maine, and he also undertook fresh concert journeys
through Germany, Holland, and England. In the year 1871 Lübeck was a
member of the Carlsruhe “Capelle.” He did not, however, remain long in
this position, but he next went, in 1873, to Berlin and St. Petersburg.
From the latter place he went to Sondershausen, where he belonged to
the Ducal Band as soloist, and afterwards to North America. In the
year 1881 he returned to Europe, and was engaged as successor to the
Concertmaster, Jul. Stahlknecht, for the Berlin Royal Band, to which he
still belongs as solo cellist. Besides a collection of small pieces,
amongst which are some transcriptions, Lübeck has written two Concertos,
of which, however, only one has until now been published.

Bouman and Maaré belong to the younger Dutch Violoncellists who have
become prominent by their performances.

ANTOON BOUMAN, born in Amsterdam, in the year 1855, received his first
instruction from one of his brothers, with whom he later for some time
established regular Quartet Conversaziones. As a boy of twelve years
he was able to appear before the King, William III., as well as at the
public Concerts of his native city. In order to make further progress
he attended the Rotterdam Conservatoire and enjoyed there the cello
instruction of O. Eberle.[131] Returning home he again played before the
King, who granted him the means of continuing his studies. He thus was
able to work for some years in order to perfect himself, and had the
advantage of the advice of Aug. Lindner, in Hanover; Fr. Grützmacher, in
Dresden; Joseph Servais, in Brussels; and Léon Jacquard, in Paris. He
then travelled in Southern France and England, where, during a residence
of four years, he gave concerts with success. Since then he has
acquired for himself a lucrative sphere of work in Utrecht as Director
of the municipal concerts, as solo player and cello teacher. Besides
several smaller compositions, Bouman has written two Concertos for his
instrument.

From Eberle, who, as we have just seen, was for a time Bouman’s
master, TH. C. DE MAARÉ, born on January 14, 1863, also received his
education as a Violoncellist. In his twenty-second year he received the
appointment at the “Amsterdamsche Orkestvereenigung” of solo cellist,
when the place of first solo player at the Royal “Fransche Opera” was
also given to him, which position he still holds.

The two youngest cellists of Holland, of talent worth mentioning, are
Snoer and Smith.

JOHAN SNOER was born on June 28, 1868, in Amsterdam, and received his
first instruction from Alexander Pohle, a pupil of Fr. Grützmacher.
After Pohle’s death the younger Giese[132] was his master, and, when
the latter went out to America, Henry Bosman undertook his training.
Later on he learned the harp from Edm. Schuëcker, now teacher at the
Leipsic Conservatoire. Snoer began his active career as a volunteer in
the Amsterdam Park Orchestra. When he was dismissed from this he was
appointed Violoncellist and Harpist at the newly-erected Park Theatre at
Amsterdam. Since 1885 he has been first solo cellist and harpist at the
Amsterdam Orchestra Union.

JOHANNES SMITH, born on January 27, 1869, at Arnheim, received his first
Cello instruction from Heyn,[133] in Maestricht, where his father had
been placed in the Dutch service. Later on the Smith family resided
in Amsterdam and there Ernest Appy was the teacher of the artist boy,
who went to Dresden in 1883 in order to complete his training on the
Violoncello under Fr. Grützmacher and, in theory, under Felix Draeseke.
Since then Smith has appeared with great success in Leipsic, Dresden,
Berlin, and the Hague, as concert player.

FOOTNOTES:

[126] See p. 97.

[127] Alphonse d’Eve received the appointment of Choirmaster at the
Antwerp Cathedral on November 5, 1718, having previously directed during
a long period the choir of the church of St. Martin in Courtrai. The
announcement of Fétis that d’Eve composed a solemn Mass in the year
1719, for two choirs, with accompaniment for instruments, amongst which
there was an obbligato for Violoncello, is a matter of interest to us.

[128] Fétis points out that he was at the Favart Theatre. Müntzberger,
however, calls himself on the title-page of the Cello School:
“Professeur de Violoncelle au Théâtre Feydeau.”

[129] Fétis gives the year of his birth 1812. His brother, Joseph, was
born 1816.--(_Tr._)

[130] For the Cellists, Hegar and Giese, see pp. 130 and 152.

[131] See p. 131.



VII.--ENGLAND AND SCANDINAVIA.


The special attention which had been devoted to the Viola da Gamba
in England during the seventeenth century[134] was not paid, in
similar measure, to the Violoncello. This instrument, like the Gamba,
was introduced into musical circles in London by Italians. Ariosti,
Bononcini, Cervetto, and Caporale--all contributed to make it familiar
in the English capital and other places. But it does not appear that
Violoncello playing was taken up by English artists at first with the
same alacrity as it was abroad--at all events, as a profession--and
this left the field open chiefly to foreign Violoncellists, who came to
England with the hope of a rich harvest, in which, says M. Wasielewski,
they were too often disappointed. The number of professional English
cellists is small as compared with those of other countries, though
there are a few to be mentioned who, in talent and proficiency, will
bear comparison with any of the great players of their time.

One of the first is

BARTHOL. JOHNSON, probably born in 1710, as he is said to have
celebrated his hundredth birthday at Scarborough, October 3, 1810,
when Lord Mulgrave and many distinguished persons were present in the
Freemasons’ Hall. During the evening the centenarian played the Bass of
a Minuet on the cello, which he had composed sixty years before. (See
Appendix.)

JOHN HEBDEN, who is supposed to have played the Violoncello, was
probably born at the beginning of the eighteenth century, since his
portrait was engraved by Faber in 1741. He is represented in this
playing the Gamba. Gerber, at least, seems to have thought it worth
while to mention him as a cellist, though Burney writes of a certain
Hebden as playing the Bassoon at a concert in London where the best
performers of the Italian opera were employed.

WILLIAM PAXTON also was a violoncellist, the composer of the well-known
glee “Breathe soft, ye winds,” besides other pieces. Burney praises his
“full and sweet tone, as well as his judicious manner of accompanying
the voice.” He published amongst his other compositions also six Duos
for two Violoncellos (Op. 1), eight Duos for Violin and Violoncello (Op.
2), six solos for Violin (Op. 3), four solos for Violin and two for the
Violoncello (Op. 4), twelve easy lessons for Violoncello (Op. 6), and
six solos for Violoncello (Op. 8). His brother Stephen also composed for
the Cello.

JOHN CROSDILL, born in London in 1755,[135] whom Gerber mentions as
an extraordinarily clever Violoncellist, and Fétis as distinguished,
notwithstanding the presence of Mara in England, had a high reputation
in his time. He was educated in the choir of Westminster Abbey under
Robinson and Cooke; on leaving the choir he studied the violoncello
under his father, and is said to have had instruction from Jean Duport.
He soon acquired a considerable proficiency, and in 1768 he was elected
a member of the Royal Society of Musicians. In the following year he
played at the Gloucester Festival, and was appointed first cellist, an
appointment which he held until his retirement. In 1776 he was engaged
as first Violoncellist at the Concerts of Ancient Music, and in 1778
as Violist of the Chapel Royal. He probably went to Paris 1778-9, and
remained nine months, studying under the elder Janson. In 1782 he was
appointed chamber musician to Queen Charlotte, and he also gave lessons
to the Prince of Wales. About 1788 he married a lady of fortune, and
retired from the practice of his profession, appearing publicly for one
day only, in 1821, at the coronation of George IV. He died at Escrick,
in Yorkshire, leaving a considerable fortune to his son, who, by his
father’s desire, presented a donation of £1,000 to the Society of
Musicians.

Four other English Cellists of the second half of last century
are--Hardy, Reinagle I. and II., and Gunn.

Little is known of HARDY, Henry (of Oxford), beyond the fact that about
1800 he published an instruction book with the title, “The Violoncello
Preceptor, with a compleat set of Scales for fingering in the various
keys,” &c.

JOSEPH REINAGLE, born in 1762, at Portsmouth, was the son of a German
music teacher who emigrated to England. He was originally intended for
the navy, but gave it up after his first voyage. He was apprenticed
then to a goldsmith in Edinburgh, but neither in this did he persevere,
and his father resolved to let him be a musician. He at first chose the
trumpet as his instrument, on which he acquired some skill, and entered
the service of the king as trumpeter. He was obliged to give up the
wind instrument on account of his health, and was then Violoncellist,
Violinist, and finally Violoncellist again. For a while he was Concert
Director in Edinburgh. In 1789 he went to Dublin, and in 1791 to London,
where, besides obtaining a good position in the best orchestras, he was
principal cello at Salomon’s concerts. He finally settled at Oxford,
where he died in 1836. He published, for the Violoncello, thirty Duos
in four books, as Op. 2, 3, 4, and 5, as well as a School “Concise
Introduction to the Art of playing the Violoncello,” which went through
four editions.

Reinagle’s younger brother, named HUGH, born at Portsmouth in 1766,
received his education from Crosdill, and was distinguished for his
unwonted skill. He died while still young, at Lisbon, whither he had
gone for the restoration of his failing health. Of his compositions
appeared three works: two of them, Op. 1 and 2, consist of six Cello
solos, and Op. 3 contains six Duets for two Violoncellos.

JOHN GUNN, said to have been born in Edinburgh about 1765, was not
only a clever cellist, but also a remarkable writer on music. In the
year 1790 he went to London as a cello teacher. He there published, in
1793, an instruction book for his instrument, under the title of “The
Theory and practice of fingering the Violoncello, containing rules and
progressive lessons for attaining the knowledge and command of the whole
compass of the instrument.” Fétis observes, with regard to the preface
of this work, consisting of two parts, that it contains a remarkable
account of the origin of the Violoncello, as well as of old and modern
stringed instruments.

Gunn wrote another work, published in London in 1801, which has
reference to the Violoncello. The title of it is, “Essay theoretical and
practical on the application of Harmony, Thorough-bass, and Modulation
to the Violoncello.” Besides this he published, in 1794, a “School
of the German flute,” and in 1807 he brought out his most important
work--viz., “An Historical Inquiry respecting the performance on the
Harp in the Highlands of Scotland from the earliest times until it was
discontinued about the year 1734.”

In the year 1795 Gunn returned to Edinburgh to take up an advantageous
post that was offered to him, and which he apparently held until his
death.

The English possessed in ROBERT LINDLEY a Violoncellist of extraordinary
capacity, who up to the present time has not been equalled, far less
excelled, by his countrymen. He was born on March 4, 1775,[136] at
Rotherham, and began his musical studies when he was about five years
of age, with his father, an amateur performer, who began by teaching
him the violin, and, at nine years of age, the violoncello. At sixteen
he had made considerable progress, and the younger Cervetto, hearing
him play, undertook his gratuitous instruction, and brought him to the
South of England. Even at this age he had commenced to compose for
himself, and was sent for to take the place of the professor who was to
have played the violoncello solo at one of the Brighton concerts, and
who had been taken suddenly ill. Lindley’s performance was rapturously
applauded; he played Concertos at several subsequent concerts with the
same result, and was then engaged for the Theatre, frequently playing
before the Prince Regent.

In 1794 he succeeded Sperati at the Opera and was principal
Violoncellist at all the concerts of any importance in London. In the
following year began the intimacy with Dragonetti, the celebrated
double-bass player, which lasted for fifty-two years. Forster quotes
Chorley’s remark that “Nothing could be compared with the intimacy of
their mutual musical sympathy.” They played together at the same desk at
the Opera and every orchestral concert of any importance, and Lindley’s
performance of the accompaniment to Recitative from figured bass was
most “elaborate and ingenious.”

Concerning Lindley’s playing, he was probably the greatest violoncellist
of his time; he was distinguished for the beauty, richness, and extreme
purity of his tone, and his great technical skill was remarkable, though
probably in this and his manner of rendering he did not equal Romberg.

The story is well-known how, when Romberg, during his residence in
England, heard him play, and was asked by Salomon what he thought of his
performance, replied: “He is the devil.” He retired in 1851, and died
June 13, 1855.

His son, William, born in 1802, was also a violoncellist, and gave
promise of future excellence, but nervousness and delicate health
prevented his attaining to any great distinction, and he was compelled
to withdraw from public appearances.

Lindley is less remarkable as a composer. He wrote four Concertos, Duets
for Violin and Violoncello (Op. 5), Duos for two Violoncellos (Op. 6, 8,
10, and 27), Solos for Violoncello (Op. 9), and several Variations on
Airs, as well as Potpourris.

Amongst Lindley’s pupils, CHARLES LUCAS, born 1808, in Salisbury, was
the most remarkable. He received his first musical instruction as
chorister of the Cathedral, under Arthur Thomas Corfe, after which he
attended the Royal Academy of Music in London. In 1830 he was named
Composer and Violoncellist to Queen Adelaide, and performed the duties
of Organist at St. George’s Chapel. Two years later he was entrusted
with the duties of Orchestra Conductor at the Royal Academy of Music,
and succeeded Cipriani Potter as Principal in 1859. He had already taken
the place of his master, Lindley, as first Violoncellist of the Italian
Opera. He died on March 23, 1869, in London. His successor in the Opera
was the cellist, Collins.

To Lindley’s contemporaries must be added Cudmore, Crouch, and Powell.

RICHARD CUDMORE, born in 1787, at Chichester, in Sussex, practised not
only as cellist, but also as a violin player and pianist. The organist,
Forgett, of Chichester, was his first instructor, and from him he
learned the violin, acquiring such proficiency that at nine years of age
he played a solo at a concert in his native town. At ten years the elder
Reinagle was his master for the Cello, and a year after he appeared
again at a concert and played his own compositions. He then for two
years pursued his studies under Salomon’s guidance, in London, when he
returned to his native town, and remained there for the next nine years.
The desire of giving himself up anew to the study of the Piano drove
him again to London, where he subsequently appeared frequently as a
Pianist. He accomplished an artistic feat of a remarkable description in
Liverpool by appearing there at a concert, which he himself organised,
successively as Piano, Violin, and Violoncello performer. The solos
which he executed were by Kalkbrenner, Rode, and Cervetto. He was also
engaged as Director of the orchestra of the “Gentlemen’s Concerts,” in
Manchester, for some years. His diversity of talent was naturally an
impediment to his distinguishing himself specially in one department.

FREDERICK WILLIAM NICHOLLS CROUCH, best known as the author of the
popular air “Kathleen Mavourneen,” was born on July 31, 1808, at
Devizes. He studied under Bochsa and W. Hawes and at the Royal Academy,
under Lindley. He played the cello at Her Majesty’s Theatre, and was
appointed principal cellist at Drury Lane, as well as member of Queen
Adelaide’s band. He went to America with Maretzek, the German composer,
and has fallen into indigent circumstances “through all appearance by
unavoidable misfortune.” Besides numerous other compositions, “Songs of
Erin,” “Echoes of the Lakes,” &c., he produced a “Complete Treatise on
the Violoncello,” Lond., 1827.

THOMAS POWELL, born in 1776, in London, early devoted himself to music,
and studied, besides Violoncello playing, the piano and the harp. In
1805 he appeared with success in his native town as solo cellist,
in a Concerto which he had composed. He then established himself in
Dublin as a teacher of music. He devoted his leisure to composition
and earnest study of his instrument. His contemporaries considered him
equal to Romberg, though this was probably going somewhat too far, as
Powell’s name was scarcely known out of England, while Romberg, by his
performances, acquired a world-wide renown.

After several years’ residence in Dublin, Powell took up his permanent
abode in Edinburgh. His published compositions--amongst which is a
“Grand Duo” for Violin and Violoncello--belong for the most part to the
sphere of chamber music.

With regard to national English Violoncello playing, modern times have
not been more productive than the past. Three names come before us for
consideration--namely, Howell, Whitehouse, and Ould.

EDWARD HOWELL, born on February 5, 1846, in London, is a pupil of the
Royal Academy, and specially a pupil of Piatti’s. He belongs to the
Italian Opera as cellist, and since 1872 to Covent Garden Theatre.
Besides this he is Musician in Ordinary to the Queen, Member of the
Royal Academy of Music, and of the Philharmonic Society. He works as a
teacher at the Royal College of Music and at the Guildhall School. He
is for the most part at all the musical Festivals in London and in the
provinces, taking an active part.

WILLIAM EDWARD WHITEHOUSE was born on May 20, 1859, in London, and
received instruction at eleven years of age on the violin from
Adolphe Griesbach. At thirteen he showed a decided preference for
the violoncello and was placed for four years under Walter Pettit. In
1877 he was received into the Royal Academy of Music and studied under
Piatti and Pezze for the violoncello and Banister for harmony. He
has on various occasions gained prizes and medals, and, in 1882, was
appointed Assistant-Professor, and, in the following year, Professor
of the Royal Academy of Music. In 1883 he was elected Associate of the
same Institution and, in 1884, member of the Royal Society of Musicians.
He is also Professor of Cambridge University, of the Royal College of
Music, of King’s College, London, and Manchester New College of Music
under Sir Charles Hallé. During Piatti’s absence Mr. Whitehouse has
frequently taken his place at the Saturday and Monday Popular Concerts
and has for some years been connected with Josef Ludwig’s annual series
of chamber concerts. The instrument on which Whitehouse plays is one of
the finest specimens of Francisco Ruggierius.

CHARLES OULD, born at Romford, in Essex, came as quite a child to
London, where he has remained ever since. Until he was sixteen years of
age he practised flute playing and singing; but the wind instrument was
abandoned for the Violoncello. He received his first instruction from
a member of the orchestra of the Italian Opera in London. A few years
later the Belgian cellist, Paque, was his master. Ould is Musician in
Ordinary to Her Majesty, and also works as first Cellist at the Richter
Concerts, as well as at all concerts of any importance.

       *       *       *       *       *

SCANDINAVIA has, up to the present, only produced a very modest number
of noteworthy Violoncellists, and these belong exclusively to modern
times. It must, indeed, not be overlooked that the serious encouragement
of instrumental music was taken up much later in the North than in
Italy, Germany, and France. Denmark set a good example to her Northern
neighbours, Sweden and Norway. The middle of the last century produced a
noteworthy Violin player, who belonged to the Royal band in Copenhagen.
About the same period there was no lack of able Cellists. But their
names did not attain to any great publicity. This was the case with

CHRISTIAN KELLERMAN. He is a native of Randers, in Jutland, and was born
on January 27, 1815. It was his father’s wish that he should devote
himself to commerce, but in this he was disappointed. Young Kellerman
had inclinations for Art and, in order to gratify them, he went, in his
fifteenth year, to Merk, in Vienna, whose pupil he was from 1830-1835.
After having finished his studies he was heard with success in Vienna
and visited with good result the other large cities of Austria and
Hungary. In the year 1837 he gave concerts at St. Petersburg. Further
tours increased his reputation and, after his return, he was summoned
to be first Violoncellist in the Royal Danish orchestra. During the
year 1861 he made a journey which led him into Upper Italy and then to
Germany, where he remained until 1864. In Mayence he was, unfortunately,
stricken with paralysis. He was, indeed, able to return again in a
helpless condition to Copenhagen, but he died there two years after, on
December 3, 1866. Kellerman composed a few things for his instrument,
but nothing of much importance. His successor was F. RAUCH, whose pupil,
RÜDINGER, filled the place of first Violoncellist in the Copenhagen
Band.

FRITZ ALBERT CHRISTIAN RÜDINGER was born in 1838 at Copenhagen. After
he had gone through a preparatory course under Rauch, he received an
appointment in the Royal Orchestra, but two years later he went to
Dresden, to F. Grützmacher, whose pupil he was for some time. Having
returned home, he again filled his former place as chamber musician,
from which he was transferred, in 1874, to be first Cellist. He at the
same time accepted the Professorship at the Copenhagen Conservatoire and
he also takes part in the regular concerts and chamber music soirées of
his birthplace.

Next to Rüdinger, SIEGFRIED NEBELONG must be mentioned as a Scandinavian
artist. He went as a boy of five to Copenhagen, and later received his
training as Cellist from Friedrich Grützmacher, in Dresden.

FOOTNOTES:

[132] See p. 153.

[133] Alfred Heyn, a pupil of Fr. Grützmacher, was then solo cellist in
the municipal orchestra at Aix and now lives at Darmstadt. Compare p.
138.

[134] See p. 15.

[135] Grove’s Dictionary gives the date of birth as 1751. Leslie
Stephen, 1751 or 1755.--(_Tr._)

[136] Grove gives 1776 as the date of his birth.--(_Tr._)



VIII.--THE SLAV STATES AND HUNGARY.


The Violoncello was brought to Russia, as already pointed out (p. 67),
by means of the Duke of Holstein-Gottorp’s private band. Joh. Adam
Hiller’s _Wöchentliche Nachrichten die Musikbetreffend_ of May 21, 1770,
contains the following: “When the Duke Carl Ulrich of Holstein-Gottorp
(Peter the Great’s future son-in-law) fled to the Russian Imperial
Court, during the distressed condition of his country, in the year
1720, he conveyed with him the members of his small private band. It
consisted of about a dozen German well-trained musicians, of whom the
most famous were two brothers, Hübner--the one was Kapellmeister and
the other Concertmeister. The selection of music, until then unheard in
Russia, consisted of Sonatas, Solos, Trios, and Concertos, by Telemann,
Keiser, Heinichen, Schulz, Fuchs, and other famous Germans of the time,
as well as by Corelli, Tartini, Porpora, and various Italian composers;
but the instruments were a Piano, some Violins, besides a Viol d’Amore,
an Alto, a Violoncello or Bassetto, a Contra-Basso, or great Bass
Violin, a couple of Hautboys, a couple of German Flutes, two French
Horns, two Trumpets, and Kettle Drums. Peter the Great was not only very
often present at these ducal chamber concerts, but almost every week
had them to play once at his Court. This music, therefore, met with
general approbation, as it appeared to distinguished Russians more novel
and more agreeable, when compared with other music, than any they had
hitherto heard.... From that time many Russians offered themselves to
be taught by these German musicians, in order to study music on various
instruments. The Emperor Peter II. also took lessons on the Violoncello,
from the clever master of that instrument, Riedel, a Silesian, who was
also a good fencing master, and instructed the young Emperor likewise in
that knightly art.”

During the life of the Empress Anna, the chamber music once introduced
into the Russian Court was retained there, and in the absence of
national artists was strengthened by drawing into it foreign talent.
King August II. of Poland also contributed to this by giving up
“some Italian virtuosi from his superfluity.” Amongst these was the
Violoncellist, GASPARO. Later on GIUSEPPE DALL’OGLIO, from Padua, was
attracted to the Russian Court. In the place of this artist--who, in
1763, after a twenty years’ service took his leave in order to return
home--came the Italian, CICIO POLLIARI. To this period belongs the first
Russian Violoncellist, named CHORSCHEVSKY, who received a place in the
Imperial band. Up to the present, however, in regard to the Violoncello,
and especially with respect to orchestral instruments, Russia has
remained mainly dependent for supply from abroad. Nevertheless, since
the middle of last century, the Cello has been cultivated with success
by some Russian amateurs. Their names are--Prince TRUBETZKOI, Baron
STROGANOW, and more recently Count MATTHEW WIELHORSKI. The latter,
a pupil of Bernhard Romberg, specially distinguished himself by his
performances. One of his nephews also, Count JOSEPH WIELHORSKI, who,
with his talented brother MICHAEL, a pupil of Kieseweter and Romberg,
lived in Moscow, played uncommonly well both the Violoncello and the
Piano. Robert Schumann, who in 1844, during his residence in the
Kremlin, had intercourse with both Counts, expressed himself most
enthusiastically in a letter to Fr. Wieck concerning Michael Wielhorski,
declaring he was the most highly gifted dilettante he had ever met
with.[137] MICHAEL WIELHORSKI was born in Volhynia in 1787, and died in
1856. The Wielhorski family was of Polish descent, and took up their
residence in Russia after the third division of Poland.

At the present time amongst Russian amateurs who play the Violoncello,
Prince TENISCHEFF and the Senator MARKEWITSCH are distinguished; the
Grand Duke CONSTANTINE NIKOLAJEWITSCH also, a pupil of J. Seifert
already mentioned, is a zealous Violoncello player.

The first really remarkable cellist whom Russia can call her own is

KARL DAVIDOFF. He may be reckoned amongst the most famous
representatives of his instrument at the present time. He was born on
March 15, 1838, in the little Courland town, Goldingen, where he only
spent, however, the two first years of his life, as his parents went
to Moscow in 1840. He there began his studies with H. SCHMIDT, who was
first Cellist at the Moscow Theatre. He carried on his further studies
under H. Schuberth, in St. Petersburg. He received his theoretical
training from Moritz Hauptmann, in Leipsic, where he appeared at the
Gewandhaus Concert towards the end of 1859. This was such a brilliant
_début_ that, when Fried. Grützmacher was called away from Leipsic to
Dresden in 1860, Davidoff was offered his place, which he accepted.
He did not, however, long fill it, having conceived the desire of
undertaking a tour, which led him into Holland. He then travelled
through Russia, when he returned to St. Petersburg. Not long after he
was appointed Imperial solo cellist, and somewhat later (1862) teacher
at the Imperial Conservatoire. In 1874 he took part in the concerts of
the Paris Conservatoire. Two years after he was named Director of the
Russian Imperial Musical Society in St. Petersburg, as well as Director
of the Conservatoire there. He gave up the latter about two years ago.

Davidoff’s playing is especially distinguished for its perfect accuracy,
as well as by a clever and easy mastery of the greatest difficulties.
His Cello compositions consist of several Concertos and a collection of
agreeable Drawing-room Pieces.

Amongst his pupils are ALBRECHT, KOUSNETZOFF, GLEEN, and WERGBILOWITSCH.
The latter is famous for a fine, full tone. He played the Violoncello in
the Auer String Quartet at St. Petersburg, and is also appreciated as a
solo player.

To the most noteworthy cellists of St. Petersburg belongs also ARVED
POORTEN, born at Riga in 1835. He was Kummer’s pupil in Dresden, and
attended the Brussels Conservatoire afterwards. When he had played
during tours in Russia, Belgium, and Holland, he became a member of the
Russian Imperial band and teacher at the St. Petersburg Conservatoire.
Six “Morceaux caractéristiques” for his instrument appeared in print by
him.

Amongst the younger Russian Cello players of importance must be
mentioned: BRANDOUKOFF, DANIELSCHENKO, and SARADSCHEFF. These owe their
training to William Fitzenhagen,[138] in Moscow.

ANATOLE BRANDOUKOFF, born in 1859 at Moscow, was Fitzenhagen’s pupil
in the Imperial Conservatoire of his birthplace, from September, 1870,
to May, 1878, and received as an acknowledgment on his departure
from the said institution for the distinction he had gained, a gold
medal together with an honourable diploma. His first journey was to
Switzerland, where he gave concerts in Berne and Geneva with success.
He afterwards went to Paris in 1879, appeared there and in other
French towns, and then proceeded to London. He everywhere experienced
favourable receptions. He gave concerts with extraordinary success
during the winter of 1887-1888 at Moscow and St. Petersburg. He chose
Paris as his permanent residence, where he is greatly appreciated not
only as a solo player, but also as a quartet player. Until now only a
Concerto of his Cello compositions has appeared and a few small pieces.

PETER DANIELSCHENKO, born at Kiev in 1860, pursued his studies under
Fitzenhagen, in the Moscow Conservatoire, from 1873-1880. He was
dismissed from there with the small gold medal as well as an honourable
diploma, and, besides, received a special prize for composition. For a
year he was then teacher of Cello playing and theory at the Imperial
Music School in Charkow. During that time he appeared at concerts
successfully in South Russia, and had a brilliant success in 1881
at the Great Exhibition in Moscow. He now entered the Imperial Band
and undertook the Cello instruction at the Institute of Music of the
Philharmonic Society. He remained in that position until 1887. Since
then he has travelled in Switzerland, France, and South Russia.

IVAN SARADSCHEFF, born at Tiflis, in the Caucasus, in 1863, received his
training as cellist from Fitzenhagen at the Imperial Conservatoire in
Moscow, during the years 1879-1886. Distinguished by the grant of the
great silver medal together with a diploma, after his departure from the
Conservatoire he undertook the direction of the Imperial Music School at
Tambov, but soon exchanged this place, in 1887, for that offered to him
of teacher to the Imperial Music School of his birthplace.

       *       *       *       *       *

Amongst the Slavonian people, the Bohemians take the most prominent
place, having ever distinguished themselves above others of their race
in all that relates to music. The Bohemian Violoncellists of German
extraction have already been noticed in the fifth section of this work.
We shall now consider those of distinctly Slavonic descent.

The oldest Bohemian Cellist of whom we have any information, is

IGNAZ MARA, born about 1721 in Deutschbrod. He united to a fine
intonation an execution full of expression. In 1742 he went to
Berlin, was there married, and was received, apparently through the
recommendation of his countryman, the Concertmaster, Franz Benda,
into the Royal band, to which he belonged for more than thirty years.
Mara died in Berlin in 1783. Of his Cello compositions, consisting of
Concertos, several solo pieces and Duets, nothing has been printed.

His son, JOHANN BAPTIST, was more widely known. This was not due to his
artistic endowments only, but to the dissipated wild life into which
he fell from middle age in consequence of intemperate habits. Endowed
with extraordinary musical talent, under the guidance of his father, he
developed, during a proportionately short time, into such an excellent
Cellist that Prince Henry of Prussia named him Chamber Musician. As
he possessed a talent for mimicry, he had also to assist on the stage
at the theatrical representations which took place in the Castle of
Rheinsberg, inhabited by the Prince.

Mara was born on July 20, 1744. In the year 1773 he married the
celebrated singer, Elizabeth Schmeling, who, at that time, belonged to
the Berlin Opera. He made use of the large sums paid to his wife to
gratify his passions, which led to many disasters and to matrimonial
disturbances. Besides this he contracted debts. These irregularities
increased to such an extent that his creditors were called together
against him by the supreme court. As he had otherwise incurred the
king’s displeasure, he resolved, in agreement with his wife, to get
away secretly by night, but the attempted flight of the married couple
was stopped, and Mara condemned to imprisonment. After he had again
been set at liberty by the intercession of his wife, he succeeded once
more, in 1780, in escaping with her, to avoid the tyranny of the King.
They took the road by Vienna and Paris to London, where they arrived
in 1784. During the year 1788-1789, they travelled in Italy, returned
to London in 1790, went from thence to Venice, and then lived in London
until 1792, where Frau Mara, wearied with the restless, wandering life
of her husband, finally separated from him in 1799. Mara now returned
to Berlin, but fell into straitened circumstances from having become
unaccustomed to work and having neglected his art. He appeared, however,
at one concert and then went to Sondershausen, where Gerber heard him,
the author of the well-known Musical Lexicon, who said of him that he
so finely rendered his Adagio, no orchestra need be ashamed of his
playing; “and if, so continues Gerber, any one of his tones was out of
tune, it was not the fault of his handling, but the bad and unequal
stringing of his instrument. Perhaps his show pieces deserved less
credit, which, however, appeared to be entirely in accordance with the
taste of forty years ago. In other ways he conducted himself, while he
was there, as a serious, accomplished, and thoroughly educated man, and
gave not the slightest sign of inclination to intemperance. But he was
in needy circumstances, and although his noble-minded wife had been
frightfully disgusted at what she had suffered from him, yet in spite
of this he was, from time to time, supplied by her with considerable
sums of money.” Mara’s end was a sad one. He went, as Gerber further
says, to Holland, where “his unhappy inclination for drink so gained
the upper hand, that after having lost all sense of honour, he used
to play for dancing, day and night, in sailors’ inns and miserable
beer-houses, until at last, in the summer of 1808, at Schiedam, near
Rotterdam, death set him free from this wretched life.” The Violoncello
compositions of Mara, which consist of two Concertos, twelve Solos with
Bass accompaniment, a Duet with Violin, and a Sonata with Bass, remained
unpublished.

The Bohemian, JOSEPH ZYKA,[139] was about twenty years older than Jos.
Baptist Mara. He received his education as Violoncellist at Prague, and
belonged, from 1743-1764, to the Electoral band in Dresden. He then went
with his son FREIDERICH, who was likewise a good cellist, as chamber
musician to Berlin, where, according to Fétis, in 1791, he died; but,
according to Fürstenau, at the beginning of our century. He is said to
have left behind him, in manuscript, several Concertos.

JOHANN HETTISCH is distinguished as a remarkable Violoncellist. Born
in 1748, in the Bohemian town Liblin, he was educated at the Piaristi
College at Schlan, and then went to Prague in order to train as a
musician. There he still was in the year 1772. Later, and indeed in
1788, he was, as Gerber asserts, employed at Lemberg in the Imperial
civil service, from which it appears that in the flower of his age he
had abandoned the practice of Art as a vocation. His playing seems to
have been distinguished especially for its rich tone. According to
Fétis, he left several Concertos and Cello Solos in manuscript.

The Catholic priest, FRANZ MENSI, born on March 27, 1753, at Bistra,
where his father was tutor to Count Hohenems, early occupied himself
with music, and when his parents went to Prague he became Joseph
Reicha’s pupil for Violoncello playing while Cajetan Vogel instructed
him in theory. Mensi also played the Violin. On both instruments he was
considered clever, and not less so in composition. Some of his works,
which consist of church music, Symphonies, and Quartets, are said to be
preserved in the convent at Strahow. In the year 1808, Mensi was still
living and working as curé at Pher. He also had some pupils, amongst
these were JOH. BRODECZKY, WENZEL CZIŽEK, and Count SPORK.

J. STIASTNY (Stiasny) should be mentioned as one of the most
distinguished Bohemian Cellists. He was born in Bohemia (according
to Fétis at Prague) in 1774. The information regarding his education
and his life are very limited. He is said to have been in the Prague
Orchestra in 1800. On the title-page of his Op. 3, consisting of a
Divertimento for Violoncello, he describes himself as Violoncellist
to the Grand Duke at Frankfort. As the brief existence of the Grand
Duchy of Frankfort, of which the Regent was Prince Primate of Dalberg,
occurred within the years 1810-1814, there can scarcely be a doubt
that Stiastny resided at Frankfort during that time. Later, about
1820, he bore the title of “Musical Director of Nuremberg,” and in
that year lived at Mannheim. He appears to have gone from there to
Great Britain, for many of his later works--as, for example, the “Trois
Duos Concertans” (Op. 8) and the “Six pièces faciles” (Op. 9)--are
dedicated to Englishmen. Amongst these compositions the Concertino
(Op. 7), dedicated to Robert Lindley, may be favourably distinguished
from similar productions among the Cello compositions at that period.
The remaining Cello pieces of J. Stiastny, which consist of Variations
(Op. 10), Rondo and Variations (Op. 12), two Sonatas with Bass (Op.
2), twelve light pieces for two Cellos (Op. 4), six similar ones (Op.
5), three Concerted Duos (Op. 6), and Six Solos with Bass (Op. 11)
are qualified to be placed amongst the best productions of the older
Cello literature, as they contained effects which for that period were
entirely novel.

Amongst Stiastny’s pupils, JOSEPH VALENTIN DONT was remarkable for his
performances as quartet and orchestra player. Born on April 15, 1776, at
Nieder-Georgenthal, in Bohemia, he received instructions from Stiastny
in Prague, where he attended the school. In the year 1804 he was
enrolled into the opera orchestra of the Vienna Kärnthnerthor Theatre,
from which he was transferred to the Burg Theatre orchestra in 1828.
On December 14, 1833, he died. His son, named Jacob, is the Viennese
violinist, who died on November 18, 1888, and who was well known by the
publication of his excellent practical works for the Violin.

Stiastny’s elder brother, BERNHARD WENCESLAUS, born at Prague, 1770,
was also a Violoncellist, and was employed as first performer of his
instrument in the orchestra of the Prague Theatre. Six Sonatas for
two Violoncellos, and two instruction works were published by him.
The first, entitled “Il maëstro e lo scolare, 8 imitazioni e 6 pezzi
con fughe per due violoncelli”; the other is a cello school, entitled
“Méthode de Violoncelle,” in two parts. This school is carefully worked
out, though somewhat too elaborately, and yet not exhaustively; for the
complicated technique of cello playing, especially as regards the thumb
position, has not received adequate consideration.

Among the younger Bohemian cellists, WLADISLAW ALOIS is distinguished,
who was born June 15, 1860, at Prague, and received his artistic
education at the Conservatoire there. At the end of 1878 he went to
Kiev, where he gave instruction in the Institute of Music of the Musical
Society on the Violoncello and Piano. In this place he remained for
seven years. Since September, 1887, he has been occupied as Solo Cellist
at the Imperial Theatre, as well as at the Conservatoire in Warsaw.

       *       *       *       *       *

The Poles have produced a longer list of violoncellists. They began with
FRANZ XAVER WOCZITKA, a most distinguished artist in his department,
who was born in Vienna about 1730. In 1756 he entered the service
of the Court of Mecklenburg-Schwerin. He was subsequently member of
the Electoral band at Munich, where he died. He left behind him in
manuscript Concertos and Sonatas for Violoncello, which were highly
prized in their time.

NICOL ZYGMANTOWSKI, born in 1770, in Poland. Gerber asserts that
already, as a child of six years and nine months, he attracted the
admiration of all who were witnesses of his artistic proficiency; he
died young. The Polish Count Oginski,[140] who was formerly much noted
as a composer of Polonaises, says in his “Lettres sur la Musique,” that
he had heard Zygmantowski when he was twelve years old, and adds that he
possessed a wonderful talent.

ANTON HEINRICH RADZIWILL, Count of Otyka and Nieswicz, born on June
13, 1775, in the Grand Duchy of Posen, had a great musical talent,
and was not only an agreeable Violoncellist but also a Composer. In
the latter capacity he was extensively known through his music to
Goethe’s “Faust.” For the Violoncello he published only one work,
“Complainte de Marie Stuart,” with Piano accompaniment. The remainder
of his published compositions consist of vocal pieces, of which one is
arranged with guitar and cello accompaniment. He was appointed by the
King of Prussia, in 1815, Governor of the Grand Duchy of Posen, and
died in this prominent position on April 7, 1833. He spent a part of
the year generally at Berlin. His house there was the centre of artist
celebrities.

KORCZMIET, properly KALTSCHMIDT, of German descent, an accomplished
virtuoso player, lived and worked, from 1811 to 1817, at Wilna. He had
in his possession a magnificent Stradivarius Cello, which had formerly
belonged to Count Michael Wielhorsky. This instrument is now in the
possession of Davidoff. There are no more particulars extant concerning
Korczmiet.

ADAM HERMANN, born in 1800, at Warsaw, likewise of German descent, was
member of the Imperial Opera orchestra, and teacher at the Conservatoire
at Warsaw, where, about 1875, he died. During the years 1830-1875 he
formed a great number of pupils, of whom, besides his son ADAM, only
KOMOROWSKI, THALGRÜN, MONIUSZKO, and KONTSKI will be mentioned.

ADAM HERMANN, the son, who changed his name into the Polish form of
HERMANOWSKI, was born at Warsaw in 1836, received the first Cello
instruction from his father, and in 1852 attended the Brussels
Conservatoire for further training as a pupil of Servais. Dismissed
from there after two years with the first prize, he returned home and
undertook successful tours in Poland and Russia. He is at present living
in the most absolute retirement at Warsaw.

IGNAZ KOMOROWSKI, born on February 24, 1824, at Warsaw, belonged for
many years to the theatre orchestra there, after which he benefited by
the instruction of Adam Hermann, the father. As a composer he attained
great popularity in his native land by his charming songs, full of
poetical sentiment. He died on October 14, 1857.

STANISLAUS THALGRÜN, of German descent, was born on August 16, 1843, at
Warsaw, and is member of the theatre orchestra in his own country.

BOLESLAW MONIUSZKO, born on October 25, 1845, son of the well-known
Polish composer Moniuszko, belongs at the present time to the Warsaw
Theatre orchestra.

Finally, SIGISMUND KONTSKI settled in St. Petersburg, after having
finished his training under Hermann.

In chronological order, after Hermann (senior), follows SAMUEL
KOSSOWSKI, born in Galicia in 1805. He was almost entirely self-taught
and, notwithstanding, reached a high degree as a virtuoso on the
Violoncello. During the years 1842-1852 he performed at concerts, with
success, in Vienna, Berlin, Warsaw, Kiev, &c. He died in 1851 at Kobryn,
in the province of Grodno.

JOSEPH SZABLINSKI, born on June 18, 1809, at Warsaw, was employed as
first Cellist at the Imperial Theatre for more than forty years. He
was distinguished for his fine tone and pure musical rendering. He was
especially famous as a quartet player.

STANISLAUS SZCZEPANOWSKI, born, 1814, at Cracow, was so accomplished
as a Violoncello and Guitar player that during the year 1839 he was
able to present himself as a Concert-giver with unusual success on both
instruments in France and England. He was also favourably heard in
Berlin. He died in 1875.

MORITZ KARASOWSKI, born on September 22,[141] 1823, at Warsaw, was a
pupil of Valentin Kratzer, at that time director of music there, for
Violoncello and Piano playing, and was, in 1852, member of the Warsaw
Theatre orchestra. In the years 1858 and 1860 he travelled for the sake
of study and visited Berlin, Vienna, Dresden, Munich, Cologne, and
Paris. Since 1864 he has belonged to the Dresden band as Royal Chamber
Musician. Besides some compositions for the voice and Violoncello with
piano accompaniment, of which “Rêverie du soir,” a Nocturne, and an
Elegy are the most important, he published several books in the Polish
language--as, for example: “A History of the Polish Opera” (1859),
“Haydn’s and Mozart’s Life” (1860 and 1868), “Chopin’s Youth” (Part
I. in 1862, Part II. in 1869), and Biographical Sketches of Robert
Schumann, Franz Liszt, and Edmund Kretschmer. His most important work
in musical literature is “Friedrich Chopin: his Life, his Works, and his
Letters.” A German translation of the latter appeared in 1877 which went
through two revised and enlarged editions.

JOHANN KARLOWICZ, born on May 28, 1836, in Lithuania, received his
training as Cellist from Julius Lyko in Wilna, Göbella in Moscow,
Sebastian Lee, finally from Servais also in Brussels. For some years he
assisted in the instruction at Warsaw Conservatoire. In his native land
Karlowicz enjoys the reputation of a learned linguist.

JOSEPH ADAMOWSKI, born in 1862 in Warsaw, perfected his studies--after
he had attended the music school in his native city for some time--under
Fitzenhagen, at the Moscow Conservatoire, in the years 1877-1883. On his
leaving he was distinguished by the presentation of a diploma and of the
great silver medal. After he had made some Concert journeys in Poland
and Galicia, he was appointed teacher at the Cracow Conservatoire, to
which he belonged until 1887. Since then he has been without a post and
is only engaged as a Concert player. Adamowski has the reputation of
being a clever Violoncellist.

       *       *       *       *       *

Of Hungarian Violoncellists, only Kletzer and Hegyesi have made
themselves known beyond their own country.

FERY KLETZER, born in 1830 in Hungary, travelled during his sixteenth
year giving concerts. His performances showed more than ordinary
talent, but were wanting in the higher artistic training. He attained,
however, to a certain reputation, as his name was at the time frequently
mentioned in the newspapers. Since then he has disappeared from public
life.

LOUIS HEGYESI holds a much higher position. He was born on November
3, 1853, at Arpas; at eight years of age he went to Vienna, and there
received his first instruction from the Violoncellist, Denis. Later
on, he was received into the Vienna Conservatoire and thus became
Schlesinger’s pupil. In order still further to prosecute his training he
went, in 1865, to Franchomme in Paris. The outbreak of the Franco-German
war obliged him, in the summer of 1870, to return to Vienna, where he
found a post in the orchestra of the Grand Opera. Five years later he
took Hilpert’s place in the Florentine Quartet, to which he belonged
until it was dissolved. From that time Hegyesi has travelled as a
soloist. In 1887 he responded to an invitation to Cologne as first
Cellist of the Gürzenich Concerts and teacher at the Rhenish School of
Music.

FOOTNOTES:

[137] See Rob. Schumann’s biography, by the author of this book (Auf.
III., p. 195). Leipsic: Breitkopf and Härtel.

[138] See p. 133.

[139] Fétis says that Zyka was born about 1730. But his birth must have
been earlier, for according to Fürstenau’s account (History of Music and
the Theatre at the Electoral Court of Saxony), he had been already, in
1743, appointed to the Dresden band, though Fétis erroneously makes him
a member only in 1756.

[140] Michael Kleophas, Count Oginski, was born at Gurow, near Warsaw,
on September 25, 1765, and died in Florence on October 31, 1833. He was
High Treasurer of Lithuania.

[141] Not on September 2, as occasionally given.



CONCLUSION.


In taking a retrospective glance at the progressive development which
Violoncello playing has displayed from the beginning of the present
century, it is evident that this branch of Art has reached so great a
degree of perfection that it seems scarcely possible it can rise much
higher. This result is not only to be ascribed to the deserving work of
the leading Violoncellists--and here must be called to mind, besides
Romberg and Dotzauer, pre-eminently Friedrich Kummer, Aug. Franchomme,
and François Servais--but also to those famous German composers who
brought the Violoncello within the sphere of their productions.

Already had Haydn and Mozart appropriated to this noble instrument, in
their String Quartets, passages which contributed to the furtherance of
the technique and the possibility of expression. Beethoven went much
farther even than this. Not only in his String and Pianoforte Trios, as
well as in his Quartets, but also in his Sonatas (Op. 5,[142] 69, and
102) and in the so-called Triple Concerto (Op. 56), he increased the
demands on the Violoncello to such an extent that in certain respects a
real impulse was given to the artistic manipulation of the instrument.
At the same time, the works referred to had a stimulating effect on
the productive work of the future in the field of Cello compositions,
which received a considerable accession in regard to Sonatas especially.
We will note here only the names of the best known composers, who
used their genius in this direction. They follow in alphabetical
order: W. STERNDALE BENNETT, JOH. BRAHMS, FR. CHOPIN, FR. GERNSHEIM,
EDV. GRIEG, FERD. HILLER, FRIEDRICH KIEL, FRANZ LACHNER, FELIX
MENDELSSOHN-BARTHOLDY, IGNAZ MOSCHELES, GEORG ONSLOW, JOACHIM RAFF, KARL
REINECKE, JOS. RHEINBERGER, ANT. RUBINSTEIN, CHARLES SAINT-SAËNS, XAVER
SCHARWENKA, BERNHARD SCHOLZ, and W. TAUBERT.

The following have written Concertos for the Violoncello: ALBERT
DIETRICH, E. ECKERT, BERNH. MOLIQUE, JOACH. RAFF, KARL REINECKE, ANTON
RUBINSTEIN, SAINT-SAËNS, ROBERT SCHUMANN, W. TAUBERT, and ROB. VOLKMANN.
The Concerto which has lately appeared by JOH. BRAHMS, for Violin and
Violoncello, must also be mentioned.

Besides these there exist a number, by no means small, of greater and
lesser Cello compositions, which deserve to be prominently brought
forward--as, for example: MAX BRUCH’S “Kol Nidrei,” Op. 47; CHOPIN’S
Introduction and Polonaise Brilliant, Op. 3, and Duo Concertant
on Themes from “Robert le Diable” (the Cello part is Franchomme’s
production); FR. GERNSHEIM’S Hebrew song, “Elohenu”; FERD. HILLER’S
Concertstück, Op. 104; Duo for Pianoforte and Violoncello, Op. 22, and
two Serenades, Op. 109; FR. LACHNER’S Serenade for four Violoncellos,
Op. 29, and Elegy for five Violoncellos, Op. 160; LIMMER’S Trio for
three Violoncellos and Quartet for four Violoncellos; M. MARX’S three
Quartets for four Violoncellos; MAURER’S Nocturne for four Violoncellos;
FELIX MENDELSSOHN’S Variations for Pianoforte and Violoncello, Op. 17;
IGN. MOSCHELES’S Duo Concertant, Op. 34; L. PAPE’S six Serenades for
four Violoncellos; F. E. REINECKE’S “Three Pieces,” Op. 146; FERD.
RIES’S “Air russe varié,” as well as Introduction and Rondo “Sur une
danse russe”; ROB. SCHUMANN’S five “Stücke im Volkston,” Op. 102; and
likewise L. SPOHR’S Potpourri for Violin and Violoncello on Themes from
“Jessonda.”[143]

If to these be added the numberless compositions which Violoncellists
of our century have produced in Concertos, Concert pieces, Variations,
Fantasias, and Duets for their instrument, it must be admitted that
Violoncello literature in the course of time has increased very
extensively.

The “Etudes” compositions for the Violoncello left much to be desired
during the first decade of the present century. On this account the
theorist Siegfried Wilhelm Dehn, of some consideration in his time, and
who occupied himself in his younger years with Cello playing, may have
been induced to arrange a portion--twenty-two in number--of the Kreutzer
Violin studies for the Violoncello. This work, however, published
by him in June, 1831, cannot be accounted a particularly successful
accomplishment. The finger and bow technique of the Violoncello require
an entirely different manner of treatment from that of the Violin. And
as these Studies were written according to the capacities of the latter
instrument it is evident they can only be made available in a limited
degree for the Violoncello. It is not then to be wondered at that the
Kreutzer “Etudes,” transcribed by Dehn with the best intention, should
have fallen into oblivion, since Violoncellists have more and more
sought after a thoroughly suitable system of “Etudes” literature, which
has now grown to be a very rich field. During the last ten years the
solo manipulation of the Violoncello has, in certain respects, undergone
a change to its advantage in a very remarkable manner. The higher and
highest tones of the instrument are no longer unduly preferred, as in
Romberg’s time; but the tenor positions, more in accordance with its
character, are chiefly used, without, however, neglecting altogether
the lower and the higher parts. The execution of passages has greatly
gained thereby. In this respect, it is true, the Violoncello cannot
rival the Violin in brilliancy and agility. The strings of the former
being so much longer and thicker, of which the two lower ones are made
of correspondingly stout wire, form a natural impediment to the rapid
emission of tones in quick runs and groups. In addition the somewhat
muffled, though at the same time powerful and full tone of the deeper
strings renders difficult a brilliant execution. This is felt more
especially in Violoncello Concertos with full orchestral accompaniment.
The Violoncello has, however, this advantage: that it lends itself far
less to virtuoso exaggerations and confusions than does the easily
portable violin, so favourably disposed for every variety of unworthy
trifling. The masculine character of the Violoncello, better adapted for
subjects of a serious nature, precludes this. But then this instrument
does not offer the same wealth in means of execution which the Violin is
capable of developing as a solo instrument. In harmonics and _pizzicato_
indeed it is at least equal to it, but in the speed and flexibility of
passages, as well as in double-stopped playing, its limits are defined.
It follows that on account of the larger dimensions of the Violoncello,
and the character of the instrument, double-stopped combinations are far
less suitable for the deeper than for the higher strings, a circumstance
of which there is no question at all on the Violin.

One of the strongest points which the Violoncello possesses in its
favour is its suitability as a solo instrument in _Cantilena_ playing,
in which it is not surpassed by any other. If the Violin, with melting
soprano and tenor-like voice, speaks to us now with maidenly tenderness,
now in clear jubilant tones, the Violoncello, grandly moving for the
most part in the tenor and bass positions, stirs the soul by its
fascinating sonority and its imposing power of intonation, not less than
by the pathos of its expression, which by virtue of its peculiar quality
of tone more specially belongs to it than to the Violin.

There is no rivalry between the two instruments, but rather do they
mutually enhance each other’s power. Even so is it with the themes which
devolve on each in the sphere of chamber and orchestral music. It is
greatly to be desired that future generations may foster and maintain
what has been done for the art of Violoncello playing in so meritorious
a manner by unwearied, self-sacrificing labour; but it is to be hoped,
at the same time, that the technique of the instrument, so carefully and
finely formed, to the subject of which this book is dedicated, may be
ever applied in the service of true and noble Art only.


SUPPLEMENTARY.

At p. 107, I said that only Johann Baptist Baumgärtner’s tutor (p. 76)
could give an explanation concerning the method practised in Germany,
with regard to the fourth finger in the thumb position, during the
second half of the last century. It was only after this was in the
press that the title of a second German Violoncello School of that time
became known to me. It is that of Kauer, who was formerly distinguished
as an operetta composer in Vienna--“Concise explanation how to play the
Violoncello”--which appeared in 1788. It may probably be seen from this
work of instruction what the opinion was at that time regarding the
fourth finger in the case referred to.

FOOTNOTES:

[142] In all probability Beethoven’s Cello Sonatas (Op. 5), composed at
latest in 1796, were the first of their kind. The Sonatas for Piano and
Violoncello, written by Bonifazio Asioli, of which F. Grützmacher has
brought out a new edition, appeared, as may be concluded from the dates
given by Fétis in his “Biographie Universelle,” Vol. I, p. 155, first at
the beginning of our century.

[143] I have only mentioned above the most noteworthy portion of the
newer and newest Violoncello compositions. For the remainder I refer to
Philippe Roth’s “Guide to Violoncello Literature” (Breitkopf and Härtel,
Leipsic, 1888).



APPENDIX.


A.

In England, the best violoncello as well as violin bow-maker was John
Dodd, who lived and died at Kew; indeed, his cello bows are considered
superior to his violin bows. _See_ Ed. Heron Allen “On Violin-making,
&c.”


B.

BARTHOLOMEW JOHNSON.

The _Gentleman’s Magazine_ of 1814 records his death thus in the
Obituary, February 14: “At Scarborough, in his 104th year, Mr. Barth.
Johnson, a celebrated musical character. He possessed to the last a
vigorous mind and strong retentive memory.”

In the “History of Scarborough from the earliest date,” by Joseph
Brogden Baker, among the biographical notices, is the following:--

    “JOHNSON, BARTHOLOMEW.

    “Johnson, Barth., was born at Wykeham, near Scarborough,
    October 3rd, 1710. He resided at Scarborough from the time of his
    apprenticeship to the time of his death. He was for seventy years
    one of the ‘town waits.’ As a musician, and for the many excellent
    traits in his character, he universally preserved the esteem of a
    highly respectable circle of friends. His constitution naturally
    was vigorous, and he lived to a great age. In 1810 he completed
    his hundredth year, which was celebrated by a jubilee dinner and
    musical performance at the Freemasons’ Lodge, Scarborough, and a
    medal was struck as a memorial of this event; about ten o’clock at
    night the good old man bore a part in a quartette, performing on
    the violoncello the bass to a Minuet which he himself had composed
    upwards of sixty years before. Lord Mulgrave, the Honourable Henry
    Phipps, the Bailiffs, and about seventy gentlemen, visitors and
    residents of Scarborough and the neighbourhood, honoured the meeting
    with their company. Congratulatory letters from the borough members
    were read, whilst several poetical compositions, suitable to the
    occasion, from the classic pens of Archdeacon Wrangham and Thomas
    Hinderwell, Esq., were recited and sung. Lord Mulgrave afterwards
    commissioned the late J. Jackson, R.A., to paint the portrait of the
    venerable old man, which was presented to the Corporation by his
    lordship and now adorns the council chamber of the Town Hall. In
    1814 he departed this life in the 104th year of his age.”

A similar account, from which, perhaps, the above facts were taken, is
to be found in “The History and Antiquities of Scarborough,” by Thomas
Hinderwell, Esq.


C.

REINAGLE.

A whimsical circumstance, which I cannot forbear mentioning, happened to
Reinagle:--

The celebrated Mr. Curran introduced himself to Reinagle and invited
him to dine with some musical friends at his country house, five miles
from Dublin. Reinagle, anxious to embrace the opportunity of enjoying
that great man’s society, most willingly assented, upon which Curran,
being in great haste, would not permit our musician to seek for any
conveyance, but requested him to ride double on his horse. In this
ludicrous way, sitting behind Mr. Curran, they reached his house, to the
amusement of many friends they met on the road.



METHODS AND SCHOOLS.


VIOLA DA GAMBA, &C.

GERLE, HANS.--Musica Teusch, auf die Instrument der grossen vnnd kleinen
Geygen, auch Lautten, &c. Nürnbergk, 1532.

DANOVILLE, LE SIEUR.--L’Art de toucher le dessus et basse de Viole, &c.
Paris, 1687.

GANASSI DEL FONTEGO, SILVESTRO.--Part I. Regola Rubertina che insegna
sonar la Viola d’archo tastada. Venezia, 1542.

PLAYFORD, JOHN.--Breefe Introduction to the skill of Musick for song and
Viol. London, 1654.

---- Introduction to the playing on the Viol de Gambo (or Consort Viol).
London, 1660.

ROBINSON, THOMAS.--The Schoole of Musicke wherein is taught the method
of true fingering of the lute, pandora, orpharion, and viol de gamba.
London, 1603.

ROUSSEAU, JEAN.--Traité de la viole. Paris, 1687.

SYMPSON, CHRISTOPHER.--The Division Violist, or the Introduction to the
playing upon a ground; divided in two parts: the first directing the
hands, &c. London: John Playford, 1659.

---- A brief Introduction to the Skill of Music, &c. The second book
contains instructions for the Viol. London, 1660.

WODICZKA, T.--Méthode nouvelle et facile pour apprendre à joue du par
dessus de Viole. Lyons, 1760.


VIOLONCELLO.

_From the middle of the Eighteenth Century up to the present time._[144]

FOOTNOTE:

[144] This list is not chronological, but arranged alphabetically
according to the initial letters of the authors.

ALEXANDER, JOSEPH.--Anleitung zum Violoncellspiel. Leipzig, 1802.

AUBERT, PIERRE FRANÇOIS OLIVIER.--Méthode pour le Violoncelle. Texte
français et espagnol. Paris, _c_. 1800.

AZAÏS, PIERRE HYACINTHE.--Méthode de Violoncelle. Paris, _c._ 1820 (?)

BAILLOT, LEVASSEUR, CATEL ET BAUDIOT.--Méthode de Violoncelle adoptée
par le Conservatoire. Paris, 1805.

---- Method for the Violoncello. Translated by A. Merrick. London, 1850.

BANGER, G.--Praktische Violoncellschule. 3 Hefte, Op. 35. Offenbach,
1877.

BAUDIOT, CHARLES NICOLAS.--Méthode de Violoncelle. Two parts, Op. 25.
Berlin, 1830.

BAUMGÄRTNER, JOSEPH BAPTIST.--Instruction de musique théorique et
pratique à l’usage du Violoncelle. La Haye, 1774.

BENITO, COSME DE.--Nouvelle Méthode élémentaire de Violoncelle.

BERGER, JOSEPH.--Méthode de Violoncelle. Paris, 1800.

BIDEAU, DOMINIQUE.--Grande et nouvelle Méthode raisonnée pour le
Violoncelle. Paris, 1802.

BRAGA, G.--Metodo per Violoncello intieramente riformato. Milan, 1878.

BRÉVAL, JEAN BAPTISTE.--Méthode raisonnée de Violoncelle. Paris, 1804.
(This Violoncello School appeared in 1810, in London, translated
into English by J. Peile, under the title, “New instruction for the
Violoncello, being a complete Key to the Knowledge of that Instrument.”)

CHEVILLARD, PIERRE ALEXANDRE FRANÇOIS.--Méthode complète de Violoncelle,
contenant la théorie de l’instrument, des gammes, leçons progressives,
études, airs variés, et leçons pour chacune des positions. Paris, 1850
(?)

CORRETTE, MICHEL.--Méthode, théorique et pratique, pour apprendre en
peu de temps le Violoncelle dans sa perfection. Ensemble des Principes
de Musique avec des Leçons à I. et II. Violoncelles, la division de
la Corde pour placer si l’on veut dans les commencements, des lignes
traversalles sur le manche du Violoncelle, plus une petite Méthode
particulière pour ceux qui jouent de la Viole, et qui veullent jouer du
Violoncelle composée par Michel Corrette, XXIV^{e.} Ouvrage. À Paris,
MDCCXLI.

CROUCH, FRED. WILL. NICHOLLS.--Complete Treatise on the Violoncello.
London, 1827.

CUPIS, JEAN BAPTISTE.--Méthode nouvelle et raisonnée pour apprendre à
jouer du Violoncelle où l’on traite de son accord, de la manière de
tenir cet instrument avec aisance, de la position de la main sur la
touche, du tacte, de l’étendue du manche, de la manière de doigter dans
tous les tons majeurs et mineurs, &c. Paris, before 1800.

DANCLA, ARNAUD.--Méthode de Violoncelle.

DEPAR, ERNEST.--Méthode Elémentaire pour Violoncelle à l’usage des
collèges et pensions. Paris, 1850.

DESWERT, JULES.--The Violoncello. London.

DOTZAUER, JUSTUS JOHANN FRIEDRICH.--Violoncellschule. Op. 165. Mayence,
1832.

---- Violoncellschule fur den ersten Unterricht. Op. 126. Vienna, 1836.

---- Praktische Schule des Violoncellspiels. 4 Hefte, Op. 155. Leipzig,
1870.

---- Schule des Flageolettspiels. Op. 147. 1837.

DUPORT, JEAN LOUIS.--Essai sur le doigter du Violoncelle et sur la
conduite de l’Archet avec une suite d’exercices, dédié aux Professeurs
de Violoncelle. Paris, before 1819.

---- English translation. Essay on the Fingering of the Violoncello,
&c., by John Bishop. London, 1853.

ELEY, CH. F.--Improved Method of Instruction for the Violoncello.
London, 1830.

FORBERG, FRIEDRICH.--Violoncellschule. Op. 31. Leipzig, 1882.

FROEHLICH, JOSEPH.--Violoncellschule. Cologne and Bonn, 1810 or 1811.

GROSS, JOHANN BENJAMIN.--Elemente des Violoncellspiels. Op. 36. Leipzig,
1840.

GUNN, JOHN.--The theory and practice of fingering the Violoncello,
containing rules and progressive lessons for attaining the knowledge and
command of the whole compass of the instrument. London, 1793.

---- An Essay, theoretical and practical, on the application of Harmony,
Thorough bass, and Modulation to the Violoncello. Edinburgh, 1801.

HAMILTON, J. A.--Complete Preceptor for the Violoncello with a selection
of favourite airs, &c. London, 1840.

HARDY, HENRY.--Violoncello Preceptor with a compleat set of scales for
fingering in the various keys. Oxford, 1785.

HEBERLEIN, HERMANN.--Violoncellschule, neueste, praktische und leicht
verständliche Methode für Schul- und Selbstunterricht. Leipzig, 1887.

HENNING, KARL.--Kleine Violoncellschule. Op. 37. Leipzig, 1864.

HUS-DEFORGES, PIERRE LOUIS.--Méthode pour le Violoncelle. Paris, 1805.

JACKSON, G.--New Instructor for the Violoncello. London, 1880.

JUNOD, L.--New and concise Method for the Violoncello. London, 1879.

KASTNER, G.--Elementarschule. Leipzig, 1846.

KAUER, FERDINAND.--Kurzgefazte Anweisung das Violoncell zu spielen.
Speyer, 1788.

KUMMER, FRIEDRICH AUGUST.--Violoncellschule. Op. 60. Mayence, 1839.

LANZETTI, SALVATORE.--Principes du doigter pour le Violoncelle dans tous
les tons. Amsterdam, before 1770.

LEBOUC, CHARLES JOSEPH.--Méthode complête et pratique de Violoncelle.
Paris, 1850.

LEE, SEBASTIAN.--Ecole du Violoncelliste. Paris, 1845.

---- Méthode pratique pour le Violoncelliste admise au nombre des
ouvrages élémentaires servant à l’enseignement dans le Conservatoire de
Musique, Mayence. Op. 30.

---- An English translation, by J. Lidel. Mayence, 1875 or 1882.

---- Méthode de Violoncelle et de Basse d’accompagnement rédigée par MM.
Baillot, Levasseur, Catel et Baudiot. 1804.

---- (Supplement to this School.--Exercices pour le Violoncelle dans
toutes les positions du pouce.)

LINDLEY, ROBERT.--Hand-Book for the Violoncello, with numerous Gamuts,
Scales, Exercises, and Examples.... Manner of holding the Violoncello
and of holding the Bow, &c.

LUETGEN, H.--First lessons for the Violoncello. London, 1860.

MACDONALD, J. A.--Treatise Explanatory of the Principles constituting
the Practice and Theory of the Violoncello. London, 1811.

MÜNTZBERGER, JOSEPH.--Nouvelle Méthode pour le violoncelle. Paris,
before 1800 (?)

PHILLIPS, W. LOVELL.--New and complete instruction for the Violoncello.
London, 1846.

PIATTI, ALFREDO.--Method for the Violoncello. London.

QUARENGHI.--Metodo di Violoncello. Milan, 1877.

RACHELLE, PIETRO.--Breve Metodo. Op. 14. Milan.

RAOUL, JEAN MARIE.--Méthode de violoncelle, contenant une nouvelle
exposition des principes de cet instrument. Op. 4. Paris, before 1837.

REINAGLE, JOSEPH.--Concise introduction to the art of playing the
Violoncello. London, 1835.

ROMBERG, BERNHARD.--Violoncellschule. Berlin, before 1841.

ROTH, PHILIPP.--Violoncellschule. Op. 14. Leipzig, 1887.

SCHETKY, JOHANN GEORG.--Practical and progressive lessons for the
Violoncello, ded. to J. Crosdill, Esq. London.

SCHRÖDER, KARL.--Praktischer Lehrgang des Violoncellspiels. Brunswick,
1878.

---- Neue, grosse, theoretisch-praktische Violoncellschule in 4
Abtheilungen. Leipzig, 1876-7.

---- Schule der Tonleitern und Akkorde. Op. 29. Hamburg, 1877.

---- Schule des Trillers und Staccatos. Op. 39. Leipzig, 1878.

SIEDENTOPF, C.--Violoncellschule. Op. 16. Magdeburg, 1881.

STIASTNY (Stiasny), BERNHARD W.--Méthode de Violoncelle. Mayence, 1832.

STRANSKY, JOSEPH.--Elementarschule des Violoncellspiels. Berlin, 1882.

SWERT, JULES DE.--_see_ Deswert.

THOMPSON, C.--New Instruction for the Violoncello. London, 1780.

TIETZ, AUG. FERD.--Praktischer Lehrgang für den ersten Unterricht des
Violoncellspiels. Brunswick.

TIETZ, HENRICH.--Praktischer Lehrgang für den ersten Unterricht im
Violoncellspiel.

TILLIÈRE, JOSEPH BONAVENTURE.--Méthode pour le violoncelle, contenant
tous les principes nécessaires pour bien jouer de cet instrument. Paris,
1764.

WAROT, ADOLPH.--Méthode progressive pour le Violoncelle. Brussels, 1873.

WERNER, JOSEPH.--Praktische Violoncellschule. Op. 12. Cologne, 1882.

ZIMMER, FRANZ.--Theoretisch-praktische Violoncellschule. Op. 20.
Quedlinburg, 1879.



LIST OF NAMES AND INDEX.

(The Gamba-players mentioned in the Introduction are expressly so
indicated in the following Index, in order to distinguish them from the
Violoncellists.)


                                                   PAGE

    Abbé (l’Abbé),                   _see_ Saint-Sévin.
    Abel, Karl Friedr. Gambist                       32
    Abaco                                            54
    Adamowski, Joseph                               209
    Aimon, Esprit                                    95
    Albrecht                                        200
    Alexander                                        84
    Aliprandi, Bernardo                              63
    Alois, Wladislaw                                206
    Amadio, Pippo                                    53
    Amati, Andreas. Instrument maker          7, 39, 42
    Appy, Charles Ernest                            185
    Ariosti, Attilio                                 48
    Arnold, Joh. Gottfried                           84
    Aubert, François Olivier                         94
    Auberti                                          59

    Bach, Joh. Seb.                          26, 61, 67
    ---- Philipp Emmanuel                        27, 85
    Bagge, Selmar                                   148
    Baisson. Gambist                                 20
    Barbot, Jean François                           170
    Barni, Camillo                                   64
    Baroni, Leonora. Singer and Gamba-player     14, 36
    Batistin (Joh. Baptist Struck)               52, 56
    Batta, Alexander                                181
    Baudiot, Charles Nicolas                         99
    Bauersachs, Christian Friedrich                  84
    Battanchon, Felix                               170
    Baumgärtner, Joh. Baptist                        69
    Becker                                          174
    ---- Hugo                                       136
    Beethoven, Ludwig van                       77, 210
    Bekker, P. R.                                   179
    Bella, Domenico della                            53
    Bellmann, Richard                               131
    Bellerman, Constantin. Gambist                   30
    Beneke, Friedrich Ernst                          78
    ---- Philipp Friedrich                           78
    Berteau                                          87
    Bertoja, Brothers                                62
    Bideau (Bidaux), Dominique                       94
    Bieler, August                                  165
    Birnbach, Henrich August                        140
    Bischoff, Joh. Christoph.                        78
    Blainville, Charles Henri                        93
    Boccherini, Luigi                           64, 114
    Bockmühl, Robert Emil                           167
    Bohrer, Max                                      79
    Böckmann, Ferdinand                             165
    Böhm, Karl Leopold                              144
    Boerngen, Emil                                  132
    Bonometti. Composer                               6
    Boubée, Albert                                  173
    Bouman, Antoon                                  188
    Brade, William. Gambist                          17
    Braga, Gaetano                                  112
    Brandoukoff, Anatole                            201
    Bréval, Jean Baptiste                            98
    Brewer, Thomas. Gambist                          19
    Brodeczky, Johann                               204
    Brückner, Oscar                                 135
    Büchler, Ferdinand                              160
    Buononcini, Giovanni Battista                    49

    Cabisius, Julius                                149
    Calmus                                           76
    Caporale                                         54
    Cardon, Pierre                                   95
    Castagnoli                                      112
    Centola                                         112
    Cervetto (Jacopo Bassevi)                        51
    ---- James                                       52
    Chevillard, Pierre Alex. François               182
    Chorschevsky                                    199
    Chrétien, Gilles Louis                          102
    Christian, Prince of Wittgenstein-Berleberg      85
    Cristiani, Lisa B.                              173
    Cirri, Giambatista                               63
    Cooper (Coperario), John. Gambist                18
    Corrette, Michel                             38, 56
    Cossmann, Bernhard                              122
    Cristelli, Casper                                68
    Crosdill, John                                  190
    Crouch, F. W. N.                                194
    Cudmore, Richard                                194
    Cupis, Jean Baptiste                             88
    Czerwenka, Aurel V.                             138
    Czižek, Wenzel                                  204

    Dall’Oglio, Giuseppe                             54
    Dammen (Dahmen), Jean Arnold                    175
    Dancla, Arnaud                                  171
    Danielschenko, Peter                            201
    Danzi, Franz                                     81
    Dardelli, Pietro. Instrument maker                7
    Davidoff, Carl                                  199
    Dechert, Hugo                                   155
    Delsart, Jules                                  174
    Demunck (De Munck), François                    179
    ---- Ernest                                     180
    Desmarets. Gambist                               20
    Deswert (De Swert), Jules                  154, 178
    ---- Isidore                                    181
    Domergue, Claude                                 93
    Dont, Joseph Valentin                           205
    Dotzauer, Justus Joh. Friedr.                   120
    ---- Karl Ludwig                                121
    Drechsler, Karl                                 124
    ---- Louis                                      125
    Duiffopruggar, Gaspard. Instrument maker          7
    Duport, Jean Pierre                      51, 77, 89
    ---- Jean Louis                              77, 90

    Eberle, Oscar                                   131
    Ebert, Ludwig                                   149
    Ebner, Karl                                     162
    Eder, Karl Kaspar                                82
    Edouard                                          93
    Emmerling. Gambist                               30
    Espenhahn, L.                                   158

    Ferabosco, Alphonso. Gambist                 16, 35
    Ferrari, Carlo                                   55
    Fesch, Wilhelm de                               174
    Filtz, Anton                                     70
    Fischer, Adolphe                                178
    Fitzenhagen, Karl Fried. Wilh.                  133
    Fleischmann, Joh. Georg.                         77
    Forqueray, Antoine. Gambist                      21
    ---- Jean Bapt. Antoine. Gambist                 21
    Franchomme, Auguste                             169
    Franciscello (Francischello)             35, 50, 56
    Franco-Mendès, Jacques                          184
    Fraticelli, Marco. Gambist                       36
    Friedel, S. L.                                   77
    Fredrick William II., King of Prussia            77
    Funk, David. Gambist                             22
    Fürst, Johann                                    81

    Gabrieli, Domenico                               48
    Gamba,                        _see_ Viola da Gamba.
    Ganz, Moritz                                    151
    Gasparini, Quirino                               62
    Gasparo                                         199
    Gasparo da Salò. Instrument maker          6, 7, 38
    Gatti, Teobaldo. Gambist                         35
    Geist, Maria                                    162
    Gerle, Hans. Instrument maker                  5, 9
    Giese, Fritz                                    153
    ---- Joseph                                     152
    Gleen                                           200
    Goltermann, Georg Eduard                        164
    ---- Johann, Aug.                               123
    Gowa, Albert                                    166
    Grabau, Joh. Andreas                            162
    Graf, Gebhard                                   160
    Granier. Gambist                                 12
    Graul, Markus Henrich                        72, 76
    Graziani                                     63, 77
    Gretsch                                          79
    Griebel, Julius                                 158
    Gross, Joh. Benjamin                            166
    Grosse, Heinrich                                 77
    Grünfeld, Heinrich                              148
    Grützmacher, Friedrich Wilhelm                  126
    ---- Friedrich                                  128
    ---- Leopold                                    128
    Guarneri, Guiseppe del Gesù. Instrument maker    42
    Gunn, John                                      192

    Haillot                                         102
    Hansmann, O. F. G.                               77
    Hard, Joh. Daniel. Gambist                       30
    Hardy, Henry (of Oxford)                        191
    Hauer                                            75
    Hausmann, Robert                                154
    Hauschka, Vincenz                                76
    Haydn, Joseph                                34, 85
    Handel, George Frederick                         26
    Häusler, Ernst                                   80
    Hebden, John                                    190
    Heberlein, Hermann                              130
    Hegar, Emil                                     130
    Hegenbarth, Franz                               147
    Hegyesi, Louis                                  209
    Hemmerlein, J. G.                                78
    Herbeck, Emil                                   162
    Herbig                                           77
    Hermann, Adam                                   207
    ---- (Hermanowski)                              207
    Hervelois, Caix de. Gambist                      21
    Hesse, Ernst Christian. Gambist                  28
    ---- Ludwig Christian. Gambist                   30
    Hettisch (Hetes), Johann                        204
    Heyn, A.                                        138
    Hextel, Joh. Christian. Gambist                  30
    Hilpert, Friedrich                              129
    Himmelbauer, Wenzel                              69
    Hizelberger                                      79
    Hoffman, Johann                                  75
    Hottmann. Gambist                                20
    Howell, Edward                                  195
    Huber, Franz Xaver                               78
    ---- Joseph                                     147
    Hume, Tobias. Gambist                            16
    Hummer, Reinhold                                146
    Hus-Deforges                                    100
    Hüttner, Johann Nepomuk                         147

    Immler                                           82

    Jacchini, Giuseppe                               53
    Jacobowsky, Hermann                             158
    Jacquard, Leon Jean                             171
    ---- Louis Auguste                              170
    Janson, Jean Baptiste Aimé                       88
    ---- Louis Auguste Joseph                        89
    Jäger, Ernst                                     74
    ---- Johann                                      72
    ---- Joh. Zacharias Leonhard                     73
    ---- Hugo                                       137
    Jenkins, John. Gambist                           17
    Joannini di Violoncello                          62
    Johnson, Barthol.                               190

    Kahnt, Moritz                                   128
    Karasowski, Moritz                              208
    Karauschek                                       79
    Karlowicz, Johann                               209
    Kaufmann, Johann                                 80
    Kellerman, Christian                            197
    Kelz, Johann Friedrich                          150
    Kerlino, Joan. Instrument maker                   5
    Klengel, Julius                                 130
    Kletzer, Feri.                                  209
    Klietz, Magnus                                  153
    Knee-viol,                     _see_ Viola da Gamba.
    Knoop, Gustave                                  162
    Koch, Friedrich                                 157
    Kohl, Johann. Instrument maker                    7
    Komorowski, Ignaz                               207
    Kontski, Sigismund                              208
    Korczmiet (Kaltschmidt)                         207
    Kossowski, Samuel                               208
    Kousnetzoff                                     200
    Köhler, Otto                                    135
    Kraft, Anton                                    140
    ---- Friedrich                                  142
    ---- Nikolaus                                   141
    Kriegck, J. J.                                   78
    Krumbholz, Theodor                              138
    Kummer, Friedrich August                        121
    Küffel                                           75
    Kühnel, August. Gambist.                         23
    ---- Johann, Michael. Gambist.                   23

    Lamare, Jaques Michel Hurel de                   96
    Lang, Anton                                     148
    Lange, Daniel de                                186
    Lanzetti, Salvatore                              54
    Lasserre, Jules                                 173
    Lebouc, Charles Joseph                          171
    Lee, Louis                                      165
    ---- Sebastian                                  164
    Le Grand, Peter                                  80
    Leo, Leonardo                                    53
    Levasseur, Jean Henri                            96
    ---- Pierre François                             95
    Lidl, Anton. Baryton-player                      34
    Liègeois                                        174
    Linarolli, Venturi. Instrument maker              7
    Lindley, Robert                                 192
    Lindner, August                                 125
    ---- Wilhelm                                    125
    Linke, Joseph                                   142
    Lochner, Karl                                    81
    Loeb                                            174
    Lolli, Filipo                                    64
    Lotze, Wilhelm                                  152
    Lucas, Charles                                  194
    Lunati, Carlo Ambrosio. Gambist                  36
    Lübbe, Karl                                     137
    Lübeck, Louis                                   187
    Lüdemann, Otto                                  157

    Maaré, Th. C. de                                188
    Maggini, Paolo. Instrument maker                  6
    Magrini, G.                                     112
    Mangold, August Daniel                          160
    Mara, Ignaz                                     202
    ---- Johann Baptist                             202
    Marais, (Marin). Gambist                         20
    ---- Roland. Gambist                             20
    Marteau                                          75
    Marx, Joseph M.                                 145
    Matern, A. W. F.                                 78
    Mattioli                                        112
    Maugars. Gambist.                            13, 20
    Maximilian, Joseph, Elector of Bavaria.          31
    Meerens, Charles                                178
    Megelin, Heinrich                                76
    Mensi, Franz                                    204
    Menter, Joseph                                  159
    Merk, Joseph                                    143
    Mollenhauer, Heinrich                           162
    Monhaupt, Karl                                  134
    Moniuszko, Boleslaw                             208
    Montecchi                                       112
    Moralt, Joseph                                  159
    ---- Philipp                                    159
    Morella, Morglato. Instrument maker               7
    Moria                                            63
    Müller, Hippolyte                               159
    ---- Theodor                                    163
    ---- Valentin                                   161
    ---- Wilhelm                               154, 163
    Müntzberger, Joseph                             175

    Nebelong, Siegfried                             197
    Néruda, Franz                                   167
    Nochez                                           93
    Norblin, Emile                                   98
    ---- Louis Pierre Martin                         97

    Offenbach, Jacques                              172
    Ould, Charles                                   196

    Paque, Guillaume                                180
    Parasisi                                         53
    Pasqualini                                       55
    Paxton, William                                 190
    Petersen, Albert                                134
    Pezze, Alessandro                               112
    Piarelli                                         63
    Piatti, Alfredo                                 110
    Pini                                            112
    Platel, Nicolas Joseph                          101
    Polliari, Cicio                                 199
    Poorten, Arved                                  200
    Popper, David                                   150
    Portheim, Joseph Edler von                      148
    Possen, Lauxmin. Instrument maker                 7
    Powell, Thomas                                  195
    Prell, August Christian                         164
    ---- Joh. Nikolaus                              164
    Prill, Paul                                     156

    Quarenghi, Guglielmo                            111

    Rabaud                                          174
    Radziwill, Heinrich, Count                      206
    Raoul, Jean Marie                               102
    Rauppe, Johann Georg                             83
    Recitative, Accompanying of                      40
    Reicha, Joseph                                   82
    Reinagle, Hugh                                  192
    ---- Joseph                                     191
    Rensburg, Jacques                               186
    Ried, Dorothea v. Gamba-player                   31
    Riedel                                           68
    Rietz, Julius                                   151
    Ripfel, Karl                                    166
    Ritter, Peter                                    81
    Robinson, Thomas. Gambist                        16
    Romano, Allessandro della Viola. Gambist         35
    Romberg, Bernhard                      82, 114, 169
    ---- Cyrian                                     118
    Ronchini                                        112
    Rose, Joh. Heinr. Victor                         72
    Roth, Philipp                                   155
    Rousseau, Frédéric                               92
    ---- Jean, Gambist                               21
    Rousselot, Scipion                               99
    Röver, Heinrich                                 144
    Ruhoff, H.                                      138
    Rüdel, Albert                                   154
    Rüdinger, Albert Christian                      197

    Sainte-Colombe. Gambist                      20, 21
    Saint-Sévin, Philipp Pierre (l’Abbé l’Aîné)      87
    ---- Pierre (l’Abbé cadet)                       87
    Sandonati                                        64
    Sandow, Eugen                                   163
    Saradscheff, Ivan                               201
    Sbolci                                          112
    Schapler, Julius                                118
    Scheidl, Cajetan Gottlieb                        76
    Scheidler, Johann David                          78
    Schenk, Emil                                    135
    ---- Johann. Gambist                             24
    Schetky, Johann Georg                            70
    Schindler, Joh. Christian Gottlieb               82
    Schindlöker, Philipp                             69
    ---- Wolfgang                                    70
    Schlesinger, Karl                               145
    Schlick, Johann Konrad                           78
    Schönchen, H.                                   162
    Schönebeck, Karl Sigmund                         82
    Schrödel, Friedrich                              72
    Schröder, Alwin                                 168
    ---- Karl                                       138
    Schuberth, Karl                                 123
    Schübel, Heinrich                               162
    Schwachhofer, Andreas                            82
    ---- Joseph                                      82
    Schwarz, Anton                               79, 81
    Seligmann, Hippolyte Prosper                    171
    Serato                                          112
    Servais, Adrien François                        176
    ---- Joseph                                     179
    Shevioni                                         62
    Simon, Ludwig                                    81
    Simpson, Thomas. Gambist                         18
    Smith, Johannes                                 189
    Snoer, Johan                                    189
    Spotorni, Brothers                               63
    Spork, Count                                    204
    Stahlknecht, Julius                             153
    Stainer, Jakob. Instrument maker                 39
    Stiastny (Stiasny), Bernhard Wenceslaus         205
    ---- J.                                         204
    Sulzer, Joseph                                  146
    Sympson, Christopher. Gambist                    19
    Szablinski, Joseph                              208
    Szczepanowski, Stanislaus                       208

    Tardieu, Abbé                                38, 46
    Tartini, Giuseppe                                28
    Ten Cate, Andreas                               184
    Thalgrün, Stanislaus                            207
    Thieme, Bernhard                                125
    Tielke, Joachim. Instrument maker                 7
    Tillière, Joseph Bonaventure                     89
    Tolbecque, Auguste                              172
    Toscanini                                       112
    Tourte, François. Bow maker                      42
    Träg, Anton                                     144
    Tricklir, Jean                                   94
    Triemer, Johann Sebald                           68

    Uber, Alexander                                  74
    Udel, Karl                                      145

    Vandini, Antonio                                 53
    Venzano, Luigi                                  110
    Vidal, Louis Antoine                            170
    Vieuxtemps, Ernest                              184
    Viola                                          1, 2
    Viola d’amore                                    34
    Viola bastarda                                9, 34
    Viola di bordone                                 34
    Viola da braccio                                  9
    Viola da Gamba                     5, 9, 11, 36, 47
    Viola da Spalla                                  39
    Violoncello                          38, 40, 41, 45
    Violoncino                                       39
    Virgili (Virgil), Michel                         79
    Voigt, Karl Ludwig                              124
    Vollraht, Richard                               132
    Volxem, J. B. van                               182

    Warot, Constant Nöel Adolph                     183
    Weigl, Franz Joseph                              70
    Wergbilowitsch                                  200
    Werner                                           68
    ---- Joseph                                     161
    Whitehouse, William Edward                      195
    Wielhorski, Matthieu, Count                     199
    ---- Michael, Count                             199
    Wihan, Hans                                     148
    Wilfert, Bruno                                  129
    Willman, Maximilian                              82
    Winkis, Peter Wilhelm                           174
    Winneberger, Paul                                79
    Woczitka, Franz Xaver                           206

    Zanetto, Peregrino. Instrument maker              7
    Zappa, Francesco                                 63
    Zumpsteeg, Johann Rudolph                        80
    Zyka, Joseph                                    203
    Zygmantowski, Nicol                             206



LONDON
NOVELLO, EWER & CO.,
PRINTERS.



       *       *       *       *       *



Transcriber’s note:


There was no printed marker for the footnote on p. 41.


The heading “THE TRANSITION TO THE VIOLONCELLO” does not relate to
a separate chapter.


The following are used inconsistently in the text:

“Baumgärtner” and “Baumgartner”

“Contra-basso” and “Contrabasso”

“Drawing-room Pieces” and “Drawing-room pieces”

“Elégie” and “Elegie”

“Harz” and “Hartz”

“Hofkappelle” and “Hofcappelle” (and related words)

“Méthode” and “Methode”

“Sérénade”, “Serénade”, and “Serenade”

“Syntagma Musicum” and “Syntagma musicum”

“Würtemburg” amd “Wurtemburg”

“Zweibrücken” and “Zweibrucken”


The following possible errors have been left as printed:

p. 56 (two incidences) “MDCCXL1”

pp. 96 and 223 “Jaques Michel”

p. 137 “brother and sister JEANNE (a pianist) and Hans”

p. 137 “born on May 17, in Warmbrunn”

p. 204 “Freiderich”


The following errors have been corrected:

p. 8 “gamba make” changed to “gamba made”

p. 27 “which occurred.” changed to “which occurred.””

p. 30 “of this instrument.” changed to “of this instrument.””

p. 50 “1735--1748” changed to “1735-1748”

p. 50 (note) “Dictionary, 1859” changed to “Dictionary, 1659”

p. 52 “cellists in London,” changed to “cellists in London.”

p. 50 (Illustration) “A. String.” changed to “A String.”

p. 61 (note) “Kothen” changed to “Köthen”

p. 63 “(Op.2), mentioned” changed to “(Op. 2), mentioned”

p. 66 “125 string quartets” changed to “125 string quintets”

p. 66 “Fredrich” changed to “Friedrich”

p. 67 “Duke of Holstein Gottorp” changed to “Duke of Holstein-Gottorp”

p. 72 “Shrödel” changed to “Schrödel”

p. 76 (two incidences) “Kofkapelle” changed to “Hofkapelle”

p. 78 “Merseberg” changed to “Merseburg”

p. 80 “Zweibrucken” changed to “Zweibrücken”

p. 80 “Kofkapelle” changed to “Hofkapelle”

p. 84 musician. With” changed to “musician, with”

p. 98 ““Théâtre italien” changed to ““Théâtre Italien”

p. 105 “other ways” changed to “other ways.”

p. 105 “brothers Duport” changed to “brothers Duport.”

p. 115 (note) “Kirschberg” changed to “Kirchberg”

p. 121 (two incidences) “Kofkapelle” changed to “Hofkapelle”

p. 121 “ater he was” changed to “later he was”

p. 122 “to rule.” changed to “to rule.””

p. 123 “Coszmann belongs” changed to “Cossmann belongs”

p. 125 “Kofkapelle” changed to “Hofkapelle”

p. 129 “Kirschberg” changed to “Kirchberg”

p. 129 “Nuremburg” changed to “Nuremberg”

p. 130 “Schröeder’s” changed to “Schröder’s”

p. 130 “Coszmann’s” changed to “Cossmann’s”

p. 131 “Freiburg” changed to “Freiberg”

p. 134 “Lubeck” changed to “Lübeck”

p. 135 “Merseberg” changed to “Merseburg”

p. 137 “Frankfort-on the-Main” changed to “Frankfort-on-the-Main”

p. 142 “Breslaw, there” changed to “Breslaw. There”

p. 145 “Iydll” changed to “Idyll”

p. 145 “Op 1”, “Op 8”, and “Op 11” changed to “Op. 1”, “Op. 8”, and
“Op. 11”

p. 155 “Wihl. Tauberts” changed to “Wilh. Taubert”

p. 164 “Wurzburg” changed to “Würzburg”

p. 164 “Kofkapelle” changed to “Hofkapelle”

p. 165 “Ferdinand Böckmann” changed to “FERDINAND BÖCKMANN”

p. 173 “Violoncello virtuoso” changed to “Violoncello virtuosa”

p. 178 “Hofkappelle” changed to “Hofkapelle”

p. 191 “1751” changed to “1751.”

p. 197 “January 27, 1815,.” changed to “January 27, 1815.”

p. 198 “Ulrich of Hollstein-Gottorp” changed to “Ulrich of
Holstein-Gottorp”

p. 198 “Wöchenliche” changed to “Wöchentliche”

p. 204 “Czizek” changed to “Czižek”

p. 208 (note) “occasionally given” changed to “occasionally given.”

p. 218 “Praktiche” changed to “Praktische”

p. 221 “Bellermann” changed to “Bellerman”

p. 221 “Börngen” changed to “Boerngen”

p. 221 “Christiani” changed to “Cristiani”

p. 221 “Cudinore” changed to “Cudmore”

p. 222 “Emmerling Gambist” changed to “Emmerling. Gambist”

p. 222 “Ferarri” changed to “Ferrari”

p. 223 “Kellermann” changed to “Kellerman”

p. 224 “della Viola” changed to “della Viola.”

p. 224 “l’aîné” changed to “l’Aîné”

p. 225 “Willmann” changed to “Willman”





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