The Art of Violoncello Playing In the Nineteenth Century. (continued 2)

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.

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.

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.