The Violoncello and Its History

by Wilhelm Joseph von Wasielewski

V.—GERMANY

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Dresden school of cello playing, founded by Dotzauer, and continued by Kummer, received a still greater forward impulse through Friedrich Wilhelm Ludwig Grützmacher.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hegyesi will be mentioned among the Hungarian violoncellists.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Amongst Werner’s numberless pupils we can only here cite Heinrich Schübel, at Carlsruhe; H. Schönchen, in Munich; Emil Herbeck, at St. Petersburg; Frl. Marie Geist and Carl Ebner, in Munich. The last-named artist, born on November 6, 1857, in Deggendorf, near Munich, is Royal Bavarian Chamber Musician, and takes part in the Trio Soirées, which are held annually with the co-operation of Bussmayer and Walter, in Munich. His Violoncello compositions, published as Op. 5, 6, 8, 9, 10, and 14, belong to the Salon genre.

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

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

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

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

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

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

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

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

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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.