One of the last of Schetky’s published works is his Op. 13, which contains six Sonatas for Violoncello with unfigured bass. The compositions therein contained give a distinct idea of his fluent though superficially mechanical manner of writing. It can readily be discerned that Schetky had for the time in which he lived a remarkable technique in playing. He must have been able with ease to play at sight the first violin part in Quartets, a talent which proves at once his skill and readiness. His power and agility in bowing as well as his staccato playing in up and down strokes were famous.
According to Gerber’s account, Schetky died in Edinburgh in 1773. In Forster’s “History of the Violin” it is said, on the contrary, that his death took place only in 1824.[73]
As a “clever and solid concert player and composer for his instrument,” Markus Heinrich Graul, who was born in the first half of the last century, is mentioned by Gerber. In the year 1766 he belonged to the Royal orchestra at Berlin. He also composed pieces for the cello, but did not publish them.
His pupil, Joh. Heinrich Viktor Rose, born on December 7, 1743, at Quedlinburg, was early instructed to play on various instruments by his father, who was town musician in the above-named place. The Princess Amalie, who then filled the office of Abbess in the Quedlinburg Convent, became interested in him, and took him with her to Berlin in 1756, where he studied cello playing for some years under Graul and Mara. In 1763 he entered the service of the Prince of Anhalt-Bernberg. Four years later he relinquished that in order to travel, and accepted a place in the band of the Duke of Dessau. He did not long remain there, for in the year 1772 he accepted an offer to be organist at the place of his birth. According to Gerber’s account he possessed not only an extraordinary readiness on the violoncello, but also a most expressive, graceful rendering. Of his compositions, there were three solos with bass accompaniment published as Op. 1.
His best pupil was Friedrich Schrödel, born on February 4, 1754, in Baruth; died January 10, 1800, at Ballenstedt. Gerber calls him one of the greatest masters on the violoncello of that period, and adds that many were of opinion that he surpassed the famous Mara in precision and delicacy.
Johann Jäger must be noticed with special distinction as belonging to the German cellists of the last century. Schubart, who must have known him personally, says in his eccentric manner: “Jäger is quite original; his bowing new, unconstrained, and impetuously fiery. All masters apply the thumb to the D string, and so bring out the high passages; but Jäger departs entirely from this method—a proof that his genius has more than one way of attaining his aim. He goes with lightning dexterity up to the D and A strings in the highest parts and brings out the most delicate phrases with the greatest tenderness and sweetness.... Jäger is also a great reader, prima vista—that is, he can play from the music at sight the most difficult pieces with wonderful art.”
In regard to the Jäger Violoncello compositions, which altogether remained unpublished, Schubart remarks: “He follows no rules in composition, but is guided solely by his ear. His Concertos and Sonatas consist chiefly of original themes, which are grand, noble, adapted to the instrument, and full of difficulties. Jäger caused his pieces to be revised by good musicians, whereby they were put into correct form. At the same time it must be confessed that the superfluous boughs, the offspring often of an unbridled fancy, have not all been pruned off.”
As Jäger’s compositions are not extant there is no possibility of putting to the proof the justice of Schubart’s judgment.
We can only gather that Jäger was self-taught. He appears to have been so even as a player. There is nowhere any intimation that he had any regular instruction on the violoncello. Gerber makes only the remark that Jäger became, under the influence of the Kapellmeister at Würtemburg, “the great man” whom the world admired.
As Fétis informs us, Jäger was born on August 17, 1748, in the little town of Schlitz.[74] He was originally oboe player in the service of Holland. He cultivated at first as his favourite instrument the French horn. After he had been actively engaged at the Court of Stuttgard, the post of chamber virtuoso in the Anspach Bayreuth orchestra fell to his lot. The position left him a great deal of spare time, so that he was able to practise diligently the violoncello, and also to undertake concert tours, which led him to London in 1781.