Schlick had a gifted pupil in J. G. Hemmerlein, born at Bamberg, who held the post of Concertmaster to the Elector Bishop of Fulda at the end of last century.
At the same time with Schlick, Johann David Scheidler, born in 1748, died on October 20, 1802, was employed as a much-liked violoncellist in the Gotha Kapelle.
The Ducal band of Meiningen also possessed a good violoncellist. It was J. J. Kriegck, originally violinist and member of the Flemish Opera at Amsterdam. During his residence in Paris he took up the violoncello, and received there instruction from the younger Duport. After he had studied for awhile under this artist he was engaged by Prince Laval Montmorency, in whose service he remained four years, when he was summoned to Meiningen. There he worked and was still living in the year 1810. Kriegck was born on June 25, 1750, at Bibra, in the neighbourhood of Eckertsberga, in the district of Merseburg. His cello compositions, consisting of three Concertos and some Sonatas with bass, are among the best of that period.
The violoncellist Hizelberger was, in 1786, in the service of the Bishop of Würzburg as chamber musician.
At the Court of Wallenstein, about 1790, Paul Winneberger was engaged as Director of the Royal Hunt and Table Music. In the year 1800 he exchanged this post for that of cellist and composer to the French Theatre at Hamburg.
In the Thurn-and-Taxis Kapelle at Regensburg were two cellists, Gretsch and Karauschek. The first was there until his death, which occurred in 1784. Karauschek, on the contrary, who was famous as an excellent cellist, only belonged to it from 1750-1760. Religious fanaticism caused him later to go into a Carmelite cloister. He died in 1789.
To the Munich Court music, in the second half of the last century, belonged Virgili.[79] He is remarkable as having given his first instruction to the violoncellist Moralt. This last artist, who was born in the Bavarian capital in 1780, and died in 1829, finished his training under the violoncellist Anton Schwarz, of Mannheim, and, having completed his studies, went into the Hofkapelle of his native city.
Another pupil of Anton Schwarz whose name is well known was Max Bohrer, born at Munich in 1785. He made such progress, that already as a boy of fourteen years of age he entered the Hofkapelle there. Soon after he undertook a concert tour with his brother Anton, who was an able violinist, and this led him to Vienna. There he heard Bernhard Romberg, who henceforth became his model. Towards 1830, after he had for a time been a member of the Royal band at Berlin, he went to Paris, where his fine tone and his ease in surmounting the most difficult passages excited admiration. Then he travelled through Germany, in 1832 was appointed first cellist to the King of Wurtemburg with the title of Concertmeister, went in 1838 (for the second time) to St. Petersburg, and then proceeded to Italy. The years 1842-1843 he spent in America giving concerts. He took his last journey, which led him to the countries of Northern Europe, in 1847, but he was not able to obtain the same amount of approbation, for he had lost a great deal of his power of execution. He died in 1867. He edited three Concertos, several “Airs Variés,” a “Fantasia” on a Russian Volkslied, a Rondoletto with a quartet accompaniment, and some Duets with violin.
Contemporary with the above-named Moralt in the Bavarian Court Kapelle, “Peter the Great,” so-called, according to Gerber, “on account of his talent,” born at Zweibrücken, in 1778, was actively engaged, and in 1792 was promoted to be member of the Bavarian Hofkapelle.