In the year 1771 he gave up his connection with the opera in order to undertake some concert tours. He visited a great part of Germany, remained some time in Hamburg, and then went to Paris and Italy, where he married the songstress Gasparini. In 1794 he was in Milan. From that time nothing more is known about him. The requisite information concerning his pupils, Jean Henri Levasseur and Bréval, will be given farther on.
Cupis composed two Concertos and a couple of pieces with variations, of which the second, for two violoncellos, appeared only as a “Posthumous work” after his death. Besides these, he wrote a violoncello school. It bears the title “Méthode nouvelle et raisonnée pour apprendre à jour du violoncelle, où l’on traite de son accord, de la manière de tenir cet instrument avec aisance, de celle de tenir l’archet, de la position de la main sur la touche, du tact, de l’étendue du manche, de la manière de doigter dans tous les tons majeurs et mineurs, etc. Paris, Boyer.”
Berteau’s second pupil, Jean Baptiste Aimé Joseph Janson, was born at Valenciennes in 1742. At twenty-four he was heard for the first time as solo-player at the “Concert Spirituel.” In 1767 he went as accompanist to the heir-apparent of Brunswick to Italy, and remained there till 1771. He then returned for a few years to Paris, after which he travelled in Germany. From Hamburg, where he remained until 1783, he visited Denmark, Sweden, and Poland. He everywhere reaped great applause for his performances, which were distinguished for their broad and fine tone. In the year 1789 he again found himself in Paris. The value that was set upon his playing there is proved by his being offered the post of teacher of the violoncello at the Conservatoire, which was founded in the year 1795. He died September 2, 1803. Of his violoncello compositions, Fétis mentions three Concertos (Op. 3), three Concertos (Op. 7), both with a bass; six Concertos with orchestra (Op. 15), and six Sonatas with bass (Op. 4).
Janson had a younger brother, whose Christian names were Louis Auguste Joseph, whom he instructed as a skilful cellist, after his father had prepared him for it. In 1789 he was given a place in the Parisian Orchestra, which he held till 1815. He died a few years later. He was born on July 8, 1749. He only published six Sonatas for the violoncello with bass.
Joseph Bonaventure Tillière, of whom neither the day of birth nor death is known, was about 1760 in the service of the Prince de Conti, after he had finished his studies under Berteau. He had the reputation of being a clever player. His published works consist of six Sonatas for violoncello and bass, nine Duets for two violoncellos, of which three appeared as Op. 8, and also of a violoncello school, published in 1764: “Méthode pour le Violoncelle, contenant les principes nécessaires pour bien jouer de cet instrument.” This work appeared in several editions.
Berteau’s best pupil was Jean Pierre Duport, called the elder,[89] whose father was a dancing master. He was born in Paris, November 27, 1741. He was heard at twenty years of age, with unanimous applause, in the “Concert Spirituel.” At the same time (1761) he was appointed one of the private musicians of the Prince de Conti. He gave up the post in 1769 in order to travel. He first went to England, two years later he visited Spain, and in 1773 he went to Berlin, where he remained, as Frederick the Great engaged him for his chamber musician as well as for the opera. He was at the same time teacher to the future King Frederick William II., who named him in 1787 superintendent of chamber music. From that time Duport no longer worked in the Opera, but only played at Court. On December 31, 1818, he died at Berlin. Duport published, in 1787,[90] at Berlin, six Sonatas for violoncello and bass, as well as three Duets for two violoncellos, known as Op. 1.
Gerber, who had the opportunity of hearing this artist in 1793, in Berlin, gives an enthusiastic account of his playing. He especially commended his strong, full tone, and his powerful bowing. According to Fétis, however, his younger brother, Jean Louis, surpassed him, and he seems to have been remarkably gifted. He had at first chosen the violin as his instrument, but took up by preference the violoncello, when he saw the artistic success of his brother, whose pupil he became. He very soon acquired considerable reputation by his appearance at the “Concert Spirituel” and at the “Société Olympique,” formerly known under the name of “Concerts des Amateurs”; and also by his connection with the house of Baron Bagge, so much frequented at that time by native and foreign artists of note.
When Viotti came to Paris, either at the end of 1781 or the beginning of 1782, and Duport heard him, he took his characteristic style of playing as his model, and his performances gained considerably thereby. He undertook his first concert tour to London in company with the English cellist, Crosdill, who was connected with him, and he there met with a most animated reception. This journey kept him six months away from Paris. But he did not remain then long at home. The ominous events which, in 1789, preceded the Revolution caused him, like a great many others, to fly from Paris. He betook himself to his brother in Berlin, where he soon found employment in the Royal orchestra, to which he was attached for seventeen years. During this time he had many pupils, whose names unfortunately are unknown. His pupils of French nationality—Rousseau, Levasseur, and Platel—will be noticed later.
The events of 1806, so unfortunate for Prussia, obliged Duport to leave Berlin. He returned again to Paris. But during his long absence he had been forgotten, and he had to gain for himself another public.
A single public appearance in the year 1807, in which he was supported by the assistance of the singer, Colbran, Rossini’s future wife, was sufficient for this. He could not, however, attain to any certain or decided position again by reason of the entire change of circumstances little favourable to Art in Paris. This obliged him to enter the service of Charles IV. of Spain, who had been dispossessed by Bonaparte, and who was then at Marseilles. But this connection came to an end in 1812, when Charles IV. went to Rome, and Duport consequently was obliged to return to Paris. He took part in three concerts, and in spite of his advanced age of sixty-five years, had so great a success that he was named solo cellist to the Emperor and teacher at the Conservatoire. He lost the latter post on the re-organization of the above-named Institution in the year 1816. He remained, however, in his position at Court, which meantime had been changed from an imperial to a monarchical one. But only three years after he succumbed to a liver attack, on September 7, 1819. He was born on October 4, 1749.