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,