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.