Chapter L: ESPENHAHN, born at Sandersleben, was at first member of the Dessau (1)

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,

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.

HEINRICH MOLLENHAUER, born on September 10, 1825, at Erfurt, was from his fourth year taught piano and violin playing, and when only a half-grown boy he made, with his brothers, under his father’s guidance, a concert tour through Germany. He later devoted himself, under Knoop’s direction, to Violoncello playing with great success. Mollenhauer belonged for three years, from 1853, to the Royal band at Stockholm, and then turned to New York. After he had travelled through the North American States as a Concert-giver, he settled down, in 1867, at Brooklyn, and founded there a music school.

In the sphere of chamber music the best performer was the Cellist of the formerly famous MÜLLER STRING QUARTET, whose name was THEODORE. He was born on September 27, 1802, in Brunswick, and died there on May 22, 1875. He is described as the very soul of the Quartet Band, which with his brothers Carl (1st Violin), Georg (2nd Violin), and Gustave (Tenor), he so carefully kept together for so many years, the most brilliant period of which was from 1831-1855. During this time the brothers Müller undertook journeys into Germany, Holland, Denmark, and Russia, which were crowned with fame. They were also heard in Paris.

As is known, the Müller String Quartet was continued by the sons of Charles, the eldest of the brothers, who belonged as Concert Master to the Ducal Kapelle of Brunswick. The Violoncellist of the junior Quartet Band was--

WILLIAM MÜLLER, born on June 1, 1834, in Brunswick. He had his uncle, Theodore, as his master. After he had been working with his brothers in the Meiningen orchestra, as well as in Wiesbaden and Rostock, he entered the Berlin Court Kapelle as solo cellist, and also undertook the Cello instruction in the Royal High School for Music. In this position he remained three years, when he went to America. From that time there is no more account of him.

His pupil, EUGEN SANDOW, born on September 11, 1856, in Berlin, occupied himself from his sixth to his eighth year, under the direction of his father, with violin playing; gave it up however in favour of the Violoncello, and had as his next teacher the royal chamber musician, A. Rohne. In 1870 he was taken into the High School for Music, and was there, from 1873 to 1876, Müller’s pupil. In April of the year 1879 ensued his appointment as Chamber Musician in the Royal band.

* * * * *

Since the beginning of the present century Hamburg has been distinguished by excellent cellists. Foremost must be brought forward here--

JOHANN NIKOLAUS PRELL. He was born on November 6, 1773, in Hamburg, and earned the thanks of the musical world there especially by the institution of regular Quartet Academies. He died on March 18, 1849. His son--

AUGUST CHRISTIAN PRELL, under Romberg’s direction, whose last pupil he was, reached a high degree of art. An extremely beautiful and grand style of playing lent his performance a classic stamp. Already at twelve years old he could perform in public. Four years later the post of Chamber Musician in Meiningen was offered to him, and in 1824 he received a summons to Hanover as first Cellist of the Hofkapelle there, to which he belonged until February 1, 1869, when he went into retirement. He was born on August 1, 1805, and died on September 3, 1885, in Hanau. His fine Amati Violoncello passed into the possession of Grützmacher.

In GEORG EDUARD GOLTERMANN, born on August 19, 1824, at Hanover, A. Ch. Prell formed a distinguished Cellist. He received the last touch from Joseph Menter during his two years’ residence in Munich (1847-1849). He there also had instruction in composition from Lachner. After he had made some journeys from 1850-1852, he became music director in Würzburg, but remained there only a year, for he was summoned, in 1853, to be second Kapellmeister at the Frankfort Theatre, and became in 1854 first Director. Goltermann has also made himself eminent as a composer for his instrument. For the Violoncello, besides seven Concertos, he wrote a tolerable list of Drawing-room Pieces, which have received a considerable degree of favour.

Two other famous Hamburg Cellists are the BROTHERS LEE. The elder, whose Christian name was Sebastian, was born on December 24, 1805, in Hamburg, and was educated by Prell, the father. At twenty-five years of age he made his first _début_ as solo player in his native town, as well as in Leipsic, and then undertook a journey, by Cassel and Frankfort, to Paris, where he arrived in April, 1832. He was heard then with approbation in the Théâtre Italien. In 1836 he went to London, and again returned to Paris, in order to join, as solo cellist, in the orchestra of the “Grand Opéra.” He devoted himself to this work from 1837-1868, when he returned to Hamburg, and died there on January 4, 1887. Seb. Lee published a considerable number of compositions for his instrument. Amongst them are Divertissements, Fantasias, Variations, Etudes, as well as a great number of easy and more difficult Duets, of which three books, under the title of “Ecole du Violoncelliste à l’usage du Conservatoire de Paris,” have been published.

Two scholars of Seb. Lee worthy of mention are BÖCKMANN and BIELER.

FERDINAND BÖCKMANN, born January 28, 1843, at Hamburg, enjoyed Lee’s instruction; and then Magnus Klitz,[122] who was at the time first Cellist at the Hamburg Stadt-Theatre, was his master. In the autumn of 1861 he found an appointment in the Dresden Court band, and was then, for a time, Kummer’s pupil. Böckmann is a clever Violoncellist, who made himself known extensively by the editing of old Violoncello music.

AUGUST BIELER, born on May 9, 1863, at Hamburg, began his Cello studies under Lee, in his fourteenth year, and continued them in Leipsic, where he went in January, 1879, to be under Karl Schröder[123]; at Easter, in 1881, he was received into the Sondershausen band, of which he has been first Cellist since 1885. He is at the same time giving instruction on his instrument at the Conservatoire of Sondershausen. Bieler, who is possessed of a remarkable technique, has distinguished himself both as a solo and quartet player. His tone is powerful and full of energy, but, at the same time, flexible and melodious, his manner of rendering full of expression and extremely musical.

Lee’s younger brother, LOUIS, who is reputed to have had great skill in bowing, was born in Hamburg in 1819. He also undertook several journeys, during which he appeared at Leipsic, Cassel, Frankfort, Paris, and Copenhagen. He published and wrote but very few cello compositions; amongst them, “Trois Pièces gracieuses,” with piano accompaniment, must have a prominent place.

Finally, another much valued Violoncellist of Hamburg, ALBERT GOWA, must be mentioned, who obtained his education in the Leipsic Music School, but on the Violoncello especially shared the instruction of F. Grützmacher and Davidoff. He made himself advantageously known by his public appearances, not only in German towns, but also in Copenhagen and London; accepted an engagement from 1867-1868 at the Philharmonic Society in his native town, and at the expiration of this he was appointed solo cellist at the Bückeburg Court; he then returned to Hamburg, where he is still living and working. He was born on April 14, 1843.

Some other German distinguished Violoncellists of modern times are Ripfel, Gross, Bockmühl, Néruda, and Alwin Schröder.

KARL RIPFEL was a character, and moreover in his youth was a so-called piano phenomenon, until the Minister of Baden, de Touche, persuaded him to devote himself to Cello playing, and himself gave him instruction. In regard to the technical branch of his art he made great progress, but he was so nervous that he could never make up his mind, except during his youth, to appear in public. His manner of rendering must have been _bizarre_. Nevertheless he was a distinguished orchestra player; assisted by an extraordinary memory he was able to play the cello part in the opera without music on an occasion when his colleague would not turn over the page at the right moment. He belonged to the Frankfort Theatre orchestra for forty-five years. His grave has the inscription: “Carl Ripfel, of Mannheim, died March 8, 1876, at the age of seventy-seven years.” He must accordingly have been born in the year 1799. In the “Signalen für die Musikalische Welt,” of March 19, 1876, the following is asserted of him: “Although not known in an extensive circle, he was esteemed by Bernhard Romberg to be the greatest master of technique on his instrument, which he was at last able to manipulate almost as well as Paganini.”

Ripfel was also a composer, but never published any of his compositions. When the Violin virtuoso, Jean Becker, asked him to let him have one of his string trios, he was roughly refused.

JOHANN BENJAMIN GROSS, born at Elbing, on September 12, 1809, went in his youth to Berlin in order to devote himself there to the study of the Cello. It was not long before he found a position in the orchestra of the Königstadt Theatre, which he gave up in 1831. He now turned to Leipsic, was often heard there, even in the Gewandhaus, and in 1833 joined the Liphart String Quartet, at Dorpat, at the head of which was Ferdinand David. In 1835 he was engaged for the Imperial Theatre in St. Petersburg as first Cellist, where he continued until 1847. He then returned with a pension to Germany, but soon appeared in St. Petersburg again, the Grand Duke Michael having summoned him to his neighbourhood. He did not long enjoy the pleasures of this intercourse, for on September 1, 1848, he died of cholera. Of his compositions, the number of which extend to about forty, there appeared for the Violoncello a Concerto, Etudes, Duets, Variations, and a variety of Drawing-room Pieces. He wrote also a Concerto for Piano and Violoncello, as well as a Sonata for these two instruments.

ROBERT EMIL BOCKMÜHL, born 1820, in Frankfort-on-the-Maine, died on November 3, 1881, was a clever Violoncellist, and an industrious composer for his instrument. He published about seventy works, consisting of “Fantasias,” Variations, Divertissements, and Rondos on opera themes or national songs. Also an extensive book of studies under the title: “Études pour le développement du mécanisme du violoncelle; adoptées pour l’étude élémentaire de cet instrument au Conservatoire royal de musique de Bruxelles, et au Conservatoire de musique de Bavière à Munich” (Op. 17), in five parts. At the beginning of his fiftieth year, Bockmühl settled in Düsseldorf. At that time Robert Schumann was composing his Violoncello Concerto, for which he solicited Bockmühl’s advice in regard to the technical questions.

FRANZ NÉRUDA, born on December 3, 1843, at Brünn, occupied himself from his fifth year with Violin, and from his twelfth year with Violoncello playing, to which latter he eventually devoted himself exclusively. In the year 1855 he appeared publicly for the first time at Ischl. He then made concert journeys in Germany and Russia, during which he attained his twentieth year. In 1864 he was appointed to the Copenhagen Court Kapelle, to which he belonged for twelve years. During this time he was frequently heard as soloist in Copenhagen, as well as in London, where he often took Piatti’s place at the Popular Concerts. He also performed at Concerts in Manchester and Liverpool. Latterly he appeared at Vienna. Néruda studied under his father, although he was indebted to Servais for many good hints. He published about thirty of his Violoncello compositions, amongst them a Violoncello Concerto, and some little pieces for Cello with Piano accompaniment. It may be further remarked that he is brother to the famous Violinist, Wilma Néruda.

ALWIN SCHRÖDER, brother to Karl Schröder,[124] was born at Neuhaldensleben in 1855, where his father was music director. He devoted himself to Violoncello playing only, after he had pursued from the seventh year of his age piano, violin, and tenor playing, and had attained to remarkable proficiency in them. In his youth he was engaged in several orchestras in Berlin as tenor performer. During a visit to his father’s house he conceived a great desire to take up the Violoncello, and practised on his own account the Cello solo in the Introduction to Rossini’s “Tell” Overture. He succeeded so well that his brother Karl, to whom he played it, urged him to occupy himself further with the Violoncello, which he did. In 1875 he had reached such a degree of proficiency that he was engaged in the autumn of the same year as first Cellist for the Liebig Orchestra. This position he exchanged for one in the Fliegen Band. After he had been a member of the Laube Kapelle, he chose Leipsic as his place of residence in 1880, and occasionally took his brother Karl’s work in the orchestra. When the latter accepted the post of Royal Kapellmeister in Sondershausen, he was appointed in his brother’s stead, together with Klengel,[125] as first Cellist of the Gewandhaus and Theatre Orchestra, as well as teacher in the Conservatoire. Besides this, he is permanent member of the Peter String Quartet. He received the title of Chamber Virtuoso from the reigning Prince of Sondershausen. His playing is famous for its clever technique, fine tone, perfect accuracy, and most expressive rendering. He has been heard in the capitals of Germany, Belgium, and Russia with remarkable success.

FOOTNOTES:

[101] This artist was a violinist, and was born on April 27, 1767, at Vechta, in Oldenburg, and died on November 21, 1821, as Hofkapellmeister, in Gotha.

[102] Bagge was a Prussian Chamberlain, who then lived in Paris, built a house there, and acted the part of an art patron. He died there in 1791.

[103] This notice is by the Court Chaplain of Hohenlohe in Kirchberg, Carl Ludwig Junker.

[104] Not 1820 in the Hartz, as is elsewhere said.

[105] Page 77 of this work.

[106] P. 78.

[107] The first of these appeared at Schott’s, in Mayence; the other, for “Elementary instruction,” at Haslinger’s, Vienna.

[108] Concerning Dotzauer’s violoncello compositions, Philipp Roth’s “Guide to Violoncello Literature” may be consulted with special reference to their degree of difficulty.

[109] See under the violoncello players of Russia.

[110] See page 72.

[111] Not to be confounded with the excellent cellist, Wilhelm Lindner, who was Chamber Musician of the Grand Duchy of Baden, and died on August 19, 1887.

[112] Compare p. 91.

[113] He is now member of the Royal Theatre Band at Cassel. No information about him could be obtained.

[114] See page 69 of this book.

[115] Fétis erroneously says that Bagge was born in Bohemia, about 1815.

[116] Not to be confounded with Georg Eduard Golterman, to be mentioned farther on.

[117] Also the two Maras (father and son) had an important effect on Violoncello playing in Berlin, though not so great as that of the brothers Duport. Concerning the elder and younger Mara, the necessary details will be given in speaking of the Bohemian violoncellists.

[118] Fétis contests this, for he says: “The German biographers of Kelz affirm that he (Kelz) was advised by Duport; but this is erroneous, as at this time (1811) Duport was no longer in Berlin.” This could only refer to L. Duport, for his brother remained until his death in the Prussian capital.

[119] At Breitkopf and Härtel’s.

[120] See p. 79 of this book.

[121] See amongst the Belgian Cellists.

[122] See p. 153.

[123] See p. 138.

[124] See p. 138.

[125] See p. 130.

VI.--FRANCE, BELGIUM, AND HOLLAND.

The prominent position which the French attained in respect to Violoncello playing in the second half of the last century was maintained by them subsequently. They exercised, however, with few exceptions, no real influence in Germany after the period signalised by Romberg’s appearance. On the contrary, this master influenced in a certain way French Cello playing, as appears from a remark in Baudiot’s school, mentioned on page 104, that Romberg had introduced the use of the fourth finger in the thumb position. The sign Ϙ, by which Romberg denoted the thumb position, also was adopted in France, where, as in other places, it had been necessary until then to use a variety of indications for it. In other respects the aim of the French Violoncellists greatly inclined in the virtuoso direction, as was the case with regard to violin playing, whereas in Germany greater stress was laid on the more solidly musical aspect, without neglecting the virtuoso side.

Taking up the thread again from the preceding section with France, the first to be mentioned is

AUGUSTE FRANCHOMME. This artist, who belongs to the most important masters of his department, was born at Lille on April 10, 1808, and learnt the first elements of his instrument from a mediocre teacher of his native town, whose name was Mas. In 1825 he went to the Paris Conservatoire as pupil of Levasseur, and, after the latter retired from his professorship, Norblin undertook his further instruction. Franchomme’s great talent developed so rapidly, under the guidance of these two masters, that immediately, during the first year of his attendance at the Conservatoire, he gained the first prize at the musical competition of the pupils of the establishment. He understood how to extract from the instrument a full, sympathetic tone, and possessed with an extraordinary intonation the rare gift of an expressive and tasteful reading. He specially distinguished himself by a charming _Cantilena_. It is easily understood that on his public appearances he always aroused the greatest enthusiasm.

Franchomme filled various places successively in Paris. He at first belonged, during the years 1825 and 1826, to the orchestra of the Theatre “Ambigüe-Comique.” He then went over, in 1827, to the “Grand Opéra,” but remained there only one year. He belonged for a longer period to the Italian Opera, but he relinquished this position after a few years. Instead, he established regular quartet evenings with the famous violinist, Delphin Alard; and in 1846 he undertook the Cello instruction at the Paris Conservatoire. He died on January 21 or 22, 1884. His compositions, consisting of a Concerto, Nocturnes, Etudes, Variations, and a variety of smaller Drawing-room pieces, have still some value for cello players. His best productions are the Twelve Caprices (Op. 7), which for pieces of that kind have every claim to consideration.

The best known pupils of Franchomme are VIDAL (the younger), JACQUARD, and BARBOT.

LOUIS ANTOINE VIDAL, born at Rouen on July 10, 1820, devoted himself by preference to the literary branch of music after he had finished his Cello studies. By his valuable work, “Les instruments à archet,” he attained to a prominent position among the French writers on music of modern times.

The younger JACQUARD, whose Christian name was Louis Auguste, born on December 26, 1832, at Pont-le-Roy, so distinguished himself as a scholar of the Paris Conservatoire, that he gained in 1850 the second, and in 1852 the first prize. He is a permanent member of the Orchestra of the Conservatoire Concerts.

JEAN FRANÇOIS BARBOT, born in 1847 at Toulouse, settled down in his native town after he had completed his studies at the Paris Conservatoire, and is still at the present time working there at his profession as an artist. Other modern French cellists are--BATTANCHON, SELIGMANN, DANCLA, LEBOUC, and JACQUARD THE ELDER. They were all Norblin’s pupils.[126]

FELIX BATTANCHON, born on April 9, 1814, in Paris, frequented the Conservatoire of his native town, and studied there under Vaslin and Norblin, who turned him out as a clever Cellist. After he had worked in various ways as a solo player, he was appointed in 1840 to the orchestra at the Grand Opéra. His compositions consist of Etudes, which are fully adapted to the object in view and of which several books have been published; Caprices, Duets, Trios (for three Violoncellos), and light pieces of various kinds. His Op. 4, which contains twenty-four Studies, has been introduced into the Paris Conservatoire.

HIPPOLYTE PROSPER SELIGMANN, whose name suggests a German origin, was born on July 28, 1817, in Paris, entered the Conservatoire there on December 2, 1829, and had Norblin as his master for the Violoncello, and Halévy for Composition. In 1834 he received the second prize and, two years later, the first prize. After he left the Conservatoire, in the middle of 1838, he played a great deal in public, and in course of time made concert tours through Southern France, Italy, Spain, Belgium, and Germany. For the beauty of his tone he is indebted to a valuable Amati Cello of large size. As a composer, Seligmann only cultivated the lighter kind of music. His Violoncello pieces are no longer used in solo playing.

ARNAUD DANCLA, born January 1, 1820, at Bagnères-de-Bigorre, was likewise Norblin’s pupil at the Paris Conservatoire. He was dismissed, in 1840, with the first prize. Dancla distinguished himself especially as a quartet player. In Cello compositions, he published Etudes (Op. 2), two books of Duets, a “Fantasia” on Themes from Auber’s “Sirène,” “Melodies,” and a Cello School, “Le Violoncelliste moderne.”

CHARLES JOSEPH LEBOUC, born on December 22, 1822, at Besançon, attended the Conservatoire in Paris, and at first had Vaslin as his teacher for a short time, but subsequently Norblin. He also distinguished himself in playing chamber music. Besides some pieces for Violoncello, with piano accompaniment, he composed a “Methode complète et pratique de Violoncelle.”

LEON JEAN JACQUARD, the elder, born on November 3, 1826, in Paris, passed his youth at Pont-le-Roy, near Blois. Hus-Desforges had retired thither, and from him Jacquard received his first cello instruction. When Hus-Desforges died, at the beginning of 1838, a certain Levacq undertook the further direction of Jacquard, until he went to Paris to attend the Conservatoire. Here he was in Norblin’s classes. He so distinguished himself amongst his fellow scholars that he received, in 1842, the second prize, and, in 1844, the first.

Jacquard enjoyed the reputation of a virtuoso-trained player. He was, however, much appreciated as a member of the orchestra of the Conservatoire Concerts, as well as of the chamber music concerts instituted by the violinist, Armingaud, in which also the violinist, Mas, and the tenor, Sabatier, took part. It is a proof of his extraordinary ability, that in 1877 he was appointed teacher in that institution as Chevillard’s successor, whose pupil he had been. Nine years later (March 27, 1886) death summoned him away.

JACQUES OFFENBACH, the creator of the Stage productions which are known by the name of “Bouffes Parisiens,” was born on June 21, 1819, at Cologne, and occupied himself zealously with Violoncello playing in his younger years. Partly to make himself more widely known, and partly to perfect himself on his instrument, he went to Paris in 1842, and shared for a time the instruction of the Vaslin Classes in the Conservatoire. His efforts, however, to succeed as a Cellist were in vain; according to the opinion of Fétis, because his bowing was inefficient. In fact, he only succeeded in assisting in the orchestra of the Comic Opera. This occupation did not please him for any length of time; he withdrew and undertook the office, in 1847, of _Chef d’Orchestre_ at the Théâtre Français. But Offenbach cherished more extensive plans, which aimed at becoming a composer for the theatre. It is known that he successfully attained to this, though not in the way of gaining a very high reputation. Here, however, we are considering Offenbach solely as a Violoncellist. Although he did not perform as such in any very extraordinary manner, yet he possesses claims to be noticed in this place, because he wrote a number of Cello compositions which gained a certain amount of favour. Besides some light pieces he composed a considerable list of Duets.

AUGUSTE TOLBECQUE, whose father was a distinguished pupil of Rudolphe Kreutzer in violin playing, was born on March 30, 1830, in Paris, and went in his eleventh year to the Conservatoire as a pupil of Vaslin. In 1849 he obtained the first prize. Since 1858 he has been living and working at Niort, the chief town of the Department Deux-Sèvres.

Two other French cellists are Lasserre and Boubée.

JULES LASSERRE, born on July 29, 1838, at Tarbes, went from 1852-1855 to the Paris Conservatoire, and was dismissed from there with the first prize. He then successfully undertook journeys in France and Spain. In 1869 he settled down in London as his permanent residence, and became first Cellist in the “Musical Union” as well as in Costa’s Orchestra. He wrote several things for his instrument.

ALBERT BOUBÉE, born in 1850, at Naples, was originally destined for commerce, and failing to persevere in this, it was intended he should devote himself to teaching. But neither in this could he succeed, and Boubée finally decided for the musical profession. The enthusiasm excited in him by his cello teacher, Gaetano Ciandelli, and later on by Servais and Piatti’s playing, really induced him to pursue the study of music. In 1867 Boubée chose London as his residence, where since then he has become completely naturalised, though from time to time he has accepted engagements abroad. He worked on several occasions with the orchestras at Spa and Scarborough, and travelled in Sweden, Norway, and Denmark as a concert player, but he devotes himself chiefly to the sphere of work which he has made for himself in the English capital. Of his Cello compositions, which consist of several solo pieces, the best known in England is “La Gymnastique du Violoncelliste.”

France possessed also a Violoncello virtuosa of reputation about the middle of the century in LISA B. CRISTIANI, whose name really points to an Italian descent. She played with delicate intonation charming little pieces, pleasantly and gracefully, and performed them on her journeys through Germany and Denmark to Russia, and also on October 18, 1845, at Leipsic. The general approbation which was everywhere lavished upon her was substantially increased by her beautiful and imposing appearance. Felix Mendelssohn considered it worth while to accompany her performances on the piano at her Leipsic Concert, and to compose a “Song without Words” for her. She was appointed Chamber Virtuosa by the King of Denmark. In 1853 she died at Tobolsk, of cholera. She was born at Paris, on December 24, 1827.

At the present time the best French cellists are: JULES DELSART, RABAUD (both teachers at the Paris Conservatoire), LIÈGEOIS, LOEB, and BECKER. Information regarding them is lacking up to the present time.

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In Belgium and Holland the Violoncello was introduced about the same time as in France, though it made, indeed, but slow progress in both these countries. This may be concluded by the very modest number of Belgian and Dutch Cellists worthy of mention in the last century, of which there are only four to notice. The oldest of these,

WILHELM DE FESCH, born in the Netherlands towards the end of the seventeenth century, was not only cellist, but organist. In the latter capacity he worked at the Antwerp Cathedral until 1725, when he undertook, as d’Eve’s[127] successor, the office of Choirmaster. But as he treated somewhat roughly the boys of the church choir entrusted to his direction, he was dismissed in 1731, when he betook himself to London. He was still living there in 1757, as appears from the portrait of him in that year by Lacave. Amongst his published compositions mentioned by Burney as dry and uninteresting, there are also six Violoncello solos printed at Amsterdam (Op. 8). After Fesch,

PETER WILHELM WINKIS must be mentioned. Born in 1735 at Liège, he did not remain at home, but travelled to Germany, where for a few years he was in the service of the Cassel Court, and then (at the beginning of 1788), as Gerber notices, became Chamber Musician and Violoncellist to the “Kapellinstitut” of the Queen of Prussia. He well understood how to accompany with “much taste and observation.”

The third Violoncellist of consideration is

JEAN ARNOLD DAMMEN (Fétis calls him Jean André Dahmen), who belonged to a large Dutch musical family, was born in 1760, at the Hague, and had the reputation of being a clever player. About 1769 he was living in London. Of his compositions, several books of Duets and Sonatas appeared. In 1794 he was appointed to Drury Lane, and in the years 1796 and 1797 he travelled in South Germany.

Finally we must here mention JOSEPH MÜNTZBERGER. He was of German extraction, and was born in Brussels in 1769, where his father, Wenzeslaus Müntzberger, was chamber musician in the service of Prince Charles of Lorraine, Governor of the Netherlands. Fétis informs us that the young Müntzberger at six years of age played a Concerto before the Prince, on a tenor viol, handled somewhat like the Violoncello. On account of this performance he was induced to have the boy instructed by the violinist, Van Maldere. This account must be erroneous, for Van Maldere died on November 3, 1768, a year before Müntzberger’s birth. In his fourteenth year he went to Paris. He there advanced himself--with the sole assistance of Tillière’s Violoncello School--so far that he was able to play the most difficult pieces of the Cello literature of that period. In 1790 he accepted a place in the orchestra of the “Théâtre Lyrique et Comique,” but after a time gave it up and entered the orchestra of the “Théâtre Feydeau,”[128] of which he became first cellist after Cardon’s resignation. Besides this, he was a member of Napoleon the First’s band, as well as, later, of the King’s. During his official occupation he often assisted at concerts, and specially at those of the “Rue de Cléry,” which at the beginning of this century were in great favour with the Parisians. In 1830 he retired on a pension, and died in January, 1844.

Müntzberger, who, during his long residence in Paris, had not only Gallicised himself as an artist, but also in regard to the pronunciation of his name, composed a good deal for the Violoncello--namely, five Concertos, a “Symphonie Concertante,” Trios, in which, besides the Cello obbligato, the violin and bass take part; a great number of Duets, Fantasias, and Variations; two books of Sonatas, with bass; three of Etudes and Caprices, as well as a “Nouvelle Méthode pour le Violoncelle.” The latter work in all probability appeared before 1800, as in it, as in Boccherini’s compositions, besides the bass and tenor and violin clefs, the alto and soprano clefs are used, which do not occur in French books of instruction after this date.

Violoncello playing received a remarkable impulse in Belgium towards the middle of our century. Platel (mentioned already on p. 101) greatly contributed to this by founding the school of Violoncello playing which subsequently gained such reputation. From it came out prominently,

ADRIEN FRANÇOIS SERVAIS, born on June 6, 1807, at Hal, near Brussels. He began his career, like so many of his colleagues, with violin playing, in which his father, who was a musician in the church at Hal, first gave him instruction, and under whom he became acquainted with the elements of theory. The child’s rare talent inspired the art-loving Marquis de Sayve, who possessed an estate in the neighbourhood of Hal, with so great an interest that he granted him the means of beginning to study in earnest under the direction of the first violinist of that time in the Brussels Theatre, of the name of Van der Planken. In Brussels, Servais soon found an opportunity of hearing Platel, whose playing made a deep impression on him, and excited in him the desire of devoting himself to Violoncello playing. In order to become Platel’s pupil, he applied for admission to the Brussels Conservatoire. His development was so rapid that he surpassed all his fellow-students, and gained, before the year was over, the first prize in the competition. Platel made him his assistant in the Conservatoire, and at the same time he was placed in the opera orchestra, to which he belonged for three years. During this period, however, he did not succeed in gaining from his fellow countrymen the appreciation which he soon after gained in Paris.

In the year 1834 Servais went to London. He acquired there also remarkable success; but the applause of the public did not excite in him self-satisfied content, for when he returned home he gave himself up to renewed study, by means of which he attained to the highest degree of masterly performance. In the beginning of 1836 he went to Paris--the following year he travelled in Holland, and in 1839 visited St. Petersburg, where he met with a brilliant reception. Such was the case also when he re-appeared in his native land, and performed at Brussels and Antwerp, after his return from Russia. In the beginning of 1841 he undertook a second journey to the East, in which he aroused great applause at St. Petersburg, Moscow, Warsaw, Prague, and Vienna by his performances. In 1843 he gave concerts again in Holland, and the following year in Germany, after which he again went to Russia. In the winter of 1847 he was in Paris and later on he travelled into Scandinavia. Now a quieter time was in store for him, for in 1848, after he had been nominated solo violinist to the King of the Belgians, he undertook the Professorship at the Brussels Conservatoire, which for a time attached him to the place. At the beginning of 1866 he made another journey to Russia, which he extended to Siberia. It is supposed that by these unceasing efforts Servais laid the seeds of his death, which took place on November 26 of the same year, at his birthplace, whither he had resorted to recruit his health.

Servais was not only a virtuoso of the first rank, but also a thoroughly original artist who was the means of effecting an important advance in Cello playing, by opening out for it new lines. His performance was distinguished by broad, energetic, and rich intonation, as well as by the most careful finish and effective manipulation, for he understood how to bring out into the clearest light all the advantages of his instrument. Many connoisseurs consider him the first cellist of his time; in any case, he competed successfully with his French colleagues, and raised the Belgian school of Violoncello playing to extraordinary reputation.

Servais as a composer for his instrument is well-deserving of notice. Besides three Concertos, he wrote ten Fantasias, with orchestral accompaniment. He united with J. Grégoire in composing fourteen Duets for Piano and Violoncello, and with the violinist Léonard three Duets for Violin and Violoncello, upon opera themes. In conjunction also with Henri Vieuxtemps, a Duet of the same kind was produced. Finally, he composed six Caprices in the Etude form, which, however, are not so attractive as many of his other Cello pieces. Amongst these the “Souvenir de Spa” and Variations on Schubert’s Sehnsucht Valses have had the widest circulation.

Of the numerous pupils whom Servais formed, the best known are--Meerens, Deswert, Fischer, and Bekker.

CHARLES MEERENS, born at Bruges on December 26, 1831, is the son of a clever flutist, who in 1845 settled in Antwerp, where young Meerens received his first Cello instruction from Joseph Bessems. Later, a certain Dumon, in Ghent, was his teacher. Having returned to his birthplace, Bruges, he founded an amateur musical society, “Les Francs-Amis,” and superintended a music warehouse established by his father. In 1855 he went to Brussels in order to study music under Servais’s direction, but subsequently devoted his chief attention to writing on music, especially in relation to acoustics.

JULES DESWERT, the most prominent pupil of Servais, and altogether one of the best of Belgian cellists, was born on August 1, 1843, at Louvain, and made himself a name, after having completed his studies under Servais, by several concert journeys. In 1865 he stopped at Düsseldorf, and was for a time engaged there. Three years later he entered the Weimar Hofkapelle as first Cellist, whence he was summoned to Berlin, in 1869, with the title of Concertmaster, as solo cellist of the Royal band and teacher in the High School of Music. He gave up this in 1873 in order to devote himself to composition. After he had remained a few years in Wiesbaden, he chose Leipsic as his residence in 1881. Besides two operas, of which the one called “The Albigenses” was brought out in 1878 at Wiesbaden, and the other, “Graf Hammerstein,” in 1884 in Mayence, he wrote three Cello Concertos, as well as an important number of Drawing-room Pieces, re-edited a collection of old Violoncello music and arrangements of classical compositions, and published three books of Etudes under the title of “Le Mecanisme du Violoncelle.” He also produced a Cello school, which was brought out by Novello, in London. Servais also formed a very distinguished artist in the Cellist,

ADOLPHE FISCHER, born November 22, 1850, in Brussels, whose name implies a German origin. His father, who worked in the Belgian capital as conductor, and founded the first Society for men-singers, prepared him for attending the Brussels Conservatoire. His education, under the guidance of Servais, went rapidly forward. At sixteen years of age the first prize was conferred on him. After his studies were completed, Fischer chose Paris as his residence, and soon met with general appreciation. Since then he has undertaken several concert tours in the larger towns of Germany.

The violoncellist, P. R. BEKKER, born on May 23, 1839, in the Dutch town of Winschoten, was pupil of the Brussels School of Music from 1852-1855. He progressed so far under Servais that he soon received the first prize at the playing competition. Bekker sought and found a sphere of work as music teacher at Utrecht. A testimony to the excellence of his performances is the circumstance that, in 1861, he was granted the title of solo Violoncellist by the King of Holland. He did not, however, long enjoy the fruits of his industry, for he died in 1875.

Servais educated also the elder of his two sons, whose Christian name was JOSEPH, as a very good cellist. From 1869-1870 he belonged to the Weimar orchestra. In the year 1872 he was nominated professor of his instrument at the Brussels Conservatoire. He was born November 23, 1850, at Hal, the home of his father, where he died August 28 or 29, of the year 1885.

Returning to Platel’s pupils, we have, after the elder Servais, FRANÇOIS DEMUNCK (De Munck) to mention, who was born on October 6, 1815, in Brussels, where his father was teacher of music. Instructed by him in the first elements of the art, he entered the Conservatoire of his birthplace as a boy of ten years of age, and soon had Platel as his master. In 1834 he left the Institution with the first prize, and in the following year he was nominated as his master’s assistant. When the latter died a few months after, Demunck was appointed his successor. His star was gradually in the ascendant. Fétis says of him that, about 1840, the hope was cherished that he was destined to be at the head of the Violoncellists of his time, for his playing was distinguished not only by the opposite fine qualities of energetic and delicate intonation, but also by an expression full of feeling, and ease in surmounting all difficulties. This hope was not, however, to be fulfilled. Demunck fell into relations which had a paralysing effect on the work of his profession. He neglected more and more the study of the Cello; consequently his performances were deprived of their precision and brilliancy; and, further, he ruined his health. Notwithstanding this he still excited some consideration in London. Soon after, in the year 1845, he resigned his official work, in order to perform at concerts, in company with a singer, in Germany. His performances, however, no longer came up to the cherished expectations. In the year 1848 Servais stepped into Demunck’s place as teacher at the Brussels Conservatoire, which induced him to go to London, and labour for a time in the orchestra of “Her Majesty’s” Theatre. But only too soon the results of his dissolute life became apparent. He fell into doubtful circumstances, and, broken in body and mind, he returned, in the spring of 1853, to Brussels, where, on February 28 of the following year, he died.

Demunck published only a “Fantasia” with variations on a Russian theme (Op. 1).

Of his two sons he brought up the younger, by name ERNEST, as cellist, who was born in Brussels on December 21, 1840. As early as eight years of age he was able to appear as a solo player in his native place, and at ten in London. He then became, for a time, Servais’s pupil in the Brussels Conservatoire. Later, in company with Julien, he travelled all over Great Britain, then settled in London, but in 1868 went to Paris, was there for two years member of the Maurin String Quartet, and accepted, in 1871, the invitation made to him to be first Cellist of the Weimar orchestra. His work for many years suffered impediment from an injury to his left hand. Since his marriage with Carlotta Patti he has resided in America.

As one of the elder Demunck’s pupils deserving notice,

GUILLAUME PAQUE must be mentioned, born at Brussels on July 24, 1825. At ten years of age he became a pupil of the Conservatoire, where, during a course of six years, he received his entire artistic training. Dismissed from the institution with the first prize, he entered the orchestra of the Royal Theatre in his native town. After he had belonged to it for some years, he took up his abode in Paris, with the intention of permanently settling there. But an offer which he received in 1840, of entering, as solo cellist, the Italian Opera at Barcelona, induced him to leave the French capital. Scarcely had he arrived at Barcelona, when the Professorship of the Musical School was committed to him. In 1849 he played before the Queen of Spain in Madrid, and in 1850 he travelled in the South of France giving concerts. In the same year he fixed his residence in London, where he gained popularity as a chamber music player. He found his particular sphere of work as solo cellist at the Royal Italian Opera, as well as teacher at the London Academy of Music, until his death on March 3, 1876. Amongst his compositions he published several “Fantasias,” Variations, and Drawing-room pieces.

The elder Demunck had a second famous pupil in

ISIDORE DESWERT, not to be confounded with the Violoncellist of the same name already mentioned. Isidore Deswert, the son of a musician established at Louvain, was born there on January 6, 1830, and, after he had completed his studies at the Brussels Conservatoire, he received the first prize at the playing competition. In 1850 he found a position as teacher at the music school of his native town, and six years later he was invested with the office of solo cellist at the “Théâtre de la Monnaie,” in Brussels. Since December 3, 1866, he has been occupied as Director of the Violoncello Class at the Conservatoire there.

Of Platel’s pupils we have still to mention Batta and Van Volxem.

ALEXANDER BATTA, born on July 9, 1816, at Maestricht, received from his father, a singing master, his first instruction in music, and at first practised violin playing. After some time his father was appointed “professeur de solfège” at the Brussels Conservatoire, and in consequence the family Batta took up their abode in the Belgian capital. There the talented boy heard the Cello master, Platel, play, and the desire of emulating him was awakened. He succeeded in inducing his father to let him share Platel’s instruction at the Conservatoire. By persevering industry he succeeded in gaining the first prize with Demunck at the competition of his class in 1834. In 1835 he went to Paris, where he found a good reception. This decided him to make it his home.

At this time the tenor, Rubini, was flourishing in Paris. All vied in doing him homage, and Batta became such an unbounded admirer of him, that he copied his manner of rendering. It is known that instrumentalists can learn a great deal from good singers. Rubini, however, with all the advantages of his manner of singing, had the failing of making excessive contrasts of _forte_ and _piano_ without the use of intermediate gradations, in order to produce startling effects upon the public. Batta appropriated this merely for the sake of attaining an easy effect, and therefore became for a time the recognized darling of the Parisian public, and especially of the ladies, whom he knew how to captivate by his sweetly coquettish style of playing. He naturally possessed also valuable artistic qualities, but an apparently virtuoso tendency ever after clung to him.

Batta published a respectable list of Drawing-room pieces and transcriptions, as well as a Concerto and a couple of Concert Etudes for his instrument. These productions were for a time made use of by violoncellists: now they have ceased to excite any interest.