Chapter L: ESPENHAHN, born at Sandersleben, was at first member of the Dessau (2)

J. B. VAN VOLXEM, born on November 30, 1817, at Ucclelès-Bruxelles, became, in 1833, a student of the Brussels Conservatoire as a pupil of Platel. At the competition he gained the second prize for Cello playing and composition. Later on he was Chorus Director in the Brussels Royal Theatre. Since then he has by preference devoted himself to chorus singing, and has deserved considerable merit for its diffusion in Belgium.

Three other Belgian violoncellists must be added to those artists already mentioned, namely: Chevillard, Warot, and Vieuxtemps, of whom the first-named is distinguished as by far the most important and most famous.

PIERRE ALEXANDRE FRANÇOIS CHEVILLARD, born on January 15, 1811, at Antwerp, received--after he had been prepared for the musical profession in the parental home--his higher education, as a pupil of Norblin, in the Paris Conservatoire, to which he belonged from March 15, 1820, until the year 1827. Dismissed from thence with the first prize, he undertook the duties of solo cellist in the orchestra of the “Théâtre Gymnase.” In this position, which afforded him abundant leisure for pursuing the study of composition under Fétis’s direction, he remained until 1831. He then became member of the orchestra of the Italian Opera. In the year 1859 he undertook the Professoriate at the Paris Conservatoire in Vaslin’s place.

Chevillard distinguished himself not only as a trained virtuoso player, but also as a musician animated by a high artistic aim, which he proved by his efforts to introduce the last String Quartets of Beethoven into Parisian musical circles, for whom these magnificent “tone poems” had until then been an unknown world. After repeated fruitless attempts, which failed on account of the insufficient intelligence of his associate players, he at length succeeded by means of the artists Maurin, Sabattier, and Mas, who had the same aim in view, in gaining the requisite force by which he was able to carry out his ideas. At first the quartet confederates established private performances before a few connoisseurs only. By degrees, however, the number of the audience increased, so that they ventured on a public hearing, which took place in the Pleyel Saloon. During the years 1855 and 1856 the four players undertook tours in Germany in order to perform the last Beethoven Quartet at Cologne, Frankfort, Darmstadt, Leipsic, Berlin, and Hanover. Everywhere they found the appreciation which they deserved. In the year 1868 Demunck the younger joined the Quartet in the place of Chevillard, who died at the end of 1877.

Chevillard’s cello compositions were a “Concerto, Quinze Mélodies, Morceaux developpés pour Violoncelle et Orchestre ou Piano,” a “Fantasia” on Themes from Marino Falliero “Lamenti, Adagio and Finale,” and “Andante et Barcarolle.” Besides these he published a Cello school which bears the title: “Méthode complète de Violoncelle, contenant la théorie de l’instrument, des gammes, leçons progressives, études, airs variés et leçons pour chacune des positions.”

CONSTANT NOËL ADOLPHE WAROT, born on November 28, 1812, at Antwerp, began early the practice of music on the violin, but gave up this instrument in favour of the violoncello. In 1852 he was appointed teacher at the Brussels Conservatoire. Besides a Violoncello School, which was introduced as a work of instruction to the Art Institute mentioned, he wrote Duets for two Violoncellos, and an “Air Varié” with piano accompaniment. He died on April 10, 1875, at the place of his work.

Concerning JULES JOSEPH ERNEST VIEUXTEMPS, the younger brother of the celebrated Violin virtuoso of the same name, nothing more is known than the fact that he was for a long time solo cellist at the Italian Opera in London, and that he is at present solo player in Hallé’s Orchestra at Manchester.

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Amongst the Dutch Violoncellists we have--

ANDREAS TEN CATE, born in 1796, at Amsterdam. He was originally destined for a commercial calling, but at the age of fourteen he decided for the musical career, and became Jan Georg. Bertelmann’s pupil. In his riper years he devoted himself chiefly to composition for the stage. He wrote, however, some instrumental pieces; amongst them a couple of Violoncello Concertos. He died on July 27, 1858.

JACQUES FRANCO-MENDÈS, who descends from a Portuguese family settled for a long time in Amsterdam, has exercised a great, indeed the greatest influence on Dutch cello playing. He was born in 1816[129] in the said town, and in his earliest years began the practice of music. He received instruction from Präger on the Violoncello, from Bertelmann in theory, and, in order to educate himself still further in cello playing, he went to Merk, at Vienna, in 1829.

Until then Franco-Mendès was undecided as to whether he should pursue music for his pleasure or as his career. He soon decided for the latter, and undertook with his brother Joseph, who was a gifted violin player, a journey to London and Paris in the year 1831. He made his _début_ in the former city at a concert given by Nepomuk Hummel and on his return to Amsterdam he received from the King of Holland the title of Chamber Violoncellist. In 1833 the brothers Franco-Mendès undertook together a concert tour in Germany, and were heard with success in Frankfort, Leipsic, and Dresden. In the following year Jacques was nominated first solo Cellist of the King of Holland. In 1836 he again went with his brother to Paris. The latter died in 1841, and this loss so heavily affected Jacques that for a long time he could not resolve to undertake any more art journeys but played only at a few concerts in the chief towns of Holland. In 1845 the desire was again aroused in him of making further efforts. He took part, in that year, in the musical festival which was held at Bonn to celebrate the unveiling of the Beethoven memorial, but on account of the overwhelming number of musical productions he gained no success. In 1860 he took up his permanent abode in Paris. As a composer, Franco-Mendès proved that to a certain extent his aim was worthy of respect, for he occupied himself with chamber music in its more serious aspect. He wrote two Quintets and a String Quartet, one of which was distinguished by receiving a prize from the Netherlands “Society for the advancement of Music.” He has also composed a long list of Drawing-room pieces for his instrument, amongst them a grand Duo for two Violoncellos, an Elégie, “Fantasias,” “Caprices,” and more pieces of the same kind; some of them are still performed, as, for example, the Adagio (Op. 48).

Among Franco-Mendès’ pupils,

CHARLES ERNEST APPY must be cited, who, springing from French parentage, was born on October 25, 1834, at the Hague. His father was a tenor player in the Royal band, but went away with his family to Amsterdam, where his son at fourteen years of age began with piano playing under Richard Hol. A year after he gave it up for the Violoncello, on which the Belgian, Charles Montigny, and later, Merlen, the first cellist at Amsterdam, gave him instruction. He received the final finish from Franco-Mendès, under whom he also studied composition.

Appy began his work as a musician in 1851, as member of the Concert orchestra at Zaandam. He soon received invitations to the provincial towns of his Fatherland to assist as a solo player at concerts, and in 1854 he was engaged for six months by Joseph Gungl, as solo cellist for Scotland. Two years later he was member of the Amsterdam Park orchestra, as well as of the orchestra of the “Felix Meritis” Society. In 1857 he worked for six months at the concerts of the London Crystal Palace, and after his return he joined the orchestra of the “Cäcelia” Society in Amsterdam. From 1862 he has belonged to the String Quartet of the excellent violinist, Franz Coenen, for nine years, by which means he has enjoyed the opportunity of playing with distinguished artists, such as Ernst Lübeck, Alfred Jaël, and Madame Clara Schumann.

In the year 1864 Appy was appointed Cello teacher to the “Maatschappij tot Bevordering van Toonkunst,” in which office he remained till 1883. During this time, in 1871, he went for six months to New York, in order to join in the Thomas Concerts as soloist. His substitute as teacher at the Amsterdam Maatschappij was, meantime, Daniel de Lange.

Returned to Holland, Appy took up his residence in Haarlem, where he gave lessons on the Cello and Piano. Thence he again went to Amsterdam and opened there a prosperous music school, which he continues to superintend at the present time. His cello compositions consist of “Fantasias” on _Motifs_ from the “Freischütz” and “Robert le Diable,” as well as some smaller light pieces.

The above-mentioned DANIEL DE LANGE, born about 1840, at Rotterdam, was educated as a cellist by Simon Ganz and Servais, while Verhulst was his master in theory. On the completion of his studies he travelled with his brother, the pianist and organist, Samuel de Lange, through Austria and went to the music school at Lemberg, to which he belonged for three years. In 1863 he returned home and undertook the Cello instruction at the Rotterdam Music School, which his master Ganz had until then carried on. There is no further information regarding him.

JACQUES RENSBURG, born May 22, 1846, at Rotterdam, also began his cello studies under Ganz in his ninth year, and continued them under Giese, Daniel de Lange, and Emil Hegar.[130] Rensburg was destined for a commercial and not an artistic career, but his inclination for music so increased with time, that in 1867 he received permission from his father to devote himself to Art. He now went about the middle of the year named to Cologne, in order to pursue a course under the talented Violoncellist, Schmitt. The latter, however, was already, in consequence of a chest malady which, later, carried him off, so suffering that Rensburg’s wish was not fulfilled of learning from him. Instead of becoming Schmitt’s pupil he was his temporary assistant, as first Cellist in the orchestra of the Gürzenich Concerts, as well as teacher in the Rhenish School of Music at Cologne. Both offices were given over to him definitely on April 1, 1868, on account of his valuable services, for, in the meantime, Schmitt had died. Besides his official duty, Rensburg frequently performed with favourable success in the tours of the Rhenish Provinces, as well as in North Germany, and in 1872, also, in the Leipsic Gewandhaus as a soloist; but the ceaseless application with which he practised his profession brought on a nervous affection, which compelled him to retire into private life. In the autumn of 1874 he went to his native town, and since the spring of 1880 he has been living at Bonn, where he is partner in a mercantile undertaking. Of his compositions have appeared: “Recitative, Adagio, and Allegro, in the form of a Concerto.”

An excellent Dutch Violoncellist is LOUIS LÜBECK, born on February 14, 1838, at the Hague. His father, the “Hof-Kapellmeister,” Johann Heinr. Lübeck, so highly esteemed by the Dutch musical world (died on February 7, 1865, at the Hague), gave him his first regular instruction, after he had up to his seventeenth year occupied himself with music as a dilettante. In order still further to perfect himself he studied from 1857-1859 under Léon Jacquard’s direction in Paris. He then made successful journeys through France and Holland, took up his residence in Colmar, where he often joined in concerts with Clara Schumann and Jul. Stockhausen; in 1866 he was summoned to Leipsic as first cellist at the Gewandhaus Concerts and teacher at the Conservatoire. He fulfilled these duties until 1868, in which year he occupied a similar position in Frankfort-on-the-Maine, and he also undertook fresh concert journeys through Germany, Holland, and England. In the year 1871 Lübeck was a member of the Carlsruhe “Capelle.” He did not, however, remain long in this position, but he next went, in 1873, to Berlin and St. Petersburg. From the latter place he went to Sondershausen, where he belonged to the Ducal Band as soloist, and afterwards to North America. In the year 1881 he returned to Europe, and was engaged as successor to the Concertmaster, Jul. Stahlknecht, for the Berlin Royal Band, to which he still belongs as solo cellist. Besides a collection of small pieces, amongst which are some transcriptions, Lübeck has written two Concertos, of which, however, only one has until now been published.

Bouman and Maaré belong to the younger Dutch Violoncellists who have become prominent by their performances.

ANTOON BOUMAN, born in Amsterdam, in the year 1855, received his first instruction from one of his brothers, with whom he later for some time established regular Quartet Conversaziones. As a boy of twelve years he was able to appear before the King, William III., as well as at the public Concerts of his native city. In order to make further progress he attended the Rotterdam Conservatoire and enjoyed there the cello instruction of O. Eberle.[131] Returning home he again played before the King, who granted him the means of continuing his studies. He thus was able to work for some years in order to perfect himself, and had the advantage of the advice of Aug. Lindner, in Hanover; Fr. Grützmacher, in Dresden; Joseph Servais, in Brussels; and Léon Jacquard, in Paris. He then travelled in Southern France and England, where, during a residence of four years, he gave concerts with success. Since then he has acquired for himself a lucrative sphere of work in Utrecht as Director of the municipal concerts, as solo player and cello teacher. Besides several smaller compositions, Bouman has written two Concertos for his instrument.

From Eberle, who, as we have just seen, was for a time Bouman’s master, TH. C. DE MAARÉ, born on January 14, 1863, also received his education as a Violoncellist. In his twenty-second year he received the appointment at the “Amsterdamsche Orkestvereenigung” of solo cellist, when the place of first solo player at the Royal “Fransche Opera” was also given to him, which position he still holds.

The two youngest cellists of Holland, of talent worth mentioning, are Snoer and Smith.

JOHAN SNOER was born on June 28, 1868, in Amsterdam, and received his first instruction from Alexander Pohle, a pupil of Fr. Grützmacher. After Pohle’s death the younger Giese[132] was his master, and, when the latter went out to America, Henry Bosman undertook his training. Later on he learned the harp from Edm. Schuëcker, now teacher at the Leipsic Conservatoire. Snoer began his active career as a volunteer in the Amsterdam Park Orchestra. When he was dismissed from this he was appointed Violoncellist and Harpist at the newly-erected Park Theatre at Amsterdam. Since 1885 he has been first solo cellist and harpist at the Amsterdam Orchestra Union.

JOHANNES SMITH, born on January 27, 1869, at Arnheim, received his first Cello instruction from Heyn,[133] in Maestricht, where his father had been placed in the Dutch service. Later on the Smith family resided in Amsterdam and there Ernest Appy was the teacher of the artist boy, who went to Dresden in 1883 in order to complete his training on the Violoncello under Fr. Grützmacher and, in theory, under Felix Draeseke. Since then Smith has appeared with great success in Leipsic, Dresden, Berlin, and the Hague, as concert player.

FOOTNOTES:

[126] See p. 97.

[127] Alphonse d’Eve received the appointment of Choirmaster at the Antwerp Cathedral on November 5, 1718, having previously directed during a long period the choir of the church of St. Martin in Courtrai. The announcement of Fétis that d’Eve composed a solemn Mass in the year 1719, for two choirs, with accompaniment for instruments, amongst which there was an obbligato for Violoncello, is a matter of interest to us.

[128] Fétis points out that he was at the Favart Theatre. Müntzberger, however, calls himself on the title-page of the Cello School: “Professeur de Violoncelle au Théâtre Feydeau.”

[129] Fétis gives the year of his birth 1812. His brother, Joseph, was born 1816.--(_Tr._)

[130] For the Cellists, Hegar and Giese, see pp. 130 and 152.

[131] See p. 131.

VII.--ENGLAND AND SCANDINAVIA.

The special attention which had been devoted to the Viola da Gamba in England during the seventeenth century[134] was not paid, in similar measure, to the Violoncello. This instrument, like the Gamba, was introduced into musical circles in London by Italians. Ariosti, Bononcini, Cervetto, and Caporale--all contributed to make it familiar in the English capital and other places. But it does not appear that Violoncello playing was taken up by English artists at first with the same alacrity as it was abroad--at all events, as a profession--and this left the field open chiefly to foreign Violoncellists, who came to England with the hope of a rich harvest, in which, says M. Wasielewski, they were too often disappointed. The number of professional English cellists is small as compared with those of other countries, though there are a few to be mentioned who, in talent and proficiency, will bear comparison with any of the great players of their time.

One of the first is

BARTHOL. JOHNSON, probably born in 1710, as he is said to have celebrated his hundredth birthday at Scarborough, October 3, 1810, when Lord Mulgrave and many distinguished persons were present in the Freemasons’ Hall. During the evening the centenarian played the Bass of a Minuet on the cello, which he had composed sixty years before. (See Appendix.)

JOHN HEBDEN, who is supposed to have played the Violoncello, was probably born at the beginning of the eighteenth century, since his portrait was engraved by Faber in 1741. He is represented in this playing the Gamba. Gerber, at least, seems to have thought it worth while to mention him as a cellist, though Burney writes of a certain Hebden as playing the Bassoon at a concert in London where the best performers of the Italian opera were employed.

WILLIAM PAXTON also was a violoncellist, the composer of the well-known glee “Breathe soft, ye winds,” besides other pieces. Burney praises his “full and sweet tone, as well as his judicious manner of accompanying the voice.” He published amongst his other compositions also six Duos for two Violoncellos (Op. 1), eight Duos for Violin and Violoncello (Op. 2), six solos for Violin (Op. 3), four solos for Violin and two for the Violoncello (Op. 4), twelve easy lessons for Violoncello (Op. 6), and six solos for Violoncello (Op. 8). His brother Stephen also composed for the Cello.

JOHN CROSDILL, born in London in 1755,[135] whom Gerber mentions as an extraordinarily clever Violoncellist, and Fétis as distinguished, notwithstanding the presence of Mara in England, had a high reputation in his time. He was educated in the choir of Westminster Abbey under Robinson and Cooke; on leaving the choir he studied the violoncello under his father, and is said to have had instruction from Jean Duport. He soon acquired a considerable proficiency, and in 1768 he was elected a member of the Royal Society of Musicians. In the following year he played at the Gloucester Festival, and was appointed first cellist, an appointment which he held until his retirement. In 1776 he was engaged as first Violoncellist at the Concerts of Ancient Music, and in 1778 as Violist of the Chapel Royal. He probably went to Paris 1778-9, and remained nine months, studying under the elder Janson. In 1782 he was appointed chamber musician to Queen Charlotte, and he also gave lessons to the Prince of Wales. About 1788 he married a lady of fortune, and retired from the practice of his profession, appearing publicly for one day only, in 1821, at the coronation of George IV. He died at Escrick, in Yorkshire, leaving a considerable fortune to his son, who, by his father’s desire, presented a donation of £1,000 to the Society of Musicians.

Four other English Cellists of the second half of last century are--Hardy, Reinagle I. and II., and Gunn.

Little is known of HARDY, Henry (of Oxford), beyond the fact that about 1800 he published an instruction book with the title, “The Violoncello Preceptor, with a compleat set of Scales for fingering in the various keys,” &c.

JOSEPH REINAGLE, born in 1762, at Portsmouth, was the son of a German music teacher who emigrated to England. He was originally intended for the navy, but gave it up after his first voyage. He was apprenticed then to a goldsmith in Edinburgh, but neither in this did he persevere, and his father resolved to let him be a musician. He at first chose the trumpet as his instrument, on which he acquired some skill, and entered the service of the king as trumpeter. He was obliged to give up the wind instrument on account of his health, and was then Violoncellist, Violinist, and finally Violoncellist again. For a while he was Concert Director in Edinburgh. In 1789 he went to Dublin, and in 1791 to London, where, besides obtaining a good position in the best orchestras, he was principal cello at Salomon’s concerts. He finally settled at Oxford, where he died in 1836. He published, for the Violoncello, thirty Duos in four books, as Op. 2, 3, 4, and 5, as well as a School “Concise Introduction to the Art of playing the Violoncello,” which went through four editions.

Reinagle’s younger brother, named HUGH, born at Portsmouth in 1766, received his education from Crosdill, and was distinguished for his unwonted skill. He died while still young, at Lisbon, whither he had gone for the restoration of his failing health. Of his compositions appeared three works: two of them, Op. 1 and 2, consist of six Cello solos, and Op. 3 contains six Duets for two Violoncellos.

JOHN GUNN, said to have been born in Edinburgh about 1765, was not only a clever cellist, but also a remarkable writer on music. In the year 1790 he went to London as a cello teacher. He there published, in 1793, an instruction book for his instrument, under the title of “The Theory and practice of fingering the Violoncello, containing rules and progressive lessons for attaining the knowledge and command of the whole compass of the instrument.” Fétis observes, with regard to the preface of this work, consisting of two parts, that it contains a remarkable account of the origin of the Violoncello, as well as of old and modern stringed instruments.

Gunn wrote another work, published in London in 1801, which has reference to the Violoncello. The title of it is, “Essay theoretical and practical on the application of Harmony, Thorough-bass, and Modulation to the Violoncello.” Besides this he published, in 1794, a “School of the German flute,” and in 1807 he brought out his most important work--viz., “An Historical Inquiry respecting the performance on the Harp in the Highlands of Scotland from the earliest times until it was discontinued about the year 1734.”

In the year 1795 Gunn returned to Edinburgh to take up an advantageous post that was offered to him, and which he apparently held until his death.

The English possessed in ROBERT LINDLEY a Violoncellist of extraordinary capacity, who up to the present time has not been equalled, far less excelled, by his countrymen. He was born on March 4, 1775,[136] at Rotherham, and began his musical studies when he was about five years of age, with his father, an amateur performer, who began by teaching him the violin, and, at nine years of age, the violoncello. At sixteen he had made considerable progress, and the younger Cervetto, hearing him play, undertook his gratuitous instruction, and brought him to the South of England. Even at this age he had commenced to compose for himself, and was sent for to take the place of the professor who was to have played the violoncello solo at one of the Brighton concerts, and who had been taken suddenly ill. Lindley’s performance was rapturously applauded; he played Concertos at several subsequent concerts with the same result, and was then engaged for the Theatre, frequently playing before the Prince Regent.

In 1794 he succeeded Sperati at the Opera and was principal Violoncellist at all the concerts of any importance in London. In the following year began the intimacy with Dragonetti, the celebrated double-bass player, which lasted for fifty-two years. Forster quotes Chorley’s remark that “Nothing could be compared with the intimacy of their mutual musical sympathy.” They played together at the same desk at the Opera and every orchestral concert of any importance, and Lindley’s performance of the accompaniment to Recitative from figured bass was most “elaborate and ingenious.”

Concerning Lindley’s playing, he was probably the greatest violoncellist of his time; he was distinguished for the beauty, richness, and extreme purity of his tone, and his great technical skill was remarkable, though probably in this and his manner of rendering he did not equal Romberg.

The story is well-known how, when Romberg, during his residence in England, heard him play, and was asked by Salomon what he thought of his performance, replied: “He is the devil.” He retired in 1851, and died June 13, 1855.

His son, William, born in 1802, was also a violoncellist, and gave promise of future excellence, but nervousness and delicate health prevented his attaining to any great distinction, and he was compelled to withdraw from public appearances.

Lindley is less remarkable as a composer. He wrote four Concertos, Duets for Violin and Violoncello (Op. 5), Duos for two Violoncellos (Op. 6, 8, 10, and 27), Solos for Violoncello (Op. 9), and several Variations on Airs, as well as Potpourris.

Amongst Lindley’s pupils, CHARLES LUCAS, born 1808, in Salisbury, was the most remarkable. He received his first musical instruction as chorister of the Cathedral, under Arthur Thomas Corfe, after which he attended the Royal Academy of Music in London. In 1830 he was named Composer and Violoncellist to Queen Adelaide, and performed the duties of Organist at St. George’s Chapel. Two years later he was entrusted with the duties of Orchestra Conductor at the Royal Academy of Music, and succeeded Cipriani Potter as Principal in 1859. He had already taken the place of his master, Lindley, as first Violoncellist of the Italian Opera. He died on March 23, 1869, in London. His successor in the Opera was the cellist, Collins.

To Lindley’s contemporaries must be added Cudmore, Crouch, and Powell.

RICHARD CUDMORE, born in 1787, at Chichester, in Sussex, practised not only as cellist, but also as a violin player and pianist. The organist, Forgett, of Chichester, was his first instructor, and from him he learned the violin, acquiring such proficiency that at nine years of age he played a solo at a concert in his native town. At ten years the elder Reinagle was his master for the Cello, and a year after he appeared again at a concert and played his own compositions. He then for two years pursued his studies under Salomon’s guidance, in London, when he returned to his native town, and remained there for the next nine years. The desire of giving himself up anew to the study of the Piano drove him again to London, where he subsequently appeared frequently as a Pianist. He accomplished an artistic feat of a remarkable description in Liverpool by appearing there at a concert, which he himself organised, successively as Piano, Violin, and Violoncello performer. The solos which he executed were by Kalkbrenner, Rode, and Cervetto. He was also engaged as Director of the orchestra of the “Gentlemen’s Concerts,” in Manchester, for some years. His diversity of talent was naturally an impediment to his distinguishing himself specially in one department.

FREDERICK WILLIAM NICHOLLS CROUCH, best known as the author of the popular air “Kathleen Mavourneen,” was born on July 31, 1808, at Devizes. He studied under Bochsa and W. Hawes and at the Royal Academy, under Lindley. He played the cello at Her Majesty’s Theatre, and was appointed principal cellist at Drury Lane, as well as member of Queen Adelaide’s band. He went to America with Maretzek, the German composer, and has fallen into indigent circumstances “through all appearance by unavoidable misfortune.” Besides numerous other compositions, “Songs of Erin,” “Echoes of the Lakes,” &c., he produced a “Complete Treatise on the Violoncello,” Lond., 1827.

THOMAS POWELL, born in 1776, in London, early devoted himself to music, and studied, besides Violoncello playing, the piano and the harp. In 1805 he appeared with success in his native town as solo cellist, in a Concerto which he had composed. He then established himself in Dublin as a teacher of music. He devoted his leisure to composition and earnest study of his instrument. His contemporaries considered him equal to Romberg, though this was probably going somewhat too far, as Powell’s name was scarcely known out of England, while Romberg, by his performances, acquired a world-wide renown.

After several years’ residence in Dublin, Powell took up his permanent abode in Edinburgh. His published compositions--amongst which is a “Grand Duo” for Violin and Violoncello--belong for the most part to the sphere of chamber music.

With regard to national English Violoncello playing, modern times have not been more productive than the past. Three names come before us for consideration--namely, Howell, Whitehouse, and Ould.

EDWARD HOWELL, born on February 5, 1846, in London, is a pupil of the Royal Academy, and specially a pupil of Piatti’s. He belongs to the Italian Opera as cellist, and since 1872 to Covent Garden Theatre. Besides this he is Musician in Ordinary to the Queen, Member of the Royal Academy of Music, and of the Philharmonic Society. He works as a teacher at the Royal College of Music and at the Guildhall School. He is for the most part at all the musical Festivals in London and in the provinces, taking an active part.

WILLIAM EDWARD WHITEHOUSE was born on May 20, 1859, in London, and received instruction at eleven years of age on the violin from Adolphe Griesbach. At thirteen he showed a decided preference for the violoncello and was placed for four years under Walter Pettit. In 1877 he was received into the Royal Academy of Music and studied under Piatti and Pezze for the violoncello and Banister for harmony. He has on various occasions gained prizes and medals, and, in 1882, was appointed Assistant-Professor, and, in the following year, Professor of the Royal Academy of Music. In 1883 he was elected Associate of the same Institution and, in 1884, member of the Royal Society of Musicians. He is also Professor of Cambridge University, of the Royal College of Music, of King’s College, London, and Manchester New College of Music under Sir Charles Hallé. During Piatti’s absence Mr. Whitehouse has frequently taken his place at the Saturday and Monday Popular Concerts and has for some years been connected with Josef Ludwig’s annual series of chamber concerts. The instrument on which Whitehouse plays is one of the finest specimens of Francisco Ruggierius.

CHARLES OULD, born at Romford, in Essex, came as quite a child to London, where he has remained ever since. Until he was sixteen years of age he practised flute playing and singing; but the wind instrument was abandoned for the Violoncello. He received his first instruction from a member of the orchestra of the Italian Opera in London. A few years later the Belgian cellist, Paque, was his master. Ould is Musician in Ordinary to Her Majesty, and also works as first Cellist at the Richter Concerts, as well as at all concerts of any importance.

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SCANDINAVIA has, up to the present, only produced a very modest number of noteworthy Violoncellists, and these belong exclusively to modern times. It must, indeed, not be overlooked that the serious encouragement of instrumental music was taken up much later in the North than in Italy, Germany, and France. Denmark set a good example to her Northern neighbours, Sweden and Norway. The middle of the last century produced a noteworthy Violin player, who belonged to the Royal band in Copenhagen. About the same period there was no lack of able Cellists. But their names did not attain to any great publicity. This was the case with

CHRISTIAN KELLERMAN. He is a native of Randers, in Jutland, and was born on January 27, 1815. It was his father’s wish that he should devote himself to commerce, but in this he was disappointed. Young Kellerman had inclinations for Art and, in order to gratify them, he went, in his fifteenth year, to Merk, in Vienna, whose pupil he was from 1830-1835. After having finished his studies he was heard with success in Vienna and visited with good result the other large cities of Austria and Hungary. In the year 1837 he gave concerts at St. Petersburg. Further tours increased his reputation and, after his return, he was summoned to be first Violoncellist in the Royal Danish orchestra. During the year 1861 he made a journey which led him into Upper Italy and then to Germany, where he remained until 1864. In Mayence he was, unfortunately, stricken with paralysis. He was, indeed, able to return again in a helpless condition to Copenhagen, but he died there two years after, on December 3, 1866. Kellerman composed a few things for his instrument, but nothing of much importance. His successor was F. RAUCH, whose pupil, RÜDINGER, filled the place of first Violoncellist in the Copenhagen Band.

FRITZ ALBERT CHRISTIAN RÜDINGER was born in 1838 at Copenhagen. After he had gone through a preparatory course under Rauch, he received an appointment in the Royal Orchestra, but two years later he went to Dresden, to F. Grützmacher, whose pupil he was for some time. Having returned home, he again filled his former place as chamber musician, from which he was transferred, in 1874, to be first Cellist. He at the same time accepted the Professorship at the Copenhagen Conservatoire and he also takes part in the regular concerts and chamber music soirées of his birthplace.

Next to Rüdinger, SIEGFRIED NEBELONG must be mentioned as a Scandinavian artist. He went as a boy of five to Copenhagen, and later received his training as Cellist from Friedrich Grützmacher, in Dresden.

FOOTNOTES:

[132] See p. 153.

[133] Alfred Heyn, a pupil of Fr. Grützmacher, was then solo cellist in the municipal orchestra at Aix and now lives at Darmstadt. Compare p. 138.

[134] See p. 15.

[135] Grove’s Dictionary gives the date of birth as 1751. Leslie Stephen, 1751 or 1755.--(_Tr._)

[136] Grove gives 1776 as the date of his birth.--(_Tr._)

VIII.--THE SLAV STATES AND HUNGARY.

The Violoncello was brought to Russia, as already pointed out (p. 67), by means of the Duke of Holstein-Gottorp’s private band. Joh. Adam Hiller’s _Wöchentliche Nachrichten die Musikbetreffend_ of May 21, 1770, contains the following: “When the Duke Carl Ulrich of Holstein-Gottorp (Peter the Great’s future son-in-law) fled to the Russian Imperial Court, during the distressed condition of his country, in the year 1720, he conveyed with him the members of his small private band. It consisted of about a dozen German well-trained musicians, of whom the most famous were two brothers, Hübner--the one was Kapellmeister and the other Concertmeister. The selection of music, until then unheard in Russia, consisted of Sonatas, Solos, Trios, and Concertos, by Telemann, Keiser, Heinichen, Schulz, Fuchs, and other famous Germans of the time, as well as by Corelli, Tartini, Porpora, and various Italian composers; but the instruments were a Piano, some Violins, besides a Viol d’Amore, an Alto, a Violoncello or Bassetto, a Contra-Basso, or great Bass Violin, a couple of Hautboys, a couple of German Flutes, two French Horns, two Trumpets, and Kettle Drums. Peter the Great was not only very often present at these ducal chamber concerts, but almost every week had them to play once at his Court. This music, therefore, met with general approbation, as it appeared to distinguished Russians more novel and more agreeable, when compared with other music, than any they had hitherto heard.... From that time many Russians offered themselves to be taught by these German musicians, in order to study music on various instruments. The Emperor Peter II. also took lessons on the Violoncello, from the clever master of that instrument, Riedel, a Silesian, who was also a good fencing master, and instructed the young Emperor likewise in that knightly art.”

During the life of the Empress Anna, the chamber music once introduced into the Russian Court was retained there, and in the absence of national artists was strengthened by drawing into it foreign talent. King August II. of Poland also contributed to this by giving up “some Italian virtuosi from his superfluity.” Amongst these was the Violoncellist, GASPARO. Later on GIUSEPPE DALL’OGLIO, from Padua, was attracted to the Russian Court. In the place of this artist--who, in 1763, after a twenty years’ service took his leave in order to return home--came the Italian, CICIO POLLIARI. To this period belongs the first Russian Violoncellist, named CHORSCHEVSKY, who received a place in the Imperial band. Up to the present, however, in regard to the Violoncello, and especially with respect to orchestral instruments, Russia has remained mainly dependent for supply from abroad. Nevertheless, since the middle of last century, the Cello has been cultivated with success by some Russian amateurs. Their names are--Prince TRUBETZKOI, Baron STROGANOW, and more recently Count MATTHEW WIELHORSKI. The latter, a pupil of Bernhard Romberg, specially distinguished himself by his performances. One of his nephews also, Count JOSEPH WIELHORSKI, who, with his talented brother MICHAEL, a pupil of Kieseweter and Romberg, lived in Moscow, played uncommonly well both the Violoncello and the Piano. Robert Schumann, who in 1844, during his residence in the Kremlin, had intercourse with both Counts, expressed himself most enthusiastically in a letter to Fr. Wieck concerning Michael Wielhorski, declaring he was the most highly gifted dilettante he had ever met with.[137] MICHAEL WIELHORSKI was born in Volhynia in 1787, and died in 1856. The Wielhorski family was of Polish descent, and took up their residence in Russia after the third division of Poland.

At the present time amongst Russian amateurs who play the Violoncello, Prince TENISCHEFF and the Senator MARKEWITSCH are distinguished; the Grand Duke CONSTANTINE NIKOLAJEWITSCH also, a pupil of J. Seifert already mentioned, is a zealous Violoncello player.

The first really remarkable cellist whom Russia can call her own is

KARL DAVIDOFF. He may be reckoned amongst the most famous representatives of his instrument at the present time. He was born on March 15, 1838, in the little Courland town, Goldingen, where he only spent, however, the two first years of his life, as his parents went to Moscow in 1840. He there began his studies with H. SCHMIDT, who was first Cellist at the Moscow Theatre. He carried on his further studies under H. Schuberth, in St. Petersburg. He received his theoretical training from Moritz Hauptmann, in Leipsic, where he appeared at the Gewandhaus Concert towards the end of 1859. This was such a brilliant _début_ that, when Fried. Grützmacher was called away from Leipsic to Dresden in 1860, Davidoff was offered his place, which he accepted. He did not, however, long fill it, having conceived the desire of undertaking a tour, which led him into Holland. He then travelled through Russia, when he returned to St. Petersburg. Not long after he was appointed Imperial solo cellist, and somewhat later (1862) teacher at the Imperial Conservatoire. In 1874 he took part in the concerts of the Paris Conservatoire. Two years after he was named Director of the Russian Imperial Musical Society in St. Petersburg, as well as Director of the Conservatoire there. He gave up the latter about two years ago.

Davidoff’s playing is especially distinguished for its perfect accuracy, as well as by a clever and easy mastery of the greatest difficulties. His Cello compositions consist of several Concertos and a collection of agreeable Drawing-room Pieces.

Amongst his pupils are ALBRECHT, KOUSNETZOFF, GLEEN, and WERGBILOWITSCH. The latter is famous for a fine, full tone. He played the Violoncello in the Auer String Quartet at St. Petersburg, and is also appreciated as a solo player.

To the most noteworthy cellists of St. Petersburg belongs also ARVED POORTEN, born at Riga in 1835. He was Kummer’s pupil in Dresden, and attended the Brussels Conservatoire afterwards. When he had played during tours in Russia, Belgium, and Holland, he became a member of the Russian Imperial band and teacher at the St. Petersburg Conservatoire. Six “Morceaux caractéristiques” for his instrument appeared in print by him.

Amongst the younger Russian Cello players of importance must be mentioned: BRANDOUKOFF, DANIELSCHENKO, and SARADSCHEFF. These owe their training to William Fitzenhagen,[138] in Moscow.

ANATOLE BRANDOUKOFF, born in 1859 at Moscow, was Fitzenhagen’s pupil in the Imperial Conservatoire of his birthplace, from September, 1870, to May, 1878, and received as an acknowledgment on his departure from the said institution for the distinction he had gained, a gold medal together with an honourable diploma. His first journey was to Switzerland, where he gave concerts in Berne and Geneva with success. He afterwards went to Paris in 1879, appeared there and in other French towns, and then proceeded to London. He everywhere experienced favourable receptions. He gave concerts with extraordinary success during the winter of 1887-1888 at Moscow and St. Petersburg. He chose Paris as his permanent residence, where he is greatly appreciated not only as a solo player, but also as a quartet player. Until now only a Concerto of his Cello compositions has appeared and a few small pieces.

PETER DANIELSCHENKO, born at Kiev in 1860, pursued his studies under Fitzenhagen, in the Moscow Conservatoire, from 1873-1880. He was dismissed from there with the small gold medal as well as an honourable diploma, and, besides, received a special prize for composition. For a year he was then teacher of Cello playing and theory at the Imperial Music School in Charkow. During that time he appeared at concerts successfully in South Russia, and had a brilliant success in 1881 at the Great Exhibition in Moscow. He now entered the Imperial Band and undertook the Cello instruction at the Institute of Music of the Philharmonic Society. He remained in that position until 1887. Since then he has travelled in Switzerland, France, and South Russia.

IVAN SARADSCHEFF, born at Tiflis, in the Caucasus, in 1863, received his training as cellist from Fitzenhagen at the Imperial Conservatoire in Moscow, during the years 1879-1886. Distinguished by the grant of the great silver medal together with a diploma, after his departure from the Conservatoire he undertook the direction of the Imperial Music School at Tambov, but soon exchanged this place, in 1887, for that offered to him of teacher to the Imperial Music School of his birthplace.

* * * * *

Amongst the Slavonian people, the Bohemians take the most prominent place, having ever distinguished themselves above others of their race in all that relates to music. The Bohemian Violoncellists of German extraction have already been noticed in the fifth section of this work. We shall now consider those of distinctly Slavonic descent.

The oldest Bohemian Cellist of whom we have any information, is

IGNAZ MARA, born about 1721 in Deutschbrod. He united to a fine intonation an execution full of expression. In 1742 he went to Berlin, was there married, and was received, apparently through the recommendation of his countryman, the Concertmaster, Franz Benda, into the Royal band, to which he belonged for more than thirty years. Mara died in Berlin in 1783. Of his Cello compositions, consisting of Concertos, several solo pieces and Duets, nothing has been printed.

His son, JOHANN BAPTIST, was more widely known. This was not due to his artistic endowments only, but to the dissipated wild life into which he fell from middle age in consequence of intemperate habits. Endowed with extraordinary musical talent, under the guidance of his father, he developed, during a proportionately short time, into such an excellent Cellist that Prince Henry of Prussia named him Chamber Musician. As he possessed a talent for mimicry, he had also to assist on the stage at the theatrical representations which took place in the Castle of Rheinsberg, inhabited by the Prince.

Mara was born on July 20, 1744. In the year 1773 he married the celebrated singer, Elizabeth Schmeling, who, at that time, belonged to the Berlin Opera. He made use of the large sums paid to his wife to gratify his passions, which led to many disasters and to matrimonial disturbances. Besides this he contracted debts. These irregularities increased to such an extent that his creditors were called together against him by the supreme court. As he had otherwise incurred the king’s displeasure, he resolved, in agreement with his wife, to get away secretly by night, but the attempted flight of the married couple was stopped, and Mara condemned to imprisonment. After he had again been set at liberty by the intercession of his wife, he succeeded once more, in 1780, in escaping with her, to avoid the tyranny of the King. They took the road by Vienna and Paris to London, where they arrived in 1784. During the year 1788-1789, they travelled in Italy, returned to London in 1790, went from thence to Venice, and then lived in London until 1792, where Frau Mara, wearied with the restless, wandering life of her husband, finally separated from him in 1799. Mara now returned to Berlin, but fell into straitened circumstances from having become unaccustomed to work and having neglected his art. He appeared, however, at one concert and then went to Sondershausen, where Gerber heard him, the author of the well-known Musical Lexicon, who said of him that he so finely rendered his Adagio, no orchestra need be ashamed of his playing; “and if, so continues Gerber, any one of his tones was out of tune, it was not the fault of his handling, but the bad and unequal stringing of his instrument. Perhaps his show pieces deserved less credit, which, however, appeared to be entirely in accordance with the taste of forty years ago. In other ways he conducted himself, while he was there, as a serious, accomplished, and thoroughly educated man, and gave not the slightest sign of inclination to intemperance. But he was in needy circumstances, and although his noble-minded wife had been frightfully disgusted at what she had suffered from him, yet in spite of this he was, from time to time, supplied by her with considerable sums of money.” Mara’s end was a sad one. He went, as Gerber further says, to Holland, where “his unhappy inclination for drink so gained the upper hand, that after having lost all sense of honour, he used to play for dancing, day and night, in sailors’ inns and miserable beer-houses, until at last, in the summer of 1808, at Schiedam, near Rotterdam, death set him free from this wretched life.” The Violoncello compositions of Mara, which consist of two Concertos, twelve Solos with Bass accompaniment, a Duet with Violin, and a Sonata with Bass, remained unpublished.

The Bohemian, JOSEPH ZYKA,[139] was about twenty years older than Jos. Baptist Mara. He received his education as Violoncellist at Prague, and belonged, from 1743-1764, to the Electoral band in Dresden. He then went with his son FREIDERICH, who was likewise a good cellist, as chamber musician to Berlin, where, according to Fétis, in 1791, he died; but, according to Fürstenau, at the beginning of our century. He is said to have left behind him, in manuscript, several Concertos.

JOHANN HETTISCH is distinguished as a remarkable Violoncellist. Born in 1748, in the Bohemian town Liblin, he was educated at the Piaristi College at Schlan, and then went to Prague in order to train as a musician. There he still was in the year 1772. Later, and indeed in 1788, he was, as Gerber asserts, employed at Lemberg in the Imperial civil service, from which it appears that in the flower of his age he had abandoned the practice of Art as a vocation. His playing seems to have been distinguished especially for its rich tone. According to Fétis, he left several Concertos and Cello Solos in manuscript.

The Catholic priest, FRANZ MENSI, born on March 27, 1753, at Bistra, where his father was tutor to Count Hohenems, early occupied himself with music, and when his parents went to Prague he became Joseph Reicha’s pupil for Violoncello playing while Cajetan Vogel instructed him in theory. Mensi also played the Violin. On both instruments he was considered clever, and not less so in composition. Some of his works, which consist of church music, Symphonies, and Quartets, are said to be preserved in the convent at Strahow. In the year 1808, Mensi was still living and working as curé at Pher. He also had some pupils, amongst these were JOH. BRODECZKY, WENZEL CZIŽEK, and Count SPORK.

J. STIASTNY (Stiasny) should be mentioned as one of the most distinguished Bohemian Cellists. He was born in Bohemia (according to Fétis at Prague) in 1774. The information regarding his education and his life are very limited. He is said to have been in the Prague Orchestra in 1800. On the title-page of his Op. 3, consisting of a Divertimento for Violoncello, he describes himself as Violoncellist to the Grand Duke at Frankfort. As the brief existence of the Grand Duchy of Frankfort, of which the Regent was Prince Primate of Dalberg, occurred within the years 1810-1814, there can scarcely be a doubt that Stiastny resided at Frankfort during that time. Later, about 1820, he bore the title of “Musical Director of Nuremberg,” and in that year lived at Mannheim. He appears to have gone from there to Great Britain, for many of his later works--as, for example, the “Trois Duos Concertans” (Op. 8) and the “Six pièces faciles” (Op. 9)--are dedicated to Englishmen. Amongst these compositions the Concertino (Op. 7), dedicated to Robert Lindley, may be favourably distinguished from similar productions among the Cello compositions at that period. The remaining Cello pieces of J. Stiastny, which consist of Variations (Op. 10), Rondo and Variations (Op. 12), two Sonatas with Bass (Op. 2), twelve light pieces for two Cellos (Op. 4), six similar ones (Op. 5), three Concerted Duos (Op. 6), and Six Solos with Bass (Op. 11) are qualified to be placed amongst the best productions of the older Cello literature, as they contained effects which for that period were entirely novel.

Amongst Stiastny’s pupils, JOSEPH VALENTIN DONT was remarkable for his performances as quartet and orchestra player. Born on April 15, 1776, at Nieder-Georgenthal, in Bohemia, he received instructions from Stiastny in Prague, where he attended the school. In the year 1804 he was enrolled into the opera orchestra of the Vienna Kärnthnerthor Theatre, from which he was transferred to the Burg Theatre orchestra in 1828. On December 14, 1833, he died. His son, named Jacob, is the Viennese violinist, who died on November 18, 1888, and who was well known by the publication of his excellent practical works for the Violin.

Stiastny’s elder brother, BERNHARD WENCESLAUS, born at Prague, 1770, was also a Violoncellist, and was employed as first performer of his instrument in the orchestra of the Prague Theatre. Six Sonatas for two Violoncellos, and two instruction works were published by him. The first, entitled “Il maëstro e lo scolare, 8 imitazioni e 6 pezzi con fughe per due violoncelli”; the other is a cello school, entitled “Méthode de Violoncelle,” in two parts. This school is carefully worked out, though somewhat too elaborately, and yet not exhaustively; for the complicated technique of cello playing, especially as regards the thumb position, has not received adequate consideration.

Among the younger Bohemian cellists, WLADISLAW ALOIS is distinguished, who was born June 15, 1860, at Prague, and received his artistic education at the Conservatoire there. At the end of 1878 he went to Kiev, where he gave instruction in the Institute of Music of the Musical Society on the Violoncello and Piano. In this place he remained for seven years. Since September, 1887, he has been occupied as Solo Cellist at the Imperial Theatre, as well as at the Conservatoire in Warsaw.

* * * * *

The Poles have produced a longer list of violoncellists. They began with FRANZ XAVER WOCZITKA, a most distinguished artist in his department, who was born in Vienna about 1730. In 1756 he entered the service of the Court of Mecklenburg-Schwerin. He was subsequently member of the Electoral band at Munich, where he died. He left behind him in manuscript Concertos and Sonatas for Violoncello, which were highly prized in their time.

NICOL ZYGMANTOWSKI, born in 1770, in Poland. Gerber asserts that already, as a child of six years and nine months, he attracted the admiration of all who were witnesses of his artistic proficiency; he died young. The Polish Count Oginski,[140] who was formerly much noted as a composer of Polonaises, says in his “Lettres sur la Musique,” that he had heard Zygmantowski when he was twelve years old, and adds that he possessed a wonderful talent.