The Violoncello had already found its place as an orchestral instrument
about the year 1680 at Vienna, and in 1709, in the Dresden Royal
orchestra, as we saw. Towards 1720 it had penetrated also into Northern
Germany, since the band of the Duke of Holstein-Gottorp evidently
possessed one. At the same period this stringed instrument must have
been extensively used in other parts of Germany--otherwise Joh. Seb.
Bach would scarcely have conceived the idea of composing for it his solo
sonatas, which were already extant between the years 1717-1724. There
were even at that time two German violoncellists who appeared to Gerber
of sufficient importance for him to give them a place in his Dictionary
of Music. Their names are: Triemer and Riedel.
JOHANN SEBALD TRIEMER was born at the end of the seventeenth or the
beginning of the eighteenth century, in Weimar, where he was instructed
in instrumental playing by the Ducal Chamberlain and Musician,
Eylenstein, and in the theory of music by Ehrbach, an old musician of
Weimar. As soon as Triemer had made progress sufficient to figure as a
soloist, he undertook a concert tour which led him to Hamburg, for, in
1725, he was a member of the theatre orchestra there. Two years after
he went to Paris, and remained until 1729. During this time he pursued
the study of composition under the direction of Boismortier.[72] He then
went to the Dutch city of Alkmaar, and, later on, to Amsterdam, where
he died in 1762. At Amsterdam he had six “Sonate a Violoncello solo e
continuo” published.
The Silesian, RIEDEL, was not only a cellist, but also chief of the
Fencing School at Liegnitz. He must have been a very good player for
his time. About 1727 he went to St. Petersburg, and was there the
instructor of the EMPEROR PETER II. (who, as is known, only reigned
three years--1727-1730), both in cello playing and in fencing.
Riedel was also member of the Russian Court band, where he still was in
1740.
The number of German violoncello players very soon increased. Amongst
them, Werner must next be mentioned, born at the beginning of the
eighteenth century in Bohemia, and died in Prague, 1768. He must have
been a most excellent player, since, as Gerber says, in his time no
foreign cellist ventured to play in Prague. Werner was for some time
established at the Crusaders’ Church, in Prague. Of his numberless
concertos and solos for violoncello, none seem to have been printed.
The violoncellist, CASPAR CRISTELLI, born in Vienna at the beginning of
the eighteenth century, was, in 1757, chief composer in the service of
the Archbishop of Salzburg. He specially distinguished himself as an
accompanist, a talent at that time highly prized, for the cellists who
accompanied the vocal recitatives played an important part. Cristelli
also wrote several compositions for his instrument.
JOHANN BAPTIST BAUMGÄRTNER, born 1723, in Augsburg, died May 18, 1782,
at Eichstädt, as chamber virtuoso of the Prince Bishop, was educated
in Munich, and then made a concert tour through Germany, England,
Holland, and Scandinavia. Besides some violoncello concertos he
wrote: “Instruction de musique théoretique et pratique a l’usage de
violoncelle.” This instruction book appeared in 1774 or 1777, at the
Hague.
WENZEL HIMMELBAUER, born 1725, in Bohemia, was in Prague in 1764; went,
however, to Vienna, and had a good reputation as cellist. His playing
was chiefly famed for firmness of the bow stroke and quickness at
sight reading. C. F. Daniel Schubart remarks of him in his “Ideen zu
einer Aesthetik der Tonkunst”: “He was a sincere and a most agreeable
violoncellist, without any artistic pride; a man of the most upright and
amiable heart”; and he further remarks: “No one uses his bow so quietly
and easily as this master. He executes the most difficult passages with
the most extraordinary ease, and especially pours out his heart in
the _Cantabile_. His sweet expression, his delightful phrasing, and,
moreover, his great power in the middle tints are the wonder of all
connoisseurs and hearers.” He composed little for his instrument, but
this little has all the more intrinsic value.
Of Himmelbauer’s compositions there appeared at Lyons, 1776, as Op.
1, duets for flute or violin and violoncello. A few duets for two
violoncellos remained unpublished. The MS. was, in 1795, in the
possession of the Bohemian cellist, Emeric Patrzik, and later fell into
the hands of the author of “The Art Lexicon for Bohemia,” G. J. Dlabacz.
PHILIPP SCHINDLÖKER must be mentioned as a noteworthy pupil of
Himmelbauer’s. Born on October 25, 1753, at Mons, in Hennegau, he went
very young to Vienna, whither his parents betook themselves. There
he began the study of the violoncello. In 1795 he was appointed solo
violoncellist at the Royal Opera House, Vienna, and three years later
to the orchestra of the Cathedral, S. Stephan. In the year 1806 he
received the title of Imperial Chamber Virtuoso. He died April 16,
1827. Sixteen years previously he had already retired into private
life. Of his compositions only a serenade for the Violoncello and
Guitar was published. The rest, consisting of a Concerto, Sonatas with
bass accompaniment, and a Rondo also with bass accompaniment, remained
unpublished.
His nephew, WOLFGANG SCHINDLÖKER, born in 1789 at Vienna, was educated
by him as a clever cellist. After he had been heard at fourteen years of
age at a concert, he went in 1807 as chamber musician into the service
of the Court at Würzburg. His compositions consisted of a “Grand duo”
and three Duets, which were published.
FRANZ JOSEPH WEIGL belonged to the best German cellists of the last
century; he was the father of the opera composer, Joseph Weigl, formerly
in much repute. He was born on March 19, 1740, in a Bavarian village,
and through the special recommendation of Joseph Haydn was received on
June 1, 1761, into the orchestra of Count Esterhazy. In 1769 he left and
joined the orchestra of the Italian opera in Vienna. After three years
of active work there he was appointed to the Imperial band, and made
Court and Chamber musician; his death took place on January 25, 1820.
Weigl composed, but if for his own instrument is unknown.
ANTON FILTZ, a member of the Electoral Chapel at Mannheim, was a gifted
cellist and composer. He died in 1768 in early manhood, before his
talent had fully developed. He left in MS. several duets and solos, as
well as Concertos for the Violoncello.
JOH. GEORG SCHETKY, born 1740, at Darmstadt, deserves special mention
as a pupil of Filtz, whose instruction he enjoyed for one month, after
his father, who was Secretary to the Grand Duke of Darmstadt and tenor
singer at the Cathedral, had given him his first musical education.
He seems to have taken up cello playing by himself at first, but his
theoretical education was carried on by the Concertmaster Enderle.
In the year 1761 Schetky went for six months with his father and two
sisters to Hamburg. There he had the opportunity of hearing great
artists, which incited him to zealous study on his instrument. On his
return to Darmstadt he found a post in the orchestra there. Now and then
he performed at concerts in the neighbouring towns. After the death of
his parents he finally quitted Darmstadt in 1768. He visited Hamburg and
then London, where the patronage of Joh. Christoph Bach was of service
to him. Schetky did not however remain long in the English capital, as
he received a proposal to go to Edinburgh, which he accepted. He very
soon, in consequence of his marriage with a rich widow, retired into
private life, being known to fame only through his compositions. These,
taking no account of an important collection of various orchestral
and chamber music works, consist of numberless Violoncello Concertos,
Duets for Violin and Violoncello, Sonatas for Violoncello and Bass, and
“Twelve Duets for two Violoncellos, with some Observations and Rules for
playing that Instrument” (Op. 7). In these duets, as the title says:
“Schetky had a scholastic aim in view.” Yet they can scarcely be called
a violoncello school.
One of the last of Schetky’s published works is his Op. 13, which
contains six Sonatas for Violoncello with unfigured bass. The
compositions therein contained give a distinct idea of his fluent though
superficially mechanical manner of writing. It can readily be discerned
that Schetky had for the time in which he lived a remarkable technique
in playing. He must have been able with ease to play at sight the first
violin part in Quartets, a talent which proves at once his skill and
readiness. His power and agility in bowing as well as his staccato
playing in up and down strokes were famous.
According to Gerber’s account, Schetky died in Edinburgh in 1773. In
Forster’s “History of the Violin” it is said, on the contrary, that his
death took place only in 1824.[73]
As a “clever and solid concert player and composer for his instrument,”
MARKUS HEINRICH GRAUL, who was born in the first half of the last
century, is mentioned by Gerber. In the year 1766 he belonged to the
Royal orchestra at Berlin. He also composed pieces for the cello, but
did not publish them.
His pupil, JOH. HEINRICH VIKTOR ROSE, born on December 7, 1743, at
Quedlinburg, was early instructed to play on various instruments by his
father, who was town musician in the above-named place. The Princess
Amalie, who then filled the office of Abbess in the Quedlinburg Convent,
became interested in him, and took him with her to Berlin in 1756,
where he studied cello playing for some years under Graul and Mara.
In 1763 he entered the service of the Prince of Anhalt-Bernberg. Four
years later he relinquished that in order to travel, and accepted a
place in the band of the Duke of Dessau. He did not long remain there,
for in the year 1772 he accepted an offer to be organist at the place
of his birth. According to Gerber’s account he possessed not only an
extraordinary readiness on the violoncello, but also a most expressive,
graceful rendering. Of his compositions, there were three solos with
bass accompaniment published as Op. 1.
His best pupil was FRIEDRICH SCHRÖDEL, born on February 4, 1754, in
Baruth; died January 10, 1800, at Ballenstedt. Gerber calls him one of
the greatest masters on the violoncello of that period, and adds that
many were of opinion that he surpassed the famous Mara in precision and
delicacy.
JOHANN JÄGER must be noticed with special distinction as belonging to
the German cellists of the last century. Schubart, who must have known
him personally, says in his eccentric manner: “Jäger is quite original;
his bowing new, unconstrained, and impetuously fiery. All masters apply
the thumb to the D string, and so bring out the high passages; but Jäger
departs entirely from this method--a proof that his genius has more than
one way of attaining his aim. He goes with lightning dexterity up to the
D and A strings in the highest parts and brings out the most delicate
phrases with the greatest tenderness and sweetness.... Jäger is also
a great reader, _prima vista_--that is, he can play from the music at
sight the most difficult pieces with wonderful art.”
In regard to the Jäger Violoncello compositions, which altogether
remained unpublished, Schubart remarks: “He follows no rules in
composition, but is guided solely by his ear. His Concertos and Sonatas
consist chiefly of original themes, which are grand, noble, adapted to
the instrument, and full of difficulties. Jäger caused his pieces to
be revised by good musicians, whereby they were put into correct form.
At the same time it must be confessed that the superfluous boughs, the
offspring often of an unbridled fancy, have not all been pruned off.”
As Jäger’s compositions are not extant there is no possibility of
putting to the proof the justice of Schubart’s judgment.
We can only gather that Jäger was self-taught. He appears to have
been so even as a player. There is nowhere any intimation that he had
any regular instruction on the violoncello. Gerber makes only the
remark that Jäger became, under the influence of the Kapellmeister at
Würtemburg, “the great man” whom the world admired.
As Fétis informs us, Jäger was born on August 17, 1748, in the little
town of Schlitz.[74] He was originally oboe player in the service of
Holland. He cultivated at first as his favourite instrument the French
horn. After he had been actively engaged at the Court of Stuttgard,
the post of chamber virtuoso in the Anspach Bayreuth orchestra fell to
his lot. The position left him a great deal of spare time, so that he
was able to practise diligently the violoncello, and also to undertake
concert tours, which led him to London in 1781.
Jäger had two sons who were educated as violoncellists under his
direction. The elder, JOHANN ZACHARIAS LEONHARD, born 1777, at Anspach,
showed an early development and was able, even at nine years of age,
to execute solos with rapidity, certainty, and accuracy. In 1787 he
played at the Prussian Court, and on that occasion so greatly excited
the admiration of the Queen that she wished to acquire him for the Royal
band in Berlin, to which, however, the father of the boy would not yield
on account of his youth. The Queen, therefore, proved her interest in
him by granting him a life-long pension of 100 thalers. On his return
home the Margrave of Anspach appointed him his chamber musician. He did
not, however, remain long in this position, and went with his father to
Breslaw. There Jäger’s younger son was born, whose christian name was
Ernst. He possessed even more talent than his brother, for it was not
long before he overtook him in cello playing, to which the instructions
he received from Bernhard Romberg greatly contributed. Until the year
1825 he lived at Breslaw, after having travelled through a great part of
Germany and Hungary. Then he responded to a summons from the Bavarian
Court to go as solo cellist to Munich.
Besides his two sons, Johann Jäger educated also ALEXANDER UBER, born
at Breslaw, 1783, as a capable violoncellist. His father, by profession
a solicitor, was an enthusiastic lover of music, occupied his leisure
hours with the composition of chamber music, and instituted weekly two
concerts in his house. At one of them symphonies were produced, at the
other quartets and quintets. At the beginning of our century, Carl
Maria v. Weber, who began his career at the Breslaw Theatre, took part
in these musical entertainments, as did also the Director of music in
the University at Berne and the piano player Klingohr. The intercourse
with these men was not of less importance for the musical development
of young Uber than his musical life in his father’s house. At first he
enjoyed the violin instruction of Jannizeck, while Schnabel conducted
his theoretical studies. But he very soon took up the violoncello,
for which Jäger was his teacher. In the year 1804 he undertook his
first tour, but returned soon to Breslaw. In the course of time Uber
filled many positions as Kapellmeister, until about 1820 he settled
at Basle, where he was married. In 1823 he undertook the post of
Conductor with the Count of Schönaich and Prince von Karolath, but, in
the following year, death carried him off. Of his compositions for the
violoncello, Uber published a Concerto (Op. 12), Variations with Quartet
accompaniment (Op. 14), Six Caprices (Op. 10), and Sixteen Variations
upon a German air.
During the second half of the last century the art of violoncello
playing had already very extensively spread throughout Germany and
had many more noteworthy representatives than in Italy and France. In
the latter country the higher pursuit of music was confined chiefly
to Paris, and in Italy, as we have already remarked in a previous
paragraph, the opera was most decidedly in the foreground, while there
was no great demand for instrumental music. On the contrary, Germany
called out more instrumental vigour in order to satisfy the need
of good musicians for the numberless Courts. According to Gottlieb
Friedrich Krebel’s European genealogical handbook of the year 1770,
there were, including the Romaic-German Emperor and the King of Prussia,
over two hundred secular and spiritual princes and sovereign counts,
the greater number of whom supported Kapelle (bands) or at least
chamber music. These persons considered it of utmost importance to
have about them not only good violin and wind instrument players, but
also capable violoncellists, and consequently more talented young men
devoted themselves in Germany to instrumental music, and especially to
violoncello playing, than elsewhere.
We have already seen that the introduction of the Violoncello from Italy
to Germany was by way of Vienna. At least, up to the present time, there
are no proofs that the appreciation of this instrument and its reception
into the orchestra had taken place sooner in other German places than in
the Austrian capital. There was an eager demand for music from the reign
of Maximilian I., to which the musical inclinations of the Imperial
family contributed. Maximilian II., Ferdinand III., Leopold I., Charles
VI., Francis I., and Joseph II., each in his own way, presented to the
inhabitants of Vienna a good example as regarded the encouragement of
music. Already several decades before the birth of the last-mentioned
prince, who himself played the violoncello, this instrument had been
naturalised in Vienna as an orchestral instrument. Under his reign,
after the advent of Franciscello, whose performances gave an impulse
to emulation, Vienna was already in possession of some remarkable solo
cellists. To them belong the two SCHINDLÖKERS and JOSEPH WEIGL, who
have already been mentioned, as well as JOHANN HOFFMANN, member of the
Court band, MARTEAU, HAUER, and KÜFFEL;[75] somewhat later followed the
cellists CAJETAN, GOTTLIEB, SCHEIDL, and HAUSCHKA.
Nothing is known concerning Scheidl. We have more information regarding
VINCENZ HAUSCHKA, who was born on January 21, 1766, at Mies, in Bohemia,
and died in Vienna, 1840. He received his first musical education as
choirboy in the Prague Cathedral. After six years’ study he devoted
himself to violoncello playing, in which the Bohemian, Christ,
instructed him for a short time. He eventually studied independently. At
sixteen he had made such progress that he found a place in the Kapelle
of Count Thun. Two years later he was released from this engagement
by the death of his benefactor. Hauschka then undertook a tour in
Germany. In 1792 he appeared in Vienna, where he gained everywhere
applause by his performances. Later, a situation was offered to him in
the Imperial State service. From that time he made no professional use
of his art. But he did not quite abandon it, as he took part in the
foundation of the “Society of the Friends of Music,” or “Gesellschaft
der Musikfreunde,” as well as the “Concert Spirituel,” and was occupied
also in both these musical institutions which were of such importance to
musical life in Vienna.
The Dresden Hofkapelle possessed, in the second half of the last
century, two noteworthy cellists, HEINRICH MEGELIN and CALMUS. The
first, according to Gerber’s testimony, was counted amongst the
cleverest players of his instrument. Calmus belonged, in 1797, to the
orchestra of the Altona “National Orchestra,” and was then a highly
reputed member of the Hofkapelle at Dresden, where he died January,
1809.
In Berlin the violoncello first came to be appreciated at its due value
through Frederick William II. It is true it had been already well
represented under Frederick the Great, in the Court band, by GRAUL[76]
and the two cellists MARA (father and son), to be mentioned elsewhere;
but that great monarch, whose favourite instrument was the flute, does
not appear to have thought much of the violoncello, which he feigned to
allude to as the “nasal instrument,” an expression which might have been
bestowed formerly on the gamba.
His nephew, Frederick William II., liked the violoncello, and well
understood how to handle it. He appears to have played the gamba in
his younger days, for it is reported that the gambist Hesse[77] first
taught him, though this instruction might also have referred to the
violoncello, which many gambists took up at the same time. Later on the
cellist GRAZIANI was master to the Prussian heir to the throne. But when
DUPORT THE ELDER came to Berlin, in 1773, GRAZIANI was dismissed in
favour of him. The future king, Frederick William II., must have played
with taste and readiness. It is well known that Beethoven dedicated to
him his two Cello Sonatas (Op. 5).
Amongst the cellists who belonged to the Berlin Chapel towards the end
of the last century must be mentioned--
JOHANN GEORGE FLEISCHMANN, a skilful player, who was at first in the
service of the Duke of Courland, but afterwards went to Berlin. In 1792
he followed the king, on his expedition against the French, as his
accompanist.
A second cellist, who worked at the same time in the Berlin Kapelle, was
S. L. FRIEDEL.
As a pupil of Duport the younger, HEINRICH GROSSE, born at Berlin, is
distinguished. In 1798 he joined the Royal band.
The elder Duport[78] educated the cellist O. F. G. HANSMANN, who
was born at Potsdam on May 30, 1769, and was engaged at fifteen
years of age in the Berlin Kapelle. In 1790 he undertook the post of
Choir-director at the opera. He appears to have quite given up his work
as Kapellmeister when, in 1809, the place of Organist at the Church of
St. Peter, at Berlin, was given to him. He continued in the service of
the church until the year 1833, when he was appointed Royal Accountant.
Three years later, on May 4, 1836, death called him away.
Finally, the Berlin Kapelle possessed, in HERBIG, a pupil of the younger
Mara.
At the Court of Mecklenberg, in 1785, FRANZ XAVER HUBER, born in
the little Bavarian town of Öttingen, was working as a much esteemed
violoncellist.
In the Brunswick Kapelle was A. W. F. MATERN, after the middle of the
last century a player of some repute, who brought up his two sons as
cellists.
Hanover was represented by the brothers FRIEDRICH ERNST and PHILIPP
FRIEDRICH BENEKE. Both belonged to the Elector’s Court and Chamber Music
Society.
The Hofkapelle at Dessau possessed, in JOH. CHRISTOPH BISCHOFF, born in
1748 at Erfurt, a very fair violoncellist.
As one of the most creditable cellists of the second half of the last
century, JOH. CONRAD SCHLICK must be mentioned. He is said to have
been born at Münster in 1759, and died at Gotha in 1825, where he was
established for more than forty years with the title of Concertmaster
of the Ducal band, after he had, about 1776, belonged to the Episcopal
Chapel at Münster. In the year 1785 he married the very celebrated
violin virtuoso, Regina Strinasacchi, with whom he was engaged, in the
winter of 1799-1800, as solo player at the Leipsic Gewandhaus.
Schlick had a gifted pupil in J. G. HEMMERLEIN, born at Bamberg, who
held the post of Concertmaster to the Elector Bishop of Fulda at the end
of last century.
At the same time with Schlick, JOHANN DAVID SCHEIDLER, born in 1748,
died on October 20, 1802, was employed as a much-liked violoncellist in
the Gotha Kapelle.
The Ducal band of Meiningen also possessed a good violoncellist. It was
J. J. KRIEGCK, originally violinist and member of the Flemish Opera at
Amsterdam. During his residence in Paris he took up the violoncello,
and received there instruction from the younger Duport. After he had
studied for awhile under this artist he was engaged by Prince Laval
Montmorency, in whose service he remained four years, when he was
summoned to Meiningen. There he worked and was still living in the year
1810. Kriegck was born on June 25, 1750, at Bibra, in the neighbourhood
of Eckertsberga, in the district of Merseburg. His cello compositions,
consisting of three Concertos and some Sonatas with bass, are among the
best of that period.
The violoncellist HIZELBERGER was, in 1786, in the service of the Bishop
of Würzburg as chamber musician.
At the Court of Wallenstein, about 1790, PAUL WINNEBERGER was engaged
as Director of the Royal Hunt and Table Music. In the year 1800 he
exchanged this post for that of cellist and composer to the French
Theatre at Hamburg.
In the Thurn-and-Taxis Kapelle at Regensburg were two cellists, GRETSCH
and KARAUSCHEK. The first was there until his death, which occurred
in 1784. Karauschek, on the contrary, who was famous as an excellent
cellist, only belonged to it from 1750-1760. Religious fanaticism caused
him later to go into a Carmelite cloister. He died in 1789.
To the Munich Court music, in the second half of the last century,
belonged VIRGILI.[79] He is remarkable as having given his first
instruction to the violoncellist MORALT. This last artist, who was
born in the Bavarian capital in 1780, and died in 1829, finished his
training under the violoncellist ANTON SCHWARZ, of Mannheim, and, having
completed his studies, went into the Hofkapelle of his native city.
Another pupil of Anton Schwarz whose name is well known was MAX BOHRER,
born at Munich in 1785. He made such progress, that already as a boy
of fourteen years of age he entered the Hofkapelle there. Soon after
he undertook a concert tour with his brother Anton, who was an able
violinist, and this led him to Vienna. There he heard Bernhard Romberg,
who henceforth became his model. Towards 1830, after he had for a time
been a member of the Royal band at Berlin, he went to Paris, where
his fine tone and his ease in surmounting the most difficult passages
excited admiration. Then he travelled through Germany, in 1832 was
appointed first cellist to the King of Wurtemburg with the title of
Concertmeister, went in 1838 (for the second time) to St. Petersburg,
and then proceeded to Italy. The years 1842-1843 he spent in America
giving concerts. He took his last journey, which led him to the
countries of Northern Europe, in 1847, but he was not able to obtain
the same amount of approbation, for he had lost a great deal of his
power of execution. He died in 1867. He edited three Concertos, several
“Airs variés,” a “Fantasia” on a Russian Volkslied, a Rondoletto with a
quartet accompaniment, and some Duets with violin.
Contemporary with the above-named Moralt in the Bavarian Court Kapelle,
“PETER THE GREAT,” so-called, according to Gerber, “on account of his
talent,” born at Zweibrücken, in 1778, was actively engaged, and in 1792
was promoted to be member of the Bavarian Hofkapelle.
For Stuttgard the violoncellists Zumpsteeg and Kaufmann deserve
consideration.
JOH. RUDOLPH ZUMPSTEEG was the more important. He was born on January
10, 1760, at Sachsenflur, in the Odenwald, and died on January 27,
1802, at Stuttgard. The royal Kapellmeister Poli (at Wurtemburg) was
his teacher. Under his direction Zumpsteeg became not only an excellent
performer, but also a creditable composer of music. He received a
learned education at the Karlschule, where he entered into friendly
relations with Schiller, and set to music many of his poems. He made
himself particularly known through ballad compositions, which were first
attempted by him.
After he had quitted the Karlschule, Zumpsteeg devoted himself entirely
and actively to art. Up to the year 1792 he was simply member of the
Stuttgard Court band, of which he became the head after the decease of
his master, Poli. Zumpsteeg played the violoncello with “deep feeling,
rare precision, and decisive power,” as Gerber remarks. He wrote for it
a Concerto, Sonatas, a Duet, and a Trio.
JOHANN KAUFMANN, born in 1760, was likewise a pupil at the Karlschule,
whence also came--
ERNST HÄUSLER, born in 1761, in Stuttgard. He led a somewhat variable
life. In the year 1788 he went on an artistic tour, during which he
played especially in Vienna and Berlin. Soon after he took an engagement
in the band of the Prince of Donaueschingen. But in 1791 he relinquished
this position in order to obey a summons to Zurich. Thence, six years
later, he returned to his native town, and in 1801 went to Augsburg,
and, in 1802, to Vienna, to hold concerts. Finally he assumed the
office of choir director at the Evangelical Church at Augsburg, in which
place he died on February 28, 1837.
The Electoral Kapelle at Mannheim possessed in CARL LOCHNER, born about
1760, died 1795, as well as in PETER RITTER, remarkable cellists.
Ritter, born at Mannheim in 1760, must have had higher claims to
distinction on account of his musical education than Lochner, for
he was promoted to the direction of the opera at the theatre of his
birthplace. With the exception of a journey to Berlin, undertaken in the
year 1785, where he played before the Court, he seems to have pursued
uninterruptedly his official duties.
To the Mannheim orchestra belonged the violoncellists, JOHANN FÜRST,
LUDWIG SIMON, and ANTON SCHWARZ, already mentioned.
As an offspring of Mannheim, FRANZ DANZI must also be mentioned, the son
of the first violoncellist in the orchestra there, Innocenz Danzi. His
father gave him instruction on the cello, and Abt Vogler in composition.
He soon made such rapid progress in playing that already, in 1778,
he was received into the Electoral Kapelle, which, as is known, was
transferred to Munich about this time in consequence of the union of
Bavaria with the Palatinate. He immediately began his work as a composer
for the opera. Meantime, in the year 1790, he was united in matrimony
to the exquisite singer, Margaretha Marchand, daughter of the Opera
Director in Munich. The following year the young couple went to Leipsic
and Prague, where Danzi conducted the opera of Guardassoni’s Italian
Opera Company, while his wife took part as a singer. In 1794-1795 he
travelled with his wife in Italy, and in 1797 they both returned to
Munich on account of the failing condition of the latter’s health.
Danzi was immediately appointed Vice-Kapellmeister, and displayed most
praiseworthy activity. He was, however, so overcome by the death,
in 1799, of the partner of his life, that for many years he seemed
unable to perform the duties of his vocation, and as it was repugnant
to his feelings to take up work again in the place where his family
happiness had been wrecked, he obeyed a summons to Stuttgard as Court
Kapellmeister. He there remained a year, at the end of which he assumed
the direction of the opera at Carlsruhe. Danzi was born May 15, 1763,
and died April 13, 1826.
In the chapel at Mainz, in the year 1783 to 1784, there were the clever
cellist and lutist, JOH. CHRISTIAN GOTTLIEB SCHINDLER, the brothers
JOSEPH and ANDREAS SCHWACHHOFER, and at the Court of Treves was also at
that time CARL CASPAR EDER, born 1751 in Bavaria, who made himself known
as a cello player in several tours.
To the Electoral Kapelle at Bonn belonged JOSEPH REICHA and MAXIMILIAN
WILLMAN.
REICHA, uncle of the gifted composer, Anton Reicha, was born at Prague
in 1746; found at first a position with Count Wallenstein, and a few
years later received the appointment of Concert leader at Bonn. He was
working there with some reputation until his death in 1795.
WILLMAN, born in 1768, at Forchtenberg, a village between Würzburg and
Mergentheim, was member of the Bonn Hofkapelle in the last decade of
the past century, after he had been resident for a few years in Vienna.
Later on he returned to Vienna and found a post there as solo player at
the theatre. Willman, who died in 1812, had two daughters, the elder
of whom was a pupil of Mozart for the pianoforte, and the younger an
excellent singer. Louis von Beethoven solicited the hand of the latter,
but in vain.
Besides Reicha and Willman, the celebrated violoncellist, BERNHARD
ROMBERG, belonged to the Kapelle at Bonn from 1790-1793. With regard to
this artist the necessary information will be given in the next section
on Germany, for the distinctive influence of his work belongs to the
nineteenth century. To the above-mentioned German violoncellists are to
be added Immler, Schönebeck, Rauppe, Bauersachs, Alexander, and Arnold.
IMMLER, born in 1750, at Weitramsdorf, near Coburg, found a sphere for
work in Göttingen. His playing was distinguished especially for its fine
tone and agreeable manner of rendering. He was also a good violinist.
KARL SIEGMUND SCHÖNEBECK, born on October 26, 1758, at Lübben, in Lower
Lusatia, was originally destined for the surgical profession, but felt
himself so irresistibly drawn towards music that all attempts to hold
him back from it failed through his opposition. In the fourteenth
year of his age he was made town musician in his native place. During
his fifteenth year he devoted himself, mostly alone, to the learning
of various instruments. Then he went as assistant to the town band
of the Silesian town of Grüneberg. There he had the opportunity of
hearing a travelling violoncellist, whose performances so inspired him
that he forthwith resolved to devote himself to cello playing, with
which until then he had never occupied himself. He was his own master.
After two years of energetic work, Schönebeck went as cellist into the
private band of a Count Dohna, though he only remained in it until
1780, preferring to undertake a post which was offered to him as town
musician at Sorau. A journey to Berlin procured him the possibility of
hearing the violoncello virtuoso Duport, at Potsdam, which incited him
to renewed study. Soon after he made, at Dresden, the acquaintance of
the French cellist Tricklir,[80] whose playing gave him fresh impulse.
From that time Schönebeck led a restless, wandering life, which
prevented his attaining to the concentration of his powers. At short
intervals he filled, one after the other, positions at the Court of the
Duke of Courland, at Sagan; with Count Truchsez, at Waldenberg; and
still further at Königsberg. At length, wearied with a musical life,
he returned home and devoted himself to husbandry, but did not long
persevere with this, and resumed again his artistic career. In the year
1800 he performed at Leipsic, where his pleasing cello compositions,
and his playing “with a fine intonation, and rare finish,” met with
applause, as Gerber remarks.
JOH. GEORG RAUPPE, born in July, 1762, at Stettin, devoted himself in
early youth to cello playing, and under the elder Duport attained to the
rank of a master. His studies ended, he travelled through North Germany
as well as Denmark and Sweden. In the year 1786 he betook himself to
Amsterdam, and there fulfilled the duties of first cellist in the German
Opera as well as at concerts. While in that position he died on June 15,
1814. His playing was famed for the beauty and power of his tone, as
well as for readiness and purity of rendering.
CHRISTIAN FRIEDRICH BAUERSACHS, born on June 4, 1767, at Pegnitz,
in the principality of Anspach, was not only unusually clever on
the violoncello, but also played the basset-horn with great skill.
He travelled through Hungary and Italy, and then also in Germany,
giving concerts with good success. Yet he did not succeed in gaining a
permanent post. He therefore gave up music as a means of livelihood, and
devoted himself to a miner’s career. On December 14, 1845, he died at
Sömmerda.
JOSEPH ALEXANDER, who, in 1800, lived at Duisburg, and worked there, is
worthy of mention on account of two books of Studies, which however are
long since obsolete. They consist of a violoncello school, published
in 1801, and of an “Air avec xxxvi Variations progressives pour le
Violoncelle avec le doigté en différentes clefs, accomp. d’un violon et
d’une basse” (1802).
JOHANN GOTTFRIED ARNOLD, born on February 1, 1773, in the Würtemburg
town of Niedernhall, died July 26, 1806, at Frankfort-on-the-Main, was
the son of a school teacher. He early applied himself to music, and
chiefly to the violoncello, so that at eight years of age he attracted
notice by his performances. In 1785 his father placed him under the
tuition of Lüngelsauer, the town musician, with whom he studied for
five years. At the expiration of that time Arnold found employment with
his uncle, who was Court and town musician at Wertheim. During this
period he pursued, alone, with great zeal, his cello studies, but at
the same time did not neglect theoretical study. After some fruitless
attempts to make himself known as a soloist beyond his native place,
he visited Regensburg, where just then the violoncellist Max Willman,
mentioned above, was residing. He gave Arnold, during some few months,
instructions on the cello, the first which he had received on this
instrument. In the year 1796 he had the opportunity, in Hamburg, of
hearing Bernhard Romberg and learning from him. Very soon after Arnold
was established in the theatre orchestra at Frankfort. At the same time
he gave private lessons. He was esteemed by his contemporaries as a
great violoncello virtuoso, whose playing, on account of its “enchanting
tone,” was excellent, not only in _Allegro_, but also in _Adagio_
passages. Amongst the German violoncellists of the last century an
amateur deserves mention, who so distinguished himself, that he may
properly be counted among the artists of his instrument. It was the
PRINCE CHRISTIAN VON WITTGENSTEIN-BERLEBERG. He was born on December 12,
1753, and in his youth occupied himself eagerly with singing and clavier
playing. In more advanced years he learnt the violoncello and succeeded
so well that he was heard with the greatest applause publicly at a
concert in Wetzlar. He maintained towards the end of his life a private
band. This patron of art died October 4, 1800.
These distinguished men up to this period, with few exceptions,
endeavoured, besides their practical work, to create by their
compositions a literature for their instrument. They wrote concertos,
sonatas, and works with variations, in considerable numbers.[81] These
productions were substantially increased by other musicians who were not
cello players.
Before all, the most prominent are PHIL. EMANUEL BACH and JOSEPH HAYDN.
The former composed a Violoncello Concerto, the latter several pieces
of the same kind. What a lively interest Haydn, especially, took in
the violoncello is proved by the fact that he used it as an obbligato
in two of his Symphonies. The first of them (B flat major) appears
with the title, “Symphonie Concertante à Violon, Violoncell, Flutte,
Hautbois et Basson obligés,” as Op. 81; the other, called “le Midi,”
was written in 1761.[82] Therein the violoncello is employed as a solo
instrument, chiefly in the _Adagio_, the close of which ends with an
elaborate cadenza for violin and violoncello. The cello part in the
above-mentioned “Sinfonie Concertante” contains striking difficulties,
especially where it is employed in the higher tones.[83]
Amongst other composers of that period who composed Concertos for the
violoncello, we will only mention PAUL WRANITZKY, IGNAZ PLEYEL, FRANZ
ANTON HOFMEISTER, FRANZ CHRISTIAN NEUBAUER, LEOPOLD HOFFMANN, and JOHANN
LUDWIG WILLING. There were also amateurs who attempted compositions
of this kind, such as ERNST LUDWIG GERBER, the author of “The
Historical-Biographical Dictionary of Musicians,” and CHRISTIAN FERD.
DANIEL SCHUBART, who, though he had a musical education, was however
really by vocation an author. Further Joh. Geog. Albrechtsberger, Joseph
Eybler, F. A. Hoffmeister, C. G. Neubauer, Ignaz Pleyel produced Duets
for two violoncellos, violin and cello, or for viola and violoncello.
There is also in existence a Cello Sonata with unfigured Bass by the
contrabassist Christian Spurni (Spourni), who, born in Mannheim, was,
during the years 1763-1770, member of the orchestra of the Italian Opera
in Paris, and then of Her Majesty’s in London.[84]
The greater number of these compositions, whether emanating from
violoncello players or not, are interesting only in so far as from
them may be gathered what position German violoncello playing held
in the second half of the last century. We have now only to state
that the technique at the end of the period mentioned had made great
progress, and that Germany, as compared with Italy, even taking into
consideration certain cello pieces by Boccherini, was not behindhand. A
universally current method for the manipulation of the fingerboard and
also for bowing had indeed not yet been attained in either of the two
countries. The testing in every way of the executive capabilities of
the violoncello naturally followed, as well as discovering the various
combinations for playing double stops, the formation of passages and
ornaments, and the endeavour to develop and present them in a manner
suitable to the nature of the instrument. This tedious work must on the
outset have necessarily led to productions in which the question of
imagination would not be taken into consideration. In fact, it is with
few exceptions of very little value, and as further the figures and
runs are antiquated, the compositions in question can awaken no real
sympathy. But these trial stages which cello composition had to pass
through were necessary in order to arrive at a literature of artistic
worth.