Amongst the first noteworthy French violoncellists the brothers ABBÉ
must be mentioned. They were music masters of the parish church of Agen
under their own names of Philipp Pierre and Pierre de Saint Sevin. As
such, in conformity with the regulation of that time, they had to wear
the “collet” of the Catholic priests over their dress, on account of
which they were called shortly Abbé, or l’Abbé. They retained this name,
with the addition of “l’Aîné” and “Cadet,” after they had given up their
posts in Agen and had entered the Paris Opera Orchestra as cellists in
1727.[85] This is all that is known about them.
There is more information extant concerning BERTEAU.[86] This artist,
born at the beginning of the eighteenth century at Valenciennes, was
esteemed by his contemporaries as of eminent talent--indeed, as a
genius. In his youth he travelled through Germany, and during this time
he applied himself with vigour to gamba playing, under the direction
of a Bohemian of the name of Kozecz, and acquired great proficiency.
However, after he became acquainted with the superiority of the
violoncello, and had heard a solo piece for it by Franciscello,[87]
according to Fétis, he went over to that instrument. His progress was so
remarkable that he was ever without a rival, and was looked upon as a
wonder on his return to Paris, for he also performed unusually well on
the flageolet, the playing of which had been little developed. In the
year 1739 he was heard for the first time at the “Concert Spirituel”[88]
in a solo of his own composition, and aroused great enthusiasm. The
result was a frequent appearance at these concerts. His chief strength
lay in the production of an extraordinary richness of tone. He wrote
for the violoncello four Concertos as well as three Sonatas with bass
accompaniment. His death took place in 1756. Berteau was looked upon as
the founder of the French school of violoncello playing. Fétis asserts
as a proof of this that as pupils he educated CUPIS, JANSON, TILLIÈRE,
and the elder of the brothers DUPORT, who were the propagators of his
beautiful tone as well as his melodious manner of rendering.
JEAN BAPTIST CUPIS, born in 1741, in Paris, received his first lessons
from his father, and in his eleventh year became Berteau’s pupil. Before
he had passed the second decade of his life he was already esteemed as
one of the cleverest cellists in France. He was soon received into the
Opera Orchestra in Paris, and, indeed, with the distinction that he
was associated with those members of it who had to accompany the solo
singers.
In the year 1771 he gave up his connection with the opera in order
to undertake some concert tours. He visited a great part of Germany,
remained some time in Hamburg, and then went to Paris and Italy, where
he married the songstress Gasparini. In 1794 he was in Milan. From
that time nothing more is known about him. The requisite information
concerning his pupils, Jean Henri Levasseur and Bréval, will be given
farther on.
Cupis composed two Concertos and a couple of pieces with variations, of
which the second, for two violoncellos, appeared only as a “Posthumous
work” after his death. Besides these, he wrote a violoncello school. It
bears the title “Méthode nouvelle et raisonnée pour apprendre à jour du
violoncelle, où l’on traite de son accord, de la manière de tenir cet
instrument avec aisance, de celle de tenir l’archet, de la position de
la main sur la touche, du tact, de l’étendue du manche, de la manière de
doigter dans tous les tons majeurs et mineurs, etc. Paris, Boyer.”
Berteau’s second pupil, JEAN BAPTISTE AIMÉ JOSEPH JANSON, was born
at Valenciennes in 1742. At twenty-four he was heard for the first
time as solo-player at the “Concert Spirituel.” In 1767 he went as
accompanist to the heir-apparent of Brunswick to Italy, and remained
there till 1771. He then returned for a few years to Paris, after which
he travelled in Germany. From Hamburg, where he remained until 1783,
he visited Denmark, Sweden, and Poland. He everywhere reaped great
applause for his performances, which were distinguished for their broad
and fine tone. In the year 1789 he again found himself in Paris. The
value that was set upon his playing there is proved by his being offered
the post of teacher of the violoncello at the Conservatoire, which was
founded in the year 1795. He died September 2, 1803. Of his violoncello
compositions, Fétis mentions three Concertos (Op. 3), three Concertos
(Op. 7), both with a bass; six Concertos with orchestra (Op. 15), and
six Sonatas with bass (Op. 4).
Janson had a younger brother, whose Christian names were LOUIS AUGUSTE
JOSEPH, whom he instructed as a skilful cellist, after his father had
prepared him for it. In 1789 he was given a place in the Parisian
Orchestra, which he held till 1815. He died a few years later. He was
born on July 8, 1749. He only published six Sonatas for the violoncello
with bass.
JOSEPH BONAVENTURE TILLIÈRE, of whom neither the day of birth nor death
is known, was about 1760 in the service of the Prince de Conti, after
he had finished his studies under Berteau. He had the reputation of
being a clever player. His published works consist of six Sonatas for
violoncello and bass, nine Duets for two violoncellos, of which three
appeared as Op. 8, and also of a violoncello school, published in 1764:
“Méthode pour le Violoncelle, contenant les principes nécessaires pour
bien jouer de cet instrument.” This work appeared in several editions.
Berteau’s best pupil was JEAN PIERRE DUPORT, called the elder,[89] whose
father was a dancing master. He was born in Paris, November 27, 1741.
He was heard at twenty years of age, with unanimous applause, in the
“Concert Spirituel.” At the same time (1761) he was appointed one of the
private musicians of the Prince de Conti. He gave up the post in 1769 in
order to travel. He first went to England, two years later he visited
Spain, and in 1773 he went to Berlin, where he remained, as Frederick
the Great engaged him for his chamber musician as well as for the opera.
He was at the same time teacher to the future King Frederick William
II., who named him in 1787 superintendent of chamber music. From that
time Duport no longer worked in the Opera, but only played at Court. On
December 31, 1818, he died at Berlin. Duport published, in 1787,[90] at
Berlin, six Sonatas for violoncello and bass, as well as three Duets for
two violoncellos, known as Op. 1.
Gerber, who had the opportunity of hearing this artist in 1793, in
Berlin, gives an enthusiastic account of his playing. He especially
commended his strong, full tone, and his powerful bowing. According to
Fétis, however, his younger brother, JEAN LOUIS, surpassed him, and he
seems to have been remarkably gifted. He had at first chosen the violin
as his instrument, but took up by preference the violoncello, when he
saw the artistic success of his brother, whose pupil he became. He very
soon acquired considerable reputation by his appearance at the “Concert
Spirituel” and at the “Société Olympique,” formerly known under the name
of “Concerts des Amateurs”; and also by his connection with the house
of Baron Bagge, so much frequented at that time by native and foreign
artists of note.
When Viotti came to Paris, either at the end of 1781 or the beginning
of 1782, and Duport heard him, he took his characteristic style of
playing as his model, and his performances gained considerably thereby.
He undertook his first concert tour to London in company with the
English cellist, Crosdill, who was connected with him, and he there
met with a most animated reception. This journey kept him six months
away from Paris. But he did not remain then long at home. The ominous
events which, in 1789, preceded the Revolution caused him, like a
great many others, to fly from Paris. He betook himself to his brother
in Berlin, where he soon found employment in the Royal orchestra, to
which he was attached for seventeen years. During this time he had many
pupils, whose names unfortunately are unknown. His pupils of French
nationality--Rousseau, Levasseur, and Platel--will be noticed later.
The events of 1806, so unfortunate for Prussia, obliged Duport to leave
Berlin. He returned again to Paris. But during his long absence he had
been forgotten, and he had to gain for himself another public.
A single public appearance in the year 1807, in which he was supported
by the assistance of the singer, Colbran, Rossini’s future wife, was
sufficient for this. He could not, however, attain to any certain or
decided position again by reason of the entire change of circumstances
little favourable to Art in Paris. This obliged him to enter the service
of Charles IV. of Spain, who had been dispossessed by Bonaparte, and who
was then at Marseilles. But this connection came to an end in 1812, when
Charles IV. went to Rome, and Duport consequently was obliged to return
to Paris. He took part in three concerts, and in spite of his advanced
age of sixty-five years, had so great a success that he was named solo
cellist to the Emperor and teacher at the Conservatoire. He lost the
latter post on the re-organization of the above-named Institution in
the year 1816. He remained, however, in his position at Court, which
meantime had been changed from an imperial to a monarchical one. But
only three years after he succumbed to a liver attack, on September 7,
1819. He was born on October 4, 1749.
Louis Duport was the author of a tolerable number of cello compositions.
They consist of four books of Sonatas with bass accompaniment, three
Duets for two violoncellos, and eight “Airs Variés” with orchestra or
quartet accompaniment. Besides these he composed, in connection with
Bochsa, nine Nocturnes for harp and violoncello, a “Fantasie” for piano
and violoncello in conjunction with Rigel, and a Romance with piano
accompaniment. As his _chef d’œuvre_ must be distinguished: “Essai
sur le doigter du violoncelle et la conduite de l’archet, dédie aux
professeurs de violoncelle.” This comprehensive instruction book, for
which the materials were collected by degrees during a long period of
years, was published by Duport during his residences in Berlin and
Potsdam. In the preface he says: “I have treated with minute detail
the subject of double-stops, and this I have done for two reasons: the
first is that until now nothing concerning them has been written,[91]
and they are so important for a good player; the second, because they
have so often served me as an argument, for without an established
mode of fingering, double notes are impossible. In the course of this
work things will be met with of which the performance is difficult,
but nothing will be presented which is really impracticable. I am not
writing a useless theory. I have put down no scales, no figures, no
passages, no exercises, without having repeatedly tried them myself. I
caused them to be repeatedly played by my brother, who was formerly my
master, and will ever remain so, as well as by the best of my pupils
in Berlin and Potsdam. I am therefore thoroughly convinced that the
work contains nothing that may not with ease be clearly and distinctly
carried out, and what at first appears impracticable will be practicable
for those who will give themselves continuous trouble, and make a point
of practising a regular course of fingering.”
It is evident that Duport devoted himself with the greatest care to
the working out of his book of instruction (which must be accounted
a violoncello school) in order to bring about distinctness in the
finger technique, not until then fully settled. For that time it was
a meritorious undertaking. A new edition of it, brought out by the
violoncellist, A. Lindner, is a proof that the work, in spite of its
age, is not quite without value. It is only to be regretted that the
original text has not throughout been faithfully adhered to, and that in
parts it has been suppressed. The editor should have reproduced the work
in its original form, and have enunciated his own dissenting opinions in
observations.
Of more value for our present purpose than Duport’s work just mentioned
are his Twenty-one “Exercices,” which contain much that is worthy of
consideration and of acquisition. Duport left a son who, for a long
time, belonged to the orchestra at Lyons, but then opened a piano
manufactory in Paris. The splendid Stradivari cello, which he inherited
from his father, he disposed of to the violoncello virtuoso, Franchomme,
for 25,000 francs.
Amongst Duport’s pupils, FREDERICK ROUSSEAU, born January 11, 1755,
at Versailles, must be mentioned. He was member of the Parisian Opera
Orchestra in 1787. In 1812 he retired from his position and established
a music school in his native town. He was of special importance in the
musical life of Paris as having been one of the founders of the Concert
Institute of the “Rue de Cléry,” formerly so popular. Amongst his
compositions he published six “Duos concertants” (Op. 3 and 4) as well
as a “Potpourri” for two violoncellos.
Taking up the chronological thread from Berteau, we have next to mention
the cellist CHARLES HENRI BLAINVILLE, who was born in a village near
Tours, in the year 1711, and died in Paris, in 1769. The intimate
circumstances relating to his life are unknown. Only so far is certain,
that he enjoyed the protection of the Marquise de Villeroy, who received
musical instruction from him, and that apparently through the influence
of this lady he obtained the position of a creditable “Maître de
Musique” in Paris. Blainville published several theoretical works and a
few compositions, amongst them two Symphonies, but nothing for his own
instrument.
The cellist NOCHEZ, born between 1720 and 1730, is known as a pupil
of Cervetto and Abaco.[92] In his early years he travelled in Italy
and was then member of the comic opera in Paris, from which he went
to the orchestra of the grand Opéra in 1749. In 1763 he received
the appointment of royal chamber musician. He died in 1800 after a
year spent in retirement. Nochez is the author of an article on the
violoncello which appeared in print in de La Borde’s “Essai sur la
musique ancienne et moderne” (Paris, 1780).
Concerning the violoncellist EDOUARD, only the following notice is
found in Gerber: “A violoncellist living in Paris, in 1737, was an
extraordinary artist on his instrument, and was much commended by
Telemann” (Ehrenpforte, 367).
CLAUDE DOMERGUE, born at Beaucaire in 1734, seems to have been
remarkable among French violoncellists, although he never left his home.
That Duport, when he was travelling in the South of France, stopped at
Beaucaire solely in order to make Domergue’s acquaintance is sufficient
proof of his unusual skill in execution. During the disturbances of
the Revolution he unhappily ended his days, with thirty of his fellow
citizens, on the scaffold, in 1794.
To the Paris Opera orchestra belonged FRANÇOIS JOSEPH GIRAUD, the
violoncellist, from 1752-1767. Besides this he was chamber musician.
He wrote a volume of Sonatas for his instrument. Further, he occupied
himself with vocal composition, and also wrote for the stage.
The next to be mentioned is JEAN TRICKLIR, already named, of German
extraction, born at Dijon in 1750, who passed only his youth in France.
Destined by his parents for the church, he went to the seminary of his
birthplace. In his leisure hours he occupied himself with cello playing.
His partiality for it increased by degrees as he advanced in skill, and
in his fifteenth year he embraced the resolution of devoting himself to
the art. For this object Tricklir went to Mannheim, where he remained
several years and reached a master-pitch by zealous study under the
direction of experienced teachers. After he had been several times to
Italy, he was received in March of the year 1783 as a member of the
Court band at Dresden, to which he belonged as a highly appreciated
artist until his death on November 29, 1813. His published compositions
consist of seven Concertos and six Sonatas for violoncello. It must also
be noticed that Tricklir thought to have discovered by a “Microcosme
Musical” a sure means of keeping stringed instruments continually in
even, pure tune. It was, however, an illusion, and this imaginary
invention disappeared as quickly as it had originated.
A remarkable scholar of Tricklir’s was DOMINIQUE BIDEAU, or BIDAUX,
as he called himself in his violoncello school. He belonged to the
orchestra of the “Théâtre Italien” in Paris. His compositions in
relation to the violoncello are “Six duos pour Violon et Violoncelle”
(Op. 1 and 2), Paris, 1796; “Trois grands divertissements concertants
pour violon et violoncelle,” “Un air ecossais varié avec quatuor,” “Deux
duos faciles pour deux violoncelles,” and some other things of the same
kind. The title of his violoncello school runs thus: “Grande et Nouvelle
Méthode raisonnée pour le Violoncelle, composée par Dominique Bidaux.
Paris, 1802.”
A contemporary of Bidaux, PIERRE FRANÇOIS OLIVIER AUBERT, born 1763 at
Amiens, also brought out a violoncello method.[93] He received his
first musical instruction in the “maîtrise” of his native town, but he
learned cello playing by himself, without any other assistance. After
his arrival in Paris, he found a place in the orchestra of the “Opéra
Comique,” to which he belonged for twenty-five years. His cello method
was, as Fétis remarks, the first good instruction book which followed
after the insufficient preparatory works by Cupis and Tillière.
Aubert wrote for his instrument twelve Duets in four parts, as Op. 3, 5,
6, and 7; some Studies, besides three Sonatas, Op. 8; and lastly, eight
Sonatas.
A second violoncellist of the same name, who was commonly called
AUBERTI, worked in the orchestra of the Paris Commédie Italienne. He
died in the year 1805. Of his compositions six Solos for the violoncello
(Op. 1) appeared, and six Duets for two violoncellos.
F. CARDON was a member of the Paris Opera orchestra in the middle of the
last century. He educated his nephew, PIERRE CARDON, born in 1751, who
at the same time studied singing under Richer. The latter seems to have
been his chief occupation, since he became a singer in the Royal Chapel
in 1788, and gave singing lessons. He was, however, also engaged as a
teacher of cello playing.
ESPRIT AIMON, born at Lisle (Vaucluse), in 1754, is also distinguished
as a clever violoncellist. He conducted for a long time the music of the
Danish Minister, Count Rantzau; he then settled down in Marseilles. In
the year 1828 he died in Paris.
The cellist, PIERRE FRANÇOIS LEVASSEUR, born at Abbeville, in 1753,
was intended for the church, and received for that end a liberal
education. He decided, however, in the eighteenth year of his life for
art. A certain Belleval directed for three months his practice on the
violoncello. This instruction, however, does not seem to have satisfied
him, for he preferred to be his own master. When he came to Paris, in
1782, he received a few lessons from Duport the younger,[94] whose tone
and style he adopted. In 1789 he played at the “Concert Spirituel” some
of his master’s solo pieces, and later he appeared at the concerts of
the “Théâtre Feydeau.” From 1785-1815 he was a member of the Opera
orchestra. Soon after his retirement from this he died. The compositions
which he published were twelve Duets for two violoncellos in two
volumes.
There was another cellist, LEVASSEUR, about ten years younger, who
sprang from another family so-called, and whose Christian name was JEAN
HENRI. He seems to have been more remarkable than his namesake mentioned
above. He was born in 1765 in Paris, was a pupil of Cupis, and belonged
consequently to Berteau’s school. After he had pursued his studies with
the former artist, he profited for some time by the instruction of the
younger Duport. He was then received into the Paris Opera orchestra,
to which he belonged as first violoncellist until 1823, the year
of his death. He was also for some time active as a teacher at the
Conservatoire. He likewise had a place at the Court Music of Napoleon,
and from 1814 in the Royal band. That he was amongst the first in rank
who belonged to the violoncello school of the Conservatoire, under the
direction of Baillot, is a proof of the repute in which he was held in
Paris. Of his own compositions, he only left a set of Sonatas with bass,
two sets of Duets, and a volume of “Exercices.”
Levasseur’s most prominent pupils were LAMARE and NORBLIN.
JAQUES MICHEL HUREL DE LAMARE, born on May 1, 1772, in Paris, died on
March 27, 1823, in the town of Caen, where he possessed some property,
was the son of poor parents and got his scientific as well as his
artistic education together with the Pages of the Court Music. In his
fifteenth year he began, under the direction of the younger Duport,
violoncello playing, for which he developed an extraordinary talent.
Before he had reached seventeen years of age, he left the Pages’
Institute and returned to his parents. In 1794 he found a place in the
orchestra of the Théâtre Feydeau. The then famous concerts of this
institution gave him the wished-for opportunity of making himself known
as a solo player. His excellent performances procured for him very soon
the reputation of first French violoncellist of his time. The Committee
of the Paris Conservatoire hastened to secure him as a teacher. But
he desired to go out into the world, and at the beginning of 1801 he
went to Germany. At Berlin he was brought into intimate relations with
Prince Louis Ferdinand, and played a great deal with him; as a mark of
distinction he presented him with a ring on condition that he would
exchange it with one that Lamare himself wore. From Germany Lamare went
to Russia. He lived there alternately at St. Petersburg and Moscow until
1808. During this period he was not only soloist at the Imperial Court,
but was also active in giving concerts. On his return to France he
took the route through Poland and Austria. In April, 1809, he returned
to Paris and soon organised a concert in the Odéon without, however,
exciting in any way his audience, which determined him not to play
publicly again. He only allowed himself to be heard in private circles,
where great admiration for his playing was conceded to him. He must have
been an excellent performer in ensemble and also in quartet playing. In
1815 he married a lady of fortune. From that time he only pursued his
art for pleasure. On March 27, 1823, he succumbed to an affection of the
larynx.
Lamare wrote nothing for his instrument. He was destitute of any gift of
form. The compositions published in Paris under his name, consisting of
four violoncello Concertos, Duets, and an “Air varié” for violoncello,
originated probably from the opera composer Auber, who was an intimate
friend of Lamare. Of the Concertos, the one in A minor is the best.
LOUIS PIERRE MARTIN NORBLIN was the son of the French painter, Norblin
de la Gourdaine, of some repute in his time, who, in 1772, selected
Warsaw as his permanent residence and there married a Polish lady.
The artist just now mentioned, born on December 2, 1781, was the
offspring of this union. In 1798 he went to Paris for the sake of the
Conservatoire and was first Baudiot’s and then Levasseur’s pupil. In the
year XI., according to the reckoning of the French Republic--that is,
1803--he received the first prize at a competition of the directors of
the above-named Institution for his performances in solo playing. Six
years later, 1809, he was appointed to the orchestra of the “Théâtre
Italien,” and, in 1811, solo violoncellist in the orchestra of the Grand
Opéra. In this position he remained until 1841. Besides this, he gave
instructions at the Conservatoire from January 1, 1826, as successor
of his master, Levasseur; on June 5, 1846, he gave this up, in order
to withdraw into private life. He died on July 14, 1854, at Château
Connautre, in the Department of the Marne.
Norblin was highly estimated, not only as a soloist, but also as
a delicate, tasteful quartet player. For many years he took the
violoncello parts in the Baillot String Quartets. He gained special
distinction from the musical world of Paris, for having assisted in
the foundation of the Conservatoire Concerts, called into existence by
Habeneck, in 1828.
His son and pupil, EMILE, born April 2, 1821, was a skilful
violoncellist, who received the Conservatoire prize. He, however,
devoted himself more to teaching than solo playing.
Cupis’s pupil, JEAN BAPTISTE BRÉVAL, already mentioned, born, in 1756,
in the Department of the Aisne, so quickly developed his talent that he
was able very early to appear at the “Concert Spirituel” with brilliant
success. He was a member of the Paris Opera orchestra from 1781 to 1806.
In 1796 followed his nomination as teacher of violoncello playing at the
Conservatoire. From this he was released in 1802, as the number of the
pupils at the Institution was not large enough to keep him employed.
Towards the end of his life Bréval retired to Chamouille, a village in
the neighbourhood of Laon. He shortly after died there, at the end of
the year 1825.
Bréval published for the violoncello seven Concertos, five sets of
Duets, three Sonatas with bass, and twelve “Airs variés.” Besides these
he wrote two Concertantes, Quartets, Trios, and an instruction book
under the title “Méthode raisonnée de Violoncelle,” which appeared in
Paris in 1804. His cello pieces were formerly much in request, but have
been long obsolete. As a player Bréval had a finished style, but in his
rendering lacked force and energy.
Of similar kind is the verdict regarding the pupil of the elder Janson,
CHARLES NICOLAS BAUDIOT, who was born on March 29, 1773, at Nancy, and
died in Paris on September 26, 1849. Fétis, who had heard him, says that
his rendering, though of great neatness and purity of tone, was cold and
without spirit. It appears that he possessed an extraordinary talent
for teaching, for he was, in 1802, the successor of his master at the
Conservatoire, and worked there until the year 1822 when he accepted a
pension. He had an official post in the Treasury as well as his artistic
occupation.
In 1807 he was unfortunate in exciting the ridicule of an audience,
at a concert given by the famous Catalani, in which he took part. The
occasion was of a very harmless nature. In the said concert a Symphony
of Haydn was played, and Baudiot had a solo to perform immediately
after. It was a “Fantaisie” on the _Andante_ of the German master’s
Symphony which had just been executed, and of the performance of which
the soloist had no suspicion, as he entered the hall when his turn
came. Scarcely had Baudiot begun Haydn’s Theme when the public, who
thought he wanted to have a joke, burst out into hearty laughter. The
artist, who was at a loss to explain the demeanour of his audience,
and ignorant of the connection of affairs, became excited and played
out of tune, whereupon the laughter was repeated with renewed vigour.
Having lost his self-control, and being on the point of fainting, he
left the platform, supported by a fellow artist. Baudiot wrote for the
violoncello two Concertos and two Concertinos, as well as a great number
of other compositions, consisting of Duets, Potpourris, Fantaisies,
Nocturnes, Sonatas, with bass accompaniment, and transcribed besides
violin pieces by Lafont and Beriot. He was also the author of a method
for his instrument, and under the direction of Baillot, and with the
co-operation of Levasseur, he took part also in the production of a
violoncello method for use in the Conservatoire.
Of Baudiot’s pupils, SCIPION ROUSSELOT, born at the beginning of our
century, deserves notice. During his attendance at the Conservatoire, he
received also instruction in composition from Reicha. At the completion
of his studies the first prize was allotted to him (1823). Rousselot
went later on to England. Besides several chamber music compositions
and a Symphony, there appeared by him three Sonatinas, some books of
Variations, and a “Morceau de Salon” for violoncello.
A fellow student of Baudiot’s, under Janson the elder, was PIERRE
LOUIS HUS-DESFORGES, grandson of the violin virtuoso, Jarnowick.
Hus-Desforges was born at Toulon in 1773, where his mother, Jarnowick’s
daughter, was performing as an actress. At the age of eight his parents
confided him to the boys’ choir of the Cathedral at La Rochelle. As he
had occupied his leisure hours with trumpet blowing, he accepted the
duty of trumpeter (1792) to the 14th Regiment in order to join in the
campaigns of the Revolutionary Army. Four years after he lost a finger
of his right hand by a musket ball and was consequently invalided. He
now tried his fortune as cellist, for during his sojourn at La Rochelle
he had acquired some facility on the violoncello. He succeeded in being
appointed to the theatre orchestra. In the course of six months he
relinquished this and chose Paris as his residence. Here he was received
into the Conservatoire and assigned to the pupils of Janson. After his
release from the Conservatoire, Hus-Desforges led, like his grandfather
Jarnowick, a perpetually changing life. In the year 1800 he went as head
of the orchestra with a French opera troupe to St. Petersburg, in 1810
he returned and made some concert tours in France, in 1817 came back to
Paris and undertook the functions of first cellist at the Theatre “Porte
Saint Martin,” in 1820 went to Metz and founded there a music school,
made fresh journeys, and in 1828 was the head of the orchestra at the
“Théâtre du Gymnase,” but at the end of a year asked for his dismissal.
He did the same again when in 1831 he had succeeded in obtaining the
office of Director of the orchestra at the Theatre of the Palais
Royal. He spent the end of his chequered career in the little town of
Pont-le-Roi, near Blois, as teacher at the music school there, where he
died January 20, 1838.
Hus-Desforges was a clever, skilful violoncellist, but he did not belong
to the number of prominent, practised artists of his time. His tone was
weak and his performances lacked force and brilliancy, as Fétis remarks.
His violoncello compositions, which were formerly somewhat liked,
consisted of four Concertos and nine Airs with variations, entitled
“Soirées Musicales,” four Duets, and two Sonatas with bass. Besides
these he wrote a violoncello method.
Of far greater importance to the art of violoncello playing was Duport
the younger’s pupil, NICOLAS JOSEPH PLATEL, who was born in the year
1777 at Versailles, and received his first musical instruction in the
Institution of royal pages. There was then no attempt at violoncello
playing, but about the tenth year of the boy’s age the inclination
for it was developed. Louis Duport, who discerned a disposition
favourable to it, devoted himself with special zeal to his training.
These relations were broken off, when Duport, at the end of 1789, left
France in order to seek a position in Berlin. From that period Platel
was thrown for a long time upon his own resources. In the year 1793 he
was drawn into close relations with Lamare, who sought in every way to
forward him. In 1796 Platel became a member of the orchestra of the
“Théâtre Feydeau.” He was deprived of his post on account of a love
affair with an actress of that institution, with whom he went to Lyons
at the end of 1797. When he returned to Paris in 1801, he appeared
several times at concerts with great success. He was then reputed the
best violoncellist in Paris, and the absence of Duport and Lamare abroad
stood him in good stead.
Platel might now have made his fortune in the French capital. However,
on account of the carelessness of his disposition and his unpractical
nature, he knew not how to turn his opportunities to advantage. In 1805
he left Paris in order to undertake a concert tour, but at Quimper,
where he made the acquaintance of a cello playing dilettante, he
remained quite two years. He then finally came to the resolution of
again beginning his wanderings. When he had appeared in concerts at
Brest and Nantes with great success, he went North with the intention of
visiting Holland and thence Germany. This plan, however, was not carried
out. Platel settled himself down, on the way to the former place, at
Ghent, remained there giving lessons several years, and then went to
Antwerp. An opera troupe was there at the time who engaged him as first
violoncellist. About six years later he undertook the same function
in the theatre at Brussels. This was the turning-point which decided
Platel’s destiny. The Prince of Chimay engaged him for the Royal Music
School of the Belgian Court, which was opened in 1831. By accepting this
office, to which he devoted himself until his death on August 25, 1835,
he became the founder of the Belgium school of violoncello playing, from
which emanated, under his direction, such artists as Batta, Demunck, and
Servais.
Platel’s compositions consist of five Concertos, of which the last is
entitled “Le Quart d’heure,” also of three books of Sonatas with bass
accompaniment, and eight “Airs Variés” of “Caprices ou Préludes,” and
six Romances with piano accompaniment. Besides these he wrote six Duets
for violoncello and violin, and three Trios for violin, viola, and
violoncello.
We must mention here three French cellists of the second half of last
century, whose master is not known--namely, Chrétien, Haillot, and
Raoul.
GILLES LOUIS CHRÉTIEN, born in 1754 at Versailles, and died in Paris,
March 4, 1811, at the age of twenty-two found a position as Royal band
musician. He possessed great readiness and a good tone, though he
played without expression. He lost his place by the Revolution, but was
indemnified in 1807 by being received into the Imperial orchestra. He
does not seem to have occupied himself with composition, but as a writer
on music, though without much success.
HAILLOT belonged to the orchestra of the “Comédie Italienne,” and was
also engaged in private teaching. By his arrangements of operas in the
form of duets he supplied the wants of amateur cello players.
Finally, JEAN MARIE RAOUL, an enthusiastic friend of art--who besides
his official position as crown lawyer and, later, as Justice at the
Paris Cour de Cassation, cultivated zealously the violoncello, on which
he distinguished himself--must be mentioned in this place as the author
of a violoncello school. It appeared under the title of “Méthode de
violoncelle, contenant une nouvelle exposition des principes de cet
instrument.” Raoul composed also some Sonatas and “Airs variés” for
his favourite instrument. His efforts, supported by Vuillaume, the
well-known Parisian violin maker, to restore the gamba to practical use
were in vain. Raoul was born in Paris, in 1766, and died there in 1837.
When we survey the progressive development of violoncello playing
from its commencement to the close of the eighteenth century under
all aspects, the following facts are presented to us: violoncello
playing was taken up, as we saw, in the first half of the seventeenth
century, and even before, by the Italians. It was at first used only
as an orchestral instrument and as a harmonised accompaniment of
recitative singing in the place of the gamba. But in the second half of
the seventeenth century there were some Italian artists, as GABRIELI,
ARIOSTI, and BONONCINI, who endeavoured to elevate the violoncello to
the rank of a solo instrument. Then appeared FRANCISCELLO, who worked
with uncommon success to the same end. By the last three named artists
violoncello playing was presented to the German nation with the idea of
artistically treating it, while in France Giov. Battista Struck, called
Baptistin, exercised an influence in the same direction.
In both these countries this new branch of Art soon received a great
impulse by means of native talent. The Germans brought to it more
that was empiric, the French what was methodic--consequently at the
beginning, it must be acknowledged, the latter gained a certain
advantage. It is very noteworthy that they made great efforts to arrange
systematically and establish the technique of violoncello playing
by instruction books and methods, and Corrette led the way with his
violoncello school, published in 1741, which was followed in the course
of the second half of the last century by similar works by Tillière,
Cupis, and Müntzberger.[95] In Italy and Germany, as far as one can
see, the first attempts at instruction books for the violoncello were
initiated after Corrette and Tillière had published their Schools.
But in spite of the laudable efforts which were made, especially in
France, to establish the science of cello playing on a sure and suitable
basis, it made very slow progress. A substantial hindrance existed
from the circumstance that the method of violin playing, which, at the
time, had already reached a high state of cultivation, had been in a
measure used as a model without taking into consideration the important
difference in the dimensions of the fingerboard in the two instruments.
Not only had the fingering of the diatonic and chromatic scales, but
also the principles of the so-called positions, been transferred from
the violin to the violoncello. With reference to the first point,
the necessary directions were given by description in the Method of
Corrette. As to the latter point it must be observed that for the
lower portion of the fingerboard four different positions were adopted
analogous to the technique of the violin. To this position-theory,
which has come down to the present time and is treated of in some of
the old as well as the new violoncello schools, no special authority,
strictly speaking, should be attached.[96] For the violin it has to a
certain extent a meaning, as on that instrument it is possible to play a
complete scale on all parts of the fingerboard without moving the hand.
On account of its wider dimensions the violoncello admits of this only
by the help of the thumb position, with the exception of the C major
scale by using the open strings. But even here, where an indication
of position would be applicable, it is not usual. Evidently there is
something inconsistent in this.
There was a singular conjuncture with regard to finger technique in the
use of the thumb, as we have already seen from Corrette’s violoncello
school. The fourth finger was excluded from co-operation as soon as the
use of the thumb was introduced, because it was thought that it was
too short. This view of it prevailed up to the end of last century. In
the method published by the Belgian violoncellist, Müntzberger, it is
literally said: “When the fourth position has been passed over, only
three fingers are used.” Later indeed, where Müntzberger speaks of the
use of the thumb, he somewhat modifies this rule, since he remarks:
“Many professors, when using the thumb, do not need the fourth finger.
I am of opinion that its use should not be rejected, in that he, who by
nature is endowed with a long finger, can make it available in certain
cases.”
In exceptional cases, therefore, Müntzberger advocated the use of the
little finger when playing with the assistance of the thumb. But it is
evident from his expression that the use of it was not usual at the
end of the last century. This is undoubtedly to be gathered from the
“Méthode de Violoncelle,” published conjointly by Baillot, Levasseur,
Catel, and Baudiot. In it is the following observation: “The use of
the fourth finger in the different positions of the thumb was not
known to the older violoncello teachers of France. It has only been
introduced a few years, since the necessity for it has been felt.” As
this violoncello school was in 1804 accepted as an instruction book
for the Conservatoire by a resolution of the General Committee, it
is clearly evident that in France at least the fourth finger had for
the most part remained unused until shortly before the close of the
last century. The cause of this was plainly an incorrect manipulation.
Concerning the practice pursued in Germany during the second half of the
last century with regard to the fourth finger, Joh. Bap. Baumgartner’s
Tutor, mentioned page 69, would alone be able to give an explanation, if
it were still extant. With some probability, however, it may be assumed
that the same opinion was held in reference to it as on the other side
of the Rhine. The influence of France on German violoncello playing in
the second half of the last century made itself felt in other ways. This
was chiefly through the means of the brothers Duport. The succeeding
sections will show in what way the further cultivation of this branch of
the art progressed.