V.--GERMANY

German violoncello playing had, during the second half of last century,

found unusual opportunities for expansion in consequence of the demand

for numberless competent artists for the various princely households,

as well as for the larger towns. Amongst the cellists mentioned in the

second part of this work, there were already some specially prominent

personages to distinguish. The branch of art, however, to which this

book is devoted first received a really important and sustained impulse

through means of BERNHARD ROMBERG. This artist acquired for German

violoncello playing a significance similar to that which Louis Spohr

gained for German violin playing, only with this difference--that the

latter master was far superior to the former as a composer. While

certain violin compositions of Spohr (not to speak of his other works),

on account of their intrinsic worth, are calculated to appear in concert

programmes, and will presumably do so in the future, the cello pieces

by Romberg have already for some time completely disappeared from them.

Yet they have, from a scholastic point of view, proved to be of value

even to the present day. In regard to this, what Romberg did for the

cultivation and perfecting, as well as the fine manipulation of his

instrument, merits for him the appellation of founder of the German

school of violoncello playing. His Concertos and concert pieces have

been of more importance, however, for taking such a direction than his

violoncello school, which by no means belongs to the best instruction

books of the kind, and is a proof that a man can be a distinguished

teacher--and Romberg was in any case this--without having the capacity

for the production of a thoroughly satisfactory instruction book. The

examples and music pieces in Romberg’s violoncello school are indeed

excellent, but some of the maxims which he enunciates seem peculiar, and

he goes too much into extraneous matter, instead of bringing forward the

more substantial principles with the necessary precision and accuracy.

It is noteworthy that Romberg advocated a simplified notation for

violoncello music. Primarily (besides the bass clef), in Italy and

Germany, only the tenor clef was used, and the alto clef in France.

But as the compass of violoncello playing was more and more extended

up to the high parts of the scale, by the use of the thumb positions,

keys used for the discant and violin were added. Boccherini, for the

notation of many of his compositions, made use altogether of five

clefs, sometimes indeed in one and the same piece--as, for example,

at the opening _Allegro_ of his Concerto (C major). There was nothing

arbitrary in this procedure. Boccherini had far more in view the object

of giving to the player starting-points for the finger positions to be

used in each case. In his later compositions, however, he abandoned

this, as the use of so many different clefs had its inconveniences; and

he restricted himself to the use of the bass, tenor, and violin clef.

This notation was subsequently generally accepted, particularly also by

Romberg, and is still in use up to the present time. In opposition to

the earlier favourite manner of writing the notes--by the use of the

violin clef an octave too high for the violoncello, as is the case in

Mozart’s and Beethoven’s compositions--Boccherini, by the application of

the clefs mentioned, wrote everything as it would sound. By this means

he gained the advantage that he was not obliged to make so much use of

ledger lines in the writing of his passages--which were continually

moving in the soprano part--as he must have done if he had followed

the custom of his contemporaries and had adhered to the higher system

of notation. It is readily understood why Romberg in his cello school

should declare himself in favour of the change introduced by Boccherini,

for he also, with special predilection, made use of the higher regions

of the fingerboard for his playing; wherefore it was said of him that

his handling of the violoncello was often after the manner of the

violin. From this point of view it is thoroughly rational that Romberg,

in regard to notation, should follow the example given by Boccherini. In

later times the too frequent and continuous use of the soprano clef--in

which a broad, energetic volume of tone, full of expression, is nearly

excluded--has been abandoned without, however, being neglected entirely;

while to the most beautiful and effective clef--namely, the tenor--has

been accorded its right place.

BERNHARD ROMBERG was the son of the bassoon player, Anton Romberg, of

some note in his time, and was born on November 11, 1767, in the village

of Dinklage, near the little Prussian town of Quakenbrück. It is unknown

whom he had as teacher for the violoncello. It was probably an orchestra

musician in Münster, to which place his parents had removed their home.

In any case, Romberg’s talent caused him to make the most of it, for

before he had passed his youth he was able to undertake with his cousin,

Andreas Romberg,[101] who was about the same age, a concert tour which

led them through Holland, and was extended to Paris, where they were

both heard with such success in the house of Baron Bagge[102] that they

were engaged in 1787 for the “Concert Spirituel.” After his return from

Paris Romberg devoted himself eagerly to progressive studies, and at the

same time worked in the orchestra at Münster.

Münster belonged then, as is known, to the Electorate of Cologne. The

Elector Maximilian Franz, who on his accession to his dominions (April

27, 1784) resided often in the Westphalian town, had his attention drawn

to the two Romberg artists, and engaged them for his Royal band at Bonn.

The announcement of the appointment bears the date of December 19, 1790.

When the Elector, in the autumn of the following year, went to reside

at Mergentheim, then the seat of the German order--whose Grand Master

he was--he caused about twenty members of his band to follow him from

Bonn. Amongst them, besides Beethoven, who in addition to his office

as organist was also tenor player at the Court, were also the two

Rombergs. In one of the musical entertainments which took place in the

apartments of the Elector, Bernhard Romberg was heard in a Concerto.

Boszler’s Musical Correspondence of the year 1791 contains a notice

of it in which is said[103]: “Romberg, the younger, combines in his

violoncello playing extraordinary rapidity with charming rendering;

this rendering is the more marked and decided when he is heard in

connection with the greater number of violoncellists. The tone which he

produces from his instrument is, moreover--especially in the expressive

parts--extremely clear, firm, and penetrating. Taking into consideration

the difficulty of the instrument, a thoroughly marked purity of tone, in

the extraordinarily quick rendering of the _Allegro_, must be attributed

to him in the highest degree. Yet this after all is mere mechanical

readiness; the connoisseur has another standard by which he measures the

greatness of artists; and this is, the manner of playing, the perfection

of expression or the spiritual interpretation. Once on this point, the

connoisseur will pronounce in favour of the expressive _Adagio_. It

is impossible more deeply to penetrate into the more delicate hues of

feeling--impossible to colour them with more variety--to enhance them,

moreover, by greater light and shade--impossible to hit more exactly

the very tones through which this feeling has utterance, tones which

appeal more directly to the heart than Romberg succeeds in doing in his

_Adagio_.”

“How acquainted he is with all the beauties of detail, which lie in the

nature of the piece in the peculiar kind of expression to be given, and

for which the composer has no signs for recognition? What effects he

is able to produce by the _crescendo_ of his tone, swelling up to the

strongest _fortissimo_, and then again by its dying away to a scarcely

audible _pianissimo_!!”

From this enthusiastic announcement we must conclude that Romberg’s

playing at that time--he was in his twenty-fourth year--showed already

a high degree of perfection. It is therefore quite conceivable that he

cherished the wish of obtaining a position in life adequate to the merit

of his performances, for in Bonn he received only a yearly salary of 600

florins, and, moreover, the existence of the Cologne Electorate, the

complete dissolution of which was accomplished in the autumn of the year

1794, had fallen into a very doubtful condition from the time of the

appearance of the revolutionary army on the Rhine (October, 1792).

Romberg therefore accepted with his cousin, Andreas, at Easter, 1794,

an engagement at the Schröder Theatre in Hamburg, but he did not long

remain there. Three years later they undertook together a concert

journey into Italy, gave concerts on their return at Vienna, supported

by Beethoven, and again betook themselves to Hamburg, whence, after

a two years’ residence, Bernhard Romberg visited London. He next

travelled in Portugal and Spain, in 1800 returned again to Paris,

and performed this time at the concerts of “La Rue de Cléry” and the

“Théâtre des Victoires” with such great success that he became teacher

at the Conservatoire. Romberg does not, however, appear to have felt

comfortable in this position, for after two years he withdrew from it

and again turned to Hamburg. In 1805 he responded to an invitation

to be solo cellist at the Berlin Hofcappelle. The calamities of war,

which broke over Prussia in the following year, compelled him once more

to become a wanderer. He next visited the Austrian States. After the

conclusion of the peace of Tilsit, he found himself again in Berlin,

remained there up to the year 1810, and then undertook a journey

through Silesia, Poland, and Russia. At St. Petersburg he met with

Ferd. Ries, and in conjunction with him gave concerts in the Southern

provinces of the Czar’s dominions. The artists wished to arrange a

visit to Moscow, but were prevented by the memorable burning of the

Kremlin which compelled the French army to retreat. They then turned to

Stockholm, and from thence went to Copenhagen and Hamburg. Here they

separated--Ries went to London, which he reached in March, 1813, and

Romberg took his way by Bremen to Holland and Belgium. From the latter

country he again visited Paris for a short time. Returned to Germany,

Romberg prepared for a second journey to Russia. On this occasion he

lingered two years at Moscow. After he had been, from 1815-1819, in the

service of the Berlin Court, he chose Hamburg as his settled residence.

Wherever Romberg played his highly finished performances excited great

enthusiasm. In this his violoncello compositions--which were entirely in

accordance with the taste of that period in a virtuoso point of view,

and which, moreover, were distinguished by their solid quality above all

other cello compositions of the time--had a substantial share.

During his many journeys through European countries, Romberg had

collected national airs, of which he availed himself in various ways

for his compositions under different names. Amongst them are to be

found Caprices on Swedish, Polish, Moldavian, Wallachian, and Spanish

songs, as well as a “Fantaisie” on Norwegian and a “Rondo brilliant”

on Polish melodies, besides four books of Variations on Russian

national airs. He further wrote ten Concertos, three Concertinos, a

Fantasia with orchestra, Polonaises, as well as Duets and Sonatas, with

bass accompaniment for the cello. He was also very productive in the

sphere of chamber music, and composed also for the stage. These last

compositions have, however, not survived him, while, on the other hand,

his cello pieces, as already noticed, maintain even at this time a

certain value for teaching.

There have been certain famous artists who in advanced age, in spite of

a considerable decay in their capacity for performance, have unwisely

indulged the inclination of still endeavouring to attract admiration.

Bernhard Romberg was one of these. In his seventy-third year he again

had a desire to visit Paris in order--though not in public--to appear

in artistic circles as a solo player. The failure which he experienced

appears to have had a prejudicial effect on his health, for he died soon

after his return home, on August 13, 1841.

Romberg promoted the advancement of German violoncello playing chiefly

by his activity as a soloist, and also by his compositions, for, on

account of his many concert journeys, which led him sometimes in one

direction and sometimes in another, he had not sufficient leisure for

continuous and regular teaching. A few young artists, however, enjoyed

the benefit of his instruction. Of these we will mention only here

his nephew, Cyprian, and Julius Schapler. Some others will be noticed

farther on.

JULIUS SCHAPLER was born on August 21, 1812, in Graudenz.[104] He

received his musical education in Berlin.

CYPRIAN ROMBERG, born in 1807 (according to other accounts, 1810), in

Hamburg, made himself known, after he had finished his studies, by his

journeys in Germany and Austria, and was then a member of the Imperial

band at St. Petersburg. In Hamburg, where he spent the last years of

his life, he was, unfortunately, drowned while bathing in the Elbe

in 1865. B. Romberg was at first his master for the violoncello, on

which also he received instruction from the pensioned chamber musician,

Hansmann.[105] After his education was concluded Schapler was heard as

solo player in the Opera House at Berlin, as well as in the Gewandhaus

at Leipsic, with great applause. He declined offers for engagements,

which were in consequence proposed to him, as he wished to make himself

known by concerts. Soon after, however, when the position of solo player

in the Court band of the Duke of Nassau was offered to him he accepted

it. In Wiesbaden, besides his official duties, he was much occupied with

composition. The fruits of it were not only several cello pieces, but

also three greater chamber music works--namely, a String Quartet, a Trio

for piano and violoncello, as well as a Quintet for piano, violin, tenor

violoncello, and contra-basso. These last compositions were all crowned

with success. A warm and appreciative critique of the String Quartet

appeared in 1842 from the pen of Robert Schumann, in his musical paper.

The unquiet year, 1848, caused the Duke of Nassau to dismiss the members

of his Kapelle (without pensions). Schapler returned to his home and

created for himself a lucrative field of work as music teacher in Thorn,

to which he devoted himself for many years. At the present time he is

living privately in Berlin.

Schapler belonged in his prime to the best violoncellists of Germany.

With fine tone-rendering he had complete mastery over his instrument.

Unfortunately, he did not succeed, after his departure from Wiesbaden,

in obtaining a post worthy of his excellent performances.

While Bernhard Romberg was raising to a position of high honour the

art of violoncello playing in Germany, several important centres were

forming for it in Dresden and Vienna.

The Dresden Court, which had always done a great deal for music, was

continually taking into consideration the means of attracting into its

neighbourhood distinguished instrumentalists; and if for some time a

succession of foreign, but specially Italian artists found a place

there, a certain amount of gain was the result in connection with

it--for the artist youth of Germany received thereby a progressive

impulse to their own endeavours. The Dresden Court orchestra had

already, in the last century, a distinguished reputation, and this was

more and more enhanced by the continual influx of talented and highly

gifted musicians. As regarded the violoncello especially, it gained not

long after the beginning of our century an exemplary representative in

DOTZAUER. From that time until the present day Dresden has remained an

important centre for violoncello playing.

JUSTUS JOHANN FRIEDRICH DOTZAUER, born on January 20, 1783, at

Häselrieth, near Hildburghausen, was the son of a minister there.

Instructed early in music, he devoted himself to the piano, violin, and

violoncello playing. The latter soon gained the ascendancy, and as the

inclination for an artistic career showed itself decisively in him, his

father sent him, in the year 1799, to Kriegk,[106] at Meiningen, under

whose direction he studied two years. After the expiration of that

period he found a post in the Meiningen Kapelle until 1805, when he went

to Leipsic, and from 1805-1811 he was a member of the orchestra.

From Leipsic he visited Berlin. Here he heard Romberg, with advantage

for the pursuit of his studies. In the year 1811 he accepted an

honourable position in the Dresden Court orchestra, to which he

belonged, from 1821-1850, as first solo cellist. He then lived in

retirement, which he enjoyed for ten years. He died in the place where

he had successfully worked for so many years on March 6, 1860.

Dotzauer was also well-skilled in composition, and attempted it in

various forms. He wrote an Opera, Overtures, Symphonies, a Mass, and

several chamber pieces. All these productions have long been forgotten.

Not so his violoncello works, which consist of nine Concertos, three

Concertinos, two Sonatas with bass, Variations, Divertissements,

Potpourris, and a great number of Duets, some of these at least are

still prized as objects of study. This is especially the case with

regard to his books of instruction, to which belong two violoncello

schools,[107] as well as a number of exercises of various kinds.[108]

Amongst these the most commendable on account of their excellence

are the eighteen “Exercices d’une difficulté progressive” (Op.

120), for beginners (with the exception of the two last numbers),

and the “Twenty-four Daily Studies for the acquiring and keeping of

Virtuosität.” The latter work is in every respect by far the best of

Dotzauer’s many studies. He also published a School for Flageolet

playing (Op. 147). His performances combined the gifts of great solidity

and fascinating sweetness. Of his two sons, the younger, Carl Ludwig,

devoted himself to the violoncello under the direction of his father. In

1820 he was member of the Hofkapelle at Cassel. He was born on December

7, 1811, at Dresden.

Dotzauer was distinguished not only as an executant artist but also as

a teacher. The most remarkable of his scholars are--Kummer, Schuberth,

Voigt, and Drechsler.

FRIEDRICH AUGUST KUMMER was born on August 15, 1797, at Meiningen. His

father, an accomplished oboist, belonged to the Ducal band there. At

the beginning of the century he entered the Hofkapelle at Dresden, and

here his son, who at first had taken up his father’s instrument, became

Dotzauer’s pupil. When his education was completed on the violoncello,

Kummer should have been admitted into the Dresden Hofkapelle; but as

there was just then no vacancy for his instrument he was obliged for

a while to content himself with being received as oboist. This was

in 1814. Three years later he was enrolled among the cellists. By

diligently prosecuted studies, Kummer gradually reached such a high

degree of artistic cultivation that when Dotzauer was pensioned, he was

appointed in his place as first violoncellist of the Royal band. In 1864

he celebrated his fiftieth Jubilee, and then gave himself up to his

well-deserved retirement. During his long tenure of office he displayed

a most extraordinary activity as soloist, quartet, and orchestra player,

as well as teacher. In the latter capacity he worked both privately and

at the Dresden Conservatoire, to which he belonged, until his death,

which took place on May 22, 1879. At the same time he wrote a good deal

for his instrument, a Concerto, two Concertinos, instructive Duets (some

easy and others more difficult), Variations, Etudes, Caprices, Studies

(amongst them, daily ones), diverse musical “Divertissements,” which

were formerly much in request amongst dilletanti, some of which are

still used as subjects for the practice of youthful players. He also

produced a violoncello school. It is at present the most generally used

work of the kind, short and clear, though only extending to a moderate

degree of difficulty; finally, Kummer published a useful compendium:

“Repertorium and Orchestral Studies,” containing important and difficult

cello pieces from oratorios, symphonies, overtures, and operas. Kummer’s

playing bore the stamp of great precision and correctness, united

to powerful and solid intonation. His technique “was in every point

thoroughly cultivated, but to acquire the ‘finesses’ of a virtuoso he

was of too simple a nature, which was better calculated to occupy itself

with the sphere of music in its intellectual aspect than in brilliant

display. All that he produced on his instrument was most correct and

defined, in which he was greatly assisted by his quiet and cautious

temperament. He was unable indeed to raise himself to the height of

poetical inspiration and unrestrained warmth of expression, though he

never did violence to a good composition. His manner of rendering was

always strictly objective and according to rule.” Amongst Kummer’s

pupils Cossmann and Julius Goltermann are prominent.

BERNHARD COSSMANN, born on May 17, 1822, in Dessau, studied at first

under Theodore Müller, the cellist of the formerly famous Müller String

Quartet, at Brunswick, and then under Kummer. During the years 1840-1841

he worked in the orchestra of the Grand Opéra in Paris, after which he

went to London. In 1848 he was engaged as solo player for the Leipsic

(Gewandhaus) Concert, in 1852 taken to Weimar by Franz Liszt, and in

1866 appointed teacher of cello playing to the Conservatoire at Moscow.

From 1870 to 1878 Cossmann lived privately in Baden-Baden and only

appeared to play at concerts. When the Conservatoire at Hoch was founded

in 1878, the office of teacher of his instrument was entrusted to him,

which post he now occupies. Cossmann belongs to the best cellists of the

present time. He has a fine, distinct tone, manages the fingerboard with

ease, and is not only a distinguished solo player but also an excellent

quartet player. Amongst his compositions the most worthy of notice are

a Concert piece with piano accompaniment, three “Fantasias” on _Motifs_

from the “Freischütz,” “Tell,” and “Euryanthe,” six Solos in two parts,

a Swiss Melody and a Neapolitan Canzonet, three Pieces (Op. 8), Etudes

de Concert (Op. 10), and Violoncello Studies.

JOHANN AUGUST GOLTERMANN, born on July 25, 1825, in Hamburg, after

he had perfected himself under Kummer, was appointed to the Prague

Conservatoire, to which he belonged from 1850 to 1862. In the latter

year he exchanged this employment for that of first solo cellist in the

Stuttgart orchestra. In 1870 he was pensioned, and on April 4, 1876, he

died. He was an able artist in his branch of it.

The next pupil of Dotzauer to be mentioned is CARL SCHUBERTH, born

on February 25, 1811, in Magdeburg. He received at first, from a

musician of his native town named Hesse, six years instruction, and

then repaired to Dresden to Dotzauer, with whom he remained two years.

On his return home he made his _début_ with success as a soloist at

a concert organised by Catalani, in Magdeburg. At the end of 1828 he

undertook a concert tour to the North. The destination was Copenhagen,

where, in the spring of 1829, he arrived and made a prolonged sojourn.

Later on Schuberth occupied the position of first violoncellist at the

Magdeburg Theatre, gave it up, however, in 1833, and undertook, in the

autumn of the same year, a journey through Western Germany and Belgium.

From the latter place he visited Paris. In the following year he went

to Holland, and during the season of 1835 he was heard in London.

Schuberth then went to St. Petersburg, where he found, as elsewhere, a

brilliant reception, and immediately a permanent position, for he was

not only named Director of the Imperial band, but also Inspector of

the Music School affiliated to the Court Theatre and Director of Music

at the University. He filled these posts until 1863, in which year

death overtook him during a journey for the benefit of his health, on

July 22, at Zurich. Schuberth’s playing was exceedingly clever, but in

expression more elegant and ornamental than impressive. His cello pieces

give evidence of this, which, with the exception of a Concerto, belong

to the description of so-called conversazione music; but they have not

survived their author. Amongst his pupils the most remarkable is Carl

Davidoff.[109]

CARL LOUIS VOIGT, the third of Dotzauer’s pupils above-mentioned, was

born on November 8, 1792, at Zeitz; he was the son of the organist

at St. Thomas’s Church, Leipsic, Joh. Georg Hermann Voigt. He played

several instruments, and amongst others the violoncello also, on

which his grandfather, Johann Heinr. Viktor Rose,[110] had given him

instruction at Quedlinburg. Besides his work as organist, he played

the violoncello with the orchestra of the theatre in the Gewandhaus

at Leipsic. He imparted to his son what he knew and was able to do as

cellist, who, in order to perfect himself, studied under Dotzauer’s

direction some time, and in 1811 took the latter’s place in the Leipsic

Orchestra, to which he had belonged since the winter of 1809-1810. Voigt

filled this post until his death, which took place on February 21, 1831.

His violoncello compositions extant, consisting of Sonatas, Duets,

Exercises, and a diversity of Drawing-room Pieces, are feeble, but may

be used for instruction--as, for example, the three Sonatas (Op. 40).

CARL DRECHSLER, finally, born on May 27, 1800, at Camenz, in the kingdom

of Saxony, early studied violoncello playing. He began his career as a

military musician at Dessau. At the same time he assisted as cellist in

the orchestra there. Through the recommendation of Friedrich Schneider,

who discerned the young man’s talent, the Duke of Dessau granted him

the means, in 1824, of placing himself under Dotzauer’s direction for

further cultivation. After this he undertook a long concert tour. The

great success of this caused his name to be well known, with the result

that, in the year 1826, he was permanently established in the orchestra

at Dessau, with the title of Concertmaster.

Drechsler’s performances were characterised as much by faultless purity

and refinement as by feeling and tasteful rendering. His playing was

not powerful, but pleasing by its grace and delicacy. He was everywhere

received with welcome, and, as he responded to all that was demanded

as an excellent leader of his instrument in the orchestra, he was an

eagerly sought guest at all musical festivals. After he was pensioned,

in 1871, he chose Dresden as his residence. He did not, however, long

enjoy the amenities of retirement, for he died in the year 1873.

His son, LOUIS, born on October 5, 1822, at Dessau, formed himself under

the direction of his father as a clever violoncellist. He lived and

worked as such for a long time in Edinburgh.

Drechsler, the father, was an excellent teacher. Through him Dessau was

for a time affiliated to the Dresden school of cello playing, in which

he educated excellent artists, amongst whom the best known are Lindner

and Grützmacher.

AUGUST LINDNER,[111] born on October 29, 1820, at Dessau, after he

had completed his studies, was appointed, in the year 1837, to the

Hofkapelle at Hanover, to which he belonged until his death (June,

1878). He enjoyed the reputation of a distinguished violoncellist. Of

his compositions we must mention a Concerto (Op. 34), Nine Drawing-room

Pieces (Op. 18), Six Fantasias (Op. 38), Divertissements for young

cellists (two parts, Op. 32), Concert au Salon (two parts), Three

Paraphrases on _Motifs_ from Meyerbeer’s “Huguenots” and “Le Prophète,”

as well as Verdi’s “Ernani” (Op. 12), and a long list of Opera

Potpourris. Besides these, Lindner produced a new edition of L. Duport’s

“Essai sur le doigter du Violoncelle.”[112]

His pupil, BERNHARD THIEME, born on June 11, 1854, in Altenburg, began

his musical career after he left school, under the town musician at

Penig, in Saxony, and when at eighteen he returned home from there, he

received cello instruction, for a short time, from the Kapellmeister,

Toller. He very soon found employment in the Berlin Orchestra. He then

went, as first cellist, with the Fliegen Orchestra, for a summer, to

St. Petersburg, in the same capacity; a few months later he entered the

Bückeburg Kapelle. He was subsequently occupied in the Hofkapelle at

Hanover for two years, and during this period he enjoyed the excellent

teaching of Aug. Lindner. Since 1879 he has filled the place of solo

cellist in the town orchestra at Baden-Baden.

The Dresden school of cello playing, founded by Dotzauer, and continued

by Kummer, received a still greater forward impulse through FRIEDRICH

WILHELM LUDWIG GRÜTZMACHER.

This far-famed artist, whose efficiency was a great ornament to the

Dresden “Kapellinstitute,” was born on March 1, 1832, in Dessau, and

after he had learned from his father, who was an esteemed member of

the Ducal band, the elements of music, benefited from the instruction

of Carl Drechsler. Thus the teaching of Dotzauer, whose pupil Carl

Drechsler was at the place whence it had emanated, was further

developed--a most valuable gain for the artistic life of the Court of

Saxony.

Grützmacher came to Leipsic in the year 1848, fundamentally well

prepared for his vocation, and entered a private choral society in order

to be thoroughly conversant with the necessary routine in orchestra

playing. He was soon invited to take part in the Gewandhaus and the

Euterpe Concerts. In the latter he made his _début_ at the beginning

of February, 1849, as solo player, with Variations by Franchomme. The

first violoncellist of the Leipsic Gewandhaus was a certain Wittmann.

As, however, his performances did not fully satisfy, Bernhard Cossmann

was engaged in 1848 for the solo parts and for the cello teaching at the

Conservatoire. Then when Cossmann responded to the invitation to go to

Weimar, Grützmacher took his place, although at the same time he was a

regular member of the opera orchestra. From that period he was the chief

representative of his instrument in Leipsic. Not the less however did

he strive indefatigably to progress in his Art, keeping unceasingly in

view the goal of perfection. How well he succeeded in reaching it is

proved by the dominant position which he gained and maintained. Julius

Rietz, who was himself an able violoncellist, and had had during his

Directorship in Leipsic many opportunities of observing Grützmacher’s

extraordinary executive capacity, rated him very highly, and was in the

habit of admiringly expressing himself with regard to the incomparable,

exemplary and thorough training of his left hand. It is, therefore, the

more intelligible that he made him every offer possible in order to gain

him for the Dresden Hofkapelle, after he had undertaken its direction.

This happened in 1860, and in the same year Grützmacher was summoned

to Dresden as Kummer’s successor. From this time he travelled through

Germany, Holland, England, Austria, Hungary, Italy, Denmark, Sweden,

and Russia, and was received everywhere with triumph; but he was also

distinguished in many ways at the place of his work. In course of time

he received from the King of Saxony the title of Chamber Virtuoso, later

he was appointed Royal Concert leader, and on his twenty-fifth jubilee

of service he was honoured far and wide in manifold ways.

In Grützmacher’s playing were happily united the endowments of a

finished mastery of complex technical difficulties and delicate manner

of expression, more especially in the rendering of _Cantilena_. He is

not only a virtuoso of the first rank, but also an excellent interpreter

of classical chamber music. For this latter qualification the foundation

had already been laid by a careful musical education under his father’s

roof, to which Friedrich Schneider had substantially contributed. He

pursued his theoretical studies under the direction of this master.

Grützmacher published a great number of compositions. Those which have

had the widest circulation are the two Concertos, Op. 10 (A minor) and

Op. 46 (E minor); the Hungarian Fantasia (Op. 7), the Nocturne (Op.

32), the Scherzo (Op. 30), the Transcriptions of Classical Music (Op.

60), the “Daily Studies,” the Twenty-four Studies (Op. 38), as well as

three Songs with Violoncello obbligato (Op. 50). He added considerably

to the enrichment of violoncello literature by his transcriptions of

Haydn’s, Mozart’s, Beethoven’s, and Schumann’s Sonatas, as well as of

two of Beethoven’s Violin Romances, and of Schumann’s “Kinderscenen.”

He further arranged for the Violoncello the Thirty-six “Songs without

Words” of Mendelssohn, about twelve selected Piano pieces by Schumann

and Chopin, the Violin Sonata (Op. 19) and the Romance (Op. 44) by

Rubinstein, the “Pensées fugitives” by Steph. Heller and Ernst, and

many other pieces of music. Grützmacher also brought out new editions

of classical and modern compositions, with the addition of careful

annotations. We must here mention the two Gamba Sonatas of Joh. Seb.

Bach, as well as his six Violoncello Suites; a Gamba Sonata by Handel

and by Phil. Em. Bach, six Boccherini Sonatas with the addition of a

piano accompaniment, a Sonata by Bonifazio Asioli, some Violoncello

Compositions of Beethoven, Mendelssohn, Schumann, and Chopin; a “Thème

Russe varié” by Ferd. Ries, the ten Concertos and six easy Instruction

Pieces for Violoncello by Bernhard Romberg, as well as twelve Exercises

by Dotzauer (Op. 107), with the addition of a second violoncello part.

In a special manner Grützmacher is deserving of merit by his highly

successful method of instruction in violoncello playing. Even during his

active work in Leipsic he formed several excellent cellists, whose names

are Leopold Grützmacher, Kahnt, Wilfert, Hilpert, and Hegar.

LEOPOLD GRÜTZMACHER, a younger brother of the cello master already

mentioned, born on September 4, 1835, at Dessau, was taught cello

playing first by Drechsler and then by his brother, while Fr. Schneider

conducted his theoretical education.

Leopold Grützmacher belonged successively to the Theatre and Gewandhaus

orchestras in Leipsic, to the Court band at Schwerin, to the orchestra

of the German National Theatre in Prague, and to the Meiningen Court

band. From the latter he was called, in 1876, to Weimar, as solo cellist

to the Grand Ducal Kapelle. Like his brother he was also distinguished

by the title of “Chamber Virtuoso” and “Concertmaster.” He published

for the violoncello two Concertos (Op. 6 and 9) and several smaller,

pleasing, and well worked out compositions.

Leopold Grützmacher educated his son, whose Christian name was

Friedrich, as a cellist. He has already afforded agreeable proofs of his

executive capacity in his public appearances, and is a member of the

Weimar Royal orchestra.

MORITZ KAHNT, born on April 27, 1836, in Löbnitz (near Leipsic),

received instruction in his parents’ house from his seventh to his

fourteenth year not only on the violin and the piano, but also on

several wind instruments. Later he devoted himself by preference to

violoncello playing, in which he was Grützmacher’s pupil for three

years in the Leipsic Conservatoire. During the same time he received

instruction at the above-named Institution in composition and the organ.

From the year 1855 he has been first cellist of the Concert Orchestra,

as well as teacher in the school of music at Basle. Besides his post as

organist he superintends the direction of a Musical Union there.

BRUNO WILFERT, born on July 26, 1836, at Schmalzgrube, in Saxony, began

his education first as violinist under the town musical director at

Kirchberg (in the neighbourhood of Zwickau), then went with him to

Glauchau, and there began cello playing. Twice a week he journeyed,

with his violoncello under his arm, to the town of Zwickau, three

hours distant, in order to get instruction from the violoncellist,

Fr. Herrmann, a pupil of F. A. Kummer, who belonged to the town

orchestra. Later on he became Grützmacher’s pupil at Leipsic. By his

unceasing industry Wilfert succeeded so well that in the year 1864 he

was appointed solo cellist to the German Theatre at Prague. Since the

foundation of the Prague Musical Union (1876) he has belonged as a

co-operating member to the Quartet Society. The cello compositions of

Wilfert which have appeared are Two Pieces (Op. 1), Hungarisch (Op. 2),

Fantasia on Airs from the “Masked Ball” (Op. 3), Two Drawing-room Pieces

(Op. 4), and a “Nocturne” for four Violoncellos (Op. 5).

FRIEDRICH HILPERT, born March 4, 1841, at Nuremburg, went to the Leipsic

Conservatoire, was there pupil of Grützmacher, and having finished his

studies found an appointment in the Karlsruhe orchestra. He then went to

Zurich, where he made the acquaintance of the distinguished violinist,

Jean Becker (who died on October 10, 1884); with him, in 1866, in

connection with the Italians Masi and Chiostri as second violin and

tenor, he founded that artistic union which, as the “Florentine String

Quartet,” attained to such great reputation on account of its excellent

performances. In 1875 Hilpert separated from his Quartet companions

in order to take the place, hitherto filled by Röver, which had been

offered to him in the Grand Opéra and the Conservatoire at Vienna.

After the lapse of a year, he gave up this appointment again, and

became, under the title of Chamber Virtuoso, a member of the Meiningen

Hofkapelle, and was employed as soloist in the concert tours under the

direction of Hans v. Bülow. When he relinquished this undertaking,

he entered the Royal orchestra at Munich, to which he still belongs.

Hilpert is reckoned one of the best German cellists of the present day.

The publication arranged by him of a collection of “classical studies”

by Couperin, Rameau, Bach, and Martini are worthy of notice.

EMIL HEGAR also, born on January 3, 1843, at Basle, received his

education, like the above-named cellists, from Grützmacher, at the

Leipsic Conservatoire. In the year 1866 he was appointed, on account

of his much esteemed performances, first Violoncellist of the Academy

Orchestra, as well as teacher at the Conservatoire at Leipsic. Compelled

by a nervous affection to abandon entirely, a few years later,

Violoncello playing, he devoted himself to the study of singing, and

became a singing master. He worked with success as such in the school of

music in his native town. The loss which cello playing sustained in him

is proved by his pupil,

JULIUS KLENGEL, one of the most excellent and purest violoncello

players of the younger generation. He was born on September 24, 1859,

at Leipsic, and is now working in his native town as first cellist in

the Gewandhaus Concerts and as teacher at the Conservatoire. Klengel

has not only made himself known outside the sphere of his work by his

remarkable playing, but also as a most attractive composer for his

instrument. Amongst his works we will mention only the compositions

published, as Op. 1, 3, 4, 5, 7, 9, 10, 11, 15, and 20. Of those of his

works not numbered must be named a collection of “Unsere Lieblinge,”

which contains “the most charming melodies of ancient and modern times,”

cleverly arranged with piano accompaniment.

A second pupil of Hegar’s is HERMANN HEBERLEIN, who also had the

advantage of Carl Schröder’s and Bernhard Cossmann’s instruction.

Born on March 29, 1859, at Marckneukirchen, in the kingdom of Saxony,

Heberlein went, from 1873-1877, to the Leipsic Conservatoire. In the

last years of that period he gave concerts in South Germany, and finally

was appointed to be solo cellist at the town theatre of Königsberg.

In 1883 he undertook the office of teacher of his instrument at the

music school there. He wrote “Elementary Studies” for the Violoncello,

“Practical Cello Studies” (2 books, Op. 5), Variations for the

Violoncello, with piano accompaniment (Op. 2), Two Cello Pieces (Op. 3),

four Pièces de Salon (Op. 6), and also published a Violoncello school.

The favourable results which had been attained in Leipsic by Friedrich

Grützmacher in the training of his pupils made him very soon the most

attractive teacher in Germany. As already mentioned, after he had

accepted the flattering invitations made to him to go to Dresden, pupils

came to him from all parts. Only the most famous amongst them are

noticed below.

OSCAR EBERLE, born June 5, 1841, at Krossen, on the Oder, received from

his father, who was town music director, his first instruction on the

cello. At fourteen he had already made such progress that he was taken

into the Bilse Orchestra, which at that time had its headquarters at

Liegnitz. He belonged to it for five years, in the course of which he

was also employed as soloist in the concerts of the Society. He was

then for two years Grützmacher’s pupil in Dresden; advancing rapidly

under his direction, he attained to artistic maturity. In 1867 Eberle

was summoned to Rotterdam as teacher to the music school there, as well

as solo cellist at the concerts given by the “Matchappy tot bevordering

der Toonkunst.” He was immediately engaged as soloist for the German

Opera at Rotterdam. He retired from the latter post in 1886. Eberle is

an honorary member of the Concert Society, with which he worked, as well

as of the Society of Students, “Sempre crescendo,” at Leyden, a proof of

how highly his talent is appreciated in Holland.

RICHARD BELLMANN, born on June 8, 1844, at Freiburg, in the kingdom

of Saxony, at first benefited by the instruction of F. A. Kummer, and

then went through a course under Grützmacher, after having for three

years frequented the Conservatoire at Dresden. He then went to Paris,

in order to study composition under the direction of Franchomme. This

connection, however, did not last long, as Bellmann was soon summoned

to the Grand Ducal Kapelle at Schwerin, as first solo cellist. His

performances met with such high appreciation that he was distinguished

by the Grand Duke with the bestowal of the title of Chamber Virtuoso. In

1878 Bellmann gave up his position at Schwerin, which he had occupied

for twelve years, took up his residence at Bonn, and was engaged chiefly

as a concert player. A short time after was formed at Cologne the

Heckmann String Quartet, which gained such reputation in recent years

during its tours in Germany, England, and Italy, which Bellmann joined,

and to which he still belongs as a special ornament.

Bellmann must be considered one of the most accomplished violoncellists

of the present time, not only as a soloist, but also as a quartet

player. With complete technical training, his playing is distinguished

by its exemplary purity, rarely fine tone, its elegance, and its noble

and accurate musical rendering.

EMIL BOERNGEN spent his youth in Emden, where his father was music

director. He was born on February 2, 1845, at Verden. He received his

first instruction in music from his father. He then began the study of

violoncello playing under the direction of the chamber virtuoso, C.

Mattys, in Hanover. He obtained, however, his higher education under

the direction of Grützmacher, and had the benefit of his tuition for

three years. In 1870 Boerngen went to Helsingfors. He there undertook

the post of cellist at the theatre. At the same time he was frequently

a much appreciated player both as soloist and in quartets. Two years

after he accepted the invitation to Strasburg Theatre as solo cellist.

After several years of activity he relinquished his post and went to

Salzburg, where he was engaged for the Mozarteum. Since 1875 he has been

teacher of violoncello playing at the Royal Music School at Würzburg.

In consideration of his successful work at that Institute, in 1883 he

received the title of Professor as a mark of distinction. During his

official activity he was also occupied as solo and quartet player.

RICHARD VOLLRATH was born on December 16, 1848, in the Thuringian town

of Sonneberg, belonging to Saxe-Meiningen, where his father filled the

office of town musician. The boy early tried several instruments,

till he at length showed his preference for the violoncello. His first

teacher was the royal chamber musician, Roda, at Rudolstadt. During

the years 1865-1867, he studied under the direction of Grützmacher.

Having fulfilled his military term at Coblenz, Vollrath belonged, from

1871-1873, to the Royal orchestra at Ems as cellist. In the following

winter he joined the Mannsfeld first orchestra at Dresden. He made use

of his residence there to renew his studies under Grützmacher. He then

went as first cellist for two years into the Wiesbaden orchestra. Since

September, 1876, he has belonged in the same capacity to the Municipal

orchestra at Mainz. Besides his official post he is also prominent as a

solo player and an appreciated teacher.

CARL. FRIEDR. WILH. FITZENHAGEN was educated under the guidance

of Grützmacher as a violoncello virtuoso of eminent rank. This

distinguished artist was born on September 15, 1848, in the little

town of Seesen, in Brunswick, where his father was music director. He

early began his practice--in his fifth year on the piano, in his eighth

on the violoncello, in his eleventh year on the violin. Besides these

instruments, he learned by degrees several wind instruments in order to

take part in his father’s musical entertainments when a vacancy occurred

in his orchestra. By means of this many-sided capacity, Fitzenhagen

gained, even in early youth, a certain routine in musical matters which,

later on, stood him in good stead.

Fitzenhagen received the first regular cello instruction, besides making

progress in piano and violin playing, from the Ducal chamber musician,

Plock, in Brunswick. But he soon made his appearance there as soloist.

His really serious study, however, was in the beginning of October of

the year 1862, when he became Theodore Müller’s pupil. After a lapse

of three years, Fitzenhagen was heard by the Duke of Brunswick in the

Theatre Royal. The trial performance was so satisfactory that the Duke,

in order to forward him in his artistic career, released him entirely

from military service. Patrons of high standing immediately supplied

him with the means of prosecuting his cello studies under Grützmacher.

This occurred in May, 1867. A year later, notwithstanding his youth,

he was named a member of the Hofkapelle of Saxony. From that time he

frequently made his appearance as a solo player; took part, in 1869, in

the general musical gathering in Leipsic, and in 1870 at the Beethoven

Festival. Franz Liszt wished to gain him for the orchestra at Weimar,

but Fitzenhagen preferred to accept an offer made to him to be Professor

at the Imperial Conservatoire in Moscow. From that time he has developed

an uncommonly active and successful artistic capability as a concert

player as well as chamber music performer. He gained striking results

in his professorial relations, for he is at present looked upon as the

cello master of greatest repute in Russia. The best of his pupils will

be mentioned in the last section of this book.

After Fitzenhagen had been appointed Concertmaster to the Russian

Imperial Musical Society, the direction of the Moscow Music and

Orchestral Union, which organises annually some concerts, was made over

to him some three years ago.

Fitzenhagen was very industrious as a composer. Besides a String

Quartet, which gained the prize of the St. Petersburg Chamber Musical

Union, he wrote four Cello Concertos, a Suite for Violoncello and

orchestra, a “Fantasia” on _Motifs_ from Rubinstein’s “Dämon,” with

orchestra; a long list of drawing-room pieces, amongst them twelve

little pieces which embraced a Quarto, a Ballade with orchestra, and a

book containing technical Cello Studies.

ALBERT PETERSEN, born on October 23, 1856, in Lübeck, after he had

studied under Grützmacher, was first cellist in the private bands at

Dresden, Kreuznach, and Cassel; accepted engagements for America and

Pawlowsk, near St. Petersburg, and has since filled for ten years the

position of solo cellist in Magdeburg, as well as that of cello master

at the Musical Institute there.

CARL MONHAUPT, born on March 9, 1856, in Hamburg, began his musical

studies with piano playing. In his fifteenth year he decided for the

violoncello, of which he learnt the elements from the cellist named

Katerbaum, of the Central Hall orchestra of his native town. In 1872 he

betook himself to Sondershausen, in order to pursue his studies under

the direction of his brother Fritz,[113] who at that time belonged

to the Royal orchestra of Sondershausen as first cellist. Here he

remained three years, when he went to Dresden in order to perfect his

education under Grützmacher’s guidance. At the present time he is first

violoncellist of the Musical Society and of the Orchestral Union at

Berne, as well as teacher at the music school there.

OSCAR BRÜCKNER, born on January 2, 1857, at Erfurt, received his first

cello instruction from the Concertmaster, Herlitz, in Ballenstedt,

after he had been prepared by his father for the musical career. But he

completed the most important part of his studies under Fr. Grützmacher,

in Dresden, where he also received instruction in the theoretical

portion from Felix Dräseke.

After he had finished his course of study, Brückner undertook concert

tours in Russia, Poland, and Holland. Wherever he was heard he was

marked by well-merited success. Besides his clever “technique” he

made a great impression by his broad and full tone. From 1882-1884

he was engaged as violoncellist at the Grand Ducal Court Theatre in

Neustrelitz. On retiring from this post he received the title of Chamber

Virtuoso. Since 1886 he has been solo cellist at the Theatre Royal,

Wiesbaden. At the same time he takes part in the Violoncello teaching at

the Wiesbaden Conservatoire.

Brückner’s official successor in Neustrelitz, OTTO KÖHLER, was born

December 21, 1861, at Neuhaldensleben (in the district of Merseburg). He

went to school at Chemnitz and having performed his military service,

he entered the Regiment of Life Grenadiers at Dresden. He there

remained until 1882, in order to perfect himself, under Grützmacher,

in Violoncello playing, which he had already pursued by himself. In

January, 1883, Köhler was engaged for the Kapelle of the Duke of Coburg

Gotha. He remained two years at this post, during which he went through

a theoretical course under the direction of the Court Kapellmeister,

Langert. In 1885 he was offered the post of solo cellist at Neustrelitz.

In this position he is at present.

A German-American is also amongst Grützmacher’s pupils. EMIL SCHENK,

born at the beginning of the sixties at Rochester, North America. In

1879 his father, a native of Baden, who had settled as music teacher

in the above-mentioned American town, sent him to Dresden to complete

his studies under Grützmacher’s direction. He made rapid progress,

and soon attracted the attention of the Dresden musical circle to so

great a degree that at the end of the same year he was appointed to the

Hofkapelle there. His engagement, however, was only temporary, for as

soon as Schenk had completed his studies under Grützmacher, he returned

to America. On his frequent public appearances in New York he has had

brilliant success. The well-known Director of the Philharmonic Concerts,

Theod. Thomas, did not let the favourable opportunity escape of gaining

over the highly gifted young artist as solo cellist for his orchestra.

He attained to ever-increasing appreciation and popularity. But as

Thomas so frequently undertook tours with his orchestra in the States

of the Union, this occupation became at length too irksome to him; he

released himself from the contract, and from that time, encouraged by

the sympathy of the public, he lives in New York as an independent

artist, and works not only as a concert player, but also as a teacher of

great repute.

Another excellent pupil of Grützmacher is HUGO BECKER, son of the famous

Violinist who founded the Florentine Quartet, but who unhappily died

in the flower of his age, in 1884. Hugo Becker was born on February

13, 1863, at Strasburg, in Alsace, and at the beginning of the sixth

year of his life received instruction from his father on the piano and

the violin. When he was nine years old, he heard a Violoncello played

in church, and this made such an impression on him, that he decided in

favour of that instrument. A pupil of Menter’s, the cellist Kündinger,

of Mannheim, whither Becker’s parents had gone in 1869, undertook his

education. At fifteen he had made such progress, that the place of

second cellist was offered to him in the orchestra of the Mannheim Court

Theatre, which he accepted. At the end of nine months he gave this up in

order to go through a course under Grützmacher, from whose instruction

he benefited for five months. Having returned home, his father undertook

his further tuition, and used to play to him studies and concert pieces

on the Violin which greatly assisted his progress in regard to their

comprehension and rendering. The circumstance that he was constantly

hearing in the parental home a great deal of chamber music in the best

manner and himself took part in it, was of great value for the young

man’s musical education. In the year 1880 Jean Becker resolved to

undertake concert tours with his son Hugo and his brother and sister

JEANNE (a pianist) and Hans (tenor), during which the young Cello

virtuoso, then seventeen years of age, gained his first laurels. While

the Becker family quartet was performing in London, Hugo Becker had the

opportunity of being brought a good deal in contact with Piatti, which

was not without producing some influence on his playing. The practices

at the De Swert Violoncello Concerts, under the direction of their

founder, also contributed to his progress.

For two years, from October, 1884, till the autumn of 1886, Becker

filled the office of solo cellist at the Frankfort Opera. From that

time he accepted no other post, in order to leave his time quite free

for concert engagements. Frankfort-on-the-Main has continued to be his

place of residence. We must mention that he has the title of Grand Ducal

Chamber Virtuoso of Baden.

KARL LÜBBE, born on February 11, 1839, in Halberstadt, began his musical

career as a member of the regimental band at Magdeburg, was appointed to

the Grand Ducal Berneburg orchestra at Ballenstedt, and came to Dessau

on the union of the Anhalt Duchies. As he showed himself very assiduous

the Duke of Dessau granted him the means of perfecting himself still

more under the guidance of Grützmacher. He gained great dexterity and

skill, but was inclined to the various experiments of a virtuoso, which

he carried out also in his compositions. His cello pieces have not been

published. After Drechsler was pensioned Lübbe became his successor as

first Violoncellist in the Court Chapel at Dessau. He died in his prime

on January 7, 1888.

HUGO JÄGER took his place, born on May 17, in Warmbrunn. He profited

by the instruction of Popper and Grützmacher, became then a member of

the Hofcapelle of the Prince of Hohenzollern, in Löwenberg, and after

relinquishing this was employed in Ems, Altenburg, and Brunswick. Since

1874 he has belonged to the Ducal band in Dessau.

AUREL V. CZERWENKA, born on December 31, 1860, at Karánsebes, in

the Hungarian state, Szöreny, was first a pupil of the Steiermark

Musical Union at Gratz. In 1882 he came to Dresden and frequented

the Conservatoire as a pupil of Grützmacher, under whose direction

he afterwards studied privately. On the completion of his education

he worked for a time as first cellist in the Mannsfeld orchestra in

Dresden, and then he undertook the office of solo cellist at the Land

Theatre, as well as that of teacher at the Steiermark Musical Union at

Gratz. His performances show genuine artistic talent and training.

Two other pupils of Grützmacher’s must be here mentioned concerning

whom there is very defective information. The first to be considered

is THEODOR KRUMBHOLZ, who unfortunately died while still young. He was

first Violoncellist at the Stuttgard Court Kapelle, with the title of

Royal Wurtemburg Chamber Virtuoso.

H. RUHOFF became, after he had finished his studies, first cellist at

the Theatre Royal at Pesth, but was obliged to give up his place on

account of a nervous affection, and still lives as a music master at

Zurich, where he teaches chiefly at his brother’s Musical Institute.

A. HEYN, born in Dresden, is exclusively a pupil of Grützmacher. After

his training he was first occupied in the orchestra of German Opera at

Rotterdam. He is now working as first Violoncellist in the Grand Ducal

band in Darmstadt. As regards the Violoncellists, Smith and Rüdinger,

who were likewise Grützmacher’s pupils, information will be given among

the Dutch and Danish cellists. As a third pupil of Drechsler--

KARL SCHRÖDER, born on December 18, 1848, in Quedlinburg, must be

here noticed with distinction. He had already made such progress

in cello studies at fourteen years of age that he was able to be

received into the Hofkapelle at Sondershausen. After he had joined

his brothers in forming a string quartet, which was distinguished

by his performances, he accepted, in 1873, the place offered to

him as first cellist in the Brunswick Kapelle. Only a year later,

however, he consented to go as first representative of his instrument

to Leipsic, and he also superintended at the same time the cello

instruction in the Conservatoire there. From Leipsic Schröder went, in

1881, as Hof-Capellmeister to Sondershausen. He worked at this post

for five years; he then undertook the direction of German Opera in

Rotterdam. Thence he went, in 1887, as Hof-Capellmeister to Berlin.

Since the autumn of 1888 he has been occupied as Capellmeister at the

Stadt-Theatre at Hamburg.

Schröder published the following Cello compositions: Three Concertos

(Op. 32, 36, and 55), three concerted pieces (Op. 38, 51, and 56),

an Allegro di Sonatina (Op. 13), Pieces of National Airs (Op. 14), a

Song without Words (Op. 15), and a Nocturne (Op. 42). Besides these

he produced a Violoncello school (Op. 16), a school of scales and

chords (Op. 29), a school of shakes and staccatos (Op. 39), a practical

course for Violoncello playing, as well as a long series of Etudes and

Exercises. The latter bear the Nos. 22, 25, 35, 40, 44, 45, 46, 48,

and 57. He also edited orchestral and concert studies as well as five

classical pieces.

The same continuity of Violoncello playing as that of the Dresden school

cannot be traced in Vienna because, though at the beginning of our

century several cello masters were actively working at the same time,

a similar connection did not exist amongst them as in Dresden. But the

Austrian capital had the advantage of a richly endowed musical life

by means of the heroes of instrumental music, which had a quickening

and progressive effect on all branches of executive art, and specially

on Violoncello playing. Although this influence was not confined to

Vienna alone--since the works of these highly-gifted men, after their

publication, spread over an ever-widening circle--still the musical

world of Vienna was the chief gainer thereby.

It was at the source and therefore had the opportunity of knowing and

studying the creations of these master composers at first hand. We need

only recall the Schuppanzigh Art Society, which practised and produced

Beethoven’s Quartets before they were published. The Violoncello was

represented at the end of last century and the beginning of the present

one by Anton Kraft and, later, by Joseph Linke. For the first Beethoven

composed the Cello part of the Triple Concerto (Op. 56). The Sonatas

(Op. 5, 69, and 102) of the great master may be here mentioned as

important works of Violoncello Literature.

ANTON KRAFT was born on December 30, 1752, in the little Bohemian town

of Rokitzan. After his school education was finished he entered the

University of Vienna, in order to study law. There he soon began his

musical career, and, as he had already diligently practised Violoncello

playing in his father’s house, and had acquired remarkable proficiency,

he did not find it difficult to procure a position in the Imperial

Hofkapelle. Joseph Haydn, to whom he was introduced as clever, appointed

him, in 1778, to the orchestra of the Prince Esterhazy. As, however,

this artist-patron died at the end of September, 1790, the band was

done away with, and Kraft returned again to Vienna, where, in the year

1793, by his conjunction with it, the Schuppanzigh String Quartet was

founded, which used to play every Friday morning in the house of Prince

Lichnowsky. Kraft was himself occupied, however, until 1795, in the band

of Prince Grassalkowitz, and later on in that of the Prince Lobkowitz.

He died at Vienna on August 20, 1820.

Of Kraft’s compositions were published--six Sonatas for Violoncello,

with Bass (Op. 1 and 2); three concerted Duets for Violin and

Violoncello (Op. 3); a Violoncello Concerto, with orchestra (Op. 4); two

Duets for two Violoncellos (Op. 5 and 6), and a Divertissement with

Bass.

Amongst Kraft’s pupils his son, Nicolas, and Birnbach must be mentioned.

HENRICH AUGUST BIRNBACH, born 1782 at Breslaw, went in 1792 to Berlin,

and there learnt Piano and Violoncello playing. The year 1802 found him

at Vienna, where he enjoyed the instructions of Kraft and was employed

in the opera orchestra. Two years later Count Lubomirski engaged him

for his private band in Galicia. But in 1806 he returned to Vienna, and

in 1812 he accepted an engagement as first Violoncellist at the Theatre

of Pesth. From 1822 to 1824 he remained at Vienna, occupied himself

zealously with the “Chitarra coll’arco,” invented by a certain Stauffer,

wrote a Concerto for it, and played it in a public assembly. In the

year 1825 he at length received an appointment in the Hofkapelle at

Berlin. He seems to have belonged to it until his death.

NICOLAS KRAFT, born at Esterhazy, in Hungary, on December 14, 1778,

began his musical practice in his fourth year, on a large tenor which

he possessed, something like a Violoncello. Two years later he played a

solo before the Prince Esterhazy, which his father had written specially

for him with this object in view. At eight years of age he made a tour,

accompanied by his father, and performed at concerts favourably in

Vienna, Presburg, Dresden, and Berlin. On his return, the young Kraft

sought to fill up the gaps in his general education, which, until then,

had been neglected, and this took up five years. During the time he

only occupied himself with his instrument as a recreation. In 1796 he

entered with his father into the Lobkowitz band. The prince, who took

a great interest in the youth, and cherished the wish that he should

cultivate still further his art, granted him the means of going through

a course with Louis Duport at Berlin. This happened in the year 1801. He

afterwards went to Holland, in order to be heard there. Prince Esterhazy

meantime desired his speedy return, so that he could not pursue farther

the journey he had begun. On his way home, he went to Leipsic, Dresden,

and Prague, exciting great enthusiasm everywhere by his performances.

Nicolas Kraft was engaged in the year 1809 as solo cellist for the

Imperial Opera, but retained also his connection with Prince Lobkowitz,

who offered him a permanent salary, under the condition that he should

never play anywhere without his permission, except in his Palace. This,

however, did not continue, because the Prince fell into serious money

difficulties from the year 1811, and was no longer free to dispose of

his ruined fortune. But Kraft was indemnified in another manner. At the

Congress of Princes in 1814, he played before an assemblage of crowned

heads in Vienna, and the King of Wurtemburg experienced such great

pleasure at his performances, that he named him his Chamber Virtuoso.

He now settled at Stuttgard, and thence took a journey, in 1818, to the

Rhine, which he extended as far as Hamburg. Here he became acquainted

with Bernard Romberg, who gave him every encouragement, and showed it

by giving with him two concerts publicly, when he went to Stuttgard in

1820. In the year 1824 Kraft wounded the first finger of his right hand,

on account of which, after futile attempts at curing it, he was obliged

to retire. He spent his pension in Stuttgard, where he died on May 18,

1853. Kraft composed for his instrument four Concertos, nine Duets

(three of which are marked as “Divertissements”), a Polonaise, a Bolero,

a “Scène pastorale,” a “Rondo à la chasse,” and two Fantasias, of which

one is an arrangement of airs from the “Freischütz.” Nicolas Kraft had

a son whose Christian name was FRIEDRICH, whom he likewise educated

as a clever cellist. He was born on February 12, 1807, in Vienna, and

belonged to the Stuttgard band as chamber musician. Nothing further is

known of him.

About the same time as Anton Kraft, Friedrich’s grandfather, JOSEPH

LINKE, the violoncellist already mentioned, was at work in Vienna for

some years as a distinguished quartet player. He was born on June

8, 1783, in the Silesian town of Trachenberg, received his first

instruction from his father, and after his death pursued his studies

under a certain Oswald. In his twelfth year he went to the Dominicans

at Breslaw. There his teachers in cello playing were Lose and Flemming;

for theory he studied under the organist Hanish. Lose was a member of

the theatre orchestra, and when he relinquished the post Linke took

his place. He remained there, however, only until 1808, when he went

to Vienna. He was engaged immediately by Schuppanzigh for the house

quartet of Count Rasoumowski, which existed until the year 1816. After

the dissolution of this Society, Linke was attracted to Croatia by the

family of Count Erdödisch. Two years later he again appeared in Vienna,

in order to work at the theatre there as soloist. Thirteen years later

he received an appointment in the same capacity at the Imperial Grand

Opera. His death took place on March 20, 1837.

Linke’s published cello compositions consist of a Concerto, three books

of Variations, a Polonaise, a “Rondoletto,” and a “Caprice” on Rossini

airs. Whilst the elder Kraft and Linke, whom Beethoven likewise held in

great esteem, represented in Vienna violoncello playing from a purely

artistic point of view,

JOSEPH MERK did so more especially on the virtuoso side. This artist,

born on January 18, 1795, at Vienna, who was originally to have been a

violinist, and had already in his younger years made great progress,

had the misfortune to be bitten so severely by a dog that, even after

the wound was healed, he was never able again to bring his left arm

into the requisite position for violin playing. He therefore took

up the Violoncello, on which he received instruction from Philippe

Schindlocker.[114] Under his direction, Merk made such rapid progress

that already after the lapse of a year he was engaged as quartet player

by a Hungarian magnate. He remained at this post two years, when he

made a tour through the Austrian dominions in order to make himself

known in a wider circle. In 1816 he was appointed first Violoncellist

to the Grand Opera at Vienna. Three years later he entered the

Imperial Kapelle, and, in 1821, the Professorship for the Violoncello

was entrusted to him at the Vienna Conservatoire, which institution

later on acquired such importance in regard to instrumental music.

He retained the latter office until 1848. In 1834 the Emperor named

him his chamber virtuoso. Soon after he undertook a prolonged tour,

visited Prague, Dresden, Leipsic, Brunswick, Hanover, Hamburg, and from

the last-mentioned town went to London. In Vienna, Merk enjoyed great

favour. “He was,” C. Hanslick says, in his “History of Vienna Concerted

Music” (p. 245), “indefatigable as an industrious concert-giver, and

continually encouraged by public sympathy. He frequently performed at

Concerts with Mayseder, whose compositions he played by preference, and

might properly be called the Mayseder of the Violoncello.... Merk also

performed, as cellist, in Böhm’s quartet productions. As virtuoso he

soon surpassed Linke as well as Friedrich Wranitzky. The latter, who

was a son of the violinist and Kapellmeister, Anton Wranitzky, held a

respectable position among the Viennese cellists of that period, and,

about his twentieth year, frequently played Duets with his brother, the

violinist, Anton Wranitzky, at concerts.”

Merk died in Vienna on July 16, 1852. Of his Violoncello compositions

were published--one Concerto, one Concertino, one Adagio and Rondo, one

Polonaise, four books of Variations, “Vingt Exercices” (Op. 11), and Six

Etudes (Op. 20). Formerly these compositions were much played, but, in

course of time, they have gradually gone out of fashion, like most of

the Cello productions of that period.

Amongst Merk’s numerous pupils, the most remarkable are--Böhm, Träg,

Marx, and the Dutchman, Franco-Mendez.

KARL LEOPOLD BÖHM, born November 4, 1806, at Vienna, profited by Merk’s

instruction in the Conservatoire there. He was successively member of

the orchestras of Josephstadt Theatre and of the Vienna Theatre. In

September of the year 1824 he went to Donaueschingen, where he was

appointed musician to the Prince of Fürstenburg. Thence he undertook

a successful concert tour to Switzerland and Germany. When in August,

1849, he was released from his engagement in the Donaueschingen Kapelle,

he went to Strasburg and entered the theatre orchestra, and also

undertook a series of concerts at Vichy. At the beginning of 1851 the

amateur Prince of Fürstenburg recalled some of the members of his former

band, in order to organize some chamber music. Amongst them was Böhm,

who now concluded his artistic career at Donaueschingen. Of his Cello

compositions he published a Concerto, Duets, Fantasias, Variations,

Polonaises, and some smaller pieces.

ANTON TRÄG, son of a Viennese composer, Andreas Träg, was born in 1818,

at Schwechat, near Vienna; began his musical education at six years of

age, and went to the Conservatoire at Vienna as a pupil of Merk’s. On

February 28, 1845, he was engaged as teacher of Cello playing for the

Conservatoire at Prague. Ten years later however he gave up the post and

returned to Vienna, where he died on July 7, 1860. Träg devoted himself

by special preference to classical music. He had abundant opportunity of

occupying himself with it in the Palace at Clam. Of his pupils,

HEINRICH RÖVER distinguished himself, who was born May 27, 1827.

Röver belongs to the number of those violoncellists who were at first

violinists. As early as eight years of age he decided in favour of the

violoncello. Fétis says of him: “He was about 1863 the cleverest player

of his instrument in Vienna.” Of his compositions may be cited--Idyll

(Op. 1), Mazurka (Op. 8), and “Sérénade du Savoyard” (Op. 11). Röver

died in 1876.

JOSEPH M. MARX, born in 1792 at Würzburg, where he also received his

musical education, began his artistic career as member of the Theatre

orchestra at Frankfort-on-the-Main, whence he went to Vienna, in order

to study under Merk. Later on he worked in the Stuttgard orchestra,

until he was appointed first Violoncellist at Carlsruhe. He finally

was musical director there, and died while working in this capacity on

November 11, 1836. His daughter, Pauline, made her appearance on the

stage as a singer during the years 1830-40. Concerning FRANCO-MENDEZ,

see the Cello players of Holland.

To the best Viennese violoncellists about the middle of our century

belongs CARL SCHLESINGER, born on August 19, 1813. The violin was

originally his instrument. After the lapse of three years he devoted

himself to the Violoncello. Who his master was is unknown. In 1838 he

was appointed solo cellist to the Pesth National Theatre. He gave up

this place in 1846, as the opportunity presented itself of entering the

Imperial Opera orchestra in the same capacity at Vienna. In 1862 the

office of cello teacher at the Conservatoire there was committed to him.

Schlesinger’s most noted pupils are: Udel, Sulzer, Hummer, and Hegyesi.

CARL UDEL, born on February 6, 1844, at Warasdin, in Croatia, was early

directed to the study of music by his father, who was Kapellmeister,

and went in September, 1859, to the Conservatoire at Vienna. He next

occupied himself there with violin playing under the guidance of

Professor Carl Heissler. Twelve months after he took up the Violoncello,

and for five years received instruction from Schlesinger. In 1867 he

was first Cellist at the opera in Pesth; a year later, however, he

returned to Vienna and was engaged there, in 1869, for the orchestra

of the new opera house. By degrees he rose in his profession, and in

May, 1876, he entered the Conservatoire as substitute for Röver, whose

duties were then performed by Hilpert for a year. After the resignation

of the former, Udel was again elected in his place. In 1878 Cello

instruction at the Conservatoire was divided between him and Hummer, who

in the interval had been nominated first Cello player of the Imperial

Hofkapelle. Hummer received the three upper and Udel the three lower

classes. After three years of work the latter obtained the title of

Professor. On account of an injured hand, Udel was obliged to give up

his place as member of the opera house, since when he has not played in

public. He now devotes himself entirely to teaching.

JOSEPH SULZER, born on February 11, 1850, at Vienna, emerged in 1869

from the Conservatoire as one of Schlesinger’s best pupils, and was

engaged for the Italian Opera, and as master for the Conservatoire

at Bucharest. He remained there four years. In 1875 Sulzer received

an appointment in the Vienna Opera orchestra. Illness, brought on

by over-exertion, compelled him for three years to withdraw from

his employment in the orchestra. On his recovery he still further

endeavoured to perfect himself, in which the friendly advice of Popper

was of service to him, and in 1880 he was appointed solo player at

the Imperial Opera. At the same time he gave concerts and taught. He

belonged to the Helmsberg Quartet from 1882 to 1885. Sulzer published

various compositions and productions for the Violoncello at Breitkopf &

Härtel’s, and D. Rahter’s, and Cranz’.

REINHOLD HUMMER, born on October 7, 1855, at Linz, on the Danube, began

his career with violin playing very early at Vienna, where he was

brought up, and pursued it with great eagerness for six years. Then an

ardent desire was awakened in him to learn the Violoncello. He forthwith

began the study of that instrument at the Vienna Conservatoire under

Schlesinger’s guidance. At his death, H. Röver became his master. On

the whole he was four years at the Conservatoire. His progress was so

rapid that he carried off the first prize against his fellow students by

unanimous consent. After he had left the establishment to which he was

indebted for his education, he immediately received an appointment in

the opera orchestra to which he has belonged since the year 1873. Four

years later he was appointed teacher at the Conservatoire, and in 1878

solo Cellist in the Imperial Court band; he was also given the title of

Professor. Besides his official employments, this much-favoured artist

worked at Vienna and elsewhere as concert and quartet player.

Hegyesi will be mentioned among the Hungarian violoncellists.

As an older pupil of the Vienna Conservatoire (1835 to 1839), JOSEPH

HUBER must be mentioned, who was born about 1816 at Vienna. According to

Fétis, he was heard during the years 1836 and 1837 at the Conservatoire

Concerts. Several of his Violoncello compositions appeared at Vienna.

* * * * *

A succession of excellent German cellists emanated from the Prague

Conservatoire, opened in the year 1811. At this Institution JOHANN

NEPOMUK HÜTTNER, born on January 1, 1793, was actively engaged as

Violoncello teacher from 1822. He pursued his studies under J.

Zimmermann. After they were concluded Hüttner joined the orchestra

at the Pesth Theatre. Two years later he went to Lemberg. Thence he

undertook, in 1820, a concert tour in Poland and Russia, after which

he was appointed to the Prague Conservatoire, and the place of first

cellist was immediately given to him at the theatre. His playing was

distinguished by remarkable skill and delicate tone. In the _Adagio_ his

rendering was full of feeling. Hüttner was specially appreciated as a

quartet player.

Hüttner formed an excellent cellist in his pupil, FRANZ HEGENBARTH, born

on May 10, 1818, at Gersdorf, in Bohemia. On May 1, 1831, he entered the

Prague Conservatoire, and remained there as student until May 16, 1837.

Count Kinsky provided him with the means for his artistic education.

In May, 1865, the Professorship at the Prague Conservatoire was given

to Hegenbarth; it had until then been in the hands of Moritz Wagner,

Goltermann’s successor. He devoted himself to this until his death,

which occurred on December 20, 1887.

Besides several other compositions, Hegenbarth wrote a Violoncello

school, though nothing at all of his has been published. Amongst his

pupils the following are distinguished: Lang, Grünfeld, and Wihan.

ANTON LANG, born on November 10, 1850, at Carlsbad, from his tenth year

played both the Piano and Violin, but decided at thirteen in favour of

the Violoncello. In 1865 he became Hegenbarth’s pupil in the Prague

Conservatoire. When his training was ended Lang was employed as solo

player in several concert orchestras. Since 1877 he has been attached to

the Grand Ducal Kapelle in Schwerin as first cellist, with the title of

“Kammer Virtuoso.”

HEINRICH GRÜNFELD, born on April 21, 1855, at Prague, went to the

Conservatoire there, and profited by the instructions of Hegenbarth.

In 1873 he became solo cellist at the comic opera at Vienna and filled

this place for two years. In 1876 he went to Berlin, where he worked

as teacher of his instrument. From time to time he undertook some

successful concert tours in Germany, Russia, and Austria, with his

brother Alfred. Everywhere his beautiful tone and his tasteful rendering

were appreciated.

HANS WIHAN, born on June 5, 1855, at Politz, in Bohemia, is likewise

a pupil of the Prague Conservatoire, which he frequented from 1868

until 1873. At the end of this period he studied for awhile under the

direction of Davidoff. His excellent performances procured for him the

position of first Violoncellist in the Hofkapelle at Munich, which

he filled for eight years with honour. In the spring of 1888 he was

nominated to the Professorship of the Prague Conservatoire as successor

to his master, Hegenbarth.

Another of Hüttner’s pupils, SELMAR BAGGE, must be cited, born on June

30, 1823, at Coburg.[115] He received his musical education from the

year 1837 at the Prague Conservatoire, and after he had pursued a course

of composition under Simon Sechter, became a teacher of the theory at

the Vienna Conservatoire. He relinquished this post in the year 1855,

and from that time was chiefly engaged in composition, until in 1868 he

was summoned to Basle as Director of the music school.

Amongst Hüttner’s pupils there is also a gifted dilettante, Joseph

Edler von Portheim, born on January 6, 1817, at Prague. For many years

he has deserved the thanks of the musical world in his native town by

his zealous encouragement of chamber music, not only in his hospitable

house, frequented by native and foreign artists, but also abroad. Since

the foundation of the Prague Chamber Music Society (1876), he has been

at the head of the undertaking, to which he devotes his indefatigable

care.

Three other pupils of the Prague Conservatoire must be noticed in this

place. EBERT, CABISIUS, and POPPER. They all had the benefit of Joh.

August Jul. Goltermann’s[116] instruction, who from 1850-1862, as

successor to Träg, was teacher at the above-named establishment. (See

page 123.)

LUDWIG EBERT, born on April 13, 1834, at Schloss Kladrau, in Bohemia,

began early his musical training in the home of his father, who was

royal treasurer of Windischgratz, and was sent in 1846 to Prague in

order to study at the Conservatoire.

At first he received instruction from Träg. But when he went to Vienna,

Ebert studied two years more under Goltermann’s direction. From the

autumn of 1852 until Easter, 1854, he was cellist at the opera in

Temesvar, and was then engaged as first performer of his instrument

for the Oldenburg Hofkapelle, where he worked up to the year 1874.

Invested with the title of Concertmaster by the Grand Duke, as a mark

of distinction, Ebert, in the same year, accepted the offer of being

first cellist of the Gürzenich orchestra in Cologne, and teacher at the

Conservatoire of the Rhenish metropolis. In this place he remained until

April 1, 1888. At present Ebert is living at Wiesbaden, where he devotes

himself to teaching. He has published “Four pieces” for Violoncello and

Piano in the form of a Sonata (Op. 3), and three “Charakterstücke” (Op.

7).

JULIUS CABISIUS, born October 15, 1841, at Halle-on-the-Saal, received

his first instruction from his father. During the years 1855-1861, he

studied under Goltermann at the Prague Conservatoire. He then became a

member of the Court Kapelle at Löwenberg and Meiningen. From the latter

place he was summoned, in 1877, to be first Cellist in the royal band at

Stuttgard.

DAVID POPPER, born on June 18, 1845 or 1846, in Prague, soon gained

for himself, after leaving the Conservatoire of his native town, a

remarkable reputation during the concert tours, which he began in the

year 1863 as an excellent and cultivated solo player. He received

special honour, in 1865, at the Carlsruhe Musical Festival, and in 1867,

in Vienna, where, from 1868, he was engaged as first cellist at the

Imperial Opera. In 1873 he gave up this post, in order to undertake, in

company with his wife, the famous pianist, Sophie Menter, some concert

tours, which led him into Germany, France, England, and Russia. He is

at present teacher at the Pesth Conservatoire. Popper’s playing is

distinguished by its very pure and extremely clever technique, as well

as by a refined, graceful manner of rendering. He published for the

Violoncello two Concertos (Op. 8 and 24), two Suites (Op. 16 and 50), as

well as a considerable number of smaller drawing-room pieces, which are

in much favour among cellists.

* * * * *

In Berlin, as we saw, a great influence was exercised by France through

the brothers Duport,[117] but in consequence of the political events

of the years 1806-1807, which were the cause of so much suffering in

Prussia, it was almost paralysed, for Louis Duport returned to France

on the outbreak of the war declared by Napoleon Buonaparte; and his

elder brother, who on account of his advanced age could no longer occupy

himself with Violoncello playing, went at the same time into retirement.

It is, however, possible and even probable that the Violoncellist,

JOHANN FRIEDRICH KELZ, born on April 11, 1786, at Berlin, if he did

not actually take regular lessons from him, was able to profit by his

occasional advice.[118]

His first years of study were spent by Kelz chiefly with the town

musician, Fuchs, under whose direction he occupied himself with

well-nigh every kind of musical instrument, amongst which the

Violoncello attracted him most. His uncle, Ad. Friedrich Milke, who was

himself not a bad cellist, assisted his progress on that instrument.

He also provided for his reception into the band of Prince Frederick

August of Brunswick-Öls, to which he belonged, from the year 1801, for

four years. When this prince died, in 1805, Kelz returned to Berlin, and

was nominated, in 1811, Royal Chamber Musician. In 1857 he went into

retirement, and died in January, 1862. He must have been much in request

as teacher of his instrument. His compositions, the number of which it

is pretended extend to about three hundred, are of a very superficial

description, and have long fallen into oblivion.

More remarkable than Kelz in Violoncello playing was MORITZ GANZ,

who was born at Mayence in the year 1804, and learnt the elements of

music from his father. In Violoncello playing he made further progress

under the Bohemian Cellist, Stiastny, who at that time was residing

at Frankfort-on-the-Maine. Ganz then joined the orchestra at Mayence

until, in 1826, he was appointed first Violoncellist in the Berlin

Kapelle. During this engagement he undertook, in the years 1833-1837,

concert tours to Paris and London. In appreciation of his performances

he received from the King of Prussia the title of Concertmaster. His

playing, which gave proof of solid cultivation, was artistic and in

every respect made an advantageous impression, without, however,

electrifying. His compositions are unpretending, and consist of

Concertos, Duets, and Variations.

Among the pupils educated by Ganz the most remarkable are--Rietz, Lotze,

Giese, and Klietz.

JULIUS RIETZ, born on December 28, 1812, at Berlin, had, besides Ganz,

also Bernhard Romberg for a short time as master, and developed so

rapidly that, as early as sixteen years of age, he was received into the

orchestra of the Royal Stadt-Theatre of his native town.

Six years later he went to Düsseldorf, and worked as assistant-director

at the theatre managed by Immermann, with Mendelssohn at its head;

when the latter retired he undertook the sole conduct of the opera,

and became also, when Mendelssohn was summoned to Leipsic, town Music

Director. He filled this place until 1847, in which year he went to

settle at Leipsic, in order to work as “Capellmeister” at the theatre.

His work so greatly increased at Leipsic--for he not only undertook the

direction of the Academy of Singing, but also, in 1848, the conducting

of the Gewandhaus Concerts--that he was obliged more and more to

neglect cello playing. In Dresden, whither Rietz went in 1860 as Court

Kapellmeister, he almost entirely discontinued performing. In private

circles only he now and then caused his instrument to be heard, as his

time was wholly taken up by his official occupations, as well as by the

direction of the Dresden Conservatoire, which was given over to him, and

by the editorial labours connected with the publication of the collected

works of the great classical composers, set on foot by Breitkopf and

Härtel. In the midst of this varied artistic activity he died on

September 17, 1877.

Rietz’s Violoncello playing was of an able but simply deserving kind

and was limited entirely to the more classical sphere of music. His

compositions consist of two Concertos and a Fantasia with orchestral

accompaniment. He produced the latter on February 15, 1844, in the

Gewandhaus, at Leipsic.

WILHELM LOTZE, born on January 17, 1817, at Berlin, acquired the first

elements of cello playing under the royal chamber musician, Töpfer

(1865), and then Ganz was his master. In 1837 he received an appointment

in the Royal Kapelle of his native town, and from 1838-1852 belonged to

the excellent Zimmermann String Quartet. Lotze was pensioned in 1872.

JOSEPH GIESE, born on November 24, 1821, at Coblenz on the Rhine,

undertook concert journeys through France and Switzerland after he had

for some time profited by the instruction of Ganz; he then went to the

Hague, where he became teacher at the Royal School of Music and first

Violoncellist at the French Theatre. He educated a large number of

pupils. Amongst them we shall mention only his son,

FRITZ GIESE, who was born on January 2, 1859, at the Hague. At ten years

of age he was so forward that he was able publicly to perform Romberg’s

second Concerto. He completed his studies under Grützmacher in Dresden

and under Jacquard in Paris. After he had made a journey through Sweden

and Denmark, he was for a year soloist in the Amsterdam Park orchestra,

and then entered, as a member, into the Mendelssohn Quintet Club of

Boston. As one of the chief supporters he took part for a long time in

the annual concert journeys of the Society, which extended to North

America and Australia. At present he is living as a soloist at Boston.

The fourth of the above-mentioned pupils of Ganz, MAGNUS KLIETZ, born

on April 29, 1828, at Altenkirchen, on the Island of Rügen, began his

musical career at fourteen as a pupil of the Greifswalder town music

director, Abel. After a year’s instruction on the violin and various

wood-wind instruments, he decided on learning the Violoncello, which

he chose as his principal instrument. In 1848 he went to Berlin to the

Concertmaster Ganz, pursued his studies under him for a year, and then

selected Hamburg as his settled place of residence. In 1850 he was

appointed first cellist at the Stadt-Theatre as successor to Joh. Aug.

Jul. Goltermann. In this position he remained seventeen years, giving

lessons as well. He then joined the Philharmonic orchestra and was one

of the founders of the Quartet Union now existing in Hamburg.

After him, as a remarkable Berlin violoncellist, must be mentioned

JULIUS STAHLKNECHT, born on March 17, 1817, in Posen. Both Drews and

Wranitzki were his masters. Their method of instruction must have

been good, for as early as twenty-one years of age (1838) Stahlknecht

was so far educated that he was admitted into the Berlin Hofkapelle.

He undertook later, in company with his brother Adolf, who was a

respectable violin player, a concert tour; and with him and the addition

of the pianist Carl Albert Löschhorn, from 1844 or 1846, he gave for

some years, Trio Soirées, which were very popular with the Berlin

public. After the death of Ganz he stepped into his place with the title

of “Concertmeister.” In 1881 he was pensioned. He had as his successor

the Cello virtuoso, Louis Lübeck. Of Cello compositions he published

two Concertos and several smaller pieces besides--as, for example,

Divertissements (Op. 3), a Fantasia (Op. 6), Three Pieces with Piano

(Op. 8) and a “Serénade Espagnole” (Op. 11).

Stahlknecht formed an excellent cellist in ALBERT RÜDEL, who was born

on February 29, 1840, at Wittstock in East Priegnitz, where his father

was musical Director. During the years 1859-1867 he pursued his studies

at Berlin, under Stahlknecht. On June 1, 1867, he was appointed Royal

Chamber Musician, and in the year 1880 solo Cellist of the Hofkapelle.

Rüdel often had the honour from that time of being admitted to take

part in the Royal Concerts. Kaiser William I. liked his playing,

and repeatedly expressed to him his approbation. Amongst Rüdel’s

compositions for the Violoncello must be mentioned: Romance (B major),

Elegie (D minor), Introduction, Andante e Tempo di Valse, four Fantasias

for Concert-room, and many little Drawing-room pieces for pupils. All

these productions have a piano accompaniment.

Violoncello playing received a fresh impulse in Berlin by the opening,

under the direction of Joachim, of a section of the Royal High School,

on October 1, 1869, for executive music. The Belgian cellist, JULES DE

SWERT, was one of the first to give the necessary instruction at the

above-named Institute. WILHELM MÜLLER succeeded him from 1873-1876 in

this office. Both masters were, however, at the establishment too short

a time to pave the way for any important results. These were first

attained by means of Hausmann’s appointment, who since the year 1876 has

been working as teacher of Violoncello playing at the Berlin High

School.

ROBERT HAUSMANN, born on August 23, 1852, at Rottleberode, in the

Harz, frequented the Gymnasium at Brunswick, and benefited there,

from 1861-1867, by the Violoncello instruction of Theodor Müller, who

advanced him considerably. He was then _Elève_ of the Berlin High

School for Music, and there prosecuted his studies for three years,

under the direction of Wilhelm Müller, nephew of the Brunswick master

just mentioned. Finally, he went to Piatti, and under him pursued a

course in London, and later on at his property at Caddenabia, on Lake

Como. Shortly after Hausmann took an engagement with Count Hochberg,

in Silesia, as Cellist of the string quartet formed by him, and after

this was dissolved, in 1876, he was named second master of Cello playing

at the Berlin High School for Music; three years later he rose to the

position of regular teacher, and from that time he fulfilled the duties

alone in his own department. In 1884 he received the title of Professor

in acknowledgment of his deserving work.

Hausmann at the present time belongs to the most eminent masters of his

instrument. He is not only a distinguished solo player, but also an

excellent quartet player, which is evident from the fact that Joachim

has chosen him as his usual quartet associate. Of the pupils formed

by Hausmann, until now the following have specially distinguished

themselves: Roth, Dechert, Prill, Koch, and Lüdemann.

PHILIPP ROTH, born on October 25, 1853, at Tarnowitz, in Upper Silesia,

occupied himself in his father’s house from his eighth to his twelfth

year with violin playing, and then went over to the Violoncello. After

he had for some time applied himself to quartet playing with his

brothers, he became the pupil of Wilhelm Müller, and later on of Robert

Hausmann, at the Berlin High School for Music. He soon took part in

the lessons, conducted by Joachim, in quartet and orchestra playing,

and also pursued the study of composition under Wilh. Taubert and

Woldemar Bargiel. Settled in Berlin for eighteen years, he only left

the capital in order to make concert tours, of which he undertook one

three years ago into Russia. He, however, has devoted his powers chiefly

to teaching. Roth has also been zealous in the publication of Cello

literature. Besides his original compositions, he has published a long

list of various kinds of attractive music pieces as arrangements for

Violoncello and Piano, as well as a Violoncello school and a “Guide

to Violoncello Literature,” which latter has also been published

separately.[119] This list, which ought to be recommended, will, it is

hoped, be continued and completed in later editions without delay.

HUGO DECHERT, born September 16, 1860, in Potschappel, near Dresden,

received from his father, who is a musician, instructions in violin

playing at six years of age, and from his twelfth year in Cello playing.

Until 1875 he profited by the instruction of the chamber musician,

Heinrich Tietz, in Dresden. Then began Dechert’s practical work. At

first he was for a year first Cellist in the orchestra of the Belvedere,

on the Brühl Terrace, at Dresden, and then, after some concert tours in

Saxony and Silesia, he was engaged at a Concert Orchestra in Warsaw.

In 1887 he went to Berlin. There he had the good fortune, by the

acquisition of a scholarship as well as by getting free instruction in

the High School for Music, to pursue and complete his studies under the

direction of Rob. Hausmann. Since 1881 he has belonged to the Royal

Kapelle at Berlin, and he is also occupied as a much-appreciated concert

and quartet player as well as teacher.

PAUL PRILL, born October 1, 1860, at Berlin, received from his father,

a royal Prussian military bandmaster, his first lessons both in piano

and violin playing. Later on the musical director, W. Handwerg,

undertook his instruction on the piano, and the chamber musician, W.

Sturm, the theoretical part. At the same time Paul Prill occupied

himself in learning the “Cornet à piston” with his father. Only in his

seventeenth year, after he had been performing at concerts with his

brother and sister under the conduct of his father in Germany, was

fulfilled his cherished wish to devote himself to Violoncello playing.

In this the chamber musician, Mahnecke, assisted him by giving him

gratuitous instruction. After a lapse of nine months he had made such

rapid progress on the Violoncello that, having undergone a previous

examination, he was received as a free pupil into the High School for

Music. He frequented it for four years, and then entered the so-called

master class, conducted by Bargiel, in order to perfect himself in the

theoretical department; but at the same time he also benefited further

by Hausmann’s tuition. He soon found an appointment as solo cellist

in the Berlin Symphony Kapelle, as well as in the orchestra of the

Italian Opera. From the beginning of September, 1882, until the end of

April, 1885, he worked as solo cellist in the “Bilse Orchestra.” Such

occupation did not suit him for a continuance; he aimed higher, and

desired to devote himself to the conducting branch of music. After Bilse

had dissolved his orchestra, he found an engagement as Director at the

Belle Alliance Theatre, in Berlin. Occasionally also he performed the

office of Conductor at the Wallner Theatre. This work, however, did

not have the hoped-for result, as there seemed no prospect of a more

remunerative sphere of conducting. Paul Prill then determined to accept

the place of solo cellist at the German Opera at Rotterdam. With this

the advantageous offer was made to him of performing at concerts in and

around Rotterdam, yet he did not lose sight of his ambition in regard to

the career of Conductor. His wish was fulfilled, for during some time he

has been second Kapellmeister of the Rotterdam Opera.

FRIEDRICH KOCH, descended from a well-known Berlin family of painters,

was born on July 3, 1862, and began his musical studies in his eleventh,

but Violoncello playing only in his fourteenth year. From 1879-1882

he was pupil of the Royal High School of Music, and specially under

Hausmann, as well as Succo and Bargiel for theory and composition. In

the summer of 1883 he was named Royal Chamber Musician, after he had

been submitted to a trial performance. In 1886 he founded, with three

of his colleagues, a string quartet, which within a short period has

gained a respected position in the Berlin musical world. Of Koch’s Cello

compositions only two, Op. 1 and 2, up to the present time have

appeared.

OTTO LÜDEMANN, born on September 7, 1864, at Bernkastel, on the Mosel,

after his father had prepared him, was from 1876-1880 Ebert’s pupil in

the Cologne Conservatoire, to whom he is indebted for part of his other

artistic education. At the beginning of 1880 he went to the Berlin High

School of Music, and benefited by Hausmann’s instruction, not only in

compulsory piano playing but in the theory of music until 1883. In

this year he took part in the playing competition for the possession

of a vacant cello place in the Royal Prussian Kapelle, in which he

succeeded so well that in the autumn of the year 1884 he was nominated

Royal Chamber Musician. Besides his official duty he was selected by

his master, Hausmann, to be his assistant in the High School of Music,

and also commissioned to prepare his advanced Cello pupils for the

upper classes--a proof of how highly his performances were appreciated.

Amongst others belonging to the older and more modern of Berlin

violoncellists are Griebel and Espenhahn.

JULIUS GRIEBEL, born on October 25, 1809, at Berlin, learnt cello

playing of his father, who was bassoon player in the Hofkapelle there.

As Max Bohrer belonged to it, he also received instruction from him.

At the beginning of the year 1827 Griebel was taken into the orchestra

and rose to be solo cellist next to Ganz. During the years 1835-1841 he

undertook successful journeys to Holland, and later on he visited also

Denmark. As chamber music player he found opportunity of distinguishing

himself in the Zimmermann Quartet, of which he had been permanent

cellist for many years since 1835. He died in 1865.

His pupil, HERMANN JACOBOWSKY, born on October 19, 1846, in Neustrelitz,

received instruction in piano playing during his school years from

his father, who was clarinetist of the Mecklenburg-Strelitz Court

band. At sixteen years of age he decided for the musical profession,

chose the Violoncello as his instrument, and went to Berlin in order

to take lessons from Griebel; at the same time Rich. Wuerst was his

master in theory. In 1864 Jacobowsky entered as solo cellist into the

Liebig “Symphonie Kapelle.” Six years later he was summoned to Jassy as

teacher of cello playing at the music school, but when the Franco-German

War broke out he had to hasten to the standard, and took part in the

campaign. When it was over, he received a place as Chamber Musician in

the Royal orchestra, which had already been promised to him in 1868,

consequent on a successful competition.

Jacobowsky has not only made himself known to advantage as solo player,

but also in connection with the Soirées in which he takes part with

Hans Bishoff and Waldemar Meyer. Besides some Drawing-room Pieces

for Violoncello, he published “Tonleiterübungen in fünf Stufen” and

twenty-two Elementary Exercises in the first position.

L. ESPENHAHN, born at Sandersleben, was at first member of the Dessau

Court band, but entered as assistant into the Prussian Hofkapelle, after

he had appeared in Berlin as a solo player. He did not, however, remain

in this place, but accepted an invitation to join the private band of

the Russian Prince Narischkin. After the death of the latter, he was

again received into the Berlin Kapelle. Since 1852 he has belonged to

the Zimmermann String Quartet, as successor to Griebel. He was also

occupied as teacher in Berlin. Espenhahn died in the year 1879.

For Munich during the first quarter of our century the chief

representative of Violoncello playing was PHILIPP MORALT.[120] He

belonged to a gifted Bavarian musical family, whose members were

employed in the Munich Court Kapelle. This family possessed in JOSEPH

MORALT a second younger Cellist. Nothing further is known about him

except the fact of his performing so well that he was admitted into the

Leipsic Gewandhaus Concert on January 21, 1847, for solo playing.

JOSEPH MENTER, however, who received his education from the elder of

the two Moralts just named, had a greater artistic importance. Born

on January 17, 1808, in the Bavarian village of Daudenkofen, near

Landshut, he began as so many of his colleagues did, with the violin,

but soon abandoned it to take up the Violoncello. He had scarcely

completed his twenty-first year before he found a position in the

Hohenzollern-Hechingen band. In 1833 his vocation took him to Munich. He

belonged to the Kapelle there until his death, which occurred on April

18, 1856. Menter--he is the father of the well-known Piano virtuosa of

that name--made himself known outside his sphere of work by concert

tours in Germany, Austria, Holland, Belgium, and England, as well as

by several Cello compositions, of which a few were published after his

decease.