HIPPOLYTE MÜLLER. He was born on May 16, 1834, at Hilburghausen, and
received his first instruction from his father. His development was so
rapid that, at eleven years of age, he already appeared as soloist. He
was assigned to Menter for further cultivation, by whose assistance he
became a master of his art. In 1854 Müller joined the Munich Court Band
as first Cellist. He also undertook the tuition at the Conservatoire.
On August 23, 1876, he died at Munich. His pupil,
GEBHARD GRAF, for fourteen years first Violoncellist in the Grand Ducal
Kapelle at Brunswick, was born on February 4, 1843, at Waal, near
Buchloe, in Bavaria, and attended, from his fifteenth year, the Royal
Conservatoire at Munich. He was dismissed from it at the end of four
years with a certificate of merit, and then held concerts in Hamburg,
Warsaw, Amsterdam, Frankfort, and Munich. Later, he was six years as
solo Cellist in the Princes’ Kapelle at Sondershausen, worked with the
Bilse Orchestra for one year as first Cellist, and after that time had
elapsed he took an engagement in the Grand Ducal Kapelle at Strelitz.
Thence he was summoned to Brunswick.
FERDINAND BÜCHLER is also an excellent pupil of Menter’s, born on
March 17, 1817, at Darmstadt, where his father was Grand Ducal chamber
musician. As his first instructor he had the Darmstadt Concertmaster,
AUGUST DANIEL MANGOLD, born in July, 1775, at Darmstadt. He was a very
distinguished artist on his instrument, of the Romberg school, and
belonged to the Darmstadt orchestra from 1814 until his death, which
happened in 1842. Büchler got on well under Mangold’s training, but
went, in order to perfect himself, to Jos. Menter, whom he had met
during the winter of 1838-1839, at the Munich Quartet Soirées, when he
had undertaken a concert tour to Vienna. Having returned to Darmstadt he
again found an appointment in the band there to which he had belonged
previous to his absence in Munich, and was named first Cellist. An
injured arm, which was never entirely cured, compelled Büchler to
withdraw from playing in public as a soloist, though he still continued
as a chamber music player. In 1881, after forty-six years’ service, he
was pensioned.
Büchler pursued his theoretical studies under the guidance of the
Darmstadt Cantor, Rinck. They enabled him to compose a few cello pieces
which may be favourably distinguished from amongst others. This is
especially the case with regard to his five Studies; they are of value
particularly for the purposes of teaching, and consequently are admitted
into many music schools. Besides these, he wrote two pieces for
four Violoncellos, and transcribed also three pieces from Alessandro
Stradella’s Cantatas. At present there are now in the press arrangements
of twenty-five pieces of ancient and modern masters with the title
“Bunte Reihe.”
VALENTIN MÜLLER, born on February 14, 1830, at Münster, in Westphalia,
studied with Menter, and continued under Servais, in Brussels, in 1848.
During his many years’ residence in the Belgian capital, he performed
for some time the functions of Deputy-Professor at the Conservatoire. In
1858 he betook himself to Paris and filled the place of Chevillard[121]
in the Maurin Quartet. Ten years later he accepted a post at
Frankfort-on-the-Maine, where he worked as member of the Quartet of the
Museum Society, and as master at the Hoch Conservatoire.
JOSEPH WERNER, born on June 25, 1837, at Würzburg, was, in 1852, _Elève_
of the Munich Conservatoire, and educated himself there as Violoncellist
under Menter’s direction. In the year 1867 he went to Dresden to Fr.
Grützmacher in order to become better acquainted with his method of
instruction. After he had been solo cellist in the Court Kapelle at
Munich, he became teacher at the music school, and later on he received
the title of Royal Chamber Musician and Professor, which proves that he
was particularly esteemed in the music world of Munich.
In compositions Werner published a Quartet for four Violoncellos,
Studies, Etudes, Caprices, Solos, a book of Songs, as well as an
instruction book, with Piano accompaniment, under the title of
“Practical Violoncello School.” With regard to this the Munich
_Allgemeine Zeitung_, of September 12, 1886, remarks: “Concerning
this School, which is entirely devoid of theory--_i.e._, thoroughly
practical--there exist a whole list of witnesses from celebrated
authorities of that branch of Art, such as C. Davidoff, in St.
Petersburg, Jos. Rheinberger, Louis Abel, and so forth, as well as
many recommendations (from the Bavarian Ministry of Instruction) and
acknowledgments in the musical periodicals of the time on the subject.
All are unanimous that the above-named work must be considered in every
way the best instruction book amongst those of the highest rank.” The
Cello School of Werner has gone through five editions already since its
appearance.
Amongst Werner’s numberless pupils we can only here cite HEINRICH
SCHÜBEL, at Carlsruhe; H. SCHÖNCHEN, in Munich; EMIL HERBECK, at St.
Petersburg; FRL. MARIE GEIST and CARL EBNER, in Munich. The last-named
artist, born on November 6, 1857, in Deggendorf, near Munich, is Royal
Bavarian Chamber Musician, and takes part in the Trio Soirées, which are
held annually with the co-operation of Bussmayer and Walter, in Munich.
His Violoncello compositions, published as Op. 5, 6, 8, 9, 10, and 14,
belong to the Salon _genre_.
Meiningen possessed a very distinguished Violoncellist in GUSTAVE KNOOP,
who was born at Göttingen in 1805, and was member of the Meiningen Court
orchestra. He must have been, in regard to beauty of tone, a successful
rival of Romberg. It is related of him that he only married in order
to get into his possession a valuable Violoncello which belonged to
his wife; that soon after the wedding he set out on a journey with the
instrument, and did not return home again. It is a fact that Knoop went
to North America in 1843, and on December 25, 1849, he ended his life at
Philadelphia.
Of Knoop’s pupils two are worth mentioning: Grabau and Mollenhauer.
JOHAN ANDREAS GRABAU, born October 19, 1809, had, after benefiting by
Knoop’s instruction, Fr. Kummer as his master for a time. He chose
Leipsic as his settled residence, but only worked at his vocation until
his marriage, which made it possible for him to pursue music for his
pleasure only. He remained, however, until his death, which occurred
in August, 1886, a member of the Gewandhaus Orchestra. Grabau was less
occupied with solo than with quartet playing, in which he was a much
esteemed performer.
HEINRICH MOLLENHAUER, born on September 10, 1825, at Erfurt, was from
his fourth year taught piano and violin playing, and when only a
half-grown boy he made, with his brothers, under his father’s guidance,
a concert tour through Germany. He later devoted himself, under Knoop’s
direction, to Violoncello playing with great success. Mollenhauer
belonged for three years, from 1853, to the Royal band at Stockholm,
and then turned to New York. After he had travelled through the North
American States as a Concert-giver, he settled down, in 1867, at
Brooklyn, and founded there a music school.
In the sphere of chamber music the best performer was the Cellist of
the formerly famous MÜLLER STRING QUARTET, whose name was THEODORE. He
was born on September 27, 1802, in Brunswick, and died there on May 22,
1875. He is described as the very soul of the Quartet Band, which with
his brothers Carl (1st Violin), Georg (2nd Violin), and Gustave (Tenor),
he so carefully kept together for so many years, the most brilliant
period of which was from 1831-1855. During this time the brothers Müller
undertook journeys into Germany, Holland, Denmark, and Russia, which
were crowned with fame. They were also heard in Paris.
As is known, the Müller String Quartet was continued by the sons of
Charles, the eldest of the brothers, who belonged as Concert Master to
the Ducal Kapelle of Brunswick. The Violoncellist of the junior Quartet
Band was--
WILLIAM MÜLLER, born on June 1, 1834, in Brunswick. He had his uncle,
Theodore, as his master. After he had been working with his brothers in
the Meiningen orchestra, as well as in Wiesbaden and Rostock, he entered
the Berlin Court Kapelle as solo cellist, and also undertook the Cello
instruction in the Royal High School for Music. In this position he
remained three years, when he went to America. From that time there is
no more account of him.
His pupil, EUGEN SANDOW, born on September 11, 1856, in Berlin, occupied
himself from his sixth to his eighth year, under the direction of
his father, with violin playing; gave it up however in favour of the
Violoncello, and had as his next teacher the royal chamber musician,
A. Rohne. In 1870 he was taken into the High School for Music, and was
there, from 1873 to 1876, Müller’s pupil. In April of the year 1879
ensued his appointment as Chamber Musician in the Royal band.
* * * * *
Since the beginning of the present century Hamburg has been
distinguished by excellent cellists. Foremost must be brought forward
here--
JOHANN NIKOLAUS PRELL. He was born on November 6, 1773, in Hamburg,
and earned the thanks of the musical world there especially by the
institution of regular Quartet Academies. He died on March 18, 1849. His
son--
AUGUST CHRISTIAN PRELL, under Romberg’s direction, whose last pupil
he was, reached a high degree of art. An extremely beautiful and
grand style of playing lent his performance a classic stamp. Already
at twelve years old he could perform in public. Four years later the
post of Chamber Musician in Meiningen was offered to him, and in 1824
he received a summons to Hanover as first Cellist of the Hofkapelle
there, to which he belonged until February 1, 1869, when he went into
retirement. He was born on August 1, 1805, and died on September 3,
1885, in Hanau. His fine Amati Violoncello passed into the possession of
Grützmacher.
In GEORG EDUARD GOLTERMANN, born on August 19, 1824, at Hanover, A. Ch.
Prell formed a distinguished Cellist. He received the last touch from
Joseph Menter during his two years’ residence in Munich (1847-1849).
He there also had instruction in composition from Lachner. After he
had made some journeys from 1850-1852, he became music director in
Würzburg, but remained there only a year, for he was summoned, in 1853,
to be second Kapellmeister at the Frankfort Theatre, and became in 1854
first Director. Goltermann has also made himself eminent as a composer
for his instrument. For the Violoncello, besides seven Concertos, he
wrote a tolerable list of Drawing-room Pieces, which have received a
considerable degree of favour.
Two other famous Hamburg Cellists are the BROTHERS LEE. The elder,
whose Christian name was Sebastian, was born on December 24, 1805, in
Hamburg, and was educated by Prell, the father. At twenty-five years
of age he made his first _début_ as solo player in his native town,
as well as in Leipsic, and then undertook a journey, by Cassel and
Frankfort, to Paris, where he arrived in April, 1832. He was heard then
with approbation in the Théâtre Italien. In 1836 he went to London, and
again returned to Paris, in order to join, as solo cellist, in the
orchestra of the “Grand Opéra.” He devoted himself to this work from
1837-1868, when he returned to Hamburg, and died there on January 4,
1887. Seb. Lee published a considerable number of compositions for his
instrument. Amongst them are Divertissements, Fantasias, Variations,
Etudes, as well as a great number of easy and more difficult Duets, of
which three books, under the title of “Ecole du Violoncelliste à l’usage
du Conservatoire de Paris,” have been published.
Two scholars of Seb. Lee worthy of mention are BÖCKMANN and BIELER.
FERDINAND BÖCKMANN, born January 28, 1843, at Hamburg, enjoyed Lee’s
instruction; and then Magnus Klitz,[122] who was at the time first
Cellist at the Hamburg Stadt-Theatre, was his master. In the autumn of
1861 he found an appointment in the Dresden Court band, and was then,
for a time, Kummer’s pupil. Böckmann is a clever Violoncellist, who made
himself known extensively by the editing of old Violoncello music.
AUGUST BIELER, born on May 9, 1863, at Hamburg, began his Cello studies
under Lee, in his fourteenth year, and continued them in Leipsic, where
he went in January, 1879, to be under Karl Schröder[123]; at Easter, in
1881, he was received into the Sondershausen band, of which he has been
first Cellist since 1885. He is at the same time giving instruction on
his instrument at the Conservatoire of Sondershausen. Bieler, who is
possessed of a remarkable technique, has distinguished himself both as a
solo and quartet player. His tone is powerful and full of energy, but,
at the same time, flexible and melodious, his manner of rendering full
of expression and extremely musical.
Lee’s younger brother, LOUIS, who is reputed to have had great skill in
bowing, was born in Hamburg in 1819. He also undertook several journeys,
during which he appeared at Leipsic, Cassel, Frankfort, Paris, and
Copenhagen. He published and wrote but very few cello compositions;
amongst them, “Trois Pièces gracieuses,” with piano accompaniment, must
have a prominent place.
Finally, another much valued Violoncellist of Hamburg, ALBERT GOWA,
must be mentioned, who obtained his education in the Leipsic Music
School, but on the Violoncello especially shared the instruction of F.
Grützmacher and Davidoff. He made himself advantageously known by his
public appearances, not only in German towns, but also in Copenhagen
and London; accepted an engagement from 1867-1868 at the Philharmonic
Society in his native town, and at the expiration of this he was
appointed solo cellist at the Bückeburg Court; he then returned to
Hamburg, where he is still living and working. He was born on April 14,
1843.
Some other German distinguished Violoncellists of modern times are
Ripfel, Gross, Bockmühl, Néruda, and Alwin Schröder.
KARL RIPFEL was a character, and moreover in his youth was a so-called
piano phenomenon, until the Minister of Baden, de Touche, persuaded him
to devote himself to Cello playing, and himself gave him instruction.
In regard to the technical branch of his art he made great progress,
but he was so nervous that he could never make up his mind, except
during his youth, to appear in public. His manner of rendering must
have been _bizarre_. Nevertheless he was a distinguished orchestra
player; assisted by an extraordinary memory he was able to play the
cello part in the opera without music on an occasion when his colleague
would not turn over the page at the right moment. He belonged to the
Frankfort Theatre orchestra for forty-five years. His grave has the
inscription: “Carl Ripfel, of Mannheim, died March 8, 1876, at the age
of seventy-seven years.” He must accordingly have been born in the year
1799. In the “Signalen für die Musikalische Welt,” of March 19, 1876,
the following is asserted of him: “Although not known in an extensive
circle, he was esteemed by Bernhard Romberg to be the greatest master
of technique on his instrument, which he was at last able to manipulate
almost as well as Paganini.”
Ripfel was also a composer, but never published any of his compositions.
When the Violin virtuoso, Jean Becker, asked him to let him have one of
his string trios, he was roughly refused.
JOHANN BENJAMIN GROSS, born at Elbing, on September 12, 1809, went in
his youth to Berlin in order to devote himself there to the study of
the Cello. It was not long before he found a position in the orchestra
of the Königstadt Theatre, which he gave up in 1831. He now turned to
Leipsic, was often heard there, even in the Gewandhaus, and in 1833
joined the Liphart String Quartet, at Dorpat, at the head of which was
Ferdinand David. In 1835 he was engaged for the Imperial Theatre in St.
Petersburg as first Cellist, where he continued until 1847. He then
returned with a pension to Germany, but soon appeared in St. Petersburg
again, the Grand Duke Michael having summoned him to his neighbourhood.
He did not long enjoy the pleasures of this intercourse, for on
September 1, 1848, he died of cholera. Of his compositions, the number
of which extend to about forty, there appeared for the Violoncello a
Concerto, Etudes, Duets, Variations, and a variety of Drawing-room
Pieces. He wrote also a Concerto for Piano and Violoncello, as well as a
Sonata for these two instruments.
ROBERT EMIL BOCKMÜHL, born 1820, in Frankfort-on-the-Maine, died on
November 3, 1881, was a clever Violoncellist, and an industrious
composer for his instrument. He published about seventy works,
consisting of “Fantasias,” Variations, Divertissements, and Rondos on
opera themes or national songs. Also an extensive book of studies under
the title: “Études pour le développement du mécanisme du violoncelle;
adoptées pour l’étude élémentaire de cet instrument au Conservatoire
royal de musique de Bruxelles, et au Conservatoire de musique de Bavière
à Munich” (Op. 17), in five parts. At the beginning of his fiftieth
year, Bockmühl settled in Düsseldorf. At that time Robert Schumann was
composing his Violoncello Concerto, for which he solicited Bockmühl’s
advice in regard to the technical questions.
FRANZ NÉRUDA, born on December 3, 1843, at Brünn, occupied himself from
his fifth year with Violin, and from his twelfth year with Violoncello
playing, to which latter he eventually devoted himself exclusively. In
the year 1855 he appeared publicly for the first time at Ischl. He then
made concert journeys in Germany and Russia, during which he attained
his twentieth year. In 1864 he was appointed to the Copenhagen Court
Kapelle, to which he belonged for twelve years. During this time he was
frequently heard as soloist in Copenhagen, as well as in London, where
he often took Piatti’s place at the Popular Concerts. He also performed
at Concerts in Manchester and Liverpool. Latterly he appeared at Vienna.
Néruda studied under his father, although he was indebted to Servais
for many good hints. He published about thirty of his Violoncello
compositions, amongst them a Violoncello Concerto, and some little
pieces for Cello with Piano accompaniment. It may be further remarked
that he is brother to the famous Violinist, Wilma Néruda.
ALWIN SCHRÖDER, brother to Karl Schröder,[124] was born at
Neuhaldensleben in 1855, where his father was music director. He
devoted himself to Violoncello playing only, after he had pursued from
the seventh year of his age piano, violin, and tenor playing, and
had attained to remarkable proficiency in them. In his youth he was
engaged in several orchestras in Berlin as tenor performer. During a
visit to his father’s house he conceived a great desire to take up the
Violoncello, and practised on his own account the Cello solo in the
Introduction to Rossini’s “Tell” Overture. He succeeded so well that
his brother Karl, to whom he played it, urged him to occupy himself
further with the Violoncello, which he did. In 1875 he had reached
such a degree of proficiency that he was engaged in the autumn of the
same year as first Cellist for the Liebig Orchestra. This position he
exchanged for one in the Fliegen Band. After he had been a member of the
Laube Kapelle, he chose Leipsic as his place of residence in 1880, and
occasionally took his brother Karl’s work in the orchestra. When the
latter accepted the post of Royal Kapellmeister in Sondershausen, he was
appointed in his brother’s stead, together with Klengel,[125] as first
Cellist of the Gewandhaus and Theatre Orchestra, as well as teacher in
the Conservatoire. Besides this, he is permanent member of the Peter
String Quartet. He received the title of Chamber Virtuoso from the
reigning Prince of Sondershausen. His playing is famous for its clever
technique, fine tone, perfect accuracy, and most expressive rendering.
He has been heard in the capitals of Germany, Belgium, and Russia with
remarkable success.