BARTHOL. JOHNSON, probably born in 1710, as he is said to have
celebrated his hundredth birthday at Scarborough, October 3, 1810,
when Lord Mulgrave and many distinguished persons were present in the
Freemasons’ Hall. During the evening the centenarian played the Bass of
a Minuet on the cello, which he had composed sixty years before. (See
Appendix.)
JOHN HEBDEN, who is supposed to have played the Violoncello, was
probably born at the beginning of the eighteenth century, since his
portrait was engraved by Faber in 1741. He is represented in this
playing the Gamba. Gerber, at least, seems to have thought it worth
while to mention him as a cellist, though Burney writes of a certain
Hebden as playing the Bassoon at a concert in London where the best
performers of the Italian opera were employed.
WILLIAM PAXTON also was a violoncellist, the composer of the well-known
glee “Breathe soft, ye winds,” besides other pieces. Burney praises his
“full and sweet tone, as well as his judicious manner of accompanying
the voice.” He published amongst his other compositions also six Duos
for two Violoncellos (Op. 1), eight Duos for Violin and Violoncello (Op.
2), six solos for Violin (Op. 3), four solos for Violin and two for the
Violoncello (Op. 4), twelve easy lessons for Violoncello (Op. 6), and
six solos for Violoncello (Op. 8). His brother Stephen also composed for
the Cello.
JOHN CROSDILL, born in London in 1755,[135] whom Gerber mentions as
an extraordinarily clever Violoncellist, and Fétis as distinguished,
notwithstanding the presence of Mara in England, had a high reputation
in his time. He was educated in the choir of Westminster Abbey under
Robinson and Cooke; on leaving the choir he studied the violoncello
under his father, and is said to have had instruction from Jean Duport.
He soon acquired a considerable proficiency, and in 1768 he was elected
a member of the Royal Society of Musicians. In the following year he
played at the Gloucester Festival, and was appointed first cellist, an
appointment which he held until his retirement. In 1776 he was engaged
as first Violoncellist at the Concerts of Ancient Music, and in 1778
as Violist of the Chapel Royal. He probably went to Paris 1778-9, and
remained nine months, studying under the elder Janson. In 1782 he was
appointed chamber musician to Queen Charlotte, and he also gave lessons
to the Prince of Wales. About 1788 he married a lady of fortune, and
retired from the practice of his profession, appearing publicly for one
day only, in 1821, at the coronation of George IV. He died at Escrick,
in Yorkshire, leaving a considerable fortune to his son, who, by his
father’s desire, presented a donation of £1,000 to the Society of
Musicians.
Four other English Cellists of the second half of last century
are--Hardy, Reinagle I. and II., and Gunn.
Little is known of HARDY, Henry (of Oxford), beyond the fact that about
1800 he published an instruction book with the title, “The Violoncello
Preceptor, with a compleat set of Scales for fingering in the various
keys,” &c.
JOSEPH REINAGLE, born in 1762, at Portsmouth, was the son of a German
music teacher who emigrated to England. He was originally intended for
the navy, but gave it up after his first voyage. He was apprenticed
then to a goldsmith in Edinburgh, but neither in this did he persevere,
and his father resolved to let him be a musician. He at first chose the
trumpet as his instrument, on which he acquired some skill, and entered
the service of the king as trumpeter. He was obliged to give up the
wind instrument on account of his health, and was then Violoncellist,
Violinist, and finally Violoncellist again. For a while he was Concert
Director in Edinburgh. In 1789 he went to Dublin, and in 1791 to London,
where, besides obtaining a good position in the best orchestras, he was
principal cello at Salomon’s concerts. He finally settled at Oxford,
where he died in 1836. He published, for the Violoncello, thirty Duos
in four books, as Op. 2, 3, 4, and 5, as well as a School “Concise
Introduction to the Art of playing the Violoncello,” which went through
four editions.
Reinagle’s younger brother, named HUGH, born at Portsmouth in 1766,
received his education from Crosdill, and was distinguished for his
unwonted skill. He died while still young, at Lisbon, whither he had
gone for the restoration of his failing health. Of his compositions
appeared three works: two of them, Op. 1 and 2, consist of six Cello
solos, and Op. 3 contains six Duets for two Violoncellos.
JOHN GUNN, said to have been born in Edinburgh about 1765, was not
only a clever cellist, but also a remarkable writer on music. In the
year 1790 he went to London as a cello teacher. He there published, in
1793, an instruction book for his instrument, under the title of “The
Theory and practice of fingering the Violoncello, containing rules and
progressive lessons for attaining the knowledge and command of the whole
compass of the instrument.” Fétis observes, with regard to the preface
of this work, consisting of two parts, that it contains a remarkable
account of the origin of the Violoncello, as well as of old and modern
stringed instruments.
Gunn wrote another work, published in London in 1801, which has
reference to the Violoncello. The title of it is, “Essay theoretical and
practical on the application of Harmony, Thorough-bass, and Modulation
to the Violoncello.” Besides this he published, in 1794, a “School
of the German flute,” and in 1807 he brought out his most important
work--viz., “An Historical Inquiry respecting the performance on the
Harp in the Highlands of Scotland from the earliest times until it was
discontinued about the year 1734.”
In the year 1795 Gunn returned to Edinburgh to take up an advantageous
post that was offered to him, and which he apparently held until his
death.
The English possessed in ROBERT LINDLEY a Violoncellist of extraordinary
capacity, who up to the present time has not been equalled, far less
excelled, by his countrymen. He was born on March 4, 1775,[136] at
Rotherham, and began his musical studies when he was about five years
of age, with his father, an amateur performer, who began by teaching
him the violin, and, at nine years of age, the violoncello. At sixteen
he had made considerable progress, and the younger Cervetto, hearing
him play, undertook his gratuitous instruction, and brought him to the
South of England. Even at this age he had commenced to compose for
himself, and was sent for to take the place of the professor who was to
have played the violoncello solo at one of the Brighton concerts, and
who had been taken suddenly ill. Lindley’s performance was rapturously
applauded; he played Concertos at several subsequent concerts with the
same result, and was then engaged for the Theatre, frequently playing
before the Prince Regent.
In 1794 he succeeded Sperati at the Opera and was principal
Violoncellist at all the concerts of any importance in London. In the
following year began the intimacy with Dragonetti, the celebrated
double-bass player, which lasted for fifty-two years. Forster quotes
Chorley’s remark that “Nothing could be compared with the intimacy of
their mutual musical sympathy.” They played together at the same desk at
the Opera and every orchestral concert of any importance, and Lindley’s
performance of the accompaniment to Recitative from figured bass was
most “elaborate and ingenious.”
Concerning Lindley’s playing, he was probably the greatest violoncellist
of his time; he was distinguished for the beauty, richness, and extreme
purity of his tone, and his great technical skill was remarkable, though
probably in this and his manner of rendering he did not equal Romberg.
The story is well-known how, when Romberg, during his residence in
England, heard him play, and was asked by Salomon what he thought of his
performance, replied: “He is the devil.” He retired in 1851, and died
June 13, 1855.
His son, William, born in 1802, was also a violoncellist, and gave
promise of future excellence, but nervousness and delicate health
prevented his attaining to any great distinction, and he was compelled
to withdraw from public appearances.
Lindley is less remarkable as a composer. He wrote four Concertos, Duets
for Violin and Violoncello (Op. 5), Duos for two Violoncellos (Op. 6, 8,
10, and 27), Solos for Violoncello (Op. 9), and several Variations on
Airs, as well as Potpourris.
Amongst Lindley’s pupils, CHARLES LUCAS, born 1808, in Salisbury, was
the most remarkable. He received his first musical instruction as
chorister of the Cathedral, under Arthur Thomas Corfe, after which he
attended the Royal Academy of Music in London. In 1830 he was named
Composer and Violoncellist to Queen Adelaide, and performed the duties
of Organist at St. George’s Chapel. Two years later he was entrusted
with the duties of Orchestra Conductor at the Royal Academy of Music,
and succeeded Cipriani Potter as Principal in 1859. He had already taken
the place of his master, Lindley, as first Violoncellist of the Italian
Opera. He died on March 23, 1869, in London. His successor in the Opera
was the cellist, Collins.
To Lindley’s contemporaries must be added Cudmore, Crouch, and Powell.
RICHARD CUDMORE, born in 1787, at Chichester, in Sussex, practised not
only as cellist, but also as a violin player and pianist. The organist,
Forgett, of Chichester, was his first instructor, and from him he
learned the violin, acquiring such proficiency that at nine years of age
he played a solo at a concert in his native town. At ten years the elder
Reinagle was his master for the Cello, and a year after he appeared
again at a concert and played his own compositions. He then for two
years pursued his studies under Salomon’s guidance, in London, when he
returned to his native town, and remained there for the next nine years.
The desire of giving himself up anew to the study of the Piano drove
him again to London, where he subsequently appeared frequently as a
Pianist. He accomplished an artistic feat of a remarkable description in
Liverpool by appearing there at a concert, which he himself organised,
successively as Piano, Violin, and Violoncello performer. The solos
which he executed were by Kalkbrenner, Rode, and Cervetto. He was also
engaged as Director of the orchestra of the “Gentlemen’s Concerts,” in
Manchester, for some years. His diversity of talent was naturally an
impediment to his distinguishing himself specially in one department.
FREDERICK WILLIAM NICHOLLS CROUCH, best known as the author of the
popular air “Kathleen Mavourneen,” was born on July 31, 1808, at
Devizes. He studied under Bochsa and W. Hawes and at the Royal Academy,
under Lindley. He played the cello at Her Majesty’s Theatre, and was
appointed principal cellist at Drury Lane, as well as member of Queen
Adelaide’s band. He went to America with Maretzek, the German composer,
and has fallen into indigent circumstances “through all appearance by
unavoidable misfortune.” Besides numerous other compositions, “Songs of
Erin,” “Echoes of the Lakes,” &c., he produced a “Complete Treatise on
the Violoncello,” Lond., 1827.
THOMAS POWELL, born in 1776, in London, early devoted himself to music,
and studied, besides Violoncello playing, the piano and the harp. In
1805 he appeared with success in his native town as solo cellist,
in a Concerto which he had composed. He then established himself in
Dublin as a teacher of music. He devoted his leisure to composition
and earnest study of his instrument. His contemporaries considered him
equal to Romberg, though this was probably going somewhat too far, as
Powell’s name was scarcely known out of England, while Romberg, by his
performances, acquired a world-wide renown.
After several years’ residence in Dublin, Powell took up his permanent
abode in Edinburgh. His published compositions--amongst which is a
“Grand Duo” for Violin and Violoncello--belong for the most part to the
sphere of chamber music.
With regard to national English Violoncello playing, modern times have
not been more productive than the past. Three names come before us for
consideration--namely, Howell, Whitehouse, and Ould.
EDWARD HOWELL, born on February 5, 1846, in London, is a pupil of the
Royal Academy, and specially a pupil of Piatti’s. He belongs to the
Italian Opera as cellist, and since 1872 to Covent Garden Theatre.
Besides this he is Musician in Ordinary to the Queen, Member of the
Royal Academy of Music, and of the Philharmonic Society. He works as a
teacher at the Royal College of Music and at the Guildhall School. He
is for the most part at all the musical Festivals in London and in the
provinces, taking an active part.
WILLIAM EDWARD WHITEHOUSE was born on May 20, 1859, in London, and
received instruction at eleven years of age on the violin from
Adolphe Griesbach. At thirteen he showed a decided preference for
the violoncello and was placed for four years under Walter Pettit. In
1877 he was received into the Royal Academy of Music and studied under
Piatti and Pezze for the violoncello and Banister for harmony. He
has on various occasions gained prizes and medals, and, in 1882, was
appointed Assistant-Professor, and, in the following year, Professor
of the Royal Academy of Music. In 1883 he was elected Associate of the
same Institution and, in 1884, member of the Royal Society of Musicians.
He is also Professor of Cambridge University, of the Royal College of
Music, of King’s College, London, and Manchester New College of Music
under Sir Charles Hallé. During Piatti’s absence Mr. Whitehouse has
frequently taken his place at the Saturday and Monday Popular Concerts
and has for some years been connected with Josef Ludwig’s annual series
of chamber concerts. The instrument on which Whitehouse plays is one of
the finest specimens of Francisco Ruggierius.
CHARLES OULD, born at Romford, in Essex, came as quite a child to
London, where he has remained ever since. Until he was sixteen years of
age he practised flute playing and singing; but the wind instrument was
abandoned for the Violoncello. He received his first instruction from
a member of the orchestra of the Italian Opera in London. A few years
later the Belgian cellist, Paque, was his master. Ould is Musician in
Ordinary to Her Majesty, and also works as first Cellist at the Richter
Concerts, as well as at all concerts of any importance.
* * * * *
SCANDINAVIA has, up to the present, only produced a very modest number
of noteworthy Violoncellists, and these belong exclusively to modern
times. It must, indeed, not be overlooked that the serious encouragement
of instrumental music was taken up much later in the North than in
Italy, Germany, and France. Denmark set a good example to her Northern
neighbours, Sweden and Norway. The middle of the last century produced a
noteworthy Violin player, who belonged to the Royal band in Copenhagen.
About the same period there was no lack of able Cellists. But their
names did not attain to any great publicity. This was the case with
CHRISTIAN KELLERMAN. He is a native of Randers, in Jutland, and was born
on January 27, 1815. It was his father’s wish that he should devote
himself to commerce, but in this he was disappointed. Young Kellerman
had inclinations for Art and, in order to gratify them, he went, in his
fifteenth year, to Merk, in Vienna, whose pupil he was from 1830-1835.
After having finished his studies he was heard with success in Vienna
and visited with good result the other large cities of Austria and
Hungary. In the year 1837 he gave concerts at St. Petersburg. Further
tours increased his reputation and, after his return, he was summoned
to be first Violoncellist in the Royal Danish orchestra. During the
year 1861 he made a journey which led him into Upper Italy and then to
Germany, where he remained until 1864. In Mayence he was, unfortunately,
stricken with paralysis. He was, indeed, able to return again in a
helpless condition to Copenhagen, but he died there two years after, on
December 3, 1866. Kellerman composed a few things for his instrument,
but nothing of much importance. His successor was F. RAUCH, whose pupil,
RÜDINGER, filled the place of first Violoncellist in the Copenhagen
Band.
FRITZ ALBERT CHRISTIAN RÜDINGER was born in 1838 at Copenhagen. After
he had gone through a preparatory course under Rauch, he received an
appointment in the Royal Orchestra, but two years later he went to
Dresden, to F. Grützmacher, whose pupil he was for some time. Having
returned home, he again filled his former place as chamber musician,
from which he was transferred, in 1874, to be first Cellist. He at the
same time accepted the Professorship at the Copenhagen Conservatoire and
he also takes part in the regular concerts and chamber music soirées of
his birthplace.
Next to Rüdinger, SIEGFRIED NEBELONG must be mentioned as a Scandinavian
artist. He went as a boy of five to Copenhagen, and later received his
training as Cellist from Friedrich Grützmacher, in Dresden.