The Violoncello was brought to Russia, as already pointed out (p. 67),
by means of the Duke of Holstein-Gottorp’s private band. Joh. Adam
Hiller’s _Wöchentliche Nachrichten die Musikbetreffend_ of May 21, 1770,
contains the following: “When the Duke Carl Ulrich of Holstein-Gottorp
(Peter the Great’s future son-in-law) fled to the Russian Imperial
Court, during the distressed condition of his country, in the year
1720, he conveyed with him the members of his small private band. It
consisted of about a dozen German well-trained musicians, of whom the
most famous were two brothers, Hübner--the one was Kapellmeister and
the other Concertmeister. The selection of music, until then unheard in
Russia, consisted of Sonatas, Solos, Trios, and Concertos, by Telemann,
Keiser, Heinichen, Schulz, Fuchs, and other famous Germans of the time,
as well as by Corelli, Tartini, Porpora, and various Italian composers;
but the instruments were a Piano, some Violins, besides a Viol d’Amore,
an Alto, a Violoncello or Bassetto, a Contra-Basso, or great Bass
Violin, a couple of Hautboys, a couple of German Flutes, two French
Horns, two Trumpets, and Kettle Drums. Peter the Great was not only very
often present at these ducal chamber concerts, but almost every week
had them to play once at his Court. This music, therefore, met with
general approbation, as it appeared to distinguished Russians more novel
and more agreeable, when compared with other music, than any they had
hitherto heard.... From that time many Russians offered themselves to
be taught by these German musicians, in order to study music on various
instruments. The Emperor Peter II. also took lessons on the Violoncello,
from the clever master of that instrument, Riedel, a Silesian, who was
also a good fencing master, and instructed the young Emperor likewise in
that knightly art.”
During the life of the Empress Anna, the chamber music once introduced
into the Russian Court was retained there, and in the absence of
national artists was strengthened by drawing into it foreign talent.
King August II. of Poland also contributed to this by giving up
“some Italian virtuosi from his superfluity.” Amongst these was the
Violoncellist, GASPARO. Later on GIUSEPPE DALL’OGLIO, from Padua, was
attracted to the Russian Court. In the place of this artist--who, in
1763, after a twenty years’ service took his leave in order to return
home--came the Italian, CICIO POLLIARI. To this period belongs the first
Russian Violoncellist, named CHORSCHEVSKY, who received a place in the
Imperial band. Up to the present, however, in regard to the Violoncello,
and especially with respect to orchestral instruments, Russia has
remained mainly dependent for supply from abroad. Nevertheless, since
the middle of last century, the Cello has been cultivated with success
by some Russian amateurs. Their names are--Prince TRUBETZKOI, Baron
STROGANOW, and more recently Count MATTHEW WIELHORSKI. The latter,
a pupil of Bernhard Romberg, specially distinguished himself by his
performances. One of his nephews also, Count JOSEPH WIELHORSKI, who,
with his talented brother MICHAEL, a pupil of Kieseweter and Romberg,
lived in Moscow, played uncommonly well both the Violoncello and the
Piano. Robert Schumann, who in 1844, during his residence in the
Kremlin, had intercourse with both Counts, expressed himself most
enthusiastically in a letter to Fr. Wieck concerning Michael Wielhorski,
declaring he was the most highly gifted dilettante he had ever met
with.[137] MICHAEL WIELHORSKI was born in Volhynia in 1787, and died in
1856. The Wielhorski family was of Polish descent, and took up their
residence in Russia after the third division of Poland.
At the present time amongst Russian amateurs who play the Violoncello,
Prince TENISCHEFF and the Senator MARKEWITSCH are distinguished; the
Grand Duke CONSTANTINE NIKOLAJEWITSCH also, a pupil of J. Seifert
already mentioned, is a zealous Violoncello player.