IGNAZ MARA, born about 1721 in Deutschbrod. He united to a fine
intonation an execution full of expression. In 1742 he went to
Berlin, was there married, and was received, apparently through the
recommendation of his countryman, the Concertmaster, Franz Benda,
into the Royal band, to which he belonged for more than thirty years.
Mara died in Berlin in 1783. Of his Cello compositions, consisting of
Concertos, several solo pieces and Duets, nothing has been printed.
His son, JOHANN BAPTIST, was more widely known. This was not due to his
artistic endowments only, but to the dissipated wild life into which
he fell from middle age in consequence of intemperate habits. Endowed
with extraordinary musical talent, under the guidance of his father, he
developed, during a proportionately short time, into such an excellent
Cellist that Prince Henry of Prussia named him Chamber Musician. As
he possessed a talent for mimicry, he had also to assist on the stage
at the theatrical representations which took place in the Castle of
Rheinsberg, inhabited by the Prince.
Mara was born on July 20, 1744. In the year 1773 he married the
celebrated singer, Elizabeth Schmeling, who, at that time, belonged to
the Berlin Opera. He made use of the large sums paid to his wife to
gratify his passions, which led to many disasters and to matrimonial
disturbances. Besides this he contracted debts. These irregularities
increased to such an extent that his creditors were called together
against him by the supreme court. As he had otherwise incurred the
king’s displeasure, he resolved, in agreement with his wife, to get
away secretly by night, but the attempted flight of the married couple
was stopped, and Mara condemned to imprisonment. After he had again
been set at liberty by the intercession of his wife, he succeeded once
more, in 1780, in escaping with her, to avoid the tyranny of the King.
They took the road by Vienna and Paris to London, where they arrived
in 1784. During the year 1788-1789, they travelled in Italy, returned
to London in 1790, went from thence to Venice, and then lived in London
until 1792, where Frau Mara, wearied with the restless, wandering life
of her husband, finally separated from him in 1799. Mara now returned
to Berlin, but fell into straitened circumstances from having become
unaccustomed to work and having neglected his art. He appeared, however,
at one concert and then went to Sondershausen, where Gerber heard him,
the author of the well-known Musical Lexicon, who said of him that he
so finely rendered his Adagio, no orchestra need be ashamed of his
playing; “and if, so continues Gerber, any one of his tones was out of
tune, it was not the fault of his handling, but the bad and unequal
stringing of his instrument. Perhaps his show pieces deserved less
credit, which, however, appeared to be entirely in accordance with the
taste of forty years ago. In other ways he conducted himself, while he
was there, as a serious, accomplished, and thoroughly educated man, and
gave not the slightest sign of inclination to intemperance. But he was
in needy circumstances, and although his noble-minded wife had been
frightfully disgusted at what she had suffered from him, yet in spite
of this he was, from time to time, supplied by her with considerable
sums of money.” Mara’s end was a sad one. He went, as Gerber further
says, to Holland, where “his unhappy inclination for drink so gained
the upper hand, that after having lost all sense of honour, he used
to play for dancing, day and night, in sailors’ inns and miserable
beer-houses, until at last, in the summer of 1808, at Schiedam, near
Rotterdam, death set him free from this wretched life.” The Violoncello
compositions of Mara, which consist of two Concertos, twelve Solos with
Bass accompaniment, a Duet with Violin, and a Sonata with Bass, remained
unpublished.
The Bohemian, JOSEPH ZYKA,[139] was about twenty years older than Jos.
Baptist Mara. He received his education as Violoncellist at Prague, and
belonged, from 1743-1764, to the Electoral band in Dresden. He then went
with his son FREIDERICH, who was likewise a good cellist, as chamber
musician to Berlin, where, according to Fétis, in 1791, he died; but,
according to Fürstenau, at the beginning of our century. He is said to
have left behind him, in manuscript, several Concertos.
JOHANN HETTISCH is distinguished as a remarkable Violoncellist. Born
in 1748, in the Bohemian town Liblin, he was educated at the Piaristi
College at Schlan, and then went to Prague in order to train as a
musician. There he still was in the year 1772. Later, and indeed in
1788, he was, as Gerber asserts, employed at Lemberg in the Imperial
civil service, from which it appears that in the flower of his age he
had abandoned the practice of Art as a vocation. His playing seems to
have been distinguished especially for its rich tone. According to
Fétis, he left several Concertos and Cello Solos in manuscript.
The Catholic priest, FRANZ MENSI, born on March 27, 1753, at Bistra,
where his father was tutor to Count Hohenems, early occupied himself
with music, and when his parents went to Prague he became Joseph
Reicha’s pupil for Violoncello playing while Cajetan Vogel instructed
him in theory. Mensi also played the Violin. On both instruments he was
considered clever, and not less so in composition. Some of his works,
which consist of church music, Symphonies, and Quartets, are said to be
preserved in the convent at Strahow. In the year 1808, Mensi was still
living and working as curé at Pher. He also had some pupils, amongst
these were JOH. BRODECZKY, WENZEL CZIŽEK, and Count SPORK.
J. STIASTNY (Stiasny) should be mentioned as one of the most
distinguished Bohemian Cellists. He was born in Bohemia (according
to Fétis at Prague) in 1774. The information regarding his education
and his life are very limited. He is said to have been in the Prague
Orchestra in 1800. On the title-page of his Op. 3, consisting of a
Divertimento for Violoncello, he describes himself as Violoncellist
to the Grand Duke at Frankfort. As the brief existence of the Grand
Duchy of Frankfort, of which the Regent was Prince Primate of Dalberg,
occurred within the years 1810-1814, there can scarcely be a doubt
that Stiastny resided at Frankfort during that time. Later, about
1820, he bore the title of “Musical Director of Nuremberg,” and in
that year lived at Mannheim. He appears to have gone from there to
Great Britain, for many of his later works--as, for example, the “Trois
Duos Concertans” (Op. 8) and the “Six pièces faciles” (Op. 9)--are
dedicated to Englishmen. Amongst these compositions the Concertino
(Op. 7), dedicated to Robert Lindley, may be favourably distinguished
from similar productions among the Cello compositions at that period.
The remaining Cello pieces of J. Stiastny, which consist of Variations
(Op. 10), Rondo and Variations (Op. 12), two Sonatas with Bass (Op.
2), twelve light pieces for two Cellos (Op. 4), six similar ones (Op.
5), three Concerted Duos (Op. 6), and Six Solos with Bass (Op. 11)
are qualified to be placed amongst the best productions of the older
Cello literature, as they contained effects which for that period were
entirely novel.
Amongst Stiastny’s pupils, JOSEPH VALENTIN DONT was remarkable for his
performances as quartet and orchestra player. Born on April 15, 1776, at
Nieder-Georgenthal, in Bohemia, he received instructions from Stiastny
in Prague, where he attended the school. In the year 1804 he was
enrolled into the opera orchestra of the Vienna Kärnthnerthor Theatre,
from which he was transferred to the Burg Theatre orchestra in 1828.
On December 14, 1833, he died. His son, named Jacob, is the Viennese
violinist, who died on November 18, 1888, and who was well known by the
publication of his excellent practical works for the Violin.
Stiastny’s elder brother, BERNHARD WENCESLAUS, born at Prague, 1770,
was also a Violoncellist, and was employed as first performer of his
instrument in the orchestra of the Prague Theatre. Six Sonatas for
two Violoncellos, and two instruction works were published by him.
The first, entitled “Il maëstro e lo scolare, 8 imitazioni e 6 pezzi
con fughe per due violoncelli”; the other is a cello school, entitled
“Méthode de Violoncelle,” in two parts. This school is carefully worked
out, though somewhat too elaborately, and yet not exhaustively; for the
complicated technique of cello playing, especially as regards the thumb
position, has not received adequate consideration.
Among the younger Bohemian cellists, WLADISLAW ALOIS is distinguished,
who was born June 15, 1860, at Prague, and received his artistic
education at the Conservatoire there. At the end of 1878 he went to
Kiev, where he gave instruction in the Institute of Music of the Musical
Society on the Violoncello and Piano. In this place he remained for
seven years. Since September, 1887, he has been occupied as Solo Cellist
at the Imperial Theatre, as well as at the Conservatoire in Warsaw.
* * * * *
The Poles have produced a longer list of violoncellists. They began with
FRANZ XAVER WOCZITKA, a most distinguished artist in his department,
who was born in Vienna about 1730. In 1756 he entered the service
of the Court of Mecklenburg-Schwerin. He was subsequently member of
the Electoral band at Munich, where he died. He left behind him in
manuscript Concertos and Sonatas for Violoncello, which were highly
prized in their time.
NICOL ZYGMANTOWSKI, born in 1770, in Poland. Gerber asserts that
already, as a child of six years and nine months, he attracted the
admiration of all who were witnesses of his artistic proficiency; he
died young. The Polish Count Oginski,[140] who was formerly much noted
as a composer of Polonaises, says in his “Lettres sur la Musique,” that
he had heard Zygmantowski when he was twelve years old, and adds that he
possessed a wonderful talent.
ANTON HEINRICH RADZIWILL, Count of Otyka and Nieswicz, born on June
13, 1775, in the Grand Duchy of Posen, had a great musical talent,
and was not only an agreeable Violoncellist but also a Composer. In
the latter capacity he was extensively known through his music to
Goethe’s “Faust.” For the Violoncello he published only one work,
“Complainte de Marie Stuart,” with Piano accompaniment. The remainder
of his published compositions consist of vocal pieces, of which one is
arranged with guitar and cello accompaniment. He was appointed by the
King of Prussia, in 1815, Governor of the Grand Duchy of Posen, and
died in this prominent position on April 7, 1833. He spent a part of
the year generally at Berlin. His house there was the centre of artist
celebrities.
KORCZMIET, properly KALTSCHMIDT, of German descent, an accomplished
virtuoso player, lived and worked, from 1811 to 1817, at Wilna. He had
in his possession a magnificent Stradivarius Cello, which had formerly
belonged to Count Michael Wielhorsky. This instrument is now in the
possession of Davidoff. There are no more particulars extant concerning
Korczmiet.
ADAM HERMANN, born in 1800, at Warsaw, likewise of German descent, was
member of the Imperial Opera orchestra, and teacher at the Conservatoire
at Warsaw, where, about 1875, he died. During the years 1830-1875 he
formed a great number of pupils, of whom, besides his son ADAM, only
KOMOROWSKI, THALGRÜN, MONIUSZKO, and KONTSKI will be mentioned.
ADAM HERMANN, the son, who changed his name into the Polish form of
HERMANOWSKI, was born at Warsaw in 1836, received the first Cello
instruction from his father, and in 1852 attended the Brussels
Conservatoire for further training as a pupil of Servais. Dismissed
from there after two years with the first prize, he returned home and
undertook successful tours in Poland and Russia. He is at present living
in the most absolute retirement at Warsaw.
IGNAZ KOMOROWSKI, born on February 24, 1824, at Warsaw, belonged for
many years to the theatre orchestra there, after which he benefited by
the instruction of Adam Hermann, the father. As a composer he attained
great popularity in his native land by his charming songs, full of
poetical sentiment. He died on October 14, 1857.
STANISLAUS THALGRÜN, of German descent, was born on August 16, 1843, at
Warsaw, and is member of the theatre orchestra in his own country.
BOLESLAW MONIUSZKO, born on October 25, 1845, son of the well-known
Polish composer Moniuszko, belongs at the present time to the Warsaw
Theatre orchestra.
Finally, SIGISMUND KONTSKI settled in St. Petersburg, after having
finished his training under Hermann.
In chronological order, after Hermann (senior), follows SAMUEL
KOSSOWSKI, born in Galicia in 1805. He was almost entirely self-taught
and, notwithstanding, reached a high degree as a virtuoso on the
Violoncello. During the years 1842-1852 he performed at concerts, with
success, in Vienna, Berlin, Warsaw, Kiev, &c. He died in 1851 at Kobryn,
in the province of Grodno.
JOSEPH SZABLINSKI, born on June 18, 1809, at Warsaw, was employed as
first Cellist at the Imperial Theatre for more than forty years. He
was distinguished for his fine tone and pure musical rendering. He was
especially famous as a quartet player.
STANISLAUS SZCZEPANOWSKI, born, 1814, at Cracow, was so accomplished
as a Violoncello and Guitar player that during the year 1839 he was
able to present himself as a Concert-giver with unusual success on both
instruments in France and England. He was also favourably heard in
Berlin. He died in 1875.
MORITZ KARASOWSKI, born on September 22,[141] 1823, at Warsaw, was a
pupil of Valentin Kratzer, at that time director of music there, for
Violoncello and Piano playing, and was, in 1852, member of the Warsaw
Theatre orchestra. In the years 1858 and 1860 he travelled for the sake
of study and visited Berlin, Vienna, Dresden, Munich, Cologne, and
Paris. Since 1864 he has belonged to the Dresden band as Royal Chamber
Musician. Besides some compositions for the voice and Violoncello with
piano accompaniment, of which “Rêverie du soir,” a Nocturne, and an
Elegy are the most important, he published several books in the Polish
language--as, for example: “A History of the Polish Opera” (1859),
“Haydn’s and Mozart’s Life” (1860 and 1868), “Chopin’s Youth” (Part
I. in 1862, Part II. in 1869), and Biographical Sketches of Robert
Schumann, Franz Liszt, and Edmund Kretschmer. His most important work
in musical literature is “Friedrich Chopin: his Life, his Works, and his
Letters.” A German translation of the latter appeared in 1877 which went
through two revised and enlarged editions.
JOHANN KARLOWICZ, born on May 28, 1836, in Lithuania, received his
training as Cellist from Julius Lyko in Wilna, Göbella in Moscow,
Sebastian Lee, finally from Servais also in Brussels. For some years he
assisted in the instruction at Warsaw Conservatoire. In his native land
Karlowicz enjoys the reputation of a learned linguist.
JOSEPH ADAMOWSKI, born in 1862 in Warsaw, perfected his studies--after
he had attended the music school in his native city for some time--under
Fitzenhagen, at the Moscow Conservatoire, in the years 1877-1883. On his
leaving he was distinguished by the presentation of a diploma and of the
great silver medal. After he had made some Concert journeys in Poland
and Galicia, he was appointed teacher at the Cracow Conservatoire, to
which he belonged until 1887. Since then he has been without a post and
is only engaged as a Concert player. Adamowski has the reputation of
being a clever Violoncellist.
* * * * *
Of Hungarian Violoncellists, only Kletzer and Hegyesi have made
themselves known beyond their own country.
FERY KLETZER, born in 1830 in Hungary, travelled during his sixteenth
year giving concerts. His performances showed more than ordinary
talent, but were wanting in the higher artistic training. He attained,
however, to a certain reputation, as his name was at the time frequently
mentioned in the newspapers. Since then he has disappeared from public
life.
LOUIS HEGYESI holds a much higher position. He was born on November
3, 1853, at Arpas; at eight years of age he went to Vienna, and there
received his first instruction from the Violoncellist, Denis. Later
on, he was received into the Vienna Conservatoire and thus became
Schlesinger’s pupil. In order still further to prosecute his training he
went, in 1865, to Franchomme in Paris. The outbreak of the Franco-German
war obliged him, in the summer of 1870, to return to Vienna, where he
found a post in the orchestra of the Grand Opera. Five years later he
took Hilpert’s place in the Florentine Quartet, to which he belonged
until it was dissolved. From that time Hegyesi has travelled as a
soloist. In 1887 he responded to an invitation to Cologne as first
Cellist of the Gürzenich Concerts and teacher at the Rhenish School of
Music.