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 Chevillard121 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 Schröder123; 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.
VI.—FRANCE, BELGIUM, AND HOLLAND
The prominent position which the French attained in respect to Violoncello playing in the second half of the last century was maintained by them subsequently. They exercised, however, with few exceptions, no real influence in Germany after the period signalised by Romberg’s appearance. On the contrary, this master influenced in a certain way French Cello playing, as appears from a remark in Baudiot’s school, mentioned on page 104, that Romberg had introduced the use of the fourth finger in the thumb position. The sign Ϙ, by which Romberg denoted the thumb position, also was adopted in France, where, as in other places, it had been necessary until then to use a variety of indications for it. In other respects the aim of the French Violoncellists greatly inclined in the virtuoso direction, as was the case with regard to violin playing, whereas in Germany greater stress was laid on the more solidly musical aspect, without neglecting the virtuoso side.
Taking up the thread again from the preceding section with France, the first to be mentioned is
Auguste Franchomme. This artist, who belongs to the most important masters of his department, was born at Lille on April 10, 1808, and learnt the first elements of his instrument from a mediocre teacher of his native town, whose name was Mas. In 1825 he went to the Paris Conservatoire as pupil of Levasseur, and, after the latter retired from his professorship, Norblin undertook his further instruction. Franchomme’s great talent developed so rapidly, under the guidance of these two masters, that immediately, during the first year of his attendance at the Conservatoire, he gained the first prize at the musical competition of the pupils of the establishment. He understood how to extract from the instrument a full, sympathetic tone, and possessed with an extraordinary intonation the rare gift of an expressive and tasteful reading. He specially distinguished himself by a charming Cantilena. It is easily understood that on his public appearances he always aroused the greatest enthusiasm.
Franchomme filled various places successively in Paris. He at first belonged, during the years 1825 and 1826, to the orchestra of the Theatre “Ambigüe-Comique.” He then went over, in 1827, to the “Grand Opéra,” but remained there only one year. He belonged for a longer period to the Italian Opera, but he relinquished this position after a few years. Instead, he established regular quartet evenings with the famous violinist, Delphin Alard; and in 1846 he undertook the Cello instruction at the Paris Conservatoire. He died on January 21 or 22, 1884. His compositions, consisting of a Concerto, Nocturnes, Etudes, Variations, and a variety of smaller Drawing-room pieces, have still some value for cello players. His best productions are the Twelve Caprices (Op. 7), which for pieces of that kind have every claim to consideration.
The best known pupils of Franchomme are Vidal (the younger), Jacquard, and Barbot.
Louis Antoine Vidal, born at Rouen on July 10, 1820, devoted himself by preference to the literary branch of music after he had finished his Cello studies. By his valuable work, “Les instruments à archet,” he attained to a prominent position among the French writers on music of modern times.
The younger Jacquard, whose Christian name was Louis Auguste, born on December 26, 1832, at Pont-le-Roy, so distinguished himself as a scholar of the Paris Conservatoire, that he gained in 1850 the second, and in 1852 the first prize. He is a permanent member of the Orchestra of the Conservatoire Concerts.
Jean François Barbot, born in 1847 at Toulouse, settled down in his native town after he had completed his studies at the Paris Conservatoire, and is still at the present time working there at his profession as an artist. Other modern French cellists are—Battanchon, Seligmann, Dancla, Lebouc, and Jacquard the elder. They were all Norblin’s pupils.126
Felix Battanchon, born on April 9, 1814, in Paris, frequented the Conservatoire of his native town, and studied there under Vaslin and Norblin, who turned him out as a clever Cellist. After he had worked in various ways as a solo player, he was appointed in 1840 to the orchestra at the Grand Opéra. His compositions consist of Etudes, which are fully adapted to the object in view and of which several books have been published; Caprices, Duets, Trios (for three Violoncellos), and light pieces of various kinds. His Op. 4, which contains twenty-four Studies, has been introduced into the Paris Conservatoire.
Hippolyte Prosper Seligmann, whose name suggests a German origin, was born on July 28, 1817, in Paris, entered the Conservatoire there on December 2, 1829, and had Norblin as his master for the Violoncello, and Halévy for Composition. In 1834 he received the second prize and, two years later, the first prize. After he left the Conservatoire, in the middle of 1838, he played a great deal in public, and in course of time made concert tours through Southern France, Italy, Spain, Belgium, and Germany. For the beauty of his tone he is indebted to a valuable Amati Cello of large size. As a composer, Seligmann only cultivated the lighter kind of music. His Violoncello pieces are no longer used in solo playing.
Arnaud Dancla, born January 1, 1820, at Bagnères-de-Bigorre, was likewise Norblin’s pupil at the Paris Conservatoire. He was dismissed, in 1840, with the first prize. Dancla distinguished himself especially as a quartet player. In Cello compositions, he published Etudes (Op. 2), two books of Duets, a “Fantasia” on Themes from Auber’s “Sirène,” “Melodies,” and a Cello School, “Le Violoncelliste moderne.”
Charles Joseph Lebouc, born on December 22, 1822, at Besançon, attended the Conservatoire in Paris, and at first had Vaslin as his teacher for a short time, but subsequently Norblin. He also distinguished himself in playing chamber music. Besides some pieces for Violoncello, with piano accompaniment, he composed a “Methode complète et pratique de Violoncelle.”
Leon Jean Jacquard, the elder, born on November 3, 1826, in Paris, passed his youth at Pont-le-Roy, near Blois. Hus-Desforges had retired thither, and from him Jacquard received his first cello instruction. When Hus-Desforges died, at the beginning of 1838, a certain Levacq undertook the further direction of Jacquard, until he went to Paris to attend the Conservatoire. Here he was in Norblin’s classes. He so distinguished himself amongst his fellow scholars that he received, in 1842, the second prize, and, in 1844, the first.
Jacquard enjoyed the reputation of a virtuoso-trained player. He was, however, much appreciated as a member of the orchestra of the Conservatoire Concerts, as well as of the chamber music concerts instituted by the violinist, Armingaud, in which also the violinist, Mas, and the tenor, Sabatier, took part. It is a proof of his extraordinary ability, that in 1877 he was appointed teacher in that institution as Chevillard’s successor, whose pupil he had been. Nine years later (March 27, 1886) death summoned him away.
Jacques Offenbach, the creator of the Stage productions which are known by the name of “Bouffes Parisiens,” was born on June 21, 1819, at Cologne, and occupied himself zealously with Violoncello playing in his younger years. Partly to make himself more widely known, and partly to perfect himself on his instrument, he went to Paris in 1842, and shared for a time the instruction of the Vaslin Classes in the Conservatoire. His efforts, however, to succeed as a Cellist were in vain; according to the opinion of Fétis, because his bowing was inefficient. In fact, he only succeeded in assisting in the orchestra of the Comic Opera. This occupation did not please him for any length of time; he withdrew and undertook the office, in 1847, of Chef d’Orchestre at the Théâtre Français. But Offenbach cherished more extensive plans, which aimed at becoming a composer for the theatre. It is known that he successfully attained to this, though not in the way of gaining a very high reputation. Here, however, we are considering Offenbach solely as a Violoncellist. Although he did not perform as such in any very extraordinary manner, yet he possesses claims to be noticed in this place, because he wrote a number of Cello compositions which gained a certain amount of favour. Besides some light pieces he composed a considerable list of Duets.
Auguste Tolbecque, whose father was a distinguished pupil of Rudolphe Kreutzer in violin playing, was born on March 30, 1830, in Paris, and went in his eleventh year to the Conservatoire as a pupil of Vaslin. In 1849 he obtained the first prize. Since 1858 he has been living and working at Niort, the chief town of the Department Deux-Sèvres.
Two other French cellists are Lasserre and Boubée.
Jules Lasserre, born on July 29, 1838, at Tarbes, went from 1852-1855 to the Paris Conservatoire, and was dismissed from there with the first prize. He then successfully undertook journeys in France and Spain. In 1869 he settled down in London as his permanent residence, and became first Cellist in the “Musical Union” as well as in Costa’s Orchestra. He wrote several things for his instrument.
Albert Boubée, born in 1850, at Naples, was originally destined for commerce, and failing to persevere in this, it was intended he should devote himself to teaching. But neither in this could he succeed, and Boubée finally decided for the musical profession. The enthusiasm excited in him by his cello teacher, Gaetano Ciandelli, and later on by Servais and Piatti’s playing, really induced him to pursue the study of music. In 1867 Boubée chose London as his residence, where since then he has become completely naturalised, though from time to time he has accepted engagements abroad. He worked on several occasions with the orchestras at Spa and Scarborough, and travelled in Sweden, Norway, and Denmark as a concert player, but he devotes himself chiefly to the sphere of work which he has made for himself in the English capital. Of his Cello compositions, which consist of several solo pieces, the best known in England is “La Gymnastique du Violoncelliste.”
France possessed also a Violoncello virtuosa of reputation about the middle of the century in Lisa B. Cristiani, whose name really points to an Italian descent. She played with delicate intonation charming little pieces, pleasantly and gracefully, and performed them on her journeys through Germany and Denmark to Russia, and also on October 18, 1845, at Leipsic. The general approbation which was everywhere lavished upon her was substantially increased by her beautiful and imposing appearance. Felix Mendelssohn considered it worth while to accompany her performances on the piano at her Leipsic Concert, and to compose a “Song without Words” for her. She was appointed Chamber Virtuosa by the King of Denmark. In 1853 she died at Tobolsk, of cholera. She was born at Paris, on December 24, 1827.
At the present time the best French cellists are: Jules Delsart, Rabaud (both teachers at the Paris Conservatoire), Liègeois, Loeb, and Becker. Information regarding them is lacking up to the present time.