During the second half of the last century the art of violoncello playing had already very extensively spread throughout Germany and had many more noteworthy representatives than in Italy and France. In the latter country the higher pursuit of music was confined chiefly to Paris, and in Italy, as we have already remarked in a previous paragraph, the opera was most decidedly in the foreground, while there was no great demand for instrumental music. On the contrary, Germany called out more instrumental vigour in order to satisfy the need of good musicians for the numberless Courts. According to Gottlieb Friedrich Krebel’s European genealogical handbook of the year 1770, there were, including the Romaic-German Emperor and the King of Prussia, over two hundred secular and spiritual princes and sovereign counts, the greater number of whom supported Kapelle (bands) or at least chamber music. These persons considered it of utmost importance to have about them not only good violin and wind instrument players, but also capable violoncellists, and consequently more talented young men devoted themselves in Germany to instrumental music, and especially to violoncello playing, than elsewhere.
We have already seen that the introduction of the Violoncello from Italy to Germany was by way of Vienna. At least, up to the present time, there are no proofs that the appreciation of this instrument and its reception into the orchestra had taken place sooner in other German places than in the Austrian capital. There was an eager demand for music from the reign of Maximilian I., to which the musical inclinations of the Imperial family contributed. Maximilian II., Ferdinand III., Leopold I., Charles VI., Francis I., and Joseph II., each in his own way, presented to the inhabitants of Vienna a good example as regarded the encouragement of music. Already several decades before the birth of the last-mentioned prince, who himself played the violoncello, this instrument had been naturalised in Vienna as an orchestral instrument. Under his reign, after the advent of Franciscello, whose performances gave an impulse to emulation, Vienna was already in possession of some remarkable solo cellists. To them belong the two Schindlökers and Joseph Weigl, who have already been mentioned, as well as Johann Hoffmann, member of the Court band, Marteau, Hauer, and Küffel;75 somewhat later followed the cellists Cajetan, Gottlieb, Scheidl, and Hauschka.
Nothing is known concerning Scheidl. We have more information regarding Vincenz Hauschka, who was born on January 21, 1766, at Mies, in Bohemia, and died in Vienna, 1840. He received his first musical education as choirboy in the Prague Cathedral. After six years’ study he devoted himself to violoncello playing, in which the Bohemian, Christ, instructed him for a short time. He eventually studied independently. At sixteen he had made such progress that he found a place in the Kapelle of Count Thun. Two years later he was released from this engagement by the death of his benefactor. Hauschka then undertook a tour in Germany. In 1792 he appeared in Vienna, where he gained everywhere applause by his performances. Later, a situation was offered to him in the Imperial State service. From that time he made no professional use of his art. But he did not quite abandon it, as he took part in the foundation of the “Society of the Friends of Music,” or “Gesellschaft der Musikfreunde,” as well as the “Concert Spirituel,” and was occupied also in both these musical institutions which were of such importance to musical life in Vienna.
The Dresden Hofkapelle possessed, in the second half of the last century, two noteworthy cellists, Heinrich Megelin and Calmus. The first, according to Gerber’s testimony, was counted amongst the cleverest players of his instrument. Calmus belonged, in 1797, to the orchestra of the Altona “National Orchestra,” and was then a highly reputed member of the Hofkapelle at Dresden, where he died January, 1809.
In Berlin the violoncello first came to be appreciated at its due value through Frederick William II. It is true it had been already well represented under Frederick the Great, in the Court band, by Graul76 and the two cellists Mara (father and son), to be mentioned elsewhere; but that great monarch, whose favourite instrument was the flute, does not appear to have thought much of the violoncello, which he feigned to allude to as the “nasal instrument,” an expression which might have been bestowed formerly on the gamba.
His nephew, Frederick William II., liked the violoncello, and well understood how to handle it. He appears to have played the gamba in his younger days, for it is reported that the gambist Hesse77 first taught him, though this instruction might also have referred to the violoncello, which many gambists took up at the same time. Later on the cellist Graziani was master to the Prussian heir to the throne. But when Duport the elder came to Berlin, in 1773, Graziani was dismissed in favour of him. The future king, Frederick William II., must have played with taste and readiness. It is well known that Beethoven dedicated to him his two Cello Sonatas (Op. 5).
Amongst the cellists who belonged to the Berlin Chapel towards the end of the last century must be mentioned—
Johann George Fleischmann, a skilful player, who was at first in the service of the Duke of Courland, but afterwards went to Berlin. In 1792 he followed the king, on his expedition against the French, as his accompanist.
A second cellist, who worked at the same time in the Berlin Kapelle, was S. L. Friedel.
As a pupil of Duport the younger, Heinrich Grosse, born at Berlin, is distinguished. In 1798 he joined the Royal band.
The elder Duport78 educated the cellist O. F. G. Hansmann, who was born at Potsdam on May 30, 1769, and was engaged at fifteen years of age in the Berlin Kapelle. In 1790 he undertook the post of Choir-director at the opera. He appears to have quite given up his work as Kapellmeister when, in 1809, the place of Organist at the Church of St. Peter, at Berlin, was given to him. He continued in the service of the church until the year 1833, when he was appointed Royal Accountant. Three years later, on May 4, 1836, death called him away.
Finally, the Berlin Kapelle possessed, in Herbig, a pupil of the younger Mara.
At the Court of Mecklenberg, in 1785, Franz Xaver Huber, born in the little Bavarian town of Öttingen, was working as a much esteemed violoncellist.
In the Brunswick Kapelle was A. W. F. Matern, after the middle of the last century a player of some repute, who brought up his two sons as cellists.
Hanover was represented by the brothers Friedrich Ernst and Philipp Friedrich Beneke. Both belonged to the Elector’s Court and Chamber Music Society.
The Hofkapelle at Dessau possessed, in Joh. Christoph Bischoff, born in 1748 at Erfurt, a very fair violoncellist.
As one of the most creditable cellists of the second half of the last century, Joh. Conrad Schlick must be mentioned. He is said to have been born at Münster in 1759, and died at Gotha in 1825, where he was established for more than forty years with the title of Concertmaster of the Ducal band, after he had, about 1776, belonged to the Episcopal Chapel at Münster. In the year 1785 he married the very celebrated violin virtuoso, Regina Strinasacchi, with whom he was engaged, in the winter of 1799-1800, as solo player at the Leipsic Gewandhaus.
Schlick had a gifted pupil in J. G. Hemmerlein, born at Bamberg, who held the post of Concertmaster to the Elector Bishop of Fulda at the end of last century.
At the same time with Schlick, Johann David Scheidler, born in 1748, died on October 20, 1802, was employed as a much-liked violoncellist in the Gotha Kapelle.
The Ducal band of Meiningen also possessed a good violoncellist. It was J. J. Kriegck, originally violinist and member of the Flemish Opera at Amsterdam. During his residence in Paris he took up the violoncello, and received there instruction from the younger Duport. After he had studied for awhile under this artist he was engaged by Prince Laval Montmorency, in whose service he remained four years, when he was summoned to Meiningen. There he worked and was still living in the year 1810. Kriegck was born on June 25, 1750, at Bibra, in the neighbourhood of Eckertsberga, in the district of Merseburg. His cello compositions, consisting of three Concertos and some Sonatas with bass, are among the best of that period.
The violoncellist Hizelberger was, in 1786, in the service of the Bishop of Würzburg as chamber musician.
At the Court of Wallenstein, about 1790, Paul Winneberger was engaged as Director of the Royal Hunt and Table Music. In the year 1800 he exchanged this post for that of cellist and composer to the French Theatre at Hamburg.
In the Thurn-and-Taxis Kapelle at Regensburg were two cellists, Gretsch and Karauschek. The first was there until his death, which occurred in 1784. Karauschek, on the contrary, who was famous as an excellent cellist, only belonged to it from 1750-1760. Religious fanaticism caused him later to go into a Carmelite cloister. He died in 1789.
To the Munich Court music, in the second half of the last century, belonged Virgili.79 He is remarkable as having given his first instruction to the violoncellist Moralt. This last artist, who was born in the Bavarian capital in 1780, and died in 1829, finished his training under the violoncellist Anton Schwarz, of Mannheim, and, having completed his studies, went into the Hofkapelle of his native city.
Another pupil of Anton Schwarz whose name is well known was Max Bohrer, born at Munich in 1785. He made such progress, that already as a boy of fourteen years of age he entered the Hofkapelle there. Soon after he undertook a concert tour with his brother Anton, who was an able violinist, and this led him to Vienna. There he heard Bernhard Romberg, who henceforth became his model. Towards 1830, after he had for a time been a member of the Royal band at Berlin, he went to Paris, where his fine tone and his ease in surmounting the most difficult passages excited admiration. Then he travelled through Germany, in 1832 was appointed first cellist to the King of Wurtemburg with the title of Concertmeister, went in 1838 (for the second time) to St. Petersburg, and then proceeded to Italy. The years 1842-1843 he spent in America giving concerts. He took his last journey, which led him to the countries of Northern Europe, in 1847, but he was not able to obtain the same amount of approbation, for he had lost a great deal of his power of execution. He died in 1867. He edited three Concertos, several “Airs Variés,” a “Fantasia” on a Russian Volkslied, a Rondoletto with a quartet accompaniment, and some Duets with violin.
Contemporary with the above-named Moralt in the Bavarian Court Kapelle, “Peter the Great,” so-called, according to Gerber, “on account of his talent,” born at Zweibrücken, in 1778, was actively engaged, and in 1792 was promoted to be member of the Bavarian Hofkapelle.
For Stuttgard the violoncellists Zumpsteeg and Kaufmann deserve consideration.
Joh. Rudolph Zumpsteeg was the more important. He was born on January 10, 1760, at Sachsenflur, in the Odenwald, and died on January 27, 1802, at Stuttgard. The royal Kapellmeister Poli (at Wurtemburg) was his teacher. Under his direction Zumpsteeg became not only an excellent performer, but also a creditable composer of music. He received a learned education at the Karlschule, where he entered into friendly relations with Schiller, and set to music many of his poems. He made himself particularly known through ballad compositions, which were first attempted by him.
After he had quitted the Karlschule, Zumpsteeg devoted himself entirely and actively to art. Up to the year 1792 he was simply member of the Stuttgard Court band, of which he became the head after the decease of his master, Poli. Zumpsteeg played the violoncello with “deep feeling, rare precision, and decisive power,” as Gerber remarks. He wrote for it a Concerto, Sonatas, a Duet, and a Trio.
Johann Kaufmann, born in 1760, was likewise a pupil at the Karlschule, whence also came—
Ernst Häusler, born in 1761, in Stuttgard. He led a somewhat variable life. In the year 1788 he went on an artistic tour, during which he played especially in Vienna and Berlin. Soon after he took an engagement in the band of the Prince of Donaueschingen. But in 1791 he relinquished this position in order to obey a summons to Zurich. Thence, six years later, he returned to his native town, and in 1801 went to Augsburg, and, in 1802, to Vienna, to hold concerts. Finally he assumed the office of choir director at the Evangelical Church at Augsburg, in which place he died on February 28, 1837.
The Electoral Kapelle at Mannheim possessed in Carl Lochner, born about 1760, died 1795, as well as in Peter Ritter, remarkable cellists. Ritter, born at Mannheim in 1760, must have had higher claims to distinction on account of his musical education than Lochner, for he was promoted to the direction of the opera at the theatre of his birthplace. With the exception of a journey to Berlin, undertaken in the year 1785, where he played before the Court, he seems to have pursued uninterruptedly his official duties.
To the Mannheim orchestra belonged the violoncellists, Johann Fürst, Ludwig Simon, and Anton Schwarz, already mentioned.
As an offspring of Mannheim, Franz Danzi must also be mentioned, the son of the first violoncellist in the orchestra there, Innocenz Danzi. His father gave him instruction on the cello, and Abt Vogler in composition. He soon made such rapid progress in playing that already, in 1778, he was received into the Electoral Kapelle, which, as is known, was transferred to Munich about this time in consequence of the union of Bavaria with the Palatinate. He immediately began his work as a composer for the opera. Meantime, in the year 1790, he was united in matrimony to the exquisite singer, Margaretha Marchand, daughter of the Opera Director in Munich. The following year the young couple went to Leipsic and Prague, where Danzi conducted the opera of Guardassoni’s Italian Opera Company, while his wife took part as a singer. In 1794-1795 he travelled with his wife in Italy, and in 1797 they both returned to Munich on account of the failing condition of the latter’s health. Danzi was immediately appointed Vice-Kapellmeister, and displayed most praiseworthy activity. He was, however, so overcome by the death, in 1799, of the partner of his life, that for many years he seemed unable to perform the duties of his vocation, and as it was repugnant to his feelings to take up work again in the place where his family happiness had been wrecked, he obeyed a summons to Stuttgard as Court Kapellmeister. He there remained a year, at the end of which he assumed the direction of the opera at Carlsruhe. Danzi was born May 15, 1763, and died April 13, 1826.
In the chapel at Mainz, in the year 1783 to 1784, there were the clever cellist and lutist, Joh. Christian Gottlieb Schindler, the brothers Joseph and Andreas Schwachhofer, and at the Court of Treves was also at that time Carl Caspar Eder, born 1751 in Bavaria, who made himself known as a cello player in several tours.
To the Electoral Kapelle at Bonn belonged Joseph Reicha and Maximilian Willman.
Reicha, uncle of the gifted composer, Anton Reicha, was born at Prague in 1746; found at first a position with Count Wallenstein, and a few years later received the appointment of Concert leader at Bonn. He was working there with some reputation until his death in 1795.
Willman, born in 1768, at Forchtenberg, a village between Würzburg and Mergentheim, was member of the Bonn Hofkapelle in the last decade of the past century, after he had been resident for a few years in Vienna. Later on he returned to Vienna and found a post there as solo player at the theatre. Willman, who died in 1812, had two daughters, the elder of whom was a pupil of Mozart for the pianoforte, and the younger an excellent singer. Louis von Beethoven solicited the hand of the latter, but in vain.
Besides Reicha and Willman, the celebrated violoncellist, Bernhard Romberg, belonged to the Kapelle at Bonn from 1790-1793. With regard to this artist the necessary information will be given in the next section on Germany, for the distinctive influence of his work belongs to the nineteenth century. To the above-mentioned German violoncellists are to be added Immler, Schönebeck, Rauppe, Bauersachs, Alexander, and Arnold.
Immler, born in 1750, at Weitramsdorf, near Coburg, found a sphere for work in Göttingen. His playing was distinguished especially for its fine tone and agreeable manner of rendering. He was also a good violinist.
Karl Siegmund Schönebeck, born on October 26, 1758, at Lübben, in Lower Lusatia, was originally destined for the surgical profession, but felt himself so irresistibly drawn towards music that all attempts to hold him back from it failed through his opposition. In the fourteenth year of his age he was made town musician in his native place. During his fifteenth year he devoted himself, mostly alone, to the learning of various instruments. Then he went as assistant to the town band of the Silesian town of Grüneberg. There he had the opportunity of hearing a travelling violoncellist, whose performances so inspired him that he forthwith resolved to devote himself to cello playing, with which until then he had never occupied himself. He was his own master. After two years of energetic work, Schönebeck went as cellist into the private band of a Count Dohna, though he only remained in it until 1780, preferring to undertake a post which was offered to him as town musician at Sorau. A journey to Berlin procured him the possibility of hearing the violoncello virtuoso Duport, at Potsdam, which incited him to renewed study. Soon after he made, at Dresden, the acquaintance of the French cellist Tricklir,80 whose playing gave him fresh impulse. From that time Schönebeck led a restless, wandering life, which prevented his attaining to the concentration of his powers. At short intervals he filled, one after the other, positions at the Court of the Duke of Courland, at Sagan; with Count Truchsez, at Waldenberg; and still further at Königsberg. At length, wearied with a musical life, he returned home and devoted himself to husbandry, but did not long persevere with this, and resumed again his artistic career. In the year 1800 he performed at Leipsic, where his pleasing cello compositions, and his playing “with a fine intonation, and rare finish,” met with applause, as Gerber remarks.
Joh. Georg Rauppe, born in July, 1762, at Stettin, devoted himself in early youth to cello playing, and under the elder Duport attained to the rank of a master. His studies ended, he travelled through North Germany as well as Denmark and Sweden. In the year 1786 he betook himself to Amsterdam, and there fulfilled the duties of first cellist in the German Opera as well as at concerts. While in that position he died on June 15, 1814. His playing was famed for the beauty and power of his tone, as well as for readiness and purity of rendering.
Christian Friedrich Bauersachs, born on June 4, 1767, at Pegnitz, in the principality of Anspach, was not only unusually clever on the violoncello, but also played the basset-horn with great skill. He travelled through Hungary and Italy, and then also in Germany, giving concerts with good success. Yet he did not succeed in gaining a permanent post. He therefore gave up music as a means of livelihood, and devoted himself to a miner’s career. On December 14, 1845, he died at Sömmerda.
Joseph Alexander, who, in 1800, lived at Duisburg, and worked there, is worthy of mention on account of two books of Studies, which however are long since obsolete. They consist of a violoncello school, published in 1801, and of an “Air avec xxxvi Variations progressives pour le Violoncelle avec le doigté en différentes clefs, accomp. d’un violon et d’une basse” (1802).
Johann Gottfried Arnold, born on February 1, 1773, in the Würtemburg town of Niedernhall, died July 26, 1806, at Frankfort-on-the-Main, was the son of a school teacher. He early applied himself to music, and chiefly to the violoncello, so that at eight years of age he attracted notice by his performances. In 1785 his father placed him under the tuition of Lüngelsauer, the town musician, with whom he studied for five years. At the expiration of that time Arnold found employment with his uncle, who was Court and town musician at Wertheim. During this period he pursued, alone, with great zeal, his cello studies, but at the same time did not neglect theoretical study. After some fruitless attempts to make himself known as a soloist beyond his native place, he visited Regensburg, where just then the violoncellist Max Willman, mentioned above, was residing. He gave Arnold, during some few months, instructions on the cello, the first which he had received on this instrument. In the year 1796 he had the opportunity, in Hamburg, of hearing Bernhard Romberg and learning from him. Very soon after Arnold was established in the theatre orchestra at Frankfort. At the same time he gave private lessons. He was esteemed by his contemporaries as a great violoncello virtuoso, whose playing, on account of its “enchanting tone,” was excellent, not only in Allegro, but also in Adagio passages. Amongst the German violoncellists of the last century an amateur deserves mention, who so distinguished himself, that he may properly be counted among the artists of his instrument. It was the Prince Christian von Wittgenstein-Berleberg. He was born on December 12, 1753, and in his youth occupied himself eagerly with singing and clavier playing. In more advanced years he learnt the violoncello and succeeded so well that he was heard with the greatest applause publicly at a concert in Wetzlar. He maintained towards the end of his life a private band. This patron of art died October 4, 1800.
These distinguished men up to this period, with few exceptions, endeavoured, besides their practical work, to create by their compositions a literature for their instrument. They wrote concertos, sonatas, and works with variations, in considerable numbers.81 These productions were substantially increased by other musicians who were not cello players.
Before all, the most prominent are Phil. Emanuel Bach and Joseph Haydn.
The former composed a Violoncello Concerto, the latter several pieces of the same kind. What a lively interest Haydn, especially, took in the violoncello is proved by the fact that he used it as an obbligato in two of his Symphonies. The first of them (B flat major) appears with the title, “Symphonie Concertante à Violon, Violoncell, Flutte, Hautbois et Basson obligés,” as Op. 81; the other, called “le Midi,” was written in 1761.82 Therein the violoncello is employed as a solo instrument, chiefly in the Adagio, the close of which ends with an elaborate cadenza for violin and violoncello. The cello part in the above-mentioned “Sinfonie Concertante” contains striking difficulties, especially where it is employed in the higher tones.83
Amongst other composers of that period who composed Concertos for the violoncello, we will only mention Paul Wranitzky, Ignaz Pleyel, Franz Anton Hofmeister, Franz Christian Neubauer, Leopold Hoffmann, and Johann Ludwig Willing. There were also amateurs who attempted compositions of this kind, such as Ernst Ludwig Gerber, the author of “The Historical-Biographical Dictionary of Musicians,” and Christian Ferd. Daniel Schubart, who, though he had a musical education, was however really by vocation an author. Further Joh. Geog. Albrechtsberger, Joseph Eybler, F. A. Hoffmeister, C. G. Neubauer, Ignaz Pleyel produced Duets for two violoncellos, violin and cello, or for viola and violoncello. There is also in existence a Cello Sonata with unfigured Bass by the contrabassist Christian Spurni (Spourni), who, born in Mannheim, was, during the years 1763-1770, member of the orchestra of the Italian Opera in Paris, and then of Her Majesty’s in London.84
The greater number of these compositions, whether emanating from violoncello players or not, are interesting only in so far as from them may be gathered what position German violoncello playing held in the second half of the last century. We have now only to state that the technique at the end of the period mentioned had made great progress, and that Germany, as compared with Italy, even taking into consideration certain cello pieces by Boccherini, was not behindhand. A universally current method for the manipulation of the fingerboard and also for bowing had indeed not yet been attained in either of the two countries. The testing in every way of the executive capabilities of the violoncello naturally followed, as well as discovering the various combinations for playing double stops, the formation of passages and ornaments, and the endeavour to develop and present them in a manner suitable to the nature of the instrument. This tedious work must on the outset have necessarily led to productions in which the question of imagination would not be taken into consideration. In fact, it is with few exceptions of very little value, and as further the figures and runs are antiquated, the compositions in question can awaken no real sympathy. But these trial stages which cello composition had to pass through were necessary in order to arrive at a literature of artistic worth.