
Полная версия
The Violoncello and Its History
“How acquainted he is with all the beauties of detail, which lie in the nature of the piece in the peculiar kind of expression to be given, and for which the composer has no signs for recognition? What effects he is able to produce by the crescendo of his tone, swelling up to the strongest fortissimo, and then again by its dying away to a scarcely audible pianissimo!!”
From this enthusiastic announcement we must conclude that Romberg’s playing at that time—he was in his twenty-fourth year—showed already a high degree of perfection. It is therefore quite conceivable that he cherished the wish of obtaining a position in life adequate to the merit of his performances, for in Bonn he received only a yearly salary of 600 florins, and, moreover, the existence of the Cologne Electorate, the complete dissolution of which was accomplished in the autumn of the year 1794, had fallen into a very doubtful condition from the time of the appearance of the revolutionary army on the Rhine (October, 1792).
Romberg therefore accepted with his cousin, Andreas, at Easter, 1794, an engagement at the Schröder Theatre in Hamburg, but he did not long remain there. Three years later they undertook together a concert journey into Italy, gave concerts on their return at Vienna, supported by Beethoven, and again betook themselves to Hamburg, whence, after a two years’ residence, Bernhard Romberg visited London. He next travelled in Portugal and Spain, in 1800 returned again to Paris, and performed this time at the concerts of “La Rue de Cléry” and the “Théâtre des Victoires” with such great success that he became teacher at the Conservatoire. Romberg does not, however, appear to have felt comfortable in this position, for after two years he withdrew from it and again turned to Hamburg. In 1805 he responded to an invitation to be solo cellist at the Berlin Hofcappelle. The calamities of war, which broke over Prussia in the following year, compelled him once more to become a wanderer. He next visited the Austrian States. After the conclusion of the peace of Tilsit, he found himself again in Berlin, remained there up to the year 1810, and then undertook a journey through Silesia, Poland, and Russia. At St. Petersburg he met with Ferd. Ries, and in conjunction with him gave concerts in the Southern provinces of the Czar’s dominions. The artists wished to arrange a visit to Moscow, but were prevented by the memorable burning of the Kremlin which compelled the French army to retreat. They then turned to Stockholm, and from thence went to Copenhagen and Hamburg. Here they separated—Ries went to London, which he reached in March, 1813, and Romberg took his way by Bremen to Holland and Belgium. From the latter country he again visited Paris for a short time. Returned to Germany, Romberg prepared for a second journey to Russia. On this occasion he lingered two years at Moscow. After he had been, from 1815-1819, in the service of the Berlin Court, he chose Hamburg as his settled residence. Wherever Romberg played his highly finished performances excited great enthusiasm. In this his violoncello compositions—which were entirely in accordance with the taste of that period in a virtuoso point of view, and which, moreover, were distinguished by their solid quality above all other cello compositions of the time—had a substantial share.
During his many journeys through European countries, Romberg had collected national airs, of which he availed himself in various ways for his compositions under different names. Amongst them are to be found Caprices on Swedish, Polish, Moldavian, Wallachian, and Spanish songs, as well as a “Fantaisie” on Norwegian and a “Rondo brilliant” on Polish melodies, besides four books of Variations on Russian national airs. He further wrote ten Concertos, three Concertinos, a Fantasia with orchestra, Polonaises, as well as Duets and Sonatas, with bass accompaniment for the cello. He was also very productive in the sphere of chamber music, and composed also for the stage. These last compositions have, however, not survived him, while, on the other hand, his cello pieces, as already noticed, maintain even at this time a certain value for teaching.
There have been certain famous artists who in advanced age, in spite of a considerable decay in their capacity for performance, have unwisely indulged the inclination of still endeavouring to attract admiration. Bernhard Romberg was one of these. In his seventy-third year he again had a desire to visit Paris in order—though not in public—to appear in artistic circles as a solo player. The failure which he experienced appears to have had a prejudicial effect on his health, for he died soon after his return home, on August 13, 1841.
Romberg promoted the advancement of German violoncello playing chiefly by his activity as a soloist, and also by his compositions, for, on account of his many concert journeys, which led him sometimes in one direction and sometimes in another, he had not sufficient leisure for continuous and regular teaching. A few young artists, however, enjoyed the benefit of his instruction. Of these we will mention only here his nephew, Cyprian, and Julius Schapler. Some others will be noticed farther on.
Julius Schapler was born on August 21, 1812, in Graudenz.104 He received his musical education in Berlin.
Cyprian Romberg, born in 1807 (according to other accounts, 1810), in Hamburg, made himself known, after he had finished his studies, by his journeys in Germany and Austria, and was then a member of the Imperial band at St. Petersburg. In Hamburg, where he spent the last years of his life, he was, unfortunately, drowned while bathing in the Elbe in 1865. B. Romberg was at first his master for the violoncello, on which also he received instruction from the pensioned chamber musician, Hansmann.105 After his education was concluded Schapler was heard as solo player in the Opera House at Berlin, as well as in the Gewandhaus at Leipsic, with great applause. He declined offers for engagements, which were in consequence proposed to him, as he wished to make himself known by concerts. Soon after, however, when the position of solo player in the Court band of the Duke of Nassau was offered to him he accepted it. In Wiesbaden, besides his official duties, he was much occupied with composition. The fruits of it were not only several cello pieces, but also three greater chamber music works—namely, a String Quartet, a Trio for piano and violoncello, as well as a Quintet for piano, violin, tenor violoncello, and contra-basso. These last compositions were all crowned with success. A warm and appreciative critique of the String Quartet appeared in 1842 from the pen of Robert Schumann, in his musical paper.
The unquiet year, 1848, caused the Duke of Nassau to dismiss the members of his Kapelle (without pensions). Schapler returned to his home and created for himself a lucrative field of work as music teacher in Thorn, to which he devoted himself for many years. At the present time he is living privately in Berlin.
Schapler belonged in his prime to the best violoncellists of Germany. With fine tone-rendering he had complete mastery over his instrument. Unfortunately, he did not succeed, after his departure from Wiesbaden, in obtaining a post worthy of his excellent performances.
While Bernhard Romberg was raising to a position of high honour the art of violoncello playing in Germany, several important centres were forming for it in Dresden and Vienna.
The Dresden Court, which had always done a great deal for music, was continually taking into consideration the means of attracting into its neighbourhood distinguished instrumentalists; and if for some time a succession of foreign, but specially Italian artists found a place there, a certain amount of gain was the result in connection with it—for the artist youth of Germany received thereby a progressive impulse to their own endeavours. The Dresden Court orchestra had already, in the last century, a distinguished reputation, and this was more and more enhanced by the continual influx of talented and highly gifted musicians. As regarded the violoncello especially, it gained not long after the beginning of our century an exemplary representative in Dotzauer. From that time until the present day Dresden has remained an important centre for violoncello playing.
Justus Johann Friedrich Dotzauer, born on January 20, 1783, at Häselrieth, near Hildburghausen, was the son of a minister there. Instructed early in music, he devoted himself to the piano, violin, and violoncello playing. The latter soon gained the ascendancy, and as the inclination for an artistic career showed itself decisively in him, his father sent him, in the year 1799, to Kriegk,106 at Meiningen, under whose direction he studied two years. After the expiration of that period he found a post in the Meiningen Kapelle until 1805, when he went to Leipsic, and from 1805-1811 he was a member of the orchestra.
From Leipsic he visited Berlin. Here he heard Romberg, with advantage for the pursuit of his studies. In the year 1811 he accepted an honourable position in the Dresden Court orchestra, to which he belonged, from 1821-1850, as first solo cellist. He then lived in retirement, which he enjoyed for ten years. He died in the place where he had successfully worked for so many years on March 6, 1860.
Dotzauer was also well-skilled in composition, and attempted it in various forms. He wrote an Opera, Overtures, Symphonies, a Mass, and several chamber pieces. All these productions have long been forgotten. Not so his violoncello works, which consist of nine Concertos, three Concertinos, two Sonatas with bass, Variations, Divertissements, Potpourris, and a great number of Duets, some of these at least are still prized as objects of study. This is especially the case with regard to his books of instruction, to which belong two violoncello schools,107 as well as a number of exercises of various kinds.108 Amongst these the most commendable on account of their excellence are the eighteen “Exercices d’une difficulté progressive” (Op. 120), for beginners (with the exception of the two last numbers), and the “Twenty-four Daily Studies for the acquiring and keeping of Virtuosität.” The latter work is in every respect by far the best of Dotzauer’s many studies. He also published a School for Flageolet playing (Op. 147). His performances combined the gifts of great solidity and fascinating sweetness. Of his two sons, the younger, Carl Ludwig, devoted himself to the violoncello under the direction of his father. In 1820 he was member of the Hofkapelle at Cassel. He was born on December 7, 1811, at Dresden.
Dotzauer was distinguished not only as an executant artist but also as a teacher. The most remarkable of his scholars are—Kummer, Schuberth, Voigt, and Drechsler.
Friedrich August Kummer was born on August 15, 1797, at Meiningen. His father, an accomplished oboist, belonged to the Ducal band there. At the beginning of the century he entered the Hofkapelle at Dresden, and here his son, who at first had taken up his father’s instrument, became Dotzauer’s pupil. When his education was completed on the violoncello, Kummer should have been admitted into the Dresden Hofkapelle; but as there was just then no vacancy for his instrument he was obliged for a while to content himself with being received as oboist. This was in 1814. Three years later he was enrolled among the cellists. By diligently prosecuted studies, Kummer gradually reached such a high degree of artistic cultivation that when Dotzauer was pensioned, he was appointed in his place as first violoncellist of the Royal band. In 1864 he celebrated his fiftieth Jubilee, and then gave himself up to his well-deserved retirement. During his long tenure of office he displayed a most extraordinary activity as soloist, quartet, and orchestra player, as well as teacher. In the latter capacity he worked both privately and at the Dresden Conservatoire, to which he belonged, until his death, which took place on May 22, 1879. At the same time he wrote a good deal for his instrument, a Concerto, two Concertinos, instructive Duets (some easy and others more difficult), Variations, Etudes, Caprices, Studies (amongst them, daily ones), diverse musical “Divertissements,” which were formerly much in request amongst dilletanti, some of which are still used as subjects for the practice of youthful players. He also produced a violoncello school. It is at present the most generally used work of the kind, short and clear, though only extending to a moderate degree of difficulty; finally, Kummer published a useful compendium: “Repertorium and Orchestral Studies,” containing important and difficult cello pieces from oratorios, symphonies, overtures, and operas. Kummer’s playing bore the stamp of great precision and correctness, united to powerful and solid intonation. His technique “was in every point thoroughly cultivated, but to acquire the ‘finesses’ of a virtuoso he was of too simple a nature, which was better calculated to occupy itself with the sphere of music in its intellectual aspect than in brilliant display. All that he produced on his instrument was most correct and defined, in which he was greatly assisted by his quiet and cautious temperament. He was unable indeed to raise himself to the height of poetical inspiration and unrestrained warmth of expression, though he never did violence to a good composition. His manner of rendering was always strictly objective and according to rule.” Amongst Kummer’s pupils Cossmann and Julius Goltermann are prominent.
Bernhard Cossmann, born on May 17, 1822, in Dessau, studied at first under Theodore Müller, the cellist of the formerly famous Müller String Quartet, at Brunswick, and then under Kummer. During the years 1840-1841 he worked in the orchestra of the Grand Opéra in Paris, after which he went to London. In 1848 he was engaged as solo player for the Leipsic (Gewandhaus) Concert, in 1852 taken to Weimar by Franz Liszt, and in 1866 appointed teacher of cello playing to the Conservatoire at Moscow. From 1870 to 1878 Cossmann lived privately in Baden-Baden and only appeared to play at concerts. When the Conservatoire at Hoch was founded in 1878, the office of teacher of his instrument was entrusted to him, which post he now occupies. Cossmann belongs to the best cellists of the present time. He has a fine, distinct tone, manages the fingerboard with ease, and is not only a distinguished solo player but also an excellent quartet player. Amongst his compositions the most worthy of notice are a Concert piece with piano accompaniment, three “Fantasias” on Motifs from the “Freischütz,” “Tell,” and “Euryanthe,” six Solos in two parts, a Swiss Melody and a Neapolitan Canzonet, three Pieces (Op. 8), Etudes de Concert (Op. 10), and Violoncello Studies.
Johann August Goltermann, born on July 25, 1825, in Hamburg, after he had perfected himself under Kummer, was appointed to the Prague Conservatoire, to which he belonged from 1850 to 1862. In the latter year he exchanged this employment for that of first solo cellist in the Stuttgart orchestra. In 1870 he was pensioned, and on April 4, 1876, he died. He was an able artist in his branch of it.
The next pupil of Dotzauer to be mentioned is Carl Schuberth, born on February 25, 1811, in Magdeburg. He received at first, from a musician of his native town named Hesse, six years instruction, and then repaired to Dresden to Dotzauer, with whom he remained two years. On his return home he made his début with success as a soloist at a concert organised by Catalani, in Magdeburg. At the end of 1828 he undertook a concert tour to the North. The destination was Copenhagen, where, in the spring of 1829, he arrived and made a prolonged sojourn. Later on Schuberth occupied the position of first violoncellist at the Magdeburg Theatre, gave it up, however, in 1833, and undertook, in the autumn of the same year, a journey through Western Germany and Belgium. From the latter place he visited Paris. In the following year he went to Holland, and during the season of 1835 he was heard in London. Schuberth then went to St. Petersburg, where he found, as elsewhere, a brilliant reception, and immediately a permanent position, for he was not only named Director of the Imperial band, but also Inspector of the Music School affiliated to the Court Theatre and Director of Music at the University. He filled these posts until 1863, in which year death overtook him during a journey for the benefit of his health, on July 22, at Zurich. Schuberth’s playing was exceedingly clever, but in expression more elegant and ornamental than impressive. His cello pieces give evidence of this, which, with the exception of a Concerto, belong to the description of so-called conversazione music; but they have not survived their author. Amongst his pupils the most remarkable is Carl Davidoff.109
Carl Louis Voigt, the third of Dotzauer’s pupils above-mentioned, was born on November 8, 1792, at Zeitz; he was the son of the organist at St. Thomas’s Church, Leipsic, Joh. Georg Hermann Voigt. He played several instruments, and amongst others the violoncello also, on which his grandfather, Johann Heinr. Viktor Rose,110 had given him instruction at Quedlinburg. Besides his work as organist, he played the violoncello with the orchestra of the theatre in the Gewandhaus at Leipsic. He imparted to his son what he knew and was able to do as cellist, who, in order to perfect himself, studied under Dotzauer’s direction some time, and in 1811 took the latter’s place in the Leipsic Orchestra, to which he had belonged since the winter of 1809-1810. Voigt filled this post until his death, which took place on February 21, 1831. His violoncello compositions extant, consisting of Sonatas, Duets, Exercises, and a diversity of Drawing-room Pieces, are feeble, but may be used for instruction—as, for example, the three Sonatas (Op. 40).
Carl Drechsler, finally, born on May 27, 1800, at Camenz, in the kingdom of Saxony, early studied violoncello playing. He began his career as a military musician at Dessau. At the same time he assisted as cellist in the orchestra there. Through the recommendation of Friedrich Schneider, who discerned the young man’s talent, the Duke of Dessau granted him the means, in 1824, of placing himself under Dotzauer’s direction for further cultivation. After this he undertook a long concert tour. The great success of this caused his name to be well known, with the result that, in the year 1826, he was permanently established in the orchestra at Dessau, with the title of Concertmaster.
Drechsler’s performances were characterised as much by faultless purity and refinement as by feeling and tasteful rendering. His playing was not powerful, but pleasing by its grace and delicacy. He was everywhere received with welcome, and, as he responded to all that was demanded as an excellent leader of his instrument in the orchestra, he was an eagerly sought guest at all musical festivals. After he was pensioned, in 1871, he chose Dresden as his residence. He did not, however, long enjoy the amenities of retirement, for he died in the year 1873.
His son, Louis, born on October 5, 1822, at Dessau, formed himself under the direction of his father as a clever violoncellist. He lived and worked as such for a long time in Edinburgh.
Drechsler, the father, was an excellent teacher. Through him Dessau was for a time affiliated to the Dresden school of cello playing, in which he educated excellent artists, amongst whom the best known are Lindner and Grützmacher.
August Lindner,111 born on October 29, 1820, at Dessau, after he had completed his studies, was appointed, in the year 1837, to the Hofkapelle at Hanover, to which he belonged until his death (June, 1878). He enjoyed the reputation of a distinguished violoncellist. Of his compositions we must mention a Concerto (Op. 34), Nine Drawing-room Pieces (Op. 18), Six Fantasias (Op. 38), Divertissements for young cellists (two parts, Op. 32), Concert au Salon (two parts), Three Paraphrases on Motifs from Meyerbeer’s “Huguenots” and “Le Prophète,” as well as Verdi’s “Ernani” (Op. 12), and a long list of Opera Potpourris. Besides these, Lindner produced a new edition of L. Duport’s “Essai sur le doigter du Violoncelle.”112
His pupil, Bernhard Thieme, born on June 11, 1854, in Altenburg, began his musical career after he left school, under the town musician at Penig, in Saxony, and when at eighteen he returned home from there, he received cello instruction, for a short time, from the Kapellmeister, Toller. He very soon found employment in the Berlin Orchestra. He then went, as first cellist, with the Fliegen Orchestra, for a summer, to St. Petersburg, in the same capacity; a few months later he entered the Bückeburg Kapelle. He was subsequently occupied in the Hofkapelle at Hanover for two years, and during this period he enjoyed the excellent teaching of Aug. Lindner. Since 1879 he has filled the place of solo cellist in the town orchestra at Baden-Baden.
The Dresden school of cello playing, founded by Dotzauer, and continued by Kummer, received a still greater forward impulse through Friedrich Wilhelm Ludwig Grützmacher.
This far-famed artist, whose efficiency was a great ornament to the Dresden “Kapellinstitute,” was born on March 1, 1832, in Dessau, and after he had learned from his father, who was an esteemed member of the Ducal band, the elements of music, benefited from the instruction of Carl Drechsler. Thus the teaching of Dotzauer, whose pupil Carl Drechsler was at the place whence it had emanated, was further developed—a most valuable gain for the artistic life of the Court of Saxony.
Grützmacher came to Leipsic in the year 1848, fundamentally well prepared for his vocation, and entered a private choral society in order to be thoroughly conversant with the necessary routine in orchestra playing. He was soon invited to take part in the Gewandhaus and the Euterpe Concerts. In the latter he made his début at the beginning of February, 1849, as solo player, with Variations by Franchomme. The first violoncellist of the Leipsic Gewandhaus was a certain Wittmann. As, however, his performances did not fully satisfy, Bernhard Cossmann was engaged in 1848 for the solo parts and for the cello teaching at the Conservatoire. Then when Cossmann responded to the invitation to go to Weimar, Grützmacher took his place, although at the same time he was a regular member of the opera orchestra. From that period he was the chief representative of his instrument in Leipsic. Not the less however did he strive indefatigably to progress in his Art, keeping unceasingly in view the goal of perfection. How well he succeeded in reaching it is proved by the dominant position which he gained and maintained. Julius Rietz, who was himself an able violoncellist, and had had during his Directorship in Leipsic many opportunities of observing Grützmacher’s extraordinary executive capacity, rated him very highly, and was in the habit of admiringly expressing himself with regard to the incomparable, exemplary and thorough training of his left hand. It is, therefore, the more intelligible that he made him every offer possible in order to gain him for the Dresden Hofkapelle, after he had undertaken its direction. This happened in 1860, and in the same year Grützmacher was summoned to Dresden as Kummer’s successor. From this time he travelled through Germany, Holland, England, Austria, Hungary, Italy, Denmark, Sweden, and Russia, and was received everywhere with triumph; but he was also distinguished in many ways at the place of his work. In course of time he received from the King of Saxony the title of Chamber Virtuoso, later he was appointed Royal Concert leader, and on his twenty-fifth jubilee of service he was honoured far and wide in manifold ways.
In Grützmacher’s playing were happily united the endowments of a finished mastery of complex technical difficulties and delicate manner of expression, more especially in the rendering of Cantilena. He is not only a virtuoso of the first rank, but also an excellent interpreter of classical chamber music. For this latter qualification the foundation had already been laid by a careful musical education under his father’s roof, to which Friedrich Schneider had substantially contributed. He pursued his theoretical studies under the direction of this master.
Grützmacher published a great number of compositions. Those which have had the widest circulation are the two Concertos, Op. 10 (A minor) and Op. 46 (E minor); the Hungarian Fantasia (Op. 7), the Nocturne (Op. 32), the Scherzo (Op. 30), the Transcriptions of Classical Music (Op. 60), the “Daily Studies,” the Twenty-four Studies (Op. 38), as well as three Songs with Violoncello obbligato (Op. 50). He added considerably to the enrichment of violoncello literature by his transcriptions of Haydn’s, Mozart’s, Beethoven’s, and Schumann’s Sonatas, as well as of two of Beethoven’s Violin Romances, and of Schumann’s “Kinderscenen.” He further arranged for the Violoncello the Thirty-six “Songs without Words” of Mendelssohn, about twelve selected Piano pieces by Schumann and Chopin, the Violin Sonata (Op. 19) and the Romance (Op. 44) by Rubinstein, the “Pensées fugitives” by Steph. Heller and Ernst, and many other pieces of music. Grützmacher also brought out new editions of classical and modern compositions, with the addition of careful annotations. We must here mention the two Gamba Sonatas of Joh. Seb. Bach, as well as his six Violoncello Suites; a Gamba Sonata by Handel and by Phil. Em. Bach, six Boccherini Sonatas with the addition of a piano accompaniment, a Sonata by Bonifazio Asioli, some Violoncello Compositions of Beethoven, Mendelssohn, Schumann, and Chopin; a “Thème Russe varié” by Ferd. Ries, the ten Concertos and six easy Instruction Pieces for Violoncello by Bernhard Romberg, as well as twelve Exercises by Dotzauer (Op. 107), with the addition of a second violoncello part.