The Violoncello and Its History

More remarkable than Kelz in Violoncello playing was Moritz Ganz, who was born at Mayence in the year 1804, and learnt the elements of music from his father. In Violoncello playing he made further progress under the Bohemian Cellist, Stiastny, who at that time was residing at Frankfort-on-the-Maine. Ganz then joined the orchestra at Mayence until, in 1826, he was appointed first Violoncellist in the Berlin Kapelle. During this engagement he undertook, in the years 1833-1837, concert tours to Paris and London. In appreciation of his performances he received from the King of Prussia the title of Concertmaster. His playing, which gave proof of solid cultivation, was artistic and in every respect made an advantageous impression, without, however, electrifying. His compositions are unpretending, and consist of Concertos, Duets, and Variations.

Among the pupils educated by Ganz the most remarkable are—Rietz, Lotze, Giese, and Klietz.

Julius Rietz, born on December 28, 1812, at Berlin, had, besides Ganz, also Bernhard Romberg for a short time as master, and developed so rapidly that, as early as sixteen years of age, he was received into the orchestra of the Royal Stadt-Theatre of his native town.

Six years later he went to Düsseldorf, and worked as assistant-director at the theatre managed by Immermann, with Mendelssohn at its head; when the latter retired he undertook the sole conduct of the opera, and became also, when Mendelssohn was summoned to Leipsic, town Music Director. He filled this place until 1847, in which year he went to settle at Leipsic, in order to work as “Capellmeister” at the theatre. His work so greatly increased at Leipsic—for he not only undertook the direction of the Academy of Singing, but also, in 1848, the conducting of the Gewandhaus Concerts—that he was obliged more and more to neglect cello playing. In Dresden, whither Rietz went in 1860 as Court Kapellmeister, he almost entirely discontinued performing. In private circles only he now and then caused his instrument to be heard, as his time was wholly taken up by his official occupations, as well as by the direction of the Dresden Conservatoire, which was given over to him, and by the editorial labours connected with the publication of the collected works of the great classical composers, set on foot by Breitkopf and Härtel. In the midst of this varied artistic activity he died on September 17, 1877.

Rietz’s Violoncello playing was of an able but simply deserving kind and was limited entirely to the more classical sphere of music. His compositions consist of two Concertos and a Fantasia with orchestral accompaniment. He produced the latter on February 15, 1844, in the Gewandhaus, at Leipsic.

Wilhelm Lotze, born on January 17, 1817, at Berlin, acquired the first elements of cello playing under the royal chamber musician, Töpfer (1865), and then Ganz was his master. In 1837 he received an appointment in the Royal Kapelle of his native town, and from 1838-1852 belonged to the excellent Zimmermann String Quartet. Lotze was pensioned in 1872.

Joseph Giese, born on November 24, 1821, at Coblenz on the Rhine, undertook concert journeys through France and Switzerland after he had for some time profited by the instruction of Ganz; he then went to the Hague, where he became teacher at the Royal School of Music and first Violoncellist at the French Theatre. He educated a large number of pupils. Amongst them we shall mention only his son,

Fritz Giese, who was born on January 2, 1859, at the Hague. At ten years of age he was so forward that he was able publicly to perform Romberg’s second Concerto. He completed his studies under Grützmacher in Dresden and under Jacquard in Paris. After he had made a journey through Sweden and Denmark, he was for a year soloist in the Amsterdam Park orchestra, and then entered, as a member, into the Mendelssohn Quintet Club of Boston. As one of the chief supporters he took part for a long time in the annual concert journeys of the Society, which extended to North America and Australia. At present he is living as a soloist at Boston.

The fourth of the above-mentioned pupils of Ganz, Magnus Klietz, born on April 29, 1828, at Altenkirchen, on the Island of Rügen, began his musical career at fourteen as a pupil of the Greifswalder town music director, Abel. After a year’s instruction on the violin and various wood-wind instruments, he decided on learning the Violoncello, which he chose as his principal instrument. In 1848 he went to Berlin to the Concertmaster Ganz, pursued his studies under him for a year, and then selected Hamburg as his settled place of residence. In 1850 he was appointed first cellist at the Stadt-Theatre as successor to Joh. Aug. Jul. Goltermann. In this position he remained seventeen years, giving lessons as well. He then joined the Philharmonic orchestra and was one of the founders of the Quartet Union now existing in Hamburg.

After him, as a remarkable Berlin violoncellist, must be mentioned Julius Stahlknecht, born on March 17, 1817, in Posen. Both Drews and Wranitzki were his masters. Their method of instruction must have been good, for as early as twenty-one years of age (1838) Stahlknecht was so far educated that he was admitted into the Berlin Hofkapelle. He undertook later, in company with his brother Adolf, who was a respectable violin player, a concert tour; and with him and the addition of the pianist Carl Albert Löschhorn, from 1844 or 1846, he gave for some years, Trio Soirées, which were very popular with the Berlin public. After the death of Ganz he stepped into his place with the title of “Concertmeister.” In 1881 he was pensioned. He had as his successor the Cello virtuoso, Louis Lübeck. Of Cello compositions he published two Concertos and several smaller pieces besides—as, for example, Divertissements (Op. 3), a Fantasia (Op. 6), Three Pieces with Piano (Op. 8) and a “Serénade Espagnole” (Op. 11).

Stahlknecht formed an excellent cellist in Albert Rüdel, who was born on February 29, 1840, at Wittstock in East Priegnitz, where his father was musical Director. During the years 1859-1867 he pursued his studies at Berlin, under Stahlknecht. On June 1, 1867, he was appointed Royal Chamber Musician, and in the year 1880 solo Cellist of the Hofkapelle. Rüdel often had the honour from that time of being admitted to take part in the Royal Concerts. Kaiser William I. liked his playing, and repeatedly expressed to him his approbation. Amongst Rüdel’s compositions for the Violoncello must be mentioned: Romance (B major), Elegie (D minor), Introduction, Andante e Tempo di Valse, four Fantasias for Concert-room, and many little Drawing-room pieces for pupils. All these productions have a piano accompaniment.

Violoncello playing received a fresh impulse in Berlin by the opening, under the direction of Joachim, of a section of the Royal High School, on October 1, 1869, for executive music. The Belgian cellist, Jules de Swert, was one of the first to give the necessary instruction at the above-named Institute. Wilhelm Müller succeeded him from 1873-1876 in this office. Both masters were, however, at the establishment too short a time to pave the way for any important results. These were first attained by means of Hausmann’s appointment, who since the year 1876 has been working as teacher of Violoncello playing at the Berlin High School.

Robert Hausmann, born on August 23, 1852, at Rottleberode, in the Harz, frequented the Gymnasium at Brunswick, and benefited there, from 1861-1867, by the Violoncello instruction of Theodor Müller, who advanced him considerably. He was then Elève of the Berlin High School for Music, and there prosecuted his studies for three years, under the direction of Wilhelm Müller, nephew of the Brunswick master just mentioned. Finally, he went to Piatti, and under him pursued a course in London, and later on at his property at Caddenabia, on Lake Como. Shortly after Hausmann took an engagement with Count Hochberg, in Silesia, as Cellist of the string quartet formed by him, and after this was dissolved, in 1876, he was named second master of Cello playing at the Berlin High School for Music; three years later he rose to the position of regular teacher, and from that time he fulfilled the duties alone in his own department. In 1884 he received the title of Professor in acknowledgment of his deserving work.

Hausmann at the present time belongs to the most eminent masters of his instrument. He is not only a distinguished solo player, but also an excellent quartet player, which is evident from the fact that Joachim has chosen him as his usual quartet associate. Of the pupils formed by Hausmann, until now the following have specially distinguished themselves: Roth, Dechert, Prill, Koch, and Lüdemann.

Philipp Roth, born on October 25, 1853, at Tarnowitz, in Upper Silesia, occupied himself in his father’s house from his eighth to his twelfth year with violin playing, and then went over to the Violoncello. After he had for some time applied himself to quartet playing with his brothers, he became the pupil of Wilhelm Müller, and later on of Robert Hausmann, at the Berlin High School for Music. He soon took part in the lessons, conducted by Joachim, in quartet and orchestra playing, and also pursued the study of composition under Wilh. Taubert and Woldemar Bargiel. Settled in Berlin for eighteen years, he only left the capital in order to make concert tours, of which he undertook one three years ago into Russia. He, however, has devoted his powers chiefly to teaching. Roth has also been zealous in the publication of Cello literature. Besides his original compositions, he has published a long list of various kinds of attractive music pieces as arrangements for Violoncello and Piano, as well as a Violoncello school and a “Guide to Violoncello Literature,” which latter has also been published separately.119 This list, which ought to be recommended, will, it is hoped, be continued and completed in later editions without delay.

Hugo Dechert, born September 16, 1860, in Potschappel, near Dresden, received from his father, who is a musician, instructions in violin playing at six years of age, and from his twelfth year in Cello playing. Until 1875 he profited by the instruction of the chamber musician, Heinrich Tietz, in Dresden. Then began Dechert’s practical work. At first he was for a year first Cellist in the orchestra of the Belvedere, on the Brühl Terrace, at Dresden, and then, after some concert tours in Saxony and Silesia, he was engaged at a Concert Orchestra in Warsaw. In 1887 he went to Berlin. There he had the good fortune, by the acquisition of a scholarship as well as by getting free instruction in the High School for Music, to pursue and complete his studies under the direction of Rob. Hausmann. Since 1881 he has belonged to the Royal Kapelle at Berlin, and he is also occupied as a much-appreciated concert and quartet player as well as teacher.

Paul Prill, born October 1, 1860, at Berlin, received from his father, a royal Prussian military bandmaster, his first lessons both in piano and violin playing. Later on the musical director, W. Handwerg, undertook his instruction on the piano, and the chamber musician, W. Sturm, the theoretical part. At the same time Paul Prill occupied himself in learning the “Cornet à piston” with his father. Only in his seventeenth year, after he had been performing at concerts with his brother and sister under the conduct of his father in Germany, was fulfilled his cherished wish to devote himself to Violoncello playing. In this the chamber musician, Mahnecke, assisted him by giving him gratuitous instruction. After a lapse of nine months he had made such rapid progress on the Violoncello that, having undergone a previous examination, he was received as a free pupil into the High School for Music. He frequented it for four years, and then entered the so-called master class, conducted by Bargiel, in order to perfect himself in the theoretical department; but at the same time he also benefited further by Hausmann’s tuition. He soon found an appointment as solo cellist in the Berlin Symphony Kapelle, as well as in the orchestra of the Italian Opera. From the beginning of September, 1882, until the end of April, 1885, he worked as solo cellist in the “Bilse Orchestra.” Such occupation did not suit him for a continuance; he aimed higher, and desired to devote himself to the conducting branch of music. After Bilse had dissolved his orchestra, he found an engagement as Director at the Belle Alliance Theatre, in Berlin. Occasionally also he performed the office of Conductor at the Wallner Theatre. This work, however, did not have the hoped-for result, as there seemed no prospect of a more remunerative sphere of conducting. Paul Prill then determined to accept the place of solo cellist at the German Opera at Rotterdam. With this the advantageous offer was made to him of performing at concerts in and around Rotterdam, yet he did not lose sight of his ambition in regard to the career of Conductor. His wish was fulfilled, for during some time he has been second Kapellmeister of the Rotterdam Opera.

Friedrich Koch, descended from a well-known Berlin family of painters, was born on July 3, 1862, and began his musical studies in his eleventh, but Violoncello playing only in his fourteenth year. From 1879-1882 he was pupil of the Royal High School of Music, and specially under Hausmann, as well as Succo and Bargiel for theory and composition. In the summer of 1883 he was named Royal Chamber Musician, after he had been submitted to a trial performance. In 1886 he founded, with three of his colleagues, a string quartet, which within a short period has gained a respected position in the Berlin musical world. Of Koch’s Cello compositions only two, Op. 1 and 2, up to the present time have appeared.

Otto Lüdemann, born on September 7, 1864, at Bernkastel, on the Mosel, after his father had prepared him, was from 1876-1880 Ebert’s pupil in the Cologne Conservatoire, to whom he is indebted for part of his other artistic education. At the beginning of 1880 he went to the Berlin High School of Music, and benefited by Hausmann’s instruction, not only in compulsory piano playing but in the theory of music until 1883. In this year he took part in the playing competition for the possession of a vacant cello place in the Royal Prussian Kapelle, in which he succeeded so well that in the autumn of the year 1884 he was nominated Royal Chamber Musician. Besides his official duty he was selected by his master, Hausmann, to be his assistant in the High School of Music, and also commissioned to prepare his advanced Cello pupils for the upper classes—a proof of how highly his performances were appreciated. Amongst others belonging to the older and more modern of Berlin violoncellists are Griebel and Espenhahn.

Julius Griebel, born on October 25, 1809, at Berlin, learnt cello playing of his father, who was bassoon player in the Hofkapelle there. As Max Bohrer belonged to it, he also received instruction from him. At the beginning of the year 1827 Griebel was taken into the orchestra and rose to be solo cellist next to Ganz. During the years 1835-1841 he undertook successful journeys to Holland, and later on he visited also Denmark. As chamber music player he found opportunity of distinguishing himself in the Zimmermann Quartet, of which he had been permanent cellist for many years since 1835. He died in 1865.

His pupil, Hermann Jacobowsky, born on October 19, 1846, in Neustrelitz, received instruction in piano playing during his school years from his father, who was clarinetist of the Mecklenburg-Strelitz Court band. At sixteen years of age he decided for the musical profession, chose the Violoncello as his instrument, and went to Berlin in order to take lessons from Griebel; at the same time Rich. Wuerst was his master in theory. In 1864 Jacobowsky entered as solo cellist into the Liebig “Symphonie Kapelle.” Six years later he was summoned to Jassy as teacher of cello playing at the music school, but when the Franco-German War broke out he had to hasten to the standard, and took part in the campaign. When it was over, he received a place as Chamber Musician in the Royal orchestra, which had already been promised to him in 1868, consequent on a successful competition.

Jacobowsky has not only made himself known to advantage as solo player, but also in connection with the Soirées in which he takes part with Hans Bishoff and Waldemar Meyer. Besides some Drawing-room Pieces for Violoncello, he published “Tonleiterübungen in fünf Stufen” and twenty-two Elementary Exercises in the first position.

L. Espenhahn, born at Sandersleben, was at first member of the Dessau Court band, but entered as assistant into the Prussian Hofkapelle, after he had appeared in Berlin as a solo player. He did not, however, remain in this place, but accepted an invitation to join the private band of the Russian Prince Narischkin. After the death of the latter, he was again received into the Berlin Kapelle. Since 1852 he has belonged to the Zimmermann String Quartet, as successor to Griebel. He was also occupied as teacher in Berlin. Espenhahn died in the year 1879.

For Munich during the first quarter of our century the chief representative of Violoncello playing was Philipp Moralt.120 He belonged to a gifted Bavarian musical family, whose members were employed in the Munich Court Kapelle. This family possessed in Joseph Moralt a second younger Cellist. Nothing further is known about him except the fact of his performing so well that he was admitted into the Leipsic Gewandhaus Concert on January 21, 1847, for solo playing.

Joseph Menter, however, who received his education from the elder of the two Moralts just named, had a greater artistic importance. Born on January 17, 1808, in the Bavarian village of Daudenkofen, near Landshut, he began as so many of his colleagues did, with the violin, but soon abandoned it to take up the Violoncello. He had scarcely completed his twenty-first year before he found a position in the Hohenzollern-Hechingen band. In 1833 his vocation took him to Munich. He belonged to the Kapelle there until his death, which occurred on April 18, 1856. Menter—he is the father of the well-known Piano virtuosa of that name—made himself known outside his sphere of work by concert tours in Germany, Austria, Holland, Belgium, and England, as well as by several Cello compositions, of which a few were published after his decease.

Menter formed several good Cellists, amongst them the best is—

Hippolyte Müller. He was born on May 16, 1834, at Hilburghausen, and received his first instruction from his father. His development was so rapid that, at eleven years of age, he already appeared as soloist. He was assigned to Menter for further cultivation, by whose assistance he became a master of his art. In 1854 Müller joined the Munich Court Band as first Cellist. He also undertook the tuition at the Conservatoire. On August 23, 1876, he died at Munich. His pupil,

Gebhard Graf, for fourteen years first Violoncellist in the Grand Ducal Kapelle at Brunswick, was born on February 4, 1843, at Waal, near Buchloe, in Bavaria, and attended, from his fifteenth year, the Royal Conservatoire at Munich. He was dismissed from it at the end of four years with a certificate of merit, and then held concerts in Hamburg, Warsaw, Amsterdam, Frankfort, and Munich. Later, he was six years as solo Cellist in the Princes’ Kapelle at Sondershausen, worked with the Bilse Orchestra for one year as first Cellist, and after that time had elapsed he took an engagement in the Grand Ducal Kapelle at Strelitz. Thence he was summoned to Brunswick.

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.