Part II

. in 1869), and Biographical Sketches of Robert Schumann, Franz Liszt, and Edmund Kretschmer. His most important work in musical literature is “Friedrich Chopin: his Life, his Works, and his Letters.” A German translation of the latter appeared in 1877 which went through two revised and enlarged editions.

JOHANN KARLOWICZ, born on May 28, 1836, in Lithuania, received his training as Cellist from Julius Lyko in Wilna, Göbella in Moscow, Sebastian Lee, finally from Servais also in Brussels. For some years he assisted in the instruction at Warsaw Conservatoire. In his native land Karlowicz enjoys the reputation of a learned linguist.

JOSEPH ADAMOWSKI, born in 1862 in Warsaw, perfected his studies--after he had attended the music school in his native city for some time--under Fitzenhagen, at the Moscow Conservatoire, in the years 1877-1883. On his leaving he was distinguished by the presentation of a diploma and of the great silver medal. After he had made some Concert journeys in Poland and Galicia, he was appointed teacher at the Cracow Conservatoire, to which he belonged until 1887. Since then he has been without a post and is only engaged as a Concert player. Adamowski has the reputation of being a clever Violoncellist.

* * * * *

Of Hungarian Violoncellists, only Kletzer and Hegyesi have made themselves known beyond their own country.

FERY KLETZER, born in 1830 in Hungary, travelled during his sixteenth year giving concerts. His performances showed more than ordinary talent, but were wanting in the higher artistic training. He attained, however, to a certain reputation, as his name was at the time frequently mentioned in the newspapers. Since then he has disappeared from public life.

LOUIS HEGYESI holds a much higher position. He was born on November 3, 1853, at Arpas; at eight years of age he went to Vienna, and there received his first instruction from the Violoncellist, Denis. Later on, he was received into the Vienna Conservatoire and thus became Schlesinger’s pupil. In order still further to prosecute his training he went, in 1865, to Franchomme in Paris. The outbreak of the Franco-German war obliged him, in the summer of 1870, to return to Vienna, where he found a post in the orchestra of the Grand Opera. Five years later he took Hilpert’s place in the Florentine Quartet, to which he belonged until it was dissolved. From that time Hegyesi has travelled as a soloist. In 1887 he responded to an invitation to Cologne as first Cellist of the Gürzenich Concerts and teacher at the Rhenish School of Music.

FOOTNOTES:

[137] See Rob. Schumann’s biography, by the author of this book (Auf. III., p. 195). Leipsic: Breitkopf and Härtel.

[138] See p. 133.

[139] Fétis says that Zyka was born about 1730. But his birth must have been earlier, for according to Fürstenau’s account (History of Music and the Theatre at the Electoral Court of Saxony), he had been already, in 1743, appointed to the Dresden band, though Fétis erroneously makes him a member only in 1756.

[140] Michael Kleophas, Count Oginski, was born at Gurow, near Warsaw, on September 25, 1765, and died in Florence on October 31, 1833. He was High Treasurer of Lithuania.

[141] Not on September 2, as occasionally given.

CONCLUSION.

In taking a retrospective glance at the progressive development which Violoncello playing has displayed from the beginning of the present century, it is evident that this branch of Art has reached so great a degree of perfection that it seems scarcely possible it can rise much higher. This result is not only to be ascribed to the deserving work of the leading Violoncellists--and here must be called to mind, besides Romberg and Dotzauer, pre-eminently Friedrich Kummer, Aug. Franchomme, and François Servais--but also to those famous German composers who brought the Violoncello within the sphere of their productions.

Already had Haydn and Mozart appropriated to this noble instrument, in their String Quartets, passages which contributed to the furtherance of the technique and the possibility of expression. Beethoven went much farther even than this. Not only in his String and Pianoforte Trios, as well as in his Quartets, but also in his Sonatas (Op. 5,[142] 69, and 102) and in the so-called Triple Concerto (Op. 56), he increased the demands on the Violoncello to such an extent that in certain respects a real impulse was given to the artistic manipulation of the instrument. At the same time, the works referred to had a stimulating effect on the productive work of the future in the field of Cello compositions, which received a considerable accession in regard to Sonatas especially. We will note here only the names of the best known composers, who used their genius in this direction. They follow in alphabetical order: W. STERNDALE BENNETT, JOH. BRAHMS, FR. CHOPIN, FR. GERNSHEIM, EDV. GRIEG, FERD. HILLER, FRIEDRICH KIEL, FRANZ LACHNER, FELIX MENDELSSOHN-BARTHOLDY, IGNAZ MOSCHELES, GEORG ONSLOW, JOACHIM RAFF, KARL REINECKE, JOS. RHEINBERGER, ANT. RUBINSTEIN, CHARLES SAINT-SAËNS, XAVER SCHARWENKA, BERNHARD SCHOLZ, and W. TAUBERT.

The following have written Concertos for the Violoncello: ALBERT DIETRICH, E. ECKERT, BERNH. MOLIQUE, JOACH. RAFF, KARL REINECKE, ANTON RUBINSTEIN, SAINT-SAËNS, ROBERT SCHUMANN, W. TAUBERT, and ROB. VOLKMANN. The Concerto which has lately appeared by JOH. BRAHMS, for Violin and Violoncello, must also be mentioned.

Besides these there exist a number, by no means small, of greater and lesser Cello compositions, which deserve to be prominently brought forward--as, for example: MAX BRUCH’S “Kol Nidrei,” Op. 47; CHOPIN’S Introduction and Polonaise Brilliant, Op. 3, and Duo Concertant on Themes from “Robert le Diable” (the Cello part is Franchomme’s production); FR. GERNSHEIM’S Hebrew song, “Elohenu”; FERD. HILLER’S Concertstück, Op. 104; Duo for Pianoforte and Violoncello, Op. 22, and two Serenades, Op. 109; FR. LACHNER’S Serenade for four Violoncellos, Op. 29, and Elegy for five Violoncellos, Op. 160; LIMMER’S Trio for three Violoncellos and Quartet for four Violoncellos; M. MARX’S three Quartets for four Violoncellos; MAURER’S Nocturne for four Violoncellos; FELIX MENDELSSOHN’S Variations for Pianoforte and Violoncello, Op. 17; IGN. MOSCHELES’S Duo Concertant, Op. 34; L. PAPE’S six Serenades for four Violoncellos; F. E. REINECKE’S “Three Pieces,” Op. 146; FERD. RIES’S “Air russe varié,” as well as Introduction and Rondo “Sur une danse russe”; ROB. SCHUMANN’S five “Stücke im Volkston,” Op. 102; and likewise L. SPOHR’S Potpourri for Violin and Violoncello on Themes from “Jessonda.”[143]

If to these be added the numberless compositions which Violoncellists of our century have produced in Concertos, Concert pieces, Variations, Fantasias, and Duets for their instrument, it must be admitted that Violoncello literature in the course of time has increased very extensively.

The “Etudes” compositions for the Violoncello left much to be desired during the first decade of the present century. On this account the theorist Siegfried Wilhelm Dehn, of some consideration in his time, and who occupied himself in his younger years with Cello playing, may have been induced to arrange a portion--twenty-two in number--of the Kreutzer Violin studies for the Violoncello. This work, however, published by him in June, 1831, cannot be accounted a particularly successful accomplishment. The finger and bow technique of the Violoncello require an entirely different manner of treatment from that of the Violin. And as these Studies were written according to the capacities of the latter instrument it is evident they can only be made available in a limited degree for the Violoncello. It is not then to be wondered at that the Kreutzer “Etudes,” transcribed by Dehn with the best intention, should have fallen into oblivion, since Violoncellists have more and more sought after a thoroughly suitable system of “Etudes” literature, which has now grown to be a very rich field. During the last ten years the solo manipulation of the Violoncello has, in certain respects, undergone a change to its advantage in a very remarkable manner. The higher and highest tones of the instrument are no longer unduly preferred, as in Romberg’s time; but the tenor positions, more in accordance with its character, are chiefly used, without, however, neglecting altogether the lower and the higher parts. The execution of passages has greatly gained thereby. In this respect, it is true, the Violoncello cannot rival the Violin in brilliancy and agility. The strings of the former being so much longer and thicker, of which the two lower ones are made of correspondingly stout wire, form a natural impediment to the rapid emission of tones in quick runs and groups. In addition the somewhat muffled, though at the same time powerful and full tone of the deeper strings renders difficult a brilliant execution. This is felt more especially in Violoncello Concertos with full orchestral accompaniment. The Violoncello has, however, this advantage: that it lends itself far less to virtuoso exaggerations and confusions than does the easily portable violin, so favourably disposed for every variety of unworthy trifling. The masculine character of the Violoncello, better adapted for subjects of a serious nature, precludes this. But then this instrument does not offer the same wealth in means of execution which the Violin is capable of developing as a solo instrument. In harmonics and _pizzicato_ indeed it is at least equal to it, but in the speed and flexibility of passages, as well as in double-stopped playing, its limits are defined. It follows that on account of the larger dimensions of the Violoncello, and the character of the instrument, double-stopped combinations are far less suitable for the deeper than for the higher strings, a circumstance of which there is no question at all on the Violin.

One of the strongest points which the Violoncello possesses in its favour is its suitability as a solo instrument in _Cantilena_ playing, in which it is not surpassed by any other. If the Violin, with melting soprano and tenor-like voice, speaks to us now with maidenly tenderness, now in clear jubilant tones, the Violoncello, grandly moving for the most part in the tenor and bass positions, stirs the soul by its fascinating sonority and its imposing power of intonation, not less than by the pathos of its expression, which by virtue of its peculiar quality of tone more specially belongs to it than to the Violin.

There is no rivalry between the two instruments, but rather do they mutually enhance each other’s power. Even so is it with the themes which devolve on each in the sphere of chamber and orchestral music. It is greatly to be desired that future generations may foster and maintain what has been done for the art of Violoncello playing in so meritorious a manner by unwearied, self-sacrificing labour; but it is to be hoped, at the same time, that the technique of the instrument, so carefully and finely formed, to the subject of which this book is dedicated, may be ever applied in the service of true and noble Art only.

SUPPLEMENTARY.

At p. 107, I said that only Johann Baptist Baumgärtner’s tutor (p. 76) could give an explanation concerning the method practised in Germany, with regard to the fourth finger in the thumb position, during the second half of the last century. It was only after this was in the press that the title of a second German Violoncello School of that time became known to me. It is that of Kauer, who was formerly distinguished as an operetta composer in Vienna--“Concise explanation how to play the Violoncello”--which appeared in 1788. It may probably be seen from this work of instruction what the opinion was at that time regarding the fourth finger in the case referred to.

FOOTNOTES:

[142] In all probability Beethoven’s Cello Sonatas (Op. 5), composed at latest in 1796, were the first of their kind. The Sonatas for Piano and Violoncello, written by Bonifazio Asioli, of which F. Grützmacher has brought out a new edition, appeared, as may be concluded from the dates given by Fétis in his “Biographie Universelle,” Vol. I, p. 155, first at the beginning of our century.

[143] I have only mentioned above the most noteworthy portion of the newer and newest Violoncello compositions. For the remainder I refer to Philippe Roth’s “Guide to Violoncello Literature” (Breitkopf and Härtel, Leipsic, 1888).

APPENDIX.

A.

In England, the best violoncello as well as violin bow-maker was John Dodd, who lived and died at Kew; indeed, his cello bows are considered superior to his violin bows. _See_ Ed. Heron Allen “On Violin-making, &c.”

B.

BARTHOLOMEW JOHNSON.

The _Gentleman’s Magazine_ of 1814 records his death thus in the Obituary, February 14: “At Scarborough, in his 104th year, Mr. Barth. Johnson, a celebrated musical character. He possessed to the last a vigorous mind and strong retentive memory.”

In the “History of Scarborough from the earliest date,” by Joseph Brogden Baker, among the biographical notices, is the following:--

“JOHNSON, BARTHOLOMEW.

“Johnson, Barth., was born at Wykeham, near Scarborough, October 3rd, 1710. He resided at Scarborough from the time of his apprenticeship to the time of his death. He was for seventy years one of the ‘town waits.’ As a musician, and for the many excellent traits in his character, he universally preserved the esteem of a highly respectable circle of friends. His constitution naturally was vigorous, and he lived to a great age. In 1810 he completed his hundredth year, which was celebrated by a jubilee dinner and musical performance at the Freemasons’ Lodge, Scarborough, and a medal was struck as a memorial of this event; about ten o’clock at night the good old man bore a part in a quartette, performing on the violoncello the bass to a Minuet which he himself had composed upwards of sixty years before. Lord Mulgrave, the Honourable Henry Phipps, the Bailiffs, and about seventy gentlemen, visitors and residents of Scarborough and the neighbourhood, honoured the meeting with their company. Congratulatory letters from the borough members were read, whilst several poetical compositions, suitable to the occasion, from the classic pens of Archdeacon Wrangham and Thomas Hinderwell, Esq., were recited and sung. Lord Mulgrave afterwards commissioned the late J. Jackson, R.A., to paint the portrait of the venerable old man, which was presented to the Corporation by his lordship and now adorns the council chamber of the Town Hall. In 1814 he departed this life in the 104th year of his age.”

A similar account, from which, perhaps, the above facts were taken, is to be found in “The History and Antiquities of Scarborough,” by Thomas Hinderwell, Esq.

C.

REINAGLE.

A whimsical circumstance, which I cannot forbear mentioning, happened to Reinagle:--

The celebrated Mr. Curran introduced himself to Reinagle and invited him to dine with some musical friends at his country house, five miles from Dublin. Reinagle, anxious to embrace the opportunity of enjoying that great man’s society, most willingly assented, upon which Curran, being in great haste, would not permit our musician to seek for any conveyance, but requested him to ride double on his horse. In this ludicrous way, sitting behind Mr. Curran, they reached his house, to the amusement of many friends they met on the road.

METHODS AND SCHOOLS.

VIOLA DA GAMBA, &C.

GERLE, HANS.--Musica Teusch, auf die Instrument der grossen vnnd kleinen Geygen, auch Lautten, &c. Nürnbergk, 1532.

DANOVILLE, LE SIEUR.--L’Art de toucher le dessus et basse de Viole, &c. Paris, 1687.

GANASSI DEL FONTEGO, SILVESTRO.--