Part 18

Until then Franco-Mendès was undecided as to whether he should pursue music for his pleasure or as his career. He soon decided for the latter, and undertook with his brother Joseph, who was a gifted violin player, a journey to London and Paris in the year 1831. He made his _début_ in the former city at a concert given by Nepomuk Hummel and on his return to Amsterdam he received from the King of Holland the title of Chamber Violoncellist. In 1833 the brothers Franco-Mendès undertook together a concert tour in Germany, and were heard with success in Frankfort, Leipsic, and Dresden. In the following year Jacques was nominated first solo Cellist of the King of Holland. In 1836 he again went with his brother to Paris. The latter died in 1841, and this loss so heavily affected Jacques that for a long time he could not resolve to undertake any more art journeys but played only at a few concerts in the chief towns of Holland. In 1845 the desire was again aroused in him of making further efforts. He took part, in that year, in the musical festival which was held at Bonn to celebrate the unveiling of the Beethoven memorial, but on account of the overwhelming number of musical productions he gained no success. In 1860 he took up his permanent abode in Paris. As a composer, Franco-Mendès proved that to a certain extent his aim was worthy of respect, for he occupied himself with chamber music in its more serious aspect. He wrote two Quintets and a String Quartet, one of which was distinguished by receiving a prize from the Netherlands “Society for the advancement of Music.” He has also composed a long list of Drawing-room pieces for his instrument, amongst them a grand Duo for two Violoncellos, an Elégie, “Fantasias,” “Caprices,” and more pieces of the same kind; some of them are still performed, as, for example, the Adagio (Op. 48).

Among Franco-Mendès’ pupils,

CHARLES ERNEST APPY must be cited, who, springing from French parentage, was born on October 25, 1834, at the Hague. His father was a tenor player in the Royal band, but went away with his family to Amsterdam, where his son at fourteen years of age began with piano playing under Richard Hol. A year after he gave it up for the Violoncello, on which the Belgian, Charles Montigny, and later, Merlen, the first cellist at Amsterdam, gave him instruction. He received the final finish from Franco-Mendès, under whom he also studied composition.

Appy began his work as a musician in 1851, as member of the Concert orchestra at Zaandam. He soon received invitations to the provincial towns of his Fatherland to assist as a solo player at concerts, and in 1854 he was engaged for six months by Joseph Gungl, as solo cellist for Scotland. Two years later he was member of the Amsterdam Park orchestra, as well as of the orchestra of the “Felix Meritis” Society. In 1857 he worked for six months at the concerts of the London Crystal Palace, and after his return he joined the orchestra of the “Cäcelia” Society in Amsterdam. From 1862 he has belonged to the String Quartet of the excellent violinist, Franz Coenen, for nine years, by which means he has enjoyed the opportunity of playing with distinguished artists, such as Ernst Lübeck, Alfred Jaël, and Madame Clara Schumann.

In the year 1864 Appy was appointed Cello teacher to the “Maatschappij tot Bevordering van Toonkunst,” in which office he remained till 1883. During this time, in 1871, he went for six months to New York, in order to join in the Thomas Concerts as soloist. His substitute as teacher at the Amsterdam Maatschappij was, meantime, Daniel de Lange.

Returned to Holland, Appy took up his residence in Haarlem, where he gave lessons on the Cello and Piano. Thence he again went to Amsterdam and opened there a prosperous music school, which he continues to superintend at the present time. His cello compositions consist of “Fantasias” on _Motifs_ from the “Freischütz” and “Robert le Diable,” as well as some smaller light pieces.

The above-mentioned DANIEL DE LANGE, born about 1840, at Rotterdam, was educated as a cellist by Simon Ganz and Servais, while Verhulst was his master in theory. On the completion of his studies he travelled with his brother, the pianist and organist, Samuel de Lange, through Austria and went to the music school at Lemberg, to which he belonged for three years. In 1863 he returned home and undertook the Cello instruction at the Rotterdam Music School, which his master Ganz had until then carried on. There is no further information regarding him.

JACQUES RENSBURG, born May 22, 1846, at Rotterdam, also began his cello studies under Ganz in his ninth year, and continued them under Giese, Daniel de Lange, and Emil Hegar.[130] Rensburg was destined for a commercial and not an artistic career, but his inclination for music so increased with time, that in 1867 he received permission from his father to devote himself to Art. He now went about the middle of the year named to Cologne, in order to pursue a course under the talented Violoncellist, Schmitt. The latter, however, was already, in consequence of a chest malady which, later, carried him off, so suffering that Rensburg’s wish was not fulfilled of learning from him. Instead of becoming Schmitt’s pupil he was his temporary assistant, as first Cellist in the orchestra of the Gürzenich Concerts, as well as teacher in the Rhenish School of Music at Cologne. Both offices were given over to him definitely on April 1, 1868, on account of his valuable services, for, in the meantime, Schmitt had died. Besides his official duty, Rensburg frequently performed with favourable success in the tours of the Rhenish Provinces, as well as in North Germany, and in 1872, also, in the Leipsic Gewandhaus as a soloist; but the ceaseless application with which he practised his profession brought on a nervous affection, which compelled him to retire into private life. In the autumn of 1874 he went to his native town, and since the spring of 1880 he has been living at Bonn, where he is partner in a mercantile undertaking. Of his compositions have appeared: “Recitative, Adagio, and Allegro, in the form of a Concerto.”

An excellent Dutch Violoncellist is LOUIS LÜBECK, born on February 14, 1838, at the Hague. His father, the “Hof-Kapellmeister,” Johann Heinr. Lübeck, so highly esteemed by the Dutch musical world (died on February 7, 1865, at the Hague), gave him his first regular instruction, after he had up to his seventeenth year occupied himself with music as a dilettante. In order still further to perfect himself he studied from 1857-1859 under Léon Jacquard’s direction in Paris. He then made successful journeys through France and Holland, took up his residence in Colmar, where he often joined in concerts with Clara Schumann and Jul. Stockhausen; in 1866 he was summoned to Leipsic as first cellist at the Gewandhaus Concerts and teacher at the Conservatoire. He fulfilled these duties until 1868, in which year he occupied a similar position in Frankfort-on-the-Maine, and he also undertook fresh concert journeys through Germany, Holland, and England. In the year 1871 Lübeck was a member of the Carlsruhe “Capelle.” He did not, however, remain long in this position, but he next went, in 1873, to Berlin and St. Petersburg. From the latter place he went to Sondershausen, where he belonged to the Ducal Band as soloist, and afterwards to North America. In the year 1881 he returned to Europe, and was engaged as successor to the Concertmaster, Jul. Stahlknecht, for the Berlin Royal Band, to which he still belongs as solo cellist. Besides a collection of small pieces, amongst which are some transcriptions, Lübeck has written two Concertos, of which, however, only one has until now been published.

Bouman and Maaré belong to the younger Dutch Violoncellists who have become prominent by their performances.

ANTOON BOUMAN, born in Amsterdam, in the year 1855, received his first instruction from one of his brothers, with whom he later for some time established regular Quartet Conversaziones. As a boy of twelve years he was able to appear before the King, William III., as well as at the public Concerts of his native city. In order to make further progress he attended the Rotterdam Conservatoire and enjoyed there the cello instruction of O. Eberle.[131] Returning home he again played before the King, who granted him the means of continuing his studies. He thus was able to work for some years in order to perfect himself, and had the advantage of the advice of Aug. Lindner, in Hanover; Fr. Grützmacher, in Dresden; Joseph Servais, in Brussels; and Léon Jacquard, in Paris. He then travelled in Southern France and England, where, during a residence of four years, he gave concerts with success. Since then he has acquired for himself a lucrative sphere of work in Utrecht as Director of the municipal concerts, as solo player and cello teacher. Besides several smaller compositions, Bouman has written two Concertos for his instrument.

From Eberle, who, as we have just seen, was for a time Bouman’s master, TH. C. DE MAARÉ, born on January 14, 1863, also received his education as a Violoncellist. In his twenty-second year he received the appointment at the “Amsterdamsche Orkestvereenigung” of solo cellist, when the place of first solo player at the Royal “Fransche Opera” was also given to him, which position he still holds.

The two youngest cellists of Holland, of talent worth mentioning, are Snoer and Smith.

JOHAN SNOER was born on June 28, 1868, in Amsterdam, and received his first instruction from Alexander Pohle, a pupil of Fr. Grützmacher. After Pohle’s death the younger Giese[132] was his master, and, when the latter went out to America, Henry Bosman undertook his training. Later on he learned the harp from Edm. Schuëcker, now teacher at the Leipsic Conservatoire. Snoer began his active career as a volunteer in the Amsterdam Park Orchestra. When he was dismissed from this he was appointed Violoncellist and Harpist at the newly-erected Park Theatre at Amsterdam. Since 1885 he has been first solo cellist and harpist at the Amsterdam Orchestra Union.

JOHANNES SMITH, born on January 27, 1869, at Arnheim, received his first Cello instruction from Heyn,[133] in Maestricht, where his father had been placed in the Dutch service. Later on the Smith family resided in Amsterdam and there Ernest Appy was the teacher of the artist boy, who went to Dresden in 1883 in order to complete his training on the Violoncello under Fr. Grützmacher and, in theory, under Felix Draeseke. Since then Smith has appeared with great success in Leipsic, Dresden, Berlin, and the Hague, as concert player.

FOOTNOTES:

[126] See p. 97.

[127] Alphonse d’Eve received the appointment of Choirmaster at the Antwerp Cathedral on November 5, 1718, having previously directed during a long period the choir of the church of St. Martin in Courtrai. The announcement of Fétis that d’Eve composed a solemn Mass in the year 1719, for two choirs, with accompaniment for instruments, amongst which there was an obbligato for Violoncello, is a matter of interest to us.

[128] Fétis points out that he was at the Favart Theatre. Müntzberger, however, calls himself on the title-page of the Cello School: “Professeur de Violoncelle au Théâtre Feydeau.”

[129] Fétis gives the year of his birth 1812. His brother, Joseph, was born 1816.--(_Tr._)

[130] For the Cellists, Hegar and Giese, see pp. 130 and 152.

[131] See p. 131.

VII.--ENGLAND AND SCANDINAVIA.

The special attention which had been devoted to the Viola da Gamba in England during the seventeenth century[134] was not paid, in similar measure, to the Violoncello. This instrument, like the Gamba, was introduced into musical circles in London by Italians. Ariosti, Bononcini, Cervetto, and Caporale--all contributed to make it familiar in the English capital and other places. But it does not appear that Violoncello playing was taken up by English artists at first with the same alacrity as it was abroad--at all events, as a profession--and this left the field open chiefly to foreign Violoncellists, who came to England with the hope of a rich harvest, in which, says M. Wasielewski, they were too often disappointed. The number of professional English cellists is small as compared with those of other countries, though there are a few to be mentioned who, in talent and proficiency, will bear comparison with any of the great players of their time.

One of the first is

BARTHOL. JOHNSON, probably born in 1710, as he is said to have celebrated his hundredth birthday at Scarborough, October 3, 1810, when Lord Mulgrave and many distinguished persons were present in the Freemasons’ Hall. During the evening the centenarian played the Bass of a Minuet on the cello, which he had composed sixty years before. (See Appendix.)

JOHN HEBDEN, who is supposed to have played the Violoncello, was probably born at the beginning of the eighteenth century, since his portrait was engraved by Faber in 1741. He is represented in this playing the Gamba. Gerber, at least, seems to have thought it worth while to mention him as a cellist, though Burney writes of a certain Hebden as playing the Bassoon at a concert in London where the best performers of the Italian opera were employed.

WILLIAM PAXTON also was a violoncellist, the composer of the well-known glee “Breathe soft, ye winds,” besides other pieces. Burney praises his “full and sweet tone, as well as his judicious manner of accompanying the voice.” He published amongst his other compositions also six Duos for two Violoncellos (Op. 1), eight Duos for Violin and Violoncello (Op. 2), six solos for Violin (Op. 3), four solos for Violin and two for the Violoncello (Op. 4), twelve easy lessons for Violoncello (Op. 6), and six solos for Violoncello (Op. 8). His brother Stephen also composed for the Cello.

JOHN CROSDILL, born in London in 1755,[135] whom Gerber mentions as an extraordinarily clever Violoncellist, and Fétis as distinguished, notwithstanding the presence of Mara in England, had a high reputation in his time. He was educated in the choir of Westminster Abbey under Robinson and Cooke; on leaving the choir he studied the violoncello under his father, and is said to have had instruction from Jean Duport. He soon acquired a considerable proficiency, and in 1768 he was elected a member of the Royal Society of Musicians. In the following year he played at the Gloucester Festival, and was appointed first cellist, an appointment which he held until his retirement. In 1776 he was engaged as first Violoncellist at the Concerts of Ancient Music, and in 1778 as Violist of the Chapel Royal. He probably went to Paris 1778-9, and remained nine months, studying under the elder Janson. In 1782 he was appointed chamber musician to Queen Charlotte, and he also gave lessons to the Prince of Wales. About 1788 he married a lady of fortune, and retired from the practice of his profession, appearing publicly for one day only, in 1821, at the coronation of George IV. He died at Escrick, in Yorkshire, leaving a considerable fortune to his son, who, by his father’s desire, presented a donation of £1,000 to the Society of Musicians.

Four other English Cellists of the second half of last century are--Hardy, Reinagle I. and II., and Gunn.

Little is known of HARDY, Henry (of Oxford), beyond the fact that about 1800 he published an instruction book with the title, “The Violoncello Preceptor, with a compleat set of Scales for fingering in the various keys,” &c.

JOSEPH REINAGLE, born in 1762, at Portsmouth, was the son of a German music teacher who emigrated to England. He was originally intended for the navy, but gave it up after his first voyage. He was apprenticed then to a goldsmith in Edinburgh, but neither in this did he persevere, and his father resolved to let him be a musician. He at first chose the trumpet as his instrument, on which he acquired some skill, and entered the service of the king as trumpeter. He was obliged to give up the wind instrument on account of his health, and was then Violoncellist, Violinist, and finally Violoncellist again. For a while he was Concert Director in Edinburgh. In 1789 he went to Dublin, and in 1791 to London, where, besides obtaining a good position in the best orchestras, he was principal cello at Salomon’s concerts. He finally settled at Oxford, where he died in 1836. He published, for the Violoncello, thirty Duos in four books, as Op. 2, 3, 4, and 5, as well as a School “Concise Introduction to the Art of playing the Violoncello,” which went through four editions.

Reinagle’s younger brother, named HUGH, born at Portsmouth in 1766, received his education from Crosdill, and was distinguished for his unwonted skill. He died while still young, at Lisbon, whither he had gone for the restoration of his failing health. Of his compositions appeared three works: two of them, Op. 1 and 2, consist of six Cello solos, and Op. 3 contains six Duets for two Violoncellos.

JOHN GUNN, said to have been born in Edinburgh about 1765, was not only a clever cellist, but also a remarkable writer on music. In the year 1790 he went to London as a cello teacher. He there published, in 1793, an instruction book for his instrument, under the title of “The Theory and practice of fingering the Violoncello, containing rules and progressive lessons for attaining the knowledge and command of the whole compass of the instrument.” Fétis observes, with regard to the preface of this work, consisting of two parts, that it contains a remarkable account of the origin of the Violoncello, as well as of old and modern stringed instruments.

Gunn wrote another work, published in London in 1801, which has reference to the Violoncello. The title of it is, “Essay theoretical and practical on the application of Harmony, Thorough-bass, and Modulation to the Violoncello.” Besides this he published, in 1794, a “School of the German flute,” and in 1807 he brought out his most important work--viz., “An Historical Inquiry respecting the performance on the Harp in the Highlands of Scotland from the earliest times until it was discontinued about the year 1734.”

In the year 1795 Gunn returned to Edinburgh to take up an advantageous post that was offered to him, and which he apparently held until his death.

The English possessed in ROBERT LINDLEY a Violoncellist of extraordinary capacity, who up to the present time has not been equalled, far less excelled, by his countrymen. He was born on March 4, 1775,[136] at Rotherham, and began his musical studies when he was about five years of age, with his father, an amateur performer, who began by teaching him the violin, and, at nine years of age, the violoncello. At sixteen he had made considerable progress, and the younger Cervetto, hearing him play, undertook his gratuitous instruction, and brought him to the South of England. Even at this age he had commenced to compose for himself, and was sent for to take the place of the professor who was to have played the violoncello solo at one of the Brighton concerts, and who had been taken suddenly ill. Lindley’s performance was rapturously applauded; he played Concertos at several subsequent concerts with the same result, and was then engaged for the Theatre, frequently playing before the Prince Regent.

In 1794 he succeeded Sperati at the Opera and was principal Violoncellist at all the concerts of any importance in London. In the following year began the intimacy with Dragonetti, the celebrated double-bass player, which lasted for fifty-two years. Forster quotes Chorley’s remark that “Nothing could be compared with the intimacy of their mutual musical sympathy.” They played together at the same desk at the Opera and every orchestral concert of any importance, and Lindley’s performance of the accompaniment to Recitative from figured bass was most “elaborate and ingenious.”

Concerning Lindley’s playing, he was probably the greatest violoncellist of his time; he was distinguished for the beauty, richness, and extreme purity of his tone, and his great technical skill was remarkable, though probably in this and his manner of rendering he did not equal Romberg.

The story is well-known how, when Romberg, during his residence in England, heard him play, and was asked by Salomon what he thought of his performance, replied: “He is the devil.” He retired in 1851, and died June 13, 1855.

His son, William, born in 1802, was also a violoncellist, and gave promise of future excellence, but nervousness and delicate health prevented his attaining to any great distinction, and he was compelled to withdraw from public appearances.

Lindley is less remarkable as a composer. He wrote four Concertos, Duets for Violin and Violoncello (Op. 5), Duos for two Violoncellos (Op. 6, 8, 10, and 27), Solos for Violoncello (Op. 9), and several Variations on Airs, as well as Potpourris.

Amongst Lindley’s pupils, CHARLES LUCAS, born 1808, in Salisbury, was the most remarkable. He received his first musical instruction as chorister of the Cathedral, under Arthur Thomas Corfe, after which he attended the Royal Academy of Music in London. In 1830 he was named Composer and Violoncellist to Queen Adelaide, and performed the duties of Organist at St. George’s Chapel. Two years later he was entrusted with the duties of Orchestra Conductor at the Royal Academy of Music, and succeeded Cipriani Potter as Principal in 1859. He had already taken the place of his master, Lindley, as first Violoncellist of the Italian Opera. He died on March 23, 1869, in London. His successor in the Opera was the cellist, Collins.

To Lindley’s contemporaries must be added Cudmore, Crouch, and Powell.

RICHARD CUDMORE, born in 1787, at Chichester, in Sussex, practised not only as cellist, but also as a violin player and pianist. The organist, Forgett, of Chichester, was his first instructor, and from him he learned the violin, acquiring such proficiency that at nine years of age he played a solo at a concert in his native town. At ten years the elder Reinagle was his master for the Cello, and a year after he appeared again at a concert and played his own compositions. He then for two years pursued his studies under Salomon’s guidance, in London, when he returned to his native town, and remained there for the next nine years. The desire of giving himself up anew to the study of the Piano drove him again to London, where he subsequently appeared frequently as a Pianist. He accomplished an artistic feat of a remarkable description in Liverpool by appearing there at a concert, which he himself organised, successively as Piano, Violin, and Violoncello performer. The solos which he executed were by Kalkbrenner, Rode, and Cervetto. He was also engaged as Director of the orchestra of the “Gentlemen’s Concerts,” in Manchester, for some years. His diversity of talent was naturally an impediment to his distinguishing himself specially in one department.

FREDERICK WILLIAM NICHOLLS CROUCH, best known as the author of the popular air “Kathleen Mavourneen,” was born on July 31, 1808, at Devizes. He studied under Bochsa and W. Hawes and at the Royal Academy, under Lindley. He played the cello at Her Majesty’s Theatre, and was appointed principal cellist at Drury Lane, as well as member of Queen Adelaide’s band. He went to America with Maretzek, the German composer, and has fallen into indigent circumstances “through all appearance by unavoidable misfortune.” Besides numerous other compositions, “Songs of Erin,” “Echoes of the Lakes,” &c., he produced a “Complete Treatise on the Violoncello,” Lond., 1827.