The Violoncello and Its History

Bellmann must be considered one of the most accomplished violoncellists of the present time, not only as a soloist, but also as a quartet player. With complete technical training, his playing is distinguished by its exemplary purity, rarely fine tone, its elegance, and its noble and accurate musical rendering.

Emil Boerngen spent his youth in Emden, where his father was music director. He was born on February 2, 1845, at Verden. He received his first instruction in music from his father. He then began the study of violoncello playing under the direction of the chamber virtuoso, C. Mattys, in Hanover. He obtained, however, his higher education under the direction of Grützmacher, and had the benefit of his tuition for three years. In 1870 Boerngen went to Helsingfors. He there undertook the post of cellist at the theatre. At the same time he was frequently a much appreciated player both as soloist and in quartets. Two years after he accepted the invitation to Strasburg Theatre as solo cellist. After several years of activity he relinquished his post and went to Salzburg, where he was engaged for the Mozarteum. Since 1875 he has been teacher of violoncello playing at the Royal Music School at Würzburg. In consideration of his successful work at that Institute, in 1883 he received the title of Professor as a mark of distinction. During his official activity he was also occupied as solo and quartet player.

Richard Vollrath was born on December 16, 1848, in the Thuringian town of Sonneberg, belonging to Saxe-Meiningen, where his father filled the office of town musician. The boy early tried several instruments, till he at length showed his preference for the violoncello. His first teacher was the royal chamber musician, Roda, at Rudolstadt. During the years 1865-1867, he studied under the direction of Grützmacher. Having fulfilled his military term at Coblenz, Vollrath belonged, from 1871-1873, to the Royal orchestra at Ems as cellist. In the following winter he joined the Mannsfeld first orchestra at Dresden. He made use of his residence there to renew his studies under Grützmacher. He then went as first cellist for two years into the Wiesbaden orchestra. Since September, 1876, he has belonged in the same capacity to the Municipal orchestra at Mainz. Besides his official post he is also prominent as a solo player and an appreciated teacher.

Carl. Friedr. Wilh. Fitzenhagen was educated under the guidance of Grützmacher as a violoncello virtuoso of eminent rank. This distinguished artist was born on September 15, 1848, in the little town of Seesen, in Brunswick, where his father was music director. He early began his practice—in his fifth year on the piano, in his eighth on the violoncello, in his eleventh year on the violin. Besides these instruments, he learned by degrees several wind instruments in order to take part in his father’s musical entertainments when a vacancy occurred in his orchestra. By means of this many-sided capacity, Fitzenhagen gained, even in early youth, a certain routine in musical matters which, later on, stood him in good stead.

Fitzenhagen received the first regular cello instruction, besides making progress in piano and violin playing, from the Ducal chamber musician, Plock, in Brunswick. But he soon made his appearance there as soloist. His really serious study, however, was in the beginning of October of the year 1862, when he became Theodore Müller’s pupil. After a lapse of three years, Fitzenhagen was heard by the Duke of Brunswick in the Theatre Royal. The trial performance was so satisfactory that the Duke, in order to forward him in his artistic career, released him entirely from military service. Patrons of high standing immediately supplied him with the means of prosecuting his cello studies under Grützmacher. This occurred in May, 1867. A year later, notwithstanding his youth, he was named a member of the Hofkapelle of Saxony. From that time he frequently made his appearance as a solo player; took part, in 1869, in the general musical gathering in Leipsic, and in 1870 at the Beethoven Festival. Franz Liszt wished to gain him for the orchestra at Weimar, but Fitzenhagen preferred to accept an offer made to him to be Professor at the Imperial Conservatoire in Moscow. From that time he has developed an uncommonly active and successful artistic capability as a concert player as well as chamber music performer. He gained striking results in his professorial relations, for he is at present looked upon as the cello master of greatest repute in Russia. The best of his pupils will be mentioned in the last section of this book.

After Fitzenhagen had been appointed Concertmaster to the Russian Imperial Musical Society, the direction of the Moscow Music and Orchestral Union, which organises annually some concerts, was made over to him some three years ago.

Fitzenhagen was very industrious as a composer. Besides a String Quartet, which gained the prize of the St. Petersburg Chamber Musical Union, he wrote four Cello Concertos, a Suite for Violoncello and orchestra, a “Fantasia” on Motifs from Rubinstein’s “Dämon,” with orchestra; a long list of drawing-room pieces, amongst them twelve little pieces which embraced a Quarto, a Ballade with orchestra, and a book containing technical Cello Studies.

Albert Petersen, born on October 23, 1856, in Lübeck, after he had studied under Grützmacher, was first cellist in the private bands at Dresden, Kreuznach, and Cassel; accepted engagements for America and Pawlowsk, near St. Petersburg, and has since filled for ten years the position of solo cellist in Magdeburg, as well as that of cello master at the Musical Institute there.

Carl Monhaupt, born on March 9, 1856, in Hamburg, began his musical studies with piano playing. In his fifteenth year he decided for the violoncello, of which he learnt the elements from the cellist named Katerbaum, of the Central Hall orchestra of his native town. In 1872 he betook himself to Sondershausen, in order to pursue his studies under the direction of his brother Fritz,¹¹³ who at that time belonged to the Royal orchestra of Sondershausen as first cellist. Here he remained three years, when he went to Dresden in order to perfect his education under Grützmacher’s guidance. At the present time he is first violoncellist of the Musical Society and of the Orchestral Union at Berne, as well as teacher at the music school there.

Oscar Brückner, born on January 2, 1857, at Erfurt, received his first cello instruction from the Concertmaster, Herlitz, in Ballenstedt, after he had been prepared by his father for the musical career. But he completed the most important part of his studies under Fr. Grützmacher, in Dresden, where he also received instruction in the theoretical portion from Felix Dräseke.

After he had finished his course of study, Brückner undertook concert tours in Russia, Poland, and Holland. Wherever he was heard he was marked by well-merited success. Besides his clever “technique” he made a great impression by his broad and full tone. From 1882-1884 he was engaged as violoncellist at the Grand Ducal Court Theatre in Neustrelitz. On retiring from this post he received the title of Chamber Virtuoso. Since 1886 he has been solo cellist at the Theatre Royal, Wiesbaden. At the same time he takes part in the Violoncello teaching at the Wiesbaden Conservatoire.

Brückner’s official successor in Neustrelitz, Otto Köhler, was born December 21, 1861, at Neuhaldensleben (in the district of Merseburg). He went to school at Chemnitz and having performed his military service, he entered the Regiment of Life Grenadiers at Dresden. He there remained until 1882, in order to perfect himself, under Grützmacher, in Violoncello playing, which he had already pursued by himself. In January, 1883, Köhler was engaged for the Kapelle of the Duke of Coburg Gotha. He remained two years at this post, during which he went through a theoretical course under the direction of the Court Kapellmeister, Langert. In 1885 he was offered the post of solo cellist at Neustrelitz. In this position he is at present.

A German-American is also amongst Grützmacher’s pupils. Emil Schenk, born at the beginning of the sixties at Rochester, North America. In 1879 his father, a native of Baden, who had settled as music teacher in the above-mentioned American town, sent him to Dresden to complete his studies under Grützmacher’s direction. He made rapid progress, and soon attracted the attention of the Dresden musical circle to so great a degree that at the end of the same year he was appointed to the Hofkapelle there. His engagement, however, was only temporary, for as soon as Schenk had completed his studies under Grützmacher, he returned to America. On his frequent public appearances in New York he has had brilliant success. The well-known Director of the Philharmonic Concerts, Theod. Thomas, did not let the favourable opportunity escape of gaining over the highly gifted young artist as solo cellist for his orchestra. He attained to ever-increasing appreciation and popularity. But as Thomas so frequently undertook tours with his orchestra in the States of the Union, this occupation became at length too irksome to him; he released himself from the contract, and from that time, encouraged by the sympathy of the public, he lives in New York as an independent artist, and works not only as a concert player, but also as a teacher of great repute.

Another excellent pupil of Grützmacher is Hugo Becker, son of the famous Violinist who founded the Florentine Quartet, but who unhappily died in the flower of his age, in 1884. Hugo Becker was born on February 13, 1863, at Strasburg, in Alsace, and at the beginning of the sixth year of his life received instruction from his father on the piano and the violin. When he was nine years old, he heard a Violoncello played in church, and this made such an impression on him, that he decided in favour of that instrument. A pupil of Menter’s, the cellist Kündinger, of Mannheim, whither Becker’s parents had gone in 1869, undertook his education. At fifteen he had made such progress, that the place of second cellist was offered to him in the orchestra of the Mannheim Court Theatre, which he accepted. At the end of nine months he gave this up in order to go through a course under Grützmacher, from whose instruction he benefited for five months. Having returned home, his father undertook his further tuition, and used to play to him studies and concert pieces on the Violin which greatly assisted his progress in regard to their comprehension and rendering. The circumstance that he was constantly hearing in the parental home a great deal of chamber music in the best manner and himself took part in it, was of great value for the young man’s musical education. In the year 1880 Jean Becker resolved to undertake concert tours with his son Hugo and his brother and sister Jeanne (a pianist) and Hans (tenor), during which the young Cello virtuoso, then seventeen years of age, gained his first laurels. While the Becker family quartet was performing in London, Hugo Becker had the opportunity of being brought a good deal in contact with Piatti, which was not without producing some influence on his playing. The practices at the De Swert Violoncello Concerts, under the direction of their founder, also contributed to his progress.

For two years, from October, 1884, till the autumn of 1886, Becker filled the office of solo cellist at the Frankfort Opera. From that time he accepted no other post, in order to leave his time quite free for concert engagements. Frankfort-on-the-Main has continued to be his place of residence. We must mention that he has the title of Grand Ducal Chamber Virtuoso of Baden.

Karl Lübbe, born on February 11, 1839, in Halberstadt, began his musical career as a member of the regimental band at Magdeburg, was appointed to the Grand Ducal Berneburg orchestra at Ballenstedt, and came to Dessau on the union of the Anhalt Duchies. As he showed himself very assiduous the Duke of Dessau granted him the means of perfecting himself still more under the guidance of Grützmacher. He gained great dexterity and skill, but was inclined to the various experiments of a virtuoso, which he carried out also in his compositions. His cello pieces have not been published. After Drechsler was pensioned Lübbe became his successor as first Violoncellist in the Court Chapel at Dessau. He died in his prime on January 7, 1888.

Hugo Jäger took his place, born on May 17, in Warmbrunn. He profited by the instruction of Popper and Grützmacher, became then a member of the Hofcapelle of the Prince of Hohenzollern, in Löwenberg, and after relinquishing this was employed in Ems, Altenburg, and Brunswick. Since 1874 he has belonged to the Ducal band in Dessau.

Aurel v. Czerwenka, born on December 31, 1860, at Karánsebes, in the Hungarian state, Szöreny, was first a pupil of the Steiermark Musical Union at Gratz. In 1882 he came to Dresden and frequented the Conservatoire as a pupil of Grützmacher, under whose direction he afterwards studied privately. On the completion of his education he worked for a time as first cellist in the Mannsfeld orchestra in Dresden, and then he undertook the office of solo cellist at the Land Theatre, as well as that of teacher at the Steiermark Musical Union at Gratz. His performances show genuine artistic talent and training.

Two other pupils of Grützmacher’s must be here mentioned concerning whom there is very defective information. The first to be considered is Theodor Krumbholz, who unfortunately died while still young. He was first Violoncellist at the Stuttgard Court Kapelle, with the title of Royal Wurtemburg Chamber Virtuoso.

H. Ruhoff became, after he had finished his studies, first cellist at the Theatre Royal at Pesth, but was obliged to give up his place on account of a nervous affection, and still lives as a music master at Zurich, where he teaches chiefly at his brother’s Musical Institute.

A. Heyn, born in Dresden, is exclusively a pupil of Grützmacher. After his training he was first occupied in the orchestra of German Opera at Rotterdam. He is now working as first Violoncellist in the Grand Ducal band in Darmstadt. As regards the Violoncellists, Smith and Rüdinger, who were likewise Grützmacher’s pupils, information will be given among the Dutch and Danish cellists. As a third pupil of Drechsler—

Karl Schröder, born on December 18, 1848, in Quedlinburg, must be here noticed with distinction. He had already made such progress in cello studies at fourteen years of age that he was able to be received into the Hofkapelle at Sondershausen. After he had joined his brothers in forming a string quartet, which was distinguished by his performances, he accepted, in 1873, the place offered to him as first cellist in the Brunswick Kapelle. Only a year later, however, he consented to go as first representative of his instrument to Leipsic, and he also superintended at the same time the cello instruction in the Conservatoire there. From Leipsic Schröder went, in 1881, as Hof-Capellmeister to Sondershausen. He worked at this post for five years; he then undertook the direction of German Opera in Rotterdam. Thence he went, in 1887, as Hof-Capellmeister to Berlin. Since the autumn of 1888 he has been occupied as Capellmeister at the Stadt-Theatre at Hamburg.

Schröder published the following Cello compositions: Three Concertos (Op. 32, 36, and 55), three concerted pieces (Op. 38, 51, and 56), an Allegro di Sonatina (Op. 13), Pieces of National Airs (Op. 14), a Song without Words (Op. 15), and a Nocturne (Op. 42). Besides these he produced a Violoncello school (Op. 16), a school of scales and chords (Op. 29), a school of shakes and staccatos (Op. 39), a practical course for Violoncello playing, as well as a long series of Etudes and Exercises. The latter bear the Nos. 22, 25, 35, 40, 44, 45, 46, 48, and 57. He also edited orchestral and concert studies as well as five classical pieces.

The same continuity of Violoncello playing as that of the Dresden school cannot be traced in Vienna because, though at the beginning of our century several cello masters were actively working at the same time, a similar connection did not exist amongst them as in Dresden. But the Austrian capital had the advantage of a richly endowed musical life by means of the heroes of instrumental music, which had a quickening and progressive effect on all branches of executive art, and specially on Violoncello playing. Although this influence was not confined to Vienna alone—since the works of these highly-gifted men, after their publication, spread over an ever-widening circle—still the musical world of Vienna was the chief gainer thereby.

It was at the source and therefore had the opportunity of knowing and studying the creations of these master composers at first hand. We need only recall the Schuppanzigh Art Society, which practised and produced Beethoven’s Quartets before they were published. The Violoncello was represented at the end of last century and the beginning of the present one by Anton Kraft and, later, by Joseph Linke. For the first Beethoven composed the Cello part of the Triple Concerto (Op. 56). The Sonatas (Op. 5, 69, and 102) of the great master may be here mentioned as important works of Violoncello Literature.

Anton Kraft was born on December 30, 1752, in the little Bohemian town of Rokitzan. After his school education was finished he entered the University of Vienna, in order to study law. There he soon began his musical career, and, as he had already diligently practised Violoncello playing in his father’s house, and had acquired remarkable proficiency, he did not find it difficult to procure a position in the Imperial Hofkapelle. Joseph Haydn, to whom he was introduced as clever, appointed him, in 1778, to the orchestra of the Prince Esterhazy. As, however, this artist-patron died at the end of September, 1790, the band was done away with, and Kraft returned again to Vienna, where, in the year 1793, by his conjunction with it, the Schuppanzigh String Quartet was founded, which used to play every Friday morning in the house of Prince Lichnowsky. Kraft was himself occupied, however, until 1795, in the band of Prince Grassalkowitz, and later on in that of the Prince Lobkowitz. He died at Vienna on August 20, 1820.

Of Kraft’s compositions were published—six Sonatas for Violoncello, with Bass (Op. 1 and 2); three concerted Duets for Violin and Violoncello (Op. 3); a Violoncello Concerto, with orchestra (Op. 4); two Duets for two Violoncellos (Op. 5 and 6), and a Divertissement with Bass.

Amongst Kraft’s pupils his son, Nicolas, and Birnbach must be mentioned.

Henrich August Birnbach, born 1782 at Breslaw, went in 1792 to Berlin, and there learnt Piano and Violoncello playing. The year 1802 found him at Vienna, where he enjoyed the instructions of Kraft and was employed in the opera orchestra. Two years later Count Lubomirski engaged him for his private band in Galicia. But in 1806 he returned to Vienna, and in 1812 he accepted an engagement as first Violoncellist at the Theatre of Pesth. From 1822 to 1824 he remained at Vienna, occupied himself zealously with the “Chitarra coll’arco,” invented by a certain Stauffer, wrote a Concerto for it, and played it in a public assembly. In the year 1825 he at length received an appointment in the Hofkapelle at Berlin. He seems to have belonged to it until his death.

Nicolas Kraft, born at Esterhazy, in Hungary, on December 14, 1778, began his musical practice in his fourth year, on a large tenor which he possessed, something like a Violoncello. Two years later he played a solo before the Prince Esterhazy, which his father had written specially for him with this object in view. At eight years of age he made a tour, accompanied by his father, and performed at concerts favourably in Vienna, Presburg, Dresden, and Berlin. On his return, the young Kraft sought to fill up the gaps in his general education, which, until then, had been neglected, and this took up five years. During the time he only occupied himself with his instrument as a recreation. In 1796 he entered with his father into the Lobkowitz band. The prince, who took a great interest in the youth, and cherished the wish that he should cultivate still further his art, granted him the means of going through a course with Louis Duport at Berlin. This happened in the year 1801. He afterwards went to Holland, in order to be heard there. Prince Esterhazy meantime desired his speedy return, so that he could not pursue farther the journey he had begun. On his way home, he went to Leipsic, Dresden, and Prague, exciting great enthusiasm everywhere by his performances.

Nicolas Kraft was engaged in the year 1809 as solo cellist for the Imperial Opera, but retained also his connection with Prince Lobkowitz, who offered him a permanent salary, under the condition that he should never play anywhere without his permission, except in his Palace. This, however, did not continue, because the Prince fell into serious money difficulties from the year 1811, and was no longer free to dispose of his ruined fortune. But Kraft was indemnified in another manner. At the Congress of Princes in 1814, he played before an assemblage of crowned heads in Vienna, and the King of Wurtemburg experienced such great pleasure at his performances, that he named him his Chamber Virtuoso. He now settled at Stuttgard, and thence took a journey, in 1818, to the Rhine, which he extended as far as Hamburg. Here he became acquainted with Bernard Romberg, who gave him every encouragement, and showed it by giving with him two concerts publicly, when he went to Stuttgard in 1820. In the year 1824 Kraft wounded the first finger of his right hand, on account of which, after futile attempts at curing it, he was obliged to retire. He spent his pension in Stuttgard, where he died on May 18, 1853. Kraft composed for his instrument four Concertos, nine Duets (three of which are marked as “Divertissements”), a Polonaise, a Bolero, a “Scène pastorale,” a “Rondo à la chasse,” and two Fantasias, of which one is an arrangement of airs from the “Freischütz.” Nicolas Kraft had a son whose Christian name was Friedrich, whom he likewise educated as a clever cellist. He was born on February 12, 1807, in Vienna, and belonged to the Stuttgard band as chamber musician. Nothing further is known of him.

About the same time as Anton Kraft, Friedrich’s grandfather, Joseph Linke, the violoncellist already mentioned, was at work in Vienna for some years as a distinguished quartet player. He was born on June 8, 1783, in the Silesian town of Trachenberg, received his first instruction from his father, and after his death pursued his studies under a certain Oswald. In his twelfth year he went to the Dominicans at Breslaw. There his teachers in cello playing were Lose and Flemming; for theory he studied under the organist Hanish. Lose was a member of the theatre orchestra, and when he relinquished the post Linke took his place. He remained there, however, only until 1808, when he went to Vienna. He was engaged immediately by Schuppanzigh for the house quartet of Count Rasoumowski, which existed until the year 1816. After the dissolution of this Society, Linke was attracted to Croatia by the family of Count Erdödisch. Two years later he again appeared in Vienna, in order to work at the theatre there as soloist. Thirteen years later he received an appointment in the same capacity at the Imperial Grand Opera. His death took place on March 20, 1837.

Linke’s published cello compositions consist of a Concerto, three books of Variations, a Polonaise, a “Rondoletto,” and a “Caprice” on Rossini airs. Whilst the elder Kraft and Linke, whom Beethoven likewise held in great esteem, represented in Vienna violoncello playing from a purely artistic point of view,

Joseph Merk did so more especially on the virtuoso side. This artist, born on January 18, 1795, at Vienna, who was originally to have been a violinist, and had already in his younger years made great progress, had the misfortune to be bitten so severely by a dog that, even after the wound was healed, he was never able again to bring his left arm into the requisite position for violin playing. He therefore took up the Violoncello, on which he received instruction from Philippe Schindlocker.¹¹⁴ Under his direction, Merk made such rapid progress that already after the lapse of a year he was engaged as quartet player by a Hungarian magnate. He remained at this post two years, when he made a tour through the Austrian dominions in order to make himself known in a wider circle. In 1816 he was appointed first Violoncellist to the Grand Opera at Vienna. Three years later he entered the Imperial Kapelle, and, in 1821, the Professorship for the Violoncello was entrusted to him at the Vienna Conservatoire, which institution later on acquired such importance in regard to instrumental music. He retained the latter office until 1848. In 1834 the Emperor named him his chamber virtuoso. Soon after he undertook a prolonged tour, visited Prague, Dresden, Leipsic, Brunswick, Hanover, Hamburg, and from the last-mentioned town went to London. In Vienna, Merk enjoyed great favour. “He was,” C. Hanslick says, in his “History of Vienna Concerted Music” (p. 245), “indefatigable as an industrious concert-giver, and continually encouraged by public sympathy. He frequently performed at Concerts with Mayseder, whose compositions he played by preference, and might properly be called the Mayseder of the Violoncello.... Merk also performed, as cellist, in Böhm’s quartet productions. As virtuoso he soon surpassed Linke as well as Friedrich Wranitzky. The latter, who was a son of the violinist and Kapellmeister, Anton Wranitzky, held a respectable position among the Viennese cellists of that period, and, about his twentieth year, frequently played Duets with his brother, the violinist, Anton Wranitzky, at concerts.”

Merk died in Vienna on July 16, 1852. Of his Violoncello compositions were published—one Concerto, one Concertino, one Adagio and Rondo, one Polonaise, four books of Variations, “Vingt Exercices” (Op. 11), and Six Etudes (Op. 20). Formerly these compositions were much played, but, in course of time, they have gradually gone out of fashion, like most of the Cello productions of that period.

Amongst Merk’s numerous pupils, the most remarkable are—Böhm, Träg, Marx, and the Dutchman, Franco-Mendez.

Karl Leopold Böhm, born November 4, 1806, at Vienna, profited by Merk’s instruction in the Conservatoire there. He was successively member of the orchestras of Josephstadt Theatre and of the Vienna Theatre. In September of the year 1824 he went to Donaueschingen, where he was appointed musician to the Prince of Fürstenburg. Thence he undertook a successful concert tour to Switzerland and Germany. When in August, 1849, he was released from his engagement in the Donaueschingen Kapelle, he went to Strasburg and entered the theatre orchestra, and also undertook a series of concerts at Vichy. At the beginning of 1851 the amateur Prince of Fürstenburg recalled some of the members of his former band, in order to organize some chamber music. Amongst them was Böhm, who now concluded his artistic career at Donaueschingen. Of his Cello compositions he published a Concerto, Duets, Fantasias, Variations, Polonaises, and some smaller pieces.

Anton Träg, son of a Viennese composer, Andreas Träg, was born in 1818, at Schwechat, near Vienna; began his musical education at six years of age, and went to the Conservatoire at Vienna as a pupil of Merk’s. On February 28, 1845, he was engaged as teacher of Cello playing for the Conservatoire at Prague. Ten years later however he gave up the post and returned to Vienna, where he died on July 7, 1860. Träg devoted himself by special preference to classical music. He had abundant opportunity of occupying himself with it in the Palace at Clam. Of his pupils,

Heinrich Röver distinguished himself, who was born May 27, 1827. Röver belongs to the number of those violoncellists who were at first violinists. As early as eight years of age he decided in favour of the violoncello. Fétis says of him: “He was about 1863 the cleverest player of his instrument in Vienna.” Of his compositions may be cited—Idyll (Op. 1), Mazurka (Op. 8), and “Sérénade du Savoyard” (Op. 11). Röver died in 1876.

Joseph M. Marx, born in 1792 at Würzburg, where he also received his musical education, began his artistic career as member of the Theatre orchestra at Frankfort-on-the-Main, whence he went to Vienna, in order to study under Merk. Later on he worked in the Stuttgard orchestra, until he was appointed first Violoncellist at Carlsruhe. He finally was musical director there, and died while working in this capacity on November 11, 1836. His daughter, Pauline, made her appearance on the stage as a singer during the years 1830-40. Concerning Franco-Mendez, see the Cello players of Holland.

To the best Viennese violoncellists about the middle of our century belongs Carl Schlesinger, born on August 19, 1813. The violin was originally his instrument. After the lapse of three years he devoted himself to the Violoncello. Who his master was is unknown. In 1838 he was appointed solo cellist to the Pesth National Theatre. He gave up this place in 1846, as the opportunity presented itself of entering the Imperial Opera orchestra in the same capacity at Vienna. In 1862 the office of cello teacher at the Conservatoire there was committed to him. Schlesinger’s most noted pupils are: Udel, Sulzer, Hummer, and Hegyesi.

Carl Udel, born on February 6, 1844, at Warasdin, in Croatia, was early directed to the study of music by his father, who was Kapellmeister, and went in September, 1859, to the Conservatoire at Vienna. He next occupied himself there with violin playing under the guidance of Professor Carl Heissler. Twelve months after he took up the Violoncello, and for five years received instruction from Schlesinger. In 1867 he was first Cellist at the opera in Pesth; a year later, however, he returned to Vienna and was engaged there, in 1869, for the orchestra of the new opera house. By degrees he rose in his profession, and in May, 1876, he entered the Conservatoire as substitute for Röver, whose duties were then performed by Hilpert for a year. After the resignation of the former, Udel was again elected in his place. In 1878 Cello instruction at the Conservatoire was divided between him and Hummer, who in the interval had been nominated first Cello player of the Imperial Hofkapelle. Hummer received the three upper and Udel the three lower classes. After three years of work the latter obtained the title of Professor. On account of an injured hand, Udel was obliged to give up his place as member of the opera house, since when he has not played in public. He now devotes himself entirely to teaching.