The next pupil of Dotzauer to be mentioned is CARL SCHUBERTH, born on February 25, 1811, in Magdeburg. He received at first, from a musician of his native town named Hesse, six years instruction, and then repaired to Dresden to Dotzauer, with whom he remained two years. On his return home he made his _début_ with success as a soloist at a concert organised by Catalani, in Magdeburg. At the end of 1828 he undertook a concert tour to the North. The destination was Copenhagen, where, in the spring of 1829, he arrived and made a prolonged sojourn. Later on Schuberth occupied the position of first violoncellist at the Magdeburg Theatre, gave it up, however, in 1833, and undertook, in the autumn of the same year, a journey through Western Germany and Belgium. From the latter place he visited Paris. In the following year he went to Holland, and during the season of 1835 he was heard in London. Schuberth then went to St. Petersburg, where he found, as elsewhere, a brilliant reception, and immediately a permanent position, for he was not only named Director of the Imperial band, but also Inspector of the Music School affiliated to the Court Theatre and Director of Music at the University. He filled these posts until 1863, in which year death overtook him during a journey for the benefit of his health, on July 22, at Zurich. Schuberth’s playing was exceedingly clever, but in expression more elegant and ornamental than impressive. His cello pieces give evidence of this, which, with the exception of a Concerto, belong to the description of so-called conversazione music; but they have not survived their author. Amongst his pupils the most remarkable is Carl Davidoff.[109] CARL LOUIS VOIGT, the third of Dotzauer’s pupils above-mentioned, was born on November 8, 1792, at Zeitz; he was the son of the organist at St. Thomas’s Church, Leipsic, Joh. Georg Hermann Voigt. He played several instruments, and amongst others the violoncello also, on which his grandfather, Johann Heinr. Viktor Rose,[110] had given him instruction at Quedlinburg. Besides his work as organist, he played the violoncello with the orchestra of the theatre in the Gewandhaus at Leipsic. He imparted to his son what he knew and was able to do as cellist, who, in order to perfect himself, studied under Dotzauer’s direction some time, and in 1811 took the latter’s place in the Leipsic Orchestra, to which he had belonged since the winter of 1809-1810. Voigt filled this post until his death, which took place on February 21, 1831. His violoncello compositions extant, consisting of Sonatas, Duets, Exercises, and a diversity of Drawing-room Pieces, are feeble, but may be used for instruction--as, for example, the three Sonatas (Op. 40).