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.