WILHELM DE FESCH, born in the Netherlands towards the end of the seventeenth century, was not only cellist, but organist. In the latter capacity he worked at the Antwerp Cathedral until 1725, when he undertook, as d’Eve’s[127] successor, the office of Choirmaster. But as he treated somewhat roughly the boys of the church choir entrusted to his direction, he was dismissed in 1731, when he betook himself to London. He was still living there in 1757, as appears from the portrait of him in that year by Lacave. Amongst his published compositions mentioned by Burney as dry and uninteresting, there are also six Violoncello solos printed at Amsterdam (Op. 8). After Fesch, PETER WILHELM WINKIS must be mentioned. Born in 1735 at Liège, he did not remain at home, but travelled to Germany, where for a few years he was in the service of the Cassel Court, and then (at the beginning of 1788), as Gerber notices, became Chamber Musician and Violoncellist to the “Kapellinstitut” of the Queen of Prussia. He well understood how to accompany with “much taste and observation.” The third Violoncellist of consideration is JEAN ARNOLD DAMMEN (Fétis calls him Jean André Dahmen), who belonged to a large Dutch musical family, was born in 1760, at the Hague, and had the reputation of being a clever player. About 1769 he was living in London. Of his compositions, several books of Duets and Sonatas appeared. In 1794 he was appointed to Drury Lane, and in the years 1796 and 1797 he travelled in South Germany. Finally we must here mention JOSEPH MÜNTZBERGER. He was of German extraction, and was born in Brussels in 1769, where his father, Wenzeslaus Müntzberger, was chamber musician in the service of Prince Charles of Lorraine, Governor of the Netherlands. Fétis informs us that the young Müntzberger at six years of age played a Concerto before the Prince, on a tenor viol, handled somewhat like the Violoncello. On account of this performance he was induced to have the boy instructed by the violinist, Van Maldere. This account must be erroneous, for Van Maldere died on November 3, 1768, a year before Müntzberger’s birth. In his fourteenth year he went to Paris. He there advanced himself--with the sole assistance of Tillière’s Violoncello School--so far that he was able to play the most difficult pieces of the Cello literature of that period. In 1790 he accepted a place in the orchestra of the “Théâtre Lyrique et Comique,” but after a time gave it up and entered the orchestra of the “Théâtre Feydeau,”[128] of which he became first cellist after Cardon’s resignation. Besides this, he was a member of Napoleon the First’s band, as well as, later, of the King’s. During his official occupation he often assisted at concerts, and specially at those of the “Rue de Cléry,” which at the beginning of this century were in great favour with the Parisians. In 1830 he retired on a pension, and died in January, 1844.