Müntzberger, who, during his long residence in Paris, had not only Gallicised himself as an artist, but also in regard to the pronunciation of his name, composed a good deal for the Violoncello--namely, five Concertos, a “Symphonie Concertante,” Trios, in which, besides the Cello obbligato, the violin and bass take part; a great number of Duets, Fantasias, and Variations; two books of Sonatas, with bass; three of Etudes and Caprices, as well as a “Nouvelle Méthode pour le Violoncelle.” The latter work in all probability appeared before 1800, as in it, as in Boccherini’s compositions, besides the bass and tenor and violin clefs, the alto and soprano clefs are used, which do not occur in French books of instruction after this date. Violoncello playing received a remarkable impulse in Belgium towards the middle of our century. Platel (mentioned already on p. 101) greatly contributed to this by founding the school of Violoncello playing which subsequently gained such reputation. From it came out prominently, ADRIEN FRANÇOIS SERVAIS, born on June 6, 1807, at Hal, near Brussels. He began his career, like so many of his colleagues, with violin playing, in which his father, who was a musician in the church at Hal, first gave him instruction, and under whom he became acquainted with the elements of theory. The child’s rare talent inspired the art-loving Marquis de Sayve, who possessed an estate in the neighbourhood of Hal, with so great an interest that he granted him the means of beginning to study in earnest under the direction of the first violinist of that time in the Brussels Theatre, of the name of Van der Planken. In Brussels, Servais soon found an opportunity of hearing Platel, whose playing made a deep impression on him, and excited in him the desire of devoting himself to Violoncello playing. In order to become Platel’s pupil, he applied for admission to the Brussels Conservatoire. His development was so rapid that he surpassed all his fellow-students, and gained, before the year was over, the first prize in the competition. Platel made him his assistant in the Conservatoire, and at the same time he was placed in the opera orchestra, to which he belonged for three years. During this period, however, he did not succeed in gaining from his fellow countrymen the appreciation which he soon after gained in Paris.