The Violoncello was brought to Russia, as already pointed out (p. 67), by means of the Duke of Holstein-Gottorp’s private band. Joh. Adam Hiller’s _Wöchentliche Nachrichten die Musikbetreffend_ of May 21, 1770, contains the following: “When the Duke Carl Ulrich of Holstein-Gottorp (Peter the Great’s future son-in-law) fled to the Russian Imperial Court, during the distressed condition of his country, in the year 1720, he conveyed with him the members of his small private band. It consisted of about a dozen German well-trained musicians, of whom the most famous were two brothers, Hübner--the one was Kapellmeister and the other Concertmeister. The selection of music, until then unheard in Russia, consisted of Sonatas, Solos, Trios, and Concertos, by Telemann, Keiser, Heinichen, Schulz, Fuchs, and other famous Germans of the time, as well as by Corelli, Tartini, Porpora, and various Italian composers; but the instruments were a Piano, some Violins, besides a Viol d’Amore, an Alto, a Violoncello or Bassetto, a Contra-Basso, or great Bass Violin, a couple of Hautboys, a couple of German Flutes, two French Horns, two Trumpets, and Kettle Drums. Peter the Great was not only very often present at these ducal chamber concerts, but almost every week had them to play once at his Court. This music, therefore, met with general approbation, as it appeared to distinguished Russians more novel and more agreeable, when compared with other music, than any they had hitherto heard.... From that time many Russians offered themselves to be taught by these German musicians, in order to study music on various instruments. The Emperor Peter II. also took lessons on the Violoncello, from the clever master of that instrument, Riedel, a Silesian, who was also a good fencing master, and instructed the young Emperor likewise in that knightly art.”