LOUIS HEGYESI holds a much higher position. He was born on November 3, 1853, at Arpas; at eight years of age he went to Vienna, and there received his first instruction from the Violoncellist, Denis. Later on, he was received into the Vienna Conservatoire and thus became Schlesinger’s pupil. In order still further to prosecute his training he went, in 1865, to Franchomme in Paris. The outbreak of the Franco-German war obliged him, in the summer of 1870, to return to Vienna, where he found a post in the orchestra of the Grand Opera. Five years later he took Hilpert’s place in the Florentine Quartet, to which he belonged until it was dissolved. From that time Hegyesi has travelled as a soloist. In 1887 he responded to an invitation to Cologne as first Cellist of the Gürzenich Concerts and teacher at the Rhenish School of Music. FOOTNOTES: [137] See Rob. Schumann’s biography, by the author of this book (Auf. III., p. 195). Leipsic: Breitkopf and Härtel. [138] See p. 133. [139] Fétis says that Zyka was born about 1730. But his birth must have been earlier, for according to Fürstenau’s account (History of Music and the Theatre at the Electoral Court of Saxony), he had been already, in 1743, appointed to the Dresden band, though Fétis erroneously makes him a member only in 1756. [140] Michael Kleophas, Count Oginski, was born at Gurow, near Warsaw, on September 25, 1765, and died in Florence on October 31, 1833. He was High Treasurer of Lithuania. [141] Not on September 2, as occasionally given. CONCLUSION. In taking a retrospective glance at the progressive development which Violoncello playing has displayed from the beginning of the present century, it is evident that this branch of Art has reached so great a degree of perfection that it seems scarcely possible it can rise much higher. This result is not only to be ascribed to the deserving work of the leading Violoncellists--and here must be called to mind, besides Romberg and Dotzauer, pre-eminently Friedrich Kummer, Aug. Franchomme, and François Servais--but also to those famous German composers who brought the Violoncello within the sphere of their productions.