Already had Haydn and Mozart appropriated to this noble instrument, in their String Quartets, passages which contributed to the furtherance of the technique and the possibility of expression. Beethoven went much farther even than this. Not only in his String and Pianoforte Trios, as well as in his Quartets, but also in his Sonatas (Op. 5,[142] 69, and 102) and in the so-called Triple Concerto (Op. 56), he increased the demands on the Violoncello to such an extent that in certain respects a real impulse was given to the artistic manipulation of the instrument. At the same time, the works referred to had a stimulating effect on the productive work of the future in the field of Cello compositions, which received a considerable accession in regard to Sonatas especially. We will note here only the names of the best known composers, who used their genius in this direction. They follow in alphabetical order: W. STERNDALE BENNETT, JOH. BRAHMS, FR. CHOPIN, FR. GERNSHEIM, EDV. GRIEG, FERD. HILLER, FRIEDRICH KIEL, FRANZ LACHNER, FELIX MENDELSSOHN-BARTHOLDY, IGNAZ MOSCHELES, GEORG ONSLOW, JOACHIM RAFF, KARL REINECKE, JOS. RHEINBERGER, ANT. RUBINSTEIN, CHARLES SAINT-SAËNS, XAVER SCHARWENKA, BERNHARD SCHOLZ, and W. TAUBERT. The following have written Concertos for the Violoncello: ALBERT DIETRICH, E. ECKERT, BERNH. MOLIQUE, JOACH. RAFF, KARL REINECKE, ANTON RUBINSTEIN, SAINT-SAËNS, ROBERT SCHUMANN, W. TAUBERT, and ROB. VOLKMANN. The Concerto which has lately appeared by JOH. BRAHMS, for Violin and Violoncello, must also be mentioned. Besides these there exist a number, by no means small, of greater and lesser Cello compositions, which deserve to be prominently brought forward--as, for example: MAX BRUCH’S “Kol Nidrei,” Op. 47; CHOPIN’S Introduction and Polonaise Brilliant, Op. 3, and Duo Concertant on Themes from “Robert le Diable” (the Cello part is Franchomme’s production); FR. GERNSHEIM’S Hebrew song, “Elohenu”; FERD. HILLER’S Concertstück, Op. 104; Duo for Pianoforte and Violoncello, Op. 22, and two Serenades, Op. 109; FR. LACHNER’S Serenade for four Violoncellos, Op. 29, and Elegy for five Violoncellos, Op. 160; LIMMER’S Trio for three Violoncellos and Quartet for four Violoncellos; M. MARX’S three Quartets for four Violoncellos; MAURER’S Nocturne for four Violoncellos; FELIX MENDELSSOHN’S Variations for Pianoforte and Violoncello, Op. 17; IGN. MOSCHELES’S Duo Concertant, Op. 34; L. PAPE’S six Serenades for four Violoncellos; F. E. REINECKE’S “Three Pieces,” Op. 146; FERD. RIES’S “Air russe varié,” as well as Introduction and Rondo “Sur une danse russe”; ROB. SCHUMANN’S five “Stücke im Volkston,” Op. 102; and likewise L. SPOHR’S Potpourri for Violin and Violoncello on Themes from “Jessonda.”[143]