[83] Recently has come out a Duet (D major) in three movements for violin and violoncello, by J. Haydn, which he must have composed during his residence in London for a certain William Forster. These compositions recall, not only in respect of form, Tartini’s manner, so that one is induced to look upon them as Haydn’s early work, which he wrote down from memory as a recollection. [84] This has already been mentioned. Page 49. III.--FRANCE. Amongst the first noteworthy French violoncellists the brothers ABBÉ must be mentioned. They were music masters of the parish church of Agen under their own names of Philipp Pierre and Pierre de Saint Sevin. As such, in conformity with the regulation of that time, they had to wear the “collet” of the Catholic priests over their dress, on account of which they were called shortly Abbé, or l’Abbé. They retained this name, with the addition of “l’Aîné” and “Cadet,” after they had given up their posts in Agen and had entered the Paris Opera Orchestra as cellists in 1727.[85] This is all that is known about them. There is more information extant concerning BERTEAU.[86] This artist, born at the beginning of the eighteenth century at Valenciennes, was esteemed by his contemporaries as of eminent talent--indeed, as a genius. In his youth he travelled through Germany, and during this time he applied himself with vigour to gamba playing, under the direction of a Bohemian of the name of Kozecz, and acquired great proficiency. However, after he became acquainted with the superiority of the violoncello, and had heard a solo piece for it by Franciscello,[87] according to Fétis, he went over to that instrument. His progress was so remarkable that he was ever without a rival, and was looked upon as a wonder on his return to Paris, for he also performed unusually well on the flageolet, the playing of which had been little developed. In the year 1739 he was heard for the first time at the “Concert Spirituel”[88] in a solo of his own composition, and aroused great enthusiasm. The result was a frequent appearance at these concerts. His chief strength lay in the production of an extraordinary richness of tone. He wrote for the violoncello four Concertos as well as three Sonatas with bass accompaniment. His death took place in 1756. Berteau was looked upon as the founder of the French school of violoncello playing. Fétis asserts as a proof of this that as pupils he educated CUPIS, JANSON, TILLIÈRE, and the elder of the brothers DUPORT, who were the propagators of his beautiful tone as well as his melodious manner of rendering.