JOSEPH BONAVENTURE TILLIÈRE, of whom neither the day of birth nor death is known, was about 1760 in the service of the Prince de Conti, after he had finished his studies under Berteau. He had the reputation of being a clever player. His published works consist of six Sonatas for violoncello and bass, nine Duets for two violoncellos, of which three appeared as Op. 8, and also of a violoncello school, published in 1764: “Méthode pour le Violoncelle, contenant les principes nécessaires pour bien jouer de cet instrument.” This work appeared in several editions. Berteau’s best pupil was JEAN PIERRE DUPORT, called the elder,[89] whose father was a dancing master. He was born in Paris, November 27, 1741. He was heard at twenty years of age, with unanimous applause, in the “Concert Spirituel.” At the same time (1761) he was appointed one of the private musicians of the Prince de Conti. He gave up the post in 1769 in order to travel. He first went to England, two years later he visited Spain, and in 1773 he went to Berlin, where he remained, as Frederick the Great engaged him for his chamber musician as well as for the opera. He was at the same time teacher to the future King Frederick William II., who named him in 1787 superintendent of chamber music. From that time Duport no longer worked in the Opera, but only played at Court. On December 31, 1818, he died at Berlin. Duport published, in 1787,[90] at Berlin, six Sonatas for violoncello and bass, as well as three Duets for two violoncellos, known as Op. 1. Gerber, who had the opportunity of hearing this artist in 1793, in Berlin, gives an enthusiastic account of his playing. He especially commended his strong, full tone, and his powerful bowing. According to Fétis, however, his younger brother, JEAN LOUIS, surpassed him, and he seems to have been remarkably gifted. He had at first chosen the violin as his instrument, but took up by preference the violoncello, when he saw the artistic success of his brother, whose pupil he became. He very soon acquired considerable reputation by his appearance at the “Concert Spirituel” and at the “Société Olympique,” formerly known under the name of “Concerts des Amateurs”; and also by his connection with the house of Baron Bagge, so much frequented at that time by native and foreign artists of note.