A fellow student of Baudiot’s, under Janson the elder, was PIERRE LOUIS HUS-DESFORGES, grandson of the violin virtuoso, Jarnowick. Hus-Desforges was born at Toulon in 1773, where his mother, Jarnowick’s daughter, was performing as an actress. At the age of eight his parents confided him to the boys’ choir of the Cathedral at La Rochelle. As he had occupied his leisure hours with trumpet blowing, he accepted the duty of trumpeter (1792) to the 14th Regiment in order to join in the campaigns of the Revolutionary Army. Four years after he lost a finger of his right hand by a musket ball and was consequently invalided. He now tried his fortune as cellist, for during his sojourn at La Rochelle he had acquired some facility on the violoncello. He succeeded in being appointed to the theatre orchestra. In the course of six months he relinquished this and chose Paris as his residence. Here he was received into the Conservatoire and assigned to the pupils of Janson. After his release from the Conservatoire, Hus-Desforges led, like his grandfather Jarnowick, a perpetually changing life. In the year 1800 he went as head of the orchestra with a French opera troupe to St. Petersburg, in 1810 he returned and made some concert tours in France, in 1817 came back to Paris and undertook the functions of first cellist at the Theatre “Porte Saint Martin,” in 1820 went to Metz and founded there a music school, made fresh journeys, and in 1828 was the head of the orchestra at the “Théâtre du Gymnase,” but at the end of a year asked for his dismissal. He did the same again when in 1831 he had succeeded in obtaining the office of Director of the orchestra at the Theatre of the Palais Royal. He spent the end of his chequered career in the little town of Pont-le-Roi, near Blois, as teacher at the music school there, where he died January 20, 1838. Hus-Desforges was a clever, skilful violoncellist, but he did not belong to the number of prominent, practised artists of his time. His tone was weak and his performances lacked force and brilliancy, as Fétis remarks. His violoncello compositions, which were formerly somewhat liked, consisted of four Concertos and nine Airs with variations, entitled “Soirées Musicales,” four Duets, and two Sonatas with bass. Besides these he wrote a violoncello method.