Reviews of Georg Hausmann

London, April 1838

M. Hausmann has merit, but attempts more than his instrument can possibly compass. His figure and face remind us of Ole Bull, and like the latter he essays to make the violoncello, as it were, sing, by the use of the tone vibrato. Mr. Hausmann’s intonation in the harmonics is, however, not always so true as could be wished, but his execution is daring, and not altogether unsuccessful in its results.  We should say that, at a mixed concert or a soiree of less pretentions than the Philharmonic, his playing would be acceptable and pleasing. We cannot praise his composition.

The Morning Post (London, England), Tuesday, April 24, 1838; Issue 21010.

Leipzig, December 1839
In this concert we also got to know a very talented young cellist, Herr Hausmann from Hannover, who played two of his own compositions with the orchestra, “Cello concerto in the form of a Scena,” and “Fantasy on a Swiss Theme.” We have heard that he is engaged in the private quartet of the Duke of Cambridge in London, whom we can only congratulate on such an acquisition. H. can already do much with his instrument and possesses all the requirements to become one of the most excellent cellists in the future. He has a pleasant tone, full and very powerful; his bow work is light and secure and his virtuosity is already very considerable. His playing is not merely an overcoming of technical difficulties, but rather a complete performance, full of body and soul, which may not be perfect yet, but serves as an honorable witness to the talent and noble striving of the young artist. This last judgment also goes for the compositions that he played, and precisely because of this, pleased us very well.

Allgemeine musikalische Zeitung (1839): 1047.

Dresden, January 1846

Hausmann from London played variations of his own composition in a style that was in fashion twenty years ago; the Divertimento was just as interesting. How often virtuosos mistake the character of their instrument!  Nothing other than artificiality, penny whistle sounds and other kinds of piping here in the depths and then in the heights; there was no question of a tune. His playing left us cold, but we noticed that the disrespectful talking and laughing of a few of the audience in the first rows must have disturbed the soloist.1“…spielte Variationen eigener Composition in einem Style, wie er vor 20 Jahren Mode war; eben so interessant war ein Divertimento. Daß doch Virtuosen so häufig den Charakter ihres Instrumentes verkennen! Nichts wie Künstlereien, Flageolettöne und sonstige Schnurrpfeifereien bald in der Tiefe bald in der Höhe, von einem Gesange war gar keine Rede. Sein Spiel ließ uns kalt, wobei wir übrigens bemerken, daß rücksichtloses Sprechen und Lachen Zuhörer in den ersten Reihen den Solisten stören mußte.” Aus Dresden. (Schluß.) Concerte, Neue Zeitschrift für Musik (1846) 114-115.

Neue Zeitschrift für Musik (1846): 115.

London, June 1846
Mr. Hausmann, one of the best violoncellists, and most practised musicians in the country, gave his annual soirée musicale, on Wednesday week, at Blagrove’s Rooms, which were so densely crowded that we could not manage, by any artifice, to find even a standing place. We heard with pleasure, however, an andante and variations on an air by Corradino, by Mr. Hausmann, in which his powers as a violoncellist were brilliantly and successfully manifested. We also listened with pleasure to the continued favour with which morceau after morceau was received by the auditors who were lucky enough to procure places, which proved to us that Mr. Hausmann’s programme was highly relished by his numerous friends. This is not to be wondered at, when we mention the names of the artists who assisted. There were Madame Caradori, Mdlle. Schloss, Herr Pischek, Herr Hoelzel, Miss Bochkoltz, Signor Brizzi, vocalists; and Messrs. Kellermann, Boose, Goffrie, C. Severn, Benedict, C. Horsley, Madame Dulcken, and Parish Alvars, instrumentalists.

The Musical World 21, no. 24 (Jun 13, 1846): 280-282.

Aberdeen, March 1851
The effect of the solos of Herr Hausmann on the violoncello can only be adequately described by saying that they electrified the audience. His power over that most wonderful of instruments we have never seen equalled. He brings out a series of sounds of immense compass, and in passages requiring either great power or exquisite tenderness, he is equally successful. He evidently throws his whole soul with energy into the work in hand, and the inevitable result is that he communicates a sympathy to his listeners. His Swiss Fantasia was a finished and most effective performance; and his “Robin Adair” and “Logie o’Buchan” showed him to be capable of effectively performing good music of any class.

The Aberdeen Journal (Aberdeen, Scotland), Wednesday, March 19, 1851; Issue 5384.

Belfast, March 1851

Hausmann delighted the audience with several performances on that most difficult of all instruments the Violoncello, from which he drew out tones of exquisite sweetness, and exhibited a delicacy of touch and a facility of execution, such as we have rarely if ever seen equalled by any other violoncellist. We have to notice also, as worthy of imitation by other performers, Herr Hausmann’s extremely agreeable manner, evincing an entire absence of affectation, or of over confidence in the natural and acquired gifts which he nevertheless possesses in a proportion which might excuse, though not justify, an overweening pride. He was repeatedly encored, and the performance in which he seemed most to gratify the audience, was a fantasia on Scotch melodies, in which his imitation of the national bagpipe was marvelous.

The Belfast News-Letter (Belfast, Ireland), Wednesday, March 26, 1851; Issue 11751.

Bristol, September 1854

The first part closed with a violoncello, by Herr Hausmann, who introduced two or three well-known Scotch airs, which he elaborated through a series of variations designed to display the powers of the performer in drawing out the capabilities of the instrument. It was an admirable performance, and elicited a storm of approbation, amidst which the artiste ran out of the orchestra with as much apparent timidity as if he had appeared for the first time before an assemblage, and was apprehensive of having done something amiss.

Bristol Mercury, 30 September 1854.
Manchester and Leeds, September 1854
At Mr. Henry Farmer’s concert in Manchester, Hausmann played his Fantasia on Scotch Airs, and also played a medley duet on William Tell with violinist Mr. Cooper; the hall was not well filled. Next was Leeds with the same pieces, 
in which the clever violoncellist exhibited all his wonted excellence of tone and dexterity, not omitting those little comical excentricities of manner, which, though pardonable, are, nevertheless, often the means of diverting the attention of the audience from the music to the performer.

“PROVINCIAL.” The Musical World 32, no. 40 (1854): 667.

Edinburgh, 1856

We would like to direct the attention of the violoncellist, Herr Hausmann to the quiet and graceful demeanour of Madlle. Kull, whom we had the pleasure of noticing last week. It was different from the  irresistibly-comic mandarin-like motion by which this gentleman distracted the attention of the audience from the other performers. We venture to suggest that while playing with others it would be an improvement if he would assume a more steady posture, and refrain from gazing at the audience at every rest in his part as if he was looking around the room for something which he had lost.

Mr. Charles J. Hargitt’s Concert, ” Caledonian Mercury, December 23, 1856.

Vienna, 1858
Finally, the famous London cellist G. Hausmann played at Dr. Aloys Schmitt’s several duos for cello and piano from the latter’s latest compositions and a couple of sonatas by Beethoven. What we heard from Hausmann about 10-11 years ago seems now to be higher, artistically complete; and the English fog has not dragged his talent down, but has rather brought it to maturity. His Stradivari is an instrument among the first of its kind, which is why he calls it his wife. But what (besides the completely separate technique) especially raises his playing above is the healthy nature of his playing, that owes nothing to the origins of the instrument, and which never makes it the servant of the pyrotechnical arts. Hausmann in fact bears out his name, for every good musical house seeks the man with his incomparable tenor violin, even though he himself doesn’t give concerts. He is sought after and found, and that is the main thing.2G Hausmann, endlich, der berühmte Londoner Violoncellist, spielte bei Dr. Aloys Schmitt mehrere Duos für Violoncell und Piano von des Letzteren neuester Composition (Aachen bei Ter-Meer) aund ein paar Sonaten von Beethoven. Was wir vor 10-11 Jahren von Hausmann hier gehört, erscheint nun höher, künstlerisch vollendet, und haben die englischen Nebel sein Talent nicht niedergedrückt, sondern zur Reife gebracht. Sein Stradivari ist ein Instrument erster Gattung, welches er deßhalb seine Frau nennt, aber was (abgesehen von gänzlich unabhängiger Technik) besonders an seinem Spiel hervorzuheben, ist die gesunde Natur seines Vortrags, die der Ursprünglichkeit des Instruments nichts vergiebt, und dasselbe nie zur Dienerin pyrotechnischer Künste macht. Hausmann trügt seinen Namen in der That, denn jedes gute musikalische Haus sucht den Mann mit seiner unvergleichlichen Tenorgeige, obschon er selbst keine Concerte giebt. Er läßt sich suchen und finden, und das ist die Hauptsache.

Aus Wien: Neue Zeitschrift für Musik (1858): 56.

Glasgow, January 1860
Herr Hausmann’s violoncello performances, on the whole, were disappointing. He failed to make an impression in the beautiful cantabile movements in the duet, and was positively displeasing in the rapido variations. Indeed, we cannot regard his execution in the way of the Fantasia other than as an exhibition of dexterous sawing and grasping, amounting to nothing that might even in charity be termed musical. In his Scotch Fantasie, in the second part of the program, Herr Hausmann played She’s fair and fancy with considerable feeling; but the good impression he created was immediately destroyed by an absurd and most  unmusical finale in the way of  variation on a well-known warlike Highland song. The scanty applause bestowed on Herr Hausmann last evening may help him to a perception of the error into which he seems to have fallen in mistaking more dexterity of fingering and bowing for a musical performance.

Glasgow Herald (Glasgow, Scotland), Friday, January 6, 1860; Issue 6235.

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