Hugo Becker

1.1. Early Life and Education

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Hugo Becker was born on February 13, 1863, in Strasbourg, which was then part of France but transferred to the German Empire in 1871. His father, Jean Becker, was a famous violinist from Mannheim. Jean Becker began teaching his son the violin at the age of six, but the young Hugo was captivated by the sound of the cello he heard at a church concert and switched to the instrument at the age of nine.

Becker received comprehensive cello instruction from several esteemed teachers. He studied with Alfredo Piatti, Friedrich Grützmacher in Dresden, Jules de Swert, Egert (a disciple of Auguste Franchomme), and Kündinger, who was the chief cellist of the Mannheim Court Theater. In addition to his cello studies, he also learned composition from Karl Hess in Dresden.

1.2. Performing Career

By the age of fifteen, Hugo Becker was already touring with a string quartet comprising himself, his father, sister, and brother. At this same age, he became the chief cellist in the Mannheim Court Orchestra.

In 1884, Becker was appointed solo cellist with the Frankfurt Opera Orchestra. His reputation as a soloist and chamber musician grew, leading to numerous performance requests from various regions. His artistic activities were temporarily interrupted by military service in Karlsruhe, where he had the opportunity to interact with conductor Felix Mottl. Upon returning to Frankfurt after his service, he joined the Museum String Quartet, led by Hugo Heermann. During this period, he also cultivated close relationships with prominent musicians such as Clara Schumann and Johannes Brahms.

Becker's international performing career began to flourish when he started giving annual concerts in London from 1891. He served as a substitute for Carlo Alfred Piatti in the Monday and Saturday Concerts and later became his successor. He also entered into regular contracts as a soloist with Hans von Bülow for concerts in Berlin and Hamburg.

Becker was an active chamber musician, forming a piano trio with Eugène Ysaÿe and Ferruccio Busoni. From 1914 to 1921, he was part of the third Schnabel Trio, performing alongside Artur Schnabel and Carl Flesch. He also performed in a trio with Ernst von Dohnányi and Henri Marteau.

1.3. Educational Activities

In 1885, Hugo Becker became the leading cello teacher at the Hoch Conservatory in Frankfurt. He was granted the title of "Royal Prussian Professor" in recognition of his teaching contributions. From 1909 to 1929, he served as a professor of cello at the Hochschule für Musik in Berlin. His professorship in Berlin somewhat limited his extensive touring schedule, but it allowed him to dedicate himself more deeply to pedagogy.

Becker's influence as a teacher was profound, shaping the careers of many future generations of cellists. His notable students included:

• George Georgescu: Georgescu later replaced Becker as the cellist in the Marteau Quartet. A hand injury eventually led him to forsake the cello for the conductor's podium. Georgescu famously remarked, "All I know, I learned from Hugo Becker."
• Paul Grümmer
• Enrico Mainardi
• Rudolf Metzger
• Beatrice Harrison, who received finishing lessons from him.

1.4. Later Life and Death

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As his professorship at the Hochschule für Musik in Berlin continued, Becker's touring schedule was somewhat restricted, allowing him to focus more on his teaching duties. Hugo Becker died on July 30, 1941, in Geiselgasteig, near Munich.

2.1. Compositions

Becker's compositions primarily focused on the cello, often with piano accompaniment. His principal works include:

• Cello Concerto, Op.10 in A major. This concerto was first published in parts by Schott in 1902, with a piano/cello version available around 1896, and the full score in 1904.
• Andante religioso
• Three Pieces for Cello with Piano Accompaniment, which include:
  • Scènes d'amour, duo
  • Deux Morceaux: Romance, Duo
  • Deux Morceaux: Valse gracieuse, Duo
• Liebesleben, Op. 7 (1894) for cello and piano. Two movements from this composition have been recorded.
• The suite Aus dem Leben des Waldschrat (Aus dem Leben des Waldschrat_{From the Life of the Forest Satyr}^German).

2.2. Theoretical Work

Becker authored an influential treatise on cello playing titled Mechanik und Ästhetik des Violoncellospiels (Mechanik und Ästhetik des Violoncellospiels_{Mechanics and Aesthetics of Cello Playing}^German). This work outlined his approach to cello pedagogy, focusing on both the technical (mechanics) and expressive (aesthetics) aspects of playing the instrument. Its comprehensive nature made it a significant contribution to cello education.

2.3. Stradivarius Cellos

Hugo Becker was the owner of two renowned Stradivarius cellos, both of which are historically significant instruments:

• The 1700 Cristiani Stradivarius.
• Another Stradivarius cello, built in 1719, which is now famously known as the Becker Stradivarius.

3.1. Influence on Contemporary Composers and Students

Becker's prestige as a cellist and teacher extended to influencing contemporary composers. Max Reger dedicated his Cello Sonata Op.28 and Unaccompanied Cello Suite Op.131c No.2 to Becker. Both Eugen d'Albert's Cello Concerto and Ernst von Dohnányi's Concertino were composed at Becker's specific recommendation, highlighting his role in expanding the cello repertoire.

The musical legacy he passed on to his students, such as George Georgescu, Paul Grümmer, and Enrico Mainardi, ensured that his pedagogical principles and artistic insights continued to shape future generations of cellists. Their subsequent successful careers are a testament to his profound influence.

3.2. Critical Reception and Legacy

During his lifetime, Becker's performances garnered significant critical acclaim. In 1895, following a concert in Vienna, the renowned music critic Eduard Hanslick praised Becker, noting that "Becker, with his unique playing style and the vitality of his bowing, instantly dispels the prejudice that the cello is boring."

Later musicologists and cellists also acknowledged Becker's unique contribution. Julius Bech, a cellist with the Zurich Tonhalle Orchestra, assessed Becker's artistry by stating that "Becker mastered and adopted the playing styles of various schools - German, French, Belgian, and Italian - often contradictory, thereby completing his own art." This assessment underscores Becker's comprehensive mastery and synthetic approach to cello playing. His enduring impact on cello performance and pedagogy solidifies his legacy as one of the most important figures in the history of the instrument.