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 Erkel, was put in rehearsal before it was finished, and the scoring' was only completed on the day of the performance. His younger brother, Carl (1825-1900), who was not so fine a performer, settled in Stuttgart in 1865.

The chief exponents of the French school of flautists after Tulou were Dorus and Demersseman. Vincent Joseph van Steenkiste Dorus (1812-96) succeeded Tulou as professor at the Paris Conservatoire. He was one of the first in France to adopt the Böhm system, which was introduced into the Conservatoire in 1838 (it was introduced into the Brussels Conservatoire by Demeurs in 1842), and advocated wood in preference to metal in the cylinder flute. Dorus is said by Böhm to have been a player of taste; he became first flute at the Paris Grand Opera about 1834, and was also a member of the Emperor's band. Dorus played at the London Philharmonic in 1841. Jules Auguste Edouard Demersseman (1833-66), a Hollander by birth, spent most of his life in Paris. Owing to his adherence to the old flute, he was not appointed professor at the Conservatoire. He excelled in double-tongueing and display of all kinds; hence he has been termed "a French Richardson." Though not very artistic, his performance, especially of his own fantasia on Oberonat a single passage of which he is said to have worked six months before playing it in publicraised the excitable audiences at the Pasdeloup concerts in Paris to the highest state of enthusiasm, causing them to start to their feet and yell their applause. He might be termed "the Sarasate