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diff --git a/40643-8.txt b/40643-8.txt deleted file mode 100644 index d65d24d..0000000 --- a/40643-8.txt +++ /dev/null @@ -1,11880 +0,0 @@ -Project Gutenberg's The Life of Johannes Brahms (Vol 1 of 2), by Florence May - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: The Life of Johannes Brahms (Vol 1 of 2) - -Author: Florence May - -Release Date: September 27, 2012 [EBook #40643] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE LIFE OF JOHANNES BRAHMS *** - - - - -Produced by Linda Cantoni, Veronika Redfern, Bryan Ness -and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive/Canadian -Libraries) - - - - - - - - - -[Illustration: _Brahms at the age of 20._ - -LONDON. EDWARD ARNOLD: 1905] - - - - - THE LIFE - OF - JOHANNES BRAHMS - - BY - FLORENCE MAY - - IN TWO VOLUMES - VOL. I. - - _WITH ILLUSTRATIONS_ - - LONDON - EDWARD ARNOLD - 41 & 43 MADDOX STREET, BOND STREET, W. - 1905 - - (_All rights reserved_) - - - - - TO - THE MANY KIND FRIENDS - WHOSE SYMPATHY - HAS HELPED ME DURING THE WRITING OF THESE VOLUMES, - THEY ARE GRATEFULLY DEDICATED - - - - - PREFACE - - -The biographical materials from which I have written the following Life -of Brahms have, excepting in the few instances indicated in footnotes, -been gathered by me, at first hand, chiefly in the course of several -Continental journeys, the first of which was undertaken in the summer of -1902. Dates of concerts throughout the volumes have been authenticated -by reference to original programmes or contemporary journals. - -My aim in giving some account of Brahms' compositions has not been a -technical one. So far as I have exceeded purely biographical limits my -object has been to assist the general music-lover in his enjoyment of -the noble achievements of a beautiful life. - -I feel it impossible to ignore numerous requests made to me to include -in my book some particulars of my own acquaintance with Brahms--begun -when I was a young student of the pianoforte. I have not wished, -however, to interrupt the main narrative of the Life by the introduction -of slight personal details, and therefore place together in an -introductory chapter some of my recollections and impressions, published -a few years ago in the _Musical Magazine_. These were verified by -reference to letters to my mother in which I recorded events as they -occurred. Written before the commencement of the Biography, they are in -no way essential to its completeness, which will not suffer should they -remain unread. - - * * * * * - -I am indebted for valuable assistance and sympathy to: - - H.R.H. Alexander Frederick, Landgraf of Hesse. - Herr Carl Bade. - Fräulein Berninger. - Mrs. Jellings Blow (b. Finke). - Fräulein Theodore Blume. - Frau Professor Böie. - Herr Professor Dr. Heinrich Bulthaupt. - Herr Professor Julius Buths. - The late Gerard F. Cobb, Esq. - Frederic R. Comec, Esq. - Herr Hugo Conrat. - Fräulein Ilse Conrat. - Fräulein Johanna Cossel. - Frau Elise Denninghoff-Giesemann. - Herr Geheimrath Dr. Hermann Deiters. - Herr Hofcapellmeister Albert Dietrich. - Herr k. k. Hofclavierfabrikant Friedrich Ehrbar. - Herr Geheimrath Dr. Engelmann. - Herr Professor Julius Epstein. - Fräulein Anna Ettlinger. - Frau Dr. Maria Fellinger. - Herr Professor Dr. Josef Gänsbacher. - Otto Goldschmidt, Esq., Hon. R.A.M., Member of Swedish A.M., etc. - Dr. Josef Ritter Griez von Ronse. - Herr Carl Graf. - Fräulein Marie Grimm. - Frau Grüber. - Herr Professor Robert Hausmann. - Fräulein Heyden. - Herr Professor Walter Hübbe. - Herr Dr. Gustav Jansen. - Frau Dr. Marie Janssen. - Herr Professor Dr. Joseph Joachim. - Frau Dr. Louise Langhans-Japha. - Mrs. Johann Kruse. - Herr Carl Lüstner. - J. A. Fuller Maitland, Esq., F.S.A. - Herr Dr. Eusebius Mandyczewski, Archivar to the Gesellschaft - der Musikfreunde. - Carl Freiherr von Meysenbug. - Hermann Freiherr von Meysenbug. - Herr Richard Mühlfeld, Hofkammermusiker. - Herr Professor Dr. Ernst Naumann. - Herr Professor Dr. Carl Neumann. - Herr Christian Otterer. - Fräulein Henriette Reinthaler. - Herr Capellmeister Dr. Rottenberg. - Herr Kammermusiker Julius Schmidt. - Herr Fritz Schnack. - Herr Professor Dr. Bernhard Scholz. - Herr Heinrich Schröder. - Fräulein Marie Schumann. - Frau Simons (b. Kyllmann). - Herr Professor Josef Sittard. - Herr Dr. Julius Spengel. - Mrs. Edward Speyer. - Sir Charles Villiers Stanford, Mus. Doc. - Mrs. Edward Stone. - Frau Celestine Truxa. - Herr Superintendent Vogelsang. - Herr Dr. Josef Victor Widmann. - -And others who prefer that their names should not be expressly mentioned. - - F. M. - - SOUTH KENSINGTON, - _September, 1905_. - - - - - CONTENTS OF VOL. I. - - - PAGE - - PERSONAL RECOLLECTIONS 1 - - - CHAPTER I - 1760-1845 - - The Brahms family--Johann Jakob Brahms; his youth and marriage--Birth - and childhood of Johannes--The Alster Pavilion--Otto - F. W. Cossel--Johannes gives a private subscription concert 45 - - - CHAPTER II - 1845-1848 - - Edward Marxsen--Johannes' first instruction in theory--Herr Adolph - Giesemann--Winsen-an-der-Luhe--Lischen--Choral Society of - school-teachers--'A.B.C.' Part-song by Johannes--The Amtsvogt - Blume--First public appearance--First visit to the opera 63 - - - CHAPTER III - 1848-1853 - - Johannes' first public concert--Years of struggle--Hamburg - Lokals--Louise Japha--Edward Reményi--Sonata in F sharp - minor--First concert-tour as Reményi's accompanist--Concerts in - Winsen, Celle, Lüneburg, and Hildesheim--Musical parties in - 1853--Leipzig and Weimar--Robert Schumann--Joseph Joachim 83 - - - CHAPTER IV - 1853 - - Brahms and Reményi visit Joachim in Hanover--Concert at Court--Visit - to Liszt--Joachim and Brahms in Göttingen--Wasielewsky, - Reinecke, and Hiller--First meeting with Schumann--Albert - Dietrich 106 - - - CHAPTER V - 1853 - - Schumann's article 'New Paths'--Johannes in Hanover--Sonatas - in C major and F minor--Visit to Leipzig--First publications--Julius - Otto Grimm--Return to Hamburg viâ Hanover--Lost - Violin Sonata--Songs--Marxsen's influence as teacher 126 - - - CHAPTER VI - 1854-1855 - - Brahms at Hanover--Hans von Bülow--Robert and Clara Schumann - in Hanover--Schumann's illness--Brahms in Düsseldorf--Variations - on Schumann's theme in F sharp minor--B major Trio; - first public performance in New York--First attempt at symphony 153 - - - CHAPTER VII - 1855-1856 - - Lower Rhine Festival--Madame Jenny Lind-Goldschmidt--Edward - Hanslick--Brahms as a concert-player--Retirement and study--Frau - Schumann in Vienna and London--Julius Stockhausen--Schumann's - death 179 - - - CHAPTER VIII - 1856-1858 - - Brahms and Joachim in Düsseldorf--Grimm in Göttingen--Brahms' - visit to Detmold--Carl von Meysenbug--Court Concertmeister - Bargheer--Joachim and Liszt--Brahms returns to Detmold--Summer - at Göttingen--Pianoforte Concerto in D minor and - Orchestral Serenade in D major tried privately in Hanover 204 - - - CHAPTER IX - 1859 - - First public performances of the Pianoforte Concerto in Hanover, - Leipzig, and Hamburg--Brahms, Joachim, and Stockhausen - appear together in Hamburg--First public performance of the - Serenade in D major--Ladies' Choir--Fräulein Friedchen - Wagner--Compositions for women's chorus 225 - - - CHAPTER X - 1859-1861 - - Third season at Detmold--'Ave Maria' and 'Begräbnissgesang'; performed - in Hamburg and Göttingen--Second Serenade first publicly performed in - Hamburg--Lower Rhine Festival--Summer at Bonn--Music at Herr - Kyllmann's--Life in Hamburg--Variations on an original theme first - performed in Leipzig by Frau Schumann--'Marienlieder'--First public - performance of the Sextet in B flat by the Joachim Quartet in - Hanover 243 - - - CHAPTER XI - 1861-1862 - - Concert season in Hamburg--Frau Denninghoff-Giesemann--Brahms - in Hamm--Herr Völckers and his daughters--Dietrich's visit to - Brahms--Music at the Halliers' and Wagners'--First public performance - of the G minor Quartet--Brahms in Oldenburg--Second - Serenade performed in New York--First and second Pianoforte - Quartets--'Magelone Romances'--First public performances of - the Handel Variations and Fugue in Hamburg and Leipzig by - Frau Schumann--Brahms' departure for Vienna 262 - - - APPENDIX No. I - - MUSICAL FORM--ABSOLUTE MUSIC--PROGRAMME MUSIC--BERLIOZ - AND WAGNER 282 - - - APPENDIX No. II - - THE MAGELONE ROMANCES--PIERRE DE PROVENCE 290 - - - APPENDIX No. III - - RULES OF THE HAMBURG LADIES' CHOIR 304 - - - - - LIST OF ILLUSTRATIONS - - - BRAHMS AT THE AGE OF TWENTY _Frontispiece_ - - No. 60, SPECKSTRASSE, HAMBURG _To face page_ 52 - - BRAHMS AND JOACHIM, 1855 " 182 - - BRAHMS AND STOCKHAUSEN, 1868 " 262 - - - - - THE LIFE OF JOHANNES BRAHMS - - - - - PERSONAL RECOLLECTIONS - - - BADEN-BADEN. - -It was to the kindness of Frau Schumann that I owed my introduction to -Brahms, which took place the very day of my arrival on my first visit to -Germany. I had had lessons from the great pianist during her visit to -London early in the year 1871, and on her departure from England she -allowed my father to arrange that I should follow her, as soon as I -could possibly get ready, to her home in Lichtenthal, a suburb of -Baden-Baden, in order to continue my studies under her guidance. - -I can vividly recall the bright morning in the beginning of May on which -I arrived at Baden-Baden, rather home-sick and dreadfully tired, for -owing to a railway breakdown _en route_ my journey had occupied fourteen -hours longer than it ought to have done, and my father's arrangements -for my comfort had been completely upset. It was too early to go at once -to Frau Schumann's house, and I remember to have dreamily watched, -whilst waiting at the station, a passing procession of young girl -communicants in their white wreaths and veils, as I tried to realize -that I was, for the first time in my life, far away from home and from -England. When the morning was sufficiently advanced, I took an open -Droschke, and driving under the great trees of the Lichtenthaler Allée -to the door of Frau Schumann's house, I obtained the address of the -lodgings that had been taken for me in the village. Without alighting, I -proceeded at once to my rooms, where I was almost immediately joined by -Frau Schumann herself, who came round, as soon as she had finished -breakfast, to bid me welcome. - -My delight at seeing the great artist again, combined with her -irresistible charm and kindness, at once made me feel less strange in my -new surroundings, and I joyfully accepted the invitation she gave me at -the close of a few minutes' visit, to go to her house the same afternoon -at four o'clock and take coffee with her in her family circle. - -On presenting myself at the appointed hour, I was at once shown into a -pleasant balcony at the back of the house, overlooking garden and river. -In it was seated Frau Schumann with her daughters, and with a gentleman -whom she presently introduced to me as Herr Brahms. The name awakened in -my mind no special feeling of interest, nor did I look at its owner with -any particular curiosity. Brahms' name was at that time almost unknown -in England, and I had heard of him only through his arrangement of two -books of Hungarian dances for four hands on the pianoforte. As, however, -from that day onwards I was accustomed, during a period of months, to -meet him almost daily, it may be convenient to say at once a few words -about his appearance and manner as they seemed to me after I had had -time to become familiar with them. - -Brahms, then, when I first knew him, was in the very prime of life, -being thirty-eight years of age. Below middle height, his figure was -somewhat square and solidly built, though without any of the tendency to -corpulency which developed itself at a later period. He was of the -blonde type of German, with fair, straight hair, which he wore rather -long and brushed back from the temples. His face was clean-shaven. His -most striking physical characteristic was the grand head with its -magnificent intellectual forehead, but the blue eyes were also -remarkable from their expression of intense mental concentration. This -was accentuated by a constant habit he had of thrusting the rather -thick under-lip over the upper, and keeping it compressed there, -reminding one of the mouth in some of the portraits of Beethoven. His -nose was finely formed. Feet and hands were small, the fingers without -'cushions.' - -'I have none,' he said one day, when I was speaking to him about -pianists' hands; and he spread out his fingers, at my request, to show -me the tips. 'Frau Schumann has them, and Rubinstein also; Rubinstein's -are immense.' - -His dress, though plain, was always perfectly neat in those days. He -usually wore a short, loose, black alpaca coat, chosen, no doubt, with -regard to his ideas of comfort. He was near-sighted, and made frequent -use of a double eyeglass that he wore hanging on a thin black cord round -his neck. When walking out, it was his custom to go bare-headed, and to -carry his soft felt hat in his hand, swinging the arm energetically to -and fro. The disengaged hand he often held behind him. - -In Brahms' demeanour there was a mixture of sociability and reserve -which gave me the impression of his being a kindly-natured man, but one -whom it would be difficult really to know. Though always pleasant and -friendly, yet there was a something about him--perhaps it may have been -his extraordinary dislike to speaking about himself--which suggested -that his life had not been free from disappointment, and that he had -reckoned with the latter and taken his course. His manner was absolutely -simple and unaffected. To his own compositions he alluded only on the -very rarest occasions, nor could he be induced to play them before even -a small party. His great satisfaction and pleasure were evidently found -in the society of Frau Schumann, for whom he displayed the most devoted -admiration, an admiration that seemed to combine the affection and -reverence of an elder son with the sympathetic camaraderie of a -colleague in art. He had established himself for the spring and summer -months at Lichtenthal, in order to be near her, and was always a welcome -guest at her house, coming and going as he liked. I met him there -continually at the hour of afternoon coffee, as on the day of my -arrival; and very often, when the coffee-cups were done with, it was my -good fortune to listen to the two great artists playing duets; Brahms, -the favoured, being always allowed to retain the beloved cigar or -cigarette between his lips during the performance, and taking his turn -in playing the treble part. - -It was Frau Schumann's kind habit to invite me to her mid-day dinner on -Sundays, and frequently to supper during the week. Brahms was rarely -absent, and was sometimes accompanied by one or two of his friends. The -talk on these occasions was more or less general, but naturally my chief -interest was in listening to Frau Schumann and Brahms, who used to -discuss all sorts of topics with great animation. Brahms' interest in -politics was keen, and although he had been settled in Vienna for some -years, and had become much attached to that city and to his friends and -surroundings there, yet it was evident that he remained an ardent German -patriot. - -He was a great walker, and had a passionate love of nature. It was his -habit during the spring and summer to rise at four or five o'clock, and, -after making himself a cup of coffee, to go into the woods to enjoy the -delicious freshness of early morning and to listen to the singing of the -birds. In adverse weather he could still find something to admire and -enjoy. - -'I never feel it dull,' he said one day, in answer to some remark about -the depressing effect of the long-continued rain, 'my view is so fine. -Even when it rains, I have only another kind of beauty.' - -He was considerate for others, even in trifles. I remember that one -evening, before we had quitted the supper-table, someone produced a copy -of 'Kladderadatsch,' and, pointing out to Brahms a set of sarcastic -verses dedicated to John Bull, begged him to read them aloud for the -entertainment of the assembled party. Brahms, after glancing down the -column, playfully declined to do as he was asked, indicating, with a -wave of the hand, his English _vis-à-vis_ as his reason for objecting; -and it was not until I had laughingly and repeatedly expressed my -earnest wish to hear whatever might be in store for me as Mr. Bull's -representative, that he at length, and still reluctantly, complied with -the request. - -Frau Schumann often spoke to me of his extraordinary genius and -acquirements both as composer and executant, as well as of his general -intellectual qualities, and especially of his knowledge and love of -books. She wished me to hear him play, but said it was no easy matter to -do so, as he was extremely dependent on his mood, and not only disliked -to be pressed to perform, but was unable to do justice either to himself -or his composer when not in the right humour. The first time, indeed, -that I heard him, at a small afternoon gathering at Frau Schumann's -house, I was utterly disappointed. After a good deal of pressing, he -crossed over to the piano and gave the first movement of the G major -Fantasia-Sonata and the first movement of the A minor Sonata, Op. 42, -both of Schubert, but his playing was ineffective. It appeared to me to -be forced and self-conscious, and he himself seemed to remain, as it -were, outside the music. I missed the living throb and impulse of -feeling by which I had been accustomed to be carried away when listening -to Frau Schumann, and he left one of his audience, at all events, cold -and unmoved. When I told this to Frau Schumann afterwards, she answered -that I had not yet really heard him; that he had not wished to play, but -had yielded to over-persuasion, and that I must wait for a better -opportunity of judging before forming an opinion. - -The opportunity came the very next evening, when the same friends were -assembled and Brahms played again. The next day I wrote home as follows: - - '... Then Brahms played. It was an entirely different thing from - the day before. Two pieces were by some composer whose name I can't - remember, and then he played a wild piece by Scarlatti as I never - heard anyone play before. He really did give it as though he were - inspired; it was so mad and wild and so beautiful. Afterwards he - did a little thing of Gluck's. I hope I shall hear him often if he - plays as he did last night. The Scarlatti was like nothing I ever - heard before, and I never thought the piano capable of it.' - -Such were the general impressions I formed of Brahms during the first -seven or eight weeks of my stay at Lichtenthal. To say the truth, I -thought but little about him at the time, my whole attention being -absorbed in my studies and in the charm of my new experiences of life. -To me he seemed a very unaffected, kind-hearted, rather shy man, who -appeared quietly happy and content when under the influence of Frau -Schumann's society. As yet I had had scant opportunity of testing my own -capacity for appreciating his musical genius, and next to none of -individual personal intercourse with him. Frequently, when my landlady's -servant came to attend me to my lodgings after an evening spent at Frau -Schumann's house, and Brahms and I took our leave at the same moment, he -would say, 'I am coming, too,' and, our ways lying partly in the same -direction, would walk the short distance by my side; but these occasions -did not add much to my knowledge of him. He would make a few casual -remarks, often playful, always kindly, on any topics of the hour, but -did not touch on musical subjects. One evening, however, I asked him if -he intended to visit England. 'I think not,' he immediately replied, as -though his mind were definitely made up on this point. I ventured to -pursue the subject, telling him he ought to come, in order to make his -compositions known. 'It is for that they are printed,' he said rather -decidedly, and with these words he certainly gave me some real insight -into his character. The composer of a long series of works which -included such masterpieces as the second serenade, the two string -sextets, the first and second pianoforte quartets, the inspired German -Requiem, and a host of others already before the world (but of which I -then knew nothing), could, of course, do no otherwise than allow his -compositions to rest quietly on their merits; and doubtless the intense -pride which is equally inherent with intense modesty in the higher order -of genius had its share in causing Brahms' reticence about all things -concerning himself. - -From his determination not to visit England I do not believe he ever -seriously wavered. Only on one occasion--a few years before his -death--did I ever hear him speak doubtfully on the subject, and I then -felt sure that he was only playing with the idea of coming. Of when or -why he formed his resolution I cannot speak with absolute certainty; it -had become fixed before I made his acquaintance. His want of familiarity -with our language may have had something to do with it; he could read -English a little, but I never heard him attempt to speak it. He had a -horror of being lionized and of involving himself in an entanglement of -engagements; perhaps, also, he was possessed with an exaggerated notion -of the inflexibility of English social laws, especially as to the -wearing of dress-clothes and the restrictions with regard to smoking. -Before and behind all such superficial considerations, however, I -suspect that early in his career the idea had taken root in him, right -or wrong as it may have been, that to visit England would not further -his artistic development. Brahms had certainly formed the clearest -conception not only of his purpose in life, but of the means by which he -felt he could best pursue and achieve it, and from first to last he -inflexibly adhered to the conclusions he had come to on these points. If -his aim was to give the most complete possible expression in his musical -creations to the very best that was in him, his method, while it -satisfied an inner craving of his being, was yet, as I believe, -deliberately adopted; and it was to lay himself open to every kind of -influence which could healthily foster the ideal side of his nature, and -more or less completely to eschew all others. It would be ridiculous, at -the present time, to touch upon the completeness of his technical -musical equipment, to dilate on his easy grasp of all the resources of -counterpoint, on his mastery of form, of harmonic and rhythmic -combinations, and the like. These things are matter of course. But -Brahms knew that not alone his intellect, but his mind and spirit and -fancy, must be constantly nurtured if they were to bring forth the -highest of which they were capable, and he so arranged his life that -they should be fed ever and always by poetry and literature and art, by -solitary musing, by participation in so much of life as seemed to him to -be real and true, and, above all and in the highest degree, by the -companionship of Nature. - -'How can I most quickly improve?' I asked him one day later on. 'You -must walk constantly in the forest,' he answered; and he meant what he -said to be taken literally. It was his own favourite prescription that -he advised for my application. For such a man, with a name practically -unknown in England, life in London, and especially during a concert -season, would have been not only uncongenial, but impossible. It would -only have been a hindrance to him for the time being. It was not his -business to push his works before either conductors or the public, and, -after early successes and failures in this direction, he had almost -entirely given up planning for the future of his compositions, and had -yielded himself wholly to his destiny, which was to create. - -In adopting this attitude, there was nothing whatever of outward posing. -He simply did faithfully what he found lying before him to do, and did -not look beyond. - -Life at Lichtenthal passed quickly onwards, and the time approached when -Frau Schumann would pay her annual visit to Switzerland. At the close of -one of my lessons she said to me: - -'I have been thinking that perhaps you might like to have some lessons -from Herr Brahms whilst I am away. It would be a very great advantage -for you in every way, and he would be able to help you immensely with -your technique. He has made a special study of it, and can do anything -he likes with his fingers on the piano. He does not usually give -lessons, but if you like I will ask him, and I think he would do it as a -favour to me.' - -I must here explain that my visit to Germany had been undertaken with -the special object of correcting certain deficiencies in my mechanism -which Frau Schumann had pointed out, she having advised me to study for -a year with this aim particularly in view. - -It need hardly be said that I now eagerly accepted her proffered -kindness, and it was decided that she should sound Herr Brahms on the -question of his willingness to give me lessons. If he should show -himself favourable to the project, the arrangement was to be considered -as decided, subject only to the approval of my father, who was on the -point of starting from London to join me at Lichtenthal. The next -morning Frau Schumann informed me that Brahms had consented to the plan, -and a few days later, on my receiving my father's ready assent to my -request, all preliminaries were settled, and it was arranged that I -should have two lessons every week from Brahms. - -'You must ask him to play to you,' Frau Schumann said; 'and if he will -do it, it will give you a real opportunity to hear him. And now, now you -will begin to know Brahms.' - - - BRAHMS AS TEACHER OF THE PIANOFORTE. - -Brahms united in himself each and every quality that might be supposed -to exist in an absolutely ideal teacher of the pianoforte, without -having a single modifying drawback. I do not wish to rhapsodize; he -would have been the first to object to this. Such lessons could only -have come from such a man. I have never to this day got over the wonder -of his giving them, or the wonder and the joy of its having fallen to my -lot to receive them. - -He was strict and absolute; he was gentle and patient and encouraging; -he was not only clear, he was light itself; he knew exhaustively, and -could teach, and did teach, by the shortest possible methods, every -detail of technical study; he was unwearied in his efforts to make his -pupil grasp the full musical meaning of whatever work might be in hand; -he was even punctual. - -I cannot hope in what I may say to convey more than a faint impression -of what his lessons were to me. From the very first hour of coming under -his immediate musical influence I felt that it was a power which would -continue to act upon and develop within me to the end of life. Perhaps, -however, I may succeed in helping lovers of his music to add to their -conception of his character and his gifts, by writing of him as he was -in a capacity in which, so far as I know, he has not hitherto been -described. Such personal details as I may introduce will be given with -the object of illustrating that side of Brahms' character which I once -knew so well; of exhibiting him as the all-capable, single-hearted, -encouraging, inspired and inspiring teacher and friend. - -Remembering what Frau Schumann had said of his ability to assist me with -my technique, I told him, before beginning my first lesson, of my -mechanical difficulties, and asked him to help me. He answered, 'Yes, -that must come first,' and, after hearing me play through a study from -Clementi's 'Gradus ad Parnassum,' he immediately set to work to loosen -and equalize my fingers. Beginning that very day, he gradually put me -through an entire course of technical training, showing me how I should -best work, for the attainment of my end, at scales, arpeggii, trills, -double notes, and octaves. - -He not only showed me how to practise: he made me, at first, practise to -him during a good part of my lessons, whilst he sat watching my fingers; -telling me what was wrong in my way of moving them, indicating, by a -movement of his own hand, a better position for mine, absorbing himself -entirely, for the time being, in the object of helping me. - -He did not believe in the utility for me of the daily practice of the -ordinary five-finger exercises, preferring to form exercises from any -piece or study upon which I might be engaged. He had a great habit of -turning a difficult passage round and making me practise it, not as -written, but with other accents and in various figures, with the result -that when I again tried it as it stood the difficulties had always -considerably diminished, and often entirely disappeared. 'How must I -practise this?' I would ask him, with confidence, which was never -disappointed, that some short-cut would be found for me by which my way -would be effectually smoothed. - -His method of loosening the wrist was, I should say, original. I have, -at all events, never seen it or heard of it excepting from him, but it -loosened my wrist in a fortnight, and with comparatively little labour -on my part. - -How he laughed one day, when I triumphantly showed him that one of my -knuckles, which were then rather stiff and prominent, had quite gone in, -and said to him: 'You have done that!' - -It may seem incredible, but it is none the less true, that after a very -few weeks of work with him the appearance of my hands had completely -changed. My father says, writing to my mother: - - 'Her hand has an entirely different conformation from what it used - to have; it has lost all its angular appearance, and it really is - the case, as she says, that her knuckles are disappearing. I have - given up all idea of inducing her to go anywhere with me; she will - allow nothing to interfere with her practising. She is enthusiastic - in her admiration of Brahms, and says his patience is wonderful. He - keeps her strictly to finger-work.' - -He was never irritable, never indifferent, but always helped, -stimulated, and encouraged. One day, when I lamented to him the -deficiencies of my former mechanical training and my present resultant -finger difficulty, 'It will come all right,' he said; 'it does not come -in a week nor in four weeks.' - -Perceiving at once the extraordinary value of my technical studies with -him, I was desirous of not being hampered by feeling obliged, at first, -to get up many pieces to play through. That, he said, was quite right; I -must practise a great deal in little bits for a time. Here is an extract -from one of my letters. I copy it exactly as it stands, without altering -the careless wording of a girl's letter hastily penned for home perusal -in an interval between practice times: - - 'My lessons with Brahms are too delightful; not only the lessons - themselves, but he makes me feel I must practise all day and all - night. I have begun to eat a great deal for the mere purpose of - being able to practise! He is so patient, and takes such pains, and - I ask all sorts of questions, and the lessons are too delightful. I - can't understand his giving lessons, and yet he is never angry at - any sort of foolishness, only says, "Ah! that is so difficult." As - for an hour's lesson, that is nothing. He systematically arranges - for an hour and a half. I absolutely revel in my lessons. He makes - the saraband sound on the piano just as on a violin. Then he never - expects too much, and does not give much to learn, but is always - satisfied with little if one is really trying.' - -He was extremely particular about my fingering, making me rely on all my -fingers as equally as possible. One day whilst watching my hands as I -played him a study from the 'Gradus,' he objected to some of my -fingering, and asked me to change it. I immediately did so, but said, -knowing there was no danger of his being offended by the remark, that I -had used the one marked by Clementi. Brahms, not having had his eyes on -the book at the moment, had not perceived this to be the case. He at -once said I must, of course, not change it, and would not allow me to -adopt his own, as I begged him, saying: 'No, no; he knew.' - -I had with me at Lichtenthal my own copies of Bach, which I had brought -from England, but the edition was unfingered, and Brahms desired me to -get copies with Czerny's fingering, and always to use it. The other -indications in the edition I was not to adopt. - -A good part of each lesson was generally devoted to Bach, to the -'Well-tempered Clavier,' or the English Suites; and as my mechanism -improved Brahms gradually increased the amount and scope of my work, and -gave more and more time to the spirit of the music I studied. His -phrasing, as he taught it me, was, it need hardly be said, of the -broadest, whilst he was rigorous in exacting attention to the smallest -details. These he sometimes treated as a delicate embroidery that -filled up and decorated the broad outline of the phrase, with the large -sweep of which nothing was ever allowed to interfere. Light and shade, -also, were so managed as to help to bring out its continuity. Be it, -however, most emphatically declared that he never theorized on these -points; he merely tried his utmost to make me understand and play my -pieces as he himself understood and felt them. - -He would make me repeat over and over again, ten or twelve times if -necessary, part of a movement of Bach, till he had satisfied himself -that I was beginning to realize his wish for particular effects of tone -or phrasing or feeling. When I could not immediately do what he wanted, -he would merely say, 'But it is so difficult,' or 'It will come,' tell -me to do it again till he found that his effect was on its way into -being, and then leave me to complete it. On the two or three days that -intervened between my lessons, I would, after practising at the -pianoforte, sometimes take my music into the forest to try to think -myself more completely into his mind, and if, when he next came, I had -partially succeeded, he took delight in showing his satisfaction. His -face would light up all over, and he would be unstinting in his praise. -'Very good, quite right; Frau Schumann would be very surprised to hear -you play like that,' or, 'That will make a great effect with Frau -Schumann.' - -In spite of his extraordinary conscientiousness about detail, Brahms was -entirely free from pedantry and from the tendency to worry or fidget his -pupil. His great pleasure was to commend, and if I played anything to -him for the first time, in the way he liked, nothing would induce him to -suggest, with one word, any change at all. 'That is quite right; there -is nothing to say about it,' he would say; and though I have felt -disappointed not to get any remark from him, and have entreated him to -make some suggestions, he would remain firm. 'No, it must be like that; -we will go on,' and there was an end of the matter. - -One morning my father, coming into the room at the close of my lesson, -asked Brahms: 'Has she been a good girl to-day?' 'Sehr fein,'[1] -answered he, and suddenly turning to me added imperatively: 'Tell your -father that.' I was equal to the occasion, however, and promptly -translated: 'Herr Brahms says he is not very satisfied to-day, papa.' My -father's face fell a little. Brahms looked straight before him, -displeased and impassive. 'I have told him,' said I. 'No, you have not -told him.' 'But you don't know that; you don't understand English.' 'I -understand enough to know that'--stonily. 'Herr Brahms says I have done -pretty well,' I reassured my father; then to Brahms: 'Now I have.' 'Yes, -now,' he admitted, with relenting countenance. - -Another day, in the middle of my lesson, the door of my sitting-room -opened, and my landlady begged to speak to me. 'No, Frau Falk,' I said; -'I am engaged and can see no one: you must please go away.' 'One moment, -gnädiges Fräulein,' she said, and persisted, to my displeasure, in -coming in. I then perceived she had with her a pretty little girl of -about five years old, who held some beautiful yellow roses in her hand. -Frau Falk led the child straight up to the piano and made her little -speech. The small maiden was the daughter of the gentleman living in the -neighbouring villa, and, being with her father in his beautiful -rose-garden, had begged him to let her carry some of his roses to the -Fräulein to whose playing they had been listening. The little one, -seeing I was not alone, became suddenly shy as she handed me the lovely -flowers, and, turning away her face, looked downwards with very red -cheeks as she stood quietly at Brahms' knee. But this was not the kind -of interruption to displease him. 'Na,' he said, coaxing her, 'you must -look at the Fräulein, and let her thank you. Look at her; she wants to -thank you.' Between us we reassured the little one, who held up her face -to me to be kissed, and sedately allowed Frau Falk to lead her away. - -Soon after beginning my work with Brahms, I asked him at the end of my -lesson if he would play to me, telling him I did so by Frau Schumann's -desire. There was an instant's hesitation; then he sat down to the -piano. Just as he was about to begin, he turned his head round, and said -almost shyly: 'You must learn by the faults also.' That was the -beginning. From that day it became his regular habit to play to me for -about half an hour at the close of the hour's lesson, which he never -shortened. Oftenest he chose Bach for his performance. He would play by -heart one or two of the preludes and fugues from the 'Well-tempered -Clavier,' then take up the music and continue from book as the humour -took him. When he reached the end of a composition, I would say little -or nothing beyond 'Some more,' for fear of stopping him, and he would -turn over the leaves to find another favourite. I do not remember his -ever making a remark to me either between-whiles or after he had -finished playing, beyond, perhaps, telling me to get him another book. -Once, and once only, he resisted. I had made my usual request at the end -of the lesson, when he quaintly and unexpectedly replied: 'Not every -time; it is silly. Frau Schumann would say it is silly to play every -time'. 'It is so disappointing,' I wished to say, but was uncertain of -the right German word. He, as was his wont on similar occasions, made me -show it him in the dictionary. There was some little argument between -us, and he returned to the piano and took his place there. It was of no -use, however. He could not play that day, and almost seemed to take -pleasure in doing as badly as possible. Every time he was conspicuously -faulty he turned round to me with a sardonic smile, as though he would -say: 'There! you have got what you wanted; how do you like it?' 'Very -unkind,' I murmured, and he soon rose. 'I will _not_ play next time,' he -angrily declared as he took leave. 'I will _never_ ask you again,' I -rejoined. A shrug of the shoulders was his only answer, and, with the -usual 'good-day,' he left the room. - -After two days came my next lesson. It passed off delightfully, as -usual, and at the close Brahms departed, without a word about his -playing being said on either side; but I was left with a feeling of -something having been very much wanting. In the middle of the following -lesson, giving way to a sudden impulse which I could not have explained, -but which, perhaps, arose from the fear of renewed disappointment, I -abruptly ceased playing in the middle of my piece, saying, 'I cannot -play any more to-day.' Brahms glanced at me with rather an inquiring -expression, and asked, 'Why?' 'I don't know; I cannot,' I replied. There -was an instant of dead silence, during which I did not look round. Then -Brahms spoke. 'I will play to you,' he said quietly, 'in order that you -may have something.' We immediately changed places, and he never refused -me again. - -My father, writing to my mother, says: - - 'Brahms is recognised in Germany as the greatest musician living. - It is said to be most difficult to get him to play; however, after - every lesson he plays piece after piece. He is a delightful man--so - simple, so kind and quiet. He lives in a beautiful situation - amongst the hills, and cares only for seclusion, and time to devote - himself to composition. He was pleased the other day by F.'s asking - him about a passage in Goethe that she could not comprehend, and - went into it in a way which delighted her. With all his genius he - is thoroughly practical. Punctual to a minute in his lessons, and - of extreme delicacy.' - -It was my happiness to hear, amongst other things, his readings of many -of the forty-eight preludes and fugues, and his playing of them, and -especially of the preludes, impressed me with such force and vividness -that I can hear it in memory still. His interpretation of Bach was -always unconventional and quite unfettered by traditional theory, and he -certainly did not share the opinion, which has had many distinguished -adherents, that Bach's music should be performed in a simply flowing -style. In the movements of the suites he liked variety of tone and -touch, as well as a certain elasticity of _tempo_. His playing of many -of the preludes and some of the fugues was a revelation of exquisite -poems, and he performed them, not only with graduated shading, but with -marked contrasts of tone effect. Each note of Bach's passages and -figures contributed, in the hands of Brahms, to form melody which was -instinct with feeling of some kind or other. It might be deep pathos, or -light-hearted playfulness and jollity; impulsive energy, or soft and -tender grace; but sentiment (as distinct from sentimentality) was always -there; monotony never. 'Quite tender and quite soft,' was his frequent -admonition to me, whilst in another place he would require the utmost -impetuosity. - -He loved Bach's suspensions. 'It is here that it must sound,' he would -say, pointing to the tied note, and insisting, whilst not allowing me to -force the preparation, that the latter should be so struck as to give -the fullest possible effect to the dissonance. 'How am I to make this -sound?' I asked him of a few bars of subject lying for the third, -fourth, and fifth fingers of the left hand, which he wished brought out -clearly, but in a very soft tone. 'You must think particularly of the -fingers with which you play it, and by-and-by it will come out,' he -answered. - -The same kind of remarks may be applied to his conception of Mozart. He -taught me that the music of this great master should not be performed -with mere grace and lightness, but that these effects should be -contrasted with the expression of sustained feeling and with the use of -the deep legato touch. Part of one of my lessons was devoted to the -Sonata in F major-- - -[Music: etc.] - -Brahms let me play nearly a page of the first movement without making -any remark. Then he stopped me. 'But you are playing without -expression,' said he, and imitated me, playing the same portion, in the -same style, on the upper part of the piano, touching the keys neatly, -lightly, and unmeaningly. By the time he left off we were both smiling -at the absurd performance. - -'Now,' he said, 'with expression,' and he repeated the first few bars of -the subject, giving to each note its place as an essential portion of a -fine melody. We spent a long time over the movement that day, and it was -not until the next lesson, after I had had two, or perhaps three, days -to think myself into his conception, that I was able to play it broadly -enough to satisfy him. At the close of the first of these two Mozart -lessons I said to him: 'All that you have told me to-day is quite new to -me.' 'It is all there,' he replied, pointing to the book. - -Brahms, in fact, recognised no such thing as what is sometimes called -'neat playing' of the compositions either of Bach, Scarlatti, or Mozart. -Neatness and equality of finger were imperatively demanded by him, and -in their utmost nicety and perfection, but as a preparation, not as an -end. Varying and sensitive expression was to him as the breath of life, -necessary to the true interpretation of any work of genius, and he did -not hesitate to avail himself of such resources of the modern pianoforte -as he felt helped to impart it; no matter in what particular century his -composer may have lived, or what may have been the peculiar excellencies -and limitations of the instruments of his day. - -Whatever the music I might be studying, however, he would never allow -any kind of 'expression made easy.' He particularly disliked chords to -be spread unless marked so by the composer for the sake of a special -effect. 'No arpége,' he used invariably to say if I unconsciously gave -way to the habit, or yielded to the temptation of softening a chord by -its means. He made very much of the well-known effect of two notes -slurred together, whether in a loud or soft tone, and I know from his -insistence to me on this point that the mark has a special significance -in his music. - -Aware of his reluctance to perform his compositions, I let some weeks -pass before I asked him to play me something of his own. When I at -length ventured to do so, he objected: 'Not mine; something by another -composer.' But I had resolved to carry my point. 'No, no,' I insisted; -'a composition played by the composer himself is what I wish to hear,' -and my importunity gained the day. He gave me a splendid performance of -a splendid theme with variations, which, as I found out some months -afterwards, was from the now familiar string Sextet in B flat. It was -the first time I had heard anything of Brahms' composition with the -exception of one or two songs, and it raised in me a tumult of delight. -Probably I said to him little beyond thanks, but the power of the music -and the performance must have worked itself in me to some manifest -effect, for on my taking my seat directly after the lesson at the _table -d'hôte_ of the Hôtel Bär, the village inn where my father and I used to -dine, a lady of our acquaintance exclaimed: 'What is the matter with you -to-day that you look so excited?' I remember answering her: 'Brahms has -just played me something quite magnificent--something of his own--and it -keeps going in my head.' - -Since then I have heard the movement times innumerable in England and on -the Continent, performed by various combinations of artists, but I never -listen to it without being carried back in thought to the gardener's -house on the slope of the Cäcilienberg where, in my blue-papered, -carpetless little room, Brahms sat at the piano and played it to me. The -scent of flowers was borne in through the open lattice-windows, of which -the green outside sun shutters were closed on one side of the room to -keep out the blazing August sun, and open on another to views of the -beautiful scenery. - -The merits of our respective views had been the subject of some friendly -argument soon after my arrival at Lichtenthal. Brahms had declared that -no prospect from any windows in the village could possibly be as fine as -his, whilst I was equally sure that mine must be quite unrivalled. Two -of my windows looked right across the valley of the Oos as far as the -plain of Strassburg, and showed, in fine weather, the distant peaks of -the Vosges glimmering in the sunlight. Two others commanded a prospect -of the pine-covered ranges of Black Forest hills. The first time Brahms -came to my rooms, in order to give me a lesson, the variety and -loveliness of my view drew from him an exclamation of delight. 'But -yours is really grander and sterner, is it not?' I magnanimously asked. -'This is more suitable for a girl,' he prettily replied. - -On the next occasion after the day when he had performed his own work, I -reminded Brahms that he had promised he would allow my father, who was -anxious to hear him play to better advantage than from the room -overhead, to share with me this great pleasure some time. 'But he is not -here,' he said, and taking this as a token of assent, I quickly called -my father, who was writing letters above, to come down. When we were all -three seated, I told Brahms I wished to have the piece he had played to -me two or three days before, but he said he would not play anything of -his own--'something else.' 'No,' I said, 'something of yours, and the -same; my father wishes to hear the same.' 'Ah, I forget what it was; I -have composed a great many things. I will play something else.' 'But no, -no, no!' I urged. 'I know what it was. I must have the same. Play the -first two or three chords.' 'Well, then, I think it was this,' said he, -giving way; and he repeated the movement from beginning to end, carrying -us both completely away. - -Brahms' playing at this period of his life was, indeed, stimulating to -an extraordinary degree, and so _apart_ as to be quite unforgettable. It -was not the playing of a virtuoso, though he had a large amount of -virtuosity (to put it moderately) at his command. He never aimed at mere -effect, but seemed to plunge into the innermost meaning of whatever -music he happened to be interpreting, exhibiting all its details and -expressing its very depths. Not being in regular practice, he would -sometimes strike wrong notes--and there was already a hardness, arising -from the same cause, in his playing of chords; but he was fully aware of -his failings, and warned me not to imitate them. - -He was acutely, though silently, sensitive to the susceptibility or -non-susceptibility of his audience. As I have already mentioned, but few -words passed between him and myself during the momentary intervals -between his playing of one piece and another, but he would now and then -suddenly turn his head round towards where I sat and give me a swift, -searching glance, as though to satisfy himself that I understood and -followed him. Once only he refused to go on. It was soon after his -performance before my father. I had begged for another of his -compositions, and he had begun to play one. I was sitting rather behind -him, listening intently and trying to follow, but I knew I did not -understand. Very soon he turned to give his usual scrutinizing look, and -immediately ceased playing, saying: 'No, really I can't play that.' I -did not attempt to make him think I had entered into the meaning of the -music, but only entreated him to begin it again and give me one more -chance, as it was difficult to follow. Nothing would induce him, -however, to play another note of it, and he went on to something by -another composer, much to my disappointment and mortification. - -Brahms disliked to hear anything said which could possibly be -interpreted as depreciation of either of the great masters. Once, when -two or three people were present, a remark was made on the growing -indifference of the younger musicians to Mendelssohn, and particularly -on the neglect with which his once popular 'Songs without Words' had for -some time been treated. 'If it is the case, it is a great pity,' -observed Brahms, 'for they are quite full of beauty.' - -He especially loved Schubert, and I have heard him declare that the -longest works of this composer, with all their repetitions, were never -too long for him. - -He greatly admired my copy, which was of the original edition and in -good preservation, of Clementi's 'Gradus,' and asked me to lend it him -for a day or two to compare with his own. I did not at that time attach -much value to original editions; and, fancying he merely wished to -prevent me from overworking, against which he often cautioned me, I said -I could not spare it. 'You won't lend it me!' he exclaimed, very much -astonished indeed. I answered that if he did take it away it would make -no difference, as I could practise as well without it. Finding, -however, that he really wished to examine the copy, I said it was too -hot for him to carry so large a book in the middle of the day, and that -I would send it in the evening. 'I am not so weak!' he replied, but -consented to the proposal. He sent it back after a few days, strongly -scented with the odour of his tobacco, which it retained through many a -long year, and which rather enhanced its value to me. - -Rather curiously, he liked the scent of eau-de-Cologne. My father -brought me a case from Cöln, and if, on my lesson day, I had an open -bottle near at hand, and offered some to Brahms, he would place his -hands together, palm upwards, for me to pour into, and, dipping his -head, would rub the scent over his forehead, protesting as he did so, -'But it really does not become a man.' Seeing that he liked it, I used -it sometimes to wash the keys of the piano when he was coming, but I do -not think he ever found me out. - -He delighted in the music of Strauss' band, which was engaged to play -daily at Baden-Baden through some weeks of the season. It was then -conducted by the great Johann Strauss, Brahms' particular friend, and he -used to walk over every evening to hear it. 'Are you so engrossed?' said -a voice behind me one evening as I was standing in the Lichtenthal -village street with a friend, looking at the performances of a dancing -bear. On turning round I found Brahms, hat in hand, smiling with -amusement at our preoccupation, himself on his way, as usual at that -hour, to listen to the delicious music of the Vienna waltz-king. - -Brahms disliked mere compliment, but he had a warm appreciation of the -genuine expression of friendly feeling towards himself, and did not try -to hide the pleasure it gave him. His countenance would change, and he -would answer in a simple, modest way that was almost touching. One day -when I told him how I valued his teaching, and felt it was something for -my whole life, 'You ought to tell Frau Schumann,' replied the composer -of the German Requiem, as though he were asking me to give a good report -of him. On my assuring him that I had already done so by letter, he -added hastily: 'But not too much; never praise too highly; always keep -within bounds.' - -Shortly before Frau Schumann's return I said to him that I hoped he -would not lose all interest in my music at the termination of my lessons -with him, and that I should like, if it were possible, to make some -additional arrangement by which it might be maintained. He did not give -me any definite reply at the moment one way or the other, but on my -saying the same thing to him another day he replied: 'It is very nice -and very kind of you, but I don't think it can be done. You must, -however, play to me very often. Everything you learn with Frau Schumann -you must play to me.' - -About this time, however, my father, who was about to start on his -homeward journey, persuaded me to go away with him for a week's holiday -before his departure for England, and on my return to Lichtenthal Frau -Schumann arranged that I should continue my studies under Brahms for the -remainder of my stay, saying I had become more his pupil than hers. -There were, indeed, but few more lessons to look forward to. Autumn had -set in, and everyone was thinking of departure. Brahms had to go -sometimes to Carlsruhe, where he was occupied with rehearsals, but he -punctually kept his remaining appointments with me. His concluding -lessons were as magnificent as the earlier ones, and when I went back to -England my ground was clear. I do not mean to assert that my hand was -already completely developed from a pianist's point of view, or my -technique as yet fully in my possession. These things were physically -impossible; but Brahms had shown me the path which led straight to my -goal, and had himself brought me a considerable distance on the way. A -cast of one of my hands taken on my return to England, when compared -with one that had been done shortly before I left, could not have been -recognised as being from the same person. - -Those were, indeed, golden days, when Brahms sat by my side and taught -me; memorable to me no less for their revelation of an exquisite nature -than for the musical advantages they brought. I have often been told -that there was another side to his character, and that he could, even at -that time, be bitter and rough and satirical. I dare say he was not -faultless, but I do not think that he can at any period of his life have -been bitter in the sense of being soured. He no doubt had a strong -feeling about the indifference and downright antagonism against which -his works long had to struggle; but if it had ever been a feeling even -of disappointment, I am sure this had mellowed, before I knew him, into -a firm though silent belief in the future of his compositions, and had -only served to intensify, if possible, his determination to put into -them of his very best. - -Rough he may have been sometimes, and in later years I had occasional -opportunity of perceiving that he was not always gentle, though he was -never otherwise with me. His roughness was, in certain instances, no -doubt caused by his resolution in protecting his time from -celebrity-hunters, and even from friends. It may have been partly -traceable, also, to the circumstances of his youth, when he must often -have been placed amid surroundings where rough-and-ready frankness of -speech was more cultivated than conventional polish of manner. It is, -however, certain that during the latter part of his life he sometimes -availed himself of the privilege of the _enfant gâté_ to yield to the -caprice of the moment, and that he now and again said things which could -not but wound the feelings of others. This was to be regretted, and it -hardly excused him that his pungent words came from the lips only, and -not from the heart. I am, however, quite certain that many of his -acerbities were assumed to cover his naturally acute sensibility of -temperament, of which he stood a little in dread, and which he liked to -conceal even from himself. He was a firm believer, for himself and for -others, in the salutary process of bracing both mental and physical -energies. - -A year or two before Brahms' death I revisited Lichtenthal, staying a -night at the Hôtel Bär, where I used to dine in the old days. I looked -up old acquaintances, and amongst them the former mistress of the dear -old inn, whom I found retired and living in a charming villa close by, -her brother being still the proprietor of the hotel. She, of course, had -known Brahms well, and during the hour or two that I spent with her we -talked chiefly about him. She repeated the verdict given by everyone -really acquainted with him: 'So simple and natural, so kind and -cheerful, able to take pleasure in trifles. He was such a simple-hearted -man.' A tease, certainly, but his teasing was never unkind, never more -than mere raillery. He would often bring a friend to dine at the Bär in -the old days, and she always had the cloth laid for him in a private -room or in the back part of the garden, so that he should not be worried -by the visitors. 'He never minded what he did. He would sometimes drop -in, if he were passing, to say good-morning to us, and if we were very -busy he would make a joke of sitting down and amusing himself by helping -us cut up the vegetables for dinner. Only he could not bear to go into -formal society, or to have to wear his dress-clothes. I have not seen -him now for several years. The last time was in September, 1889, when he -paid a flying visit to the Bär. He was very angry to find that three -pine-trees had been cut down near the house where he used to lodge, -thinking the poetry of the view had been impaired, and he said he would -never stay in the place again. What a warm heart he had! He liked to -know all the country people of the neighbourhood, and took a pride in -feeling that every man, woman, and child whom he met in his early -morning walks interchanged greetings with him. I begged for his -autograph the last time he was here. You will like to see what he -wrote;' and my old friend sent for the album in which the master had -written: - - 'Johannes Brahms. ('J. B. - eines schönen Tages one fine day - im schönen Baden in beautiful Baden - im lieben Bären.' at the dear Bear.') - - - BERLIN. - -Years were destined to elapse before my next meeting with Brahms. After -my return to England I worked unremittingly on the lines he had -indicated, and found that by the observation and practice of his -principles I was guided straight onwards in the path of progress. His -teaching had been of such a kind that its development did not cease with -the actual lessons. As the weeks and months went by I found myself -growing continually into a clearer perception of the aims and results it -had had in view. It caused me no surprise to find, on becoming -acquainted with his pianoforte compositions, that I must postpone for a -time the delightful task of getting them up. Brahms himself had prepared -me for this. He had always been extremely careful, when selecting music -for me to work at, to choose what would develop my technical power -without straining my hands, and when I had wished to study something of -his had answered that his compositions were unfit for me for the -present, as they required too much physical strength and grasp. He -fancied, indeed, at that time that nearly all of them were beyond a -woman's strength. When I asked why it was that he composed only such -enormously difficult things for the pianoforte, he said they came to him -naturally, and he could not compose otherwise ('Ich kann nicht anders'). - -In the winter of 1881-82 I found myself in Berlin. It is difficult to -describe the feelings with which I one day read the announcement that -von Bülow, in the course of a _tournée_ with the Meiningen Orchestra, of -which he was conductor, would shortly visit the city to give a three -days' series of concerts in the hall of the Singakademie; that Brahms' -compositions would figure conspicuously in the programmes; that Brahms -himself would be present, and that he would probably take part in one or -more of the performances. The life at Lichtenthal had come to seem to me -a sort of far-away fairy-tale impossible of any sort of renewal, and I -could hardly realize that I should soon see Brahms again. Finding, -however, from subsequent announcements, that the concerts were really to -take place, I lost no time in securing a subscription ticket for the -series. - -Feeling sure that every moment of Brahms' short stay in Berlin would be -occupied, I decided that my only chance of getting a word or two with -him would be to gain admission to one of the rehearsals, and to watch -for a favourable moment in which to make myself known to him. As ill -luck would have it, I was claimed on the first day by engagements that -could not be postponed. I was, however, the less inconsolable since -Brahms was to take an active part only in the second and third concerts. -Their respective programmes included a new pianoforte concerto still in -MS. (No. 2 in B flat), to be played by the composer, with von Bülow as -conductor; and the first pianoforte concerto, with Bülow as pianist and -Brahms at the conductor's desk. - -Betaking myself to the Singakademie in good time for the rehearsal on -the second morning of the series, I explained, to the friendly custodian -at the entrance-door, my claims to admission. He allowed me to enter the -hall and to take my place amongst the small audience of persons -privileged to attend. - -The members of the orchestra were already assembled, and after some -moments of waiting von Bülow came in with several gentlemen. Lusty -applause broke forth from platform and stalls, and a small stir of -greetings took place. But where was Brahms? I could perceive him nowhere -at first, and it was only as the rehearsal proceeded, and he took his -place on the platform, that I felt certain he was really present. I had -prepared myself to find him looking changed and older, but not beyond -recognition. It is, however, no exaggeration to say that as I gazed at -him, knowing him to be Brahms, I was utterly unable to recognise the man -I had known ten years previously. There, indeed, was the great head with -the hair brushed back as of old, though less tidily than in former days; -but his figure had become much heavier, and both mouth and chin were -hidden by a thick moustache and shaggy, grizzled beard that had -completely transformed his appearance. When I first knew him at the time -of his early middle age, one might fancy that his countenance and -expression had retained more than a trace of his youthful period of -_Sturm und Drang_, but this had now quite vanished. I felt, with a -shock, that my foreboding that I should never see my old friend again -had been realized, though in a way different from that anticipated by -me. - -Brahms received an ovation when he had finished his performance of the -new concerto, and as he was retiring from the platform Bülow, unable to -restrain his excitement, darted forward and gave him a kiss. It seemed -to take him rather aback, but he submitted passively. - -At length the rehearsal came to an end, and Brahms was immediately -surrounded by friends eager to offer their congratulations and to -receive a word of greeting from him. 'Now or never,' I thought, and, -taking my courage in my hand, I managed to get near, though a little -behind him. 'I, also, should like to say a word of thanks to you, Herr -Brahms,' I said. Brahms turned his head. 'Are you here in Berlin, then?' -he rejoined instantly, answering as he might have done if we had met the -previous week. Someone else pressed forward to claim his attention as I -was replying, and I fell behind again. I did not like to wait for a -second opportunity, feeling there was no chance of his being free, so I -straightway departed and went back to my lodgings. - -Thinking things over on my road, I came to the conclusion that Brahms -had not recognised me, but that when my words caught his ear he had -uttered the first casual reply that rose to his lips, and which might be -appropriate to any acquaintance whom he did not at the moment remember. -However exceptional his memory for faces might be, it appeared to me -incredible that, after the lapse of so many years, he should have known -me without the hesitation of a second at a moment when his attention -was preoccupied by the concert business of the day and by the claims of -his Berlin friends. - -It was in this frame of mind that I took my seat in the evening to hear -the concert. Having got over the first excitement of seeing Brahms -again, and knowing what I had to expect in regard to his personal -appearance, I was able to listen to the music in a more composed mood -than had been possible to me in the morning. My pleasure in the -performance of the concerto was, of course, in some measure impaired by -the circumstance that the long, intricate work was quite new. I think, -however, that I should have enjoyed it more if Brahms had conducted and -Bülow performed the solo. I did not think Brahms' playing what it had -been. His touch in forte passages had become hard, and though he might, -perhaps, be said to have mastered the difficulties of his part, he had -not sufficiently surmounted them to execute them with ease. It could -not, in fact, have been otherwise. No composer having attained to the -height of Brahms' greatness could have kept his technical command of the -pianoforte unimpaired; life is too short for this. I knew, however, that -I had listened to a magnificent work of immense proportions, and longed -for opportunity to hear it again that I might assimilate it. - -There was a scene of tumultuous enthusiasm at the close of the work. The -public applauded wildly, and shouted itself hoarse; the band joined in -with its fanfare of trumpet and drum; Brahms and von Bülow were recalled -again and again, separately and together; and in the moment of the great -composer's triumph I saw the earlier Brahms once more standing before -me, for, whilst his eyes shone and his face beamed with pleasure, I -recognised in his bearing and expression the old familiar look of almost -diffident, shy modesty which had been one of his characteristics in -former days. - -I did not, of course, seek for a further opportunity of speaking to -Brahms on the evening of which I am writing, but I laid my plans for the -next morning, and at the proper hour again made my way to the -Singakademie and successfully begged for admission to the rehearsal. - -During the first part Brahms sat as one of the audience in the front row -of stalls, and in a convenient break between the pieces I sent my -English visiting-card to him, having written on it a few lines recalling -myself to his remembrance. He read it and looked round. 'I know that -already,' he said coldly, but rising and coming towards me. 'I saw you -yesterday.' 'But you did not know who I was?' I returned, still -sceptical. 'Yes, I knew.' 'It seemed to me quite impossible you could -have recognised me!' I ejaculated. 'Oh yes, yes--_oh_ yes!' said Brahms -in quite a different tone, and for a couple of seconds I forgot to look -up or say anything. - -'Are you taking notes?' he asked by way of recalling me to myself, -touching my pencil. But the rehearsal had to proceed, and Brahms -presently took his place on the platform with Bülow for the performance -of the Concerto in D minor. When the rehearsal was over, I did not leave -the hall so quickly as on the previous day, but waited in the hope of -getting another word with Brahms, and was rewarded by having a good -many. - -In the evening, as he faced the audience before the commencement of the -concerto, catching sight of me in the third row of stalls, he was at the -pains to bestow upon me a kind bow and smile of recognition. He glanced -slightly at me again once or twice during the evening, and I knew, -though his appearance still seemed a little strange to me, that Brahms -was in the world after all. - -The execution of the D minor Concerto was one of those rare performances -that remain in the memory as unforgettable events. Brahms, when -conducting, indulged in no antics, and was sparing of his gestures, -often keeping his left hand in his pocket, or letting it hang quietly at -his side; but he cast the spell of his genius over orchestra and pianist -alike. The performance was remarkable for its power and grandeur, but -not chiefly so, for these qualities were to be expected. It was made -supremely memorable by the subtle imagination that touched and modified -even the rather hard intellectuality of von Bülow's usual style. Good -performances of Brahms' orchestral works may not seldom be heard, and -great ones occasionally; but the particular quality of his poetic fancy, -by which, when conducting an orchestra, he made the music sound from -time to time as though it were floating in some rarefied atmosphere, -vibrating now with fairy-like beauty and grace, now with ethereal -mystery, was, I should say, peculiar to himself, and is hardly to be -reproduced or imitated. - -As soon as Brahms had finished his share in the evening's programme I -quitted the hall, for I was thoroughly exhausted by the excitement of -the past two days, and felt I could bear nothing more. Early the next -morning he left Berlin to fulfil engagements in another town. - - - VIENNA. - -During the next four years much of my time was passed in Berlin. I -delighted in the concerts and general musical atmosphere of the German -capital, and did not allow my plans to be disturbed by a vague -invitation to visit Vienna which Brahms had given me in the course of -our short interview in the hall of the Singakademie. I felt that however -kind and friendly his recollection of me might have remained, yet I -could not hope to derive direct musical benefit from one absorbed in the -intense thought and brooding to which the life of a really great -composer must be largely devoted. - -It was not until December, 1888, that I paid my first visit to Vienna. I -arrived there towards the end of the month, armed with letters of -introduction which met with a kind response and obtained for me -immediate admission into those English and Austrian circles to members -of which they were addressed. I waited for a week before letting Brahms -know of my arrival, as I wished not only to be settled before calling on -him, but also to be in such a position in regard to my acquaintance as -would make it impossible for him to suspect that I could want anything -whatever of him beyond the delight and honour of seeing him again, and -of recalling myself to his remembrance. - -Meanwhile I gathered, from all I heard, that his dislike of anything -approaching to general society had steadily grown upon him. Some, even, -of his old friends spoke of the increasing rarity of his visits. A lady -at whose house he had been intimate for many years told me it had once -been his custom to announce himself for the evening from time to time at -a few hours' notice, with the proviso that he should find her and her -husband alone in their family circle, or at most with one or two chosen -friends. On these occasions he had been used to play to them one after -another of his newest compositions. This habit, however, he had almost -entirely given up. - -I heard but one opinion, both from friends and outsiders, as to his -essentially high character and sterling qualities of nature; but his -manners were described with unanimity, by those not within his immediate -circle, as difficult, sarcastic, and arrogant. I was, indeed, so -repeatedly assured that I should do no good by trying to see him that I -almost began to fear I should find he had become rude and impossible, if -not hopelessly inaccessible. To all that was said to me on the subject I -answered merely that I had once known him well, and had never found him -otherwise than kind and simple, but that I had prepared myself to find -him changed and rough in his behaviour to me. - -At length, on a dark afternoon of one of the closing days of the year, I -made my way to the Wieden, the quarter of Vienna inhabited by Brahms, -and, turning in at the doorway of No. 4, Carlsgasse, I ascended the worn -stone staircase as far as the third _étage_. Here I pulled the shining -brass handle of the old-fashioned door-bell, and the feeling of doubt -which had possessed me changed to one of positive alarm as I listened to -the prolonged peal I had awakened. I thought it must sound to Brahms -like the announcement of a most daring and determined intruder, and that -it would inevitably prove the death-knell of any chance of my -admission. - -The door was soon opened by a friendly maid-servant, who told me, -indeed, that the Herr Doctor was not at home, but satisfied me that I -was not being put off with a mere phrase by adding that she thought he -would probably be back by six o'clock, and that she advised me to return -about that hour if I particularly wished to see him, as he was to start -on a journey early the next morning. I thanked the girl, said I would -follow her suggestion, and, without leaving my name, returned to my -rooms to wait for the evening. - -The second visit was again unsuccessful, but on trying a third time, at -seven o'clock, I found that Brahms had returned. 'Please to walk in,' -said the landlady, who this time opened the door. But this unexpected -facility of access to the master was even more embarrassing than would -have been the conflict of argument I had anticipated. 'Please take my -card,' said I, 'to the Herr Doctor, and ask if he will see me.' 'Oh, it -is not necessary,' she said; but took it in, returning immediately and -asking me to enter. As I advanced, the formidable and overbearing Brahms -hastened to meet me. 'Why did you not leave your address? I should have -come to find you out,' he said, giving me his hand. And returning with -me to the sitting-room, he bade me take a seat on the sofa, whilst he -placed himself on a chair opposite. - -He did not try to hide that he was pleased to see his old pupil. He -evidently wished me to understand that our acquaintanceship was to be -taken up from the exact point at which it had been last left, and -reminded me, when I alluded to his lessons at Baden-Baden, that he had -seen me since those early days. 'Oh, for a moment at the rehearsals at -Berlin,' I answered. 'But since then,' he insisted. 'Only at the -concert,' said I, rather surprised. 'Yes, at the concert,' he agreed, -'and you sat downstairs, I remember.' - -I told him I had lately been getting up the same B flat Concerto which -he had played at the time, and had performed it in London before a -private audience. He was interested in hearing the particulars of the -occasion, and when I said, laughingly, that the fatigue entailed by the -practice of its enormous difficulties had given me all sorts of aches -and pains, and made it necessary for me to go into the country for -change of air after the performance was over, he replied in the same -vein: 'But that is very dangerous; one must not compose such things. It -is too dangerous!' - -He informed me rather slyly, 'I am the most unamiable of all the -musicians here,' as though he would like to know if I had heard of his -reputation for cross-grained perversity, and was frankly gratified when -I answered: 'That I will never believe, Herr Brahms--never!' He was to -be absent at the longest for ten days only, and when I took leave of him -it was with the pleasant consciousness that he would be glad to find me -still in Vienna on his return. - -In appearance, Brahms had again greatly altered since our meeting in -Berlin. Though not fifty-six, he looked an old man. His hair was nearly -white, and he had grown very stout. I had a good opportunity of -observing him, myself unnoticed, soon after his return from his journey. -The first public performance in Vienna was given of his newly-published -Gipsy Songs, at the concert of a resident singer, one of his friends. -Brahms had not been announced to take part in the performance, but when -the evening came, he walked quietly on to the platform as the singers -were arranging themselves in their places and took his seat at the -pianoforte as accompanist. Of course his appearance was the signal for -an outburst of enthusiastic welcome from the crowded audience, some -hopes, but no certainty, having been entertained that he would show -himself. - -As I sat in my corner and watched, I was aware that not only his general -aspect, but his expression also, had undergone another and a curious -change during the last years. He now wore the happy, sunshiny look of -one who had realized his purpose, and was content with his share in -life; of one to whom the complete measure of success had come, and not -too late to be valued. If in Baden-Baden he had made upon me the -impression of a man awaiting full recognition, who had already waited -long for it; if in Berlin, the impression of one who, having attained a -glorious pinnacle of fame whilst still in the plenitude of his powers, -was untiringly pressing onward towards higher summits of fulfilment--I -had the feeling, when I looked at him in Vienna, that the second phase, -too, was more or less belonging to the past, and that he had entered -upon a period of reward, and perhaps of less strenuous exertion. - -One of the very few opportunities I ever had of seeing Brahms avail -himself of a great man's license to follow his whims regardless of -convention, and, perhaps, of due respect to others, was afforded me at a -meeting of the Vienna Tonkünstlerverein, the musicians' club, of which -he was honorary president. It was one of the special social evenings of -the society, when the members supped together. Brahms was late in -coming, and when he arrived supper was proceeding. He allowed himself to -be conducted to the place, at the top of a long table, which had been -reserved for him as president, but did not sit down. Leisurely scanning -the assembled company, he picked out the position he preferred, which -happened to be at the side near the bottom. A slight space was certainly -there, but not enough for a seat. 'There,' he said, pointing to it, and -he sauntered down the room, apparently quite unconcerned at the -disturbance and inconvenience which he caused, a bench having to be -moved and several people being obliged to shift their places to make -room for him. When once in occupation of the seat he fancied, he -contributed his share to the cordiality of the evening, and was in no -hurry to leave. - -Another occasion was very similar. He was again dissatisfied with a -place that had been assigned him at a supper-party. This time it was at -a private house, and, as he could not have declined the seat without -making himself unbearably rude, he submitted, with a kind of -half-protest, to occupy it. During the greater part of the -entertainment, however, he was not only in a wayward mood, but in a -thoroughly bad temper, which he could not control. There was, when all -is said, certainly no ill-natured intention in what he did on either -occasion, but at the worst a mere childish petulance and -over-excitability under slight disappointment. - -I discovered, though Brahms had no fixed hour, that the right time to -call upon him was about eleven o'clock. Always an early riser, he had -then completed his morning's work, and if at home, as was generally the -case, was ready to receive a visitor. He was sometimes to be found -seated at the piano with an open volume (often Bach) on the music-stand, -which was placed on the closed top lid of the instrument, playing -softly, or silently studying the work in front of him. I have never felt -that I was disturbing him when I called. It is true that I only went -occasionally, and when provided with a legitimate excuse. Still, I do -not altogether understand how he acquired such a reputation for -incivility. He was, in his own way, of a sociable disposition. - -One day when I was with him, some terrible pianoforte strumming was -going on in the flat above him. I commented on the strange constitution -of people who could deliberately plant themselves in his immediate -neighbourhood--for he had occupied the same rooms for years--and then -worry him with such noise. He said there was sometimes bad singing and -violin-playing, both of which he found even harder to bear than the -piano, but added: 'They have their rights, and I know how to help -myself;' and he held out his hands in keyboard position, to indicate -that when too much disturbed to do anything else, he shut out the sounds -and employed his time by playing. - -Brahms generally went out at about a quarter to twelve at latest, and -would arrive before one o'clock at his favourite restaurant, Zum Rothen -Igel. After his early dinner he walked, finding his way to a café in -another part of the town, where he would read the papers over a cup of -black coffee. After this was his best time for paying visits, and about -six o'clock he often returned to his rooms to write letters or do other -work. Later on he would go out again to fulfil his evening engagements. -Sometimes it happened that he did not go home, after leaving in the -morning, until after supper. These details I learnt incidentally in the -course of my stay in Vienna. - -Brahms made a great point of being polite to ladies on the question of -smoking, and was very particular in asking permission before lighting -his cigar. Of course, if I found him alone, he never smoked. One day, -however, when I had been with him only a very few minutes, the door-bell -rang, and two gentlemen appeared, one a friend of Brahms', the other a -youth whom he had brought to introduce to the master. Brahms wished me -to remain, and I therefore kept my seat. Very soon he produced his box -of cigars, according to Continental custom, and handed it to his -visitors, saying, however: 'But I do it unwillingly, as a lady is -present.' The elder of the two gentlemen put his cigar into his -breast-pocket, the younger lighted his and vigorously puffed away alone, -from sheer confusion, I think, at finding himself in the presence of the -master. Brahms returned to his seat without taking one. 'But won't you -smoke, Herr Brahms?' I said, after a few seconds. 'If you allow it,' he -answered, making as much as possible of the few words, and taking a -cigar. - -Though Brahms was not, during the latter part of his life, a frequenter -of concert-rooms, he nearly always attended the concerts of the -Philharmonic Society and of the Gesellschaft der Musikfreunde in Vienna, -sitting, usually, in the 'artists' box' in the gallery. In the intervals -between the pieces he would lean forward, both arms on the front, with -his opera-glasses to his eyes, spying out his acquaintances in different -parts of the hall. - -When I called to say good-bye to him at the close of my first visit to -Vienna, I happened to mention that I had made a small collection of -works written for the keyed instruments of the seventeenth and -eighteenth centuries, and had picked up one or two rather valuable first -editions. He was greatly interested, and saying, 'We have done the same -thing,' took down from the bookcase one or two of his own old -music-books to show me. I especially remember an original edition of -Scarlatti's Sonatas, in first-rate preservation, but without the -title-page, of which he was particularly fond and proud. He asked if I -would bring one or two of mine to show him on my next visit, and I told -him that I happened to have one with me--an original Rameau--and that if -he had not got a copy I would send it him at once. - -'No,' he answered; 'it is too late now--you are going away -to-morrow--but next year when you come again.' 'But I mean,' I rejoined, -'that I will give it you.' Brahms did not immediately answer, and I -added: 'Would you rather not? If so, I will not do it.' 'No, I would -_not_ "rather not," but you must not immediately give your things away,' -he replied. 'Then I will do it,' I declared, delighted that I possessed -something he would like to have, and to accept from me. Later in the day -I sent him the book, with a few lines telling him how much pleasure it -would give me if I might leave it with him as a remembrance. Early the -next morning I left Vienna. I was not to arrive in London for another -week, having engagements _en route_, and this Brahms knew. On the -evening of my return home, as soon as my mother's first greetings were -over, she said: 'There is a letter for you from Brahms; it arrived this -morning.' 'From Brahms! How do you know?' I answered. 'From his having -written his name on the outside,' she returned, handing me the precious -missive. - -On the outside of the envelope, above the adhesive, he had written 'J. -Brahms, Vienna, Austria,' and, opening the envelope, I read as follows: - - 'VERY ESTEEMED AND DEAR FRÄULEIN, - - 'It was too late the other evening for me to be able to do as I - wished, and come and express my thanks to you in person. - - 'Let me, therefore, send them very heartily after you, for your so - kind and valuable gift. - - 'It was indeed much too kind of you to part with the pretty - treasure in order to give me pleasure, and it shall still be at - your disposal next year! - - 'In the hope of seeing you here again next year, and of being able - to repeat my hearty thanks, - - 'Yours very sincerely, - 'J. BRAHMS.'[2] - -On my first visit to Brahms in the following winter, he led the way to -his bookcase and showed me the Rameau, saying: 'I shall die in ten -years, and you will get it back again.' I told him that should I outlive -him I should prefer not to have it back, but to let it go with his -collection, and thus the matter remained. - -The success of my first visit to Vienna induced me to pay several -subsequent ones, the last of which took place rather more than a year -before Brahms' death. A minute account of each would be wearisome, and I -will only allude, therefore, to the opportunity that I had, in the -course of two separate winters, of hearing the concerts of the Joachim -Quartet in Vienna, and of seeing Brahms as one of the audience. On one -of these enchanting evenings the Clarinet Quintet was given, with -Mühlfeld as clarinettist. Brahms had his seat downstairs, at the end of -the room reserved for resident and other musicians, and separated from -the general audience by the performers' platform. My place was only two -or three away from his, and so situated that I could see him all the -time the work was being played. His face wore an unconscious smile, and -his expression was one of absorbed felicity from beginning to end of the -performance. When the last movement was finished, he was not to be -persuaded to come forward and take his part in acknowledging the -deafening clamour of applause, but, as it were, disclaimed all right in -it himself by vigorously applauding the executants. At the last moment, -however, as the noise was beginning to subside, up he got, and stepping -on to the platform, in his loose, short, shabby morning-coat, made his -bow to the audience. Another item in the programme was the Clarinet -Trio, played by himself, Mühlfeld, and Hausmann. Joachim, sitting on the -right-hand side of the piano, turned over for him. I changed my seat -during the performance of this work, taking the place that Brahms had -vacated, which was close to the piano and gave me a full view of the -keyboard. In spite of my several experiences of the master's tenacious -memory for small things, I confess that I felt a thrill of surprise at -the end of the first movement, and again at the end of the second, when -he turned his head suddenly round and glanced straight at me in the very -same quick, searching way to which I had been accustomed in the old -Lichtenthal days, as though to satisfy himself as to whether or not I -had understood. - - - ISCHL. - -I spent several weeks at Ischl during the summers of 1894 and 1895, and -was much interested in observing the life of my old friend in -surroundings that were new to me. His habits, during these closing years -of his life, were in all essential respects the same as when I had first -known him in Baden-Baden. Rising soon after four o'clock, his days were -passed in the same simple, natural routine of walking, studying, and -composing, in the enjoyment of the society of his friends and of the -cordial relations which he maintained with the people of the country, -between whom and himself a perfect understanding existed. - -His love of children has often been recorded. I have seen him sitting -reading on the bench of the little garden of his lodgings, apparently -quite undisturbed by his landlady's boys, who romped round and about -him, jumping on and off the bench, playing hide-and-seek behind his -back, and the like. Now and then he would interrupt his studies to -caress a couple of kittens that were taking part in the frolics. - -'I know this man,' said a droll, tiny boy of about five or six, in a -funny red suit, who, taking a stroll along the promenade one afternoon -with some companions, came upon Brahms sitting under the trees before -Walter's coffee-house, the centre of a large group of musicians and -friends. The great composer was quite ready to acknowledge the -acquaintanceship, and called his small friend to his table to receive a -spoonful of half-melted sugar from his coffee-cup. - -'My Katie knows Brahms,' said a village dressmaker to me, alluding to -her pretty little fair-haired daughter of eight. 'We have met him out -walking very early in the morning, but Katie was frightened the other -day and cried because he ran round her and pretended he wanted her piece -of bread.' - -'The Herr Doctor has already seen him,' a young peasant mother observed -to me as she showed me her three-months-old son, 'and says he is a -strapping boy.' - -One morning when I called on Brahms to say good-bye, I found him in the -midst of preparations for his own departure. An open portmanteau, in -process of being packed, was in the sitting-room, and there was a litter -of small things about. Brahms invited me to take a seat on the sofa. A -book which he had been reading lay open, face downwards. I ventured, -with an apologetic glance at him, to take it up and look at it. This he -did not at all mind. He had been amusing himself with an essay on -Bismarck. After we had chatted a little while, as I rose to say -farewell, my eye was caught by a table on which were a number of cheap -German playthings--small boxes of puzzles, toy knives and forks, etc., -evidently destined for parting or returning gifts to quite poor -children. - -'What is this?' I involuntarily exclaimed, taking up, before I knew -what I was doing, a toy fork of most ungainly make, broad, squat, and -almost without handle. An inquisitiveness, however, which seemed to hint -at the soft side of Brahms' nature could not be allowed. 'What does that -matter to you?' he cried. Then, instantly, as though afraid he had been -rough, he added: 'It is for small things--fruit, fish, or the like.' -Only I, having seen the clumsy toy, can quite appreciate the comicality -of the answer, which of course simply meant: 'No allusion, if you -please.' Brahms, however, had saved appearances, and without being hard -on me, had drawn a thin veil over his kind intentions to his little -friends. I held the fork another instant, and then replaced it on the -table, saying with gravity: 'I thought it was a plaything, Herr Brahms.' - -A young lady, an inhabitant of Ischl, who taught singing, and gave an -annual concert there, and who, during the season, presided over a -milliner's business on the Promenade, was a great ally of Brahms', and -never omitted to stand outside the door of her atelier as the hour -approached for him to pass to his café, in order to get a greeting from -him. The little ceremony was duly honoured by the great composer, who -was always ready with, at the least, his genial 'Good-day.' - -Fräulein L. talked of him to me in just the same way as all others did -who were content to be natural and unostentatious in their manner -towards him. He was so good-natured and bright, she remarked, and though -he loved to tease, his teasing was so kindly. He made a point of calling -on her formally once every season. Taking advantage of this ceremony, -she one day placed before him a cabinet photograph of himself, and asked -if he could do her the honour of writing his name underneath. - -'Yes, I can do that,' he answered in his cheerful tone, 'I learned that -at school. But why do you keep this ugly old face? Why not have a -handsome, curly-haired one? Ah, what have we here?'--catching sight of a -little saucer containing cigar-ash. '_You smoke!_' - -Fräulein L. laughingly assured him that neither she nor her assistant -had been guilty of the cigar. 'So much the worse!' he retorted. 'Who was -it? Is he dark or fair?' - -By such genial intercourse and harmless banter, Brahms endeared himself -to all the towns-people with whom he came in contact, and his preference -for Ischl was a source of pride and gratification to them. His -sociability had in it no suggestion of patronage; it was that of a -friend with friends, and was valued accordingly. - -A few words spoken to me by his landlady at Ischl are not without their -value, coming, as they do, from one who had the opportunity of knowing -him in small things. The occasion was as follows. My lodging was -opposite to Brahms' on the other side of the valley, but on a much -higher mountain slope. I could see his house from my balcony and -windows, but was too far away to have the least apprehension that he -could be disturbed by hearing anything of my piano. Someone suggesting -to me, however, that, with the wind in a certain direction, the sound -might possibly reach his windows, I went across one afternoon, when I -knew he would be out, to interview his landlady on the subject. She -assured me nothing had ever been heard, and added: 'You can play quite -without fear, gnädiges Fräulein; nothing is heard here--the water makes -too much noise. And even if a tone were to be heard now and then--it -could not be more--the master is not so particular: it would not disturb -him. He is not capricious: no one can say that of him.' - -That Brahms had his little prejudices and limitations, however, cannot -be denied, and these grew more pronounced as he advanced in years and -became less pliable. The mere circumstance of his having inflexibly -adhered to the particular method of life adopted by him as a young man, -by which he shut himself away as much as possible from whatever was at -all distasteful to him in ordinary social intercourse, contributed, as -time went on, to increase his sensitiveness and make him impatient of -contradiction. He became rather too prone to suspect people to whom he -did not take a fancy, of conceit and affectation; and, without knowing -it, he acquired a habit, which sometimes made conversation with him -difficult, of dissenting forcibly from trifling remarks made more with -the object of saying something than for the sake of asserting a -principle. He had his own particular code of polite manners, and was -rigorous in expecting others to adhere to it, yet he was apt, in his -latter years, to be intolerant of those whose ideas of what was due to -the amenities of life were more extended than his own, or somewhat -differed from them. - -What, however, were his prepossessions, his little sarcasms, and -occasional roughnesses, but as the tiniest flecks on the sun? We may -well be thankful, we musicians and music-lovers of this generation, to -have passed some part of our lives with Brahms in our midst--Brahms the -composer and Brahms the man. As his music may be searched through and -through in vain for a single bar that is not noble and pure, so also in -his mind dwelt no thought which was otherwise than good and true. We may -even be glad that he was not perfect, but human, the dear, great, -tenderhearted master, whose lofty message, vibrating with the pulsations -of the nature he so loved, was of such rare beauty and consolation. - -The few lines with which I conclude these slight personal reminiscences -were the last I ever received from Brahms. They were written on his card -and sent, enclosed in an envelope, when I was at Ischl. I had been -expecting him to come to see me, and he had not appeared. - - 'ESTEEMED FRÄULEIN, - - 'Prevented by many things, I venture to ask if it is not possible - for you to call on - - 'Your most sincerely - 'JOHANNES BRAHMS.'[3] - -[1] An expression of commendation peculiarly German. - -[2] 'SEHR GEEHRTES UND LIEBES FRÄULEIN, - - 'Es war neulich zu spät am Abend geworden als dass ich, wie - ich wünschte, Sie selbst noch hätte aufsuchen u. Ihnen meinen Dank - aussprechen können. - - 'So lassen Sie mich denn nachträglich diesen sehr herzlichen sagen - für Ihr so freundliches u. werthvolles Geschenk. - - 'Es war in der That gar zu liebenswürdig von Ihnen sich mir zu - gefallen von dem hübschen Schatze zu trennen u. es soll Ihnen - im nächsten Jahre auch noch zur Verfügung stehen! - - 'In der Hoffnung Sie aber im nächsten Jahre wieder hier zu sehen u. - Ihnen meinen herzlichen Dank wiederholen zu können, - - 'Ihr sehr ergebener, - 'J. BRAHMS.' - -[3] 'GEEHRTES FRÄULEIN, - - 'Mannichfach abgehalten, erlaube ich mir die Anfrage ob es - Ihnen nicht möglich ist vorzusprechen bei - - 'Ihrem ergebensten - 'JOHANNES BRAHMS.' - - - - - CHAPTER I - 1760-1845 - - The Brahms family--Johann Jakob Brahms: his youth and - marriage--Birth and childhood of Johannes--The Alster - Pavilion--Otto F. W. Cossel--Johannes' private subscription - concert. - - -Johannes Brahms came of a race belonging to Lower Saxony. This is -sufficiently indicated by the family name, which appears in extant -church records variously as Brahms, Brams, and Brahmst. The word Bram -belongs to the old Platt-Deutsch, the near kin to the Anglo-Saxon and -English languages. It is still the common name in the Baltic districts -of Germany, the Hanoverian provinces, and, with a modified vowel, in -England, for the straight-growing _Planta genista_, the yellow-flowering -broom, and is preserved in its original form in the English word -'bramble.' - -The letter _s_ at the end of a name has the same meaning in German as in -English, and just as 'Brooks' is a contraction of the words 'son of -Brook,' so 'Brahms' signifies, literally, 'son of Bram,' or 'Broom.' - -Peter Brahms, the great-grandfather of the composer, and the first of -his family of whom there is authentic record, was a child of the people. -He trekked across the mouth of the Elbe from Hanover into Holstein, and -settled down to ply his trade of joiner at Brunsbüttel, a hamlet or -small township situated in the fertile fen-country which lies along the -shore of the Baltic between the mouths of the Elbe and the Eider. This -district is remembered as the land of the Ditmarsh Peasants, who were -distinguished, some centuries ago, by their fierce and obstinate -struggles for the maintenance of their independence, but who finally -settled down about the year 1560 under the dominion of the Princes of -Holstein. They are said to have been pre-eminent amongst neighbouring -peoples, not only in courage, but in a simple untaught genius for the -arts of poetry and music. They loved to turn their various adventures -into verse, which they afterwards sang to the most expressive and -appropriate melodies of their own invention, and their war-songs and -ballads, though now forgotten, were long a cherished possession of their -children's children. The little country has in recent times proved not -unworthy of its former reputation. Niebuhr the traveller, and his son, -the celebrated historian, both belonged to Meldorf. Claus Groth, the -Low-German poet, was a native of Heide, where his grandfather and father -were millers living on their own land in patriarchal fashion. Groth has -drawn, notably in his volume 'Quickborn,' pathetically naïve pictures of -his beloved Ditmarsh; of its homely scenery, its changing cloud-effects, -its sudden bursts of storm, its simple, hard-working, honourable peasant -life; and it is a striking circumstance that he should have been in a -position to describe, as old family friends and neighbours, living -amongst the memories of his childhood, the great-grandfather, -grandfather, father, and uncle of Johannes Brahms.[4] - -Old Peter the trekker was respected as a thoroughly well-mannered, -orderly citizen. He was short and robust, and lived to a ripe old age. -He passed the closing years of his life at Heide, where he spent most of -his time sitting on a bench in front of his house, smoking a long pipe, -and was wont to startle the dreamy Claus Groth, as he passed by every -morning on his way to school, with a loud, jocular greeting. - -Johann his son, who was tall and handsome, with straight, yellow hair -and fair complexion, combined the callings of innkeeper and retail -dealer first at Wöhrden and afterwards at Heide. He married Christiana -Asmus, a daughter of the country, and who knows what strain of latent -poetic instinct, inherited from some old minstrel and patriot ancestor, -may have been transmitted, through her veins, into the sturdy Brahms -family? There is some presumption in favour of such a conjecture. - -Two sons were born of her marriage with Johann, each of whom had a -marked individuality. Peter Hinrich, the eldest, married at the age of -twenty, and settled down as his father's assistant and future successor. -Groth has described his adventure in the fields one memorable Sunday -afternoon. Accompanied by his little son, he carried a huge kite, taller -than himself, with a correspondingly long, thick string, which he -successfully started. A strong north-west wind carried it along, and, to -the delight of a crowd of small spectators, he tied to it a little cart -of his own manufacture, in which he placed his boy. The cart began to -move, drawn by the kite, slowly at first, then more quickly. Faster and -higher flew the monster, quicker and quicker rolled the wheels, the -child in the carriage, the father by its side. Then a scream, a crash! -The terrified Claus knew no more till next day, when he heard that the -little carriage had been dragged over a wall and upset, that the child -had fallen out unhurt, and the kite been found on a high post a mile or -two distant. - -This Peter Hinrich added to the vocations of his father that of -pawnbroker, and gradually acquired a large business as a dealer in -antiquities. In the end, however, his delight in his possessions gained -decided predominance over his business instincts. Becoming partially -crippled in old age, he would sit in a large arm-chair for which there -was barely space, surrounded by his beloved pots and pitchers, weapons -and armour, and point out desired objects to would-be purchasers with a -long stick. Often, however, he could not persuade himself to part with -his curiosities, and would send his customers away empty-handed, -satisfied with the mere pleasure of showing the treasures with which he -packed his house quite full. His children and grandchildren remained and -spread in the Ditmarsh, where some of them prosper to this day. - -Johann Jakob, the second son of Johann and Christiana, destined to -become the father of our composer, was his brother's junior by fourteen -years, and was born on June 1, 1806. From his early boyhood he seems to -have had no doubt as to his choice of a vocation. He could by no means -be persuaded to settle down to the routine of school-work, to be -followed in due course by the humdrum existence of a small country -innkeeper or tradesman, such as had sufficed for his father and -grandfather, and was contentedly accepted by his elder brother. He was -upright, good-natured, and possessed of a certain vein of drollery, -which made him throughout life a favourite with his associates; he was -born, also, with a quietly stubborn will. He had an overmastering love -of music--music of the kind he was accustomed to hear at neighbours' -weddings, at harvest merry-makings, in the dancing-rooms of village -inns. A musician he was resolved to be, and a musician, in spite of the -determined opposition of parents and family, he became. - -There existed, not far from his home, a representative of the old 'Stadt -Pfeifereien,' establishments descended directly from the musicians' -guilds of the Middle Ages, whose traditions lingered on in the rural -districts of Germany for some time after the original institutions had -become extinct. The 'Stadt Pfeiferei' was recognised as the official -musical establishment of its neighbourhood, and was presided over by the -town-musician, who retained certain ancient privileges. He held a -monopoly for providing the music for all open-air festivities in the -villages, hamlets, and small townships within his district, and formed -his band or bands from apprenticed pupils, who paid a trifling sum of -money, often helped with their manual labour in the work of his house -and the cultivation of his garden or farm, and, in return, lived with -him as part of his family and received musical instruction from himself -and his assistants. At the termination of their apprenticeship he -provided his scholars with indentures of character and efficiency, -according to desert, and dismissed them to follow their fortunes. -Country lads with ambition, who desired to see something of the world, -or to attain a better position than that of a peasant or journeyman, -would persuade their parents to place them in one of these -establishments. They were expected to acquire a practical knowledge of -several instruments, so as to be able to take part upon either as -occasion might demand, and the bands thus formed were available for all -local functions. Johann Jakob would readily have applied himself to -learn, from the nearest town-musician, all that that official was able -to teach him, but his father could not be brought to consent to his -exchanging the solid prospects of a settled life in the Ditmarsh for the -visionary future of an itinerant performer. The boy's inclination was, -however, unconquerable, and he settled the matter in his own fashion. He -ran away from home several times and made his own bargain with his -musical hero. Twice he was recalled and forgiven, and after the third -escapade was allowed to have his own way, and bound over to serve his -time in the usual manner. 'I cannot give such proofs of my devotion to -music,' wrote his son Johannes to Claus Groth many years afterwards. -Five years of apprenticeship were spent, the last three at the more -distant town of Weslingbüren, in the study of the violin, viola, 'cello, -flute, and horn, and, in the beginning of the year 1826, the quondam -musical apprentice obtained his indentures, which testified to his -faithfulness, desire to learn, industry, and obedience,[5] and quitted -the old home country to try his luck at Hamburg. - -It is not easy to imagine the feelings of this youth of nineteen or -twenty on his arrival, fresh from the simple life of the Ditmarsh -peasants, in the great commercial fortress-city, still the old Hamburg -of the day, with its harbour and shipping and busy river scenes; its -walls and city gates, locked at sunset; its water-ways and bridges; its -churches and exchange; its tall, gabled houses; its dim, tortuous -alleys. Refined ease and sordid revelry were well represented there; the -one might be contemplated on the pleasant, shady Jungfernstieg, the -fashionable promenade where rich merchants and fine ladies and gay -officers sat and sipped punch or coffee, wine or lemonade, served to -them by the nimble waiters of the Alster Pavilion, the high-class -refreshment-house on the lake hard by; the other, in the so-called -Hamburger Berg, the sailors' quarter, abounding in booths and shows, -small public-houses, and noisy dancing-saloons, in which scenes of -low-life gaiety were regularly enacted. Johann Jakob Brahms was destined -to appear, in the course of his career as a musician, in both -localities. He made his début in the latter. - -Thrown entirely on his own resources, with a mere pittance in his pocket -for immediate needs, he had to pick up a bare existence, as best he -could, in the courtyards and dancing-saloons of the Hamburg Wapping. He -seems to have preserved his easy imperturbability of temper throughout -his early struggles, and to have kept his eyes open for any chance -opportunity that might occur. Helped by his natural gift for making -himself a favourite, he managed, by-and-by, to get appointed as one of -the hornists of the Bürger-Militair, the body of citizen-soldiers, or -town-guard, in which, with a few exceptions, every burgher or inhabitant -between the ages of twenty and forty-five was bound to serve. Each -battalion of the force had its own band, and each band its own uniform, -the musicians of the Jäger corps, to which Johann Jakob was attached, -wearing a green coat with white embroidered collar, headgear decorated -with a white pompon, and a short weapon called a Hirschfänger. This was -a distinct rise in the fortunes of the wanderer. He won for himself a -recognised place in the world, obscure though it might be, when he -acquired the right to wear a uniform of the city of Hamburg, and in due -time he enrolled himself as one of its burghers. The document of his -citizenship has been preserved, and will be mentioned again near the -close of our narrative.[6] It cannot be said that his further -advancement was rapid. His partiality for the music he knew of is -suggestive rather of a struggling instinct than an actual talent. His -professional acquirements were slender, and of general education he had -none; but he was not without shrewdness, was upright and diligent, and -he made gradual progress. He and his colleagues used to form themselves -into small brass bands, and to play wherever they saw opportunity, -sometimes getting trifling engagements in dancing-rooms, sometimes -dependent on the goodwill of a chance audience in a beer-garden or small -house of entertainment. He did not earn much, but was no longer entirely -dependent on the very meanest exercise of his industry, and may be said -to have obtained a footing on the lowest rung of fortune's ladder. - -On June 9, 1830, a few days after completing his twenty-fourth year, -Jakob committed himself to the second great adventure of his life. He -married, choosing for his wife Johanna Henrika Christiana Nissen, who -was forty-one years of age and in very humble circumstances. She was -small and plain, and limped badly; was sickly in health, and somewhat -complaining; of a very affectionate if rather oversensitive disposition, -and had a sweet expression in her light-blue eyes that testified to the -goodness of her heart. She was an exquisite needlewoman, possessed many -good housewifely virtues which she exercised as far as her very limited -opportunities allowed, and is said to have been endowed with great -refinement of feeling and superior natural parts. One of her husband's -colleagues has described her as having faded, later on, into a 'little -withered mother who busied herself unobtrusively with her own affairs, -and was not known outside her dwelling.' - -The strangely-matched couple began their life together on the smallest -possible scale, and in February of the following year a daughter was -born to them, who was christened Elisabeth Wilhelmine Louise. The young -father's material resources seem to have remained much as they were, but -before this time his dogged perseverance had added yet another -instrument to the list of those he had already practised. He contrived -to learn the double-bass, and as his friends increased, and he became -more known, he began to get occasional engagements as double-bass -substitute in the orchestras of small theatres. Meanwhile he did not -neglect his other instruments, but performed on either as occasion -presented itself. - -On May 7, 1833, the angel of life again visited the poor little home, -and Johanna Henrika Christiana presented her husband with a son, who was -baptized on the 26th of the same month at St. Michael's Church, Hamburg. -The child, being emphatically the 'son of Johann,' was called by the -single name Johannes, after his father, mother, and paternal -grandfather, and the grandfather was one of the sponsors. - -The house in which Johannes Brahms was born still stands as it was -seventy years ago, and is now known as 60, Speckstrasse. The street -itself, which has since been changed and widened, was then Speck-lane, -and formed part of the Gänge-Viertel, the 'Lane-quarter' of the old -Hamburg. Want of space within the city walls had led to the construction -of rows of houses along a number of lanes adjacent to one another, which -had once been public thoroughfares through gardens. A neighbourhood of -very dark and narrow streets was thus formed, for the houses were tall -and gabled, and arranged to hold several families. They were generally -built of brick, loam, and wood, and were thrown up with the object of -packing as many human beings as possible into a given area. The -Lane-quarter exists no longer, but many of the old houses remain, and -some are well kept and picturesque to the eye of the passer-by. Not so -60, Speckstrasse. This house does not form part of the main street, but -stands as it did in 1833, in a small dismal court behind, which is -entered through a close passage, and was formerly called -Schlüter's-court. It would be impossible for the most imaginative -person, on arriving at this spot, to indulge in any of the picturesque -fancies supposed to be appropriate to a poet's birthplace; the house and -its surroundings testify only to the commonplace reality of a bare and -repulsive poverty. A steep wooden staircase in the centre, closed in at -night by gates, leads right and left, directly from the court, to the -various stories of the building. Each of its habitations is planned -exactly as every other, excepting that those near the top are contracted -by the sloping roof. Jakob and Johanna lived in the first-floor dwelling -to the left on facing the house. On entering it, it is difficult to -repress a shiver of bewilderment and dismay. The staircase door opens on -to a diminutive space, half kitchen, half lobby, where some cooking may -be done and a child's bed made up, and which has a second door leading -to the living-room. This communicates with the sleeping-closet, which -has its own window, but is so tiny it can scarcely be called a room. -There is nothing else, neither corner nor cupboard. Where Jakob kept his -instruments and how he managed to practise are mysteries which the -ordinary mind cannot satisfactorily penetrate, but it is probable that -his easy-going temperament helped him over these and other difficulties, -and that he was fairly content with his lot. If Johanna took life a -little more hardly, it is certain that husband and wife resembled each -other in their affection for the children, and that the strong tie of -love which bound the renowned composer of after-years to father and -mother alike, had its earliest beginning in the fondness and pride which -attended his cradle in the obscure abode in Schlüter's-court. - -[Illustration: NO. 60 SPECKSTRASSE, HAMBURG.] - -The family moved several times during the infancy of Johannes, and their -various homes are partly to be traced in back numbers of the Hamburg -address-book, which may be consulted in the library of the Johanneum. -These early changes, however, have but little interest for the reader, -and it will suffice to record that when the hero of our narrative was -four or five years old, and the proud senior by two years of a little -brother Friederich, known as Fritz, they moved into quarters less -confined than those they had yet occupied, at 38, Ulricus-strasse. Here -the anxious wife and mother was able to add a trifle to Jakob's scanty -earnings, by engaging on her own account in a tiny business for the sale -of needles, cottons, tapes, etc., which had been carried on for many -years previously at No. 91 of the same street by the 'sisters Nissen,' -and by taking as boarder an acquaintance of her husband's, who, though -not a musician, remained a life-long family friend. The intimacy -descended to the next generation, and his son, Herr Carl Bade, has many -a droll anecdote to relate of Jakob, whom he remembers with affectionate -regard. - -From such particulars as can be gathered, it is evident that the -childhood of 'Hannes' gave early promise of the striking characteristics -of his maturity, and that some of the most powerful sentiments of his -after-life are to be traced to influences acting on him from his birth. -Indications of his possession of the musical faculty were apparent at a -very tender age. He received his first actual instruction from his -father, but his sensitive organization, aided by the music of one sort -and another that he was constantly hearing, seems almost to have -anticipated this earliest teaching. In his clinging affection for his -parents the child was father to the man, and one of his constant -petitions was to be allowed to 'help.' It is easy to imagine the little -tasks he learned to perform for the mother whom he worshipped, and the -feeling of pride with which he watched his tall father on the -exercise-days of the Jäger corps may have had something to do with his -partiality for his beloved lead soldiers, the favourite toys which he -kept locked in his writing-table long after he was grown up. He was -sent, when quite a young child, to a little private school on the -Dammthorwall, close to his parents' house, where the teaching was -probably neither better nor worse than that of the very small English -day-schools of the period. Until he was nearly eight his musical -education was carried on at home, and did not include the study of the -piano. It seems to have been taken for granted that he would, in due -course, follow his father's calling, which was gradually ripening into -that of a reliable performer in the humbler orchestras of the city. It -is hardly surprising that Jakob, who knew nothing about genius, and was -not troubled by notions about art for its own sake, should have looked -forward contentedly to the career of an orchestral player for his boy. -He himself, after more than twelve laborious years, was only struggling -into a position of acceptance by musicians of this class. That Johannes -should begin life by taking his place amongst them as a fiddler or -'cellist, who might work his way to some distinction, must necessarily -have appeared to him a sufficiently ambitious object, the attainment of -which would enable his son to support himself and help the family. The -orchestral players of the Hamburg of that time carried on their work -under peculiar circumstances. They were bound together in a kind of -musical trade-union, the Hamburger Musikverein, founded in 1831, which -protected them from competition, no member being allowed to play in any -band that included an outsider. They met constantly at their 'Börse,' or -club, through which most of their engagements were made. It was open -every morning for a couple of hours for the transaction of business, and -there was a Lokal in the same building available for a chat over a glass -of beer and a smoke. The establishment was, for some time, presided over -by the father of Carl Rosa (originally Rose), who lived on the premises, -and Johann Jakob Brahms was one of the original members of the society. -His copy of the rules is still in existence, and bears, underneath his -signature the date May 1, 1831. The system of working by deputy was -extensively practised in the arrangements of the union. If a member -engaged for a certain performance happened to get a more lucrative offer -for the same day and hour, he would give notice to the 'Börse' to -furnish a substitute for the first appointment. The substitute might -repeat the process in his turn, and it sometimes happened that a single -engagement passed through several hands in succession before the date of -its fulfilment. Under these conditions music was very much a mere -business, but, on the other hand, orchestral players were expected to be -fairly good all-round musicians, capable of performing passably on -several instruments, and able to fill a gap at short notice. Many of -these men, who made the musical atmosphere with which Johannes Brahms -was familiar in his childhood, lived in the Lane-quarter, partly -because it was cheap, partly in order to be near their 'Börse,' which -was situated in the Kohlhöfen. They were, as a rule, shrewd, -hard-working, honourable members of their profession, happy in their -calling and in their mutual friendly intercourse, and striving to bring -up their children to improved circumstances. Those among them who were -not able to obtain better employment were glad to acquire experience, -and to earn something, by playing in dancing-saloons and Lokals of -various degrees of repute, hoping for a rise of fortune in days to come. - -Proofs of continual advancement in Jakob's career are to be found in -the fact that, from about the year 1837 onwards, his services were -requisitioned from time to time as substitute in the small band which -played from six till eleven, every evening throughout the year, in a -room of the Alster Pavilion, and especially in the circumstance that -he by-and-by became one of its regular members, succeeding to the -duties of double-bass player. The orchestra was composed of two -violins, viola, two flutes, and double-bass, and performed 'evening -entertainment-music,' consisting of overtures, airs, operatic -selections, and pot-pourris. The public, which was a good one, was -served with light refreshments outside, or crowded into the house to -listen, according to inclination and the season, and the musicians were -paid by contributions collected during intervals between the pieces. -Count Woronzow from St. Petersburg, who was present with his son in the -audience one fine summer evening, was so delighted with the music, and -so gratified at hearing the Russian national air played _con amore_ in -his honour, that he not only put a gold piece on the plate, but wanted -to carry off the six performers to Russia, guaranteeing that they would -make their fortunes there, and would not take a refusal till they had -had a week or two to consider the matter. - -There lived at this time at No. 7, Steindamm a young pianist of Hamburg, -Otto Friedrich Willibald Cossel, who was well known to the set of men -belonging to the musicians' union, and in great and just repute with -them as a teacher of his instrument. He was a pupil of the eminent -teacher and theorist Marxsen of Altona, and had cherished dreams of fame -as a pianoforte virtuoso. Adverse circumstances, delicate health, and -want of self-confidence, may have been the causes of his failure to -realize his aspirations; but whether or not this be the case, he has -left behind him the reputation of having been a good player, an -excellent instructor, and a thoroughly high-minded man. He was devoted -to his art, and had a large number of pupils; but they were chiefly -recruited from the classes who could not afford to pay much, and it was -not in Cossel's nature to be difficult on the question of remuneration. -He was fain to content himself with the consciousness of hard work well -done as a great part of his reward. - -To Cossel came, one day in the winter of 1840-41, Jakob Brahms with the -little seven-year-old Hannes, a pale, delicate-looking child with fair -complexion, blue eyes, and a mane of flaxen hair falling to his -shoulders. He was as neat and trim as a new pin--a little -'Patent-Junge'--and wore over his home-knitted socks pretty wooden shoes -such as are seen to this day in the shops of Hamburg, an effective -protection against the wet climate of the city. Too pale and serious to -be called pretty, there was a something most attractive in his -appearance, and when his face lighted up on hearing the conclusion of -his father's business Cossel's heart was won. - -'I wish my son to become your pupil, Herr Cossel,' said Jakob, speaking -in his native Low-German tongue. 'He wants so much to learn the piano. -When he can play as well as you do, it will be enough!' - -The short interview brought about important results to Hannes, whilst -for Cossel it insured the future enduring respect of the musical world. -He soon perceived that in his new scholar he had no ordinary pupil, and -his affection went out more and more to the docile, eager, easily-taught -child. He got into the habit of keeping the little fellow after his -lesson that he might practise on his piano, and be spared some of the -fatigue entailed by constant walks between home, school, and the -somewhat distantly-situated Steindamm. Hannes, on his part, grew -passionately fond of his teacher, and the special relation in which -he stood to him was soon recognised and accepted by Cossel's other -pupils. The two were brought still closer together at the end of -about a year, for Jakob and his wife, on the impending marriage of -their boarder, moved again into smaller quarters close by--at No. 29, -Dammthorwall--whilst Cossel took over their rooms in Ulricus-strasse. -Well for Hannes that an admirable method of instruction enabled him to -get through the necessary drudgery of acquiring a good position of the -hand and free movement of the fingers at a very early age, and that he -was prepared by wise guidance easily to encounter successive steps of -his master's system, which included the practice of the best masters of -études--Czerny, Cramer, Clementi--of the great classical masters, and of -pieces of the bravura school in fashion at the time. - -In the course of the year 1843 Cossel added to the many proofs he had -already given of his affection for his pupil, an admirable instance of -generosity and sacrifice of personal considerations. It became evident -to him that, notwithstanding--or perhaps in consequence of--the rapid -progress made by Hannes, influence was being brought to bear on Jakob to -induce him to transfer the boy to the care of some other teacher, and he -at once determined that in spite of the keen pangs of disappointment any -change would cause him, his darling should, if possible, be placed under -Marxsen. Various causes may have led him to this resolution--anxiety to -protect the boy from the chance of being thrown too early on the world -as a regular bread-winner, to the detriment of the quiet course of his -development; unselfish desire that he should grow up with the prestige -of association with a man of established musical authority; above all, a -profound sense of his own responsibility in regard to the genius of -which he found himself guardian, and of the duty incumbent on him to -submit its possibilities to the direction of the widest experience and -best skill attainable. - -La Mara[7] has related, on Marxsen's authority, the steps taken for the -fulfilment of the plan, and their immediate issue. Cossel brought the -ten-year-old Johannes to Altona, with the request that his master would -examine the boy, and, if satisfied of his possession of the necessary -gifts, undertake his further musical instruction. Marxsen, however, did -not prove ready to accept this charge. After hearing Johannes play 'very -capitally' some studies from Cramer's first book, he pronounced him in -the best hands, saying nothing could be more desirable for the present -than that he should remain, as heretofore, under Cossel's guidance. - -The friends of the family, however, continued to press Jakob, pointing -out that Cossel had been too retiring in his own case, prophesying that -the history of his career would be repeated in that of Johannes if some -change were not made, and insisting that the teacher was too cautious -and pedantic in his methods with the boy, who now required to be brought -forward. The upshot of these things was that, a few months after the -interview with Marxsen, a private subscription concert was arranged 'for -the benefit of the further musical education' of Johannes, which took -place in the assembly-room of the Zum Alten Rabe, a first-class -refreshment-house, long since pulled down, that stood in its own -pleasure-garden near the Dammthor. The programme included a Mozart -quartet for pianoforte and strings, Beethoven's quintet for pianoforte -and wind, and some pianoforte solos, amongst them a bravura piece by -Herz, the execution of which, by the youthful concert-giver, seems to -have caused immense sensation in the circle of his admiring friends. -Hannes, who was the only pianist of the occasion, was assisted in the -quintet by Jakob and three of his friends, and in the quartet by -Birgfeld and Christian Otterer, two well-known musicians of Hamburg, and -Louis Goltermann of the same city, afterwards professor at Prague (not -to be confounded with the 'cellist-composer C. E. Goltermann, native of -Hanover). The concert was a great success both from an artistic and a -financial point of view, and as its result Jakob himself visited Marxsen -to prefer, in his own name and that of Cossel, a second request that the -distinguished musician would accept Johannes as a pupil. This time -Marxsen consented, saying he would receive him once a week provided that -the lessons from Cossel were continued without interruption side by side -with his own. The mandate was carried into effect, and the arrangement -worked smoothly for a time without let or hindrance; but the successful -concert had brought danger as well as advantage in its train. An -impresario, who had obtained admission on the occasion to the 'Old -Raven,' conceived the idea of taking Johannes on a tour and exhibiting -him as a prodigy, and presently made proposals to this effect to Jakob, -who, not unnaturally, was transported to the seventh heaven by the -dazzling prospects which the wily stranger presented to his imagination. -The first step to be taken, for which he prepared, probably, with some -perturbation of mind, was to break the news to Cossel. - -'Well, Cossel,' he said, finding the young musician at home, 'we are -going to make a pile of money.' - -'What?' shouted Cossel. - -'We are going to make a pile of money. A man has been who wants to -travel with the boy.' - -Poor Cossel! all his worst fears seemed about to be realized; his heart -leapt to his mouth. - -'Then you are a word-breaker!' he thundered. - -It was now Jakob's turn to look aghast, for Cossel, as described by all -who knew him personally, was no stickler for ceremony, and could show -his wrath right royally when he felt he had righteous cause for -indignation. 'You are a word-breaker!' he cried, and, adopting a sudden -idea, went on: 'You said to me, "You shall keep the boy till he knows as -much as you do." He can only learn that from Marxsen!' - -A heated argument followed, which ended in a compromise. The affair was -to be allowed to stand over for a time, and, in fact, several -succeeding months passed as quietly as heretofore. But the impresario -renewed his proposal, and the struggle recommenced. Cossel perceived the -only means of securing a permanent victory for the benefit of Hannes, -and he determined to use it, cost him what it might. It lay in his own -complete self-renunciation. He went again to Altona, and besought -Marxsen to take entire charge of the boy's musical career, only to be -once more refused. Marxsen did not yet feel convinced that the great -progress made by Johannes during the past year had been due to other -qualities than those of assiduous industry and eager wish to learn. -Cossel, however, was not to be beaten. He returned to the attack, -actually declaring to his bewildered master that the boy made such rapid -strides he felt he could teach him nothing more. The kind Marxsen at -length gave way, and consented to take the musical education of Johannes -into his own hands henceforth, and to teach him without remuneration, -saying he did so the more willingly since the parents were not able to -pay for the training they wished to secure for their child, and because -he had become fond of the little pupil for his own sake. - -'How could you let yourself be put off from such business?' said Aunt -Detmering after the impresario had been finally dismissed. She had been -partner with Johanna in the little shop of the 'sisters Nissen,' and had -married into somewhat better circumstances than Jakob's wife. 'I can't -interfere in it,' answered Johanna simply, for her boy's good was more -precious to her than silver and gold, in spite of her hard, struggling -existence. 'Min soote Hannes!' she would say, throwing her arms round -him, when he came up sometimes to give her a kiss. - -Thus was the rich, budding faculty of Johannes guided to the safe -shelter of Marxsen's fostering care, and it is not too much to say that -Cossel, by his noble action, secured the future of the genius the -significance of which he was the first to recognise. It would be idle to -speculate about the unrealities of a non-existent might-have-been, and -to contemplate a fancied picture of Brahms' career based upon -circumstances and events other than those actual to his childhood. It -is, however, certain that no mere natural musical endowment, however -splendid, can attain to its perfect growth without having been put in -the right way, and those who have entered into the heritage of Brahms' -songs and symphonies, his choral works and chamber music, may well -cherish Cossel's name in grateful remembrance. Although he will not -again occupy a prominent place in our account of Brahms' life, his -private relations with his pupil did not cease. His piano and his -sympathy were still at the service of Hannes, who was grateful for one -and the other, and who, remembering his early teacher and friend to the -end of his life with admiring affection, strove, as opportunity served -in later years, to obtain for him the more widely-known professional -position to which his qualities so justly entitled him. Cossel died in -1865 at the age of fifty-two. - -[4] 'Brahms Erinnerungen,' in _Die Gegenwart_, No. 45. - -[5] Printed verbally in Max Kalbeck's 'Johannes Brahms,' p. 4. - -[6] Vol. II., Chap. XXI. - -[7] 'Musikalische Skizzen Köpfe,' vol. iii. - - - - - CHAPTER II - 1845-1848 - - Edward Marxsen--Johannes' first instruction in theory--Herr Adolph - Giesemann--Winsen-an-der-Luhe--Lischen--Choral society of - school-teachers--'ABC' Part-song by Johannes--The Amtsvogt - Blume--First public appearance--First visit to the opera. - - -Edward Marxsen was born on July 23, 1806, at Nieustädten, a village -close to Altona, where his father combined the callings of schoolmaster -and organist. His musical talent showed itself in early childhood, and -was cultivated by his father to such good purpose that, whilst still a -lad, he became competent to take the organist's duty from time to time -when a substitute was needed. He was not, however, destined for the -musical profession, and was on the verge of manhood when he was at -length allowed to follow his unconquerable desire to apply himself with -all his energies to the serious study of art. At eighteen he became the -pupil of Johann Heinrich Clasing, a musician well qualified to bring up -his students in the traditions of the classical school in which he had -himself been trained.[8] His warm interest was soon aroused by the -enthusiasm and unremitting application of his new pupil. Marxsen allowed -nothing to interfere with the regularity of his lessons, and walked the -two miles separating Nieustädten from Hamburg and back again, on dark -winter evenings, by the light of his hand-lantern, no matter how stormy -the weather. He continued to live at home, studying, teaching, and -helping more and more frequently with the organ, till he reached the age -of twenty-four, when his father's death left him free from ties. He soon -resolved to go to Vienna, with the especial purpose of perfecting his -theoretical knowledge under Ignaz von Seyfried, a prolific composer now -chiefly remembered as editor of the theoretical works of his master, the -renowned Albrechtsberger. Seyfried received the new-comer cordially, -and, probably finding Marxsen's musicianship to be but little inferior -to his own, treated him, during his lengthened sojourn at Vienna, more -as a friend than a pupil. He did not give him formal instruction, but -admitted him to frequent musical intercourse, which was chiefly devoted -to the discussion of artistic questions and to the free interchange of -opinion, and which brought to the younger musician, amongst other -benefits, the special gain of thorough familiarity with the great forms -of Beethoven. Seyfried's society was interesting and stimulating. He had -had pianoforte lessons, as a child, from Mozart, and had been on terms -of personal acquaintance with Haydn and with Beethoven, who was his -hero. He was of a kind disposition, moreover, and the many opportunities -he was able to offer for forming friendships, for hearing music, and for -living in musical society, were placed unreservedly at the disposal of -his protégé. Marxsen at the same time pursued his study of the -pianoforte under Carl Maria von Bocklet, a pianist and musician of -eminence, and a very successful teacher, who had enjoyed the favour of -Beethoven and been the close intimate of Schubert. Bocklet was one of -the earliest to appreciate the genius of the younger master, and, with -his colleagues Schuppanzigh and Klincke, gave the first performances, -early in 1828, of Schubert's two pianoforte trios, written a few months -previously. - -Marxsen returned to Altona, after an absence of between two and three -years, with the matured confidence of the travelled musician who has -associated with the authorities of his art, his previous enthusiasm for -the works of the great Vienna masters and for the then known -instrumental works of the mighty Sebastian Bach fanned into ardent -worship. That his mind was sufficiently powerful to rise entirely above -the musical artificiality and bad taste of his time cannot be said. To -us, who belong to a generation that has been educated on the purist -principles first made widely acceptable by Mendelssohn's influence and -since popularized by the genius of a few famous executants, with Clara -Schumann, Rubinstein, and Joachim at their head, it is difficult to -realize the revolution that has taken place in the general condition of -musical art since the days when Marxsen, three years Mendelssohn's -senior, was young. Many things were then accepted and admired in Vienna, -in Berlin, in Leipzig, in London, which would now be regarded as -impossible atrocities. Marxsen was capable of setting the Kreutzer -Sonata for full orchestra, but this is hardly so surprising as that the -Leipzig authorities should have produced the arrangement at one of the -Gewandhaus concerts, or that Schumann should have mentioned it -indulgently, on whatever grounds, in the _Neue Zeitschrift für Musik_. - -Marxsen came for the first time before the public of Hamburg on November -19, 1833, at the age of twenty-seven, in a concert of his own -compositions. Such a programme was a novelty in the northern city, and -excited attention. The occasion was successful, and established the -reputation of the concert-giver as a sound and earnestly striving -musician, and from this time his position as a teacher and theorist -continuously rose. He was a man of catholic tastes and liberal culture, -and his influence over his pupils was not merely that of the instructor -of a given subject, but was touched with the power of the philosopher -who has a wide outlook on life. The central aims of his theoretical -teaching were to guide his pupils to a mastery of the principles -illustrated in the works of the great composers, and to encourage each -student to develop his own creative individuality on the firm basis thus -afforded. He produced a very large number of works, which include -examples of the most complex as well as of the simpler forms of -composition, and many of them were brought to a hearing. That few show -the attempt to appeal to a higher tribunal than the musical taste of the -day may, perhaps, be a sign that Marxsen was conscious of not being -endowed with original creative power, and did not try to go beyond his -natural limitations. He had a genial, encouraging manner which invited -his pupils' confidence, and his lively interest in all questions -concerning literature, philosophy, and art gave constant impulse to the -minds of the really gifted amongst them, which was not the least of the -benefits they derived from association with him. - -We shall not be far wrong if we fix the age of Johannes, at the time he -became entirely Marxsen's pupil, as about twelve; and from this date his -time, always well employed, must have been very fully occupied. He had -to go to Altona for his pianoforte lessons (the question of his learning -composition had not yet arisen), to practise at Cossel's or at the -business house of some pianoforte firm--for there were too many -interruptions at home--and to go regularly to school. Not to the one on -the Dammthorwall mentioned above. He now attended F. C. Hoffmann's -school in ABC-strasse, an establishment several grades higher than that -of which he had formerly been a pupil, and one of good repute in its -degree. Hoffmann was a conscientious as well as a humane man, and won -the liking and respect of his scholars. He gave them sound elementary -instruction, and even had them taught French and English. Brahms -retained some knowledge of both languages, as the present writer can -testify from her personal acquaintance with him, begun when he had -entered middle age. He could read English to some extent, though he -could not speak it, and was able to help himself out, when necessary, -with a phrase or two of French, though his accent was hopeless. He -preserved a pleasant remembrance of Hoffmann in after-life, recommended -his school on one or two suitable occasions, and sent him a present on -the celebration of his jubilee in the middle of the seventies. - -Marxsen's interest and pleasure in Johannes' progress increased every -week as he became more convinced of his exceptional capacity. 'One day I -gave him a composition of Weber's,' he says,[9] 'going carefully through -it with him. At the following lesson he played it to me so blamelessly -and so exactly as I wished that I praised him. "I have also practised it -in another way," he said, and played me the right-hand part with the -left hand.' (No doubt Weber's _moto perpetuum_, published by Brahms, -without opus number, as a left-hand study.) - -Part of Marxsen's discipline was to accustom Johannes to transpose long -pieces at sight, a practice he had probably learnt from Seyfried, who -relates as a _tour de force_ of Albrechtsberger that on some public -occasion, when he had to play on a low-pitched organ, he transposed an -entire Mass from G to G sharp at sight, and without error. Brahms, it -may be parenthetically remarked, continued to find diversion in this -pastime, and would play fugues of Bach and other works for his own -edification in various transposed keys when at the height of his -mastership. - -The boy had, almost from infancy, shown signs of the tendency to -creative activity. Widmann[10] speaks of a conversation held with Brahms -within the last decade of his life, during which the master, recalling -early memories, described the bliss experienced by him as a very young -child on making the discovery, unaided, that a melody could be -represented on paper by placing large round dots in higher or lower -positions on lines. 'I made a system for myself before I knew of the -existence of such a thing.' When a few years older, he was fond of -writing the separate parts of concerted works one under the other--of -copying them into score, in fact. Nor was he to be kept from trying his -hand at original composition. Louise Japha, an eminent pianist of -Hamburg, whose more intimate acquaintance the reader will make later on, -speaks of having heard him play a sonata of his own when he was about -eleven, at the pianoforte house of Baumgarten and Heins, where she one -day found him practising. Cossel, responsible for his advance in -playing, is said to have been anxious at his spending too much of his -time in these childish attempts; but the instinct was unconquerable, and -Marxsen no doubt discovered this when he had Johannes constantly with -him. After a time he began to teach him theory. Referring to the -commencement of the new study, he writes to La Mara: - - 'I was captivated by his keen and penetrating intellect, and yet, - when he came later on to original composition, it was at first - difficult to him, and required a good deal of encouragement from - me. Still, though his first attempts produced nothing of - consequence, I perceived in them a mind in which, as I was - convinced, an exceptional and deeply original talent lay - dormant.... I therefore spared myself neither pains nor trouble to - awaken and cultivate it, in order to prepare a future priest of - art, who should proclaim in a new idiom through his works, its - high, true, and lasting principles.' - -At what age precisely Johannes began to earn regular money by playing in -the dancing-rooms and Lokals of Hamburg cannot now be ascertained. It is -possible that he occasionally performed on the violin from early -childhood, in cases of emergency, as substitute for his father or one of -his father's colleagues, though the conjecture is not borne out by -reliable record. There is no doubt, however, that loosely repeated -anecdotes have given rise to considerable false impression on the point. -The notion which has been partially prevalent, that Jakob made -systematic use of his boy from a tender age, employing his gifts for the -family benefit, is warmly repudiated by those who have the best means of -knowing the circumstances. 'With the best will,' says Christian Otterer, -who, about twelve years Johannes' senior, has till lately led an active -professional life, and retains a bright and unclouded remembrance of old -days, 'I cannot recollect that Johannes played, as a young child, in -Lokals. I was daily with his father at the time, and must have known if -it had been the case. Jakob was a quiet and respectable man, and kept -Hannes closely to his studies, and as much as possible withdrawn from -notice.' - -'It cannot be true,' said Mrs. Cossel repeatedly, referring to such -tales; 'my husband never mentioned such a thing to me when speaking of -Johannes' childhood; and even if it had been proposed, I am sure he -would never have allowed it.' Two authentic sources of information, -however, establish the fact that from the age of about thirteen the boy -regularly fulfilled engagements of the kind. The earnings derived from -them were eagerly contributed to the general family fund. - -A glimpse of him at this period is furnished by Christian Miller,[11] -then a young musical student, who has related that he used to play for a -small payment on Sunday afternoons during the summer of 1846, at a -restaurant in Bergedorf, near Hamburg. Miller heard him there, and, -fascinated by his performance, begged to be allowed to play duets with -him. After this the two lads met frequently until Miller left Hamburg to -become a pupil of the Leipzig Conservatoire. The companionship would -seem to have been tolerated rather than actively desired by Johannes, -who rarely spoke when out walking with Miller, but was accustomed to -march along hat in hand, humming! - -The reader will not have forgotten the band of six members which had, -during the late thirties, delighted the fashionable loungers of the -Jungfernstieg, patrons of the Alster Pavilion. Its activity had been -continuous up to the year 1842, when the disastrous fire which broke out -in Hamburg during the night of May 4-5, and was not extinguished till -the morning of the 8th, destroying the churches of St. Nicholas and St. -Peter, St. Gertrude's Chapel, the Guildhall, the old Exchange, the Bank, -and over 1,200 dwelling-houses and warehouses, had interrupted the -pleasant labours of the musicians. The Alster Pavilion had miraculously -been left untouched by the flames, whilst the Alster Halle, a similar -establishment close by, had been razed to the ground; and the demolition -of the row of shops and houses on the Jungfernstieg had changed the -agreeable promenade into a scene of ruin. Little could be thought of in -the city for a time save how to meet and repair the ravages inflicted by -the calamity, which had stricken the grave citizens of Hamburg with -dismay, and made an impression of mixed bewilderment and awe upon the -sensitive soul of our little Hannes that was never completely effaced. -Gradually, however, public edifices and private houses were rebuilt, -Hamburg was restored and beautified, and long before the year 1847, at -which our story has arrived, the little orchestra had again become used -to assemble, though with a somewhat changed personnel, in the familiar -room of the Pavilion, to discourse in lively strains before the -ever-shifting guests of the establishment. Jakob retained his position -as bass player, and, from his long association with the house, had come -to be regarded as an important support to its artistic attractions. - -Amongst the most faithful patrons of the Pavilion concerts of this -period was a certain Herr Adolph Giesemann, owner of a paper-mill -and a small farm in the not very distant country townlet of -Winsen-an-der-Luhe. He was in the habit of paying frequent business -visits to Hamburg, and, being very fond of music, a performer on the -guitar, and the possessor of a good voice, liked nothing better than to -spend a leisure hour on the Jungfernstieg listening to a movement of -Haydn or Mozart. A familiar acquaintance had grown up between him and -Brahms. Giesemann willingly listened to Jakob's eager talk about the -achievements of Johannes and the promise of his younger brother Fritz. -He had a little daughter of his own at home in Winsen, and hoped she -might some day be able to take her part in the private musical doings -there--at any rate, learn to play the piano well enough to accompany his -guitar. One evening in spring Jakob approached him with a request. His -Hannes had found constant employment during the past winter in playing -the piano until well into the night in the dancing-rooms of various -Hamburg Lokals, and the something under two shillings earned by each -engagement had amounted to a valuable addition to the scanty family -means. But the late hours had told sadly upon his health. Now the work -had ceased for a time, and the little toiler could be spared from home. -Would Giesemann give him a few weeks' holiday at Winsen? The boy's -musical services would be at his command in return. He could accompany -him, play to him, and give pianoforte lessons to the little Lischen, a -year younger than himself. - -Giesemann's kind heart was instantly touched. He had no need to think -twice about his own reply, and could answer for that of his wife. -Johannes was to be made ready to accompany him back to Winsen after his -next visit to Hamburg, which would take place very soon. - -And so, in the bright springing month of May, when the buds were -bursting and the birds singing, and the gray skies of Hamburg beginning -to show a little blue, our dear Hannes took his departure from his big, -busy native city to taste for the first time the delights of a free -country life, with a kind little sister as companion. He never for a -moment felt like a visitor on his arrival, but forgot his constitutional -shyness, becoming a child of the house to be petted and brought back to -health by fresh air and good food and Frau Giesemann's motherly care. -Lischen was at school all the morning, but this was quite a good thing. -Hannes had his tasks to attend to also, and could not afford to lose -time, for Jakob had made such arrangements as were at his limited -command to ensure that his boy's general progress should not suffer by -the holiday. - -Fresh air, however, was all-important, so he had come provided with a -small dumb keyboard for the mechanical exercise of his fingers, and -every day after breakfast, after he had got through such practice as had -to be done in the house, Frau Giesemann used to turn him into the fields -with a bag slung over his shoulder, containing his books and lunch, the -clavier under his arm, the notebook, without which he never stirred -anywhere, peeping from his pocket, and orders not to show himself again -till dinner-time. Johannes had already been enjoying himself out of -doors long before this hour. He used to rise at four o'clock, and begin -his day by bathing in the river. Joined not long afterwards by Lischen, -the two would spend a couple of delightful hours rambling about, -discovering birds' nests and picking flowers. Johannes was quite a -simple child in spite of his fourteen years and hard experience, and -revelled in the happy days passed amidst sunshine, wild blossoms, and -fragrant air. He was very pale and thin, and had little strength on his -arrival, but soon gained flesh and colour, to which the glass of fresh -milk put by for him every day no doubt contributed. The animals about -the place--the cows and pigs, the big dog, the doe--gave him great -delight, and he was charmed when the crane spread its wings and flew -high overhead as he and Lischen approached it, clapping their hands. He -liked to join in the games with which the children of Winsen amused -themselves by the river-side on cool summer evenings, but could not be -persuaded to take part in the boys' rough sport, and would only play -with the girls. The lads, of course, despised him for this, telling him -he was no better than a girl himself; but he did not seem to mind, and -continued quietly to follow his inclination. One evening, however, soon -after his arrival, before he had picked up much strength, as he was -returning with several children from wading in the river, Lischen well -on in front, one or two rough boys set on him, emptied his pockets, and -robbed him of all his possessions, even of the precious pocket-book. He -could not help crying at this, but Lischen, seeing him standing on the -bank rubbing his knuckles into his eyes, soon found out what was the -matter, and, dashing back into the water, forced the molesters to -restore everything to her. To the pocket-book Johannes confided his -inspirations on every subject. Sometimes it was a melody, sometimes a -line or two of verse, that occurred to him. Then, whether he were -walking, or climbing trees, or practising, or doing his lessons, out -came the book that the idea might be fixed on the spot. - -It was not long before his musical talents awakened the admiration of -the neighbourhood. There was a pleasantly situated Lokal at Hoopte, a -village about two miles from Winsen, which contained a large apartment -suitable for dancing and music. This and one or two adjoining rooms were -annually taken by the Giesemann circle for the Sunday afternoons of the -summer season, and after morning church and mid-day dinner as many of -the subscribers as felt inclined would meet there to pass a few sociable -hours. Johannes soon became the central figure of these occasions. It -was found that he could play, not only the most inspiriting music for -the dancers, but a variety of solos also, including some lovely waltzes -to which it was delightful to listen quietly; and on being asked, one -day, to conduct the men's choral society that was to contribute to the -afternoon's programme, he showed himself so astonishingly competent for -the rôle he consented to assume, and inspired such confidence and -sympathy, as he stood before his forces in short jacket and large white -turn-down collar, his fair girlish face, with its regular features and -shock of long, light hair, adding to the impression made by his -childlike manner, that he was unanimously elected conductor of the -society for so long as he should remain at Winsen; a period which was, -as now decided, to be prolonged until he should be recalled to the -recommencement of his autumn duties. - -The men's choral society of Winsen consisted of about twelve members, -the majority of whom were school-teachers of the neighbouring villages. -The teachers Backhaus of Winsen, Albers of Handorf, Schröder of Hoopte, -belonged to it; other prominent members were the goldsmith Meyer and the -big master-baker Rieckmann, who had a splendid bass voice. The practices -were held on Saturdays from six to eight o'clock, generally in Rector -Köhler's schoolroom, because it contained a piano, but when this was not -available, in the billiard-room of the Deutsches Haus, Winsen's best -Lokal. The singers used to stand round the billiard-table, and Johannes -would take his place at the top. Lischen was privileged to attend all -meetings of the society during the period that her friend officiated as -its conductor. - -The boy found a most valuable ally in teacher Schröder, who had great -talent and love for music, had worked hard at thorough-bass and -counterpoint, and been a composer since his fourteenth year. When -Johannes came upon a knotty point in his theoretical studies that -required discussion, he would walk over to Hoopte and consult Schröder, -who was always ready with sympathy and counsel. He had not returned late -one evening from an expedition of the kind, and Giesemann, becoming -uneasy, was about to start in search of his young guest, when up drove -Mr. Carriage-overseer Löwe from Pattenzen, a few miles away. 'Here is -your Johannes,' he cried as the boy jumped from the gig; he went out by -the wrong gate this morning and missed his way. I found him asleep by -the side of a ditch some distance out on the Lüneburg Heath, the clavier -by his side and the notebook fallen from his pocket; lucky they had not -all rolled in together!' - -The theoretical exercises and the little compositions for voices on -which Marxsen encouraged his pupil to try his hand were regularly -carried to Altona, for, with Marxsen's concurrence and the advice of the -schoolmaster Hoffmann, it had been arranged that Johannes should go -every week by steamboat to Hamburg and remain there two nights, which -allowed him a clear day for his music-lessons and for general private -instruction. Now and then Lischen was invited to accompany him, and to -share sister Elise's tiny chamber in the Brahms' little dwelling on the -Dammthorwall. The journeys were easily managed, for 'Uncle' Adolph -Giesemann's brother, manager of the restaurant at the Winsen -railway-station, was also contractor for the refreshment department of -the steamboat service to and from Hamburg, and nothing could be simpler -than for one or both of the children to go and return as his friends. -Frau Giesemann used to see that they started with a liberal supply of -'belegtes Brödchen,' a crusty roll cut through, buttered, and put -together again, with slices of cold meat, sausage, cheese, or what not, -between the two halves. Their friend the restaurateur provided each of -them, at the proper time, with a large mug of thin coffee, and Lischen -and Hannes, sitting together in the bottom of the boat, thoroughly -enjoyed these picnic dinners. - -Johannes always began the day after his arrival at Hamburg by exercising -his fingers on the upright piano that stood against the parlour wall, on -the music-desk of which a book invariably stood open, into which he -poked his head--for he was very near-sighted--reading as he worked. -Lischen saw little of him afterwards, for his time was occupied by his -various lessons, but she did not mind this. She soon became very fond of -his dear, kind old mother, and liked to watch her at her duties, -sometimes able to help her by fetching water from the pump at the bottom -of the steps outside the house, a task which Johanna's lameness -prevented her from performing herself. Lischen much admired the portrait -of Frau Brahms that hung above the piano, and thought, as she looked at -the youthful figure arrayed in a pink dress made Empire fashion, with -flowing skirt, short waist, and low neck, the hair dressed with little -curls in front and a high comb behind, that Hannes' mother must have -been very pretty in her youth. The parlour was rather bare, containing -little beyond the piano, table, chairs, a few shelves filled with books, -and one or two small prints; but Lischen did not think this mattered, as -everything was so neat and shining. She felt sorry, however, that it was -so dark, and that its one small window had no other prospect than a -close, dreary courtyard--for Johanna still had her little shop in -front--and proposed to Hannes that they should bring some -scarlet-runners from Winsen, which could be planted in the courtyard and -trained up sticks. There would soon be something bright in front of the -parlour window. Johannes greatly approved of the plan, which worked well -up to the planting of the beans and the placing of some immensely high -sticks in readiness for the training. After this stage it disappointed -expectations, as the plants failed to do their part and firmly abstained -from growing. - -It would have been impossible for Johannes to pass with entire enjoyment -through the months of his visit to Winsen if he had been without the -means of gratifying a taste hardly less strong in him than his passion -for music. From the very early age at which he was first able to read, -he had been devoted to books, and, whilst showing the child's natural -preference for the romantic and wonderful, had displayed strange -discrimination in the choice of his favourite tales. He had always -contrived by some means or other to provide himself with reading -material, preferring books for his little birthday and Christmas gifts, -buying them from time to time from pedlars' wheelbarrows with his -collection of halfpennies, or begging the loan of a volume from a -friend. Brahms' exceptional knowledge of the Bible grew from the time -when, as a young child, he was accustomed to eat his dinner with the -book lying open beside his plate, absorbed in the Old Testament stories -which were then his prime favourites, misty speculations forming in his -brain which laid the foundation of his future attitude towards many of -life's problems. He had not been long at Winsen before he had exhausted -the mental nourishment afforded by Uncle Giesemann's collection of -volumes. Fortunately, another resource was at hand. There was a lending -library in the neighbourhood belonging to a certain Frau Löwenherz, a -Jewess, who had a son called Aaron. With Aaron the two children made -friends, and of him, in the absence of sufficient funds to pay the full -price of a constant supply of literature, they sought counsel. He proved -an able adviser, and, whilst promising to obtain for them access to the -coveted books, showed that he was not wanting in the capacity of turning -opportunity to profit on his own account. He promised that he would, on -his private responsibility, bring one volume at a time for the perusal -of Hannes and Lischen, to be put back when done with and replaced by -another; the price demanded and agreed to for this secret service being -one groschen (about a penny) for each supply. - -By this expedient Hannes and Lischen--the latter having probably been -the active partner in striking the bargain, for Johannes had few spare -pennies--found themselves provided with as many books as they could -desire. Their best time for reading was when they sat together by the -river-bank, or fished in the pond during the afternoon. Forgetting their -rods, they used to pore silently over the open book supported between -them, devouring one tale after another of knights and tournaments, -outlaws and bandits. Aaron received very particular instruction as to -the kind of selections he was to make, and took pains to suit the taste -of his patrons. He appeared one afternoon with a volume containing the -history of 'The Beautiful Magelone and the Knight Peter with the Silver -Keys.' That was a red-letter day in the history of the young subscribers -to the lending library which neither Hannes nor Lischen ever forgot. The -romance made an indelible impression on both of them. As for bandits, -what better could Johannes desire than a work bearing the stimulating -title of 'The Robbers,' which Aaron offered another day, insisting with -justifiable pride on the success of his researches? The book was written -by one Schiller, and proved so satisfactory that Hannes begged Aaron to -be on the look-out for other volumes bearing this name on the -title-page. - -It might be expected that the young conductor of the Winsen Choral -Society and the pupil of the distinguished musician of Altona would turn -his studies to account by writing something for the use of his choir, -and so it was. Johannes composed an 'ABC' four-part song for his -school-teachers, consisting of thirty-two bars in two-four time, -preceded by three bars of introduction and followed by a kind of -signature. The introduction and first three of the four eight-bar -phrases had for their text the letters of the alphabet arranged, first -in order, and then in syllables of two letters as in a first spelling -lesson; the fourth phrase was set to a few words introduced at random. -The composition closed with the words 'Winsen, eighteen hundred seven -and forty,' sung in full chorus, _lento_ and _fortissimo_, on the -reiterated tonic chord. The little composition, tuneful and spirited, -showing a feeling for independent part-writing, and conceived in a vein -of boyish fun that was fully appreciated by the teachers, was soon -succeeded by a second, 'The Postilion's Morning Song,' composed to the -well-known words 'Vivat! und in's Horn ich stosse.' The young musician -was also requested by a deputation from the school-children of Winsen to -assist them in the performance of a serenade with which they were -desirous of greeting their Rector Köhler on his birthday. He accordingly -looked out one suitable to the occasion, arranged it in two parts, -practised the boys and girls until they were perfect with it, and -conducted the performance outside the Rector's house on the eve of the -birthday celebration. He was very strict and serious when engaged in -these professional duties, beat time with great verve, and insisted on -careful observance of the _pianos_ and _fortes_, as well as on the -proper graduation of the _rallentandos_. The singing of the Ständchen -was declared brilliantly successful by the quite considerable audience -that assembled near the Rector's house to enjoy it. - -Rumours of the increased musical activity of Winsen could not fail to -reach the ears of the Amtsvogt, Herr Blume, an official of good social -standing residing there, whose duties, as administrator of some of the -rural districts of northern Hanover, brought him into touch with the -life of such parts of the country as were included in his circuit. Herr -Blume was not far short of seventy when Johannes paid his first visit to -the Giesemanns, but his interest in music and love for Beethoven's art -were as strong as ever, and Johannes, before leaving Winsen, was invited -to his house, and pressed to use his piano for practice. The boy -delighted the Amtsvogt by playing with him some four-hand pianoforte -arrangements of Beethoven's works, and won the heart of Frau Blume, in -spite of his shy, awkward manner, by his simple, childlike nature. If, -as was hoped, he should be able to repeat his visit to Uncle Giesemann -next year, he was to come often to the Blumes' house, and use the piano -as long as he liked. Great regret was felt throughout the circle of -Winsen friends at the news of the young musician's impending departure, -but the arrival of autumn brought with it the necessity for the -resumption of duties in Hamburg, and nothing remained save to hope for a -renewal of the pleasures his long visit had brought to many beside -himself. - -Johannes returned to his home in such a satisfactory condition of health -and spirits that he was able, with Marxsen's approval, to take a decided -step forward in his career. He played in the Apollo Concert-room on -November 20, at a benefit concert given by Birgfeld, already known to -our readers as the violinist of the subscription concert at the 'Old -Raven,' performing Thalberg's Fantasia on airs from 'Norma.' Marxsen's -affection for his pupil and appreciation of his gifts are clearly to be -read in the summary of concerts which appeared a week later in the -_Freischütz_, a widely-read Hamburg paper to which he was one of the -chief contributors: - - 'Birgfeld's concert is said to have been interesting and enjoyable - as regards both the vocal and instrumental portions of the - programme. A very special impression was made by the performance of - one of Thalberg's fantasias by a little virtuoso called J. Brahms, - who not only showed great facility, precision, clearness, power, - and certainty, but occasioned general surprise and obtained - unanimous applause by the intelligence of his interpretation.' - -On the 27th of the same month, Johannes appeared in the small room of -the Tonhalle at a concert of the pianist Frau Meyer-David, whom he -assisted in the performance of a duet for two pianofortes, also by -Thalberg, whose fame was at this time at its height. Marxsen's influence -is again apparent in the special mention of Johannes in the Freischütz -review, though it is evident, from the misspelling of the name, that he -was not the writer of the notice: - - 'The duet performed by the concert-giver and the young pianist - Bruns, who lately appeared for the first time in public with such - marked success, gave satisfaction, and was played with laudable - unity and facility.' - -With the exception of a mere record of the same performance in the -_Hamburger Nachrichten_, no further mention of Johannes is to be found -in the newspapers of the winter 1847-48. It was passed by the young -musician in much the same routine of severe study by day and fatiguing -labour by night as the previous one had witnessed. He was, however, -spared in the spring for another visit to the Giesemanns' house, to -which he returned as to a second home. The members of the choral society -were delighted to welcome their conductor, who, in the course of the -season, added to their répertoire by arranging two folk-songs for use at -the practices. These must be accepted as the earliest recorded -illustrations of the partiality for national songs and melodies which -remained one of the great composer's most characteristic traits, and -which culminated, less than three years before his death, in the -publication, in seven books, of his well-known collection of German -Volkslieder. - -Johannes was frequently at the Blumes' this year, and often played duets -with the Amtsvogt. Lischen's pianoforte lessons were not resumed, as -they had not been attended by any great result. It was difficult to -confine her to the house to practise on bright summer afternoons, when -she longed to be enjoying herself out of doors. She never entirely -forgot what Johannes had taught her on his first visit, however, and -continued to be very fond of music. It was hoped that by-and-by it might -be possible to have her voice thoroughly trained. Johannes felt sure it -would develop into a fine one. - -Meanwhile she succeeded in procuring for her companion the greatest -pleasure he had as yet experienced. He wanted very much to hear an -opera, and Lischen thought she would like it, too, so one day, when they -were going together to Hamburg, she persuaded her father to stand treat -for two places in the gallery. It was to be a great night. Formes, then -of Vienna, had been secured for a few weeks by the managers of the Stadt -Theater (the opera-house of Hamburg), and was making a great sensation. -Lischen and Hannes were to hear him in 'Figaro's Hochzeit,' the -title-rôle of which was one of his great parts. They started early from -the house on the Dammthorwall, supplied by Frau Brahms with some -buttered rolls, and waited for two hours in the street before the door -opened, which was part of the pleasure. They got capital places, and -enjoyed sitting in the gallery before the performance, looking at the -house and seeing the people come in. But when the music began Johannes -was almost beside himself with excitement, and Lischen has never to this -day forgotten his joy. 'Lischen, Lischen, listen to the music! there -never was anything like it!' Uncle Adolph was made so happy when he -heard all about the evening and perceived the delight he had given, that -he said the visit to the opera must be repeated, and accordingly the -pair of friends went a little later on, to hear Kreutzer's 'Das -Nachtlager von Granada,' which both of them enjoyed very, very much. - -Johannes was not able to stay so long at Winsen this year as last, and -still greater sadness was felt as the day drew near on which his visit -would terminate, as it was the last of the kind he would pay. It was his -confirmation year. He was past fifteen now, his general school education -was finished, and he was to take his position in the world as a musician -who had his way to make and would be expected to contribute regularly to -the support of his family and the education of his brother Fritz, -destined for a pianist and teacher. He copied out the four-part songs, -dedicated to the Winsen Choral Society, beautifully, as a parting -present to Lischen, putting headings to each in splendid caligraphy, and -adding her name with a special inscription. Lischen treasured the -manuscripts long after she had become a wife and mother, in memory of a -happy episode of her youth. - -There was a solemn farewell ceremony at the last meeting of the choral -society, which took place at the Deutsches Haus. After the conclusion of -the practice, the conductor addressed his singers in a poem written by -himself for the occasion, which began with the line: 'Lebt wohl, lebt -wohl, ihr Freunde schlicht und bieder' (Farewell, farewell, ye friends -upright and simple). An instant's sorrowful silence followed; then -there was a tremendous stamping and clapping and shouting, and the big -master-baker Rieckmann, calling out, 'Here, young one!' hoisted Johannes -over his shoulder pickapack, and marched several times round the table, -followed by Lischen and the other members of the society singing a last -chorus. - -It was the concluding scene of Johannes' childhood, which had been -unusually protracted, in spite of its drawbacks; but, as everybody said, -he was to come often again to Winsen, and whenever he should be able to -take a short relaxation from the serious duties of life awaiting him, he -would know where to find a number of friends ready to greet his arrival -amongst them with heartiest welcome. - -[8] Clasing was a pupil of C. F. G. Schwenke, who succeeded C. P. -Emanuel Bach as cantor and music-director of St. Catharine's Church, -Hamburg. On the death of Emanuel Bach in 1788, a portion of his library -came into Schwenke's possession, including the score, in Sebastian -Bach's own handwriting, of the great B minor Mass. - -[9] La Mara, 'Studien Köpfe.' - -[10] 'Brahms in Erinnerung.' - -[11] Steiner's 'Johannes Brahms'. Neujahr'sblatt der Allg. -Musikgesellschaft in Zürich, 1898. - - - - - CHAPTER III - 1848-1853 - - Johannes' first public concert--Years of struggle--Hamburg - Lokals--Louise Japha--Edward Reményi--Sonata in F sharp - minor--First concert-tour as Reményi's accompanist--Concerts at - Winsen, Celle, Lüneburg, and Hildesheim--Musical parties in - 1853--Leipzig and Weimar--Robert Schumann--Joseph Joachim. - - -It was on September 21 that Johannes made his fresh start in life by -giving a concert of his own, thus presenting himself to his circle as a -musician who was now to stand on an independent footing. It took place -in the familiar room of the 'Old Raven,' 'Herr Honnef's Hall,' with the -assistance of Marxsen's friends, Madame and Fräulein Cornet, and some -instrumentalists of Hamburg. The price of tickets was one mark (about a -shilling), and the programme, as printed in the _Hamburger Nachrichten_ -of the 20th, was as follows: - - FIRST PART. - - 1. Adagio and rondo from Rosenhain's Concerto in A major for Piano, - performed by the concert-giver. - - 2. Duet from Mozart's 'Figaro,' sung by Mad. and Fräul. Cornet. - - 3. Variations for Violin, by Artôt, performed by Herr Risch. - - 4. 'Das Schwabenmädchen,' Lied, sung by Mad. Cornet. - - 5. Fantasia on Themes from Rossini's 'Tell,' for Piano, by Döhler, - performed by the concert-giver. - - SECOND PART. - - 6. Introduction and Variations for Clarinet, by Herzog, performed - by Herr Glade. - - 7. Aria from Mozart's 'Figaro,' sung by Frl. Cornet. - - 8. Fantasia for Violoncello, composed and performed by Herr - d'Arien. - - 9. _a_) 'Der Tanz' } Lieder, sung by Mad. - _b_) 'Der Fischer auf dem Meer' } Cornet. - - 10. _a_) Fugue by Sebastian Bach - _b_) Serenade for left hand only, by E. Marxsen - _c_) Étude by Herz, performed by the concert-giver. - -Unattractive as it now seems, this selection of pieces was no doubt made -with a view to the taste of the day, and the inclusion of a single Bach -fugue was probably a rather daring concession to that of the -concert-giver and his teacher. The two vocal numbers from 'Figaro' may -be accepted as echoes of the boy's delight on the evening of his recent -first visit to the opera. No record remains of the result of the -concert, but its success may fairly be inferred from the fact that it -was followed, in the spring of 1849, by a second, for which the price of -the tickets was increased to two marks. This was announced twice in the -_Nachrichten_ as follows: - - 'The undersigned will have the honour of giving a musical soirée on - April 14 in the concert-room of the Jenisch'schen Haus (Katharine - Street, 17), for which he ventures herewith to issue his - invitation. Several of the first resident artists have kindly - promised their assistance to the programme, which will be published - in this journal. - 'J. BRAHMS, Pianist.' - -The programme was appended to the third and last advertisement of April -10: - - FIRST PART. - - 1. Grand Sonata in C major, Op. 53, by Beethoven. (The - concert-giver.) - - 2. Romance from Donizetti's 'Liebestrank.' (Th. Wachtel.) - - 3. Schubert's 'Ave Maria,' performed on the Horn by Herr Börs. - - 4. 'O geh' nicht fort,' Lied, by E. Marxsen, sung by Frl. Cornet. - - 5. Fantasia for Piano on a favourite Waltz, composed and performed - by the concert-giver. - - SECOND PART. - - 6. Concerto for Violin, by Fr. Mollenhauer, performed by Herr Ed. - Mollenhauer. - - 7. Songs. Me. Cornet. - - 8. Fantasia on Themes from 'Don Juan,' by Thalberg, performed by - the concert-giver. - - 9. Duet, sung by Me. and Frl. Cornet. - - 10. Variations for Flute, by Fräsch, performed by Herr Koppelhöfer. - - 11. Air Italien, by C. Meyer, performed by the concert-giver. - -The performance of Beethoven's 'Waldstein' sonata, Op. 53, was regarded -long after the close of the forties, as a great technical feat, and, -taken together with the execution of the 'Don Juan' fantasia, would -represent something near the height of the pianistic virtuosity of the -time, whilst with the Fantasia on a favourite waltz the concert-giver -made his first public entrée as a composer. This work must be identified -with the variations on a favourite waltz mentioned by La Mara as having -been played at his concert by the young Brahms, of which one variation -took the form of a 'very good canon.' Marxsen's notice of the concert in -the _Freischütz_ of April 17 was the only one that appeared: - - 'In the concert given by J. Brahms, the youthful virtuoso gave most - satisfactory proofs of advancement in his artistic career. His - performance of Beethoven's sonata showed that he is already able to - devote himself successfully to the study of the classics, and - redounded in every respect to his honour. The example of his own - composition also indicated unusual talent.' - -Although the report adds that the room was so full as to oblige many -listeners to be content with seats in the ante-room, it is probable that -the young musician found concert-giving more vexatious and expensive -than useful or profitable. Though he appeared from time to time at the -benefit-concerts of other artists, and repeated his own fantasia at one -given on December 6 by Rudolph Lohfeldt, his third soirée in Hamburg, -given under conditions of which he could not at this time have dared to -dream, did not take place till after the lapse of another decade. The -four or five years immediately succeeding his formal entry into life -were, perhaps, the darkest of Brahms' career. Money had to be earned, -and the young Bach-Mozart-Beethoven enthusiast earned it by giving -wretchedly-paid lessons to pupils who lacked both talent and wish to -learn, and by his night drudgery amid the sordid surroundings of the -Hamburg dancing-saloons. - -It was an amelioration in his life and a step forward in his career, -when he was engaged by the publisher, August Cranz, as one of several -contributors to a series of popular arrangements of light music, -published under the name 'G. W. Marks.' We have read in Widmann's pages -of the spirit in which the great composer, a few years before his death, -recalled these passages of his struggling youth: - - 'He could not, he said, wish that it had been less rough and - austere. He had certainly earned his first money by arranging - marches and dances for garden orchestras, or orchestral music for - the piano, but it gave him pleasure even now, when he came across - one of these anonymously circulating pieces, to think that he had - devoted faithful labour and all the knowledge at his command, to - such hireling's work. He did not even regard as useless experience - that he had often had to accompany wretched singers or to play - dance music in Lokals, whilst he was longing for the quiet morning - hours during which he should be able to write down his own - thoughts. "The prettiest songs came to me as I blacked my boots - before daybreak."' - -And if the master could so speak and think of his early trials, must not -we, who are, perhaps, the richer through them, treasure the remembrance -of the nights of uncongenial toil through which he passed to become, -even on the threshold of life, its conqueror and true possessor? The -iron entered his soul, however, and the impression derived from his -night work remained with him till death. He was accustomed to read -steadily through the hours of his slavery. Placing a volume of history, -poetry, or romance on the music-desk before him, his thoughts were away -in a world of imagination, whilst his fingers were mechanically busy -with the tinkling keys. He did not lift his eyes to the scene before him -after his first entrance, though there were times when he felt it with -shuddering dismay. It is, however, right to repeat that, as we have -hinted in a previous chapter, this kind of industry was a more or less -recognised means by which struggling musicians of the class to which -Jakob Brahms belonged, were enabled to help their needy circumstances, -and it would not be difficult to name more than one executant afterwards -well known who fulfilled similar engagements in youth. The position of -Johannes was not in itself exceptional, though the contemplation of it -is now startling from its contrast with his tender nature, his sensitive -genius, and the great place which he ultimately won. - -An engagement of which Kalbeck speaks, to act as accompanist behind the -scenes and on the stage of the Stadt Theater, may have been less irksome -to the young musician than his other hack work, and it is possible to -believe that the experience drawn from it may have been of some -appreciable value to him in after-life, even though his artistic -development did not result in dramatic composition. Evidence is not -wanting, however, to show that he kept his thoughts steadily fixed upon -the higher practical possibilities of his profession, and that, though -his position continued very obscure, it did not remain at a standstill. -His terms to pupils increased to about a shilling a lesson, and -occasionally he was able to get more. Every now and then he obtained a -small concert-engagement, or officiated at a private party, and on one -occasion he appeared with Otto Goldschmidt, the then leading pianist of -Hamburg, who was about four years his senior, in a performance of -Thalberg's duet for two pianofortes on airs from 'Norma.' - -Conditions at home remained unfavourable for practice, and Johannes now -worked regularly at the establishment of Messrs. Baumgarten and Heinz, -where an instrument was always at his service. Here, one day, he met -Fräulein Louise Japha, who remembered the circumstance, already recorded -in these pages, of having heard him play five or six years previously as -a child of eleven. A talk ensued, a sympathetic note was struck, and a -comradeship quickly grew up between the two young musicians. Louise, -born in 1826, and therefore some seven years the senior of Johannes, was -possessed of high musical endowment. At the time of which we write, she -was the pupil of Fritz Wahrendorf for pianoforte, and of William Grund -for theory and composition. She achieved eminence later on, becoming -well known in Germany and a great favourite with the public of Paris. -Frau Dr. Langhans-Japha is now not far from eighty, but there is still a -peculiar charm in her playing, which is especially distinguished by -beauty of tone and phrasing. Her competent sympathy was a valuable -addition to young Brahms' pleasures in life, in the days when he knew -little of congenial artistic companionship. They met constantly to play -duets and compare notes as to their compositions, for Louise was a -song-writer of ability. Johannes used to discuss with her both his -favourite authors and his manuscripts. One day it was a long exercise in -double counterpoint that he brought to show her, another day a -pianoforte solo. On a third occasion he produced a pianoforte duet in -several movements, which he begged her to try with him, and, -acknowledging its authorship at the close of the performance, asked her -opinion of the work. This proving generally favourable, the composer, -going more into detail, took exception to one of his themes, which he -feared was rather 'ordinary'; but when Louise was half inclined to agree -with him, he cried angrily: 'Why did you not say so yourself? Why was I -obliged to ask you?' - -He was always composing, and as time went on, was ably guided by Marxsen -to the practice of the large musical forms, over which he soon acquired -conspicuous mastery, showing extraordinary facility in applying to them -the skill he had gradually attained in free contrapuntal writing, whilst -allowing to his fancy the stimulus of the classical-romantic literature -that appealed with special force to his imagination. 'It came into my -head after reading so-and-so,' he would say. The whole of his small -amount of spare cash was devoted to the purchase of second-hand volumes -from the stalls to be found in the Jews' quarter of Hamburg, and what he -bought he read. Sophocles and Cicero, Dante and Tasso, Klopstock and -Lessing, Goethe and Schiller, Eichendorff, Chamisso, Pope, Young, and -many other poets, were represented in the library collected by him -between the ages of sixteen and twenty-one.[12] His favourite romances -were those of Jean Paul and E. T. A. Hoffmann, whose influence over his -mind is easily recognisable in the published compositions of his first -period. No other work on which he might be engaged, however, prevented -him from the composition of many songs. He threw one off after another. -'I generally read a poem through very slowly,' he said to Louise, 'and -then, as a rule, the melody is there.' - -Fräulein Japha was before her time in conceiving an enthusiasm for -Schumann's art, and tried hard to win over Johannes to an appreciation -of its beauties, but he was too entirely under the influence of Marxsen, -who, in training him as a composer rightly proceeded on strictly -orthodox lines, to become a present convert. He, on his part, made -efforts to induce Louise to change her teachers and put herself under -his master. She had quite other views, however. Schumann and his wife -paid a visit to Hamburg in 1850, appearing several times in public, and -Louise resolved that if it could be made possible, she would enter on a -fresh course of study of composition and the piano under the two great -artists respectively. She only waited for a convenient opportunity to -carry out her plan. Johannes approached Schumann in another fashion, by -sending a packet of manuscripts to his hotel and begging for his -opinion. It is no wonder that the master, who was besieged on all sides -during his week's stay, found no time to look at them, and returned the -parcel unopened. - -It must not be supposed that the young Brahms was always so -companionable as we have shown him when in the society of his chosen -friends. He had his moods. Christian Miller's early experiences of his -persistent taciturnity had not been exceptional. He spent a few evenings -at the Japhas' house, but Louise's family, her sister Minna only -excepted, by no means took a fancy to her favourite. One evening, when -he was about eighteen, a gentleman of the Japha circle, who had been -interested in hearing him play the scherzo now known as Op. 4, the -earliest written of his published instrumental works, accompanied him on -the way home, and made repeated but quite hopeless efforts after -sociability. Not one word would Johannes say. Perhaps he felt subsequent -secret prickings of conscience, for he made confession to Louise, though -not in any apparently repentant spirit. 'One is not always inclined to -talk,' he said; 'often one would rather not, and then it is best to be -silent. You understand that, don't you?' 'No, you were very naughty,' -she told him, but forgave him nevertheless. She could overlook his -occasional whims. She perceived his genius, admired his candid nature, -and felt her heart warm to him when he talked to her of the old mother -to whom he was devoted, and of Marxsen, whom he revered with all the -enthusiastic loyalty of his true heart. Soon after his walk with the -Japhas' friend he had a chance opportunity of playing his scherzo to -Henry Litolff, who bestowed high praise on the composition. - -Meanwhile the friends at Winsen faithfully remembered their young -musician. Uncle Adolph and friend Schröder seldom missed going to see -him when occasion brought either of them to Hamburg, and Lischen came -over to be introduced to Madame Cornet and Marxsen. Johannes persevered -in his desire that her voice should be trained for the musical -profession, and wished her to obtain a good opinion on the subject. The -verdict of the authorities proved, however, unfavourable to the project. - -Of the general invitation to visit the Giesemanns Brahms gladly availed -himself, staying sometimes for a few days, sometimes in the summer for a -week or two, as his occupations allowed. He was never again able to -undertake the choral society, but there was always a great deal of music -at the Amtsvogt's house when he was at Winsen, as well as at the -Giesemanns' and Schröders'. Town-musician Koch was a good violinist, and -but too happy to have the chance of playing the duet sonatas of Haydn, -Mozart, and Beethoven with such a colleague, and every now and again -compositions were looked out in which Uncle Giesemann could take part -with his guitar. Pretty Sophie Koch, the younger of the town-musician's -two daughters, took great interest in these artistic doings, and it was -rumoured, as time went on, that her fondness for music was not untinged -by a personal element connected with the Giesemanns' popular guest. If -this were so, Johannes himself was probably the last person to become -observant of it. He was wholly absorbed in his profession, and several -quite independent informants have concurred in describing him to the -author as being, at this time of his life, something less than -indifferent to the society of ladies, and especially of young ones. For -his early playmate, Lischen, his affection continued unchanged, and with -her he remained on the old terms of frank and cordial friendship. - -It happened as a natural consequence of the political revolution which -took place early in the year 1848 in Germany and Austria, that, during -the year or two following its speedy termination, there was an influx -into Hamburg and its neighbourhood of refugees on their way to America. -Conspicuous among them were a number of Hungarians of various sorts and -degrees, who found such sympathetic welcome in the rich, free -merchant-city that they were in no hurry to leave it. Some of them -remained there for many months on one pretext or another, and amongst -these was the violinist Edward Reményi, a German-Hungarian Jew whose -real name was Hoffmann. - -Reményi, born in 1830, had been during three years of his boyhood a -pupil of the Vienna Conservatoire, studying under Joseph Böhm, now -remembered as the teacher of Joachim. He had real artistic endowment, -and played the works of the classical masters well, if somewhat -extravagantly; but something more than talent was displayed in his -rendering of the airs and dances of his native country, which he gave -with a fire and abandon that excited his hearers to wild enthusiasm. -Eccentric and boastful, he knew how to profit to the utmost by his -successes in Hamburg, where he created a furore. Johannes, engaged one -evening to act as accompanist at the house of a rich merchant, made his -personal acquaintance, and Reményi, quickly perceiving the advantage he -derived from having such a coadjutor, made overtures of friendship in -his swaggering, patronizing way, which were not repulsed by the young -pianist. Brahms had, in fact, been fascinated by Reményi's spirited -rendering of his national Friskas and Czardas; he was willing that the -chance acquaintance should be improved into an alliance, and, on his -next visit to the Giesemanns' house, was accompanied by his new friend. - -The violinist had connections of his own in the neighbourhood. Begas, a -Hungarian magnate, had settled down into a large villa at Dehensen, on -the Lüneburg Heath, that had been placed at his disposal for as long a -time as he should find it possible to elude or cajole the police -authorities, and kept open house for his compatriots and their friends. -To his circle Brahms was introduced, and much visiting ensued between -Dehensen and Winsen, for one or two musicians staying with Begas were -pleased to come and make music with Reményi and Johannes, and to partake -of the Giesemanns' hospitality. It was a feather in Brahms' cap, in the -eyes of many of his friends, that he had been able to capture for Winsen -such a celebrity as Reményi, though they were not all quite of one mind. -Lischen, for example, did not care for him at all, but much preferred -the tall, handsome fiddler Janovitch, with his flashing black eyes and -his velvet jacket, who wrote a splendid characteristic waltz expressly -that he might dedicate it to her. The jolly party broke up suddenly at -last, running off to take speedy ship for America, for they had heard -that the police were on their heels. Johannes, who happened to be at -Winsen when this crisis occurred, accompanied them as far as Hamburg, -where he remained to pursue his ordinary avocations. Meanwhile the -Friskas and Czardas continued to revolve in his brain. - -Time went on, the Hungarians were no longer vividly regretted, and -somewhere about the autumn of 1852, Brahms was left more lonely than -ever by the departure of Louise Japha, who found opportunity to carry -out her cherished wish to stay at Düsseldorf, where the Schumanns had -now been settled for about two years. Her sister Minna was to accompany -her, to carry on the cultivation of her own special gift under Professor -Sohn, of the Düsseldorf Academy of Art. The thought of losing his friend -caused Johannes great sorrow. 'Do not go,' he entreated; 'you are the -only person here that takes any interest in me!' His prospects do not -seem to have been improving at this time, and his best encouragement -must have been derived from his own sense of his artistic progress. This -was advancing by enormous strides, the exact measure of which is -furnished by the manuscript of the Sonata in F sharp minor now in the -possession of Hofcapellmeister Albert Dietrich. It bears the signature -'Kreisler jun.,' a pseudonym adopted by Brahms out of love for the -capellmeister Johannes Kreisler, hero of one of Hoffmann's tales, and -the date November, 1852. - -This work, which, though published later on as Op. 2, was written -earlier than the companion sonata known as Op. 1, is, in many of its -fundamental characteristics, immediately prophetic of the future master. -In it the mastery of form and skill in contrapuntal writing, the -facility in the art of thematic development, the strikingly contrasted -imaginative qualities--here subtly poetic, there large and -powerful--bring us face to face with the artist nature which united in -itself high purpose, resolute will, sure capacity, sensitive -romanticism, boundless daring. The fancy, however, has not yet -crystallized; the young musician has still to pass out of the stage of -mental ferment natural to his age before he will be able to mould his -thoughts into the concentrated shape which alone can convince the world. -The sonata, not perhaps destined ever to become widely familiar, must -always remain a treasure to the sympathetic student of Brahms' art, not -only by reason of the beauties in which it abounds, but also because it -is absolutely representative of its composer as he was at nineteen. We -may read his favourite authors in some of its movements without the need -of an interpreter, and we know, from his own communication to Dietrich, -that the melody of the second movement was inspired by the words of the -German folk-song, 'Mir ist leide, Das der Winter Beide, Wald und auch -die Haide, hat gemachet kahl.' - -It would be difficult, and is fortunately unnecessary, to trace the -exact steps of Reményi's career after his flight from Germany. For the -purpose of our narrative the facts suffice that he reappeared in Hamburg -at the close of 1852, giving a concert in the Hôtel de l'Europe, which -does not seem to have created any great sensation, and that he found -himself in the same city in the spring of 1853. Brahms, depressed by the -hopeless monotony of his daily grind, was no doubt glad enough to see -him, and, as his slack time was at hand, it was proposed, perhaps by -Reményi, perhaps by Uncle Giesemann, possibly by Johannes himself, that -the two musicians should give a concert to their friends in Winsen, who -would, no doubt, hail the prospect of such an event, and assist it to -the utmost of their power. Communications were opened, and the proposal -was not only entertained, but developed, as such ideas are apt to do. If -at Winsen, why not also at Lüneburg and Celle? Amtsvogt Blume had -influence in both towns, which he would be too happy to exert. In the -end, the project expanded into the plan of a concert-tour. Johannes and -Reményi would give performances in the three localities named, and from -Celle it would be no distance to go on to Hanover, where the -twenty-one-year-old Joachim, already a European celebrity, had a post at -Court. Reményi had known him for a short time when they had both been -boys at the Vienna Conservatoire; they would go and see him. He was -bound to welcome his compatriot and former fellow-pupil. Who could tell -what might happen? - -No doubt Brahms' heart beat fast when he left home on this his first -quest of adventure, and probably not the least ardent of his -anticipations was that of making the personal acquaintance of the -celebrated violinist whose first appearance in Hamburg at the -Philharmonic concert of March 11, 1848, with Beethoven's Concerto, -remained vividly in his remembrance as one of the few great musical -events of his own life. Before starting, he exacted a promise from his -mother that she would write to him regularly once a week--not a mere -greeting, but a real letter of several pages. It was a serious -undertaking for Johanna, who was not practised in penmanship, but she -gave her word to Hannes, and found means to keep it. The travellers took -but little luggage with them. Such as Johannes carried was made the -heavier by his packet of manuscripts, which contained his pianoforte -sonata-movements and scherzo, a sonata for pianoforte and violin, a -pianoforte trio, a string quartet, a number of songs, and possibly other -works. One programme was to suffice for the concert _tournée_, and this -the two artists had in their heads. - -The exact date of the Winsen concert is forgotten, apparently beyond -chance of recall, but the event may be fixed with certainty as having -taken place in the last week of April. Both musicians were the guests of -the Giesemanns for several days beforehand, and spent the greater part -of their mornings practising together, beginning before breakfast. They -gave a great deal of time to the Hungarian melodies, and it would seem -as though Johannes had been preparing a pianoforte accompaniment; for -they repeated the periods over and over again, Reményi becoming very -irritable during the process. The season was a warm one; they worked -energetically in their shirt-sleeves, and the violinist more than once -drew a scream of pain from his colleague, by bringing the violin bow -suddenly down on his shoulder to emphasize the capricious _tempo_ he -required. One morning Johannes, very angry, jumped up from the piano, -and declared he would no longer bear with Reményi; but the concert came -off nevertheless, and turned out a brilliant success. It took place in -the large room of the Rusteberg club-house; the entrance fee was about -eight-pence, and the profits to be divided came to rather over nine -pounds. Beethoven's C minor Sonata for pianoforte and violin headed the -programme, and was followed by violin solos; Vieuxtemps' Concerto in E -major, Ernst's 'Elégie,' and several Hungarian melodies, all accompanied -by Brahms, who, it must be remembered, was but the junior partner in the -enterprise. Only one thing was to be regretted. Schröder had been ill, -and could not come to Winsen for the concert. He managed, however, to -attend a repetition of the programme, which the two artists gave the -next day in his schoolroom at Hoopte, expressly in order that he might -get some amount of pleasure out of the great doings of the -neighbourhood. - -The next concert took place on May 2 at Celle. It had been arranged for -with the assistance of Dr. Köhler, a well-known inhabitant of the town, -probably a relation of the Rector of Winsen, and a friend of Amtsvogt -Blume, who, besides seeing through the business arrangements, had -neglected no opportunity of arousing general interest in the event. The -single public announcement appeared in the _Celles'sche Anzeigen_ of -Saturday, April 30: - - 'Next Monday evening at seven o'clock the concert of the Herren - Reményi and Brahms will take place in the Wierss'schen room. The - subscription price is 12 g.gr.[13] Tickets may also be obtained of - Herr Wierss jun. at Herr Duncker's hotel, and on the evening at the - room for 16 g.gr.' - -At Celle there was a sensation. The two artists, going, on the morning -of May 2, to try their pieces in the concert-room, were dismayed to -find that the only pianoforte of which it boasted was in such an -advanced state of old age as to be unusable for their purpose. Classical -concerts were rare events in Celle, and it had occurred to no one to -doubt the excellence of the instrument; a piano was a piano. It was -arranged that every effort should be made, during the few hours that -remained, to procure a better one, and a better one was actually -discovered and sent in just as the hour had arrived for the concert to -begin. But a fresh difficulty arose. The second instrument proved to be -nearly a semitone below pitch, and Reményi refused to make so -considerable a change in the tuning of his violin. What was to be done? -The practised and intrepid Johannes made short work of the difficulty. -If Reményi would tune his fiddle slightly up, so as to bring it to a -true semitone above the piano, he himself would transpose his part of -the Beethoven sonata a semitone higher than written, and play it in C -sharp instead of C minor. No sooner said than done. The young musician -performed the feat without turning a hair, though his colleague allowed -him no quarter, and the performance was applauded to the echo. Reményi -behaved well on this occasion. Addressing the audience, he related the -circumstances in which he and his companion had found themselves placed, -and said that all approval belonged by right to Brahms, whose -musicianship had saved the situation for everyone concerned. History -does not relate whether the young hero transposed his parts throughout -the evening, or whether the old instrument was sufficiently serviceable -for the accompaniments of the violin solos, and the question does not -appear to have suggested itself until the present time, when it cannot -be solved. Johannes himself seems to have thought but little of his -achievement. Writing presently to let Marxsen know how he was getting -on, he mentioned the incident, not as worthy of comment, but as one -amongst others. - -The day after these events Reményi and Brahms retraced their steps as -far as Lüneburg, where they were to remain for a week as the guests of -Herr Calculator Blume, son of the Amtsvogt. At his hospitable house -they were presented to the musical circle of the town, so far as it -included members of the sterner sex. At the earnest persuasion of -Brahms, no ladies were invited to the party arranged by Frau Blume in -the interests of the forthcoming concert. 'It is so much nicer without -them,' he said, and was so serious about the matter that his hostess -regretfully gave way to him. He played part of the C major Sonata, on -the composition of which he had lately been engaged, on this private -occasion, making but little impression with it. Perhaps the double -consciousness, which cannot but have been secretly present with him, of -his great artistic superiority to Reményi, and of the quite secondary -place to which he found himself relegated whenever they appeared -together, may have increased the awkward shyness which placed him at -such a disadvantage by the side of his colleague. He was incapable of -making any effort to assert himself in general society, and attracted -little notice from ordinary strangers who had no particular reason for -observing him closely. However, everyone behaved very kindly to him -throughout the journey. He was certainly a good pianist, and accompanied -Reményi delightfully. - -The concert was advertised in the _Lüneburger Anzeiger_ of May 7, the -twentieth birthday anniversary of our Johannes: - - 'The undersigned propose to give a concert on Monday evening, the - 9th inst., at 7.30, in Herr Balcke's Hall, and have the honour to - invite the attendance of the music-loving public. Amongst other - things, the concert-givers will perform Beethoven's Sonata for - Pianoforte and Violin in C minor, Op. 30, and Vieuxtemps' grand - Violin Concerto in E major. - - 'Tickets to be had,' etc. - - 'EDWARD REMÉNYI. - 'JOHANNES BRAHMS.' - -Again a great success was scored, and the next day a second concert 'by -general desire' was announced, with the same programme and special -mention of the 'Hungarian Melodies,' for Wednesday, May 11. It brought -the visit to Lüneburg to a brilliant conclusion, and the performances -were again repeated on the 12th at a second concert in Celle, advertised -in the Celle journal of the 11th. - -With the account of these five soirées, exact record of the public -concerts of the journey is exhausted. Neither advertisement nor local -recollection of any other can be traced, though Heuberger speaks, on the -authority of Brahms' personal recollection, of two given at -Hildesheim.[14] The first was very sparsely attended, and the artists, -after supping at a restaurant where they seem to have made merry with -some companions, paraded the streets with a queue of followers until -they arrived underneath the windows of a lady of position who had been -their principal patron. Reményi greeted her with some violin solos, the -assembled party followed suit with a chorus, and the ingenious -advertisement proved so successful that a second concert-venture on the -following evening drew a crowded audience. The circumstances thus -related point to the conclusion that the first concert at Hildesheim was -hastily arranged, and the explanation may be that some unexpected -introduction caused the musicians to visit the town. This would fit in -with the fact that there is no reference in any Hildesheim journal of -the date to Brahms and Reményi, and with the absence of all knowledge, -on the part of several persons still living who have personal -associations with the journey, of any other concerts than those in -Winsen, Lüneburg, and Celle, and of one other of a different kind in -Hanover, to which we shall return. - -It is necessary for the understanding of what is to follow that we -should here part company, for a time, with the travellers. Before -introducing Johannes to the great musical world which he is to enter -before long, we must glance at the party questions by which it was -agitated in the early fifties, and which had hitherto been unknown or -unheeded by our young musician in the inexperience of his secluded life. - -The musical world of Leipzig, the city raised by the leadership of -Mendelssohn to be the recognised capital of classical art, had become -split after the death of the master in November, 1847, into two -factions, both without an active head. The Schumannites, whilst -receiving no encouragement from the great composer whose art they -championed, decried Mendelssohn as a pedant and a phrase-maker, who, -having nothing particular to say, had covered his lack of meaning by -facility of workmanship. The Mendelssohnians, on the other hand, -declared Schumann to be wanting in mastery of form, and perceived in his -works a tendency to subordinate the objective, to the subjective, side -of musical art. The division soon spread beyond Leipzig throughout -Germany, and, in the course of years, to England, with the result that -Mendelssohn, once a popular idol, is now rarely represented in a concert -programme. - -Meanwhile Franz Liszt, perhaps the greatest pianoforte executant of all -times, and one of the most magnetic personalities of his own, had -exchanged his brilliant career of virtuoso for the position of conductor -of the orchestra of the Weimar court theatre, with the avowed noble -purpose of bringing to a hearing such works of genius as had little -chance of being performed elsewhere. He declared himself the advocate of -the 'New-German' school, and, making active propaganda for the creeds of -Hector Berlioz and Richard Wagner, succeeded in attracting to his -standard some of the most talented of the younger generation of artists, -amongst whom Joachim, Raff, and the gifted and generous Hans von Bülow, -were some of the first converts. There were, therefore, three different -schools of serious musical thought in the year 1853, each of which -boasted numerous and distinguished adherents. - -The purists of Leipzig held sacred the memory of Mendelssohn, clung to -the methods as well as the forms of classical tradition, and declined to -recognise as legitimate art anything that savoured of progress. - -The Schumannites believed it possible to give musical expression to the -world-spirit of the time by expanding their methods within the old -forms--_i.e._, by free use of chromatic harmonies, varied cadences, -mixed rhythms, and so forth. - -The Weimarites, rejoicing in the potent leadership of Liszt, declared -they would no longer be hampered either by old methods or old forms, -which they regarded as worn out and perishing of inanition. - -The party disputes as to the respective merits of Mendelssohn and -Schumann, were as nothing beside the violent controversies which raged -for years around the theories professed by the founders of the so-called -'music of the future.' For some time the battle was fought chiefly -between the 'academics' of Leipzig and the 'revolutionists' of Weimar. -The classical-romantic art of Schumann had points of contact with that -of each of the extremists. Animated by new impulse and instinct with -modern thought, it was by no means coupled by the leaders of the new -party with that of Mendelssohn, but was accepted by them for some years -with more than toleration, and some of the master's works, as 'Genoveva' -and 'Manfred' were performed at Weimar under Liszt's direction. Schumann -himself, however, whilst warmly appreciating the great qualities of -Wagner's musicianship, was well aware that any relationship between his -own works and that of the new school was merely superficial. He was -second to none in his reverence for the forms of the great masters, upon -which he based his compositions, and, though it is probably the case -that the originality of his art-methods did not attract the sympathy of -Mendelssohn, he clung to the memory of this departed friend as that of a -beloved comrade in arms. - -Schumann, who had long since retired from his labours as editor of the -_Neue Zeitschrift für Musik_, of which he was the founder, lived quietly -at Düsseldorf, where he had, in 1850, succeeded Ferdinand Hiller as -municipal conductor. The success achieved by him there, during the first -season of his activity as director of the orchestral subscription -concerts and the choral society, was only transient. His reserved -nature, and the progress of the malady that threatened him, unfitted him -for the position, and he was subject to the constant annoyance that -resulted from differences with his committee. To this was added the -serious disappointment of knowing that the periodical to which he had -devoted untiring energy during some of the best years of his life, had -become, under the editorship of Franz Brendel, the organ of the -New-German party, from whose principles he felt increasing alienation. -These vexations probably augmented his nervous condition, and his -habitual silence and reserve increased. His chief pleasure was found in -the absorbing work of composition, and in his generous sympathy with a -group of young musicians who regarded themselves as his disciples. -Perhaps feeling that the best part of his own career was already behind -him, he lived in the constant hope that someone would appear of creative -genius sufficiently decisive to indicate him as the worthy successor to -the prophet's mantle of classical art. - -Many of our readers are aware that Joseph Joachim was born on June 28, -1831, at Kittsee, a village near Presburg in Hungary; that at the age of -twelve he had learnt all that the distinguished violinist Böhm, of the -Vienna Conservatoire, master of many famous pupils, could teach him; and -that he lived at Leipzig, well known at the conservatoire, though not -its pupil, for the next six years, happy during the first four of them -in the affection of Mendelssohn, to whom he was passionately attached, -and who lost no opportunity of furthering his protégé's genius and of -laying the foundation of his future career. - -It was not until after Mendelssohn's death that either of the party -questions to which we have referred became acute, and Joseph grew up an -unquestioning believer in the principles of musical tradition, which he -reverenced with something of religious fervour. The loss of Mendelssohn -left him, at the age of sixteen, lonely and disconsolate, in spite of -his being himself already a distinguished personality and a universal -favourite. The peculiar place in his life which the master had occupied -could not again be filled, and for more than two years he was unable to -regard anyone as even the partial successor to his best affections. It -happened, however, that two events of the year 1850, awakened in his -heart something of the personal enthusiasm which had made his early -happiness. A week spent by the Schumanns at Leipzig in the month of -March, convinced him of his sympathy with the composer and his art; and -a visit which he paid to Weimar in August, on the occasion of the first -performance of Wagner's 'Lohengrin,' stirred him so strongly that by the -end of the year he had resigned his position in Leipzig and taken up his -residence in Weimar as concertmeister in Liszt's orchestra.[15] - -Here he lived for two years, and it seemed for a time as though he would -become one of the most enthusiastic of the band of young musicians, -amongst whom were Bülow, Raff, Cornelius, and the violoncellist -Cossmann, who proclaimed themselves disciples of the new school. His -genius and his already eminent position as an artist made him by far the -most important member of the group, and he was treated by Liszt almost -on equal terms, as a younger colleague. In the constant companionship of -this fascinating master, Joachim felt some renewal of the satisfaction -in life which he had experienced when with Mendelssohn at Leipzig; but -his early convictions and affections were too deeply rooted to be -effaced by newer impressions, and his allegiance to the school of the -future was not permanent. Liszt's aspirations, as the composer of -sounding orchestral works which Joachim ought to have admired, but could -not, gradually caused the young concertmeister to feel his position a -false one, and he was glad to accept a post offered him, at the close of -1852, as court concertmeister and assistant capellmeister at Hanover. By -this step he regained his independence without hurting the feelings of -his Weimar friends. His absence of warmth on the subject of the -Symphonic Poems had, indeed, been observed by Liszt, but Joachim had -naturally refrained from expressing himself about them in detail, and -Liszt could not guess that his young companion had conceived a positive -aversion to his compositions. Joachim remained for some years yet on -terms of affectionate intimacy with Liszt, Bülow, and the others, and -was, indeed, so lonely and depressed during the first few months of his -residence in Hanover, that he was impelled to express his state of mind -by the composition of an overture to 'Hamlet.' Sending the manuscript to -Liszt in the middle of March, he wrote: - - 'I have been very much alone. The contrast between the atmosphere - which is constantly resounding, through your influence, with new - tones, and an air which is completely tone-still, is too barbarous. - Wherever I have looked there has been no one to share my aims--no - one; instead of the phalanx of like-minded friends at Weimar ... I - took up "Hamlet" ... I am certain that you, my ever-indulgent - master, will look through the score, and will advise me as though I - were sitting near you, dumb as ever, but listening eagerly to your - musical wisdom.'[16] - -The Festival of the Lower Rhine, held in the year 1853 at Düsseldorf -(May 15-17), was a particularly brilliant function. The names of Robert -and Clara Schumann, Ferdinand Hiller as chief conductor, Joseph Joachim, -the English artist Clara Novello, and others of high distinction, roused -lively expectations which were perhaps exceeded by the performances. -Schumann's D minor Symphony, Pianoforte Concerto played by his wife, and -Overture and final chorus from the 'Rheinweinlied,' all given under his -own direction, were received with enthusiasm; and the first appearance -on the Rhine of the young concertmeister from Hanover, with Beethoven's -then little-known Violin Concerto, resulted in a triumph that defies -description. 'He opened a veritable world of enchantment,' 'He was the -hero of the festival,' 'We will not attempt to describe his success; -there was French frenzy, Italian fanaticism, in a German audience,' say -the critics of the day. - -For our readers, the peculiar interest of the occasion lies in the fact -that Joachim, increasingly attracted by Schumann's art and -individuality, took advantage of his few days' stay in Düsseldorf to -draw closer his relations with the master, and it may be said that his -future attitude was finally determined at this time. He saw in Schumann -the living representative of the music that he loved, and to him and his -he became bound henceforth by ties that death itself was but partially -able to sever.[17] - -[12] _Cf._ Kalbeck, p. 186. - -[13] Two Guter Groschen were of about the value of 2-1/2d. - -[14] Heuberger, 'Musikalische Skizzen.' - -[15] The concertmeister is the leader--_i.e._, leading violin of the -orchestra. The capellmeister is the conductor of the orchestra. - -[16] Moser's 'Life of Joachim.' - -[17] To assist those of our readers to whom the terms 'musical form,' -'absolute music,' 'programme music,' convey no distinct ideas, and who -do not realize with exactness what the real position of Wagner's art was -in its relation to the school of Weimar, we have entered into these -subjects, in Appendix No. I. of this volume, in detail which cannot be -conveniently introduced into the body of our narrative. - - - - - CHAPTER IV - 1853 - - Brahms and Reményi visit Joachim in Hanover--Concert at - Court--Visit to Liszt--Joachim and Brahms in - Göttingen--Wasielewski, Reinecke, and Hiller--First meeting with - Schumann--Albert Dietrich. - - -Leaving Düsseldorf on May 18, the day following the close of the -festival, Joachim proceeded on a week's visit to Weimar, and, returning -thence to spend a day or two at home in Hanover before settling for the -summer at Göttingen, where he proposed to attend University lectures, -was surprised by a call from Reményi and Brahms.[18] His first attention -was naturally devoted to his old school-fellow, but by-and-by he turned -to the stranger, and an account of the interview may be given in his own -words: - - 'The dissimilar companions--the tender, idealistic Johannes and the - self-satisfied, fantastic virtuoso--called on me. Never in the - course of my artist's life have I been more completely overwhelmed - with delighted surprise, than when the rather shy-mannered, blonde - companion of my countryman played me his sonata movements, of quite - undreamt-of originality and power, looking noble and inspired the - while. His song "O, versenk dein Leid" sounded to me like a - revelation, and his playing, so tender, so imaginative, so free and - so fiery, held me spell-bound. No wonder that I not only foresaw, - but actually foretold, a speedy end to the concert-journey with - Reményi. Brahms parted from him soon afterwards, and, encouraged - before long by an enthusiastic recognition, marched proudly onwards - in his own path of endeavour after the highest development.'[19] - -Reményi had not been mistaken in building hopes for the success of the -concert-journey upon the chance of an interview with Joachim, who proved -the medium through which both he and his companion were guided to the -respective spheres for which each was peculiarly fitted. The great -violinist was at this, his first interview with Brahms, so deeply -penetrated by the certainty of his genius, so impressed by its daring, -and so profoundly touched by the evident sincerity and childlike -freshness of his nature, that he took him then and there to his heart, -and made his cause his own. He at once exerted his influence in Hanover -to such purpose that the travellers were engaged to appear before King -George and the royal circle. - -'There is in his (Brahms') playing,' he wrote to the Countess -Bernstorff, a lady of great musical accomplishment attached to the -Hanoverian Court, 'that concentrated fire, what I may call that -fatalistic energy and precision of rhythm, which prophesy the artist, -and his compositions already contain much that is significant, such as I -have not hitherto met with in a youth of his age.'[20] - -Joachim's engagements did not allow him to wait in Hanover till the date -of the proposed court concert; but before his departure he cordially -invited Johannes, who called to bid him farewell, to visit him in -Göttingen if his relations with Reményi should come to as early a -termination as Joachim thought likely. - -Mention of the concert before King George and the royal family is to be -found in a volume, 'Aus allen Tonarten,' by Heinrich Ehrlich, court -pianist at Hanover, who was present, and has recorded that Brahms played -the E flat minor Scherzo. In a subsequent letter to this musician -Joachim wrote: - - '... It was his exceptional talent for composition, and a nature - which could have been developed in its integrity only in close - retirement, pure as the diamond, tender as snow.' - -From Hanover, Reményi and Brahms travelled to Weimar, where Joachim had -ensured them a welcome by writing to Liszt on their behalf. Of the first -meeting between the world-famous musician, who lived in a style of -ostentatious luxury in a house on the Altenburg belonging to the -Princess Caroline von Sayn-Wittgenstein, and the obscure young composer -from the Lane-quarter of Hamburg, we have, fortunately, the account of -an eye-witness, William Mason, of New York, who was at the time resident -in Weimar as a pupil of Liszt, and one of the ardent young champions of -the new school. - - 'One evening early in June,' says Mason,[21] 'Liszt sent us word to - come up the next morning to the Altenburg, as he expected a visit - from a young man who was said to have great talent as a composer, - and whose name was Johannes Brahms. He was to come accompanied by - Edward Reményi. - - 'The next morning, on going to the Altenburg with Klindworth, we - found Brahms and Reményi already in the reception-room with Raff - and Prückner. After greeting the new-corners, of whom Reményi was - known to us by reputation, I strolled over to a table on which were - lying some manuscripts of music. They were several of Brahms' - unpublished compositions, and I began turning over the leaves of - the uppermost of the pile. It was the pianoforte solo, Op. 4, - Scherzo in E flat minor.... Finally Liszt came down, and after some - general conversation he turned to Brahms, and said: "We are - interested to hear some of your compositions whenever you are ready - and feel inclined to play them." - - 'Brahms, however, who was in a highly nervous state, declared that - it was quite impossible for him to play, and as the entreaties of - Liszt and Reményi failed to induce him to approach the piano, Liszt - went over to the table, saying, "Well, I shall have to play"; and - taking the first piece at hand from the heap of manuscripts, he - performed the scherzo at sight in such a marvellous way, carrying - on, at the same time, a running accompaniment of audible criticism - of the music, that Brahms was surprised and delighted. Raff found - reminiscences, in the opening bars, of Chopin's Scherzo in B flat - minor, whereupon Brahms answered that he had neither seen nor heard - any of this composer's works. Liszt then played a part of Brahms' - Sonata in C major, Op. 1. - - 'A little later, someone asked Liszt to play his own sonata, a work - which was quite recent at that time, and of which he was very fond. - Without hesitation he sat down and began playing. As he progressed, - he came to a very expressive part, which he always imbued with - extreme pathos, and in which he looked for the especial interest - and sympathy of his listeners. Glancing at Brahms, he found that - the latter was dozing in his chair. Liszt continued playing to the - end of the sonata, and then rose and left the room. I was in such a - position that Brahms was hidden from my view, but I was aware that - something unusual had taken place, and I think it was Reményi who - told me what had occurred. It is very strange that among the - various accounts of this first Liszt-Brahms interview--and there - are several--there is not one which gives an accurate description - of what took place on the occasion; indeed, they are all far out of - the way. The events as here related are perfectly clear in my own - mind; but not wishing to trust implicitly to my memory, I wrote to - my friend Klindworth, the only living witness of the incident - except myself, as I suppose, and requested him to give me an - account of it as he remembered it. He corroborated my description - in every particular, except that he made no specific reference to - the drowsiness of Brahms, and except also that, according to my - recollection, Brahms left Weimar on the afternoon of the day on - which the meeting took place; Klindworth writes that it was on the - morning of the next day--a discrepancy of very little moment.' - -It is to be observed, in the first place, with reference to this -interesting account, that Brahms' panic was probably caused by his -finding that he was expected to play before not only Liszt himself, but -a party of his pupils, the most unnerving kind of audience with which he -could possibly have been confronted; and in the second, that Reményi, -in saying his companion had fallen asleep, unquestionably merely -intended to convey the meaning that he had not taken prudent advantage -of his opportunity to ingratiate himself with the great man. The very -different methods employed by the violinist for the advancement of his -own ambition are illustrated by a letter written by him to -Liszt--evidently soon after this first interview--which throws an -illuminating sidelight upon the scene and its immediate sequel. It is -clear that Reményi at once took steps for the purpose of ingratiating -himself with the leader of Weimar and his rising young musicians by -acquainting himself with, at all events, the names of Liszt's -compositions, and announcing himself a convert to the New-German music. -He remained associated with the party for a considerable time, and Liszt -recognised his gifts whilst ridiculing his extravagances. The letter -referred to opens with a kind of preamble: - - 'This scribbler ventures to address the great man, after having - heard the sonata, the scherzo, the rhapsodies, the Dante fantasia, - etc. One must have courage to dare to write to such a man. Let us - see, let us try, nevertheless. We shall see whether I have the - talent to continue. Now to work! - - 'TISZTELT LISZT UR! - 'Admirable compatriot! - - 'I am here on the Altenburg, the place where I have had the - happiness (read effrontery) of being received by Liszt, and where I - have the happiness of finding myself again! - - 'Conceive the immense joy you have given me by forwarding the - letter addressed to me from Hungary. Every bad thing is of some - use; when I reflect that this bit of a Hungarian letter has - procured me the sublime lines of Liszt--Ah! yes, I have read this - letter four or five times--no! devoured it, but not altogether; - some fragments fortunately remain for me to point to proudly in the - future (when I shall have become a great man??!!): do you see, - gentlemen? I am a happy mortal. I possess the writing--no, _a - personal letter from Liszt_. You may be assured that that is - _everything_ for me--it will be my talisman! If you by chance ask - what I am doing, really I cannot tell you--of what interest can it - be to you if I scrape on the violin or compose some new mazourek - fantastiques? That is zero for you.... - - 'As for my political confession, it is already sent--Raff has - edited it! - - 'Now, I think this letter is much too long. I shall finish it by - telling you quite simply, but very sincerely, that the good God has - you in His holy keeping, and that He ever directs your genius for - the honour and glory of the human race in general, and particularly - (but particularly) of your dear country. - - 'Adieu, great compatriot! - - 'I subscribe myself, - 'E. REMÉNYI, - '_Citizen of the Altenburg, ci-devant of Hungary_. - - 'P.S.--Brahms has left for Göttingen.'[22] - -And no wonder! one feels inclined to exclaim, on reading the postscript, -the first of three appended to the epistle. Johannes must have felt that -his power of endurance was being strained to its utmost limit by daily -association with such a comrade, and determined to break it, helped, -very likely, to his resolution by the recollection of the very different -personality of that other violinist, the young king of fiddlers, who had -invited him to Göttingen. The story frequently related, that Brahms and -Reményi, or one of them, stayed on for several weeks as Liszt's guests -at the Altenburg, is contradicted by all contemporary testimony, -negative as well as positive. No such visit is mentioned in any known -letter of the period, whilst Reményi's communication to Liszt would of -itself be fairly good evidence that none such took place, and, taken -together with the independent accounts of Mason and Klindworth, must be -accepted as conclusive against the supposition. The morning at the -Altenburg can, indeed, have left little behind it in the mind of our -musician beyond a feeling of mortification, and Mason expressly states -that the impression it produced on the young men present was that it had -not been a success. It is likely that Klindworth was substantially -correct as to the exact date of Brahms' departure from Weimar. Perhaps -hoping to appear to better advantage in a _tête-à-tête_ interview, he -seems to have called a second time on Liszt, who presented him with a -leather cigarette-case in which was placed an autograph inscription in -remembrance of their meeting.[23] - -Somewhere about the middle of June, then, Joachim, at work one day in -his rooms at Göttingen, had hardly time to call out, 'Come in' in answer -to a knock at the door, before the door opened and in walked Brahms. -This was the beginning of the intimate acquaintance between the two -youthful musicians, which ripened into the historic friendship that -endured until the death of Brahms forty-four years later. What a -discovery was each to the other! Alike in no respect, perhaps, save in -earnest devotion to art, and a profound feeling of obligation in her -service, the dissimilarity of their dispositions was such as to make -them mutually interesting and to cement the growing bond between them. -To Joachim the worship of art, adored goddess though she might be, could -never be all in all; it could never appease the craving for human -sympathy which, since Mendelssohn's death, he had at times felt to be -almost intolerable. Johannes, haunted by a vision of the delight of -intimate sympathy, was not convinced of its being either possible or -indispensable, and knew that he could, if necessary, live his life -without it. To Joachim, possessed of strong likings and antipathies, and -firm to convictions involving a principle, it was not difficult, in a -conflict of mere inclinations, to yield. In Johannes, with all his -childlike sweetness of nature, there dwelt an ineradicable combative -instinct. To Joachim life had been one continued triumph; he had never -known even the taste of failure. A personality from childhood, he had -conquered his world once and for all with scarcely an effort. Hannes had -passed his days in obscurity, and had seen and known only struggle. And -now, to Joachim, who had never had to plan for his own advancement, what -a fresh joy it was to think and hope and suggest for the future of -Johannes, and to Johannes, who had known little of the satisfaction of -intelligent appreciation from colleagues of his own standing, what an -astonishing experience was this enthusiastic and authoritative approval -from such a comrade! The companions, engrossed in the first place by -their compositions--for Joachim was engaged upon two overtures, and -Johannes busy with sonatas and songs--found plenty of time for other -occupations. They studied and made music together, and walked and talked -and dined together, and compared opinions and argued and agreed -together. No doubt Johannes heard much about the Leipzig of Bach and -Mendelssohn, and he found to his surprise that Joachim, the unparalleled -interpreter of Bach and Beethoven, shared Louise Japha's opinion of -Schumann's music. He certainly touched Joachim's heart by his loving -talk of Hamburg, rich in proud traditions, and not without art memories -of its own, associated with the great names of Klopstock and Lessing, of -Telemann and Keiser, of Handel and Mattheson and Emanuel Bach. The fêted -violinist, familiar since his ninth year with one or other centre of -musical learning, brilliant pupil of the conservatoire of Vienna, -beloved favourite of that of Leipzig, listened, moreover, with no little -interest to all that Johannes chose to relate of his solitary studies -with his Marxsen. The happy young Hamburger felt that he could tell -Joseph anything. He spoke to him of his struggles, his kind friends at -Winsen, his acquaintance with Louise Japha, the difficulties of his -journey with Reményi. Joachim was so much interested in the Winsen -episodes that he could not refrain from writing to Uncle Giesemann to -tell him that his young musician would be a great man some day. - -In one thing only Johannes would not bear his friend company. He -declined to attend the university lectures of Ritter and Waiz, voting -lectures a bore, and preferring to take his mental food, as usual, from -books. He was very ready, however, to join the jovial fellowship that -met at the Saxsen, the students' club-restaurant frequented by Joachim -and his friends. He entered with great zest into all the fun of the -social evenings, and on the night when he and Joachim were called upon, -as the youngest of the party, to perform the 'Fox-ride,' he sat -astraddle on his little chair, and galloped round the table with the -court concertmeister from Hanover as though he were bent on keeping his -terms with the most serious-minded student of them all. The happy -holiday was crowned by a concert given by the two 'students,' which -attracted an overflowing audience and provided Brahms with welcome funds -for the prosecution of his immediate plans. He wished to make a walking -excursion along the Rhine before the summer should have passed away, and -left Göttingen about the middle of August, armed with several of his -friend's visiting-cards with which to introduce himself to musical -houses on his route. The acquaintance which Joachim desired to secure -for him above all others was that of Schumann, but Johannes, probably -sore from his recent experiences of an interview with a leader -surrounded by his followers, was uncertain if he should stay at -Düsseldorf. The separation between himself and Joachim was to be a short -one only. They were to meet in October at Hanover, where Johannes was to -pass the winter in his friend's society. - -We have to picture our traveller as passing, during the next two or -three weeks, from point to point along the beautiful Rhine valley in a -frame of mind rendered almost ecstatic by the combined influences of his -daily surroundings, his recent experiences, and his well-grounded hopes -for the future. We meet him again early in September in the house of J. -W. von Wasielewsky, who at this period filled a post as music-director -at Bonn, and who has given an interesting account of Brahms' arrival in -that city. - - 'Towards the end of the summer,' he says,[24] 'I was surprised by a - visit from an attractive-looking, fair-haired youth, who delivered - to me one of Joachim's visiting-cards, on the reverse side of - which was his own humorously-written signature.[25] Coming in the - direction from Mainz, he had travelled on foot through the Rhine - valley, and presented himself to me staff in hand and knapsack on - his back. His fresh, natural, unconstrained manner impressed me - sympathetically, so that I not only bade him welcome, but invited - him to stay a day or two with me, to which he then and there - consented. After the first hours of our intercourse, I naturally - felt a desire to learn to know my guest from the musical side. He - at once favoured me with a performance of one of his then - unpublished early works, a pianoforte sonata, the quality of which - immediately revealed to me his great talent for composition. I also - heard him in other things. I particularly remember his - characteristic execution of the Rakóczy March, which he was fond of - playing and gave with great effect.' - -Asked by Wasielewsky whether he intended to visit Schumann, Johannes -replied that he had come to no decision on the point, giving as the -reason for his uncertainty, the failure of his effort to approach the -master on his visit to Hamburg in 1850, and no persuasion of his new -friend availed to bring him to a resolution. He did not quit the -neighbourhood of Bonn immediately. Acting, no doubt, on Wasielewsky's -advice, he retraced his steps a little in order to present himself at a -great house in the vicinity--that of Commerzienrath Deichmann, a -gentleman widely known, not only from his wealth and hospitality, but -also by the warm interest taken by himself and his family in matters -connected with literature and art. Distinguished visitors of many -varieties of social rank, from royal personages downwards, were -entertained by Frau Deichmann at her residence at Mehlem, opposite -Königswinter. Celebrities on a visit to the Rhine country were generally -to be met in her drawing-rooms in the course of their stay, many of the -artists resident in the neighbourhood belonged to her intimate circle, -and young musicians of promise were received by her with especial -kindness. Needless to say that the arrival of Brahms as Joachim's -intimate was hailed by her with lively satisfaction, and the familiar -friends of the house, amongst whom were Franz Wüllner, the 'cellist -Reimers, Wasielewsky himself, and other young musicians, hurried to -Mehlem on receiving her hasty summons, prepared to extend to the -new-comer's performances as much approbation or criticism as the event -might justify. - -'I found,' said Wüllner, in a memorial speech delivered after Brahms' -death in the conservatoire of Cologne, 'a slender youth with long fair -hair and a veritable St. John's head, from whose eyes shone energy and -spirit. He played us the just-finished C major Sonata, the earlier -completed F sharp minor Sonata, the E flat minor Scherzo, and several -songs--amongst them the now familiar "O versenk dein Leid." We young -musicians were immediately delighted and carried away by his -compositions.' - -As might have been expected, Brahms was not allowed to leave Mehlem -immediately. He was persuaded to remain on as the Deichmanns' guest, to -improve his acquaintance with their friends, and to further explore the -Rhine and its beauties from their house, and it was during this visit -that he found the opportunity, eagerly desired by him since his stay at -Göttingen, to begin the real study of Schumann's compositions, till now -but little known to him. What must have been his wonder and his joy as -he found himself brought face to face in many of their pages with his -favourite authors, Jean Paul and E. T. A. Hoffmann, and perceived in -them as in a mirror the dreamings of his own soul! His surprise was -probably but little less on making the discovery that Schumann's -tone-poems, with all their fresh originality of method and their -fascinating romance, were no mere erratic imaginings, but were firmly -rooted in the great traditions of classical art. It is, perhaps, -impossible to realize in its strength the revulsion of feeling that must -have attended this first real spiritual meeting of 'Kreisler jun.' with -the composer of the 'Kreisleriana'; but it is safe to say that it -settled him in the determination to pay the visit to Schumann which -Joachim had planned, and that it had its share in producing the temper -of mind manifest in a letter written by Johannes in the third week of -September, whilst he was on a few days' excursion with the boys of the -Deichmann family, to the Amtsvogt Blume of Winsen: - - 'DEAR HERR AMTSVOGT, - - 'Permit me to offer most heartfelt wishes for your own and for Frau - Blume's happiness on the joyful festival which you celebrate this - month. The great esteem and love which I have for you may excuse me - for troubling you from so great a distance, and perhaps at the - wrong time, with these lines; I only know that you celebrate your - golden wedding in the middle of this month. May God long preserve - you in health, that I may often again, as hitherto, spend many - happy hours at your house. In case you still feel some interest in - my fate, you may, perhaps, be pleased to hear that I have passed a - heavenly summer, such as I have never before known. After spending - some gloriously inspiring weeks with Joachim at Göttingen, I have - now been rambling about for five weeks according to heart's desire - on the divine Rhine. I hope to be able to pass this winter at - Hanover in order to be near Joachim, who is equally noble as man - and artist. Begging you to remember me most warmly to your wife and - daughter, I would also request you to express my heartiest greeting - to your son with his wife and children, to dear Uncle Giesemann, - and to all acquaintances. With best greeting, Your JOH. BRAHMS. - - 'IN THE LAHNTHAL, _Sept. 1853_.'[26] - -Johannes' thoughts were engaged at this time on the Pianoforte Sonata in -F minor, Op. 5, that was finally completed early in November. Who that -has really tasted of the enchantment of that wonderful composition, -great in spite of its immaturity, can doubt, on reading these lines, -that the shining Rhine with its wooded heights, that the Rolandseck and -the Nonnenwerth and the Drachenfels, and the deep blue sky and gorgeous -starry nights, had their part, with the romance and wonder and gratitude -and delight dwelling in his young heart, in the making of the work--not -in the sense of supplying the composer with a programme for his -inspiration; but as the sunbeam caught by the plant--as mingling with -his nature and becoming a portion of the very elemental force that -blossomed into the flower of his imagination? - -Yet another important halt was made by Brahms at Cologne, where two more -interesting names were added to the long list of acquaintances already -formed by him during the short five months of his absence from home. He -delivered a letter from the university music-director of Göttingen, -Arnold Wehner, and a greeting from Wasielewsky, to Carl Reinecke, at the -time professor of pianoforte and counterpoint in the conservatoire of -the Rhenish capital, and Reinecke, after hearing some of his -compositions, conducted him to Ferdinand Hiller's house, and -subsequently accompanied him to the railway-station at Deutz. Here he -took train for Düsseldorf,[27] full, no doubt, of fluttering expectation -at the thought that he was about to seek an interview with the great -master of his day; sole successor, since the death of Mendelssohn, to -the mighty giants in whose traditions he had been steeped since early -childhood by Cossel and Marxsen. And as we accompany the young musician -in imagination on this last stage of his Rhine journey, we may fittingly -pay the tribute of passing remembrance to these two men. To their -talents and attainments and character he owed it that he was able to -approach the supreme hour of entrance upon the manhood of his artistic -life, shortly to dawn for him, with the certainty of equipment and -devotion of purpose that had already stamped upon his genius the -unmistakable pledge of mastership. - -Several accounts, agreeing in essential points, have been given by Dr. -Schübring and others of Brahms' first acquaintance with Schumann. After -some preliminary conversation, the master desired his visitor to play -something of his own. Scarcely was the first movement of the C major -Sonata concluded, when he rose and left the room, and, returning with -his wife, desired to hear it again. And as Johannes had played it three -months previously to the amazement and delight of Joseph Joachim, so he -now played it to the amazement and delight of Robert and Clara Schumann; -and when he had finished one movement these two great artists bade him -play another, and at the end of that, another, and still desired more, -so that when, at length, the performance was at an end their hearts had -gone out to him in affection, whilst in his the first link had already -been forged of that chain of love by which he soon became bound to the -one and the other till the end of both their lives. - -Johannes lost no time in finding out his old friends Louise and Minna -Japha. What wonderful adventures he had to relate to them, more than -could be got through in one or even two interviews! There was the tour -with Reményi, the performance at Court--how far away these things -seemed!--then the visit to Weimar, the student-life at Göttingen, the -journey along the Rhine. He had made the acquaintance of many young -musicians, who had one and all welcomed his coming amongst them; he had -been introduced to Hiller, become Joachim's closest friend, and now had, -he thought, won Schumann's approval. 'He patted me on the shoulder,' -Johannes told Louise, 'and said, "We understand each other." What did he -mean?' Schumann's meaning was made very obvious to Joachim, who received -the following note from the master in answer to the introduction and -messages of greeting he had sent him by Brahms: 'This is he that should -come.' - -We may now turn to the delightful account given by Albert Dietrich,[28] -one of Schumann's favourite disciples, who lived at Düsseldorf in daily -intercourse with the great composer, of his first acquaintance with the -new-comer: - - 'Soon after Brahms' arrival in September, Schumann came up to me - before the commencement of one of the choral society practices with - mysterious air and pleased smile. "Someone is come," said he, "of - whom we shall one day hear all sorts of wonderful things; his name - is Johannes Brahms." And he presented to me the interesting and - unusual-looking young musician, who, seeming hardly more than a boy - in his short gray summer coat, with his high voice and long fair - hair, made a most agreeable impression. Especially fine were his - energetic, characteristic mouth, and the earnest, deep gaze in - which his gifted nature was clearly revealed.' - -Here was another companion of the right sort for Brahms. He and Albert -met daily from this time forward during his four weeks' stay at -Düsseldorf, breakfasting together at an open-air restaurant in the -Hofgarten, and sharing each other's confidences and pleasures. Albert's -recognition of the powers of his new friend was no less thorough than -Joachim's had been, and he sent enthusiastic reports of him to Kirchner, -Naumann, and other young musicians of the Schumann set. Himself a -_persona grata_ in the various artistic circles of Düsseldorf, he was -able to open to Johannes a new and inexhaustible source of interest. He -introduced him to Schirmer, Lessing, Sohn, and other of the leading -painters, at whose houses the young musician heard much talk about the -sister arts which bore due fruit in a mind whose first need was, in -Joachim's words, 'the harmonious cultivation of its various powers and -the loving assimilation of all sorts of knowledge.' A charming young -society was quite ready to welcome a new playfellow--and such a -playfellow--into its midst, and Johannes was invited by Albert's friends -to many parties and excursions. He managed to waive the objection to -ladies' society which he had once found insuperable, and discovered that -a festivity from which they were not rigorously excluded was not -therefore a necessarily tiresome affair! Music in general and his music -in particular, was much in demand at frequent evening gatherings, and -his hearers knew not whether they were more delighted by his -interpretations of the great masters or of his own compositions. - - 'Everyone was filled with astonishment,' says Dietrich, 'and the - young people, especially, were dominated by the impression of his - characteristic, powerful, and, when necessary, extraordinarily - tender playing. He used to receive the enthusiastic praise - accorded to his performances in a modest, deprecatory manner. - - 'His constitution was thoroughly sound; the most strenuous mental - exertion scarcely fatigued him, but then he could go soundly to - sleep at any hour of the day he pleased. With companions of his own - standing he was lively, sometimes arrogant, dry, and full of - pranks. When he came to see me, he used to rush up the stairs, - thump on the door with both fists, and burst in without waiting for - an answer.... Brahms never spoke of the works with which he was - busy, or of his plans for future compositions, but he told me one - day that he often recalled folk-songs when at work, and that then - his melodies suggested themselves spontaneously.' - -At the Schumanns' house Brahms learned chess and table-turning. He was -soon made free of the master's library, and borrowed from it many a book -to lend to the Japhas, who had to submit to a term of quarantine during -Minna's recovery from an attack of measles. Johannes refused, for his -own part, to acquiesce in the decree, and paid long daily visits to the -sisters as soon as they were able to receive him. He often sat at -Louise's side reading with her from an open volume placed between them, -as he had once been used to do with Lischen in the Winsen fields. One -day he brought some volumes of Hoffmann, to reread his favourite tales -from Schumann's own copy. He carried the old memories and friends, and -the simple home with its dear affections, faithfully in his heart -throughout his excitements and successes, and throughout the weeks and -months of his absence Johanna kept her promise to her boy. 'Look,' said -Hannes one day, pulling a letter out of his pocket, and holding it open -before Louise and Minna as he told them of the stipulation he had made, -'I get one like this every week; my old mother keeps her promise. Some -of it is copied from the newspapers; what is she to do when she has no -more news? she cannot write a philosophical treatise, but she always -sends me three whole pages.'[29] - -The passionate admiration quickly conceived by Brahms for the character -and genius of Schumann, which was intensified by the recollection of his -past misconception of the great composer's art, was returned in -appropriate measure. Schumann became every day fonder of his young -friend, and inclination united with conviction to strengthen the strong -first impression he had received as to the extraordinary nature of his -gifts. 'Facile princeps' is written in one of Schumann's pocket-books -against the name Johannes Brahms, added, in the master's handwriting, to -a list of his favourite young musicians. It has sometimes been suggested -that the secret of the immediate fascination exercised over him by -Brahms' compositions lay in his perception of their dissimilarity from -his own. This, however, is only part of the truth. Though it be the case -that Schumann's influence is not traceable either in the melody, -harmony, or structure of Brahms' first published movements, it is -equally the fact that the 'delicate youth with dreamy expression, who, -without a tinge of affectation, spoke naturally in poetic phrases; who -signed his manuscripts "Joh. Kreisler jun."; who exactly answered -Joachim's description, "pure as the diamond, tender as snow"';[30] had -elements in his many-sided nature of near kin to the characteristic -spirit of Schumann's genius, which were by no means without influence on -the individuality of his works, and especially the works of his first -period. Schumann, astonished beyond measure by the mastery and -originality of Brahms' technical attainment, was, in regard to his ideal -qualities, certainly penetrated as much by the romance as by the -independence, by the tenderness as by the power, by the subjective, as -by the objective side, of his art, and the elder musician loved the -younger as much because of the affinity as of the difference between -them. Both contrasting sides of Brahms' nature are strikingly manifest -in the very beautiful drawing of him which was executed for Schumann at -this time by the painter de Laurens, a representation of which we are -enabled, by the kindness of Frau Professor Böie, to whom the original -now belongs, to place before the reader at the beginning of this volume. - -Schumann had not been forgetful of the overtures to closer intimacy made -to him by Joachim in the spring of the year, and composed two -concert-pieces for violin and orchestra about this time, during the -writing of which, the famous young violinist and his performances at the -Düsseldorf festival were constantly present to his mind. In a letter to -Hanover concerning these and other matters, written by him on October 8, -the following passages occur:[31] - - 'I think if I were younger I could make some polymetres about the - young eagle who has so suddenly and unexpectedly flown down from - the Alps to Düsseldorf.[32] Or one might compare him to a splendid - stream which, like Niagara, is at its finest when precipitating - itself from the heights as a roaring waterfall, met on the shore by - the fluttering of butterflies and by nightingales' voices.... - - 'The young eagle seems to be content in the Lowlands; he has found - an old guardian who is accustomed to watch such young flights, and - who knows how to calm the wild wing-flapping without detriment to - the soaring power.'[33] - -On the same day he wrote to Dr. Härtel, head of the great Leipzig -publishing firm: - - 'A young man has just presented himself here who has most deeply - impressed us with his wonderful music. He will, I am convinced, - make the greatest sensation in the musical world. I will take an - opportunity of writing more in detail about him.'[34] - -Five days later, writing again on business to Joachim, who was to take -part on the 27th, in the first Düsseldorf subscription concert of the -season, he adds: - - 'I have begun to put together my thoughts about the young eagle. I - should wish to help him on his first flight through the world, but - fear I have grown too fond of him to be able to describe the light - and dark colours of his wings quite clearly. When I have finished - the paper, I should like to show it to his comrade [Joachim], who - knows him even better than I do.' - - A postscript is subjoined: 'I have finished the essay and enclose - it. Please return it as soon as possible.' - -A second letter to Dr. Härtel enters into some of the promised detail: - - 'You will see before long, in the _Neue Zeitschrift für Musik_, an - article signed with my name on young Johannes Brahms from Hamburg, - which will give you further information about him. I will then - write to you more fully about the compositions he intends to - publish. They are pianoforte pieces and sonatas, a sonata for - violin and piano, a trio, a quartet, and a number of songs--all - full of genius. He is also an exceptional pianist.' - -And now, whilst Schumann, with Albert and Johannes, was eagerly looking -forward to Joachim's arrival for the concert of the 27th, Schumann -proposed that they should prepare a surprise for him in the shape of a -new sonata for pianoforte and violin, to be written by the three of them -jointly. Thereupon Dietrich undertook the first movement, Schumann the -intermezzo and finale, and Brahms the scherzo. - -The popular young concertmeister had been passing his time pleasantly -enough during the progress of some of the events just related; had -attended a festival at Carlsruhe, where he met his friends of the Weimar -circle in force--Liszt, Wagner, Cornelius, Bülow, and the others; and -had played for Berlioz at a concert in Brunswick. He was to be -Schumann's guest during the two days of his stay in Düsseldorf, and was -greeted, on his arrival on the 26th, by the assembled party of his -intimate friends. Amongst them was an attractive, youthful lady attired -in rustic costume, who stepped forward from the rest and handed him a -basket of flowers. Hidden beneath these was the manuscript sonata of -welcome, on the title-page of which Schumann had written: - - 'F. A. E.[35] - - 'This Sonata has been written in expectation of the arrival of the - honoured and beloved friend Joseph Joachim by Robert Schumann, - Johannes Brahms, Albert Dietrich.' - -There was a small gathering of intimate friends in the evening at the -Schumanns' house, when the sonata was performed and Joachim was required -to guess the authorship of the several movements, a problem he had no -difficulty in solving correctly. Schumann was in a bright mood. He was -always at his happiest in his home circle with one and another of the -young musicians who might be said to belong to it about him, and he had -taken both Brahms and Joachim into his most special affection. 'One -cannot be fond enough of him,' he whispered to Fräulein Japha as -Joachim, accompanied by Frau Schumann, came to the concluding bars of -the new fantasia for violin. Johannes was nervous and excited this -evening. 'What shall I play?' he said, crossing over to Louise when -Schumann summoned him to the piano. She suggested the scherzo, which the -master had not yet heard, but eventually got a scolding for her pains. -Johannes persuaded himself that his performance was a failure. 'Why did -you give me that advice?' he asked reproachfully, returning to his -faithful friend. 'Liszt did not care for the scherzo, and now Schumann -does not like it!' - -The concert of the following day was the last given in Düsseldorf under -the direction of Schumann, who was about to start with his wife on a -concert tour in Holland. He was at this time seriously contemplating a -permanent removal to Vienna, whence he had received overtures that were -attractive to himself and Frau Schumann. Whether he would have made up -his mind to the step cannot be determined. The decision was, as we know, -taken out of his hands by one of the tragedies of fate. - -[18] The accounts of some authors place the visit in Göttingen. They -must be regarded as, in this respect, mistaken. Dr. Joachim is positive -on the point. 'The whole scene lives clearly in my memory; it occurred -in my rooms in Princes Street, Hanover,' he lately said to the present -writer. - -[19] Festival address at Meiningen, October 7, 1899. - -[20] Moser's 'Life of Joachim.' - -[21] 'Memoirs of a Musical Life.' - -[22] From La Mara's 'Briefe hervorragender Zeitgenossen an Franz Liszt.' - -[23] According to a personal communication to the author by Frau Dr. -Langhans-Japha, to whom Brahms showed the case. - -[24] 'Aus siebzig Jahren.' - -[25] 'Joh. Kreisler jun.' - -[26] This letter and another to Amtsvogt Blume, which follows in Chapter -VI., were first published in the _Lüneburger Anzeige_ March 29, 1901. - -[27] 'Gedenkenblätter an berühmte Musiker,' by Carl Reinecke. - -[28] 'Erinnerungen von Johannes Brahms.' - -[29] At this period envelopes were not in universal use. The large -'letter-paper' was folded and sealed, and addressed on the blank fourth -page. - -[30] Ehrlich, 'Dreissig Jahre Künstlerleben.' - -[31] 'Robert Schumann's Briefe.' Neue Folge. Edited by Gustav Jansen. - -[32] These words sufficiently disprove the assumption occasionally -adopted, that Schumann expected Brahms before receiving his call at -Düsseldorf. - -[33] The movements of the F minor Sonata were no doubt submitted to -Schumann's criticism during the process of their composition. - -[34] See, for this and other letters of Schumann, Dr. Jansen's -collection referred to above. - -[35] 'Frei aber einsam' (Free but lonely), Joachim's favourite device at -this time. - - - - - CHAPTER V - 1853 - - Schumann's article 'New Paths'--Johannes in Hanover--Sonatas in C - major and F minor--Visit to Leipzig--First publications--Julius - Otto Grimm--Return to Hamburg viâ Hanover--Lost Violin - Sonata--Songs--Marxsen's influence as teacher. - - -On October 28 Schumann's article appeared in the _Neue Zeitschrift für -Musik_. Brahms seems to have read it for the first time in Hanover, -whither, in pursuance of the plans formed in the summer between himself -and Joachim, he accompanied his friend from Düsseldorf. Its contents -were so unexpected, and their influence on Brahms' career was so -far-reaching, that, though it may already be familiar to many readers, -it seems right to quote it _in extenso_. - - 'NEW PATHS. - - 'Years have passed--almost as many in number as those dedicated by - me to the previous editorship of this journal, namely, ten--since I - appeared on this scene so rich to me in remembrances. Often, in - spite of arduous productive activity, I have felt tempted; many new - and considerable talents have appeared, a fresh musical energy has - seemed to announce itself through many of the earnest artists of - the present time,[36] even though their works are, for the most - part, known to a limited circle only. I have thought, watching the - path of these chosen ones with the greatest sympathy, that after - such a preparation someone must and would suddenly appear, destined - to give ideal presentment to the highest expression of the time, - who would bring us his mastership, not in process of development, - but would spring forth like Minerva fully armed from the head of - Jove. And he is come, a young blood by whose cradle graces and - heroes kept watch. He is called Johannes Brahms, came from Hamburg, - where he has worked in obscure tranquillity, trained in the most - difficult laws of art by an excellent and enthusiastic teacher, and - was lately introduced to me by an honoured, well-known master.[47] - He bore all the outward signs that proclaim to us, "This is one of - the elect." Sitting at the piano, he proceeded to reveal to us - wondrous regions. We were drawn into circles of ever deeper - enchantment. His playing, too, was full of genius, and transformed - the piano into an orchestra of wailing and jubilant voices. There - were sonatas, more veiled symphonies--songs, whose poetry one would - understand without knowing the words, though all are pervaded by a - deep song-melody,--single pianoforte pieces, partly demoniacal, of - the most graceful form,--then sonatas for violin and - piano--quartets for strings--and every one so different from the - rest that each seemed to flow from a separate source. And then it - was as though he, like a tumultuous stream, united all into a - waterfall, bearing a peaceful rainbow over the rushing waves, met - on the shore by butterflies' fluttering, and accompanied by - nightingales' voices. - - 'If he will sink his magic staff in the region where the capacity - of masses in chorus and orchestra can lend him its powers, still - more wonderful glimpses into the mysteries of the spirit-world will - be before us. May the highest genius strengthen him for this, of - which there is the prospect, since another genius, that of modesty, - also dwells within him. His companions greet him on his first - course through the world, where, perhaps, wounds may await him, but - laurels and palms also; we bid him welcome as a strong champion. - - 'There is in all times a secret union of kindred spirits. Bind - closer the circle, ye who belong to it, that the truth of art may - shine ever clearer, spreading joy and blessing through the world. - - 'R. S.' - -Such was the proclamation by which Schumann, carried away by the -impulsive generosity of his nature, designed to facilitate the entrance -into the jealous musical world of the composer of twenty, whose gifts -had not been tested by the publication of a single composition, whose -name was hardly known to rumour. - - 'It is doubtful,' says Mason, 'if, up to that time, any article had - made such a sensation through musical Germany. I remember how - utterly the Liszt circle in Weimar were astounded at it. It was at - first, no doubt, an obstacle in Brahms' way, but, as it resulted in - stirring up great rivalry between two opposing parties, it - eventually contributed much to his final success.' - -In sober truth, Brahms' worst enemy could scarcely have weighted him -with a heavier mantle of immediate difficulty. It made his name an easy -subject of ridicule to those who would in any case have been inclined to -regard a new-comer with incredulity; it drew upon him the sceptical -attention of others who might have been prepared to receive him with -indifference or indulgence; it was calculated to awaken extravagant -expectations in the minds of some whom it disposed to be his friends. - -The musical world generally, adopted an attitude of hostile expectancy, -and this was shared especially by the 'Murls,'[38] as the young -satellites of Liszt styled themselves. Their 'Padisha,' Liszt himself, -could afford to be more or less indifferent, though he was not -unobservant. 'Avez-vous lu l'article de Schumann dans le dernier numéro -de Brendel?' he says, writing on November 1 to Bülow, who replies on the -5th, alluding to supposed Brahms resemblances: 'Mozart-Brahms ou -Schumann-Brahms ne trouble point du tout la tranquillité de mon sommeil. -Il y a une quinzaine d'années que Schumann a parlé en des termes -tout-à-fait analogues du génie de W. Sterndale Bennett. Joachim, du -reste, connait Brahms, de même l'ingermanique Reményi'.' - -What Brahms' own feelings were on reading the paper cannot be difficult -of conjecture. Joy and bewilderment, gratitude and dismay, must have -struggled within him for mastery. The steady sense of proportion which -was one of his life-long characteristics, the consciousness of the -almost crushing weight of artistic responsibility thus thrust upon him -at the outset of his career, must have conflicted severely with his -natural loyalty and his delight at having won from Schumann such an -overflowing measure of approval. To a man of weaker moral fibre, the -temptation to overmuch exaltation or undue depression might have proved -more than perilous. Brahms, however, was made of stuff that enabled him -to face the situation, to accept it, and finally to triumph over it, and -the means which he used are the only means that can enable even genius -to win the kind of victory that he obtained. They were unswerving -loyalty and single-hearted devotion to an exalted purpose. - -The matter of the selection of works to be submitted for the approval of -the publishers was much discussed both before and after the departure of -Joachim and Johannes from Düsseldorf, with the result that Schumann, -wrote on November 3, to Dr. Härtel, and proposed for publication; as Op. -1, String Quartet; 2, Set of six Songs; 3, Pianoforte Scherzo; 4, Second -set of six Songs; 5, Pianoforte Sonata in C major. He hoped, he said, to -arrive at an understanding by which, whilst the young composer would -derive an immediate pecuniary advantage, the publishers would not run -too much risk, and he suggested that if the sale of the works should, -after five years, have realized expectations, Brahms should then receive -further proportionate remuneration. He proposed as first payments; ten -Louis-d'ors (about £9 10s.) each, for the quartet and sonata, eight -Louis-d'ors (about £7 12s.) for the scherzo, six (£5 14s.) for each of -the two sets of songs--in all about £38. Should these proposals meet Dr. -Härtel's views, he would put Brahms into direct communication with him -in order that the works might be submitted for his consideration. - - 'He is an intimate of Joachim's in Hanover, where he proposes to - spend the winter. Joachim has written an extremely fine overture to - Hamlet, and an equally original and effective concerto for violin - and orchestra, which I can recommend to you with the warmest - sympathy.'[39] - -Schumann's kindness did not stop here. He sent a sympathetic note to -Jakob Brahms at home in Hamburg, tidings of which, and of the rejoicing -family circle, just established in a new dwelling at No. 7 -Lilienstrasse, were forwarded by the father to the young musician at -Hanover. Dr. Härtel did not delay in sending word that he would be glad -to see the manuscripts, for on November 9, Schumann wrote him a letter -of thanks for his favourable reply, and added: - - 'I will write to-day to Brahms, and beg him to go as soon as - possible to Leipzig to introduce his compositions to you himself. - His playing belongs essentially to his music. I do not remember to - have heard such original tone effects before.' - -Dr. Härtel's note was forwarded to Hanover by Schumann in a letter to -Joachim with the words: Give the enclosed to Johannes. He must go to -Leipzig; persuade him to do this, or they will get a wrong idea of his -works; he must play them himself. This seems to me very important.' -After relating the arrangements pending with the publisher, he adds: -'Once again, pray urge him to go to Leipzig for a week;' and concludes: -'Now good-bye, dear friend. Write again before our Dutch journey, and -tell Johannes, the lazy-bones, to do the same.' - -Johannes had, in fact, not written to Schumann since leaving Düsseldorf, -and he still waited, letting nearly three weeks go by before thanking -the master for his article in the _Neue Zeitschrift_. Perhaps this fact -may be regarded as confirmation of the surmise that he had not read -Schumann's prophetic announcement with feelings of unmixed satisfaction, -but if it be so, he allowed no other sign to appear of such a -possibility. He very anxiously reconsidered his choice of works for -publication, however, and before receiving Härtel's letter to Schumann, -had forwarded to Leipzig a somewhat different selection from that -decided on at Düsseldorf, withholding from it the string quartet. -Having settled this matter as far as he could to his satisfaction, and -brought himself to consent to Joachim's persuasions that he should go to -Leipzig for a week, his attitude to Schumann remained one of unmixed -gratitude and affection, as may be read in the following letter:[40] - - 'HONOURED MASTER, - - 'You have made me so immensely happy that I cannot attempt to thank - you in words. God grant that my works may soon prove to you how - much your affection and kindness have encouraged and stimulated me. - The public praise you have bestowed on me will have fastened - general expectation so exceptionally upon my performances that I do - not know how I shall be able to do some measure of justice to it. - Above all it obliges me to take the greatest care in the selection - of what is to be published. I do not propose to include either of - my trios, and think of choosing as Op. 1 and 2 the Sonatas in C and - F sharp minor, as Op. 3 Songs, and as Op. 4 the Scherzo in E flat - minor. You will think it natural that I should try with all my - might to disgrace you as little as possible. - - 'I put off writing to you so long because I had sent the four - things I have mentioned to Breitkopf and Härtel, and wished to wait - for the answer, to be able to tell you the result of your - recommendation. Your last letter to Joachim, however, informs us of - this, and so I have only to write to you that I shall go, as you - advise, within the next few days (probably to-morrow) to Leipzig. - - 'Further I wish to tell you that I have copied out my F minor - Sonata, and made considerable alterations in the finale. I have - also improved the violin sonata. I should like also to thank you a - thousand times for the dear portrait of yourself that you have sent - me, as well as for the letter you have written to my father. By it - you have made a pair of good people happy, and for life Your - - BRAHMS.' - - 'HANOVER, _16 Nov. 1853_.' - -The reader may have noted that the work chosen by Brahms with which to -introduce himself, not only to Joachim, but to the Deichmann circle, to -Wasielewsky, and to Schumann himself, was the C major Sonata now known -as Op. 1; and the natural inference to be drawn, that he considered it -his best as it was his latest achievement, is confirmed by his reply to -Louise Japha when she asked him, later on, why he had numbered his -scherzo, a much earlier work, as Op. 4. 'When one first shows one's -self,' he said, 'it is to the head and not the heels that one wishes to -draw attention.' - -That the composer was not mistaken, if we may thus take his own estimate -of his published works by implication, may be safely affirmed. Sharing -the fundamental characteristics, technical as well as temperamental, of -the earlier written work of the same form--unity of plan, wealth of -resource, impetuous vigour, dreamy romance, a breath that is repeatedly -suggestive of the folk-lore in which the composer loved to steep his -imagination--the Sonata in C gives evidence that the process of -crystallization had already begun which was to distinguish Brahms' -development towards maturity, which, indeed, did not stop at maturity, -but may be traced continuously down to the close of his career. This -process is to be observed, as regards the work in question, in the -themes of the principal movements, which are not only more pregnant in -themselves, but are presented in more concentrated form than those of -the Sonata in F sharp minor. That the first theme of the opening -movement bears traces of the composer's study of Beethoven's Sonata in B -flat, Op. 106, is of no great consequence. The question of musical -reminiscence is so frequently misunderstood that it may be well to -devote a few words to it on the threshold of our narrative of Brahms' -career as a composer, which will take but little account of such -occasional examples as may easily be found in his works--in the opening -bars of the scherzo of Op. 5, the second subject of the first allegro of -Op. 73, and so forth. No one would affirm that reminiscences are in -themselves desirable, but they are almost inevitable, and the important -question is, not whether this or that rhythmical figure, this or that -passing melodic progression, may be found anticipated in some earlier -work, but whether it has been so used the second time as to have become -an integral part of a composition with a distinct individuality of its -own. The parentage of Brahms' sonata Op. 1, as, indeed, of every work -published by him, is loudly proclaimed by each one of its pages. The -opinion entertained by our composer, when in his maturity, of the -self-satisfied reminiscence-hunter, is well illustrated by his reply to -a conceited acquaintance who was courageous enough, on an occasion late -in the seventies, to draw his attention to a transient resemblance in -one of his great works to a passage of Mendelssohn. 'Some booby has -already been telling me something of the kind.' (So was hab' ich schon -von einem Rindvieh gehört), he answered. 'Such things are always -discovered by the donkeys,' he said one day to a friend. - -That the C major Sonata has been heard more frequently than that -numbered as Op. 2, and is still occasionally to be found in a -concert-programme, may be accepted both as evidence and result of its -advance upon the Sonata in F sharp minor. The step from the C major to -the F minor Op. 5, is, however, more remarkable. In this work we find -that the 'wild wing-flapping' of which Schumann wrote has been calmed by -the faithful guardian, not only without detriment, but with strange -increase of strength and certainty, to the 'soaring power.' The progress -shown in the facility of expressing the idea seems almost to have -reacted on the idea to be expressed. No work in the entire catalogue of -Brahms' compositions more convincingly exhibits the composer's title to -rank as a seer of visions. In this one respect, in its exalted -imaginative energy, it may almost be associated with the wonderful first -symphony. Truly, it requires an interpreter who can decipher the vision, -and hearers capable of receiving the interpretation. In spite, however, -of the difficulties it presents both to listener and performer, as well -as of its defects of immaturity, this sonata, which was a favourite with -von Bülow, has grown very gradually into some measure of general -acceptance, and it seems not impossible that it may some day be -frequently heard in the concert-room. It is the only one of Brahms' -extant works which was submitted to Schumann's criticism whilst in -process of completion. In consequence of a mischance presently to be -related, the violin sonata referred to in the letter quoted above was -never published. - -Amongst the young Schumannites who had been roused by Joachim's and -Dietrich's accounts of Brahms to an extreme expectation, which had not -been lessened by the appearance of Schumann's essay, was one Heinrich -von Sahr, a musician from choice rather than necessity, who lived at -Leipzig in the intimacy of the notabilities of its artistic circle. He -had written in October to Dietrich: - - 'Send me your real opinion of Brahms. I am dreadfully anxious to - know him.... What is he like personally? Ah, write! do please write - soon and tell me what you think of him. Is he still in Düsseldorf? - What is his music like? What has he composed?' - -Von Sahr was the first person in Leipzig to make Brahms' acquaintance, -and, on the day after his arrival, insisted that he should leave his -hotel to become his guest. He introduced him to Mendelssohn's old -friend, the celebrated concertmeister, David; to Julius Rietz, conductor -of the Gewandhaus concerts; to the personal acquaintance of Dr. Härtel; -to Wieck and his daughter Marie (Frau Schumann's father and sister); to -Ernst Ferdinand Wenzel, one of Schumann's special friends; to Julius -Otto Grimm, a young musician whose room was on the same staircase as his -own, and who soon became numbered amongst Johannes' particular chums; -and, generally speaking, to the entire Leipzig circle. - - 'He is perfect!' he exclaims in a letter to Albert; 'the days since - he has been here are amongst the most delightful in my - recollection. He answers so exactly to my idea of an artist. And as - a man!--But enough, you know him better than I do.... - Unfortunately, he can only stay till Friday. He has, however, - promised, and I think he will keep his promise, to come again - soon.' - -There was a performance in von Sahr's rooms one morning, by Brahms and -David, of the sonata for pianoforte and violin, and performances on the -same and the following days of the C major Sonata and other solos, with -the now customary result. Johannes also writes to Albert: - - 'The Härtels have received me with immense kindness.... If our - master is still in Düsseldorf, tell him this, and say how highly I - honour him, how much I love him and how grateful I should like to - be.' - -Brahms left Leipzig on Friday, November 25, in Grimm's company, for a -few days' visit to the Countess Ida von Hohenthal, a lady living on her -estate not far from Leipzig, who was devoted to music, liked to receive -young artists, and always had a particularly warm welcome for Grimm and -his friends. Her name, which appears on the title-page of Brahms' Sonata -in F minor, Op. 5, is of interest from its association with this period -of the composer's début in the circle of the Leipzig notabilities, whose -number was swelled, during the first ten days of December, 1853, by the -presence of Berlioz from Paris, and that of Liszt, supported by a body -of his 'Murls,' from Weimar. - -The occasion of the assembling of the members of the New-German party in -the city of Leipzig was one of great importance to them. Berlioz had -been invited to conduct a selection of his works within the precincts of -the classical Gewandhaus itself, and the second part of the subscription -concert of December 1, was to be devoted to the following compositions: -'The Flight into Egypt,' 'Harold in Italy,' 'The Young Shepherd of -Brittany,' the fairy Scherzo from 'Romeo and Juliet,' selections from -'Faust,' and the overture to the 'Carnaval Romain.' Brahms and Grimm -returned in time to be present with their friends on the occasion, which -was made lively by the demonstrations and counter-demonstrations of two -conflicting parties in the audience, but seems to have resulted as -satisfactorily for the Weimarites as they could reasonably have -expected. Brahms and his messiahship were discussed, and none too -gently handled, at a supper-party at which Berlioz, Liszt, Gouvy, and -others of their set, met after the concert, but the hostile attitude -adopted towards the young musician was not enduring. The personal animus -which Schumann's essay had aroused against him was generally disarmed, -as he became known in Leipzig, by the attraction of his unassuming -manner--the more speedily, perhaps, because it was felt that his modesty -rested upon an underlying feeling of confidence in himself and his -purpose. He at once showed his indifference to party jealousies, and -perhaps ran some risk of offending his companions, by calling on Liszt, -who, with Berlioz, Raff, Laub, Reményi, and others, was staying at the -Hôtel de Bavière, and it will presently be shown that Liszt reconsidered -his position to the young musician towards whom public attention had -been so suddenly and strikingly directed. - -Johannes presented himself on the Sunday (December 4) following the -Gewandhaus concert at two houses always open to visitors on the first -day of the week, into both of which we are enabled to penetrate by means -of detailed accounts written immediately after the occurrences they -describe. One is contained in a volume by Helene von Vesque;[41] the -other in an 'open letter' written by Arnold Schloenbach to the editor -Brendel, for publication in the _Neue Zeitschrift für Musik_ of December -9, 1853. - -Hedwig, younger daughter of the wealthy house of Salamon, was not only -possessed of literary and artistic talents, but of a magnetic -personality which enabled her to form many distinguished friendships. -She was long intimate with the families of Mendelssohn, Schumann, -Schleinitz, Hauptmann, and other leaders of musical Leipzig, knew -Joachim as a boy, and was for some time looked upon by her circle as the -probable future wife of the Danish composer, Niels Gade. At the time of -which we write she had nearly completed her thirty-second year, but her -marriage with the composer Franz von Holstein did not take place until -nearly two years later. The extracts from her diaries and letters -contained in Helene von Vesque's book include several of interest to -musical readers. Of young Brahms she says: - - 'Yesterday Herr von Sahr brought me a young man who held in his - hand a letter from Joachim. He sat down opposite me, this young - hero of the day, this young messiah of Schumann's, fair, - delicate-looking, who, at twenty, has clearly-cut features free - from all passion. Purity, innocence, naturalness, power, and - depth--this indicates his being. One is so inclined to think him - ridiculous and to judge him harshly on account of Schumann's - prophecy; but all is forgotten; one only loves and admires him. In - the evening he came to a small party at Elizabeth's [Hedwig's - sister, Frau von Seebach].... He placed himself at a little table - near me, and spoke so brightly and continuously that his friends at - the other table could not be surprised enough, for he is generally - extremely quiet and dreamy. We had plenty of points in common: - Joachim, the Wehners, our mutual favourite poets, Jean Paul and - Eichendorf, and his, Hoffmann and Schiller.... He vehemently urged - me to read "Kabale and Liebe" and the "Serapionsbrüder," but above - all Hoffmann's musical novels, of which he spoke with real - enthusiasm. "I spend all my money on books; books are my greatest - pleasure. I have read as much as I possibly could since I was quite - little, and have made my way without guidance from the worst to the - best. I devoured innumerable romances of chivalry as a child until - the 'Robbers' fell into my hands, of which I knew nothing except - that it had been written by a great poet. I asked for something - more by the same Schiller, however, and so made gradual progress." - He speaks in the same fresh way of music, and when I said to him, - "You will not care so much about music when you have a post as - music-director or professor," he answered smiling, but quite - decidedly: "Yes; I shall not take a post." - - 'And with all this independent strength, a thin boy's voice that - has not yet changed! and a child's countenance that any girl might - kiss without blushing. And the purity and firmness of his whole - being, which guarantee that the spoiled world will not be able to - overcome this man; for, as he has been able to bear his elevation - from obscurity to the perilous position of an idol without losing - any of his modesty, or even his naïveté, so God, who created such - a beautiful nature will continue to help him!' - -Schloenbach's 'open letter' is written in too inflated a style to -deserve lengthy quotation, but one or two extracts may be welcome as -describing our composer's first semi-public appearance in Leipzig. Franz -Brendel's 'at home' on the particular Sunday in question was a more than -usually brilliant function. 'Composers, teachers, virtuosi, lyric and -dramatic poets, romancists, booksellers, critics and journalists--even -preachers--clever, artistic women, charming girls,' were gathered in the -editor's reception-rooms, and one artist after another performed for the -edification of the distinguished audience. A harp solo executed by -Jeanette Paul, and rewarded by a double handshake from Berlioz; one on -the pianoforte by Krause; a number of vocal contributions by the great -tenor Götze--songs by Schumann and Wagner, and, in association with the -accomplished amateur and Wagner enthusiast Frau Lily Steche, the famous -'Lohengrin' duet--formed the earlier part of the impromptu programme. - - 'The last performance of all was of special interest. Following - maturity came immaturity, but immaturity of rare endowment and rich - promise; immaturity already considerably defined, because possessed - of individual power and true originality. We listened now to the - young Brahms from Hamburg, referred to the other day in Schumann's - article in your journal. The article had, as you know, awakened - mistrust in numerous circles (perhaps in many cases only from - fear). At all events it had created a very difficult situation for - the young man, for its justification required the fulfilment of - great demands; and when the slender, fair youth appeared, so - deficient in presence, so shy, so modest, his voice still in - transitional falsetto, few could have suspected the genius that had - already created so rich a world in this young nature. Berlioz had, - however, already discovered in his profile a striking likeness to - Schiller, and conjectured his possession of a kindred virgin soul, - and when the young genius unfolded his wings, when, with - extraordinary facility, with inward and outward energy, he - presented his scherzo, flashing, rushing, sparkling; when, - afterwards, his andante swelled towards us in intimate, mournful - tones, we all felt: Yes, here is a true genius, and Schumann was - right; and when Berlioz, deeply moved, embraced the young man and - pressed him to his heart, then, dear friend, I felt myself affected - by such a sacred tremour of enthusiasm as I have seldom - experienced.... If you should smile now and then whilst reading my - letter, remember that it is the poet who has spoken, and that it - was yourself who invited him to do so. - - 'LEIPZIG, - '_December 5, 1853_.' - -It must not be forgotten, in connection with these effusive lines, that -the party circumstances of the time and the excitement caused by -Schumann's article made Brahms' appearance amongst the guests of -Brendel, who had identified himself with the New-Germans, an event of -importance, to be regretted by the younger and more excitable of the -Leipzigers, and welcomed by the Weimarites. It no doubt contributed to -the satisfaction expressed by Liszt, in a letter to Bülow, on his return -to Weimar after a second appearance of Berlioz in Leipzig, and the -sympathetic tone of this communication clearly shows that the motive of -policy which dictated it was supported by a more personal feeling of -approbation. He says on December 14: - - 'Je viens de passer quelques jours à Leipzig, où j'ai assisté aux - deux concerts de Berlioz le 1er et le 11 de ce mois. Le résultat - d'opinion à été en somme très favorable à Berlioz.' - -And two days later: - - 'Écrivez-moi de Hanovre, où vous ferez bien de passer une quinzaine - de jours. Vous y trouverez Brahms auquel je m'intéresse sincèrement - et qui s'est conduit avec tact et bon goût envers moi durant les - quelques jours que je viens de passer à Leipzig en l'honneur de - Berlioz. Aussi l'ai-je invité plusieurs fois à dîner et me plais à - croire que ses "Neue Bahnen" (New Paths) le rapprocheront davantage - de Weimar par la suite. Vous serez content de la Sonate en Ut dont - j'ai parcouru les épreuves à Leipzig et qu'il m'avait déjà montré - ici. C'est précisément celui de ses ouvrages qui m'avait donné la - meilleure idée de son talent de composition. Mille et mille tendres - amitiés à Joachim, auquel j'ai fait demander sa partition de - l'ouverture de Hamlet par Brahms et par Cossmann. Rappelez-lui que - je désire beaucoup la faire exécuter à la prochaine représentation - et la maintenir pour les représentations subséquentes.'[42] - -Brahms was persuaded to make his first public appearance in Leipzig at -one of the David Quartet Concerts, which took place regularly in the -small hall of the Gewandhaus. The programme of the occasion consisted of -Mendelssohn's D major Quartet, Brahms' C major Sonata and E flat minor -Scherzo, and Mozart's G minor Quintet. The reception of the new works by -the audience was not discouraging, in spite of the absence from them of -the qualities that go to the making of an immediate popular success, and -most of the critics treated the composer sympathetically. Some of them, -not content with writing about his music, discussed his appearance, and -one described his 'Raphael head.' - - 'In the second Quartet concert, which took place on December 17,' - says 'Hoplit' [Dr. Richard Pohl, a writer in the interests of the - Weimar school, who was on the staff of the _Neue Zeitschrift_], - 'Johannes Brahms presented himself to the public with his Sonata in - C major and his Scherzo. Schumann's article caused much division - amongst the uninitiated, but all doubt has been dispelled by - Brahms' public appearance, and we concur with all our heart, and - with the warmest satisfaction, in Schumann's opinion of the - unassuming and richly-endowed young artist. There is something - forcible, something transporting, in the works which Brahms - performed the other evening. A ripeness rare in one so young, a - creative power springing spontaneously from a rich artist-mind, are - revealed in them. We find ourselves in the presence of one of those - highly-gifted natures, an artist by the grace of God. Some - roughnesses and angularities in the outward, very independent form - of Brahms' compositions may be overlooked for the sake of the - imposing beauty of their artistic aim. His modulations are often of - striking effect; they are frequently surprising, but always fine - and artistically justifiable. Brahms' spirit is in affinity with - the genius of Schumann. He will, advancing steadfastly and safely - along his "new paths," some day become what Schumann has predicted - of him, an epoch-making figure in the history of art.' - -Stress was laid by the orthodox _Signale_ on the originality and -freshness of the composer's invention, on the significance of his -thematic material, and on his eminent gift for presenting his ideas in -varied and interesting forms. His facility in unexpected modulations was -noted, but, by this critic, not always approved. With regard to the -performance, 'much appeared more difficult to the executant than to the -creator, for the sonata is very hard to play, and Brahms is a better -composer than virtuoso.' - -The composer's Leipzig successes had, indeed, been sufficient to enable -him to arrange with a second publisher, Bartolf Senff, for the -production of his sonata for violin and pianoforte, and of a third set -of songs, as Op. 5 and Op. 6, respectively. His satisfaction at the -remarkable turn in his affairs is summed up in a letter, overflowing -with happiness, to the master at Düsseldorf. The style of the address is -in allusion to the Schumanns' just completed brilliantly successful -concert-journey in Holland. - - 'MYNHEER DOMINE, - - 'Forgive him, whom you have made so boundlessly glad and happy, for - the jesting address. I have only the best and most satisfactory - news to relate. - - 'To your warm recommendation I owe my reception in Leipzig, - friendly beyond all expectation, and especially beyond all desert. - Härtels declared themselves ready, with great pleasure, to print my - first attempts. They are these: Op. 1, Sonata in C major; Op. 2, - Sonata in F sharp minor; Op. 3, Songs; Op. 4, Scherzo in E flat - minor. - - 'I delivered to Herr Senff for publication: Op. 5, Sonata in A - minor for Violin and Pianoforte; Op. 6, six Songs. - - 'May I venture to place Frau Schumann's name upon the title-page of - my second work? I scarcely dare to do so, and yet I should like so - much to offer you a little token of my respect and gratitude. - - 'I shall probably receive copies of my first things before - Christmas. With what feelings shall I then see my parents again - after nearly a year's absence. I cannot describe what is in my - heart when I think of it. - - 'May you never regret what you have done for me, may I become - really worthy of you. Your - - 'JOH. BRAHMS.' - -The letter was written from Hanover, whither Johannes proceeded on the -20th, accompanied by Grimm, with whom the acquaintance of the first -Leipzig days had already ripened into an intimacy that remained one of -the closest of our composer's life. A treasured memorial of its -commencement is in the possession of Fräulein Marie Grimm--the original -manuscript of the set of six Songs, Op. 6, as arranged for publication, -with Brahms' autograph inscription on the title-page: 'Meinem lieben -Julius zur Erinnerung an Kreisler jun., 8 Dec., 1853.' - -There was quite a reunion at Hanover, for Dietrich had come over by -Johannes' particular desire to meet him, and the four young men spent -two pleasant days in each other's society. Grimm now first made -acquaintance with Joachim, and remained behind to cultivate his -friendship when the two others departed. By the end of the week Johannes -was in his parents' arms. - -It is not difficult to imagine something of the mother's feelings as she -welcomed back the long-absent Hannes, who had always been as the apple -of her eye, or to picture the simple preparations, the sweeping and -scouring, the polishing and decorating, with which she and Elise -anticipated his arrival; but who shall measure the father's joy on the -return of his young conquering hero? The swiftly-progressing successes -of Johannes' journey had been most literally Jakob's own personal -triumphs, vindicating emphatically every one of the stages of his -career; the obstinate disobedience of his boyhood, the pertinacious -struggle of his youth, the reckless adventure of his marriage. What -wonder that, as time went on, Johannes became to him as a sacred being -in whose presence he felt awed and unable to speak or act naturally, but -of whom, when alone with a sympathetic listener, he would talk -unweariedly by the hour, tears of joy running down his cheeks. - -As to Johannes himself, the feelings he had not been able to describe in -his letter to Schumann were probably strong enough within his heart to -touch the joy of the first home embraces with a gravity that did not -immediately admit of speech. The first emotions over, however, an -exuberant mirthfulness asserted itself in the bearing of the happy young -fellow. He established at this time a custom from which he never -afterwards departed. The first visit paid by him after his arrival was -to Marxsen. One to the Cossels soon followed, and, on this occasion of -his return from a first real absence, he went the round of several -Lokals, where he had been accustomed to work regularly, and in his -lightness of heart flourished on some of the instruments that had been -the sign of his bondage, in very joy at his emancipation. - -The radiance of this year's Christmastide in the little home where the -young genius dwelt for a few days, the simple, unspoiled child of loving -and beloved parents, might have been taken for granted. We possess an -assurance of it, however, in some words written by Johannes, at the end -of the year, to Schumann: - - 'HONOURED FRIEND, - - 'Herewith I venture to send you your first foster-children (which - are indebted to you for their world citizenship), very much - concerned as to whether they may rejoice in your unaltered - indulgence and affection. To me, they look in their new form much - too precise and timid, almost philistine indeed. I cannot accustom - myself to seeing the innocent sons of Nature in such decorous - clothing. - - 'I am looking forward immensely to seeing you in Hanover and being - able to tell you that my parents and I owe the most blissful time - of our lives to your and Joachim's too-great affection. I was - overjoyed to see my parents and teacher again, and have passed a - glorious time in their midst. - - 'I beg you to express the most cordial greetings to Frau Schumann - and your children of - - 'Your - 'JOHANNES BRAHMS. - - 'HAMBURG, _in December, 1853_.' - -As we have said in a previous chapter, the violin and pianoforte sonata -that was to have been published as Op. 5 was not given to the world. The -manuscript was mysteriously lost. How or by whose agency has never been -made clear. That Brahms delivered it to Senff for publication is -expressly stated in his letter to Schumann. The known circumstances of -the case lead to the conclusion that it was borrowed from the publisher -by Liszt during his Leipzig visit--no doubt with Brahms' -concurrence--for performance with Reményi at the Hôtel de Bavière, and -not returned. In a letter written by Liszt six months later to -Klindworth, who was giving concerts in England with Reményi, he says: - - 'Reményi does not answer me about the manuscript of Brahms' violin - sonata. Apparently he has taken it with him, for I have, to my - vexation, hunted three times through the whole of my music without - being able to find it. Do not forget to write to me about it in - your next letter, as Brahms wants the sonata for publication.' - -There is a ring of vexation in these words which suggests that Liszt -felt responsible for the work. No trace of it was discovered, however, -until 1872, nineteen years after its disappearance, when, says Dietrich, -'whilst I was staying in Bonn to conduct my D minor Symphony, -Wasielewsky showed me a very beautifully copied violin part, and asked -me if I knew the handwriting. I immediately recognised it as that of -Brahms' first period. We regretted very much that the pianoforte part -was not to be found. It will have been the violin part of the lost -sonata.' - -The works actually published, therefore, before and after the New Year -were--by Breitkopf and Härtel, the Sonatas in C, Op. 1, and in F sharp -minor, Op. 2, dedicated respectively to Joachim and Frau Schumann; the -set of Songs, Op. 3, dedicated to Bettina von Arnim, whose acquaintance -Brahms had made, through Joachim, during his visit to Hanover in -November; and the Scherzo, Op. 4, dedicated to Wenzel: and by Bartolf -Senff, the Sonata in F minor, Op. 5, dedicated to the Countess Ida von -Hohenthal, substituted for the lost work; and the set of Songs dedicated -to Louise and Minna Japha, Op. 6. Schumann presented a copy of the -songs, Op. 6, to the Japhas immediately on their publication, on which -he wrote: 'Dem Fräulein Japha, zum Andenken an das Weihnachtsfest, 1853, -als Vorbote des eigentlichen Gebers. R. Schumann' (To the Misses Japha, -in remembrance of the Christmas Festival, 1853, as forerunner of the -real giver). - -In the two sets of songs, Op. 3 and 6, and in the third, Op. 7, -dedicated to Dietrich and published but little later, may already be -perceived the composer whose lyrics were destined to take their place in -the heart of the great German people as a unique portion of a peculiar -national treasure. Deeply original, absolutely sincere, of an -imagination that is angelic in its purity, feminine in its tenderness, -and virile in its reticent strength, Brahms' songs admit us to communion -with a rarely ideal nature, and the intuitive power of perfect -expression which marks some of his early lyrics anticipates the -experience of his later years. The beautiful 'O versenk dein Leid' will, -no doubt, always be treasured as the most exquisite example, in its -domain, of this early period of his fancy, but each of the three first -song collections contains one or more tone-poems to which the -music-lover returns with delight. Amongst them may be mentioned 'Der -Frühling' (Op. 6, No. 2) and 'Treue Liebe' and 'Heimkehr' (Op. 7, Nos. 1 -and 6). The last-named little gem is the earliest written of the -published songs; unfortunately, it has only one verse. - -The energy of imagination dwelling within Brahms' songs is often the -more striking from its concentration within the short form preferred by -the composer in the majority of instances. In it, as time went on, he -gave vivid expression to thoughts wistful or bright, playful or sombre, -naïve or deeply pondered; and whilst his lyrics are especially -characterized by the clear shaping of the song-melody, and the -distinctness of the harmonic foundations upon which it rests, many of -them derive an added distinction from a quiet significance in the -accompaniment, which, whilst helping the musical representation of a -poetic idea, never embarrasses the voice. In spite of their apparent -simplicity, the accompaniments are, however, frequently difficult both -to read and to perform. - -It is to be said, generally, of Brahms' songs that they do not betray -the marked influence of either of the two great lyrical composers who -preceded him. They have no affinity with those of Schumann, and if many -of them share the fresh naturalness of Schubert's inspirations, this is -rather to be traced to a partiality for the folk-song, in which both -composers found an inexhaustible stimulus to their fancy. On the other -hand, in Brahms' songs we frequently meet the musician who has -penetrated so deeply into the art of Bach that it has germinated afresh -in his imagination, and placed him in possession of an idiom capable of -serving him in the expression of his complex individuality. Each song -bears the distinctive stamp of the composer's genius, though hardly two -resemble each other, and it would be difficult to point to one that -could be mistaken for the work of another musician. - -The young Kreisler was in the habit of presenting his manuscripts, and -especially those of his songs, to intimate friends. Most of these gifts -bear his boyish, affectionate inscriptions, some only the date and place -of composition. 'Göttingen, July, 1853,' is written at the end of an -autograph copy of 'Ich muss hinaus' presented at Düsseldorf to the -Japhas. 'Weit über das Feld' has a friendly inscription in his hand to -the sisters. His manuscripts--probably the originals--of some of the -songs from Op. 3, notably 'O versenk' and 'In der Fremde,' the latter -dated 1852, were given 'To my dear Julius in kind remembrance' (J. O. -Grimm). Touching pictures arise in the mind as one looks at these pages, -some of them discoloured by time, of the young idealist with his girlish -face and long fair hair sitting at his night toil, his soul whole and in -his possession, his thoughts straining towards the early morning hours, -the only ones of the twenty-four which he was certain of being able to -devote to the loveliest inspirations of his muse. In the eager affection -of the inscriptions is to be read his bounding joy at his release; in -the devoted remembrance with which his gifts have been treasured may be -perceived one of the qualities of his personality which he, perhaps, but -little understood--the power of attracting the abiding love of loyal -friends. - -It is now time to sum up the real significance in the life of Brahms of -the remarkable first concert-journey, the account of which has so long -occupied our attention, and this may be done in a very few words. The -journey was the transformation scene of his life. The obscure musician -who, having been guarded from the dangers of prodigy fame, had started -from Hamburg in April without prestige, without recommendations, without -knowledge of the world, its manners or its artifices, had passed from -the two or three provincial platforms on which he had appeared as -Reményi's accompanist, to present himself as pianist and composer in the -Leipzig Gewandhaus, and to return to his home in December the accepted -associate of the great musicians of the day; recognised by Weimar, -appreciated by Leipzig; encouraged by Berlioz and Liszt, claimed by -Schumann and Joachim. Before he had well begun to climb the steep hill -of reputation he had found himself transported to its summit. Starting -hardly as an aspirant to fame, he had come back the proclaimed heir to a -prophet's mantle. His life's horizon had been indefinitely widened, his -whole existence changed. Back again amid the familiar scenes of Hamburg, -the events of the past nine months must have seemed to him as the -visions of an enchanted dream. - -To the wise and faithful friend in Altona the occurrences which had -startled the musical world had seemed in no wise astonishing. - - 'There was probably,' wrote Marxsen later to La Mara, 'but one man - who was not surprised--myself. I knew what Brahms had accomplished, - how comprehensive were his acquirements, what exalted talent had - been bestowed on him, and how finely its blossom was unfolding. - Schumann's recognition and admiration were, all the same, a great, - great joy to me; they gave me the rare satisfaction of knowing that - the teacher had perceived the right way to protect the - individuality of the talent, and to form it gradually to - self-dependence.' - -These last words seem to indicate that here is a fitting opportunity for -the brief consideration of a question which has not seldom been raised, -and has received various answers, often biassed by prepossession. What -was Marxsen's share in the art of Brahms? A Brahms would have learned -what he did learn, if not from Marxsen then from someone else, has been -the opinion of some people to whose judgment respect is due. Such -influence as Marxsen had on Brahms' development was merely negative, is -the reply of others; and it has been affirmed, on the authority of Herr -Oberschulrath Wendt, that Brahms declared on one occasion that he had -learned nothing from his master.[43] - -Without stopping to discuss whether it has been just to the memory -either of Brahms or of Marxsen to give the permanence and emphasis of -print to whatever depreciatory words Brahms may have let fall in an -unguarded moment to an intimate friend, it may safely be asserted that -if our composer fortunately became aware, at an early age, of what had -been the weak points of his master's teaching, he preserved, when at the -height of his mastership, a clear recognition and grateful appreciation -of the strong ones. - -Marxsen has himself indicated, in the last sentence of the above -quotation from his letter, the two main purposes of his teaching, both -of which were attained by him in the case of Brahms with absolute -success. To have 'protected the individuality' of an endowment so -powerfully original as that of our composer might, perhaps, be regarded -as an easy achievement if taken alone; though even here it should be -remembered that Marxsen made himself responsible, when the affectionate -and impressionable Hannes was at a tender age, for his musical -education, and must, therefore, have been instrumental in directing his -creative energy to that study of the highest art by means of which it -developed to such good purpose. To have trained his talent to the -'self-dependence' it had attained by the time the young composer was -twenty, however, implies in the teacher a distinctness of aim, a -knowledge of method, an insight and originality, an active and potent -influence, which few will fail to attribute to Marxsen who have a real -acquaintance with the large works of Brahms' earliest period, written at -the time that his formal pupilage was drawing or, in the case of one -work, had just drawn, to its close. - -Limitation of space prevents the possibility of giving here a detailed -description of Marxsen's methods of instruction, but, as some account of -their excellencies and shortcomings seems to be called for, it may be -said that as a teacher of free composition, and especially of the art of -building up the forms which may be studied in the works of Haydn, -Mozart, and Beethoven, he was great--the more so that he did not educate -his pupils merely by setting them to imitate the outward shape of -classical models. He began by teaching them to form a texture, by -training them radically in the art of developing a theme. Taking a -phrase or a figure from one or other of the great masters, he would -desire the pupil to exhibit the same idea in every imaginable variety of -form, and would make him persevere in this exercise until he had gained -facility in perceiving the possibilities lying in a given subject, and -ingenuity in presenting them. Pursuing the same method with material of -the pupil's own invention, he aimed at bringing him to feel, as by -intuition, whether a musical subject were or were not suitable for -whatever immediate purpose might be in view. The next step was that the -idea should be pursued not arbitrarily, but logically, to its -conclusion--a conclusion that was not, however, allowed to be a -hard-and-fast termination. Marxsen's pupils were taught to aim at making -their movements resemble an organic growth, in which each part owed its -existence to something that had gone before. 'Unity clothed in variety' -might have been his motto. - -The strength and freedom of craftsmanship, the immense resource imparted -by such training, and the assistance lent by its earlier stages to the -later study of construction, hardly need pointing out, nor is it -necessary to dwell upon particular instances of its efficacy in the case -of Brahms. Every page of his instrumental music teems with -illustrations of the fruitfulness of his youthful studies; their result -lives in the very core of his technique, and to them may in great part -be traced, not only his mastery of form, but the elasticity which from -the first marks his essential adherence to the models of classical -tradition. - -The severe course of apprenticeship in the art of free contrapuntal -writing to which Marxsen subjected his pupil, which furthered, and was -itself helped, by his training, in thematic development, is abundantly -evident in the movements of the three pianoforte sonatas, and the -estimation of the precise value especially of the two first of these -works is facilitated by some knowledge of the methods from which they -resulted. That Brahms, when at the summit of his mastership, expressed -his exact sense of his indebtedness to his teacher, to whom he -constantly testified his gratitude and affection both by word and -action, is in the knowledge of the present writer. Gradually in the -course of his career he had, he said, made the acquaintance of nearly -all the foremost musicians of Germany, and he believed that in the -teaching of the logical development of a theme, and in the teaching of -form, especially what is called 'sonata form,' Marxsen, even if he could -be equalled could not be excelled. - -Eminent as he was, however, as an instructor in the art of free -imitative composition, in that of pure part-writing Marxsen was no -trustworthy guide. That he had gone through a course of training in -strict counterpoint, canon and fugue--the surest foundation for the -attainment of facility in part-writing--in his early days under Clasing, -and that he carried his pupils through the same branches of study, goes -without saying; but he had retained neither the exact knowledge, nor the -interest, necessary to enable him to impart to his pupils purity and -ease in the strict style of writing, or to train them to the effective -application of the contrapuntal skill they might have acquired, in -compositions in pure parts for voices or instruments. - -It would be a nice question to determine, however, whether the very fact -of Marxsen's deficiencies did not result in a balance of gain to -Brahms. While his powers of imagination obtained from what his master -did do, encouragement and strength and facility in concentrating -themselves into shape, they were exempt by the absence of that which he -did not do from the danger of being dwarfed or intimidated. Marxsen -helped Johannes to the putting forth of his strength in confidence and -joy, and if the young musician ever felt it irksome to have to go back -to the confining and polishing processes, he knew that the conquests won -by him during the time of his pupilage ensured him final victory in the -fresh course of serious study to which he soon voluntarily submitted -himself. - -Marxsen's indifference to the study of part-writing is strangely -illustrated by the absence of his name from the list of subscribers to -the great Leipzig edition of Bach's works; an absence which can hardly -be accounted for, in view of his enthusiasm for the instrumental works -of the mighty master, otherwise than by the supposition that his -vehement intolerance of religious creeds had impaired his interest in -the branch of musical art which originated and reached its highest -development in the service of the churches. The majority of the works -made generally known by the publications of the Bach Society were -written for use in the two churches for the musical portion of whose -services Bach was for many years responsible. This hypothesis is equally -plausible in its application to the church composers and learned -contrapuntists of the early Italian and German schools. - -An interesting article on Marxsen is to be found in a little book called -'Künstler Charakteristiken aus dem Concert-Saal,' by his friend -Professor Joseph Sittard, and in an address given by this author at a -Brahms memorial concert in Hamburg immediately after the master's death, -the following sympathetic allusion was made to the beloved teacher: - - 'Brahms had the rare good fortune of being trained under a teacher - whose like does not fall to the lot of many young musicians. - Pledged to no special artistic creed, sworn to no particular - tendency or party, Marxsen had interest to bestow upon every - important development of musical art. He never gave instruction on - an inflexible scheme, but allowed himself to be guided by the - separate requirements of each case. He was careful not to interfere - with the individuality of young talent, not to meddle with the - distinctive peculiarities of his pupil's creative ability; he only - guided them within artistic confines. Brahms regarded his teacher - with touching gratitude, and when at the height of his creative - power still continued to send his compositions, before their - publication, for Marxsen's critical inspection. Nothing is more - indicative of the intimate relation between the two men than the - letters (from Brahms to Marxsen) that I was permitted to see years - ago.' - -Unfortunately for the musical world, only one or two scraps of this -correspondence remain. On the death of Marxsen in 1887, Brahms' letters -to his teacher were returned to him at his request, and were destroyed. - -[36] 'I have here in my mind Joseph Joachim, Ernst Naumann, Ludwig -Norman, Woldemar Bargiel, Theodor Kirchner, Julius Schäffer, Albert -Dietrich, not forgetting the earnest-minded E. F. Wilsing. As trusty -heralds in the right path, Niels W. Gade, C. F. Mangold, Robert Franz, -and St. Heller should also be named here.' - -[37] Joachim. - -[38] Anti-philistines. - -[39] 'Robert Schumann's Briefe.' Neue Folge. Edited by Gustav Jansen. - -[40] The letters in this and the following chapters from Brahms to -Schumann were first published by La Mara in the _Neue Freie Presse_ of -May 7, 1897. - -[41] 'Eine Glückliche. Hedwig von Holstein in ihren Briefen und -Tagebuchblättern.' - -[42] 'Liszt's Briefe.' Edited by La Mara. - -[43] Kalbeck's 'Johannes Brahms,' p. 35. - - - - - CHAPTER VI - 1854-1855 - - Brahms at Hanover--Hans von Bülow--Robert and Clara Schumann in - Hanover--Schumann's illness--Brahms in Düsseldorf--Variations on - Schumann's theme in F sharp minor--B major Trio--First public - performance in New York--First attempt at symphony. - - -With the opening of the year 1854, Brahms may be said to have entered -upon the first chapter of his new life. The transition stage of his -career had been defined with unusual sharpness of outline. The eventful -journey had been as a bridge by which he had passed from youth to -manhood. Behind it were the dark years of lonely effort with issue still -untried, the gathering up of strength and treasure but dimly recognised -by the worker, labouring under a thick haze of obscurity; in front lay, -straight and clear, the pathway of endeavour towards a fixed goal, -cheered by companionship and illumined by the consciousness of a measure -of success already won. Having tranquillized his mind and shaken off the -effects of months of excitement by nearly a fortnight's intercourse with -his family and friends at Hamburg, Johannes was impatient to get quietly -to work again, all the more since new and forcible motives--the sense of -his responsibility to Schumann, and the desire to become as far as -possible worthy of his encomiums--added their influence to the energy of -his nature, and helped to spur him on to the resolve to outdo even his -utmost. - -Bringing his stay in Hamburg to a close with the opening of the New -Year, he left on January 3 or 4 for Hanover, where he found a new -introduction awaiting his arrival. Hans von Bülow, who had passed -Christmas in Joachim's 'dear society,' writes on the 6th to his mother: - - 'I have become tolerably well acquainted with Robert Schumann's - young prophet Brahms. He arrived two days ago, and is always with - us. A very lovable, frank nature, and a talent that really has - something God-given about it.'[44] - -Bülow took an early opportunity of carrying out Liszt's desire, hinted -at in the letter of December 16. He played the first movement of the C -major Sonata on March 1 at Frau Peroni-Glasbrenner's concert in Hamburg, -and was thus the first artist--always excepting the composer himself--to -perform a work of Brahms in public. That his attitude towards our -composer did not, during the succeeding twenty years, correspond with -this promising beginning, as will be seen hereafter, may be chiefly -attributed to the disappointment with which the disciples of the -New-German school gradually realized that their artistic aims were at -variance with the mature convictions of Joachim, whom they reckoned for -a while as one of themselves, and of Brahms, whose allegiance they had -hoped to secure. - -Johannes, established in a lodging of his own at Hanover, began the -routine of work, diversified by intimate association with a few chosen -friends, which he preferred to the end of his life, and was soon -absorbed in the composition of his B major Pianoforte Trio. The intimacy -between Joachim and himself was now widened to a triple alliance by the -addition of Grimm, and lively discussions were carried on in Joachim's -rooms late into the night by the three friends. The young violinist had -not been a smoker up to this time, but his companions used to envelop -him and themselves in such thick clouds of tobacco, that one night, -unable any longer to endure his sufferings passively, he suddenly -declared his surrender, and began to puff away with the others, to -Brahms' and Grimm's great delight. - -Schumann had accepted an invitation from Hille, the founder and -conductor of the 'New Singakademie' at Hanover, to be present at a -performance of his 'Paradise and the Peri' on January 28, and, to the -joy of the young musicians, wrote to Joachim to suggest that his visit, -which was to be made in the company of his wife, should be the occasion -of several public appearances. He continues: - - 'Now, where is Johannes? Is he with you? If so, greet him. Is he - flying high--or only amongst flowers? Is he setting drums and - trumpets to work yet? He must call to mind the beginnings of the - Beethoven symphonies; he must try to do something of the same kind. - The beginning is the main point; when one has begun, the end seems - to come of itself.... - - 'I hope also to see, or better still to hear, something new of - yours soon. You, too, should remember the above-named symphony - beginnings, but not before Henry and Demetrius.[45] - - 'I always get into a good humour when I write to you. You are a - kind of physician for me. - - 'Adieu. - - 'Your R. SCHU.' - -Some idea of the happy week passed by the three friends in the constant -society of their 'master' may be gathered from Moser's charming -description in his Life of Joachim. Schumann could not see enough of his -beloved young favourites, Joachim and Brahms, and readily extended his -cordiality to their companion Grimm. The third subscription concert was -a veritable Schumann festival. Joachim conducted the master's fourth -symphony, 'evidently with great delight and love,' says the _Hanover -Courier_, as well as Beethoven's Pianoforte Concerto in E flat, played -by Frau Schumann, and performed Schumann's lately-written Violin -Fantasia dedicated to him and first played at Düsseldorf. There were -plenty of opportunities for private meetings in Joachim's rooms, in the -railway restaurant, and elsewhere, that were unshadowed by any -presentiment of an impending catastrophe; for Schumann was unusually -bright and communicative, and took pleasure in amusing his young -friends with anecdotes of his own early experiences. The hours thus -passed were tenderly remembered in after-years by those who had been -gladdened by the setting radiance of a light soon to be extinguished. - - 'What a high festival we have had through the Schumanns' visit,' - writes Brahms, a few days after their departure, to Dietrich in - Düsseldorf. 'Everything has seemed alive since. Greet the great - ones from me many times.'[46] - -A week after their return Schumann wrote: - - '_February 6, 1854._ - - 'DEAR JOACHIM, - - 'We have been at home eight days, and have not yet sent a word to - you and your companions. I have, however, frequently written to you - with invisible ink.... We have often thought of the past days; may - others like them come quickly! The kind royal family, the excellent - orchestra, and the two young dæmons moving amid the scenes--we - shall not soon forget it. - - 'The cigars are very much to my liking. It seems they were a - handshake from Brahms, and, as usual, a very substantial and - agreeable one. - - 'Write to me soon--in words and in tones! - - 'R. SCHU.' - -It is sad to realize that the very day after sending this letter, so -free from signs of depression, so bright and healthy in tone, Schumann -wrote down his last musical thought, the now well-known Theme in E flat; -and that three weeks later he was overtaken by the crisis of his -terrible malady. Alarming symptoms declared themselves as the month went -on; the master became a prey to attacks of mental agony, and was -distressed by illusions, imagining that he constantly heard one or more -notes from the impression of which he was unable to rid himself. In the -intervals of relief from his sufferings he continued to compose, and -wrote several variations on his theme, which he fancied had been brought -to him in the night by the spirits of Schubert and Mendelssohn; but his -condition gave rise to such grave apprehension that he was constantly -watched by his wife in turn with one or another devoted friend. On -February 27, however, he managed to leave his house unobserved, and a -few moments afterwards had thrown himself into the Rhine. He was rescued -by some sailors belonging to a steamboat near, and conveyed to his home -in a carriage, but his state continued so distressing that Frau -Schumann, herself needing care at the time, was not allowed by the -doctors to see him, and he was taken, on March 4, to the private -establishment of Dr. Richarz at Endenich, near Bonn. - -It would be difficult to describe in exaggerated terms the consternation -with which a great part of the musical world, and especially the friends -of Schumann's immediate circle, became aware of these overwhelming -occurrences. Sorrow for the great master, love for the indulgent friend, -alarmed sympathy for the stricken wife, kept the younger of his -disciples in a state of restless agitation, which seems to have found -its principal relief in the writing of letters of excited inquiry to -Dietrich, the only one of their number on the scene of the catastrophe. - - 'Never in my life has anything so moved and deeply shaken me,' - wrote Theodor Kirchner, 'as the dreadful occurrence with our - honoured, beloved Schumann.... We should all be terribly lonely - without him, and as regards myself, all pleasure in my own - endeavours would be gone.' - - 'Pray send me an exact description of the whole catastrophe _as - quickly as possible_,' so ran Naumann's letter, 'especially if - there is any hope of Schumann's complete restoration, how his - unhappy wife has borne this cruel stroke of fate, and how you are - yourself. I repeat my request for _immediate_ news.' - -To the friends in Hanover, who had so lately seen Schumann in apparent -enjoyment of unwonted health both of body and mind, the tidings, of -which they first became informed through a paragraph in the _Cologne -Gazette_, seemed too sudden and tragic to be credible. - - 'DEAR DIETRICH--'Joachim dashed off-- - - 'If you have any feeling of friendship for Brahms and me, relieve - our anxiety, and write word instantly whether Schumann is really as - ill as the paper says, and let us know at once of any change in his - condition. It is too grievous to be in uncertainty about the life - of someone to whom we are bound with our best powers. I can - scarcely wait for the hour that will bring me tidings of him. I am - quite beside myself with dread. - - 'Write soon. - - 'Your J. JOACHIM.' - -It was impossible, however, to wait for an answer, and no letter could -have appeased the desire of the affectionate young musicians to be on -the spot; so Brahms, having no fixed duties to detain him, started -immediately for Düsseldorf, and Joachim hoped to follow, if only for a -couple of days. On March 3 Johannes sent his report: - - 'DEAREST JOSEPH, - - 'Do come on Saturday; it comforts Frau Schumann to see certain dear - faces. - - 'Schumann's condition seems to be improved. The physicians have - hope, but no one is allowed to see him. - - 'I have already been with Frau Schumann. She wept very much, but - was very glad to see me and to be able to expect you. - - 'We expect you on Sunday morning, and Grimm on Wednesday. - - 'Your - 'JOHANNES.'[47] - -'To my great relief,' wrote Dietrich a fortnight later to Naumann, -'Brahms came at once after hearing the dreadful news. Grimm is also -here. Joachim was here for two days, and is coming again in a few -weeks.' - -At the end of the letter he adds: - - 'Brahms has written a quite wonderful trio, and is a man to be - taken in every respect as a pattern. With all his depth, he is - healthy, fresh, and lively, entirely untouched by modern - morbidness.' - -It now became the cherished duty of the young men to do what in them lay -to support and comfort the sorely-tried wife in her desolation. Nothing, -perhaps, could have helped and soothed her so much as the feeling that -the tie which primarily bound them to her was that of their devotion to -her husband, the knowledge that they mourned with her in a common grief, -and that their sympathy was touched by their personal sense of what she -had lost. Never, indeed, was more loyal sympathy offered for the -consolation of sorrow, and it had its reward. After the first terrible -days had been lived through, a calm and self-possession returned to the -illustrious lady, which heightened, if possible, the young artists' -admiration of her. The news from Endenich improved towards the end of -the month, and on April 1 even became reassuring. The patient was now -passing his time walking, or quietly sleeping, undisturbed by fits of -anxiety or delusions of hearing; was gentle towards his attendant, had -conversed a little with him, and had even made a joke appropriate to the -day. Frau Schumann summoned up courage to look with hope to the future, -and allowed herself to be persuaded to resume some of her ordinary -avocations. The short remainder of the musical season was, indeed, -passed in necessary retirement; but the great pianist found solace in -quietly studying her husband's compositions anew with Dietrich, Brahms, -Grimm, and others of the circle, playing his great orchestral and choral -works with them on the pianoforte, and listening in turn to their -performances. Dietrich writes in March: - - 'Yesterday and the day before she went through the whole of - Schumann's "Faust" music with us. We are with her every day, and it - is impossible for me to think of leaving at present.' - -Frau Schumann found congenial occupation in the summer in writing a set -of variations on the theme of her husband's Album-Blatt, Op. 99, No. 1: - -[Music: etc.] - ---which itself refers to the composer's early work, Op. 5, Variations on -a theme by Clara Wieck, and a touching memorial of Brahms' efforts to -assist in diverting her mind from its burden of sorrow exists in his -treatment of the same theme in his Variations for the pianoforte on a -theme of Robert Schumann, Op. 9, dedicated to Frau Clara Schumann. This -work was begun during the period of Frau Schumann's convalescence after -the birth of her seventh child on June 11. Each new variation was -brought to her as it was completed. Grimm, who remained at Düsseldorf -during these months in close companionship with Johannes, christened the -work 'Trost-Einsamkeit' (Consolation in loneliness), and remembered it -as such ever afterwards. It tells plainly enough the story of the young -composer's thoughts. It is full of references to Schumann and his -wife--notably in the ninth variation, which contains note for note -reminiscences of Schumann's Album-Blatt, Op. 99, No. 2, and in the -tenth, in which the first four bars of Clara Wieck's original theme - -[Music: etc.] - -are introduced by diminution into the middle voice: - -[Music] - -The work is astounding in its evidence of the mastery already achieved -by the young composer over the technique of variation form, in which he -uses the complicated resources of contrapuntal science with absolute -playfulness. For one illustration of this the reader may again be -referred to the tenth variation, in which the original bass of -Schumann's theme is used as the melody of the upper part and its -inversion as the bass part, whilst the original melody (quoted on p. -159) is imitated by diminution in the middle part. - -[Music: etc.] - -We must resist the temptation to linger over the many interesting -details of this noble work, as the aim of our pages is not a technical -one; but we may note in passing that, of the sixteen variations which it -contains, five are written in keys varying from that of the theme, a -circumstance which again brings it into a certain association with -Schumann.[48] Brahms, in his five other independent sets of variations -for pianoforte, nearly follows the practice of the earlier masters, who -confined themselves to the major and minor modes of one key. - -Johannes had meanwhile, according to custom, sent the completed -manuscript of his trio to Marxsen, and had speedily received it back -again with his master's critical remarks. These he acknowledged on June -28 in a letter from which the following brief extracts are taken, -sending Marxsen, at the same time, a collection of short pieces written -at odds and ends of time, which he proposed to call 'Leaves from the -Journal of a Musician, published by the Young Kreisler.' - - 'Let me thank you very much for having vouchsafed such a long - letter, such a detailed examination to my trio. I will write about - the proposed little alterations when I send you the printed copy. I - have allowed the trio to lie in order to accustom myself to them.' - -Asking Marxsen if he considers the pianoforte pieces worth publishing, -he adds as to the proposed title: 'What do you think of it? Doesn't it -please you? I must confess I should be sorry to strike it out.'[49] It -must be presumed that Marxsen's opinion, coinciding with that of some of -the young colleagues to whom the pieces were also shown, was -unfavourable, for they did not see the light. We shall, however, meet -with one or two of them in a few concert-programmes before long, and one -will be found to have a particular interest for English readers. - -The B major Trio, published in 1854 by Breitkopf and Härtel as Op. 8, -which remained for many years but little known, has, with its beautiful -youthful qualities, long since become dear to those who have yielded -their hearts to the spell of Brahms' music. The composer's fertile fancy -has betrayed him, in the first allegro, into some episodical writing -which somewhat clouds the distinctness of outline, and impedes the -listener in his appreciation of the distinguished beauties of the -movement, and there are places in the finale where a certain -disappointment succeeds to the conviction inspired by the impetuous -opening subject; but in wealth of material, in the rare beauty of its -principal themes, and in noble sincerity of expression, the trio -occupies a distinguished place even amongst the examples of Brahms' -maturity. The scherzo with its trio are already masterly both in -conception and treatment, and in the adagio we have promise of the -deeply impressive slow movements which were moulded in ever-increasing -perfection of structure by the composer's ripening genius. That Brahms -retained an affection for this child of his young imagination is shown -by his having published a revised edition of the work so late in his -career as the year 1891. We must confess our preference for the original -version, which is consistently representative of the composer as he was -when he wrote it. The later one does not appear to us to have solved the -difficulty of successfully applying to a work of art the process of -grafting, upon the fresh, lovable immaturity of twenty-one, the -practised but less mobile experience of fifty-seven. - -The trio was performed for the first time in public, to the lasting -musical distinction of America, on November 27, 1855, at William Mason's -concert of chamber music in Dodsworth's Hall, New York, by the -concert-giver, Theodor Thomas, and Carl Bergmann, to whom, therefore, -belongs the honour of having inaugurated the public performances of -Brahms' great series of works of this class. It was played, for the -second time, at Breslau on December 18 of the same year. Many years -elapsed before it was heard in England. - -[Illustration: BRAHMS AND JOACHIM, 1855.] - -Frau Schumann changed her residence to another in Düsseldorf in the -month of July, and immediately afterwards went with one of her young -daughters to stay with her mother in Berlin, whither Joachim also -proceeded on a visit to some of his own particular friends. Dietrich had -quitted Düsseldorf some months previously to follow prospects of success -in Leipzig; Grimm and Brahms remained behind to take charge of any -urgent tidings from Endenich. To Johannes was specially entrusted the -congenial task of arranging Schumann's books and music in the new -dwelling. This was soon accomplished to his satisfaction, as he writes -to Dietrich: - - 'And now I sit there the whole day and study. I have seldom felt so - happy as I do now, rummaging in this library.' - -On July 19, the very day of Frau Schumann's departure, the happy news -arrived that a marked improvement had taken place in her husband's -health. He had spoken of feeling better, expressed a desire to visit his -friend Wasielewsky at Bonn; above all, had picked flowers, and evidently -wished them to be sent to his wife, whom he had not mentioned during his -illness. News and flowers were instantly despatched to Berlin, and were -received with almost overwhelming feelings of hope and longing. - - 'I cannot describe my feelings,' Frau Schumann writes to Dietrich - after informing him of the tidings, 'but I never knew till now how - difficult it is to bear a great happiness ... it often seems to me - as though I should lose my reason; it is too much, all that I have - gone through and that is still before me!' - -She returned to Düsseldorf after about a fortnight's absence. The -succeeding movements of the party are chronicled in a letter written by -Johannes to the Amtsvogt Blume of Winsen: - - 'ULM, _August 16, 1854_. - - 'HONOURED SIR, - - 'You certainly think that your dear letter did not give me the - least pleasure, as I have left it so long unanswered? Ah, the time - lately has been so full of excitement that I was obliged to put it - off from day to day. Frau Schumann went with a friend on the 10th - of this month to Ostend for the benefit of her health. I, after - much persuasion, resolved to make a journey through Swabia during - her absence. I did not know how greatly I was attached to the - Schumanns, how I lived in them; everything seemed barren and empty - to me, every day I wished to turn back, and was obliged to travel - by rail in order to get quickly to a distance and forget about - turning back. It was of no use; I have come as far as Ulm, partly - on foot, partly by rail; I am going to return quickly, and would - rather wait for Frau Schumann in Düsseldorf than wander about in - the dark. When one has found such divine people as Robert and Clara - Schumann, one should stick to them and not leave them, but raise - and inspire one's self by them. The dear Schumann continues to - improve, as you have read in my letter to my parents. There has - been a great deal of gossip about his condition. I consider the - best description of him is to be found in some of the works of E. - T. A. Hoffmann (Rath Krespel, Serapion, and especially the splendid - Kreisler, etc.). He has only stripped off his body too soon.--If - you would give me pleasure, let me find a letter from you in - Ddf.--is that quite too bold? I will write to you again, and more - rationally, from there. I am writing this letter in the - waiting-room of the railway-station, which accounts for its having - become, probably, very confused.--A thousand hearty greetings to - dear Uncle Giesemann, I will write to him also from Ddf.; heartiest - greetings also to Frau Blume and your daughter. Remember with - affection - - 'Your JOHANNES BRAHMS.'[50] - -Stopping at Bonn on his return journey to inquire after the patient at -Endenich, Brahms obtained permission to look at Schumann, himself -unseen, and from his position behind an open window was able, after he -had sufficiently controlled his first agitation, to assure himself that -the master looked well and wore the kind, tranquil mien natural to him; -and on his arrival at Düsseldorf, whom should he find there but Grimm, -who, having missed the object of a journey on which he, too, had set, -out, had likewise been to Endenich, seen Schumann, and gained an -impression of his appearance and manner similar to that which had -reassured Johannes! - -Grimm left Düsseldorf in November for Hanover, and remained there till -the following year, when he accepted a post as conductor of a choral -society at Göttingen. Johannes also went north on a visit to his -parents, but for a few weeks only. The Schumanns' house had become a -second home to him, and his place in the affections of its master and -mistress that of a beloved elder son. Almost every particular that had -marked the course of his year's acquaintance with them had been of a -kind to stir his true, loving, high-strung nature to its depths. -Schumann's noble character, his quick affection for the young stranger -and unconditional acceptance of his art, the ideal relation which united -the great composer with his wife, the distinguished qualities of the -gifted woman who found her greatest happiness in consecrating her genius -to the service of her romantic love, the terrible blow which had -separated the two lives so closely linked, the sadness of the present, -the uncertainty of the future--each and all of these things had aroused -in the heart of Johannes a tumult of feeling, a poignancy of affection, -that allowed him no rest when he was out of immediate touch with the two -people who were its object. He could study to his heart's content in -Schumann's library, where books and music were unreservedly at his -disposal; could be of use to Frau Schumann, who truly valued his -sympathy and returned his affection; he was in constant communication -with Joachim, and could have as much pleasant society as he cared for. -In short, he felt that for the present his place was at Düsseldorf, and -at Düsseldorf he remained. - -It was in the spring of 1854 that he made the acquaintance of Julius -Allgeyer, who, four years his senior, was at the time a student of -copper-plate engraving in Düsseldorf under Josef Keller. - - 'Brahms,' says Allgeyer in a letter of this date, 'has Schiller's - striking profile; his compositions sound different from everything - else known to me. He has the bad manners of a frolicsome child and - the understanding of a man.' - -There was much in the circumstances and characters of the two young men -to foster an intimacy between them. Allgeyer's youth had, like that of -Johannes, been passed in struggle, and he resembled Brahms in his -restless hunger after general culture, which he endeavoured to satisfy -by constant and varied reading. The composition of Brahms' Ballades for -pianoforte, Op. 10, which belongs to this time, has a direct association -with Allgeyer, to whom the young musician was indebted for his -acquaintance with Herder's 'Stimmen der Völker,' the volume containing a -translation of the Scotch ballad 'Edward' that inspired the first of the -pieces in question. Brahms' memory for such details is well illustrated -by his dedication to Allgeyer of the Lieder und Romanzen for two voices, -with pianoforte accompaniment, Op. 75, published in 1878, the first -number of which is a setting of 'Edward.' Another avowed instance of his -partiality for Herder's collection is to be found in a still later work, -No. 1 of the three Intermezzi for pianoforte, Op. 117, and it may be -surmised that the book contains the secret key to the composer's -thoughts during the writing of more than one other of the short pieces -for pianoforte designated by the general name of 'Intermezzo' or -'Capriccio.' - -Brahms and Allgeyer remained intimate, though with intervals of some -estrangement--if this be not too strong a term to express a temporary -cessation of intercourse without alleged cause--until Brahms' death; and -Allgeyer, who was introduced by Johannes to Frau Schumann, came to be -regarded by her as belonging to the circle of her valued friends.[51] - -Schumann's desire that his young protégé should apply his powerful ideal -gifts and his skill in the handling of form to the composition of an -orchestral work had not been disregarded by Brahms. He had tried his -hand at an overture early in the year, and had worked through the spring -and summer at a symphony, making his first attempts at instrumentation -with the help of Grimm. It could not be otherwise than that the rapid -succession of extraordinary events and vivid emotions which had agitated -his spirit should prove a strong stimulus to his imagination; and it is -not surprising to find that they moved him to the composition of a -series of movements, two of which remain amongst the most powerful -produced by him, one having been accepted by thousands of mourners all -the world over as the most fitting musical expression known to them in -the presence of profound grief. The symphony, as such, was never -completed, but the work was thrown into the form of a sonata for two -pianofortes, of which the first two movements have become known to the -world as the first and second of the Pianoforte Concerto in D minor, and -the third is immortalized in the 'Behold all Flesh,' the wonderful march -movement in three-four time of the German Requiem. Brahms frequently -played the sonata in private at this period with Frau Schumann or Grimm. - -The two sets of Variations on Schumann's theme were published -simultaneously, by Brahms' desire, in the autumn, with his Songs, Op. 7, -dedicated to Dietrich, and the B major Trio; the variations by Johannes -appearing as his Op. 9. The song 'Mondnacht' also appeared this year, -without opus number, in a book of 'Album-Blätter' published at -Göttingen. - -The improvement in Schumann's condition went on so steadily that on -September 13, the thirty-fifth anniversary of his wife's birthday, he -was permitted to receive a letter from her. It contains no allusion to -Brahms, but brings Schumann's tenderness in his home relationships so -vividly before the mind that a short extract from it will, we think, be -welcomed by the reader:[52] - - 'ENDENICH, _Sept. 14, 1854_. - - 'How I rejoiced, beloved Clara, to see your handwriting. High - thanks for having written to me on such a day, and that you and the - dear children still remember me. Greet and kiss the little ones! - Oh, if I could see you and speak to you again, but the way is too - far. So much I should like to know; how your life is going on; - where you are living and if you still play as gloriously as - formerly; if Marie and Elise continue to make progress, if they - still sing also--if you still have the Klems pianoforte [a present - from Schumann to his wife], where my collection of scores is (the - printed ones) and what has become of the manuscripts (such as the - Requiem, the Sänger's Fluch); where our album is, containing - autographs of Goethe, Jean Paul, Mozart, Beethoven, Weber, and many - letters addressed to you and me.' - -On the 18th he writes: - - 'What joyful news you have again sent me ... that Brahms, to whom - you will give my kind and admiring greetings, has come to live in - Düsseldorf; what friendship! If you would like to know whose is my - favourite name, you will no doubt guess his, the unforgettable - one!... If you write to Joachim, greet him. What have Brahms and - Joachim been composing? Is the overture to Hamlet published? Has he - finished anything else? You write that you are giving your lessons - in the pianoforte-room. Who are the present pupils? Who the best? - Are you not doing too much, dear Clara?' - -He goes on to recall the happiness of the journeys made in his wife's -company, begs that their double portrait may be sent him, would like -some money, in order to be able to give to the poor people whom he -meets in his walks, wants a list of his children's birthdays. - -A week later, September 26, he says: - - 'What you write about ... has given me the greatest pleasure. So - also about Brahms and Joachim and their compositions. I am - surprised that Brahms is working at counterpoint which does not - seem like him. I should like to make acquaintance with Joachim's - three pieces for pianoforte and viola. I can remember de Laurens' - portrait of Brahms, but not the one of me. Thank you for the - children's birthday dates. Who are to be sponsors for the little - one, and in what church is he to be baptized?...' - -In October he acknowledges the arrival of Brahms' variations, sent him -by his wife: - - 'DEAREST CLARA, - - 'What pleasure you have again given me! Your letter and Julie's, - Brahms' variations on the theme which you have varied, the three - volumes of Arnim Brentano's Wunherhorn.... I remember Herr Grimm - very well, we used to be together with Brahms and Joachim at the - railway-station [in Hanover]; greet him and above all Fräulein - Leser. I shall write to Brahms myself....' - -That this renewal of intercourse with her husband cheered and encouraged -Frau Schumann for the performance of her arduous public duties during -the autumn season will be readily believed. Under the necessity of a -heavily increased weight of responsibility to her young children, she -had bound herself to the fulfilment of a long list of concert -engagements, which scarcely allowed her an interval of rest. Happily, -the reports from Endenich continued favourable. Joachim, writing to -Liszt on November 16, says: - - 'What a happiness it is that Schumann's condition is distinctly - improved. I had a letter from him from Endenich lately. He relates - some of our common experiences quite clearly, expressing himself in - a kind, gentle way as though he had just awakened from a dream. - Everything seems new to him, and he would like to participate in - what is going on; asks about compositions, about friends; one may - certainly hope for the best.' - -On November 27, having had time to study Brahms' variations, he writes, -in the course of a letter to his wife: - - 'The variations of Johannes delighted me at first sight and do so - still more on deeper acquaintance. I shall myself write also to - Brahms; does his portrait by de Laurens still hang in my study? He - is the most attractive and gifted young fellow. I recall with - delight the splendid impression he made that first time with his C - major Sonata, and afterwards with the F sharp minor Sonata and the - Scherzo in E flat minor. Oh, if I could only hear him again! I - should like his ballades also.' - -To Brahms, enclosed in the above: - - 'Could I but come to you myself, to see you again and to hear your - splendid variations, or [to hear them] from my Clara of whose - wonderful interpretation Joachim has written to me. How - incomparably the whole is rounded off, how one recognises you in - the rich brightness of the imagination and again in the profound - art, united as I have not yet known them. The theme emerging here - and there, but very secretly, then so vehement and tender. The - theme then quite vanishing, and at the end, after the fourteenth - [variation], so ingeniously written in canon in the second; how - splendid is the fifteenth in G flat major, and the last. And I have - to thank you, dear Johannes, for all your kindness and goodness to - my Clara; she always writes to me about it. She sent me yesterday - to my pleasure, as you perhaps know, volumes of my compositions and - Jean Paul's Flegeljahre. Now I hope soon to see your handwriting, - however great a treasure it is to me, in another form also. The - winter is fairly mild. You know the Bonn neighbourhood. I enjoy - Beethoven's statue and the beautiful view of the Siebengebirge. We - saw each other last in Hanover. Only write soon to - - 'Your affectionate and appreciative - 'R. SCHUMANN.' - -Brahms' answer speaks for itself: - - 'HAMBURG, _2 December 1854_. - - 'MOST BELOVED FRIEND, - - 'How can I describe to you my pleasure at your dear letter! You - have already so often made me happy when you have remembered me so - affectionately in the letters to your wife, and now I have a - letter belonging entirely to myself. It is the first I have had - from you; I value it beyond measure. Unfortunately I received it in - Hamburg, where I had come to visit my parents; I would much rather - have received it from the hand of your wife. - - 'I expect to return to Düsseldorf in a few days; I long to be - there. - - 'The overmuch praise which you bestow on my variations fills me - with happiness. I have been studying your works industriously since - the spring; how much I should like to hear your praise of them - also! I have passed this year since springtime at Düsseldorf; I - shall never forget it, I have learned all the time to love you and - your glorious wife more and more. - - 'I have never yet looked forward so cheerfully and confidently, - never believed so firmly in a splendid future as now. How I wish it - were near, and nearer still the happy time when you will be quite - restored to us. - - 'I cannot then leave you any more; I shall try to earn more and - more of your dear friendship. - - 'Good-bye, and think of me with affection. - - 'Your warmly venerating JOHANNES BRAHMS. - - 'My parents and your friends here think of you with the greatest - veneration and love. The parents, Herr Marxsen, Otten, and Avé, - particularly beg me to give you their most cordial greetings.'[53] - -About the middle of the month Schumann wrote again to Johannes: - - 'ENDENICH, _December 1854_. - - 'DEAR FRIEND, - - 'If I could but come to you at Christmas! Meanwhile I have received - your portrait from my dear wife, your familiar portrait, and I know - the place in my room quite well, quite well--under the mirror. I am - still refreshing myself with your variations; I should like to hear - several of them from you and my Clara; I am not completely master - of them; especially the second, the fourth not up to time and the - fifth not; but the eighth (and the slower ones) and the ninth--A - reminiscence of which Clara wrote to me is probably on p. 14; what - is it from? a song?[54]--and the twelfth----Oh, if I could only - hear you!' - -The andante and scherzo from Brahms' F minor Sonata, Op. 5, were -included by Frau Schumann in several of her programmes of the season, -and, though received with indifference by the general public, were, on -the whole, noticed encouragingly by the press. The _Vossische Zeitung_ -of Berlin dismissed the movements as wanting in clearness and -simplicity, but the _National Zeitung_ of the same city pronounced that -the sonata, associating itself with the school of Schumann, gave -evidence of eminent creative power, and a Frankfurt critic wrote: - - 'Frau Schumann deserves high commendation for introducing Brahms' - compositions to the public with her master-hand, and thereby - preparing the way for their general acceptance.' - -Joachim, who was frequently Frau Schumann's artistic colleague during -the season, giving concerts with her in various parts of Germany, spent -the Christmas festival with his friends in Düsseldorf, making time on -his way thither to call at Bonn to get news of Schumann. To his joy, he -was admitted to the first interview with a personal friend allowed to -the patient since his residence at Endenich. The impression he derived -was reassuring to a certain extent, and there was comfort in the mere -fact that he had seen and conversed with Schumann. A touching picture of -the little gathering in Düsseldorf of those who stood first in the -affections of the great composer is given in Brahms' next letter to him: - - 'MOST HONOURED FRIEND, - - 'I should like to write a great deal about the Christmas evening, - which was made so happy to us by Joachim's news; how he told us - about you the whole evening and your wife wept so quietly. We were - filled with joyful hope that we may soon be able to see you again. - - 'You always turn the days which would otherwise be days of mourning - for us, into high festivals. On her birthday your wife was allowed - to write you the first letter. At Christmas a friend first talked - with you, the only one to whom we should not grudge this happiness, - but only desire for ourselves to be allowed to succeed him soon. - - 'On the first day of the festival your wife gave her presents. She - will now be writing to tell you about it; how well Marie played - your A minor Sonata with Joachim, and Elise the Kinderscenen, and - how she delighted me with Jean Paul's complete works. I had not - hoped to be able to call them my own for many years. Joachim got - the scores of your symphonies, which your wife had already given - me. - - 'I returned here the evening before Christmas; how long the - separation from your wife seemed to me! I had so accustomed myself - to her inspiring society, I had lived near her so delightfully all - the summer and learned to admire and love her so much, that - everything seemed flat to me, and I could only long to see her - again. What nice things I have brought back with me from Hamburg, - however! The score of Gluck's Alcestis (the Italian edition, 1776) - from Herr Avé, your first dear letter to me and several from your - beloved wife. I must thank you most warmly for a pleasant word in - your last letter, for the affectionate "thou"; your kind wife also - makes me happy now by using the nice, intimate word; it is the - highest proof to me of her favour; I will try always to deserve it - more. - - 'I had a great deal to write to you, dearest friend, but it would - probably only be a repetition of what your wife is writing, - therefore I conclude with the warmest handshake and greeting. Your - - 'JOHANNES. - - 'DÜSSELDORF, _30 December, 1854_.' - -Frau Schumann, having before her the fatigues of a concert-journey in -Holland, allowed herself a brief rest during the early part of January, -and was cheered by the most encouraging letters from her husband. He -wrote on the 6th: - - '... I wish also to thank you most particularly, my Clara, for the - artist letters and Johannes for the sonata and ballades.[55] I know - them now. The sonata--I remember to have heard it once from - him--so profoundly grasped; living, deep, and warm throughout, and - so closely woven together. And the ballades--the first wonderful, - quite new; only I do not understand the _doppio movimento_ either - in this or the second, is it not too fast?[56] The close - beautiful--original! The second how different, how diversified, how - suggestive to the imagination; magical tones are in it. The bass F - sharp at the end seems to lead to the third ballade. What shall we - call this? Demoniacal--quite splendid, and becoming more and more - mysterious after the _pp_ in the trio. And the return and close! - Has this ballade made a similar impression on you, my Clara? In the - fourth ballade how beautifully the strange melody vacillates at the - close between minor and major, and remains mournfully in the major. - Now on to overtures and symphonies! Do you not like this, my Clara, - better than organ? A symphony or opera, which arouses enthusiasm - and makes a great sensation, brings everything else more quickly - forward. He must. Now greet Johannes warmly and the children, and - you, my dearest heart, remember your, as of old, loving - - 'ROBERT.' - -Brahms was permitted to follow Joachim, and paid the master a visit of -several hours' duration, in the course of which he played both to and -with him. At its close Schumann walked back to Bonn with his dear young -friend, and could not make up his mind to part with him. Johannes tore -himself away just in time to catch his train, and wrote a few days -afterwards: - - 'DEAR HONOURED FRIEND, - - 'I must thank you myself for the great pleasure you give me by the - dedication of your splendid concertstück.[57] How I rejoice to see - my name thus printed! Especially, too, that I, like Joachim, have a - concerto of my own.[58] We have often talked of the two works and - which we like best--we have not been able to decide. - - 'I think with joy of the short hours that I was allowed to spend - with you, they were so delightful--but passed so quickly. I cannot - tell your wife enough about them; it makes me doubly glad that you - received me with such friendship and kindness, and that you still - think of the hour with so much affection. - - 'We shall be able to see you thus more and more frequently and - pleasantly till we possess you again. - - 'I have taken the catalogue (chronological), as you wished, to your - copyist (Fuchs). - - 'I expect you would like the original of Jenny Lind's letter. It is - probably the handwriting that you want. I need not write out the - contents for you. - - 'We are sending Bargiel's new work, it will give you great - pleasure, as it does us; Op. 8 is a great advance upon Op. 9. Both - are dedicated to your wife; that is what I should like to do - always. I should like to take turns with the names Joachim and - Clara Schumann till I had courage to add your name. That, probably, - will not soon come to me. - - 'Now good-bye, dear man, and think sometimes with affection of your - - 'JOHANNES. - - 'DÜSSELDORF, _in January 1855_.' - - 'Do you remember that you encouraged me last winter to write an - overture to "Romeo"? For the rest, I have been trying my hand at a - symphony during the past summer, have even instrumented the first - movement and composed the second and third.' - -During the entire winter, the devotion to Frau Schumann, through which -Joachim and Brahms were alike eager to express their veneration for the -beloved master in his awful trial, was shared between them in the most -practical way. Joachim remained her constant artistic companion after -her return from Holland, and the success achieved by the two great -musicians on the innumerable occasions of their giving concerts -together, during this and the following season, was extraordinary and -unvarying. Johannes remained at Düsseldorf to attend to Schumann's -little requirements, and to send cheery news of all that was going on -at home to the anxious wife and mother. In February he writes to -Endenich: - - 'DEAR HONOURED FRIEND, - - 'Herewith I send you the things you wished for; a necktie and the - _Signale_. I must be responsible for the first; as your wife is in - Berlin, I had to decide. I only hope you will like it, and that it - is not too high? - - 'I also send you the _Signale_; some of the numbers are missing, we - have not been careful enough about them. From this time forward you - shall have them regularly. - - 'I can now already give you the most positive assurance that Herr - Arnold has had your proof of the "Gesänge der Frühe." There must be - some other reason for his having delayed the publication so long. - - 'I wonder if the long walk with me did you good? I expect so. With - what pleasure I think of the delightful day; I have seldom been so - perfectly happy! Your dear wife was very much calmed and pacified - by my blissful letter. - - 'I am entrusted with many greetings to you from all your friends - here. I will particularly mention those from your children and - Fräulein Bertha.[59] - - 'May all go well with you, and may you often think with affection - of your - - 'JOHANNES. - - 'DÜSSELDORF, _in February 1855_.' - -Another letter follows early in March: - - 'HONOURED MASTER, - - 'You will have wondered very much that I wrote of an F sharp minor - Sonata which was to be sent you with the other things, and none was - there. I quite forgot to put it up this morning. I send it you now - with the songs and choruses from "Maria Stuart." I think you will - like to have them; you have often mentioned them. - - 'Your wife just writes to me, quite delighted with your letter. - She is going to send you some beautiful music-paper. I was - certainly quick, but not so particular. Only women do everything - quickly and well at the same time. - - 'With warmest greetings, Your - 'JOHANNES BRAHMS. - - 'DÜSSELDORF, _March, 1855_.' - -Of the F sharp minor Sonata, Op. 2, Schumann answers: - - 'Your second sonata, my dear, has brought me much nearer to you. It - was quite new to me; I live in your music, so that I can half play - it at sight, one movement after the other. I am thankful for this. - The beginning, the _pp_, the whole movement--there has never been - one like it. Andante and the variations and the scherzo following - them, quite different from those in the others; and the finale, the - sostenuto, the music at the beginning of the second part, the - animato and the close--in short, a laurel wreath for the - from-elsewhere-coming Johannes. And the songs, the first one; I - seemed to know the second; but the third--it has (at the beginning) - a melody in which there are many good girls, and the splendid - close. The fourth quite original. In the fifth such beautiful - music--like the poem. The sixth quite different from the others. - The rushing, rustling melody-harmony pleases me.' - -To Joachim, Schumann writes on March 10: - - 'Your letter has put me into quite a happy mood. The great gaps in - your artistic cultivation, and the so-called violinist's eye and - the address; nothing could have amused me more. Then I recalled the - Hamlet overture, Henry overture, Lindenrauschen, Abendglocken, - Ballade--books for viola and pianoforte--the remarkable pieces - which you played with Clara one evening at the hotel in - Hanover;[60] and as I went on thinking I began this letter.... - Johannes has sent me last year's _Signale_, to my great pleasure, - for everything that has happened since February 20 was new to me. - There has never been such a musical winter [1853-54] as that and - the following; such travelling and flying from town to town, Frau - Schroeder-Devrient, Jenny Lind, Clara, Wilhelmine Claus....' - -Thus the months passed on. At the close of Frau Schumann's -concert-season Johannes travelled with her to Hamburg, in response to -an invitation from Capellmeister Otten, a well-known musician of the -city, to be present at a performance of Schumann's 'Manfred' at his -subscription concert of April 21. They passed a day at Hanover on their -return journey, and on May 7, Brahms' twenty-second birthday -anniversary, were joined at Düsseldorf by Joachim, who had promised to -make his headquarters near them this season during the period of his -'free time'--free from the fixed duties of his post in Hanover--which, -according to his contract, extended till the month of October. - -Brahms' birthday-presents included the manuscript of a romance for the -pianoforte composed for him by Frau Schumann, and from the master the -score of his overture to 'The Bride of Messina,' both with affectionate -inscriptions. The following letter of thanks was the last written by him -to Endenich: - - 'BELOVED, HONOURED FRIEND, - - 'I must send you most heartfelt thanks for having remembered me so - affectionately on May 7. How surprised and delighted I was by the - beautiful present and the loving words in the book! - - 'The day was altogether such a delightful one as one does not often - experience. Your dear wife understands how to give happiness. You, - however, know this better than anyone. - - 'A portrait of my mother and sister surprised me. In the afternoon - Joachim came, we hope for a very long time. - - 'I heard the overture to "The Bride of Messina" the other day in - Hamburg, as you know. How much the deeply-earnest work took hold of - me, and after "Manfred"! I was wishing all the time that you were - there to hear and see what joy you give by your splendid works. - - 'I have been longing for some time past to hear especially - "Manfred" or "Faust." I hope we shall hear the last, greatest, - together some time. - - 'Only your long silence, which made us uneasy, could have kept me - from sending you my thanks sooner; accept now the heartiest thanks - for your dear remembrance on May 7, 1855. - - 'In hearty love and veneration, - 'Your JOHANNES.' - -[44] Bülow's 'Briefe und Schriften.' Edited by Marie von Bülow. - -[45] Two overtures on which Joachim was working. - -[46] This and all other extracts from Dietrich are taken from his -well-known 'Recollections of Brahms.' - -[47] From the original letter, presented by Dr. Joachim to the author. - -[48] _Cf._ Schumann's great variations: the 'Etudes Symphoniques.' - -[49] Sittard's 'Künstler-Charakteristiken.' - -[50] See footnote on p. 117. - -[51] Professor Carl Neumann's introduction to the second edition (1904) -of Allgeyer's 'Life of Anselm Feuerbach.' - -[52] This and the following letters written by Schumann at Endenich were -first published by Edward Hanslick in the _Neue Freie Presse_ of October -27 and 29, 1896, and afterwards republished in Hanslick's 'Am Ende des -Jahrhunderts' (Robert Schumann in Endenich). - -[53] See footnote on p. 131. - -[54] The introduction by diminution of Clara Wieck's theme mentioned on -p. 160. - -[55] In manuscript: Ballades for Pianoforte, Op. 10. - -[56] The _doppio movimento_ marked in the manuscript of the first -ballade was changed before publication to _allegro ma non troppo_, no -doubt in deference to Schumann's suggestion. - -[57] Concert-allegro with Introduction for Pianoforte and Orchestra, Op. -134. - -[58] Fantasia for Violin and Orchestra, Op. 131, dedicated to Joachim. - -[59] Fräulein Bertha Bölling, a young lady who was resident for some -years in the Schumanns' house as domestic help to Frau Schumann, to whom -she was greatly attached, and in whose confidence she stood high. During -the first few days of Schumann's illness, before his removal to -Endenich, she was allowed by the doctors to go in and out of the -sick-room, and her presence had a tranquillizing effect on the patient. - -[60] Joachim's compositions. - - - - - CHAPTER VII - 1855-1856 - - Lower Rhine Festival--Madame Jenny Lind-Goldschmidt--Edward - Hanslick--Brahms as a concert-player--Retirement and study--Frau - Schumann in Vienna and London--Julius Stockhausen--Schumann's - death. - - -Extraordinary interest was lent to this year's Festival of the Lower -Rhine, again held at Düsseldorf (May 27-29), by the appearance at each -of its three concerts of Madame Jenny Lind-Goldschmidt. According to -traditional custom, and, indeed, by the _raison d'être_ of these great -Whitsuntide gatherings, the programmes of the first two days each -included a large work for chorus and orchestra, and on this special -occasion the combined singing societies of about a dozen towns furnished -over 650 voices, perfected by many weeks' previous practice, for the -performance of Haydn's 'Creation' and Schumann's 'Paradise and the -Peri.' That the selection of Schumann's beautiful work was due, in the -first place, to a desire expressed by Madame Lind-Goldschmidt is, under -the circumstances of the time, a specially interesting detail. The -direction of the concerts was in the experienced hands of Ferdinand -Hiller, and Concertmeister David of Leipzig had been invited to lead the -splendid body of strings. - -It hardly needs telling that Madame Goldschmidt's performance of the -soprano solos in the two works mentioned created the usual extraordinary -impression. The name 'Jenny Lind' is almost synonymous with triumph. - - 'The most perfect purity and certainty of intonation,' says Otto - Jahn, 'the most strictly correct interpretation, the distinctness - and clearness of accent, the extraordinary virtuosity in everything - that belongs to vocal technique--all this would suggest a great - singer, and that she unquestionably is; but her peculiar - characteristic lies in something beyond such qualities. Her - phenomenal power is to be traced to the genius which, without - disturbing the composer's intention, makes everything she sings - literally her own--the mystery of artistic reproduction in its - highest perfection, which is as inexplicable as production itself, - and cannot be described by ordinary expressions.'[61] - -At the third and so-called 'artists' concert,' chiefly devoted to solos, -Madame Lind was heard in trios from Mozart's 'Nozze' and Bellini's -'Beatrice di Tenda,' and in Mendelssohn's song 'Die Sterne schaun in -stiller Nacht.' The stormy applause, recalls, orchestra flourishes, -flowers, and poems, in which the enthusiasm of her audience found -expression were duly chronicled by the critics of the day. The -instrumental solos of this final programme were in the hands of Otto -Goldschmidt and Concertmeister David, who performed respectively -Beethoven's G major Pianoforte Concerto and a violin concerto by Julius -Rietz, conductor of the Leipzig Gewandhaus. - -The festival is remembered as one of the most brilliant on record. The -immense audience brought together by the magic of one name was as -remarkable for its character as its numbers. - - 'To give a list of the celebrities is impossible,' continues Jahn. - 'Who could count them? To mention a few of the foremost: critics - were there, from Chorley of London to Hanslick of Vienna; pianists, - from Stephen Heller of Paris to Stein of Reval; composers, from - Gouvy to Verhulst; conductors, from Franz Lachner to Franz Liszt. - The music-directors were almost more numerous than the privy - councillors in Berlin.' - - 'In Jacobi's garden,' says Hanslick,[62] 'a spot hallowed to me by - its associations with Goethe, I met Brahms and Joachim one morning. - Brahms resembled a young ideal hero of Jean Paul, with his - forget-me-not eyes and his long fair hair. From him and from Clara - Schumann I heard the news that Robert was completely restored, - reading, writing, and composing by turns with a clear mind.' - -This was Brahms' first meeting with the man who was to be one of his -most intimate friends and appreciative critics during more than thirty -years of his later career. - -At a matinée given by Frau Schumann in honour of a few of the famous -musicians assembled at Düsseldorf, Johannes again renewed his -acquaintance with Liszt, in whom equal ennui seems to have been produced -by the works of Haydn and of Schumann to which he had listened on the -two first concert days, and it may be accepted as certain that the -meeting did not further a rapprochement between the leader of Weimar and -Schumann's ardent young friend. Our musician was introduced the same -afternoon to Madame Lind-Goldschmidt, meeting her on speaking terms for -the only time in his life. No especial feeling of personal interest was -awakened between the two artists. Johannes' large capacity for the -sentiment of particular enthusiasm was already absorbed by his devotion -to Frau Schumann, and it is not surprising, on the other hand, that his -lack of training in social conventionalities, which allowed him on this -and other occasions to perpetuate some innocuous but decidedly pointless -jokes, should have somewhat offended the taste of the fastidious lady -who had had the élite of Europe and America at her feet. Madame -Goldschmidt's first personal impression was strengthened by an -occurrence shortly to be related, nor did she ever develop any great -sympathy for Brahms' music. Special circumstances, however, placed her, -in later years, in a certain association with it which has an interest -of its own, and particularly to the music-lovers of England. On the -occasions of the fine performances of the composer's Schicksalslied -(April 29, 1878), and of his German Requiem (March 16, 1880, and April -6, 1881), given in St. James's Hall, London, by the Bach Choir under the -direction of its then conductor, Otto Goldschmidt, the great -songstress, long since retired from public life, was to be found amongst -her husband's forces as leader of the sopranos; and the inspiration has -not yet been forgotten which was lent to the choir by the co-operation -of one, peculiarly fitted by her exalted temperament to appreciate, at -all events, the penetrating earnestness of the master's art. - -Joachim's prolonged sojourn at Düsseldorf brought with it, through the -private quartet evenings which he held regularly twice a week, an -important addition to his friend's musical experience. Brahms' -opportunities of hearing the great examples of chamber music for strings -had not been frequent, and he was, at this time, not only enabled to -extend his acquaintance with this form of art by delightful means, but -often had the chance of taking part in the performance of some work for -pianoforte and strings included in the evening's selection. In spite of -the melancholy circumstances that kept them at Düsseldorf--and anxiety -about Schumann was again increasing--the time was a happy one to the two -young men, who passed many hours of the day in each other's society. -Johannes lodged in a flat above Frau Schumann's dwelling; Joachim lived -close by. The mornings were devoted by each to his particular -avocations, but these frequently brought them together, and they always -made part of Frau Schumann's family party at her mid-day dinner during -the few weeks she was able to remain at home. The afternoons and -evenings were often spent in long walks and excursions. Joachim had -forgotten his loneliness, and Johannes' affection for his dearest Joseph -had become one of the mainsprings of his life. - -The greater part of June was spent by Frau Schumann at Detmold, capital -of the small principality of Lippe-Detmold, which, during the fifties -and sixties, possessed a very flourishing and enterprising musical life. -The reigning Prince, Leopold III., had inherited from his mother, a -Princess of Schwarzburg-Sondershausen, a fine taste for music that was -shared by his brothers and sisters, and soon after his accession he -established a private orchestra, consisting of thirty-three, soon -augmented to forty-five members, under the conductorship of the -violinist Kiel, a pupil of Spohr. A certain number of court concerts -were given every year, the programmes consisting of a symphony, two -overtures, and several solos, selected from the works of the best -classical and modern composers. The Prince was not without interest in -the New-German school, and compositions by Wagner and Berlioz were given -from time to time. Now and then there was a performance of the whole or -part of some large choral work. - -Prince Leopold's mother, the Dowager Princess, resided with her -daughters, the Princesses Luise, Friederike, and Pauline, in the old -castle not far from the palace, and it had been settled that the -talented Princess Friederike should enjoy the advantage of lessons from -Frau Schumann during the short interval at the disposal of the artist. -The arrangement proved a great success, and not only with regard to the -lessons. Frau Schumann delighted a circle of sympathetic listeners by -playing at several court soirées, was enthusiastically received at a -public concert, and, on the eve of her departure, played one of -Beethoven's pianoforte concertos at an orchestral court concert, which -was made further memorable by the presence of Joachim and his -performance of the same master's concerto for violin. - -Soon after the return of the two artists, the little party at Düsseldorf -dispersed for a time. Joachim started for a tour in the Tyrol, and Frau -Schumann, accompanied by Fräulein Bertha and Johannes, went to Ems, -where she had announced a concert for July 15, for which Madame -Lind-Goldschmidt had, during the week of the Düsseldorf festival, -proferred her services. The date decided upon was somewhat in advance of -the one originally selected, and Goldschmidt had been called to Sweden -meanwhile on affairs of importance. He interrupted his engagements, -however, and travelled to Ems, in order to put his services at Frau -Schumann's disposal by superintending the general business of the -concert and acting as his wife's accompanist; and it was in this -connection that a certain appearance of nonchalance in Brahms' -proceedings caused a feeling of irritation in Madame Goldschmidt and -himself. - -The concert was to take place in a room of the Kurhaus, and, owing to -the procrastination of some of the authorities, the arrangements to be -made on the spot, including those for receiving and seating the large -number of ticket-holders, could not be begun until within an hour or two -of the time appointed for the commencement of the music. The result was -hurry and confusion indescribable, and many last things had to be done -even during the assembling of the audience. The brunt of the -difficulties was borne by Goldschmidt, who successfully overcame them, -but who was annoyed that Brahms, on his arrival with Frau Schumann and -Fräulein Bertha, passed quietly to his seat amongst the audience without -offering to make himself useful. Perhaps he may have thought he could -help matters best by keeping out of the way. He added to his -delinquency, however, by disappearing after the concert, which was, of -course, a huge artistic and financial success, without even showing -himself in the artists' room, and was seen no more in Ems. Starting for -Braubach, he wandered about alone for a couple of days, until the -winding up of the concert business left Frau Schumann at leisure, when -he rejoined her at Coblenz. There is no question that on this occasion -it was his invincible dislike to a fashionable crowd which overcame his -judgment, but it is not to be wondered at that his real or apparent -indifference was commented on by those to whom it seemed inexplicable. - -Johannes passed ten happy days walking along the Rhine from Coblenz to -Mainz and visiting Frankfurt and Heidelberg in the society of Frau -Schumann and her companion, and, on their departure for a short stay at -Baden-Baden, to be followed by a month's rest at the seaside, he -returned to Düsseldorf to work hard at his pianoforte-playing. He had -not been unsuccessful in obtaining pupils there, but the means he -derived from his teaching were unreliable, and he had resolved to take -the advice of his two best friends to try his luck again as a -concert-player. He looked forward with dread to the ordeal, and shrank -from the partings it would involve, but kept to his plan; and in the -course of September a paragraph appeared in the _Signale_ announcing his -intention of making a concert-journey. He began, not at Leipzig, as he -had intended, but by joining Frau Clara and Joachim in giving two -concerts at Danzig on November 14 and 16, a change of plan which was of -benefit both to his spirits and his pocket. A picture of him on his -arrival in the town, given by Anton Door,[63] forms an amusing and -perhaps instructive sequel to the foregoing account of the occurrences -at Ems: - - 'I had hardly been a week in Danzig, when I saw great bills in the - streets announcing the coming concert of Clara Schumann, Joseph - Joachim, and Johannes Brahms. I at once called on Joachim, who - received me with cordiality, and we chatted, as old acquaintances, - of home and our experiences. - - 'During the whole time we were together, a slender young man with - long, fair hair paced continually to and fro in the background - smoking cigarettes, without troubling himself in the least about my - presence, or even showing by an inclination of the head that he - observed me; in a word, I was as empty air for him. This was my - first meeting with Johannes Brahms.' - -Door became, nevertheless, in later years, a cordial friend and admirer -of the composer. - -Complete equality amongst the three performers was observed in the -arrangement of the programmes. Each played solos, and both pianists -performed with the violinist at either concert. Brahms' contributions -included Bach's Chromatic Fantasia, which remained one of the _pièces de -résistance_ of his répertoire throughout his pianistic career, and two -manuscript pieces, Saraband and Gavotte, from amongst the 'Album-Leaves' -which he had contemplated publishing in 1854. - -The critical moment had now arrived when Johannes was obliged to bid -farewell to his friends and go his own way. He played with success at -one of the Bremen subscription concerts on November 20, contributing to -the programme Beethoven's G major Concerto and Schumann's great -Fantasia, Op. 17; and on the 24th, the date which he had anticipated -with ever-increasing anxiety as it drew nearer, made his first -appearance in Hamburg since the wonderful turn that had taken place in -his fortunes in 1853, at one of G. D. Otten's annual series of -orchestral subscription concerts. - -No doubt he was additionally weighted by nervousness--that _bête noire_ -of executive artists to which, from the rarity of his public -appearances, Brahms was peculiarly a prey--by feeling, not only that he -was on his trial before his fellow-citizens, but that there were, in the -audience, loving friends prepared to triumph on his behalf. He had -chosen for performance Beethoven's E flat Concerto and unaccompanied -solos by Schumann and Schubert, but achieved at most a _succès -d'estime_. - - 'The pianoforte part of the concerto,' said the critic of the - _Hamburger Nachrichten_, 'was played by Brahms with the modesty of - a young artist, and was kept throughout in subordination to the - whole musical effect of the symphonic concerto. In our opinion, he - carried his reserve too far. He might, without detriment to the - spirit of the work, have displayed rather more virtuosity. That he - possesses it was shown by his playing of a canon by Schumann, and a - march by Schubert for four hands, arranged by Brahms for two - hands.' - -It will not have escaped the reader's attention that Brahms introduced -no new important composition of his own on either of the occasions now -chronicled, and that no mention has been made of any fresh publication -from his pen since the autumn of 1854. The reason is not far to seek. -Neither the extraordinary praise bestowed on his works by Schumann, -Joachim, and their circle, nor the reserve with which they had been -received by many musicians whose good faith could not be doubted, nor -the acrimonious attacks of a portion, and especially the Rhenish -portion, of the musical press, could influence to any appreciable extent -the tribunal to which he had thus early in his career accustomed himself -to submit his works in the last instance--his own searching -self-criticism. He had, as has been seen, carried out Schumann's wish, -and had tried his hand on a symphony. The discovery that he had not -sufficiently mastered some of the fundamental technical qualifications -necessary for the successful fulfilment of such an attempt no doubt -prevented his carrying it to a conclusion. It will be remembered, also, -that he had withheld the string quartet recommended to Dr. Härtel for -publication by Schumann in 1853. By the middle of 1855, he had -sufficiently gauged both his strength and his weakness to have made the -resolve to apply himself to a fresh course of severe study--study which -should widen and strengthen and refine his capacity in every direction, -but which should have as its special aim the attainment of greater -facility and purity in part-writing in the strict style. From this time, -for a period of five or six years, he worked on without view to -immediate publication, but only with a set determination to become -worthy of Schumann's high hopes. He insisted before long that Joseph -should join him in his studies, though his friend's training in strict -counterpoint and part-writing under Moritz Hauptmann of Leipzig had been -much more thorough than his own under Marxsen; and an exchange of -exercises at fixed intervals, agreed upon between the two young -musicians, was kept up for some years. Joachim was inevitably much less -regular than Brahms in sending his papers, and Johannes by-and-by -instituted a system of fines, to be paid and spent in books in case of -unpunctuality on either side. The chief burden of the new rule certainly -fell upon the famous young concertmeister, whose great and increasing -popularity brought innumerable concert-journeys in its train. The -difference in the character of the two men is pleasantly illustrated by -this episode, which shows Johannes insisting on having his own way, and -Joachim, from whom no excuse was accepted, good-naturedly yielding, and -wishing to do more than he could possibly fulfil. Many interesting -memorials of Brahms' studies are in existence in the form of -music-books, printed or in manuscript, of which he possessed himself at -this period. Amongst them is an original edition of the first part of -Emanuel Bach's collection of his father's setting of German chorales -(1765), on the cover of which is Brahms' autograph and the date 1855, -and at the end of the book is an alphabetical index in Brahms' -writing.[64] There is also a very beautifully copied manuscript (not by -Brahms) of Sebastian Bach's 'Kunst der Fuge,' containing one or two -trifling pencil corrections in our musician's unmistakable hand. On the -fly-leaf is written 'Joh. Brahms, Nov. 1855, Hamburg,' also in pencil, -in large and bold penmanship, probably in one of the styles taught at -Hoffmann's school.[64] There are, too, a volume containing compositions -by Orlando di Lasso;[65] and manuscript copies of, amongst other works, -Palestrina's 'Missa Papæ Marcelli,' with Brahms' autograph and the date -1856; of Rovetta's 'Salve Regina'; and, in Frau Schumann's hand, of a -'Gloria' of Palestrina.[66] Still more valuable are the manuscripts of -several original Mass movements in four and six parts, presented later -on by the composer to his friend Grimm,[67] and these recall Dietrich's -mention of an entire Mass written in canon for two voices. This list -shows clearly enough the nature of Brahms' aims. He was determined to -become thoroughly acquainted with the historical development of his art, -to know the why and wherefore, as well as the how and when, of what he -had studied in the works of succeeding masters. The fascination -exercised over his mind by the clear, pure style of the great early -writers, whose learning is often used with such consummate ease as to be -unsuspected by the untrained hearer, is evident enough in many of the -choral works published by him later on. He exercised himself in the -acquisition of their technique until it had become an instrument in his -hand for the production of works which, like everything else that he -gave to the world, bear the impress of his own individuality. - -In the issue of the _Neue Zeitschrift für Musik_, of December 14 a long -article on Brahms appeared, the closing one of a series of three begun -in July. Until this date, since the very sympathetic notice written by -'Hoplit' after the young musician's début at the Leipzig Gewandhaus, not -a word had been printed in this paper about his compositions save the -bare announcements of publication, in spite of the fact that nine opus -numbers had been given to the world in the interval, five of them being -important instrumental works, and three consisting severally of six -songs. 'Hoplit' had now come forward to take upon himself entire blame -for the omission, which, he declared, must not be attributed to any -indifference of the editor. Brendel had not only sent him each work as -it appeared, but had urged him to write, asking repeatedly, 'Why nothing -about Brahms?' His own great interest in the young composer, his desire -to find himself in complete accord with Schumann's opinion, his -incapability of entirely agreeing with it, had, he said, always led him -to defer his criticism; and, indeed, the reluctant and hesitating tone -of the articles leads to the conviction that they were written in -complete good faith. - - 'That Brahms found many opponents on his first appearance was an - unusual distinction; it showed that he possessed a very significant - artistic individuality. When, however, enthusiastic friends saw in - him the prophet of a new time, and especially when they proclaimed - the completely developed, ripe artist, we can only regard it as an - amiable excess of enthusiasm.' - - 'Brahms,' says the third and most interesting article, 'has - sometimes been described as the most talented and pronounced of the - Schumannites. So far as this is true, we regret it.... Schumann - cannot be carried further.... His very important individuality - quite unquestionably possesses a high value, but only in its - originality. Brahms is, however, no imitator of Schumann. He - displays, in the whole bent of his nature and creative activity, an - inner affinity with him which is more than mere sympathy, and has - about it nothing forced or borrowed; but he possesses an element - not in Schumann which makes us believe that, if it is only given to - him to attain to full development, he will find his own paths. The - more he succeeds in freeing himself from the characteristic - Schumann nature, the more may be looked for from his future.... - - 'Brahms is not free from Schumann's danger; he, also, has the - subtle habit of mind, the tendency to the indefinite and misty, - which characterize the romanticists. He shares Schumann's strong - faith, moreover, in impulses of genius and inspirations of the - moment, to be followed without discrimination or resistance. He - sometimes introduces passages which have neither presupposition nor - consequence, but which are not therefore heaven-bestowed. His work - is inconsistent and defective in style. He should have been - regarded as an artist not yet mature. When all is said, however, it - was an unusually striking phenomenon that such a young composer - should exhibit in his first works a freedom in the handling of - form, a diversity of harmonic and rhythmic development, and an - abundance of ideas, such as are to be found in the works only of - those who are called to become one day masters. And yet who will - deny that much "lies in the air" to-day which had formerly to be - won by hard fighting, or to be developed entirely from within?' - -Dr. Pohl's doubt evidently overcomes him again in the last sentence, and -it would be quite unjust to refer his hesitation to the influence of -party spirit, or to say that he had no ground for his feeling of -uncertainty as to the destiny of our composer's genius. It is difficult -now to realize the position of the critic who, in 1855, wished to write -without bias of the Brahms of twenty-two; but the good faith of these -_Neue Zeitschrift_ articles is curiously confirmed by a few forcible -words written in 1893 by an intimate friend of the Brahms of past sixty. - - 'Brahms' first works,' says Hanslick,[68] 'had interested me in a - high degree--interested, however, rather than satisfied me. A young - Hercules at the parting of the ways. Will he turn to the left, to - the most extreme romanticism, or to the right, to the path of our - classics?' - -That Brahms himself had become aware of the problem that faced him is -conclusively shown by the future course of his development; and, with -the exception of the Ballades for pianoforte, Op. 10, dedicated to -Grimm, mentioned by Schumann in his letter of January, 1855, and -produced by Breitkopf and Härtel early in 1856, no work of his -composition succeeded the publications of 1854 until after a period of -six years. - -Johannes again passed Christmas with Frau Schumann, and on January 10 -played Beethoven's G major Concerto and unaccompanied solos by Schumann -at the Leipzig Gewandhaus concert. The impression generally created by -his performance is summed up by a few words in the _Signale_ which -suggest that he again rather overdid his artistic self-restraint: - - 'Many artists could certainly have displayed more technical - brilliancy, but few have the capacity for bringing out so - convincingly the intentions of the composer, or following as Brahms - does the flight of Beethoven's genius and disclosing its full - splendour.' - -The critic adds that the young artist, who thinks more of the work he -happens to be interpreting than of self-display, has already won many -friends in the art world by his compositions. - -Paying a flying visit to Hanover on his way back to Hamburg, which is, -just now, to be considered as his settled home, Johannes for the first -time heard Rubinstein, who had come to play at one of the subscription -concerts conducted by Joachim, and who shortly afterwards wrote to -Liszt: - - '... As regards Brahms, I hardly know how to describe the - impression he made on me. He is not graceful enough for the - drawing-room, not fiery enough for the concert-room, not simple - enough for the country, and not general enough for the town. I have - but little faith in this kind of nature.' - -It may be remarked here that Rubinstein never acquired a liking for -Brahms' art, and that, to the end of his life, he expressed the opinion -that the series of great masters had ceased with Schumann. Rubinstein -obtained a powerful following, not only as pianist, but as composer, at -Leipzig, and in later years his works were pitted against those of -Brahms by the large and influential set of musicians and amateurs of the -typical Gewandhaus circle. The generosity of Rubinstein's nature is too -well established to leave room for any suspicion of his having been -moved by paltry feelings of professional jealousy, and his repeated -asseverations that he could find no music in Brahms' works must be -accepted as genuine expressions of his sentiments. - -Many celebrations took place, during the opening month of 1856, of the -centenary of Mozart's birth (January 27, 1756), and Johannes, making his -second appearance at Otten's concerts on the 26th, contributed the D -minor Concerto to a programme selected from the great master's works. -Whilst practising for the occasion at the house of Messrs. Baumgarten -and Heins, he made the acquaintance of the critic and journalist E. -Krause, between whom and himself a permanent friendship was established. -Krause became one of the earliest and ablest supporters of his art. - -But two concerts of the season remain to be mentioned--one at Kiel, -given by Brahms in association with the composer Grädener, of Hamburg, -and the violinist John Böie, when his solos were Beethoven's E flat -Sonata, Op. 27, No. 1, and C minor Variations; the other at Altona, -where he played Bach's Organ Toccata in F major, Beethoven's 'Eroica' -Variations, and, with Böie and Breyther, Schumann's trio movements -'Märchen Erzählungen' and Beethoven's Sonata for pianoforte and violin, -Op. 96. He passed February and March quietly with his parents, making as -much money as he could by teaching. Mention may be made of a pupil in -whom he was interested at this time--Fräulein Friedchen Wagner, a cousin -of Otten's, and herself a pianoforte-teacher. Brahms' acquaintance with -her has an association, to which we shall presently refer, with some of -the works published by him in the early sixties. - -Frau Schumann, who travelled without break, save for a short interval -in December, during the season 1855-56, spent more than two months of -the early part of the year in Vienna, where Schumann's works were as yet -but little known to the general public. Appearing as the inspired -missionary of her husband's art, she succeeded in arousing interest in -his compositions, whilst her personal achievements as an executant -excited extraordinary enthusiasm. She gave six recitals, and introduced -into two of her programmes respectively Brahms' Saraband and Gavotte and -the andante and scherzo from his F minor Sonata. The critic of the -_Wiener Zeitung_ of that date, Carl Debrois van Bruyck, speaks of them -as 'pieces of special beauty, which confirm the impression of the young -composer's exceptional talent' already formed by him from the study of -other works, especially of a set of variations [Op. 9] and a book of -songs. The successful début of Brahms' name in a concert-programme and a -prominent journal of the city to which he was to belong during the -second half of his life is an interesting point in his history. - -It will be convenient to refer at once to a detailed review of our -composer's early works contributed to his journal by van Bruyck on -September 25, 1857. At this date, as the reader is aware, Brahms' -publications had not increased beyond the ten numbers already mentioned, -and consisted of the three sonatas, scherzo, variations, and ballades -for pianoforte, the B major Trio, and the three first books of songs. -The similarity of the remarks of the Vienna critic with those contained -in 'Hoplit's' _Neue Zeitschrift_ articles, already referred to, is the -more striking since van Bruyck did not concern himself with the party -conflicts of Germany. He was, however, a very great lover of Schumann's -art, and if he had any bias in regard to that of Brahms, it inclined in -favour of Schumann's young prophet. - -He regards the variations as decidedly pre-eminent amongst the ten -works. They convince him that Brahms has - - 'a genuine and entirely original talent, a finely-endowed artist - nature.... Some of them are quite magic and ethereal, although the - finest of all recalls Schumann, perhaps intentionally; and in - others, especially the last, the young composer's tendency to the - vague and mystical is rather unpleasantly and dangerously apparent. - Next to the variations I should place the songs, which contain - tones of penetrating depth and sweetness.... Brahms certainly - stands within the sacred circle, and has already acquired a very - definite power of achievement, though it may not at present be - sufficient for his purpose; and it is the duty of serious, - unbiassed criticism to protect him against the derision which the - more highly gifted men have never escaped, especially when their - endowment has been peculiarly individual. As we have said, Brahms' - natural power seems to be lofty beyond all question, and the danger - and doubt as regards his development lies, we think, in his partly - instinctive, partly conscious striving after over-refinement; in - his excessive bent to the dæmoniacal, the fantastic. Should he - succeed in restraining this inclination, we may await with - confidence many riper, more perfect fruits whether in the nearer or - farther future.' - -The derision from which van Bruyck desired to protect Johannes emanated -chiefly or entirely at this period from the Rhenish press. As it -consisted chiefly of the vulgar commonplaces of the journalist--familiar -at all times and in all countries--who has neither knowledge of his -subject nor instinct to avoid displaying his ignorance, no example will -be given of it in these pages. - -Whilst Frau Schumann was achieving a series of unbroken successes in -Vienna, her private anxieties pressed upon her with ever-increasing -severity. The apparent improvement in Schumann's health had been but -transitory. He had steadily lost ground since the spring of 1855, and -before the winter had well come to an end the physicians were unable to -conceal from themselves that his case was hopeless. The afflicted wife -was sustained for the fulfilment of her duties by the best accounts that -the situation admitted of, but she was obliged, on her return from -Vienna, to relinquish all immediate hope of an interview with her -husband, whom she had not seen since the hour before the catastrophe of -1854. Nor could she allow herself the solace of remaining near him. She -was now sole bread-winner for the family, and a group of young children -depended on her exertions. She had entered into engagements for the -London season, and, after a very short interval of rest, started on -April 7 for England. - -For Brahms, bound as he was by the closest ties of affection and -gratitude to Schumann and his family, it was impossible, under the -melancholy trend of events, to remain quietly at his studies in Hamburg. -There was some idea of removing the patient from Endenich; at all -events, it would be a satisfaction to obtain the opinion of fresh -experts on brain disease; and Johannes undertook to make personal -inquiries of certain eminent doctors, and to send his report as soon as -possible to England. On April 15 Frau Schumann wrote from London to -Dietrich, who had in the summer been appointed Wasielewsky's successor -as music-director at Bonn: - - 'DEAR HERR DIETRICH, - - 'I enclose a long letter from Gisela von Arnim. Will you give it to - Johannes on his return? I must again thank you and Professor Jahn - very fervently for the sympathy which you show Johannes in his - undertaking; it is a comfort to me that he does not stand alone, it - would be too hard for him. Of myself I have little satisfactory to - relate. In spirit I am always in Germany. I played yesterday at the - Philharmonic with a bleeding heart. I had a letter from Johannes in - the morning, in which I read hopelessness between the lines as - regards my beloved husband, although he had tried in all affection - to tell me everything as gently as possible. Whence the power to - play came to me I do not know; I could do nothing at home, and yet - in the evening things went. - - 'Think sometimes kindly of your - 'CLARA SCHUMANN. - - 'I really think the enclosed letter is worth consideration. - Johannes will certainly show it to you and Professor Jahn. I have - just heard something about cold-water treatment for brain disease, - which makes me very anxious to try it for my husband. Please tell - Johannes I will write about it to-morrow.' - -All was in vain, however. Schumann was already in an advanced stage of -the disease which, technically described under different learned names, -according to its many varieties, is known to the layman as softening of -the brain. Anyone who has watched the powers of friend or acquaintance -gradually succumbing to this most cruel of all maladies is familiar with -the general course of the symptoms. Minute particulars need not be -described. Enough that Johannes, permitted to see Schumann again after -an interval of more than a year, had been unutterably shocked, and had -felt that the time had arrived when it was his duty to prepare Frau -Schumann for the worst. As gently as possible he allowed her, as she -expresses it, to read between the lines that no change of treatment -could alter the inevitable. All the doctors were agreed in opinion; -none, therefore, was attempted. - -The concert so pathetically referred to in the letter quoted above was -the Philharmonic concert at the Hanover Square Rooms of April 14, the -occasion of Frau Schumann's first appearance in England. Could any -incident of fiction be more heart-rending in its pathos than this -occurrence of real life--this picture of the sensitive, highly-strung -woman, whose nerves were habitually in a state of strained tension, -obliged to force herself, for the sake of her children's existence, to -step for the first time on to a London concert platform, a sea of -unknown faces before her, her kith and kin far away, a few hours after -she had accepted the certainty of her passionately loved husband's -tragic doom? No wonder she could 'do nothing' before the concert. Those -who knew her best can understand how it was that, after all, 'things -went.' Her début in England was made with Beethoven's E flat Concerto -and Mendelssohn's Variations Sérieuses, and things went with such -brilliant success that she was re-engaged for the next Philharmonic -concert. - -Through the remainder of April, through May, June, and part of July, did -this great artist work incessantly, going in desolation of spirit from -triumph to triumph; and some of Schumann's shorter compositions which -were encored by the public became something more than tolerated, even by -the conservative press, for the sake of her perfect playing of them. -Her numerous concert-journeys through the British Islands extended as -far as Dublin. Amongst the most important of her London appearances were -those at the Musical Union (John Ella's) concerts and at her own three -recitals. At the second of these, which took place on June 17, she -imitated her own precedent at Vienna, and introduced Brahms' name for -the first time to an English public. The entire selection belongs so -peculiarly to the events and period occupying our attention that it may -interest the reader to have the complete programme: - - Variations (Eroica) _Beethoven._ - Two Diversions, Op. 17, from Suite de - Pièces, Op. 24, No. 1 _Sterndale Bennett._ - Variations on a theme from the 'Bunten - Blättern' _Clara Schumann._ - (_a_) Saraband and Gavotte in the style of - Bach _Johannes Brahms._ - (_b_) Clavierstück in A major _Scarlatti._ - 'Carnaval' _Schumann._ - -The Brahms Gavotte was enthusiastically applauded, but Frau Schumann, -having regard to the performance of the 'Carnaval' before her, refused -the encore. At the close of the recital, however, she returned to the -piano in response to continued demonstrations, and repeated the -composition. Her performances were given on a pianoforte by Erard, whose -instruments were preferred at that date by all the great pianists of -Europe. A magnificent 'grand' was presented by the house to Frau -Schumann at the close of her London season, and despatched to her -residence in Düsseldorf. It continued to be her favourite instrument for -private use until 1867, when she reappeared in England after an absence -of ten years, and used a Broadwood pianoforte. On her departure a -Broadwood concert-grand was sent to her house near Baden-Baden by -Messrs. John Broadwood and Sons. Some years later, when the author was -intimate at Frau Schumann's residence, the Broadwood pianoforte stood in -the drawing-room, the Erard in the dining-room. On the former Frau -Schumann and Brahms often played duets after afternoon coffee; on the -latter Johannes--always 'Johannes' to his old friend--played one evening -after supper several numbers of the third and fourth books of the -Hungarian Dances, not yet published, not yet books, his eyes flashing -fire the while. - -Brahms gave up all idea of returning to Hamburg for the present. Duty -and inclination alike prompted him to remain in Schumann's -neighbourhood, and the fact of Dietrich's residence at Bonn gave him -additional satisfaction in resolving to pass the summer on the Rhine. It -was at this time that he made the personal acquaintance of the poet -Claus Groth, who was staying at Bonn to be near Otto Jahn; and the -musical festival of the year (May 11-13) marked the beginning of his -intimacy with the great singer Julius Stockhausen, who, making his first -appearance on the Rhine, was heard in the part of Elijah in -Mendelssohn's oratorio, in 'Alexander's Feast,' in an aria by Boieldieu, -and in songs by Schubert, Mendelssohn, and Schumann. - -Stockhausen had been a pupil of Manuel Garcia in Paris and London, and -was well known to the musical public and the private artistic circles of -both cities before he became a celebrity in Austria and Germany. - - 'His delivery of opera and oratorio music,' says Sir George - Grove[69]--'his favourite pieces from "Euryanthe," "Jean de Paris," - "Le Chaperon Rouge," and "Le Philtre"; or the part of Elijah, or - certain special airs of Bach--was superb in taste, feeling, and - execution; but it was the Lieder of Schubert and Schumann that most - peculiarly suited him, and these he delivered in a truly remarkable - way. The rich beauty of the voice, the nobility of the style, the - perfect phrasing, the intimate sympathy, not least, the - intelligible way in which the words were given--in itself one of - his greatest claims to distinction--all combined to make his - singing of songs a wonderful event. Those who have heard him sing - Schubert's "Nachtstück," "Wanderer," "Memnon," or the "Harper's - Songs," or Schumann's "Frühlingsnacht" or "Fluthenreicher Ebro," or - the "Löwenbraut," will corroborate all that has been said. But - perhaps his highest achievement was the part of Dr. Marianus in - the third part of Schumann's "Faust," in which his delivery of the - "Drei Himmelskönigin" ("Hier ist die Aussicht frei"), with just as - much of acting as the concert-room will admit, and no more, was one - of the most touching and remarkable things ever witnessed.' - -Cordial relations were so quickly established between Stockhausen and -Brahms that before the close of the month they had given two concerts -together--one on the 27th, in the 'yellow room of the casino' at -Cologne; the other on the 29th, in the hall of the Lesegesellschaft at -Bonn. Stockhausen's performances, accompanied in each instance by -Brahms, created a furore on both occasions. Brahms' solos--consisting on -the 27th of Bach's Chromatic Fantasia and Beethoven's C minor -Variations, and on the 29th of Beethoven's E flat Variations, Clara -Schumann's Romance, a Schubert Impromptu, and the great Bach Fugue in A -minor, to be found in vol. iii. of the Leipzig Society's edition--were -coldly received. This is not to be wondered at. During the half-century -which has elapsed since these concerts took place musical taste has -passed through more than one revolution; it is, however, questionable -whether at any time within the interval a pianist, of whatever -qualifications, not already accepted into the prime affections of the -public, could have successfully courted its favour beside the attraction -of a really great singer in full possession of his powers, whose -selections included a number of the most fascinating lyrics of Schubert, -Mendelssohn, and Schumann. One of the Cologne critics, at all events, -was satisfied with the pianist. It is rather surprising to read, in the -_Niederrheinische Musik Zeitung_, that Herr Johannes Brahms played his -two solos on the 27th 'with such purity, clearness, musical ripeness, -and artistic repose, that his performances gave true pleasure.' - -Brahms' temperament was not really suited, however, to the career of a -virtuoso, nor had the obscure circumstances of his youth fitted him for -it. He generally felt too nervously self-conscious when before the -public to have a chance of gaining its entire confidence, and was too -dependent on his mood to be able to throw himself at all times -completely out upon his audience and compel their sympathy. The -achievement of striking and lasting success as a performer involves a -concentration of the best energies of body and mind upon this career, -whilst the attainment of real greatness as a composer means the devotion -of a life to the end. No illustration of these truths could be more apt -than the contrasted careers of Brahms and Joachim. Whatever Joachim's -natural creative faculty may have been, his boundless success as an -interpreter was fatal to its development. The divergence of the paths -pursued by the two friends resulted not altogether, or perhaps chiefly, -from variety of musical endowment, but largely from the radical -differences in their characters and circumstances. From early childhood -Joachim has never appeared on a platform without exciting, not only the -admiration, but the personal love of his audience. His successes have -been their delight. They have rejoiced to see him, to applaud him, -recall him, shout at him. The scenes familiar to the memory of three -generations of London concert-goers have been samples of the everyday -incidents of his life in all countries and towns where he has appeared. -Why? It is impossible altogether to explain such phenomena, even by the -word 'genius.' Joachim followed his destiny. His career is unparalleled -in the history of musical executive art. It began when he was eight; it -is not closed now that he is seventy-four. All possibility of his -achieving greatness as a composer--notwithstanding that he has produced -one or two great works--was excluded by the time he had reached the age -of fourteen. - -The mistress of Brahms' absorbing passion, on the other hand, was from -first to last his creative art, to which all else remained secondary. He -never swerved by a hair's-breadth from his devotion, but accepted -poverty, disappointment, loneliness, and failure in the eyes of the -world, with all the strong faith that was in him, for the sake of this, -his true love. He was never drawn by inclination to his virtuoso career, -to which he submitted only as a necessity, discarding it as soon as -circumstances allowed. He was seldom able to disclose the infinite -possibilities of his playing under circumstances in which he was not at -ease; and though he possessed a great technique which he could easily -have developed into something phenomenal, and which, as it was, enabled -him to excite an audience now and again by sounding and dramatic -performances of Bach's organ compositions and other imposing works, yet -the more distinctive beauties of his style were too subtle for the -appreciation of a mixed body of listeners. His imagination of effects of -tone was, to quote Schumann's article, quite original, and this was even -more strikingly displayed in later years, when he conducted one or other -of his orchestral works. His playing even of such a trifle as Gluck's -Gavotte in A, arranged for Frau Schumann in 1871, which the author more -than once heard, was full of unsought graces that were the immediate -reflection of his delicate spirit. His performance of this little piece, -and his conception of many works of the great masters, together with his -whole style of playing, differed _in toto_ from Frau Schumann's. The two -artists admired each other's qualities. Frau Schumann courted Brahms' -criticisms, and has, on some occasions, quoted to the author his sayings -as to the reading of certain of Beethoven's sonatas, declaring she felt -them to be right. Nevertheless, her temperament would never have allowed -her to carry out these suggestions in actual public performance, and she -was better fitted by temperament than Brahms for the interpretation, to -the large public, of the masterpieces of musical art. - -The author has been carried by this digression, which is the result of -her personal intercourse with these great musicians, to a date many -years later than that reached by the narrative. Its insertion here may, -however, be of advantage to the reader by preparing him to expect that -Brahms' career as a pianist, though not without success, was attended by -few brilliant triumphs. - -On June 8, the forty-sixth anniversary of Schumann's birthday, Johannes -again went to Endenich, accompanied on the walk from Bonn by Jahn, -Dietrich, Groth, and Hermann Deiters, another notable acquaintance of -this summer. He looked very serious on rejoining his companions, though -he said that Schumann had recognised and seemed pleased to see him. The -end was, indeed, not far off. The mists that had so long been gathering -around the lofty spirit of the master continued to close him into -ever-increasing darkness. Bad news attended Frau Schumann's return from -England towards the middle of July, and on the 23rd of the month she was -summoned by a telegraphic despatch to Endenich. Even now the longed-for -interview had to be deferred. Fresh symptoms appeared before her -arrival, and she was obliged to return to Düsseldorf to live through -three more days of agonizing suspense. She returned to Bonn on the -evening of the 26th, there to await the end, and at length, on Sunday -morning, July 27th, passed with Johannes into the solemn chamber of -death. Schumann was lying quietly with closed eyes as she entered, but -opened them presently on the figure kneeling at his bedside, and it -became evident after a few moments that he knew his wife. His power of -speech was almost gone, but a look of recognition passed over his -countenance. He received with satisfaction a few drops of wine with -which she tenderly moistened his lips, and suddenly, with a last -accession of strength, was able to place one of his arms round her. -Those faint looks of love, that last embrace, dwelt in Frau Schumann's -memory as an ever-present solace through the forty years of her -widowhood, and, in spite of her many sorrows, the radiance was never -dimmed that had been shed over her spirit once and for all by the -enchantment of an early ideal happiness. - -Schumann lingered yet a day or two, growing weaker hour by hour as his -wife and his young friend watched at his side. He passed quietly away at -four o'clock on Tuesday afternoon, July 29; and Frau Schumann, returning -from a short interval of repose at her hotel, accompanied by Brahms and -Joachim, who had taken immediate train to Bonn on receiving a hopeless -report, learned that her husband's sufferings were over for ever. - -Two days more, and on Thursday, July 31, in the stillness of a balmy -summer evening, the mortal remains of the master were laid to rest in -the cemetery of Bonn. The funeral was arranged with touching simplicity. -A pleasant spot had been chosen by the city, some plantain-trees planted -by the grave. The coffin, borne from Endenich by the choristers of the -Concordia, was immediately followed by the three chief mourners--Brahms, -who carried a laurel wreath, Joachim, and Dietrich. Next came the -clergyman, Pastor Wiesemann, and the Mayor of Bonn, and at an appointed -spot in the city a long string of friends and musicians joined the -procession, which passed on foot through the streets accompanied by a -band of brass instruments playing one and another of the most solemnly -beautiful of the old German chorales. At the graveside Brahms stepped -forward and placed the wife's wreath upon the coffin, bare of other -floral decorations. A short address was delivered by Pastor Wiesemann, -then came a sacred part-song by the choristers, a chorale, a few simple -words spoken by Ferdinand Hiller, the last farewell of friends throwing -earth upon the coffin, and all was over.[70] - -On the anguish of the widow looking out despairingly to the future of -her lonely life, who yet might not despair because of the little ones -clinging to her side, on the steadfast loyalty of the affectionate -friends in whose sympathy she had found, and continued to find, support, -it is unnecessary to dwell; they are matter of history. Rather let the -chapter be closed in silent remembrance of the departed master and of -the group of his loved ones who lamented together in the sacred presence -of an irreparable grief. - -[61] 'Gesammelte Aufsätze über Musik.' - -[62] 'Aus meinem Leben.' - -[63] _Die Musik_, first May number, 1903. - -[64] In the author's possession. - -[65] In the possession of Professor Julius Spengel. - -[66] In the library of the Gesellschaft der Musikfreunde, Vienna. - -[67] In the possession of Fräulein Marie Grimm. - -[68] 'Aus meinem Leben.' - -[69] Grove's 'Dictionary of Music and Musicians.' - -[70] Chiefly taken from the account written at the time for the _Neue -Zeitschrift_, by Ferdinand Hiller. - - - - - CHAPTER VIII - 1856-1858 - - Joachim and Brahms in Düsseldorf--Grimm in Göttingen--Brahms' visit - to Detmold--Carl von Meysenbug--Court Concertmeister - Bargheer--Joachim and Liszt--Brahms' return to Detmold--Summer at - Göttingen--Pianoforte Concerto in D minor and Orchestral Serenade - in D major tried privately in Hanover. - - -Frau Schumann returned to Düsseldorf the day after the funeral, -accompanied by Brahms and Joachim. There were certain things to be done, -the performance of which she desired to entrust to the two young -musicians who had been so near the master's heart. Together they set in -order the papers left by the deceased composer, wrote necessary letters, -and made plans for the immediate future. Joachim writes on August 2 to -Liszt: - - 'Frau Schumann returned here yesterday; the presence of her - children and of Brahms, whom Schumann loved like a son, comforts - the noble lady, who appears to me, in her deep grief, a lofty - example of God-given strength. I shall remain here for some days.' - -Johannes had taken over some lessons which Frau Schumann had arranged to -give, on her return from England, to Fräulein von Meysenbug, daughter of -the late Minister and sister of the then Hofmarschall at the Court of -Lippe-Detmold, and by so doing had added four people to the list of his -friends: his pupil, her mother and sister--all settled for a few weeks -in Düsseldorf--and her young nephew Carl, who came from Detmold to visit -his relations. - - 'On the occasion of one of the lessons,' says Freiherr von - Meysenbug,[71] 'I first saw and heard the almost boyish-looking, - shy, and socially awkward young artist, who played to us Schubert's - "Moment Musical" in F minor. His rendering of the piece made an - indelible impression on me.' - -The boy's admiration led later on to a fast alliance between Brahms and -Carl. The ladies, on their part, became enthusiastic in their admiration -of the young musician, and on the termination of the lessons, which -could not long be continued on account of the sad circumstances of the -moment, they invited him to stay with them in the spring at Detmold, -with a view to his appearance at Court. - -It was felt that the all-important necessaries for Frau Schumann were -rest and good air. Since the crisis of her husband's malady in February, -1854, followed after a few months by the birth of her youngest son, she -had enjoyed but little repose, and since the autumn of 1855 practically -none. During November and December of that year she travelled, as we -have seen, in Germany, giving concerts with Joachim in Leipzig, Berlin, -Danzig, Berlin again, Rostock, and many other towns. At home for -Christmas, she gave her first concert in Vienna on January 7, which was -followed by five others, the last taking place on March 3. Travelling -meanwhile, she combined her engagements in the Austrian capital with -performances at Prague and other cities. Returning early in March by way -of Leipzig, she was at home about a fortnight, and on April 7 started -for England, to remain until the second week of July. We have seen to -what she returned, and may well understand that she seemed to Joachim -and Brahms 'an example of God-given strength.' It was now decided that -she should go to Switzerland, and that Johannes' sister, whom she knew -and liked, should accompany her. Elise Brahms was not artistic, and had -little education. She had suffered all her life from bad headaches, and -the constitutional tendency had been aggravated by her employment of -plain sewing, carried on at home or in the houses of her clients. She -was not pretty, her single personal attraction being an abundance of -light-brown hair which grew to a great length, but she was simple, -unselfish, and kind; she was the sister of Johannes; and Frau Schumann -hoped that a respite from her confined life, in fine air and scenery, -might do her good. The whole party--Frau Schumann with some of her -children, Elise, and Johannes--set off together as soon as the necessary -arrangements could be made, accompanied on the first part of their -journey by Joachim, and proceeded by short stages to Gersau, on the Lake -of Lucerne, where they settled down for several weeks. The time was -spent in quiet walks and excursions, with some amount of music and a few -meetings with close friends, and the return was made in the same -leisurely way, with ten days' stay at Heidelberg. The holiday had its -effect, and the beginning of October found the three musicians prepared -to take up the ordinary duties of life. Frau Schumann began to practise -for her concert-season, Joachim was at his post at Hanover, and Johannes -about to return to his home in Hamburg, to apply himself to the -occupations which had been interrupted by the events of the past six -months. He appeared at Otten's concert of the 25th of the month with -Beethoven's G major Concerto, and this time with immense success. 'The -concerto was played with such fire and élan as to excite enthusiastic -demonstration.' Some special outward circumstance or inner mood probably -stirred him on this occasion. His performance was so powerful that it is -still vividly remembered, with its effect upon the audience. His -appearance on November 22 at a Philharmonic concert chiefly devoted to -Schumann's works awakened no enthusiasm. He played the master's -Pianoforte Concerto, and the indifference with which his performance was -received was the more marked by contrast with the stormy applause that -followed Joachim's playing of Schumann's Violin Fantasia and of Bach's -Chaconne. - -It was, however, a joy to Brahms to have his friend with him for a day -or two. Kalbeck speaks[72] of a quartet which he had ready to show -Joachim, and which was tried in private at one or other friendly -house--Grädener's or Avé Lallement's (a well-known Hamburg musician). -Internal evidence points to the probability of its having been the -Pianoforte Quartet in C minor, now known amongst its companion works as -No. 3, or some of its movements. There is a great deal in this -composition which is suggestive of Brahms' early period, and the scherzo -is unmistakably founded on, though it is not identical with, the -movement contributed by Johannes to the sonata of welcome written for -Joachim in October, 1853, by Schumann, Dietrich, and Brahms. - -The season 1856-57 was passed uneventfully by Brahms in the studies and -other occupations already described, varied by occasional journeys. He -may at this time be said to have had three if not four homes, in -addition to that of his parents at Hamburg. In Düsseldorf, Hanover, -Göttingen, and Bonn he was alike welcome. Grimm had married in the -spring of 1856, choosing for his wife Fräulein Philippine Ritmüller, -daughter of the head of the Göttingen pianoforte firm of that name. -There was a large room in Ritmüller's establishment available for -private performances, and in it the idea originated which has enriched -the world with Brahms' first pianoforte concerto. - -One day after a performance of the symphony movements of 1854 for which -Grimm cherished an enthusiastic affection, in their arrangement for two -pianofortes, the young musician again urged upon the composer his -frequently expressed opinion of the inadequacy of this form for the -expression of the great ideas of the work. Johannes, however, had quite -convinced himself that he was not yet ripe for the writing of a -symphony, and it occurred to Grimm that they might be rearranged as a -pianoforte concerto. This proposal was entertained by Brahms, who -accepted the first and second movements as suitable in essentials for -this form. The changes of structure involved in the plan, however, -proved far from easy of successful accomplishment, and occupied much of -the composer's time during two years. The movements were repeatedly sent -to Hanover for Joachim's inspection, and returned with his suggestions; -for his time, sympathy, musicianship, and knowledge of the orchestra, -were placed, with unfailing generosity, at Brahms' disposal during all -the years of ripening experience that led up to the composer's maturity. -The immediate fortunes of the work after it was at length completed will -be related in due course. - -The invitation of the von Meysenbugs having been duly renewed and -accepted, the young musician paid a short visit to Detmold at -Whitsuntide. Arriving at the little town one pleasant afternoon, the -last stage of his journey having been made by post, he was met by his -pupil and her nephew Carl, and brought by them to Frau von Meysenbug's -house. The article of the Vienna _Neues Tagblatt_ already referred to, -by Freiherr von Meysenbug, the 'Carl,' or 'Charles,' as he was generally -called, of 1857, gives a pleasant account of the visit: - - 'I can still see the young fellow standing in silent embarrassment - in the old Excellency's drawing-room, not quite knowing how to - begin a conversation with the ladies, who were still practically - strangers to him. Just then--it was about four o'clock--a princely - carriage drove through the quiet street, in which were seated the - three sisters of the reigning Prince on their way to dine with - their brother at the palace. The ladies were accustomed to look up, - as they passed, to the windows of my relations, and my aunt, seeing - the carriage coming, said, "I will just nod to the Princess - (Friederike) that Herr Brahms is come." Upon this Brahms broke - silence with the words, "Do they live close by, then, like everyone - else?" evidently thinking that the sign was to be given to an - opposite window. This set the conversation going till I showed - Brahms his room.' - -The same evening Charles reappeared with his parents and Concertmeister -Bargheer, of the Detmold court orchestra, a fine player, pupil of Spohr -and Joachim, and already an acquaintance of Brahms. The Hofmarschall -wished to hear the new-comer as a preliminary to his appearance at -Court, and listened to most convincing performances of a thundering -prelude and fugue of Bach and of Beethoven's C sharp minor Sonata, Op. -27. An orchestral court concert was immediately arranged, at which -Johannes played his favourite Beethoven Concerto in G major and took -part in a performance of Schubert's 'Forellen' Quintet with -Concertmeister Bargheer, viola-player Schulze, violoncellist Julius -Schmidt, all soloists of the court orchestra, and a bassist, member of -the same body. His success was unequivocal, and he appeared with -Bargheer at an assembly of musicians and their friends held after the -concert at the chief confectioner's, in rollicking boyish spirits. -Capellmeister Kiel, on the other hand, who looked rather askance at a -probable future favourite at Court, assumed airs of even unusual -importance. He was at present, he said, setting one of the Psalms as a -chorus; he often composed Biblical texts, but was sometimes puzzled by -the Scriptural expressions. For instance, 'To the chief musician on the -Gittith.' 'Pray, can you inform me what a Gittith was?' solemnly to the -young hero of the evening. 'Probably a pretty Jewish girl,' returned -Brahms, with a serious air--an answer which procured him a suspicious -look over the spectacles of the old musician, and enraptured Charles, -who, supposed by his parents to be in bed, had found means of his own to -join the party. The entertainment having been prolonged until dawn, the -more ardent spirits of the gathering proposed a walk to a neighbouring -height to see the sun rise, and Brahms and Charles strode off together, -leading the way. Their enthusiasm survived that of their companions, who -gradually dropped off; and overcome by weariness as they reached the -beginning of the last steep climb, they turned into the garden of a -restaurant hard by, where Charles dropped on to the corner seat of an -arbour bench, and Brahms, stretching himself out at full length with his -head on his companion's knee, immediately went soundly to sleep. - - 'Just as I, too, was giving way to fatigue,' continues Freiherr von - Meysenbug, 'a fine brown spaniel came sniffing at Brahms' face, - and he suddenly jumped up, roused by the dog's cold nose. Meanwhile - the house had awakened, we drank some hastily-prepared coffee, - satisfied our healthy young appetites with delicious country black - bread and golden-yellow butter, and trotted back to the little - town. We both presented rather a questionable appearance in the - streets, which were already astir, especially so the small Brahms - in dress-coat, crumpled and disarranged white necktie, and - crush-hat on one side. Paying a passing visit to the faithless - Bargheer, whom we disturbed in his morning slumbers, we next set - out for my grandmother's dwelling. There--oh, horror!--we suddenly - came upon my aunt setting out for her morning walk. A distant look - of righteous indignation travelled up and down the two - night-enthusiasts, for Brahms' attire betrayed but too clearly that - he had not been back since the previous evening. A stormy - atmosphere prevailed during the day in the house of the hospitable - ladies, who were not only unused to visits from men, but could - never have imagined that the ideal artist would commit himself to - such extravagances. I was severely censured by grandmother and - aunts as the harebrained youth who had led the honoured guest - astray. Brahms left the next day, not having been very warmly - pressed to prolong his visit! He had, however, given such - satisfaction in high quarters that his return in the autumn for a - long stay in Detmold was definitely arranged. He was to give - lessons to the Princess, play at Court, and conduct an amateur - choral society, which, by invitation of the Prince, held its weekly - meetings at the castle, and to which His Serene Highness, together - with his brothers and sisters, belonged as regular members.' - -Brahms, who could now look forward to the autumn without anxiety as to -his finances, and who appreciated in anticipation the advantages he -would derive as a composer from his position as conductor of a choral -society and from constant association with a standing orchestra, met -Frau Schumann on her return from England, where she had again passed the -London season, in happy mood. Any regret he may have felt at resigning -his freedom of action for a few months by a binding engagement was -mitigated by the fact that his association with Düsseldorf must in any -case shortly be severed. Frau Schumann had made up her mind that she -would best serve her own happiness and the interests of her family by -settling near her mother in Berlin, and was to take up her residence -there in September, in readiness for the concert season and for the more -advantageous opportunity of working as a teacher in the Prussian -capital, by which she hoped to supplement her income. Born September 13, -1819, the great pianist, now not quite thirty-eight, was in the zenith -of her powers, and, with the probability of a long career before her, it -is not surprising that she should have resolved to begin a new chapter -of life away from the town that was chiefly associated in her mind with -painful recollections. A short summer vacation was passed by her on the -Rhine in the more or less constant society of Brahms, Joachim, and -Grimm, and a memorial of a few specially pleasant days spent at St. -Goarshausen is in existence in the shape of a copy, in her handwriting, -of Brahms' Variations, Op. 21, No. 2. On the outside page is written: - - 'Ungarische Variationen von Johannes. Herrn Julius Otto Grimm, zur - Erinnerung an die Tage in St. Goarshausen. August, 1857. Clara - Schumann.'[73] - -It was at this moment that Joachim resolved on a step which contributed -not a little to inflame the party feeling animating the younger -disciples of the New-German school. That they had felt increasingly -aggrieved by the position taken up by him since the crisis of Schumann's -illness, by his thoroughgoing association of his name and influence with -the art of the master and his wife, by his intimacy with Brahms, and by -his passive attitude towards Liszt's Symphonic Poems, may be read in -letters of the period. Bülow, whose correspondence up to the middle of -1854 contains repeated affectionate references to Joachim, to whom he -was immensely attached, wrote to Liszt in reference to the numerous -concert journeys of 1855 undertaken with Frau Schumann: - - 'Joachim and the statue of which he is making himself the pedestal - are not coming here till the beginning of next month. I am afraid - we shall have difficulty in recognising each other, for we are at - work in completely opposite directions.' - -Perhaps their secret conviction of Joachim's artistic sincerity added to -the disappointment of the Weimarites, which undoubtedly increased during -the two following years, though his dislike of the Symphonic Poems was -only to be guessed by his silence about them. On the publication of the -works in 1857, however, with a somewhat pretentious preface, the -embarrassment he felt from the consciousness that he would be unable to -live up to the desires of his quondam associates, stimulated beyond a -doubt by the sympathy of Johannes, who fully shared his sentiments, -induced him to pen a letter to Liszt in which he made full confession of -his apostasy. The intense pain which the writing of it caused him, -attached as he was to everything about Liszt excepting his compositions, -may be read in every line of the epistle, which is dated August 27, -1857. - - '... But of what use would it be if I were to delay any longer - saying plainly what I feel? My passivity towards your works could - not but reveal it to you, who are accustomed to be treated with - enthusiasm, and who regard me as capable of true, active - friendship. I will not, therefore, longer conceal what, as I - confess, your manly soul had the right to demand of me sooner. I am - entirely without sensibility for your music; it contradicts - everything upon which my powers have been nourished since early - youth from the spirits of our great ones. If it were conceivable - that I could ever be robbed, that I must renounce what I have - learned to love and reverence in their works, what I feel as music, - your tones would be no help to me in the vast, annihilating desert. - How, then, could I associate myself with the object of those who, - under the banner of your name and in the belief (I speak of the - conscientious among them) that they are bound to make themselves - responsible for contemporary justice towards artistic achievement, - make it the aim of life to spread the acceptance of your works by - every means at their command?...' - -These lines were written when Joachim was twenty-six. That they were -wrung from him by the strength of his artistic convictions is clear, and -it is certain that they were entirely characteristic of the writer at -the time. It is probable that Brahms, if he had been called upon to -compose the letter, would have expressed himself differently; but then, -he would not, under similar circumstances, have felt the same amount of -pain. An element in his great influence over his friends, and one which -he encouraged through life by deliberate training, was to accept the -inevitable with philosophy, and to look on the bright side of things; -and his natural elasticity of temperament would have enabled him, had -circumstances demanded of him the sacrifice of a friendship, to yield it -with little outward flinching. It is difficult for the present -generation, for whom the artistic party questions of half a century ago -have little beyond historic interest, to judge of the position of those -for whom they were a burning personal topic; but it is certain that -Joachim's letter to Liszt added fuel to a fire which raged violently -through the next succeeding years, and which occasioned the issue of a -mass of controversial pamphlets and articles almost unreadable at the -present day. - -Liszt himself accepted the young musician's confession with generous -dignity, and never allowed a disrespectful word to be uttered about -Joachim in his presence. His first and only reply to the letter of 1857 -was not made until nearly thirty years later. Joachim, arriving one year -early in the eighties at Budapest to perform his great Variations for -violin and orchestra, called on Liszt, who happened to be staying in the -same hotel with himself. The two artists had not met for many years, and -the pleasure felt by each at the accidental rencontre reminded them of -the tie of affection that had formerly united them. It turned out that -Liszt had already made himself acquainted with the variations, and he -proposed now to attend the rehearsal in order to hear the composer's -performance of them, saying: 'As you do not like my music, dear Joachim, -I feel that I must admire yours in double measure.' - -By the end of September Brahms found himself once more in Detmold. The -terms of his engagement, which extended through the three last months of -the year, included free rooms and living, and he was lodged in the -hotel Stadt Frankfurt, a comfortable inn, since enlarged and modernized, -exactly opposite the castle enclosure--close, therefore, to the scene of -his duties. The difficulty of procuring a piano in the little town was -got over by the loan of an old 'grand' belonging to the Frau -Hofmarschall that had been superseded in her drawing-room by one of -later construction; and Brahms, relieved at having succeeded in -obtaining something that had at least been good in its day, rewarded -Charles for his suggestion that the instrument should be sent to the -Stadt Frankfurt by promising him right of entrance to all practices and -performances that he might hold in his room with Bargheer, Schmidt, and -others. - -The daily life of our musician during the next three months was one very -much after his own heart. His mornings were sacred to work. Bargheer -joined him at the Stadt Frankfurt for early dinner, and the afternoons -were generally passed in exercise in the crisp autumn air of the -Teutoberger forest. There were games with Carl and his younger brother -Hermann; trials of strength with Bargheer, in which Brahms was -invariably defeated; Sunday excursions with Bargheer, Carl, and others, -which occupied the whole day and included an al-fresco luncheon carried -from Detmold, to which Brahms was proud to be able sometimes to -contribute an excellent bottle of Malvoisier. This he procured by -dispensing with the half-bottle of ordinary wine daily provided with his -dinner until he had covered the cost of the superior vintage to be -shared with his friends. 'He was as happy as a king at these times, he -loved beautiful nature so much,' says Julius Schmidt, who was -occasionally one of the party. - -His post as conductor of the choral society was at first particularly -welcome, not only as giving him experience in a branch of musical -activity which he had not practised since he stood, a boy of fifteen, at -the head of his little society of teachers at Winsen, but as affording -opportunity for the practical application and test of the studies to -which he had been devoting special attention. He began his duties as -conductor with the practice of short works by early and modern masters, -and arranged some of his favourite folk-songs expressly for the use of -the society, deriving from each rehearsal fresh insight into the art of -writing for voices. There were frequent informal musical soirées at -Court, which provided occasion for choral performances in the intervals -between the instrumental works that formed the bulk of the programmes. -These were played by Brahms, Bargheer, Schulze, Schmidt, and the -splendid hornist August Cordes, whose rich, mellow tone drew from Brahms -enthusiastic expressions of admiration. Almost the entire répertoire of -classical chamber music seems to have been gone through during this and -succeeding seasons; all the duet sonatas and pianoforte trios and -quartets, etc., of Bach, Mozart, Beethoven, Schubert, and Schumann, were -played in turn. Brahms' Trio was performed several times, and it gave -the young musician particular pleasure to execute, not only Beethoven's -Horn Sonata with Cordes, but Mozart's and Beethoven's quintets for -pianoforte and wind with the soloists of the orchestra, who were one and -all artists. The powers of the flutist are said to have been hardly less -remarkable than those of Cordes. - -The court violoncellist, Julius Schmidt, who in 1857 was a man in the -early prime of life, has described to the author Brahms' appearance, on -his coming to Detmold, as so delicate and refined as to be almost -girlish; and this impression was strengthened by his voice, which was -still of the high quality that has been frequently mentioned. Impatient -of the remarks elicited by the peculiarity, he began at this time to -practise a series of vocal gymnastics for the purpose of forcing his -voice down, and was eventually successful in this aim. - -When engaged in the performance of his duties, he was always quiet and -serious, and would stand, before the commencement of a choir practice or -a court concert, at the extreme end of the long room in which the -functions took place, speaking to no one, perhaps looking through a -piece of music or a letter. His duties in connection with the -orchestral concerts were to play from time to time, and to conduct now -and then. In the course of the successive autumns passed by him at -Detmold, his performances included several of Mozart's and Beethoven's -concertos, which were heard with especial delight; Schumann's Concerto; -Mendelssohn's D minor Concerto and B minor Caprice; Moscheles' G minor -Concerto; and, with Bargheer and Schmidt, Beethoven's triple Concerto. -Occasionally, as time went on, the Princess Friederike played a -concerto, and on the occasion of a performance of Beethoven's Choral -Fantasia the Frau Hofmarschall von Meysenbug undertook the pianoforte -solo, whilst Brahms acted as conductor. - -The young musician soon became a favourite at Court, not only on account -of his musical genius, but also because of the general culture of his -mind. He invariably seemed at home on a topic of real interest, and able -to contribute something worth hearing to its discussion. 'Whoever wishes -to play well must not only practise a great deal, but read a great many -books,' was one of his favourite sayings, and the excellent public -library of Detmold afforded him good opportunity for indulging his -literary tastes. On the evenings that were free from duties, some of the -musicians often dropped into Brahms' room to play, and the performances -generally went on until late into the night. - - 'And how Brahms loved the great masters! how he played Haydn and - Mozart! with what beauty of interpretation and delicate shading of - tone! And then his transposing!' - -He would play a new composition by one or other of his Detmold friends -at sight in a transposed key without a mistake, taking it at any -interval suggested, and thinking nothing of the feat. He even liked to -play tricks on Court Concertmeister Bargheer, and to lead off Mozart's -duet sonatas, which Prince Leopold was fond of hearing in private, in -transposed keys, in which Bargheer was obliged, and luckily able, to -follow. - - 'His score playing, too, was marvellous. Bach, Handel, Haydn, - Mozart, all seemed to flow naturally under his fingers, and each - point to come out, as it were, of itself. Then, he was of such a - noble character, such a good, kind nature, and so loved - children....' - -It must be added, however, that Schmidt, like most of the Detmold -musicians, whilst enthusiastically admiring Brahms' gifts as an -executant, regarded his compositions with scepticism. The B major Trio -was by no means a favourite with himself or his colleagues--Bargheer -always excepted--and he thought the 'cello part most ungratefully -written for the instrument. - -Enough has been said to make it evident that Brahms' sojourn at Detmold -was an unmitigated success, and before his departure his re-engagement -the following season had come to be regarded as a matter of course. The -Christmas festival, passed by him in the midst of the Hofmarschall's -family party, was as bright and happy as can be imagined. Johannes -became for the evening a child of the house, entering eagerly with the -boys into the mystery of the hour preceding the great presentation of -Christmas gifts, and ready to laugh heartily at the practical jokes of -which he and others were made victims later in the evening. A few words -written in an album given to Hermann are still treasured by their owner: -'This was written in hearty friendship by your Johannes.' - -Two signs, contrasted one with the other, but both prophetic of things -to come, are to be noted in January newspaper issues of 1858. One, which -points to the swelling bitterness of feeling with which the Weimarites -contemplated the compact phalanx of friends who may conveniently be -termed the Schumann party, is contained in a reference to Rubinstein as -composer, penned by Bülow in the _Neue Berliner Musikzeitung_ of January -27: - - 'He [Rubinstein] knows his powers; he has tested his arms, and has - therefore attained to a higher stage than the brooding Brahms.' - -The other is the record, in a paragraph of the _Signale_, of what was -probably the début of Brahms' name in Italy. The distinguished pianist -Alfred Jaell had included one of his compositions in the programmes of a -lately-ended concert-tour through that country. - -On leaving Detmold, Johannes proceeded to Hamburg, where he remained -about half the year, occupied with his studies, compositions and pupils. -He paid a visit to Berlin towards the end of March to compensate himself -for the loss of Frau Schumann's society at Christmas, and passed much of -his time with her stepbrother, the composer Woldemar Bargiel, but -returned after a few weeks to his parents' house to stay till the middle -of July. The family moved again this year to a more commodious dwelling -at 74, Fuhlentwiethe, still in the old quarter of Hamburg, but with -good-sized rooms, which were always kept in beautiful order. The parlour -was comfortably though plainly furnished, and decorated with ivy after -the custom of the time. It had a large open fireplace with old-fashioned -hobs on either side, which occasionally served in the summer as a refuge -for cake-eating child-visitors, to the preservation of Fräulein Elise's -spotless floor. The room set apart for Johannes, who, now as always, was -responsible for a large share of the family expenses, afforded ample -space for a sleeping sofa, washing-stand, piano, writing-table, and -large bookcase, on the top of which stood a bust of Beethoven. Two or -three small prints from good pictures decorated the walls, one of them -being a representation of Leonardo da Vinci's 'Last Supper.' There was -sufficient space in the dwelling for the accommodation of one or two -boarders--a means of income to which Jakob and his wife had had -recourse, as we have seen, in the early part of their married life. - -When Brahms quitted Hamburg in July, it was understood that his absence -would be a long one. He would not, at any rate, return before the -beginning of the next year, after the close of his Detmold season, and -there was great uncertainty as to what his future plans might be. It was -a sad time for Fräulein Friedchen Wagner, who had been his regular pupil -during all the months of his stay, and at her last lesson she begged her -master for some little souvenir, desiring that it should be of a serious -character to correspond with her mood. She was not at home when he -called to say good-bye, however, and he left Hamburg apparently without -a sign. Too melancholy for some days to feel that she could open her -piano, her delight was the greater when at length, resolving to go to -work again, she found under the lid of the instrument a manuscript in -Brahms' hand, which bore the inscription: 'To Fräulein Fr. Wagner, in -kind remembrance. July, 1858.' It was the organ prelude to the chorale, -'O Traurigkeit, O Herzeleid,' which was published with a fugue, in 1881, -in a supplement of a number of the _Musikalisches Wochenblatt_.[74] - -Brahms passed nearly all the remainder of the summer at Göttingen. Frau -Schumann, after drinking the waters at Wiesbaden, took up her residence -with some of her children in the Grimms' house; Johannes found a lodging -close by, and some memorable weeks were passed by the circle in work and -play that were almost equally delightful. Grimm and his wife were -inexpressibly touched by the beautiful and rare relation in which -Johannes stood to Frau Schumann. 'He was to her as a careful friend, a -loving and protecting son.' She was, indeed, the centre of the party, -and the chief thought of all the younger musicians gathered about her. -Johannes was a famous playfellow for her little ones, proposing all -sorts of romping games for them, in which the elders willingly joined. -As for music, they had their own share in that, too. One can imagine -them cowering quiet in their hiding-places as they heard the approaching -voice of the seeker: - -[Music: - - Wil-le, wil-le, will, Der Mann ist kom-men; - Did-dle, did-dle dee, There's some-one com-ing; -] - -the demands of the four-year-old Felix for another ride on somebody's -knee, in spite of the answer: - -[Music: - - Ull Mann will ri-den, wull hat er kein Pferd; - He would go ri-ding, but no horse had he; -] - -the efforts of the small Eugénie to keep the dust out of her eyes just a -little longer, though - -[Music: - - Die Blü-me-lein sie schla-fen schon, - The flow-er-ets are sleep-ing, -] - -These and other songs which were sung by Johannes with and to Frau -Schumann's children at Göttingen this summer were published anonymously -by Rieter-Biedermann at the end of the year as 'Children's Folk-songs, -with added accompaniment, dedicated to the children of Robert and Clara -Schumann.' - -The Pianoforte Concerto in D minor was not the only large composition -with which Brahms had been busy. Until a comparatively late period of -his career, his method of working in some respects resembled that of -Beethoven. We have seen that he was in the habit, as a boy, of putting -his thoughts down as they occurred to him. Later on he was accustomed to -keep several large compositions on hand at once, allowing his ideas to -expand gradually; and he sometimes had a work by him for years before -completing it in its final shape. The cases of the D minor Concerto, the -C minor Pianoforte Quartet, and the C minor Symphony are -well-established instances in point, though Brahms took care that the -process by which his works were developed should not after his death -become public property, by destroying the vast majority of his -sketches.[75] This year, besides completing the concerto, he had -composed the work known as the Serenade in D for large orchestra. Not, -however, in its present form. Inspired by the delight with which he had -listened to the 'cassation music,' the serenades and divertimenti of -Mozart, as performed by the soloists of the Detmold orchestra, he had -set about writing something in the same style in the form of an octet, -bearing particularly in mind the exceptional qualifications of the wind -performers of Prince Leopold's band. This was completed before being -shown to Joachim, whose extraordinary English successes kept him in this -country from April until the autumn of the year; and it was not until -the Göttingen party had broken up--Frau Schumann proceeding on a visit -to Düsseldorf, and Johannes returning to his engagement at Detmold--that -our composer had an opportunity of talking over his newly-finished -manuscripts with his best friend. - -Joachim had reserved a day or two for Johannes on his way back to -Hanover, where he was due on October 1, and turned up unannounced one -day in the last week of September, to find that Brahms had gone for a -day's walk with his companions, and would not be back till evening. He -had to get through the hours as well as he could, and the pedestrians -did not find him in his happiest mood on their return. The best had to -be made of a bad matter, however, and there was wonderful music in -Brahms' room on that and the following evening. The two friends played, -amongst other things, all Bach's sonatas for clavier and violin, and, -more memorable still, the first performance took place of Joachim's -Hungarian Concerto. He had completed it in England, and wished to show -it to Johannes, who insisted on having out the manuscript and going -through it immediately, to the great satisfaction of the few listeners -present. Brahms was frequently wont to express his regret that Joachim -allowed so much of his time and energy to be swallowed up in -concert-journeys, and particularly disapproved of his long absences in -England. Regarding him as a tone-poet whose creative gifts contained -possibilities of exceptional fruition, he would have liked to see his -friend settle down into a life similar to his own, in which the first -object should be the development of his talent as a composer. We have -already referred to some of the reasons that militated against the -fulfilment of this desire. Brahms was captivated by the new concerto, -and his admiration of the splendid finale seems to have awakened in him -the desire to use some of his favourite Hungarian melodies in a -developed movement in sociable emulation of Joachim. With what result -will presently appear. - -Plans were now made for an immediate private rehearsal at Hanover of -Brahms' new compositions. In Joachim's words to the author, 'We were -naturally anxious to hear how they sounded, and I had the band at my -disposal.' Frau Schumann was invited to hear the trial of the two new -works, and perhaps her account of them may have been responsible for the -following paragraph, which appeared in the _Signale_ in the course of -October: - - 'We hear that since the arrival of J. Brahms in Detmold a few weeks - ago there has been an animated musical life there, of which the - young artist is the centre. Brahms will remain in Detmold until the - end of the year, and it is hoped that some of his new compositions - may be brought to a hearing. He has completed, amongst other - things, a pianoforte concerto, the great beauties of which have - been reported to us.' - -The same journal notices a concert given by Frau Schumann in Düsseldorf, -at which she played arrangements by Brahms for two hands on the -pianoforte, of a selection of Hungarian Dances, 'that called forth a -veritable storm of applause.' This unanswerable statement should -effectually dispose of the fable which still obtains considerable -credence amongst the musical laity, that the 'Hungarian Dance' -arrangements were the outcome of impressions derived during Brahms' -residence in Vienna. As has been shown in an earlier chapter, he owed -his first acquaintance with the melodies to the playing of Reményi. - -The hope expressed in the _Signale_, that the new works might be -performed at Detmold, was only partially fulfilled. As we have seen, -Brahms was not seriously accepted as a composer by the musicians -there--one of them only excepted--and Capellmeister Kiel regarded his -compositions with peculiar jealousy and mistrust. So far as can be -ascertained, the D minor Concerto was not even tried at Detmold. The -result of the rehearsal at Hanover was, however, that Joachim, in spite -of some official opposition, carried through his wish that it should be -put down for a first performance at one of the Hanover subscription -court concerts, choosing for date January 22, 1859, when Johannes would -be free from duties; and that through the influence of Court -Concertmeister David arrangements were made for its second performance a -few days later at the Leipzig Gewandhaus concert of January 27. - -As regards the serenade, Joachim formed the opinion that it should be -scored for orchestra, and Johannes, following his friend's advice, -presently effected the alteration. It was heard at one or more of the -Detmold court concerts. - -Carl von Meysenbug was not long able this season to enjoy the pleasures -of the evening music at the Stadt Frankfurt, which was more than ever of -an institution. He departed at the end of October to enter upon the life -of a University student at Göttingen, where he soon found himself at -home in the midst of the congenial musical friends of Grimm's circle. -'You will see,' Johannes said to him as they parted, 'how surprised you -will be, after your admiration of the stiff court ladies here, when you -become acquainted with the pretty, fresh, lively daughters of the -professors.' - -These words were significant. The age of twenty-five is suitable to -romance, and Brahms was at this time in love. That he had passed through -the earliest years of manhood without any _affaire de coeur_ is to be -explained by the circumstances in which he had been placed. The -prosecution of a noble ambition which involved unremitting application -to work occupied one half of his energies, whilst his affections had -been absorbed by family ties, by a dear companionship, and by his love -for two people to whom he looked up with unbounded reverence. A calmer -period had succeeded the exciting course of past events, and he now had -leisure to think of himself. His intercourse with the charming young -people who frequented the Grimms' house, and the contemplation of his -friend's great happiness in his wedded life, had awakened in him a -feeling of loneliness, and he thought much of Fräulein Agathe, daughter -of Professor S---- of Göttingen, and one of Frau Philippine's most -intimate friends. Agathe was handsome, cultivated, and very musical, and -she sang Brahms' songs with especial sympathy, particularly when he -played the accompaniments. The very confident rumour of an impending or -even of an accomplished betrothal between the pair, however, proved to -be a tale without an ending. Johannes seems, after a while, to have -suddenly faced the fact that he was bound to take a decided course one -way or the other, and no one who has grasped the key to his character -and aims can feel surprised that his decision led him away from -marriage. Now and afterwards he liked the society of charming girls, and -perhaps thought it no harm to enjoy the pleasure of a special friendship -without going beyond the consideration of the hour; but it may safely be -assumed that he would not, at the outset of his career, have risked the -sacrifice of his artistic aims by accepting binding responsibilities, -even had his worldly prospects been much more certain than they were. He -resolutely put away the visions of happiness with which he had dallied -for a time, and turned cheerfully to confront the future in undivided -allegiance to the Art that was to maintain supreme sway over his -affections to the end of his life. That the remembrance of Agathe -remained treasured somewhere in a corner of his heart as the years -rolled onward will seem certain to those who have had opportunity of -appreciating the tenacity of his memory for old friendships. - -[71] 'Aus Johannes Brahms' Jugendtagen,' by Carl, Freiherr von Meysenbug -(_Neues Wiener Tagblatt_, April 3 and 4, 1902). - -[72] 'Johannes Brahms,' p. 297. - -[73] In the possession of Fräulein Marie Grimm. - -[74] 'Brahms in Hamburg,' by Professor Walter Hübbe. - -[75] The few sketches Brahms allowed to survive him are preserved in the -library of the Gesellschaft der Musikfreunde at Vienna. - - - - - CHAPTER IX - 1859 - - First public performances of the Pianoforte Concerto in Hanover, - Leipzig, and Hamburg--Brahms, Joachim, and Stockhausen appear - together in Hamburg--First public performance of the Serenade in D - major--Ladies' Choir--Fräulein Friedchen Wagner--Compositions for - women's chorus. - - -It is not difficult to realize something of the mingled feelings of hope -and anxiety that must have filled the mind of Johannes on his arrival in -Hanover in January, 1859. If the first chapter of his career had closed -in triumphant fashion with the extraordinary series of events that -followed his first little concert-journey, the second chapter can only -be regarded as an intermezzo which was spent in quiet preparation for -what was to succeed it. The prelude of his artistic life had been -successfully completed in 1853; the main action was to begin with the -performances in Hanover and Leipzig in the opening month of 1859. Brahms -was almost extravagantly self-critical, but he must have felt encouraged -when he remembered the substantial success of his début as a composer at -Leipzig immediately after the appearance of Schumann's famous article, -and he knew that he had now attained a much more advanced stage of -capacity. Such considerations, combined with the enthusiasm of his best -friends, may well have raised his hopes high. - -The concerto was heard at Hanover on January 22 under the most -favourable conditions. Joachim conducted the orchestra, Johannes played -the solo, and it would be hard to say which of the two young musicians -was the more interested in the occasion, but the result of the -performance was that the public was wearied and the musicians puzzled. - - 'The work had no great success with the public,' reported the - Hanover correspondent of the _Signale_ ten days later, 'but'--and - we seem to read the promptings of a Joachim in the following - words--'it aroused the decided respect and sympathy of the best - musicians for the gifted artist.' - - 'The work, with all its serious striving, its rejection of - triviality, its skilled instrumentation, seemed difficult to - understand, even dry, and in parts eminently fatiguing,' said - another critic;[76] 'nevertheless Brahms gave the impression of - being a really sterling musician, and it was conceded without - reservation that he is not merely a virtuoso, but a great artist of - pianoforte-playing.' - -Johannes had to leave immediately for Leipzig, and he started from -Hanover without knowing more about the impression produced there by his -concerto than could be gathered from the reserve of the audience and the -enthusiasm of his friend, but that his frame of mind was not despondent -may be inferred from a paragraph which appeared in the _Signale_ -immediately after his arrival. - - 'Herr Johannes Brahms is here, and will play his Concerto at the - Gewandhaus concert of the 27th. He thinks of remaining the rest of - the winter at Leipzig.' - -It is necessary to remind the reader what kind of audience it was for -whose acceptance our young composer was now about to submit his work. -Leipzig still occupied the position of musical capital of Europe to -which it had been raised by the genius of Mendelssohn. By the most -influential of its artistic circles, the premature death of this -fascinating master (1809-1847) was still deplored as an almost recent -event. Most of his old friends were living, and, in virtue of their -former personal association with him, looked upon themselves as -competent judges of all later aspirants to fame. It is matter of daily -experience that the uninformed satellites of a man of genius are -arrogant in proportion to their ignorance, and that even professional -adepts of sincerity are apt to allow their horizon to be limited by -their hero-worship. Musicians and amateurs, alike, of the Gewandhaus -circle associated the idea of a concerto with the clear melody of Mozart -and Beethoven, still, perhaps, regarding Beethoven as a little difficult -to understand, with the attractive sparkle of Mendelssohn and with the -opportunity for a display of the soloist's virtuosity afforded more or -less by the works of all three masters. If asked to listen to a novelty, -they expected that it should not be too unlike what they had heard -before to be difficult to follow. Bernsdorf, newly appointed to succeed -Brahms' friendly critic, Louis Köhler, on the staff of the conservative -_Signale_, was himself a conservative of the most obstinate type, in -some respects resembling the English J. W. Davison of the _Times_ and -the _Musical World_, who was honestly convinced that the series of great -masters had closed with Mendelssohn. - -On the other hand, the New-Germans had by this time made considerable -conquests in Leipzig, where they had established an important party -organization, and had, as we have seen in an earlier chapter, even been -admitted on trial to the platform of the Gewandhaus. The _Neue -Zeitschrift_ was their organ, but they had supporters also amongst the -journalists of the daily press, Ferdinand Gleich, of the _Leipziger -Tagblatt_, being one of the principal. They were on the look-out for -champions who would rally to their cause, and welcomed the unusual as -such, though reserving their heartiest approval for the piquant, -sounding, sensational, or even revolutionary. - -To these two bodies of extremists our Johannes, with his inexperience, -his ideal aims, his genius, and his dislike of the sensational, was now -to appeal. Had he been compelled at the moment to declare for either -party, he certainly would not have chosen the side of revolution. But he -was gifted with an imagination at once profound, original, and romantic. -This sealed his fate with the men who considered themselves the modern -representatives of classic art. The day after the concert he wrote to -Joachim to announce--'a brilliant and decided failure.' - - 'In the first place,' he says, 'it really went very well; I played - much better than in Hanover, and the orchestra capitally. The first - rehearsal aroused no feeling whatever, either in the musicians or - hearers. No hearers came, however, to the second, and not a muscle - moved on the countenance of either of the musicians. In the evening - Cherubini's Elisa overture was given, and then an Ave Maria of his - uninterestingly sung, so I hoped Pfund's (the drummer's) roll would - come at the right time.[77] The first movement and the second were - heard without a sign. At the end three hands attempted to fall - slowly one upon the other, upon which a quite audible hissing from - all sides forbade such demonstrations. There is nothing else to - write about the event, for no one has yet said a syllable to me - about the work, David excepted, who was very kind.... - - 'This failure has made no impression at all upon me, and the slight - feeling of disappointment and flatness disappeared when I heard - Haydn's C minor Symphony and the Ruins of Athens. In spite of all - this, the concerto will please some day when I have improved its - construction, and a second shall sound different. - - 'I believe it is the best thing that could happen to me; it makes - one pull one's thoughts together and raises one's spirit.... But - the hissing was too much?... - - 'The faces here looked dreadfully insipid when I came from Hanover, - and was accustomed to seeing yours. Monday (January 31) I am going - to Hamburg. There is interesting church music here on Sunday, and - in the evening Faust at Frau Frege's.'[78] - -The grimness of the young composer's disappointment may be read between -these Spartan lines. But perhaps he has exaggerated his failure. Let us -see what Bernsdorf has to say. - - 'It is sad, but true; new works do not succeed in Leipzig. Again at - the fourteenth Gewandhaus concert was a composition borne to the - grave. This work, however, cannot give pleasure. Save its serious - intention, it has nothing to offer but waste, barren dreariness - truly disconsolate. Its invention is neither attractive nor - agreeable.... And for more than three-quarters of an hour must one - endure this rooting and rummaging, this dragging and drawing, this - tearing and patching of phrases and flourishes! Not only must one - take in this fermenting mass; one must also swallow a dessert of - the shrillest dissonances and most unpleasant sounds. With - deliberate intention, Herr Brahms has made the pianoforte part of - his concerto as uninteresting as possible; it contains no effective - treatment of the instrument, no new and ingenious passages, and - wherever something appears which gives promise of effect, it is - immediately crushed and suffocated by a thick crust of orchestral - accompaniment. It must be observed, finally, that Herr Brahms' - pianoforte technique does not satisfy the demands we have a right - to make of a concert-player of the present day.' - -Nothing could be more representative than these lines, of the -conscientious bigotry which almost always opposes what is really -original, though it is expressed by Bernsdorf with exceptional -coarseness. The narrowly orthodox antagonists of Brahms' art resembled -those who had levelled their shafts against Beethoven and Schumann each -in their day. The young composer fared differently at the hands of the -progressists. The _Neue Zeitschrift_ wrote: - - 'The appearance of Johannes Brahms with a new concerto was bound to - attract our especial attention. In the first place, on account of - the hopes entertained of an artist who had been introduced in a - most exceptional manner, even before his first appearance, by the - enthusiastic words of a revered master; and secondly, from the - rarity of his subsequent public announcements and the retirement in - which he has lived. - - 'Notwithstanding its undeniable want of outward effect, we regard - the poetic contents of the concerto as an unmistakable sign of - significant and original creative power; and, in face of the - belittling criticisms of a certain portion of the public and press, - we consider it our duty to insist on the admirable sides of the - work, and to protest against the not very estimable manner in which - judgment has been passed upon it.' - -Ferdinand Gleich writes: - - 'Who would or could ignore in this new work the tokens of an - eminent creative endowment! We least of all who regard it as our - duty to encourage young talent. Many doubts, however, suggested - themselves as we listened to this concert-piece in large form. - This work again suggests a condition of indefiniteness and - fermentation, a wrestling for a method of expression commensurate - with the ideas of the composer, which has indeed broken through the - form of tradition, but has not yet constructed another sufficiently - definite and rounded to satisfy the demands of the æsthetics of - art.... The first movement, especially, gives us the impression of - monstrosity; this was less the case with the two others, although - even there we were not able, in spite of the beauties they contain, - to feel real artistic enjoyment. Brahms places the orchestra, as - far as is possible in a concert-piece, by the side of the obligato - instrument, and by so doing establishes himself as an artist who - understands the requirements of the new era. The treatment of the - orchestra shows a blooming fancy and the most vivid feeling for new - and beautiful tone effects, although the composer has not yet - sufficient command over his means to do justice to his intentions. - The work was received calmly, not to say coldly, by the public; we, - however, must acknowledge the eminent talent of the composer, of - whom, though he is still too much absorbed in his _Sturm und Drang_ - period, it is not difficult to predict the accomplishment of - something great.' - -Whether or not these two reviews were penned with a deliberate -purpose--and a desire on the part of the supporters of the New-German -school to identify Brahms with their cause can hardly be regarded as -either remarkable or dishonourable--no trace is to be found in either of -the insincerity attributed by Kalbeck, in his Life of Brahms, to the -journalistic partisans of the Weimarites, and especially to Brendel, -editor of the _Zeitschrift_ and friend of Liszt. Their honesty of -purpose, as well as their liberality of view, has been vindicated by the -fate which for many years attended the published concerto, and again we -may place the remarks of Hanslick, the avowed champion of classical art -and the enthusiastic admirer of the mature Brahms, beside those -published in the _Zeitschrift_ of the fifties. Writing in 1888, he -says:[79] - - 'Brahms began, like Schumann, in _Sturm und Drang_, but he was much - more daring and wild, more emancipated in respect to form and - modulation. The fermentation period of his genius, which is - generally supposed to have closed with his Op. 10 (Ballades for - pianoforte), should, perhaps, be extended ... does it not include - the D minor Concerto, with its wild genius?' - -It has, indeed, taken nearly half a century to establish the concerto in -a secure position of public acceptance, and the day, though now probably -not far distant, has not even yet arrived when it can be said to rank as -a prime favourite amongst compositions of its class with the large body -of music-lovers. - -Conceived as part of a symphony, the first movement of the work is -symphonic in character, though, as Spitta has pointed out, not in form. -The desire attributed to the composer by Ferdinand Gleich and by many -others since, to create a new form, to compose a symphonic work with a -pianoforte obligato, did not exist. Brahms simply wished to use what he -had already written, and did not feel that the time had come when he -could successfully complete a symphony. He rewrote his first two -movements, therefore, as we have noted, making room in them for a -pianoforte solo, put away the third movement, and composed a new finale. -How successfully he accomplished his task is to-day apparent to -accustomed ears, for which the first movement, though it contains slight -deviations from traditional concerto form, has no moment of obscurity. -The imagination of this portion of the work is colossal. It has -something Miltonic in its character, and seems to suggest to the mind -issues more tremendous and universal than the tragedy of Schumann's -fate, with which it must be associated. No one will assert that it -contains what are termed 'brilliant pianoforte passages,' the very -existence of which is unthinkable in a movement of such exalted poetic -grandeur; but that its performance brings due reward to capable -interpreters has been proved by the enthusiasm of many a latter-day -audience. After all that has been said, the reader will have no -difficulty in understanding the fervent intensity of mood which impelled -the composition of the slow movement, or in realizing something of the -emotions which suggested the motto, _Benedictus qui venit in nomine -Domini_, written above it in the original manuscript (in Joachim's -possession) by Brahms. In the finale, the difficult task of creating -something which should relieve the tension of feeling induced by the -preceding movements, without impairing the unity of the concerto as a -whole, has been well achieved. If it is somewhat more sombre in colour -than the usually accepted finale in rondo form, it is abundant in vigour -and impulse, whilst, on the other hand, though written with a view to -the concert-room, it never descends towards the trivialities of mere -outward glitter. - -Much more might be said in explanation of the dubious position so long -occupied in the world of art by this great work of genius. We may not, -however, linger longer over such interesting matters. It is enough to -say that the purpose expressed by Brahms in his letter to Joachim, of -'pulling his thoughts together,' was literally carried out, and that his -development proceeded in the direction it had already taken, which was -the very opposite of that pursued by the adherents of the New-German -school. It consisted in the still closer concentration of his powers -within the forms of tradition, and the rapidity with which he attained -to complete and free mastery over musical structure is marked by the -production--soon to be recorded--of the first of the great series of -chefs-d'oeuvre of chamber music which have set his name, in this -particular domain of art, as high as that of Beethoven himself. - -Unrecognised by the public and misunderstood by the academics of -Leipzig, whose sympathies he seems particularly, though for many years -vainly, to have desired to gain, our young musician had now no choice -but to return to his home and pupils at Hamburg. If, however, he himself -felt at all despondent at the failure of his hopes, his friends were -determined about the future of his work. Prompted and backed up by -Joachim, Avé Lallement, who was a member of the Philharmonic committee, -persuaded the directors to engage composer and concerto for their -concert of March 24. Joachim had written to Avé: - - 'DEAR FRIEND, - - 'Nearer acquaintance with Brahms' concerto inspires me with - increasing love and respect. The most intelligent people amongst - the public and the orchestra (of Leipzig) with whom I have spoken - express a high opinion of Brahms as a musician, and even those who - do not like the concerto are at one as to his eminent playing. I - have never expected anything else than that prejudice on the one - hand, and, on the other, astonishment at an individuality which - surrenders itself so unreservedly to the ideal as that of our - friend, should present some impediment to the brilliancy of his - success. A few places in the composition which, though good in - themselves, are too much spun out may also here and there disturb - one's enjoyment. Nevertheless, one may say that the concerto has - had a success honourable alike to artist and public; the same in - Hanover. Now let fault-finders and malicious detractors gossip as - they please--I don't mind; we have done right.... Now do as you - like in Hamburg, but if you give the concerto at the Philharmonic I - will come and conduct. That has long been settled.'[80] - -The concert was made into a musical event of unusual importance by the -engagement of Joachim and of Stockhausen--his first appearance in -Hamburg; and public interest was increased by the advertisement of a -concert in the joint names of Brahms, Joachim, and Stockhausen to take -place on the 28th, which was to be signalized by the first public -performance of the newly composed Serenade in D major. That Johannes had -taken heart again after his disappointments, and was looking forward -with pleasure to the visits of his friends, is evident from a letter -written by him a few days beforehand to the lady in waiting on the -Princess Friederike of Lippe-Detmold. - - 'VERY ESTEEMED, GRACIOUS FRÄULEIN, - - 'In the first place I beg you to express my most humble thanks to - Her Serene Highness the Princess Friederike for the despatch of the - new Bach work. - - 'How often this present will remind me in the most agreeable manner - of Her Highness's kindness. You know how I love the divine master, - and may imagine that his tones (so dreaded by you) will often be - heard here. - - 'I am glad that Her Serene Highness continues to work so - industriously at her music, and only wish I could help her in some - way. - - 'In the trio mentioned by you[81] the most simple way is that the - left hand (which ceases playing) should help the poor right. For - what embarrassment the mischievous arrogance of the composer is - responsible! - - 'The day after to-morrow I play my pianoforte concerto here, and a - few days later introduce other works at a concert of my own. - Joachim and Stockhausen, who are coming for it, will make the days - into real musical festivals. - - 'In spite of the great diversity of opinions expressed about my - works, I have reason to be quite satisfied with my first attempts - for orchestra, and I confidently hope that they will find friendly - hearers in Detmold also. - - 'And I may venture to hope, above all, for later ripening and - better swelling fruits....'[82] - -The Philharmonic committee had no reason to regret their arrangements. -The attraction of the two great names filled their concert-room to -suffocation. Every seat and every standing-place was occupied, and -crowds were turned from the doors. Those who have witnessed similar -scenes during--how many decades! can picture the excited expectancy that -followed the performance of a Cherubini overture, the thunder of welcome -at the first glimpse of Joachim, the never-ending applause and recalls -at the conclusion of his first solo, Spohr's 'Gesang-Scena,' the -sensation of Stockhausen's first appearance, the magnificent success of -his performance of a great aria from his oratorio répertoire. Then a -lull, the disappearance of Capellmeister Grund, the opening of the -piano, the reappearance of Joachim, this time to take his stand at the -conductor's desk, and the entrance of the slight, blonde young -Hamburger, pale and nervous, but calm and self-controlled, almost happy -in the support of his two friends. - -On such an evening of enthusiasm, what public could have refused its -tribute to the young fellow-citizen who came before them as a composer -practically for the first time, with two heroes at his side to champion -his cause? Johannes was really successful. 'The concerto created an -impression, and excited applause far beyond that of a mere _succès -d'estime_,' and the critic of the _Nachrichten_ records the fact with -the more satisfaction from its contrast with the result of the -performance at the Leipzig Gewandhaus. - -It would appear from the wording of the letter to Detmold quoted on a -foregoing page that the concert of the 28th, advertised in the three -names, had been arranged for Brahms' benefit. Ten years had elapsed -since his performance of the Variations on a favourite waltz had passed -unrecorded save in Marxsen's paper. Since that time he had given no -concert in Hamburg, and the change in his prospects is well measured by -the different circumstances of the occasions of 1849 and 1859. True that -at the age of twenty-six he had achieved no popular success, that his -concerto had effectually alienated from him the sympathies of the -Leipzigers, and that the Weimarites, whilst encouraging his efforts, -partially misunderstood his aims. Thorough-going belief in his art and -its promise was more firmly established than ever as a leading principle -of the inner Schumann circle, and this was itself gradually spreading. -We give the full programme of March 28, which is interesting for many -reasons: - - 1. Bach: Sonata for Clavier and Violin. - 2. Handel: Aria from 'The Messiah.' - 3. Tartini: 'Trillo del Diavolo.' - 4. Schubert: Song, 'Der Erlkönig.' - 5. Brahms: Serenade for Strings and Wind. - 6. Boieldieu: Cavatina, 'Fete du Village Voisin.' - 7. Schubert: Rondeau Brilliant for Pianoforte - and Violin. - 8. Schubert, Schumann, etc.: Songs (including 'Der Nussbaum,' - 'Mondnacht,' 'Widmung'). - -There was good reason to be delighted with the material result of the -undertaking. The large Wörmer hall was thronged. Brahms' artistic -success was also assured in regard to his playing of the duet sonata and -rondo with Joachim, and many of the musicians present appreciated his -wonderful accompaniment of Stockhausen's songs. The serenade, however, -now instrumented for small orchestra, and conducted by Joachim, was not -received with any decided favour, and the _Nachrichten_ expressed the -general sentiment of the time in the concluding sentence of its review: - - 'If Brahms will learn to say what is in his heart plainly and - straightforwardly, and not go out of his way to cut strange capers, - the public will endorse Schumann's hopes, and the laity be able to - understand what it is that professional musicians prize so highly - in his works.' - -Such contemporary criticism might well pass unnoticed if it were not -that, in spite of the wealth of beautiful material and the fine -workmanship contained in the serenade, only one or two of its movements -are occasionally heard in the concert-rooms of the present day, whilst -the composer's later and more difficult orchestral works grow every year -in the favour of the public. The circumstance is to be chiefly explained -by considerations similar to those we have already applied to the first -concerto. When Brahms wrote the work he had not quite passed from his -apprenticeship. Though within sight of mastery, he had not achieved it. -The Serenade in D is a serenade in the character of its ideas, but not -entirely so in the structure of its movements. The instrumental -'serenata' (fair weather), a form which flourished vigorously during the -latter half of the eighteenth century, and was exhibited in its -greatest perfection by Mozart, was especially cultivated in an age when -music was dependent on the patron--the prince or nobleman who kept his -private band, and who delighted himself and his friends by open-air -performances in his park on fine summer nights. It consisted of a longer -or shorter series of movements--a march, an allegro, rondo, one or two -andantes, a couple of minuets, none of them developed to any great -length, and was composed for more or less solo instruments according to -circumstances. Brahms, fascinated by the performances of the Detmold -wind players, probably began his work with the intention of composing a -serenade _pur et simple_; but his interest in the art of thematic -development outran his discretion, and, by over-elaborating one of its -movements, he injured the balance of his composition and introduced into -it a character of complexity foreign to the nature of its form. The -Serenade in D consists of an allegro molto, scherzo, adagio non troppo, -minuets 1 and 2, scherzo, rondo. Some of the six movements, irresistible -from their grace, daintiness, or romance, delight the public when -performed as separate numbers, but the length of the opening movement -and the somewhat mechanical development of its middle section may -perhaps prove in the future, as they have done in the past, obstacles to -the frequent performance of the entire work. Traces of the young -musician's studies are to be found in the well-known reminiscences of -Beethoven and Haydn in the second scherzo. - -The serenade, written as an octet and afterwards scored for small -orchestra, was probably rearranged for large orchestra, the form in -which it has become known to the world, in consequence of experience -obtained on this occasion of the first public performance of the work at -Hamburg. - -The few years immediately succeeding Brahms' second return from Detmold -must be regarded as forming another turning-point in his career. They -witnessed the close of his _Sturm und Drang_ period and his complete -transformation into a master. They are remarkable not only on account of -the appearance of a number of short choral works which, perfect in -themselves, lead directly to the splendid achievements of later years in -the same domain, to the German Requiem, the Schicksalslied, the -Triumphlied, but they form a period of actual magnificent fruition. To -them is to be referred the inauguration of those chamber-music works of -Brahms which stand in the forefront of the finest compositions of their -kind, and the appearance of a classic for pianoforte unsurpassed by any -other of its form, the Variations and Fugue on a theme by Handel. This -portion of our composer's life belongs especially to his native city. -More than one consideration may have induced him, at the time, seriously -to contemplate the idea of settling permanently in Hamburg, and not the -least potent will have been furnished by his strong patriotic sentiment -and his deeply-rooted family affections. That he was not at once -accepted as a great composer by his fellow-citizens should not be matter -of surprise. It has too often been forgotten by Brahms' partisans that -his development as a creator was not precocious. The list of -Mendelssohn's compositions when he was a boy of sixteen is bewildering -in its length and variety; at the same age the most important of -Johannes' achievements was presumably the set of Variations on a -favourite waltz. Schubert's career was cut short in his thirty-second -year; Mozart died at thirty-five. Brahms at the age of twenty-six had -not completed any large work which can be regarded as entirely -representative of his mature powers, and had introduced but few -compositions either to the public or his friends. There were, however, -those among the musicians of Hamburg who, belonging to the increasing -circle of his personal acquaintances, believed in his creative genius -with the enthusiasm of absolute conviction, and as a pianist, though not -regarded as a phenomenal performer, he was generally accepted as an -artist of first rank. - -Brahms' regard for his pupil, Fräulein Friedchen Wagner, had led to his -becoming intimate at her father's house, and here he frequently had -opportunity of hearing some of the compositions and arrangements for -voices which engaged much of his attention. Fräulein Friedchen, her -sister Thusnelda, and the charming Fräulein Bertha Porubszky, from -Vienna, who arrived in Hamburg to stay for a year with her aunt, Frau -Auguste Brandt, were delighted to practise short works in two and three -parts under his direction. Probably he hoped gradually to obtain a -larger number of recruits for his purpose. Before long, however, -accident led to his becoming the conductor of a quite considerable -ladies' choir. - -On May 19 the wedding of Pastor Sengelmann and Fräulein Jenny von Ahsen -took place at St. Michael's Church. There was a large gathering of -friends to witness the ceremony. Grädener, already mentioned as a friend -of Brahms, who was an accomplished composer and the director of a -singing school, conducted his pupils in the performance of a motet for -female voices which he had written for the occasion, and Johannes, a -very old acquaintance of the bride, accompanied on the organ. Pleased -with the effect of Grädener's composition, Brahms expressed a wish to -hear his own 'Ave Maria' for female voices with accompaniment for organ, -composed during his second visit to Detmold, under similar conditions of -performance, and with the assistance of Fräulein Friedchen, who exerted -herself to procure the requisite number of voices, a rehearsal was -arranged. On Monday, June 6, twenty-eight ladies assembled at the -Wagners' house, and tried, not only the 'Ave Maria,' afterwards -published as Op. 12, but the 'O bone Jesu' and 'Adoramus,' now known as -Op. 37, Nos. 1 and 2. Brahms was seized with a fit of nervousness whilst -conducting, and Grädener, who was present amongst a few listeners, -stepped forward to the rescue; but a second rehearsal on the following -day went well, and the third trial in church with organ accompaniment -was in every respect highly successful. The practices had been so -enjoyable that, with the concurrence of Grädener, it was arranged that -the ladies, most of whom were pupils of the singing school, should -assemble every Monday morning to practise with Brahms; and the little -society thus founded became a source of delight to all who were -associated with it. The meetings were held during the first season at -the Wagners' house in the Pastorenstrasse; later on they took place at -several members' houses in turn. Each young lady used to sing from a -small oblong manuscript book, into which she copied her parts, and -several of these volumes are still in existence. After the business of -the morning was over, the conductor usually played to his young -disciples and admirers, who soon learned to look upon his performances -as not the least memorable part of the weekly programme. Writing in the -course of the summer to Fräulein von Meysenbug, Brahms says: - - '... I am here, and shall probably remain until I go to Detmold. - Some very pleasant pupils detain me, and, strangely enough, a - ladies' society that sings under my direction; till now only what I - compose for it. The clear silver tones please me exceedingly, and - in the church with the organ the ladies' voices sound quite - charming.'[83] - -The season closed on September 19 with a performance at St. Peter's -Church before an invited audience. Some of the 'Marienlieder' -(afterwards Op. 22) and the 13th Psalm (Op. 27) were included in the -programme. The members of the choir appeared attired in black to denote -their grief at the approaching departure of their conductor, and sent -him, afterwards, a silver inkstand buried beneath flowers as a mark of -their appreciation of his labours. This Brahms acknowledged from Detmold -in the following official letter to Fräulein Friedchen, his energetic -helper in the founding of the choir: - - 'DETMOLD, _end of Sept., 1859_. - - 'ESTEEMED FRÄULEIN, - - 'Nothing more agreeable than to be so pleasantly obliged to write a - letter as I am now. - - 'I think constantly of the glad surprise with which I perceived the - inkstand, the remembrance from the ladies' choir, under its - charming covering of flowers. - - 'I have done so little to deserve it that I should be ashamed were - it not that I hope to write much more for you; and I shall - certainly hear finer tones sounding around me as I look at the - valued and beautiful present on my writing-table. Pray express to - all whom you can reach my hearty greeting and thanks. - - 'I have seldom had a more agreeable pleasure, and our meetings will - remain one of my most welcome and favourite recollections. - - 'But not, I hope, till later years! - - 'With best greetings to you and yours, - - 'Your - 'heartily sincere - 'JOHS. BRAHMS.'[84] - -That the composer did not forget his maidens during his season at -Detmold appears from another letter to Fräulein Wagner written a couple -of months later: - - '_Dec., 1859._ - - 'ESTEEMED FRÄULEIN, - - 'Here are some new songs for your little singing republic. I hope - they may assist in keeping it together. If I can help towards this - end pray command me. - - 'Kindest greetings to you and yours. - - 'Most sincerely, - 'JOHS. BRAHMS.'[84] - -Acquaintance with the charming circumstances which stimulated Brahms to -the writing of most of his published choruses for women's voices gives -an additional interest to the study of these beautiful compositions, -which undoubtedly take their place amongst the most fascinating works of -their class. Those with sacred texts, all evident fruits of the -composer's studies in the strict style of part-writing, show, -nevertheless, considerable variety of character. The 'Ave Maria,' with -accompaniment for orchestra or organ, Op. 12, first sung by, though not -composed for, the ladies' choir, is animated by a gentle, childlike, -devotional spirit appropriate to a prayer addressed by a group of tender -girls to the Virgin Mother of Christ. The 13th Psalm, with accompaniment -for organ or pianoforte, Op. 27, strikes at once a more solemn note, -with its three opening cries to the Lord; and the mourning plaint of the -writer is reproduced in tones whose fervent pleading is not impaired by -the clear simplicity of style in which the music is conceived. The Three -Sacred Choruses, without accompaniment, Op. 37, are alike beautiful, -whilst varying in character. The 'Adoramus' and 'Regina Coeli' (Nos. 2 -and 3), written throughout in canon, are fine examples of learned -facility; and the last-named, the bright 'Regina Coeli,' for soprano and -alto soli and four-part women's chorus, is an entirely captivating -composition. - -The secular pieces--the Songs with accompaniment for horns and harp, Op. -17, and the Songs and Romances to be sung _a capella_, Op. 44--though -fairly well known, should be heard oftener than they are. The dainty -charm of such little works as the 'Minnelied' and the 'Barcarole,' to -name only two of the most effective from Op. 44, gives welcome -refreshment in a miscellaneous choral concert, and never fails to -captivate an audience. - -In our rapid survey of some of the works which are to be associated with -Brahms' Ladies' Choir, we have only taken account of those that were -actually published in the form required by the nature of the society. -Many settings and arrangements are to be found, in the little oblong -manuscript books, of songs which have become known to the world amongst -the composer's settings for a single voice or for mixed choir; and there -are some there which have never been published. The canons Nos. 1, 2, 8, -10, 11, 12 of Op. 113 were sung at the society's meetings. The 'Regina -Coeli,' on the other hand, was not included in the ladies' -répertoire.[85] - -[76] Dr. Georg Fischer's 'Opera und Concerte im Hoftheater zu Hannover -bis 1866.' - -[77] The concerto opens with a long-continued roll of drums. - -[78] From a letter first published in Max Kalbeck's 'Johannes Brahms,' -vol. i., p. 356. - -[79] 'Musikalisches und Literarisches': 'Neuer Brahms Katalog.' - -[80] Moser's 'Life of Joachim.' - -[81] Brahms' Trio in B major. - -[82] First published in Reimann's 'Johannes Brahms.' One of the Princess -Friederike's Christmas presents to Brahms whilst he was her teacher -consisted of the five volumes (1851-1855 inclusive) of the Leipzig -Society's edition of Bach's works issued before he became a subscriber, -and it would appear from the opening of the above-quoted letter that she -made herself responsible for his subscription during the consecutive -seasons of his visits to Detmold. It is interesting to read the traces -of his movements furnished by the subscription list placed at the -commencement of each volume. In 1856 his name appears as belonging to -Düsseldorf; 1857-1864 inclusive, to Hamburg; and from 1865 onwards, to -Vienna. - -[83] 'Aus Johannes Brahms' Jugendtagen,' by Hermann Freiherr von -Meysenbug (_Neues Wiener Tagblatt_, May, 1901). - -[84] First published, with an account of the Ladies' Choir, in Hübbe's -'Brahms in Hamburg.' - -[85] Hübbe. - - - - - CHAPTER X - 1859-1861 - - Third season at Detmold--'Ave Maria' and 'Begräbnissgesang' - performed in Hamburg and Göttingen--Second Serenade, first - performed in Hamburg--Lower Rhine Festival--Summer at Bonn--Music - at Herr Kyllmann's--Variations on an original theme first performed - in Leipzig by Frau Schumann--'Marienlieder'--First public - performance of Sextet in B flat in Hanover. - - -Brahms found himself more than ever in request amongst the general -circle of Detmold society during the autumn of 1859. He had become the -fashion. It was the thing to have lessons from him, and his presence -gave distinction to a gathering. The very circumstance of his -popularity, however, caused some friction between himself and his -acquaintances. He disliked to waste his time, as he considered it, in -mere society, and, when occasionally induced to attend a party against -his will, gave his hosts cause to regret their pertinacity. If not -silent the whole evening, he would amuse himself by exercising his -talent for caustic speech. Carl von Meysenbug, when at home, jealous for -his friend's credit, often called Johannes privately to account for his -perversity, but was always silenced by the unanswerable reply, 'Bah! -that is all humbug!' (Pimpkram). - -The young musician's relations with the princely family remained -unclouded, and his musical gifts were, on the whole, fairly appreciated -by the entire court circle, though he was not regarded personally with -unanimous favour by those who did not know him well. Carl's mother, the -Frau Hofmarschall, took a few lessons from him to please her friends at -the castle, and once accepted his offer to play duets with her; but no -subsequent invitation could induce her to repeat this performance. 'The -good fellow should not have behaved as he did that once; I cannot put up -with it,' she wrote to Carl. Something in Brahms' manner--independence, -artistic self-consciousness, or whatever else it may be called--repelled -her; and, in view of the fact that she was not the first person whom he -had offended in a similar way, since the time when he had visited as a -youth at the Japhas' house in Hamburg, it may fairly be assumed that Her -Excellency had justifiable grounds for the reserved attitude she -maintained towards him. - -It is, indeed, certain that Brahms, during his third season at Detmold, -began to grow impatient of his position there. His lessons to the -Princess, who was really musical and made rapid progress, continued to -give him genuine pleasure, but he chafed at the constant demands on his -time arising from his fixed duties, and the rigid etiquette observed at -the Court of a very small capital gave him a distaste for his work as -conductor of the choral society. The circle of Serene Highnesses, -Excellencies, and their friends, did not furnish sufficient voices for -the adequate rendering of two or three oratorios and cantatas by Handel -and Bach which he selected for practice during his second and third -seasons; and, with Prince Leopold's permission, he supplemented them by -persuading some of the towns-people to become members. His sense of the -ridiculous was strongly excited by the rules of conduct prescribed for -these not very willing assistants, who were not even permitted to make -an obeisance to the Serenities, and scarcely ventured to lift their eyes -from the music whilst in their august presence. There were some good -performances of great works, however, and Bach's cantata 'Ich hatte viel -Bekümmerniss' was given four times; but the difficulty of procuring -tenors continued serious, and the entire circumstances of the meetings -made Brahms feel increasing desire to be relieved from the necessity of -attending them. - -To this season is to be referred the first private performance of one of -those of Brahms' great works which have made his name not only famous, -but popular. The Quartet in G minor for pianoforte and strings, destined -to become one of the most familiar of the master's achievements, was -tried by the composer, Bargheer, Schulze, and Schmidt, though not -altogether as it now appears. The complaint made by the young composer's -colleagues at Detmold, that his string passages were often ungrateful -and sometimes unplayable, was not unfounded. Brahms, like everyone else, -had to buy exact technical knowledge with experience, and the quartet -was considerably altered before its final completion. Essentially, -however, the work dates from the Detmold period, and the conception of -the finale is to be associated with the sudden visit of Joachim, with -his Hungarian Concerto, in the autumn of 1858. Of this movement, the -magnificent 'Rondo alla Zingarese,' Joachim declared in generous -triumph, comparing it with the last movement of his own composition, -that Brahms had beaten him on his own ground. It is not the business of -our pages either to endorse or contradict this statement, but it may be -permissible once again to remind the reader that the increasing -perfection of Brahms' instrumental works of the period was in no small -degree furthered by the invaluable criticism and self-forgetting -sympathy of his friend. - -The programmes of the court concerts of the season included the D major -Serenade; the 'Ave Maria,' sung by the ladies of the choral society; and -the Begräbnissgesang, for mixed chorus and wind instruments (Op. 13). - -It is strange that this fine work, composed to a sixteenth-century text -by Michael Weisse, the editor of the earliest German church hymn-book, -is not more generally known. Like all Brahms' sacred compositions of the -time, it gives evidence of the strong impression he had derived from his -exhaustive study of the medieval church composers; and the music, -austere in its simplicity, is characterized by uncompromising fidelity -to the almost grimly severe spirit of the words. Too grave to be in -place in an ordinary miscellaneous programme, it is well adapted for -performance at a Good Friday concert or as a church anthem in Passion -Week. It was performed together with the 'Ave Maria,' both for the first -time in public, at Grädener's Academy concert of December 2, and Brahms, -who obtained leave to go to Hamburg for the occasion, appeared the same -evening with Schumann's Pianoforte Concerto. - -The manuscripts were sent immediately afterwards to Göttingen for -practice by Grimm's choral society, of which Carl von Meysenbug was an -enthusiastic member. - - 'As Grimm was distributing the parts of the "Ave Maria" and the - "Begräbnissgesang" at one of the practices,' says the Freiherr von - Meysenbug, 'my neighbour, a glib University student with the - experience of several terms behind him, said to me in a surprised - tone: "Brahms! who is that?" "Oh, some old ecclesiastic of - Palestrina's time," I replied--a piece of information which he - accepted and passed on.' - -The compositions were given under Grimm's direction at the society's -concert of January 19, 1860. There is little doubt that Philipp Spitta, -author of the exhaustive biography of Sebastian Bach, whose essay 'Zur -Musik' should be read by all earnest students of Brahms' music, took -part in the performance of the Begräbnissgesang. His friendship with our -composer dates from this period when he was a student of the Göttingen -University and one of the intimates of Grimm's circle. - -It will be convenient to add here that the invitation to revisit Detmold -on the same terms as before was finally refused by Brahms in a letter to -the Hofmarschall dated from Hamburg, August, 1860: - - 'After renewed consideration, I must beg to express to His Serene - Highness the Prince my regret that I shall not be able to visit - Detmold in the winter. I have to add to the causes of this decision - which I have already had the honour to communicate, that I shall be - much occupied this autumn with the publication of my works, with - revising the proofs of some, and preparing others for the engraver. - On this account alone, therefore, I must decide to stay here during - the winter. I particularly desire to express my regret to the - Princess Friederike that I shall be unable to enjoy her progress - in playing and her great sympathy for music....'[86] - -The post of conductor to the court orchestra, which became vacant on -Kiel's retirement with a pension in 1864, and which might probably under -other circumstances have been offered for the acceptance or refusal of -Brahms, passed to Bargheer, who retained it until 1876, when Prince -Leopold's death put an end to the musical activity of Detmold. - -Brahms' interest in the orchestra had been by no means even temporarily -satisfied by the writing of the works of which we have recorded the -performances. The first serenade was not completed before he had -sketched a second, the finished manuscript of which he carried with him -on his departure from Detmold early in January, 1860. Separated longer -than ever from Joachim, whose successes in England, Scotland, and -Ireland detained him until nearly the end of the year 1859, Johannes now -went to see his dearest friend, and during his stay at Hanover heard a -private trial of the new Serenade for small Orchestra (wind, violas, -'celli, and basses). The work was performed for the first time in public -at the Hamburg Philharmonic concert of February 10. On the same occasion -Joachim transported the audience by his performances of Beethoven's -Concerto and Tartini's 'Trillo del Diavolo,' and Johannes had a great -success as pianist with Schumann's Concerto. - -The second serenade was considered easier to understand than its elder -sister, and was received with comparative favour, though not with -enthusiasm. To the ears of the present generation the work appears -limpidly clear, and it is difficult to realize that it was ever -accounted otherwise. In it we have a chef-d'oeuvre which displays our -musician passed finally from his transition stage and standing out -clearly as a master in definite possession both of aim and method. -Unmistakably he has taken his footing on the basis of tradition, and -creates with the freedom of self-control within the forms consecrated by -the works of Haydn, Mozart, and Beethoven, no longer betrayed by -immaturity into anything that could be misconstrued as the intentional -discursiveness of rhapsody. The work is impregnated with a breath as -fragrant as the spirit of Schubert's muse, and, though perhaps not fully -representative of the very powerful individuality now associated with -the name of Brahms, bears the distinct impress of his mind, and could -have been written by no other composer. Each of the five movements is a -gem of the first water. Each has a character of its own, which yet -combines with every other to make the serenade a perfect example of a -developed form of garden music, night music. Graceful romance, tender -playfulness, lively frolic, just the stirring of the deeper emotions, -all the gentler phases of poetic sentiment, are suggested in turn by its -lovely melodies. - -[Music: etc.] - -Why is this masterpiece so seldom heard? - -Appropriately called a serenade from the character of its ideas, and -even from the structure of its movements, which, whilst fully developed, -are all quite clear, balanced and symmetrical each in itself and as part -of a whole, and indicate the composer's perfect fulfilment of his -intention, the length of the work again approaches that of a symphony. -It must be borne in mind that to a general audience the name 'serenade' -as applied to instrumental music does not now suggest any particular -class of composition, the times and customs which produced this form -having long since passed away; whilst it is customary to associate with -the word 'symphony' a suggestion of the more strenuous emotions of human -existence. Thus, the ordinary concert-goer who listens to Brahms' work -is puzzled as to what he ought to expect, and his uncertainty interferes -with his enjoyment. - -Another drawback, under modern concert conditions, to the general -appreciation of the beautiful Serenade in A major is the absence of -violins from the score. It hardly needs pointing out that the, so to -say, muted tone of the combination of instruments employed by the -composer would be ideal in the surroundings proper to the performance of -the 'serenade' as originally so called--palpitating summer heat, -deep-blue, starlit sky, flitting to and fro of gallant and graceful -forms--but in the prosaic atmosphere of a modern concert-room the bright -tone of the violins cannot, perhaps, be safely dispensed with throughout -the length of so long a work. It consists of an allegro moderato, -scherzo, quasi minuetto with trio, rondo. It may still be hoped, -however, that the serenade may be revived, and may take its place in the -répertoire of our concert societies. - -We have lingered so long over the two serenades that a bare mention must -suffice of the performance of the first in D major--the first -performance in the second and final rearrangement of the score--at the -Hanover subscription concert of March 3 under Joachim's direction, nor -need we dwell upon the fact that it was received with indifference by -audience and critics. It is time to glance again at the party conflicts -of the day, and especially to note the activity of the disciples of -Weimar, whose partisanship, as the reader may remember, had been -stimulated to violence by the candid admissions of Joachim's letter to -Liszt quoted on p. 212. - - 'In the _Grenzboten_,' says Moser,[87] 'Otto Jahn, the biographer - of Mozart, led the cause of the conservative party and of those - musicians whose creative art was rooted in classical tradition. In - the opposite camp, Brendel, with a staff of like-minded colleagues, - represented in the _Neue Zeitschrift_ the principles of radical - progress, and extolled Liszt as the Mozart of his time, in whose - works were united the efforts and results of all art epochs from - the day of Palestrina. Liszt's cause and the Wagner question were - treated as almost inseparable, and from this time dates the - unfortunate influence of the "Wagnerians," who, in Raff's words, - damaged rather than helped their master's cause.' - -To put the matter, so far as our narrative is concerned with it, as -shortly as possible, Brahms, who had been longing to enter the fray as -an active combatant, now induced Joachim to join him in drawing up a -manifesto for signature by musicians of their way of thinking, and -subsequent publication. An obstacle to the fulfilment of the plan -presented itself in the impossibility of obtaining unanimity of opinion -as to the suitable wording of the document, and part of the difficulty -seems to have arisen from Brahms' desire to differentiate between the -works of Berlioz and Wagner on the one hand, and Liszt's 'productions' -on the other. Before these preliminaries had been satisfactorily -arranged, however, accident settled the matter. By a mischance that has -never been explained, a version of the manifesto which was presumably -going round for signature found its way, with only four names attached, -into the _Echo_, a journal of Berlin. It ran as follows: - - 'The undersigned have long followed with regret the proceedings of - a certain party whose organ is Brendel's _Zeitschrift für Musik_. - The said _Zeitschrift_ unceasingly promulgates the theory that the - most prominent striving musicians are in accord with the aims - represented in its pages, that they recognise in the compositions - of the leaders of the new school works of artistic value, and that - the contention for and against the so-called Music of the Future - has been finally fought out, especially in North Germany, and - decided in its favour. The undersigned regard it as their duty to - protest against such a distortion of fact, and declare, at least - for their own part, that they do not acknowledge the principles - avowed by the _Zeitschrift_, and that they can only lament and - condemn the productions of the leaders and pupils of the so-called - New-German school, which on the one hand apply those principles - practically, and on the other necessitate the constant setting up - of new and unheard-of theories which are contrary to the very - nature of music. - - 'JOHANNES BRAHMS. - 'JULIUS OTTO GRIMM. - 'JOSEPH JOACHIM. - 'BERNHARD SCHOLZ.' - -A few days later the answer appeared in the _Zeitschrift_ of May 4, in -the shape of a parody written, not in a very formidable style of wit, by -C. T. Weitzmann: - - 'DREAD MR. EDITOR, - - 'All is _out_!----I learn that a political coup has been carried - _out_, the entire new world rooted _out_ stump and branch, and - Weimar and Leipzig, especially, struck _out_ of the musical map of - the world. To compass this end, a widely _out_reaching letter was - thought _out_ and sent _out_ to the chosen-_out_ faithful of all - lands, in which strongly _out_spoken protest was made against the - increasing epidemic of the Music of the Future. Amongst the select - of the _out_-worthies [paragons] are to be reckoned several - _out_siders whose names, however, the modern historian of art has - not been able to find _out_. Nevertheless, should the avalanche of - signatures widen _out_ sufficiently, the storm will break _out_ - suddenly. Although the strictest secrecy has been enjoined upon the - chosen-_out_ by the hatchers-_out_ of this musico-tragic - _out_-and-_out_er, I have succeeded in obtaining sight of the - original, and I am glad, dread Mr. Editor, to be able to - communicate to you, in what follows, the contents of this aptly - conceived state paper--I remain, yours most truly, - - 'CROSSING-SWEEPER.' - - 'PUBLIC PROTEST. - - 'The undersigned desire to play first fiddle for once, and - therefore protest against everything which stands in the way of - their coming aloft, including, especially, the increasing influence - of the musical tendency described by Dr. Brendel as the New-German - school, and in short against the whole spirit of the new music. - After the annihilation of these, to them very unpleasant things, - they offer to all who are of their own mind the immediate prospect - of a brotherly association for the advancement of monotonous and - tiresome music. - - '(Signed) J. FIDDLER. - 'HANS NEWPATH. - 'SLIPPERMAN. - 'PACKE. - 'DICK TOM AND HARRY. - - 'Office of the Music of the Future.' - -Bülow, writing from Berlin to Dräseke, says: - - 'The manifesto of the Hanoverians has not made the least sensation - here. They have not even sufficient wit mixed with their malice to - have done the thing in good style, and to have launched it at a - well-chosen time, such as the beginning or end of the season.' - -It must be said here that Brendel was sincere in his views, whether or -not they commend themselves to us, and that he had an exceptional power -of appreciating the ideas put forth by the leaders of the new school. -Equally certain is it that the antipathy felt by Joachim and Brahms for -Liszt's compositions proceeded from no feeling of malice or personal -animosity, but from the most sincere conviction. Joachim's confession to -Liszt had been wrung from him by the necessity of escape from a false -position. The extraordinary importance attached by the musical parties -of the day to his alliance is well illustrated by Wagner's bitter words: - - 'With the defection of a hitherto warm friend, a great violinist, - the violent agitation broke out against the generous Franz Liszt - that prepared for him, at length, the disappointment and - embitterment which caused him to abandon his endeavours to - establish Weimar as a town devoted to the furtherance of - music.'[88] - -The baselessness, and even folly, of such a statement is self-evident. - -With regard to Brahms particularly, though such works as Liszt's -Symphonic Poems and Dante Symphony were abominations to him, he always -cherished a profound respect for the music of Wagner, even though the -principles underlying its composition were not those of his own artistic -faith. His allegiance, like that of Joachim, was wholly given to the -masters of classical art, to whom he had paid homage from childhood, and -it was one of the ironies of fate that he should have been widely -supposed, during many years, to belong to the New-German party, and that -he was handled more tenderly by the _Zeitschrift_ than the _Signale_. By -Brendel himself, indeed, who from the year 1859 onwards worked -earnestly to effect a reconciliation between the contending musical -parties, Schumann's young hero was treated fairly, and even generously, -and a steady Brahms propaganda was practised in years to come by the -fraternity of the Allgemeiner Deutscher Musikverein, a society founded -by Brendel in 1861 for the furtherance of his pacific aim. - -Our composer, who had been betrayed into polemic partly by loyalty to -his convictions and partly by his exuberant vitality, was not by -temperament a party man any more than his friend, and was to be removed -before very long from the immediate scene of party strife. For the -future he took the wiser course of holding himself aloof from the -contentions of the day, issuing no other manifestoes than such as were -constituted by his works, and never allowing himself to be tempted into -answering the many printed attacks that were levelled at him. Henceforth -he lived his life, and wrote his works, and followed his faith, leaving -the question of the false or the true to the decision of time. Who shall -yet say what will be the final judgment of this supreme arbiter of all -such matters? - -Johannes was again settled in his parents' home during the spring of -1860, but his thoughts were busy with many plans for the future. He -longed to extend his travels, and the desire to see Vienna was stirring -forcibly within him. He played his Concerto and some numbers of -Schumann's Kreisleriana at Otten's concert of April 20; but the concerto -was very badly accompanied, and once more proved a complete failure. The -critic of the _Nachrichten_ confesses his inability to understand the -work, 'which is recognised so warmly by the musicians of the newest -tendency,' and elects to say nothing about it. - -The young musician's greatest pleasure was derived from his singing -society of girls, who resumed with ardour their practices under his -direction. He placed it this season on a more formal footing by drawing -up a set of rules, signature to which was made a condition of -membership. The document, headed 'Avertimento,' is playfully worded in a -bygone style of formality, and after a short prelude, in which is set -forth, amongst other things, that the practices are to be held only -during spring and summer, five laws are laid down, the first two of -which enjoin punctual attendance. - - 'Pro primo, it is to be remarked that the members of the Ladies' - Choir must be _there_. - - 'By which is to be understood that they must oblige themselves to - be _there_. - - 'Pro secundo, it is to be observed that the members of the Ladies' - Choir must be there. - - 'By which is meant, they must be there precisely at the appointed - time....' - -Absentees and late-comers were to be fined in various amounts, according -to various degrees of delinquency, and the money collected given to -'begging people,' 'and it is to be desired that it may surfeit no one.' - -The fourth rule relates to the careful preservation of the music -entrusted to the care of the 'virtuous and honourable ladies,' which was -not to be used outside the society, and the fifth, to the admission of -listeners under conditions. The whole concludes: - - 'I remain in deepest devotion - and veneration of the Ladies' Choir their most assiduous - ready-writer and steady time-beater - 'JOHANNES KREISLER JUN. - (_alias_ BRAHMS). - - 'Given on Monday, - 'The 30th of the month of April, - A.D. 1860.' - -The signatures, or most of them, must have been added after this date, -for amongst them is that of Frau Schumann, who paid a visit to Hamburg -at about this time certainly, but not in April. She arrived on May 6 -with Fräulein Marie Schumann, who was from an early age her mother's -constant and devoted travelling companion, and, residing at the Hôtel -Petersburg, attended the practices of the choir during her nearly three -weeks' stay. We shall have occasion to mention the name of the great -artist more than once again in interesting connexion with the sisterhood -of singers, who were not a little proud of the right given them, by her -signature, to claim her as an honorary colleague.[89] - -Notwithstanding the stringent rules as to punctuality of attendance -inserted in this formal document, the meetings were seriously -interrupted during the season, and by the absence of no less a person -than the director himself. Johannes could in no case, especially in his -present restless mood, have remained away from the Rhine Festival of the -year (Düsseldorf, May 27-29). Schumann's B flat Symphony was to be -performed, Hiller to conduct, Joachim to play the Hungarian Concerto and -a Beethoven Romance, and Stockhausen to sing selections by Boieldieu, -Schubert, Schumann, and Hiller. Frau Schumann was to attend the -concerts, and expected to meet many intimate friends at Düsseldorf, -amongst them being Dietrich and his bride, a lady long known to the -circle as Clara Sohn, daughter of the painter and professor at the Art -Academy. Brahms therefore accompanied Frau Schumann and her daughter -when they left Hamburg for Düsseldorf on May 24, and the occasion of the -festival proved no less enjoyable than those similar ones which have -been referred to in our pages. A new feature at one or more of the -private reunions that took place in the intervals of the concerts was -the singing of quartets, under Brahms' direction, by four members of the -Ladies' Choir who had come to the Festival: the sisters Fräulein Betty -and Fräulein Marie Völckers, Fräulein Laura Garbe, and--Frau Schumann -herself. She, indeed, it was who proposed to her hostess, Fräulein -Leser, that the Dietrichs, Joachim, Stockhausen, and a few others, -should be invited to listen to what proved a delightful performance. - -Under the circumstances, it cannot be regarded as surprising that Brahms -did not immediately return to Hamburg after the festival, but made one -of a party that proceeded to Bonn, where he remained with his companions -till towards the middle of July. - - 'The spring had set in gloriously,' says Dietrich, who, as the - reader will remember, had been settled for some years in the city. - 'There is something enchanting in such a spring on the Rhine. The - pink blossoming woods of fruit-trees, the numerous whitethorn - hedges on the banks of the river, the voices of nightingales in the - light, warm nights, the fine outlines of the Siebengebirge in the - distance; what excursions we were induced to make! It was a happy, - sunny time, rich also in artistic enjoyment. - - 'For Brahms, after six years' long silence, had brought with him a - number of splendid compositions. There were the two serenades, the - Ave Maria, the Begräbnissgesang, Songs and Romances, and the - Concerto in D minor. - - 'He had employed his retirement in the most earnest studies; he had - composed, amongst other things, a Mass in canon form, which, - however, has not been printed. - - 'We met frequently at the Kyllmanns' hospitable and artistic house - for performances of chamber music and the enjoyment of - Stockhausen's splendid singing. - - 'The artists came also often and gladly to our young home, and - before we parted they were present with us at the baptism of our - first child. Brahms, Joachim, and Heinrich von Sahr were the - sponsors.'[90] - -Herr Kyllmann's house in Coblenzstrasse, with its beautiful garden -situated on the Rhine bank and commanding a view of the Siebengebirge, -was the scene of many noteworthy reunions that gave equal pleasure to -the famous guests and the art-loving, art-appreciating family, who were -proud to entertain them. One party which took place early in June, -during the week that Frau Schumann was able to remain amongst her -friends, must be recorded in detail, for the musical performances -included a string quartet played by Joachim, David, Otto von Königslow -(for many years concertmeister of the Gürzenich subscription concerts, -Cologne), and the excellent 'cellist Christian Reimers; Schumann's -Quintet, by the same artists, with Frau Schumann as pianist; and songs -sung by Stockhausen to Frau Schumann's accompaniment--amongst them -'Mondnacht' and 'Frühlingsnacht.' Otto Jahn, who was, of course, present -to enjoy the music, brought with him his friend Dr. Becker, just arrived -from England on his resignation of his post of private secretary to the -Prince Consort, and Brahms must be counted with them amongst the -listeners. He retired to the sofa of an inner drawing-room, and was not -to be induced to perform, though Frau Schumann herself came to request -him to do so, and Joachim followed with his persuasive 'Oh, Johannes, do -play!' Johannes, as is abundantly evident, was no diplomatist. He often -felt it easier to know himself misunderstood than to overcome his -nervous shrinking from the ordeal of sitting down to play before a mixed -party of listeners. - -The nearly two months passed at Bonn, during which Johannes and Joachim -lodged respectively at 29 and 27, Meckenheimerstrasse, proved of -importance in Brahms' career. It was at this time that he made the -acquaintance of Herr Fritz Simrock, a young man about his own age, -junior partner in the well-known publishing house of N. Simrock at Bonn, -and destined, as the later head of the firm after the removal to Berlin, -to usher into the world the great majority of the composer's works. -Between Fritz Simrock and Brahms a cordial understanding gradually -established itself; the publisher's dealings with the musician were from -the first considerate and generous, and when Brahms' fortunes became -flourishing, it was Simrock who was his confidant and adviser in -business matters. As an earnest of the future, the Serenade in A, Op. -16, was published by the firm before the close of the year, the Serenade -in D, Op. 11, being issued in the autumn by Breitkopf and Härtel. The -Pianoforte Concerto, refused by this firm, was accepted by -Rieter-Biedermann, together with the 'Ave Maria,' Begräbnissgesang, and -the Lieder und Romanzen (Op. 14), all of which were published the -following year.[91] - - 'I am very glad to see Johannes' things in print before me at - last,' wrote Joachim to Avé Lallement. 'Now the _Signale_ and other - superficial papers may abuse them as they please. We have done - right. They will continue to smile on with their beautiful motifs - long after the clumsy fault-finders have been silenced.' - -The meetings of the ladies' choral society were recommenced on Brahms' -return to Hamburg in July. Fräulein Porubszky, with whom he had been on -terms of lively friendship during her year of membership, which had seen -him a frequent visitor at her aunt's house in the Bockmannstrasse, had -now returned to Vienna, where the reader will presently renew her -acquaintance as Frau Faber. The members of the choir were, however, one -and all thoroughgoing admirers of their conductor, and amongst the -houses open for the holding of the practices, two at which he became -intimate, must be particularly mentioned--those of Herr Völckers and his -two daughters at Hamm, and of the Hallier family at Eppendorf, both at -that time almost in the country. - -The large Eppendorf garden was the scene of many a pleasant gathering of -the singers; now and again they performed there before an invited -audience of friends. Hübbe tells of an open-air evening party, with an -illumination, vocal contributions by the choir, which were conducted by -the director from the branch of a tree, and fireworks in the intervals. -The Halliers lived in town during the winter, and Brahms often dropped -in to their informal Wednesday evenings, which were attended by the -artists and art-lovers of Hamburg. He was good-natured about playing in -this familiar, sociable circle, and would perform one thing after -another, unless particularly interested in conversation, when no -entreaty could get him to the piano. As his Detmold friends had found -out, he formed definite opinions on most current topics of interest, and -did not hesitate to avow them, or to confess the unorthodoxy of his -religious views. He went constantly also to Avé Lallement's house, where -a few men used to meet regularly to read Shakespeare and other authors, -and found time to attend lectures on art history and to study Latin -under Dr. Emil Hallier, and history under Professor Ægidi of the -Academic Gymnasium. - -The autumn of this year was signalized by the appearance of a new and -very great work--the String Sextet in B flat--the first of Brahms' -important compositions to attain general popularity. Joachim was its -sponsor, producing it at his Quartet concert at Hanover of October 20; -and it was partly owing to his enthusiastic appreciation that the -composition was so quickly and widely received into public favour. - -It would be beside the mark to discuss, in a narrative which has no -technical aim, the musical characteristics of a work that has become so -entirely familiar as this one, which has long since taken its place -among the few classics that attract an audience on their own merits, -apart from the consideration of whether a public favourite is to lead -their performance. It may, however, be remarked that the String Sextet -in B flat is a work to which neither 'if' nor 'but' can be attached. -Both in beauty and variety of idea and in spontaneous clearness of -development, it is without flaw, and these qualities combine with the -fineness of its proportions, perfectly conceived and perfectly wrought -out, to place it with few rivals amongst the greatest examples of -chamber music. Fresh, happy, and ingenuous, the mastery it displays over -the art which conceals art may be compared with that of Mozart himself. -With it opens the great series of works of its class which reveals the -powerful individuality of Brahms in all its moods, and includes the -first and second Pianoforte Quartets, the Pianoforte Quintet, the second -String Sextet, and the Horn Trio--works which, in the author's opinion, -were not surpassed even during later periods of the composer's -magnificent activity in this domain. - -Frau Schumann, Joachim, and Johannes met in November at Leipzig, the two -last-named artists to assist actively on the 26th of the month at the -annual Pension-Fund concert of the Gewandhaus, which was given under the -direction of Carl Reinecke, the lately appointed successor to Julius -Rietz. Both Johannes and Joachim appeared as composers--Brahms with the -second Serenade, Joachim with the Hungarian Concerto--and each conducted -the other's work. Their own artistic conscience, with each other's and -Frau Schumann's approval, and perhaps that of a few other friends, was -their best reward. The audience was cold; the daily press left the -concert unmentioned; the _Zeitschrift_ dismissed it with a few dubious -sentences--perhaps not ungenerous treatment under the circumstances--and -the _Signale_, candid as ever, declared the serenade to be a terribly -monotonous work which showed the composer's poverty of invention, -together with his despairing attempts to appear learned. Joachim's -concerto was pronounced decidedly richer in invention than his friend's -work, but rather monotonous also, and certainly very much too long. - -Frau Schumann, nothing dismayed by these remarks, introduced at -her concert of December 8, given in the small hall of the Gewandhaus, -the very beautiful Variations on an original theme, which, though -hardly suitable for general concert performance, should be much -better known than they are. They show the composer in one of his -Bach-Beethoven-Brahms moods, by which is here meant his learned and -profoundly serious vein touched with exquisite tenderness. The theme, in -three-four time, has about it, nevertheless, something of the pace of a -grave march, and the opening variations are tender reflections on a -solemn idea. In the eighth and ninth we have the imposing tramp of pomp, -whilst the eleventh and last breathes forth tones of mysterious -spirituality which subdue the mind of the listener as to some passing -divine influence. - -These Variations together with the earlier set on a Hungarian melody, -and the three Duets for Soprano and Contralto, Op. 20, were published by -Simrock in 1861. - -The fact that Brahms' sextet was placed in the programme of the -Hafner-Lee concert announced for January 4 affords evidence that the -composer was gradually penetrating with his works to the heart of -musical life in his native city, though he may not have enjoyed the -particular favour of its public. The Quartet-Entertainments of these -artists were among the regularly recurring artistic events of Hamburg, -and enjoyed unfailing support. Hafner, a Viennese by birth and a -Schubert enthusiast, had found a second home in the northern city, and -was accounted its first violinist; and in the 'cellist Lee he had a -sympathetic colleague. He was not, however, destined to lead the sextet. -His sudden illness caused the postponement of the concert, and his death -followed. The work was played in Hamburg from the manuscript by his -successor in the enterprise, John Böie, with Honroth, Breyther, Kayser, -Wiemann, and Lee, and with immediate success. The impression made was so -great that the work was repeated three times within the following few -weeks by the same concert-party. - -[86] 'Aus Brahms' Jugendtagen.' See footnote on p. 205. - -[87] 'Joseph Joachim,' p. 154. - -[88] Reprint of Wagner's pamphlet 'Das Judenthum in der Musik.' - -[89] The rules, first published by Professor Walter Hübbe in his 'Brahms -in Hamburg,' are given entire in the original German in Appendix No. -III. - -[90] This pleasant description is given entire, as containing a -substantially accurate account of Brahms' artistic progress, though -Dietrich, writing after the lapse of many years, has overlooked the fact -that the works referred to had already been performed in public from the -manuscripts. - -[91] A revised edition of the second serenade was published by Simrock -in 1875. - - - - - CHAPTER XI - 1861-1862 - - Concert season in Hamburg--Frau Denninghoff-Giesemann--Brahms at - Hamm--Herr Völckers and his daughters--Dietrich's visit to - Brahms--Music at the Halliers' and Wagners'--First public - performance of the G minor Quartet--Brahms at Oldenburg--Second - Serenade performed in New York--The first and second Pianoforte - Quartets--'Magelone Romances'--First public performances of the - Handel Variations and Fugue in Hamburg and Leipzig by Frau - Schumann--Brahms' departure for Vienna. - - -Frau Schumann, Joachim, and Stockhausen visited Hamburg repeatedly -during the year 1861, and all made much of Johannes. Both Joachim and -Brahms assisted at Frau Schumann's concert of January 15. Brahms took -part in the performance of Schumann's beautiful Andante and Variations -for two pianofortes, and conducted the Ladies' Choir, to the great -delight of the members, in their singing of several of his part-songs. -The first part of the programme included 'Es tönt ein voller -Harfenklang,' 'Komm herbei Tod,' and 'Der Gärtner,' from the set with -horns and harp accompaniment, Op. 17; the second part the 'Minnelied' -and 'Der Bräutigam' (from Op. 44) and 'Song from Fingal' (from Op. -17)--all performed from manuscript. On the 22nd of the month Frau -Schumann and Brahms appeared together at a concert in the Logensaal -Valentinskamp, with Bach's C major Concerto and Mozart's Sonata, both -for two pianofortes. - -[Illustration: BRAHMS AND STOCKHAUSEN, 1868.] - -Frau Schumann and her daughter Marie were, during this somewhat -prolonged visit, the guests of the Halliers, who understood the -necessities involved by the strain of the great artist's arduous -life, and allowed her perfect freedom of action. Johannes visited his -old friend every day, dining privately with her and her daughter at an -hour that suited their convenience; and on a few free evenings there was -glorious music in the Halliers' drawing-room before a few intimate -acquaintances. - -On March 8 Brahms played Beethoven's triple Concerto with David and -Davidoff at the Philharmonic concert, and a few weeks later the -Begräbnissgesang was performed under his direction at a Hafner memorial -concert arranged by Grädener, and made a profound impression. - - 'The composer has realized the solemn spirit of mourning with - extraordinary insight. As part of a funeral ceremony, the effect of - the work would be quite overpowering,' wrote one of the critics. - -Joachim and Stockhausen came in April for the Philharmonic concert of -the 16th, and the brilliant season closed with Stockhausen's and Brahms' -soirées on the 19th, 27th, and 30th of the month. At the first two -concerts, at Hamburg and Altona respectively, the entire series of -Schubert's 'Schöne Müllerin' was given; and at the last--who can imagine -a more enthralling feast of sound than the performance of Beethoven's -melting love-songs, 'To the Distant Beloved,' the very thought of which -brings tears to the eyes, sung by Stockhausen to the accompaniment of -Brahms, followed by our composer's lovely second Serenade, and this by -Schumann's 'Poet's Love-Songs'? Happy Hamburgers, happy Stockhausen, -happy Brahms, to have shared such delights together! Will their like -ever come again? Strangely enough, they lead in the course of our story, -as by natural transition, to the record of a visit paid to Brahms in the -second week of July by a very early friend of his and of the reader. -Lischen Giesemann had not met her old playmate since she had bidden him -God-speed at the commencement of his concert-journey with Rémenyi early -in 1853. During the years immediately following what proved to be his -final departure from Winsen, she had occasionally visited her dear -'aunt' Brahms, but, never finding Johannes at home, had been obliged to -content herself by rejoicing with his mother over the letters he -constantly sent to his parents from Düsseldorf, Hanover, etc. She was -now a happy newly-married wife, but the memory of the old child-life -remained like the warmth of sunshine in her heart, and having -ascertained that her now celebrated hero was living at home again, she -determined to go with her husband to see him. As ill-luck would have it, -Johannes had gone out for the day when Herr and Frau Denninghoff made -their call in the Fuhlentwiethe, but his mother, overjoyed to see her -young friend again after a long separation, offered such consolation as -was in her power by showing her his room. How many remembrances crowded -upon Lischen's mind as she entered it! The practices with Reményi, the -teacher's choral society, the dances at Hoopte, the story of the -beautiful Magelone and her knight Peter. Lischen found herself standing -near the piano--and what did she see there? Some manuscript songs, -apparently newly composed, stood on the music-desk, which bore the name -of the beautiful Magelone herself in Brahms' handwriting! It almost -seemed like a waking dream to the young wife, and the manuscript -appeared to her as a link by which the past would be carried into the -future. Nor was she mistaken. Brahms' 'Magelone Romances' have become -world-famous, and wherever they are heard the delight which stirred the -heart of the youthful Johannes as he and Lischen sat together in the -pleasant Winsen fields eagerly devouring the old story from Aaron -Löwenherz's purloined volume lives also. Lischen was not again to meet -her old friend, but she never forgot either him or his music, and he, -too, kept a faithful memory for the old pleasant time. Writing to her -twenty years later, when at the height of his fame, he said: - - 'The remembrance of your parents' house is one of the dearest that - I possess; all the kindness and love that were shown me, all the - youthful pleasure and happiness that I enjoyed there, live secure - in my heart with the image of your good father and the glad, - grateful memory of you all.' - -Lischen's daughter inherited her mother's voice, and was endowed with -fine musical gifts; and when Agnes came to the right age, Frau -Denninghoff sent her to be trained as a singer at the Royal Music School -of Berlin, of which, as everyone knows, Joachim has been director since -its foundation. Joachim invited Agnes to his house one evening to meet -Brahms, who, coming forward to greet her, said it was as though her -mother were again standing before him. He sent her a selection of his -songs, and in due time she became a distinguished singer, appearing in -public under a pseudonym, and the wife of a famous musician. - -Lischen saw only the first four numbers of the 'Magelone' song-cycle, -which had, by a strange coincidence, just been completed at the time of -her visit; the fifth and sixth were not composed until May, 1862.[92] -These six songs were published by Rieter-Biedermann in 1865, with the -title 'Romanzen aus L. Tieck's Magelone' and a dedication to -Stockhausen; and there can be no doubt that the immediate incitement to -their composition is to be traced to our composer's association with -this great singer in the performance of the song-cycles of Beethoven, -Schubert, and Schumann. The remaining nine songs of Brahms' series were -not published until 1868, and the exact date of their composition has -not been ascertained. - - 'I am living most delightfully in the country, half an hour from - town,' wrote Brahms, pressing Dietrich to pay him a visit; 'you - would be surprised to find how pleasantly one can live here. - Perhaps I can take you in, and at any rate my room at my parents' - in Hamburg is quite at your service. In short, I hope you will be - comfortable.' - -He was established for the summer at Hamm in the pleasant country house -of Frau Dr. Rösing, aunt of the two girls, the Fräulein Betty and Marie -Völckers, already mentioned as members of the choir. Here a large airy -room with a balcony, on the first floor, had been allotted him, that had -been the billiard-room of the house when it was inhabited by Herr -Völckers and his family. This gentleman now lived next door with his -two daughters in a charming old-fashioned habitation built, -cottage-wise, with a thatched roof and but two floors, and possessing a -spacious apartment on the ground-floor that was particularly well -adapted for the choir practices. Both houses had pleasant gardens -separated only by a green hedge, and close by, the spreading branches of -fine old trees provided shelter for the many nightingales that built -their nests in the quiet spot. Brahms' room was cheerful for a -considerable part of the day, with the sunlight that shone through the -outside greenery and the tinted panes of the open windows, and in it he -could enjoy his favourite early morning hours of work with the added -relish of feeling that they were but the prelude to days of quiet -refreshment. He was intimate with all the branches of his hostess's -family, from Herr Völckers, who had been a good public singer of his -day, down to his gifted little granddaughter Minna (now Mrs. Edward -Stone), one of the young composer's very favourite and most devoted -pianoforte pupils; and that he passed a considerable portion of his time -this summer in the society of the two girls next door--Betty and Marie -Völckers--will astonish none of our readers. He went in and out their -house as he liked, and frequently joined them as they sat in their -garden with work or books, or chatting with their friends Fräulein -Reuter and Fräulein Laura Garbe, whom they often invited. Johannes would -stroll in with his cigar or cigarette, and take a seat near the group, -silent or talkative according to his inclination. By-and-by he would -sing a note or two of a well-known melody, begin to beat time, and the -garden would be glad with the sound of four fresh young voices swelling -and dying together in the charming harmonies of a favourite part-song. -He often spent the evening with the young ladies and their father, -gladly accepting their informal hospitality, and would play to them -after supper until late into the night, sometimes performing duets with -Fräulein Marie, who was his pupil on the pianoforte. - -'I may say with pride that he was happy in our little house,' said Frau -Professor Böie (Fräulein Marie Völckers) to the author; 'his playing -was a great delight to our old father. His behaviour to old people was -touchingly thoughtful and kind.' - -Dietrich, who had lately accepted the post of court capellmeister to the -Grand-Duke of Oldenburg, and was now quite a near neighbour, paid his -promised visit to Hamburg in September, and found Johannes engaged on -the A major Pianoforte Quartet. 'He played me the sketches which -convinced me that the work would be surpassingly fine.' - - 'I occupied his very interesting room [at Hamburg], and was - astonished at his comprehensive library, which he had gradually - collected since early youth; it contained some remarkable old - works. - - 'After breakfast in the morning I used to sit cosily with his dear - old mother, who united true heart-culture with her plainness and - simplicity; her Johannes was the inexhaustible subject of our - lively conversations. The father generally left home early to - follow his calling of bassist and music-teacher. I used to remain a - little while with the dear people, and spent the rest of the day - with Brahms in his charming country quarters, where we occupied - ourselves with the detailed examination of his newest works.' - -Several indications suggest that Brahms' thoughts were still turned -longingly in the direction of Vienna; not as a permanent place of -residence--at no time in his life, probably, did he so seriously -contemplate settling in Hamburg as at the present--but he wished to see -the city that had been the home of Haydn, Mozart, Beethoven, and -Schubert; and the enthusiastic sympathy accorded to Frau Schumann on -each of her visits to the Austrian capital confirmed him in a desire to -try his luck with its music-loving public. He knew his way had been -prepared for him, and a good opportunity seemed likely to occur for his -appearance there. Joachim was meditating another Austrian tour, and -would have rejoiced to have Johannes with him. Matters went no further, -however, than they had done previously. As in a former year, paragraphs -appeared in the _Signale_ announcing that Brahms and Joachim were about -to visit Vienna, but in the end Brahms remained at home--partly, no -doubt, from motives of policy. - -It was generally understood that Wilhelm Grund, who had for many years -conducted the Philharmonic concerts and the Singakademie connected with -them, must soon retire. He had done good work in his day, but his day -was over. Musical conditions had changed; he was too old to alter with -them, and the Philharmonic performances had long ceased to satisfy -modern requirements. It was hoped by Brahms' friends that the young -genius of Hamburg would succeed to the post, and Johannes himself may -have thought it wise to remain on the spot with such an important issue -imminent. The disappointment he felt at giving up the desired journey -was partially consoled by the knowledge that Frau Schumann would be much -in Hamburg during the autumn months. - -He began his concert-season on October 19 at Altona, and appeared at one -of the Böie-Lee concerts later in the month, playing the Schumann -Variations for two pianofortes with Frau Clara. On the 30th there was a -music-party at the Halliers', which is charmingly described in a letter -written a few days afterwards by Fräulein Julie Hallier: - - 'The guests were late in coming; it was half-past eight when they - had all arrived; and who comes with Frau Schumann?--Our dear friend - from Hanover, with his beaming face and delightful friendliness; - the glorious Joachim. Everyone was taken by surprise, Frau Schumann - and Brahms in the morning, we in the evening. Avé: "My boy! where - have you come from?" After the first excitement was over, Edward - showed his Italian photographs. Brahms literally devoured them; he - was very nice the whole evening, especially with Edward. He teased - me about my punch, which I altered three times, he following it - with anxious looks as the bowl disappeared through the door. Frau - Schumann and Brahms played beautifully beyond imagination; three - rondos by Schubert and two marches. The violin of course had not - come; Joachim only arrived yesterday and is already gone again. At - first Avé turned over, but he did it badly, so Brahms called - Joachim. Avé: "My dreadful cold; I cannot see properly." He now - stood behind and began to beat time. During the music the table - was laid in the small room. It was rather narrow, but comfortable. - All went well. We separated at half-past eleven.' - -A few days afterwards there was a similar gathering at the Wagners', -when Frau Schumann performed with Brahms his duet arrangement of the -second serenade. - - 'The best of all was a set of variations by Brahms on a theme by - Handel,' continues the letter--'another magnificent work! - splendidly long--the stream of ideas flowing inexhaustibly! And the - work was splendidly played, too, by himself. It seemed like a - miracle; one could not take one's eyes from him. The composition is - so difficult that none but great artists could attempt it.'[93] - -These words give some measure of the progress effected during the last -half-century in the technique of pianoforte-playing, partly, indeed, -through the demands made upon pianists by the compositions of Brahms -himself. Lovers of his art who have learnt his particular technique, -which demands of the player certain qualities of endurance and grip, do -not find the performance of his works unduly fatiguing. The twenty-five -variations, with the fugue that succeeds them, are now in the fingers of -most good players, and would undoubtedly be often heard in the -concert-room if it were not for the great length of the work. They show -a melodious fertility and power of invention which is practically -inexhaustible. Each variation or pair of variations presents some fresh -idea, some striking change of fancy, figuration, rhythm, mood, to hold -the listener's attention, whilst the entire long work is essentially -based upon the simple harmonic progression of Handel's theme (to be -found in the second collection of Harpsichord Pieces). The changes of -key in Brahms' variations are restricted to the tonic minor (Nos. 5, 6, -13) and the relative minor (No. 21). The finale, the great free fugue -which invariably 'brings down' a house, is, with its grand and brilliant -climax, to which extraordinary effect is imparted by an original -employment of the dominant pedal point, a unique example of its kind. - -If there ever were a young composer who had reason to be made happy from -the outset of his career by the appreciation of the most eminent of his -colleagues--appreciation sweeter than any other to the soul of the true -artist--Brahms was he. At each of Frau Schumann's three appearances in -Hamburg during this autumn, she performed a great work of his -composition, two being introduced for the first time to the public. At -her first concert, on November 16, she played the G minor Pianoforte -Quartet, only now finally revised and completed, with Böie, Breyther, -and Lee, and on the same evening several of the composer's part-songs -were sung under his direction by the Ladies' Choir; on December 3 she -appeared as the champion of the unpopular Concerto, choosing it for her -chief solo at the Philharmonic concert of that date; and on the 7th of -the same month she brought forward the Handel Variations and Fugue at -her second concert. These she repeated a week later at the Gewandhaus -soirée of the 14th in Leipzig. - -Not even the magnetic personality of Frau Schumann availed to awaken any -show of enthusiasm for the concerto. The new works were more favourably -received both in Hamburg and Leipzig, and the _Signale_ itself bestowed -a mild word or two upon some of the variations. It is easy, however, to -read between the lines of the press notices that such encouragement as -was awarded to the composer was mainly due to the personality of the -performer. The B flat Sextet was given with fair success at the -Gewandhaus Quartet concert of January 4 by David Röntgen, Hermann, -Hunger, Davidoff, and Krummholtz. - -Brahms passed the first two months of the new year in Joachim's society, -making his headquarters at Hanover, and undertaking frequent short -journeys with his friend. The two artists appeared together on January -20 at one of the Münster subscription concerts, of which Grimm, who had -been called to Münster in 1860, was now the conductor; and on February -14 they gave a concert in Celle, a locality which the reader will -remember as the scene of Johannes' transposition feat during the Reményi -_tournée_ of 1853. The A major Pianoforte Quartet was now finished, and -was, with its companion in G minor, much appreciated in the private -circles of Hanover, where both works were frequently played by Brahms -with Joachim and his colleagues. - -Brahms, answering an invitation from Dietrich received on the eve of his -departure, says: - - 'HANOVER, 1862. - - 'DEAR FRIEND, - - 'I have been here for some time, and have your letter forwarded - from Hamburg. I go back to-morrow, and write a few words in haste. - - 'I should much like to visit you and to make the acquaintance of - those whom I know pleasantly by name, otherwise I would say no. I - will come and see how long I can afford to be idle. - - 'What shall I play? Beethoven or Mozart? C minor, A major, or G - major? Advise! - - 'And for the second?--Schumann, Bach, or may I venture upon some - new variations of my own? - - 'You, of course, will conduct my serenade. We have been playing my - quartets a great deal here; I shall bring them with me and shall be - glad if you and others approve of them. - - '_À propos!_ I must have an honorarium of 15 Louis-d'ors [about - £14], with the stipulation that if I should play at Court I receive - extra remuneration. I much need the money; pro sec. my time is - valuable to me, and I do not willingly take concert engagements; - if, however, this must be, then the other must also.'[94] - -Dietrich had already had the pleasure of welcoming Frau Schumann and -Joachim to Oldenburg during this his first season of activity there, and -had worked well to prepare the way for Brahms, so that the evening of -March 14, the date fixed for the composer's personal introduction to the -concert-going public, was awaited with keen interest. Arriving at -Dietrich's house a few days previously, Brahms found himself surrounded -by new friends, and had won the favour of the musical élite of the town -before his public appearance, by playing several of his works in private -circles. The members of the orchestra, who assembled _en masse_ on the -evening of the 13th, were excited to enthusiasm by his performance of -the new Handel Variations and Fugue, and every condition that could -insure a sympathetic reception for the hero of the 14th was fulfilled. - -The concert opened with the D major Serenade (Op. 11), conducted by -Dietrich, who had the delight of finding that he had secured an adequate -reception for his friend's orchestral work. - - 'The whole made the most satisfactory impression, and carried the - hearers away more and more, especially from the fourth movement - onwards, and at the close the applause reached a pitch of - enthusiasm not hitherto experienced here. The members of the - orchestra, who had been studying the serenade for some time, showed - their concurrence in the general approval by a lively flourish' - (_Oldenburger Zeitung_). - -No less satisfactory was the verdict of the audience on the performances -of Beethoven's G major Concerto and Bach's Chromatic Fantasia, with -which our composer came forward as pianist. His success was repeated at -the chamber music concert of the 19th, when the sextet was performed by -Court Concertmeister Engel and his colleagues. Both in public and -private Brahms left endearing memories behind him. - - 'He was the most agreeable guest,' says Dietrich, 'always pleased, - always good-humoured and satisfied, like a child with the children. - - 'He took the greatest pleasure in our happiness. He thought our - modest lot enviable, and had his position then allowed him to - establish a home of his own, perhaps this might have been the right - moment, for he was attracted by a young girl who was often with us. - One evening, when she and other guests had left, he said with quiet - decision: "She pleases me; I should like to marry her; such a girl - would make me, too, happy." He met many people at our house, and in - small and large circles outside it, and everyone liked his earnest - nature and his short and often humorous remarks.' - -It is pleasant to have to record here that a few weeks before the events -now described, New York, distinguished, as we have seen, by Mason's -timely performance of the B major Trio in 1855, led the way a second -time in connection with Brahms' career. In February, 1862, the first -performance after publication of the second serenade took place there at -a Philharmonic concert, and the occasion is doubly memorable as marking -the earliest introduction of an orchestral work of Brahms to a public -audience outside the cities of Hamburg, Hanover, and Leipzig. This early -appreciation of the composer's genius in America has proved to have been -neither accidental nor transitory. It grew steadily year by year with -the general growth of interest in musical art, and his works, great and -small, were welcomed as they appeared, and performed--often, it must be -said, from pirated editions in the earlier days--with ever-increasing -success. It has been impossible to ascertain the exact dates of first -American performances. New York, the earliest centre in the United -States for the cultivation of Brahms' music, was emulated later on, -especially by Boston; and the famous Symphony Orchestra of this city -has, since its foundation in 1881, performed each of the four -symphonies, in Boston and in the course of numerous concert tours, at an -average of forty concerts; whilst the two overtures, the concertos, and -other large works, have been given with corresponding frequency. - -The chamber music has been a special feature in the programmes of -several concert-parties resident in various parts of the United States. -Of these, special mention should be made of the Kneisel String Quartet -of Boston, whose performances, familiar not only to American, but also -to some of the circles of European music-lovers, were warmly appreciated -by Brahms himself. - -In the spring of 1862, an artistic tour undertaken in France by Frau -Schumann laid the foundation of Brahms' reputation in Paris, which, -little to be noted during many years, has of late been rapidly -increasing. That the great pianist, when introducing her husband's -works, which were almost unknown to French audiences, had to confront -the inevitable prejudice against what is new, explains the fact that -Brahms' name did not appear in the programmes of her concerts at the -Salle Erard. The efforts she made in the cause of his art, however, -amongst the inmost musical circle of her acquaintance created an -impression that was not entirely fleeting. - -The two first Pianoforte Quartets, now finally completed, and performed, -as we have seen, during the winter of 1861-62--the earlier one in -public, and both frequently in private--add two glorious works of -chamber music to the series so brilliantly inaugurated by the Sextet in -B flat. In their broadly-flowing themes, their magnificent wealth of -original and contrasted melody, their consummate workmanship, their -fresh, vigorous vitality, their enchanting romance, one seems to hear -the bounding gladness of the artist-spirit which has attained freedom -through submission to law, and revels in its emancipation. They are so -rich in beauty, so transcendent in power, that the attempt to point out -this or that particular detail for admiration results in bewilderment. -The romantic intermezzo, the riotously brilliant Hungarian rondo, of the -first; the graceful scherzo with its bold trio, of the second, and the -adagio, with its atmosphere of mystery, lit up twice by the outbreak of -passion that subsides again to the hushed expressiveness of the -beginning and end; the opening allegro of either work--all are original, -great, beautiful; but so is every portion of every movement of both -quartets, and each movement proclaims--from Bach to Brahms. That Brahms' -course of development proceeded ever further in the direction of -concentration of thought and conciseness of structure cannot affect the -value of the splendid achievements of his earlier period of maturity, -and of these the two quartets stand amongst the greatest. - -The sincerity of Brendel's efforts to conciliate the contending musical -parties, and his desire to do justice to each, is strikingly proved by -the appearance in his journal, in the course of several months of the -year 1862, of a series of articles signed 'D. A. S.,' by Dr. Schübring, -a distinguished musician and critic of the Schumann school. The first -few numbers are devoted to sympathetic reviews of the works of Theodor -Kirchner, Woldemar Bargiel, and others; and following these are five -articles in which the whole of Brahms' published works are examined in -detail. The composer's genius, his progress, his moods and his methods, -are discussed with the skill of a scientific musician, the impartiality -of a sound critic, and the affection of a personal and artistic friend. -They are too technical for quotation here, but the last sentence of the -concluding number may be given in well-deserved tribute to Brendel, who -must have known what he was doing when he arranged for Dr. Schübring's -contributions. - - 'The foregoing words may sound inflated, but stopped horns are of - no use when it is desired to arouse the great public, which does - not yet seem to comprehend in the least what a colossal genius, one - quite of equal birth with Bach, Beethoven, and Schumann, is - ripening in the young master of Hamburg.' - -The mediator's task is seldom a grateful one, and it appears probable -that Dr. Brendel was reproached for his large-mindedness by some of the -New-German party, with whom he had been so long intimately connected, as -a half-apologetic explanation of his reasons for desiring the -publication of the 'Schumanniana,' as the articles were entitled, -appeared in a later number of the _Zeitschrift_. - -It would be unsatisfactory to omit all mention of the first performance -of a 'Magelone Romance,' though there is but little to record save the -fact that Stockhausen sang the opening one, the 'Keinem hat es noch -gereut,' from the manuscript, at the Philharmonic concert of April 4, as -one of a group of songs by Brahms. It produced no impression whatever on -the Hamburgers, who were only mystified. How many persons in the -audience had read Tieck's poems? How many had ever heard anything about -the adventures of Magelone and Peter? Without such knowledge, the first -and second numbers of the cycle cannot be really appreciated. To those -who are aware that the first is the song of a minstrel who incites a -valiant young hero to journey to distant lands in quest of adventure, -and the second the exultant shout of the joyful aspirant as he rides -forth from his parents' home, resolved on doughty deeds, the music -becomes living, and seems to breathe forth the very spirit of chivalry. -The third, fourth, and some other of the songs, notably the ninth--the -ravishing 'Ruhe Süssliebchen'--are capable of telling a tale of their -own, and give rich delight apart from their place in Tieck's version of -the story; but the enjoyment even of these favourite and familiar songs -is much heightened by an acquaintance with the incidents of the romance. -Tieck's 'Beautiful Magelone' is contained in his 'Phantasus,' a -collection of tales published between 1812 and 1816, some of which have -been made familiar to English readers by the translations of Hare, -Froude, and Carlyle. The 'Magelone' story of the book is a modernized -version of an old romance of chivalry, and, by introducing into it a -number of songs, Tieck furnished the opportunity seized upon more than -forty years later by Brahms, to which the world is indebted for some of -the composer's most perfect inspirations. - -To provide in this place the much-needed clue to their connexion with -the events of the tale would cause too serious an interruption to our -narrative. The author has therefore added, in Appendix II., an account -of the romance and the incidence of Tieck's songs, which it is hoped may -interest the reader and increase his love for the compositions. - -Brahms continued to make Frau Dr. Rösing's house his headquarters, and -remained there during most of the spring and summer of 1862. Before -going to Oldenburg in March, he had written to Dietrich: 'It is -delightful here in Hamm, and unless I look out of window at the bare -trees I fancy summer is come, the sunlight plays in the room so, gaily.' -Later it was: 'It is blooming splendidly, and the trees are blossoming -in Hamm, so that it is a joy.' He occupied his leisure in similar -agreeable pursuits to those of the preceding year, and now in the -springtime a double choir of maidens and nightingales might often be -heard by the passer-by, carolling together as if in mutual emulation of -the others' song. He begged, later on, for photographs of his girls' -quartet and of the two houses, and said that he neither remembered nor -saw before him a happier time than that he had passed in Hamm. The -sisters met their fate in due time. Each married a distinguished -violinist, and Concertmeister Otto von Königslow of Cologne and -Professor John Böie of Altona were amongst the most active admirers of -Brahms' art. The composer remained on terms of intimacy with the entire -Völckers family, and never failed, when occasionally staying at Hamburg -during the later years of his career, to visit both the Böies and the -Stones. - -Avé Lallement, who would gladly have seen Johannes settled in Hamburg as -conductor of the Philharmonic, says, in a letter written in the early -spring of the year to Dr. Löwe of Zürich: - - 'We had the "Matthew Passion" here under Grund; Brahms also was - delighted, in spite of the defective performance. He thinks of - going to Vienna in the autumn; then I shall be quite alone, but - thank God I have learnt to know the man so well. I have come a good - piece forward through him.' - -The pianoforte quartets finished, the composer was now busy with the -great work which we know as a quintet for pianoforte and strings. It was -finished in its first form--a string quintet with two violoncelli--by -the end of the summer. When tried a year later by Joachim and his -colleagues, the effect of the work was found insufficiently sonorous for -its great material, and Brahms arranged it as a sonata for two -pianofortes, and subsequently as a quintet for pianoforte and strings. -We shall have occasion later on to make particular mention of the first -public, and of an early private, performance of the sonata version. - -Brahms and Dietrich met at the Rhine Festival given this year at Cologne -(June 8-10), where they made the artistic and personal acquaintance of -Frau Louise Dustmann, court chamber singer, and of the court opera, -Vienna, whom Brahms knew well in later years. From Cologne they -proceeded to Münster-am-Stein, taking lodgings together near Frau -Schumann, who was staying there with her family. From Münster Dietrich -wrote to his wife: - - 'The longer I am with Brahms, the more my affection and esteem for - him increase. His nature is equally lovable, cheerful, and deep. He - often teases the ladies, certainly, by making jokes with a serious - air which are frequently taken in earnest, especially by Frau - Schumann. This leads to comical and frequently dangerous arguments, - in which I usually act as mediator, for Brahms is fond of - strengthening such misunderstandings, in order to have the laugh on - his side in the end. This to me attractive humorous trait is, I - think, the reason why he is so often misunderstood. He can, - however, be very quiet and serious if necessary.' - -Brahms and Dietrich composed industriously in the mornings; the -afternoons and evenings were occupied with excursions or music, and at -this time Brahms showed his friend an early version of the first -movement of his C minor Symphony, not completed until fourteen years -later. The six 'Magelone Romances' were pronounced by Dietrich to be -amongst the finest works yet produced by their composer. - -The Sextet in B flat, the Handel Variations, and the horns and harp -Songs for women's Chorus, were published this year by Simrock. Two works -in the hands of Rieter-Biedermann--the Marienlieder for mixed Chorus and -the Variations for Pianoforte Duet Op. 23--appeared at the end of 1862 -or the beginning of 1863.[95] - -The Marienlieder, seven in number, to be sung _a capella_, are not -sacred compositions. They are settings of old texts founded upon some of -the medieval legends that grew up around the history of the Virgin, and -are delightfully fresh examples of the pure style of part-writing of -which Brahms had made himself a master. In spite of the restricted means -at the disposal of the composer who elects to forego, for the nonce, all -but the few diatonic harmonies alone available in this style, there is a -something about these attractive little pieces which allows Brahms' -individuality to be distinctly felt. If, as is inevitable, they carry -back the mind of the listener to the choral music of the sixteenth -century, they recall the style of the early German, rather than of -either of the Italian, schools. Perhaps the most fascinating of the set -is No. 2, entitled 'Mary's Church-going.' Mary, on her way to church, -comes to a deep lake, and, finding a young boatman standing ready, -requests him to ferry her over, promising him whatever he may like best -in return. The boatman answers that he will do what she asks provided -she will become his housewife; but Mary, replying that she will swim -across rather than consent to the suggestion, jumps into the water. When -she is half-way to the other side, the church bells suddenly begin to -ring, loudly, softly, all together. Mary, on her safe arrival, kneels on -a stone in prayer, and the boatman's heart breaks. The first five verses -are composed strophically (each like the other) for two sopranos, -contralto, and tenor, in E flat minor, and are marked _piano_. The bass -enters with the sixth verse, composed in E flat major, and, whilst the -whole choir bursts into a jubilant _forte_, keeps up a movement in -concert, first with the tenor and then with the soprano, suggestive of -bell-ringing. The concluding words return to the setting of the first -five verses, and by this means the little composition is rounded into -definite shape. - -The Variations are amongst the most beautiful of Brahms' many fine -achievements in this particular domain, and present for admiration -conspicuous qualities of their own arising from the opportunities -offered by their composition in duet form. The theme on which they are -founded is that supposed by Schumann to have been brought to him in the -night three weeks before his malady reached its crisis. The work is -dedicated to Fräulein Julie Schumann, the master's third daughter. - -And now, in a few weeks, the period of Brahms' career which is to be -especially associated with Hamburg was to close. He would gladly have -strengthened his ties with the city to which he was so proud to belong, -but, as we shall see, his compatriots would have none of him. Twice in -the coming years they passed him by, and when the time at length -arrived in which they would willingly have proclaimed the world-famous -composer as their own special prophet, his interests and affections had -become too deeply rooted within the city that he made his second home to -be capable of a second transplantation. - -Brahms quitted Hamburg for his first visit to Vienna on September 8. -That he expected to return speedily is evident from the lines sent by -him to Dietrich on the eve of his departure: - - 'DEAR FRIEND, - - 'I am leaving on Monday _for Vienna_! I look forward to it like a - child. - - 'Of course I do not know how long I shall stay; we will leave it - open, and I hope we may meet some time during the winter. - - 'The C minor Symphony is not ready; on the other hand, a string - quintet (2 v.celli) in F minor is finished. I should like to send - it you and hear what you have to say about it, and yet I prefer to - take it with me. - - 'Herewith my Handel Variations; the Marienlieder are not yet here. - - 'Greet all the Oldenburg friends. - - 'Pray do not leave me quite without letters. You might address for - the present to Haslinger, or to Wessely and Büsing. - - 'Heartiest farewell meanwhile, dear Albert, to you and your wife. - - 'Your JOHANNES.' - -'Father,' said Brahms, looking slyly at his father as he said good-bye, -'if things should be going badly with you, music is always the best -consolation; go and study my old "Saul"--you will find comfort there.' - -He had thickly interlarded the volume with bank-notes.[96] - -It is highly interesting to possess a clear conception of Brahms' -achievements as a composer, and, therewith, of his exact title to -consideration at this important moment of his career. This will be best -obtained by a glance at the list of the chief completed works with -which he was to present himself in the city associated with the most -hallowed memories of his art. His departure for Vienna is by no means to -be regarded as coincident with the close of any one period of his -creative activity, though it emphatically marks the end, not only of a -chapter, but of the first book of his life. - -LIST OF BRAHMS' CHIEF COMPLETED WORKS ON HIS DEPARTURE FOR VIENNA. - -Pianoforte Solos: - - Three Sonatas. - Scherzo. - Variations on Schumann's theme in F sharp minor. - Variations on an original theme. - Variations on a Hungarian song. - Variations and Fugue on Handel's theme. - -Pianoforte Duet: Variations on a theme by Schumann. - -Pianoforte with Orchestra: Concerto in D minor. - -Orchestral: Two Serenades. - -Chamber music: - - Sextet in B flat for Strings. - Trio in B major for Pianoforte and Strings. - Quartet in G minor " " " " - Quartet in A major " " " " - -Songs: - - Five books (thirty songs). - 'Magelone Romances' (first six). - -Vocal Duets: two books. - -Three Vocal Quartets. - -Women's Chorus: - - 'Ave Maria.' - Part-songs. - -Mixed Chorus: - - Begräbnissgesang. - Marienlieder. - The 13th Psalm. - Motets. - Sacred Song. - -The newly-finished String Quintet is not included in the list, as the -work was not published in this its first form. The Hungarian Dances, as -being arrangements, are also omitted. - -[92] Max Kalbeck, p. 458. - -[93] First published in Hübbe's 'Brahms in Hamburg,' pp. 42-44. - -[94] Dietrich. - -[95] The Variations are dated 1866 in the published catalogue. - -[96] Max Kalbeck, p. 497. The reader must be reminded that at this -period German bank-notes frequently represented but small sums. - - - - -APPENDICES - - - - -I. - -MUSICAL FORM--ABSOLUTE MUSIC--PROGRAMME-MUSIC--BERLIOZ AND WAGNER - - -The word Form, as applied to instrumental music, is synonymous with -Design. A movement is built up on a certain ground-plan, the outlines of -which are constructed according to some given arrangement of keys, or -melodies, or both, which secures symmetry for the work and facilitates -its presentment as a whole to the intelligence of the hearer. A chief -element in musical form is recurrence, the simplest illustration of -which--three sections of which the third repeats the first (A, B, A)--is -to be found in a vast number of folk-melodies. - -The main source to which the instrumental music of classical art owes -its primitive origin is the Folk-melody, whether of dance or of song. -This Folk-melody was entirely naïve, and as free from the imitative or -pictorial, as from the reflective, element. The dance-melody was -conditioned by the rhythm of the dance. The song-melody, also rhythmical -as distinct from declamatory, more or less reflected the sentiment of -the text; verses of a joyous character naturally suggested joyous tunes, -those of a plaintive character, plaintive tunes; but the ideas -constituting the melody were essentially musical thoughts, and contained -no attempt at pictorial illustration of the subject of the words; the -melody formed from them was Absolute music. - -In process of time these melodies came to be treated apart from their -text or their dance, and new ones were invented whose primary object was -not the dance or the song, but the gratification of the ear and -intelligence by the pleasing succession of musical phrases. Instrumental -movements were constructed, and these bore unmistakable impress of their -descent, since the ideas and series of ideas forming them were -rhythmical and symmetrical. - -It is obviously impossible in the short space at our disposal even to -touch upon the history of the process by which early instrumental pieces -of a few bars have gradually developed into the elaborate movements of -classical art, but, by sketching as slightly as possible two of the -forms, one or other of which underlies the vast majority of the -instrumental works of modern classical music, we hope to enable all our -readers to follow the allusions to Form in our text, which must be -understood to include other forms than these, but such as have in common -with them the essential element of design or symmetry. - -The Rondo-form has been used by composers of almost all periods, and -has, in modern times, developed into two large varieties. The idea from -which it originated is best realized by reference to the old rondeau -dance-song, the design of which is simplicity itself. A short melody -sung several times in chorus was alternated with others contributed by -solo voices, which were sometimes called 'couplets,' and which are now -generally termed 'episodes.' The form required two, and permitted any -number, of episodes, each of which was bound to furnish a new melody. -The performance terminated as it began, with the chorus. The form, -therefore, may be thus represented: A, B, A, C, A, _ad libitum_. - -The reader will find many examples of the early eighteenth-century -instrumental Rondo in Couperin's 'Pièces de Clavecin,' published in -Paris in 1713, and edited for republication by Brahms (Chrysander's -'Denkmäler der Tonkunst'). With these he may compare the great -rondo-movement of Beethoven's Sonata in C major, Op. 53. - -The so-called Sonata-form underlies the immense majority of the first -movements composed by the great masters of the last century and a -half--the first movements, not only of those works for pianoforte solo -or pianoforte and another instrument which are called by the name -sonata, but of trios, quartets, and so forth, and of symphonies, which -are, in fact, sonatas for orchestra. - -A movement in Sonata-form consists of three essential parts--the -Statement or Exposition of themes, the 'thematic material'; their -Development; their Repetition. To these was formerly appended a short -Coda, which has gradually developed, and now frequently extends to the -dimensions of a fourth part. - -The first part, the Statement, is itself divided into two sections, not -necessarily or even generally of equal duration, marked by difference of -tonality. The first is dominated by the tonic key of the movement. It -contains the First Subject, which may be either short and concise, of -sixteen or even eight bars only, or of several different paragraphs; a -principal idea and subordinate themes. The second section is dominated -by some other key; formerly, in a major movement by that of the -dominant, in a minor movement by that of the relative major or dominant -minor. It contains the Second Subject, a new melody followed or not by -subordinate themes. These two sections are connected by a modulatory -'bridge passage,' which leads the ear from the first to the second -principal key of the Statement, and which used generally to come to a -pause on the dominant harmony of the new key in preparation for the -entry of the Second Subject. The Statement closes, with or without a -Codetta, in the key of the Second Subject. Formerly it was invariably -played twice, its termination being followed by a double bar with -repetition marks. - -The second part of the movement, the Development, sometimes called the -Free Fantasia or the Working-out, is what its name implies. It is -constructed from the material of the Statement, which the composer works -or develops according to his fancy, using either or both of his -subjects, his bridge passage, his codetta, entire or in part, alone or -combined, with much or little modulation to near or distant keys, just -as he pleases. The Development part of the movement is not visibly and -mechanically cut off from what follows it by a double bar like the -Statement, nor does it end with a final cadence, but usually closes with -some sort of half-cadence--formerly it was the typical one, a pause on -the dominant--which leads to the third part of the movement, the -Repetition. - -In this the Statement is repeated, modified by the circumstance that -both its sections are dominated by the tonic key of the movement, in -which the Second Subject as well as the First is heard, such modulations -as may have occurred in the Statement being represented in the -Repetition with the changes required by this fact. - -The Coda is more often than not retrospective, but its character and -arrangement are at the discretion of the composer, provided that it -gives sufficient emphasis to the original key to leave the mind of the -hearer impressed with the tonality of the movement. - -We have not troubled the reader in this short sketch with the varieties -or exceptions to be found in the works of the great composers of the -period indicated above. Their movements in this form, whether we examine -those of the simple sonatina or of the complex symphony, will be found, -broadly speaking, to conform to our description. A very clear -illustration of the outlines of Sonata-form may be studied in the first -movement of Beethoven's Sonata in G major, Op. 14, No. 2. - -The developed instrumental movements of classical art, capable of -stirring the highest aspirations of which the spirit of man is capable, -are, like the short pieces from which they have sprung, constructed from -'musical ideas'--ideas, that is to say, which act upon the nerves, -emotions, intellect of the listener, directly through the sense of -sound, and are not dependent for their effect upon intermediate mental -translation into images perceptible to the mind's eye, the vision of -imagination. This does not mean that a composer of pure music never is -and never may be pictorial, but the cases in which he is so are, as it -were, accidental, and the pictorial element in a given work is not of -the essence of his art, but is something added to it, something, -moreover, which does not affect the value of the composition as a work -of art. A composer of Absolute music may indeed, and often does, -stimulate his imagination by recalling a poem, a legend, a scene of -nature or life; and either of these may leave a more or less definite -impress on his music; whilst a title or a motto placed above a short -pianoforte piece, an orchestral overture, or, in very few cases, a -symphony, may sometimes stimulate the hearer's appreciation; but the -music is not in such a case to be taken as 'meaning' this or that in -detail. The composer aims at making his movement a work of art complete -in itself, and relies for his effects upon his musical thoughts and -their treatment as such, though he may be willing to let his hearers -know that his fancy was encouraged by extraneous aid. - -The listener may, on the other hand, if it assist his enjoyment, attach -his own 'meaning' to what he hears, but he must understand that this is -relative to himself only. No one can assure him that his 'meaning' is -right or wrong. The music as such should stand high above such -interpretations, and, if it is to fulfil its supreme destiny, must speak -directly to the soul in its own infinite language of sound, infinite -just because it is capable of transcending the defined objects of sight. - -Vocal forms have always necessarily been to a great extent dependent on -the text chosen for musical treatment. Nevertheless, certain vocal forms -have been developed--the aria, the ballad, the lied, the -ensemble--which, though freer than those of instrumental music, have the -common characteristics of symmetry more or less, and of rhythmic melody -as distinct from the mere accentuation of the recitative. - -The Art-song of the classical masters, whether for one or more voices, -mirrors, like its parent the Folk-song, the sentiment of the text, but -is not pictorial. Its instrumental accompaniment may, and at times does, -reflect or emphasize the suggestion of the words, but it does not -attempt to imitate or illustrate in detail the images which they -represent; or only in an insignificant number of instances, which may be -classed with the cases to which we have referred in our remarks upon -instrumental music. - -A good deal of confusion prevailed in the mind of the general musical -public of the middle of the nineteenth century as to the views held by -the musicians of the New-German party, and it has not been cleared away -even at the present day. This has resulted chiefly from the fact that, -like many another body of radical reformers, they were by no means at -one as to the positive articles of their faith. - -It is far from the desire of the present writer to enter into a lengthy -discussion of vexed controversies which time alone can settle. The -object of this appendix is simply to assist the general reader to follow -certain allusions and incidents in the text of the narrative, and -especially to make clear how it was that Brahms, an uncompromising -champion of musical tradition, whose very existence as an artist was -staked on the vitality of Absolute music, could deeply respect the art -of Wagner. With these ends only in view, it is proposed to limit the few -words to be said here to the attempt to show what the fundamental -difference was which separated the methods of Berlioz and Wagner, the -two giants of the Weimar party, in their efforts to establish a basis -for the Music of the Future so far as they conceived this could be -achieved by the closer union of the arts of instrumental music and -poetry. - -Berlioz (1803-1869) has been accepted as the typical champion of what is -called Programme-music. The question as to what is to be understood by -this term, however, has become very difficult to answer, because -nowadays anything may become a programme or supply a label. A poem, a -romance, or a commonplace situation of everyday life; an emotion, a -series of emotions, or the individuality of a man or woman; or, again, -the emotion or mental action which a certain personality may excite in -another. If, however, we restrict the question and examine only what -meaning attaches to the term Programme-music as applied to Berlioz's -instrumental works, the answer is that the composer is so intent on -conveying, as an essential part of his movements, definite and detailed -ideas outside the art of sound _per se_, which he finds in certain poems -or plays or narratives, that he not only places verbal headings above -them, but in many cases prefaces his works with an explanation minutely -describing the scenes which they are intended to represent point by -point, or the emotions that he desires to excite at successive steps of -their progress. Such detailed labels and expositions are what is -commonly termed the Programme. - -However the purpose be described which Berlioz thus set himself to -fulfil, whether it be said that the music was to absorb or to clothe the -poem, to translate or reflect it, it is obvious that, if words have any -real meaning, its ultimate _raison d'être_ was to be either imitative -or, at best, illustrative. Instrumental music necessarily becomes one or -the other the moment that material outside the domain of sound is -accepted as of its essence, and it is thereby debased from the level of -the fine art of sound. If it be said that the object of the programme is -to be a sort of guide-post to the emotions or sentiments to which the -music is addressed, the position becomes worse, for the incapacity of -the musician as such stands confessed. The union of poetry and music in -the sense of the instrumental Programme composer is, from the point of -view of the creator of Absolute music, fatal, not only to the dignity, -but to the vital force, of both arts. The poem becomes a phantom, the -music a conundrum; the listener wastes his time and fancy in trying to -fit them together, and is without means of knowing how far he has been -successful, and the product of these processes is a something which, in -the words of Wagner, is neither fish nor fowl. - -Whatever may be the ultimate fate of Berlioz's works, his immense -capacity, the extraordinary sensitiveness and force of his imagination -of tone-colour, and his phenomenal mastery of the resources of the -orchestra, have insured the survival of his name. If on no other -account, it will live as that of the creator of the complex art of -instrumentation in its modern sense, which was assimilated by Wagner and -developed by him in his dramas with vitalizing energy. - -Very far removed from Berlioz's position was that of Wagner (1813-1883), -who not only implied his disbelief in Programme-music by his practice, -but expressly recorded it by direct avowal, and illustrated his remarks -by references to Berlioz's works.[97] If, as may be the case, he -received his first impulse as a reformer from Berlioz, he clearly saw -the fallacies in which the theories of the French musician were -involved, and avoided them in a sufficiently convincing manner. He -perceived, firstly, that the rejection of a future for Absolute music -was the same thing as the rejection of a future independent art of -sound; secondly, that a union of instrumental music with poetry in -Berlioz's sense meant that the function of music must be illustrative; -thirdly, that the subject to be illustrated by musical sound must be -presented to the perception of the audience in as real and indubitable a -manner as the illustration; that, as the musical illustration was to be -heard, so the subject illustrated must be seen. - -Having boldly faced his premises, a splendid vision dawned upon his -imagination, and he shrank from no consequences which they involved. - -Rejecting the future existence not only of music, but also of poetry, as -a separate art, he predicted for both a future, as co-ordinate elements -with action and scenic effect, of a larger art, the drama, the object of -which he explained to be dramatic truth. Concentrating his immense -energies upon a reform of the stage, he adopted as his fundamental -principle that of a return, in the modern sense, to the practice of -Greek Tragedy. He substituted musical declamation of a very -highly-developed order for the rhythmic melody and symmetrical movements -of opera. Relinquishing the aria, the scena, the regularly-constructed -ensemble linked by _recitativo secco_, which he conceived to be -contradictory and obstructive to dramatic truth, his method was to set -his poem to a glorified species of recitative, called by him the Melos, -and to support and give it additional force and vividness by a gorgeous -illustrative orchestral accompaniment, its other self. An important -feature in his scheme, which is to be regarded as his substitute for the -Subject of traditional form, was the adoption and development of the -Leitmotif, a device employed to some extent by Weber in 'Der -Freischütz,' and by Berlioz. By it the successive appearances on the -stage of each prominent person of the drama, and often the anticipation -and remembrance as well as the occurrence of an important situation, are -signalized by a special harmonic progression or a particular rhythmic -figure. These became in the case of Wagner, who was his own poet, -something more than mere labels or mottoes. Growing up in his mind with -the progress of his poem, his series of Leitmotive became for him, as it -were, his musical dramatis personæ. He felt them as an inseparable part -of his persons and events, and they became with these the framework on -which his works were constructed. - -It must be clear to all unprejudiced minds that the principles which -guided the creator of the great music dramas were perfectly logical and -coherent, and that Wagner acted on them throughout the course of his -career, properly so called, with entire consistency and with magnificent -success. His error, and the error of his disciples, lay in their -arrogant and senseless propaganda of the Wagnerian articles of faith, as -expressions of the ultimate and universal principles of art. Wagner went -so far as to claim that Beethoven, recognising that instrumental music -had reached its natural term of existence, had given practical -expression to such a belief by setting Schiller's 'Ode to Joy' in the -finale of his ninth symphony. The assumption is controverted by the -facts that Beethoven composed the works known as the posthumous string -quartets, and sketched a purely instrumental tenth symphony after the -completion of the ninth. - -The rejection of a future for Absolute music is, of course, purely -arbitrary. Wagner's achievements for the stage were transcendent, but it -is even conceivable that the progress of time may sooner or later -produce a composer able successfully to champion, in a manner of his -own, the cause of rhythmic melody, of traditional form, on Wagner's own -arena, on the stage itself. - -If we examine the pretensions of the so-called larger art, the -musical Drama, versus the capacities of the several arts of poetry, -of music, of dramatic action, by the testimony of Wagner's own works, -is it possible to contend that these make for, and not against, the -wholly superfluous proposition from which he started as a reformer? -One of the reproaches frequently levelled by the New-Germans against -ante-Wagnerian opera was that its form hardly rose above the level of -an entertainment; that entertainment was its _raison d'être_. What, -however, is the ultimate result of the musical Dramas? Is it not also -entertainment--entertainment of a highly complex and luxurious form, -conceived and accomplished, certainly, in the most perfect and perfectly -consistent manner? The famous Dramas are gorgeous stage poems; but are -they so exceptionally and extraordinarily elevating to the mind? They -address the senses with exceptional power. Could either of them replace -amongst our highest possessions a really great play, a great poem, a -great symphony? The art of sound, the art of music, is and remains the -special art divine because it is capable of reaching beyond the limited -impressions of which words are the symbols, and of suggesting the -infinite. - -Let us be grateful for the splendid gifts which the genius of Wagner has -bestowed on the world. May the supreme art of music, however, be always -recognised as such. May a musical prophet again arise in due time, -capable of speaking with authority in its language--the language of -Haydn, Mozart, and Beethoven, of Schubert, Mendelssohn, and Schumann, -the language of Bach and of Brahms. - -[97] 'Music may accompany action, but can never become its substitute.' - -'In the case even of the best and most ideal examples [of -Programme-music] it always happened that I so completely lost the thread -that no effort enabled me to recover it,' etc. - -Wagner, at a certain period of his career, professed himself a partial -convert to Programme-music--_i.e._, as it is exemplified in the works of -Liszt; but it is scarcely possible to read his remarks at this point -without feeling that they were wrested from him by his conception of the -obligations of friendship, and the circumstances of the time. Confessing -that he finds it extremely difficult to explain himself, he says that he -leaves to others the task of developing his meaning, and returns -repeatedly to the expression of his general dislike of Programme-music. - - - - -II. - -THE MAGELONE ROMANCES - - -The story of the Count Peter of Provence and the beautiful Magelone, -Princess of Naples, which is associated with a well-known ruin on the -south coast of France, is said by Raynouard to have formed the subject -of a poem written towards the close of the twelfth century by Bernhard -de Trèves, Canon of Magelonne in Languedoc. It was adapted as a prose -romance not later than the middle of the twelfth, and printed in at -least five different editions before the end of the fifteenth, century. -Of these, rare copies are to be found in some of the famous libraries of -England and the Continent. Two editions, copies of which are in the -British Museum, were issued by Maître Guillaume Le Roy. With slight -differences of spelling they begin: - -'Au nom de notre seigneur ihesucrist, cy comm[=e]ce listoyre du vaillant -chevalier pierre filz du cote de prov[=e]ce et de la belle maguelonne -fille du roy de naples.' - -The romance is constructed from the familiar elements of medieval -fiction--chivalry, religion and love--and has been translated at various -dates into almost every European language, Italian, Spanish, Portuguese, -Russian, Norse, etc. It has been republished in German many times -through the centuries since it was first done into that language -(probably in 1483), and was included by G. O. Marbach in 1838 in his -popular series of tales (Volksbücher). That it was this version of the -story that found its way into Frau Löwenherz's library and was read by -Johannes and Lischen is proved beyond doubt by its title, which is -identical with that noted down by the present writer from the lips of -Frau Denninghoff, the 'Lischen' of our biography--'Geschichte der -schönen Magelone und dem Ritter Peter mit den silbernen Schlüsseln'--and -it seems probable that Marbach obtained his tale from an edition -published in 1661 at Nürnburg: 'Historia der schönen Magelona, eines -Königs Tochter von Neaples, und einem Ritter, genannt Peter mit den -silbernen Schlüsseln, eines Grafen Sohn aus Provincia.' Of the many -editions, fifteenth and up to the nineteenth century, to which the -author has had access, no other contains in its title any mention of the -silver keys. - -Marbach's version is a fine one. Whilst he has modernized the old -romance in certain respects, he has kept, not only to the main incidents -of the tale, but to the quaint old dialogues which naïvely portray the -characters of the manly-hearted but rather weak-minded Peter and the -high-spirited, self-willed, yet tender Magelone. - -Tieck's version, published in 1812 in the first volume of the -'Phantasus,' differs considerably, especially in its particulars of the -beginning and end of the romance, from the original details of the -story. In making his alterations, the poet seems to have been chiefly -concerned to eliminate the religious element from his narrative as far -as possible, and to provide opportunity for the introduction of -seventeen songs of which Brahms composed fifteen. The tale has suffered -considerably in his hands. The general atmosphere of French medieval -fiction, with its characteristic setting of sunrise and sunset, flowers -and birds, and, in parts, the wording of the old romance, have, however, -been preserved, and we may be grateful to Tieck for the poems which have -placed us in possession of Brahms' beautiful song-cycle. - -We propose to give an abridgment of his narrative up to a certain point -and to summarize ensuing details, which become prolix and involved in -all the versions. We shall insert only the first few lines of each song. - - -HOW A STRANGE SINGER CAME TO THE COURT OF PROVENCE. - -A long time ago, a Count reigned in Provence whose beautiful and noble -son grew up the joy of his parents. He was big and strong and his -shining fair hair flowed round his neck and shaded his tender, youthful -face. Then he was well proved in arms; no one in or beyond the land -managed the lance and sword as he, so that he was admired by great and -small, young and old, noble and simple. He was often absent-minded as -though meditating on some secret desire, and many experienced people -concluded that he must be in love, but none of them would awaken him -from his thoughts, for they knew that love is like the vision of a -dream, which is apt, if disturbed, to vanish and return to its dwelling -in the ether and the golden mists of morning. - -His father gave a great tournament to which many knights were invited. -It was a wonder to see how the tender youth hove the best and strongest -from their saddles. He was lauded by everyone, but no praise made him -proud; indeed he sometimes felt ashamed at overcoming such great and -worthy knights. Amongst the guests was a singer who had seen many lands; -he was no knight, but he surpassed many nobles in insight and -experience. He made friends with Peter and praised him uncommonly, but -concluded his talk with these words: Sir Knight, if I might advise you, -you should not remain here, but should see other places and other men, -to improve your ideas and learn to associate the strange with the -familiar. He took his lute and sang, - - No one yet hath rued the day - When on charger mounting - Youthful-strong he sped away, - Pain nor peril counting, etc. - -The youth listened to the song: when it was at an end, he remained -awhile sunk in thought; then said: Yes, now I know what I want; many -variegated pictures pass through my mind. No greater joy for a young -knight than to ride through valley and over field. Here in the morning -sunshine stands a stately castle, there over the meadow sounds the -shepherd's shawm; a noble maiden flies by on a white palfrey. Oh, I wish -I were already on my good horse. Heated by these new thoughts, he went -at once to his mother's chamber where he found his father also. Peter -immediately sank on one knee and made his request that his parents would -allow him to travel and seek adventures: for, thus he concluded his -speech, he who only stays at home keeps a narrow mind during his whole -life, but by travel, one learns to associate the strange with the -familiar; therefore do not refuse me your consent. - -The old Count said: My son, your request appears to me unsuitable, for -you are my only heir; if I should die in your absence, what would become -of my land? But Peter kept to his request, whereat his mother began to -weep and said to him: Dear, only son, you have never tasted trouble, and -see only your beautiful hopes before you, but remember that if you -depart, a thousand difficulties may confront you; you may be miserable -and wish yourself back with us. - -Peter remained humbly on his knees and answered: Beloved parents, I -cannot help it. My only wish is to travel into the wide world, to -experience pleasure and sorrow there and to return a known and honoured -man. For this you travelled in your youth, my father, and brought home -my mother from a strange land. Let me seek a like fortune, I beg for -this with tears. - -He took the lute and sang the song which he had heard from the minstrel, -and at the end he wept bitterly. The parents were moved, especially the -mother; she said: Well, I, for my part, will give you my blessing, dear -son, for what you have said is true. The father also rose and blessed -him, and Peter was glad from his heart that he had received his parents' -consent. - -Orders were given to prepare everything for his departure, and his -mother sent for him to come to her privately. She gave him three -precious rings and said: See, my son, I have kept these three precious -rings carefully from my youth. Take them with you and treasure them, and -if you find a maiden whom you love, and who is inclined towards you, you -may give them to her. He gratefully kissed her hand, and the morning -came on which he took leave. - - -HOW THE KNIGHT PETER DEPARTED FROM HIS PARENTS. - -When Peter was ready to mount his horse, his father blessed him again -and said: My son, may good fortune ever accompany you so that we may see -you back again healthy and strong; think constantly of the precepts I -have impressed upon your tender youth; seek good, and avoid evil, -company; honour the laws of knighthood and never forget them, for they -are the noblest thoughts of the noblest men in their best hours; always -be loyal even though you may be deceived, for the touchstone of the -brave is that though he may seldom meet honourable men, he remain true -to himself. Farewell! - -Peter rode away without attendance, for, like many young knights, he -wished to remain unknown. The sun had risen gloriously, and the fresh -dew sparkled on the meadows. Peter was in cheerful spirits and spurred -on his good horse so that it sprang boldly forward. An old song rang in -his head and he sang it out loud: - - Yes! arrow on bow - Shall swiftly be laid - To humble the foe, - The helpless to aid, etc. - -He arrived, after many days' journey, at the famous city of Naples. He -had heard much talk on his way of the King and his surpassingly -beautiful daughter Magelone, so that he was very anxious to see her face -to face. He dismounted at an inn to ask for news, and heard from the -host that a distinguished knight, Sir Henry of Carpone, had come and -that a splendid tournament was to be held in his honour. He learned, -also, that entrance would be allowed to strangers who appeared equipped -according to the laws of tourney. Peter at once resolved to be present -to try his dexterity and strength. - - -PETER SEES THE BEAUTIFUL MAGELONE. - -When the day of the tournament arrived, Peter put on his armour and -betook himself to the lists. He had had two beautiful silver keys of -uncommonly fine workmanship placed upon his helmet, and had caused his -shield and the cover of his horse to be likewise ornamented with keys. -This he did for the sake of his name and in honour of the Apostle Peter, -whom he greatly loved. He had recommended himself to his care and -protection from his youth and therefore chose this token, as he wished -to remain unknown. - -A herald rode forward and with sound of trumpet proclaimed the -tournament that was opened to the honour of the beautiful Magelone. She -herself sat on an elevated balcony and looked down on the assemblage of -knights. Peter looked up but could not see her distinctly as she was too -far off.... - -... Peter opposed the knight in the lists and soon threw him from his -horse, so that everyone marvelled at his strength; he did more, for in a -short time he had emptied every saddle so that none remained to tilt -against him. Then everyone desired to know the name of the strange -knight, and the King of Naples himself sent his herald to learn it, but -Peter humbly begged leave to remain unknown until he should have become -worthy by his deeds to name himself, and this answer pleased the King. - -It was not long before another tournament was held, and the beautiful -Magelone secretly hoped that the knight with the silver keys might again -be visible, for she loved him, but had as yet confided this to no one, -since first love is despondent and holds itself a traitor. She grew red -as Peter again entered the lists in his conspicuous armour. She gazed at -him steadily, and he was victor in every contest; at length she felt no -more surprise, for it seemed to her as though it could not be otherwise. -At last the tournament was over. Peter had again won great praise and -honour. - -The King sent to invite him to his table; he sat opposite the Princess -and was amazed at her beauty. She constantly looked kindly at him, which -caused him the greatest confusion. His talk pleased the King, and his -noble and strong appearance astonished the attendants. In the hall he -found opportunity to speak alone with the Princess, and she invited him -to come again often, upon which he took leave; she sent him away at -length with another very kind glance. - -Peter went through the streets as if intoxicated. He hurried into a -beautiful garden and walked up and down with folded arms, now slowly, -now quickly, without being able to understand how the hours passed. He -heard nothing around him, for music within him drowned the whispering of -the trees and the rippling murmur of the fountains. A thousand times he -spoke the name Magelone and then was suddenly afraid that he had called -it loudly through the garden. Towards evening a sweet music sounded, and -now he sat down on the grass behind a bush and wept. It seemed to him as -though heaven had for the first time displayed its beauty, and yet this -feeling made him unhappy. He saw the grace of the Princess floating on -the silver waves; she appeared like sunrise in the darkening night, and -the stars stood still, trees were quiet, and the winds hushed. Now the -last accents of the music sounded, the trees rustled again and the -fountains grew louder. Peter roused himself and softly sang the -following song: - - Is it gladness that is ringing, - Is it sorrow, in my heart? - Now a thousand flow'rs are springing - And all former joys depart, etc. - -He was somewhat comforted and swore to win his love or to die. Late at -night he returned to the inn, sat down in his room, and repeated every -word the Princess had said to him. Now he thought he had reason to -rejoice, then he was again troubled and in doubt. He wished to write to -his father, but could only address Magelone, and then he reproached -himself for his absence of mind in venturing to write to her whom he did -not know. At length he lay down; slumber overcame him, and wonderful -visions of love and flight, solitary forests and storms at sea, visited -his chamber and covered the bare walls as with beautiful variegated -hangings. - - -HOW THE KNIGHT SENT MAGELONE A MESSAGE. - -During the night Magelone was as restless as her unknown knight. She -went often to the window and looked down thoughtfully into the garden. -She listened to the rustling trees, looked at the stars mirrored in the -sea, reproached the stranger because he was not standing before her -window, then wept because she thought it impossible. When she closed her -eyes she saw the tournament and the beloved unknown looking up with -longing hope. Now she fed on these fancies, now she scolded herself. -Towards morning she fell into a light slumber. - -At last she resolved to confess her inclination to her beloved nurse. In -a confidential evening hour she said to her: Dear nurse, something has -for a long time been weighing upon me which almost crushes my heart; I -must, at length, tell it you and you must help me with your motherly -counsel, for I do not know any longer how to advise myself. The nurse -answered: Confide in me, dear child; it is for this that I am older, and -love you as a mother, that I may assist you to good purpose, for youth -never knows how to help itself. - -When the Princess heard these words she became more courageous and -confidential and said: Oh, Gertrude have you observed the unknown knight -with the silver keys? But of course you have, for he is the only one -worth notice; all the others serve but to glorify him, to circle his -head with the sunshine of fame. He is the one man, the most beautiful -youth, the bravest hero. Since I saw him my eyes have become useless, -for they now see only my thoughts in which he dwells in all his glory. -If I only knew that he were of high race I would place all my hopes on -him; but he cannot come from an unworthy house, who then could be called -noble? Oh, answer, comfort me, dear nurse, and give me counsel. - -When the nurse heard these words she was frightened and said: Dear -child, I have long expected that you would confide to me who it is that -you love of the nobles of this or another kingdom, for the highest of -the land and even kings desire you. But why have you placed your -inclination upon a stranger of whom no one knows whence he came? I -tremble lest the King, your father, should observe your love. The -Princess became much agitated whilst the nurse was speaking, and when -she ceased, vehemently reproached her for calling the knight who was so -near her heart a stranger.... Oh, go and seek him, Gertrude, and find -out his rank and his name. He will not keep them secret if I ask them, -for I would keep no secrets from him. - -When the morning came the nurse went to church to pray for guidance and -perceived the knight also kneeling in devout prayer. When he rose, he -approached and greeted her politely, for he had seen her at Court. She -gave him the Princess's message and asked his name and his rank: because -it did not become so noble a man to remain hidden. - -Peter rejoiced, for he perceived that Magelone loved him. He begged -leave to keep his name concealed a little longer, but ended his talk -with the nurse by saying: Tell the Princess that I am of noble lineage, -and that my ancestors are famed in history books. Meanwhile take this -remembrance and let it be a little reward for your welcome message which -has brought back hope to me. - -He gave the nurse one of his rings and she was glad, because she knew -from it that he must be of high descent. He modestly gave her, also, a -leaf of parchment, saying he did so in the hope that the Princess would -read some words that he had written down in the sentiment of his love. - - Love drew near from distant places, - No attendant in her train, - Beckon'd me, nor called in vain, - Held me fast in sweet embraces, etc. - -The song touched Magelone deeply; it was like the echo of her own -feeling. She persuaded the nurse to give her the ring in exchange for -another trinket, and before going to rest at night she hung it by a -chain of pearls to her neck. She dreamed of a garden, nightingales, -music, love, and of another ring even more precious than the first. In -the morning she told her dream to the nurse, who became thoughtful, for -she saw that the happiness or unhappiness of the Princess was fixed on -the unknown knight. - - -HOW THE KNIGHT SENT MAGELONE A RING. - -The nurse tried to see Peter again and found him in church. He went to -her directly and asked after the Princess. The nurse told him she had -kept the ring and had read his words; she also mentioned Magelone's -dream. Peter grew red with joy and said: Ah, dear nurse, tell her all I -feel and that I must die of longing if I do not speak to her soon; if, -however, I may talk with her face to face, I will reveal to her my rank -and my name. All my desire is to win her for my wife. Give her this ring -also and pray her to keep it as a little token. The nurse hastened back -to Magelone, who ran to meet her and asked for news. See, cried the -Princess, this is the ring I dreamed of. A leaf contained this song: - - Does pity so tender - Tell love's sweet surrender? - Oh, am I awake? - The fountains are springing, - The streams softly singing, - And all for love's sake. - - -HOW THE KNIGHT RECEIVED ANOTHER MESSAGE FROM THE BEAUTIFUL MAGELONE. - -Peter again met the nurse in church. She asked him to swear to her his -honourable intentions, and, when he had taken his oath, promised to help -him and the Princess. She told Peter to prepare to go, to-morrow -afternoon, through the secret garden-gate to her room to see Magelone -there, and ended by saying: I will leave you alone, that you may speak -out your hearts to each other. - -After telling him the hour at which he was to go through the gate, she -left. Peter was distracted with joy, and it seemed to him that the time -stood still until the evening hours. He sat up late at night without a -light, looking at the clouds and stars, his heart beating violently. At -length he slept. All the next morning he was unable to calm himself, so -at last he took a lute and sang: - - Oh, how shall I measure - The joy of our meeting? - My spirit's wild beating - Acclaimeth my soul's only treasure. - - -HOW PETER VISITED THE BEAUTIFUL MAGELONE. - -When the nurse brought Peter to her room he trembled and was very -frightened, and both he and Magelone were much confused. Magelone could -scarcely help rising and going towards him. She controlled herself, -however, and remained seated. The nurse left the room and Peter sank on -one knee before the Princess. Magelone gave him her beautiful hand and -told him to rise and sit near her. Peter told the Princess that all his -life was consecrated to her. He gave her the third ring, which was the -most precious of all, and in doing so kissed her hand.... Then she took -a costly gold chain and hung it round his neck, and said: Herewith I -take you as mine. Here she took the frightened knight in her arms and -kissed him, and he returned the kiss and pressed her to his heart. When -they were obliged to part, Peter hastened at once to his room. He walked -up and down with great strides and at length seized his instrument, -kissed the strings and wept. Then he sang with great fervour: - - Were they thine on which these lips were pressing, - Thine the frankly-offered, tender kiss? - Dwells in earthly living so much bliss? - Ha! what light and life were in thy sweet confessing, - All my senses tremble in its blessing! etc. - - -A TOURNAMENT IN HONOUR OF THE BEAUTIFUL MAGELONE. - -The King of Naples much wished his daughter to be soon married to the -knight, Henry of Carpone, who had now waited at Naples a long time for -this purpose, and he proclaimed another tournament more splendid than -any that had gone before it. Many famous knights came from Italy and -France, and Peter was victor over all. - -When it was over he went to see Magelone; he had now visited her pretty -often, and thought he would like to try her, so he said that he should -now be obliged to leave her and go and be with his parents. Magelone -wept very much, but as Peter persisted she at length gave way, and said: -Go, then, I shall die. Peter rejoiced at this and told her he would not -leave her. - -Magelone, however, became thoughtful, and after she had reflected for a -while, said to the knight that her father would soon marry her to Sir -Henry of Carpone, and that therefore it would, perhaps, be better for -Peter to return to his father and mother and to take her with him. She -desired him to have two good horses ready the next night at the -garden-gate: But let them be swift and strong, for if we were to be -overtaken we should all be miserable. - -The youth heard the Princess with joyful surprise. He said it would be -best to take her to his parents, and that the horses should be ready. -Magelone did not confide their intention even to the nurse for fear lest -she should betray them. - -Peter took a walk through the town to bid farewell to the places near -which he had so often wandered in his intoxication, and which he -regarded as witnesses of his love. When he returned to his room he was -moved to see his faithful lute on the table. Touched by his fingers, it -had often expressed the feelings of his heart. He took it up again for -the last time and sang, - - Dear strings, we are parting - This night for evermore, - 'Tis time to be starting - For the far-off blissful shore, etc. - - -HOW MAGELONE WENT AWAY WITH THE KNIGHT. - -When the night came it was very cloudy and the moonlight showed scantily -through the darkness. Magelone said farewell to her favourite flowers as -she went through the garden. She found Peter before the gate with three -horses, one a palfrey with a light and easy step; the third was to carry -provisions, so that they need not enter the inns. - -The nurse missed the Princess the next morning, and the King sent out -many people to search, but all returned after some days without tidings. - -Peter chose to ride towards the forests by the sea because they were -quiet and lonely. He and Magelone rode on through the night and Magelone -was happy. The forest was dark, but whenever they came to an open space -she refreshed herself by gazing at Peter. In the morning there was a -white mist and by-and-by the sun shone out. The horses neighed, the -birds awoke and sang as they hopped from branch to branch, the happy -larks flew upwards and sang from above into the red glimmering world. - -Peter also sang cheerful songs. The two travellers saw in the glowing -sky, in the brightness of the fresh forest, a reflection of their love. -The sun mounted higher, and towards noon Magelone felt a great -weariness. They dismounted, therefore, at a cool, shady place in the -forest where there was a mound thickly covered with moss and tender -grass. Here Peter sat down and spread out his mantle, and Magelone -placed herself upon it, resting her head on the knight. She told Peter -how happy she was, and begged him to sing to her, to mingle his voice -with the birds, the trees, the brooks, in order that she might sleep a -little: But wake me at the right time in order that we may soon arrive -at the home of your dear parents. Peter smiled, watched her beautiful -eyes close, and sang, - - Rest thee, sweet love, in the shadow - Of leafy, glimmering night; - The grass rustles over the meadow, - Refreshing and cool is the shadow, - And love holds thee in sight. - Sleep, lady mine, - Hush'd in woodland shrine, - Ever I am thine, etc. - -Peter almost sang himself to sleep also. Then something roused him. He -looked round and saw a number of beautiful, tender birds on the mound, -and it pleased him that they came so near to Magelone. But a slight -noise caused him to turn again, and he was startled to perceive a great -black raven perched on the branch of the tree behind him; it seemed to -him like a rough, coarse churl amongst noble knights. - -He fancied that Magelone breathed with some uneasiness, and unlaced the -neck of her dress. There he found a little red silk bag; it was new, and -he was curious to know what was in it and turned it out. He was -overjoyed to find that it contained his three precious rings, and -quickly wrapped them up again and placed them beside him on the grass. -But suddenly the raven flew down from the tree and carried away the bag, -perhaps taking it for a piece of meat. Peter was frightened. Magelone -might awaken and be displeased at losing her rings. He therefore folded -his mantle and placed it carefully under her head, and then stood up to -look for the raven. It flew away, and Peter followed and threw stones to -make it drop the bag, but was unable to hit it. As it flew further and -further he went after it, without noticing that he was already some -distance from the spot where he had left Magelone sleeping, till -presently he came to the sea. There was a pointed crag not far from the -shore and the raven perched there, and Peter again threw stones. At last -the bird dropped the bag and flew away screaming. Peter saw the bag -floating in the sea close by and ran up and down to find something to -help him into the water. He found an old weather-beaten boat left behind -by fishermen as useless, and jumped into it and tried to steer towards -the bag. Suddenly a strong wind blew from the land, the waves rose and, -in spite of all Peter could do, the boat was carried past the crag and -further and further from the shore. The bag was fast disappearing from -sight; now it was only like a red spot in the distance, the land -receded. Peter cried and lamented loudly, but without avail. His tones -were echoed back mingled with the sound of the waves. He thought of -Magelone sleeping in the wood, and wished to drown himself in his -despair. Presently the sun shone out, and now he was seized with a -terrible thirst which he was unable to quench. At length evening began -to fall: Ah, dearest Magelone, he thought, how strangely have we been -parted! The moon filled the world with golden twilight; stars appeared -in heaven, and the firmament was mirrored in the waving water. All was -still and only the waves plashed, and birds fluttered over him from time -to time, filling the air with strange tones. At last Peter lay down in -the boat and sang loudly, - - Foam on then in furious raging, - Surround me, tempestuous waves, - Relentless thy forces engaging, - For death is the boon that love craves, etc. - -The sequel may be summarized. Magelone, on awakening and finding herself -alone, waits vainly for Peter's return, and at length, as night comes -on, climbs a tree to be safe from the wild beasts which she fancies she -hears in the distance. In the morning she loosens the horses which Peter -had tied to a tree and lets them go their own way, and after a little -while finds herself on the road to Rome, where she makes an exchange of -dress with a passing pilgrim. Making her way first to Rome and thence to -Genoa, she takes ship for Provence, where she thinks she may hear -something of Peter. She is sheltered on her arrival there by a kind -woman who talks to her about the good Count and Countess of Provence and -of their great grief. They have heard nothing of their only son since -his departure two years ago in quest of adventure. Magelone now knows -that some sad mishap has befallen Peter, and that he had not intended to -leave her. She resolves to remain unmarried, think of Peter, and -dedicate her life to the service of God. The kind woman with whom she is -staying tells her of a small island near 'the port of the heathen,' -where all merchant-ships and other vessels call in passing and where -many poor and sick folk are to be found. Here she resolves to settle. -She builds a small church, the altar of which is raised to the honour of -St. Peter, and calls it the Church of St. Pierre de Maguelonne. The fame -of her strict life and good deeds reaches the ear of the Count and -Countess of Provence, who go to see her, and the Countess, not knowing -who she is, relates the history of her troubles. Magelone comforts her -and inspires her with the hope that Peter will return. Some time -afterwards the Count's cook finds a small red bag in the belly of a -great fish which he has cut open. He runs with it to the Countess, who -finds that it contains her three precious rings. This wonderful event -convinces her that she will see her son again. - -Tieck's version of Magelone's adventure is that, after untying the -horses and wandering alone for some days till she comes to Provence, she -finds shelter in a shepherd's hut, where she sings the song No. 11 of -Brahms' cycle: - - Not long enduring, - Light goes by; - The morning seeth - The chaplet dry - That yesterday blossomed - In splendour bright, - But drooped and withered - In gloom of night, etc. - -Peter's adventures are various. Rousing himself from his despair on the -morning after his separation from Magelone, he resolves to bear the -anguish as well as the joy of life with manly courage. Soon a big -pirate-ship sails towards him. It is full of Moors and heathen who take -him on board, and who, struck with his youth and glorious manhood, -determine to carry him as a present to the Sultan of Babylon. The Sultan -is pleased with Peter and shows him high favour. He puts him in charge -of a beautiful garden and lets him wait on him at table. - -So far Tieck is faithful to the old story, only introducing the song -(No. 12 of Brahms' work) which Peter sings as he walks in the garden -thinking sadly of Magelone: - - Are we, then, for ever parted? - Was our true love all in vain? - Why must we live broken-hearted? - Death were surely lesser pain, etc. - -From this point the versions differ. In the medieval romance, Peter, -who, though beloved by everyone in the Sultan's palace and especially by -the Sultan himself, is very unhappy, at length persuades his master to -let him go and see his parents, and, after adventures on the way, is -recognised by Magelone in one of the beds of her hospital to which he -has been brought almost lifeless. - -Tieck, who does not localize the Sultan, introduces into the story his -beautiful daughter Sulima, who falls violently in love with Peter and -has him secretly introduced to her presence by a confidential slave. -Peter, greatly surprised and embarrassed, is astonished at her beauty, -but his heart holds fast to Magelone. He longs to see his native land -again, to be amongst Christians and with his parents. He often sees -Sulima, who observes his unhappiness and one day offers to fly with him -in a ship that is already standing in the harbour with sails filled. She -will give him a sign for a certain evening; when he hears a little song -he likes in the garden, he is to come and fetch her. Peter, after -considering the proposal, decides to accept it. He believes Magelone to -be dead, and thinks that he will thus be enabled to return to a -Christian land and to his parents. - -On the appointed night he walks up and down the Sultan's garden by the -shore. At length he sleeps, and dreams that Magelone is looking at him -threateningly. On awaking, he walks up and down again, reproaching -himself, and at last resolves to throw himself into a little boat and -cast out to sea alone. It is a lovely summer night, a warm breeze is -stirring, and Peter gives himself up to chance and the stars. Then he -hears the sign. A zither sounds, and a sweet voice sings, - - Belovèd, where dwelleth - Thy footstep this night? - The nightingale telleth - Its tale of delight, etc. - -Peter's heart shrinks within him as he hears the song; it seems to call -after him his weakness and vacillation. He rows more swiftly; love urges -him backwards, love draws him onward. The music becomes fainter and -fainter; now it is quite lost in the distance, and only the murmur of -the waves and the stroke of the oar sound through the stillness. - -Peter gathers heart when the sound of the song no longer reaches him, -and lets the little vessel drift before the wind as he sits down and -sings: - - Fresh courage on my spirit breaks - And fading is my sadness; - New life within me reawakes - Old longing and old gladness, etc. - -Tieck preserves the further adventures of the romance, but brings the -knight to Magelone as she sits spinning outside the door of the -shepherd's hut. The song of their reunion is the fifteenth and last of -Brahms' cycle: - - Faithful love long time endureth, - Many an hour it doth survive, - And from sorrow strength secureth, - And from doubt doth faith derive. - - - - -III. - -THE HAMBURG LADIES' CHOIR [98] - - -Avertimento. - - Sondern weilen es absolute dem Plaisire fördersam ist, wenn es fein - ordentlich dabei einhergeht, als wird denen curieusen Gemüthern, so - Mitglieder des sehr nutz- und lieblichen Frauenchors wünschen zu - werden und zu bleiben jetzund kund und offenbar gethan, daß sie - partoute die Clausuln und Puncti hiefolgenden Geschreibsels unter - zu zeichnen haben ehe sie sich obgenannten Tituls erfreuen und an - der musikalischen Erlustigung und Divertirung parte nehmen können. - - Ich hätte zwaren schon längst damit unter der Bank herfür wischen - sollen, alleine aberst dennoch, weilen der Frühling erst lieblich - präambuliret und bis der Sommer finiret, gesungen werden dürfte, - als möchte es noch an der Zeit sein dieses Opus an das Tageslicht - zu stellen. - - Pro primo wäre zu remarquiren daß die Mitglieder des Frauenchors +da+ - sein müssen. - - Als wird verstanden: daß sie sich obligiren sollen, den Stehungen - und Singungen der Societät regelmäßig beizuwohnen. - - So nun Jemand diesen Articul nicht gehörig observiret und, wo Gott - für sei, der Fall passirete, daß Jemand wider jedes Decorum so - fehlete, daß er während eines Exercitiums ganz fehlete: - - soll gestraft werden mit einer Buße von 8 Schillingen H. C. - [Hamburger Courant]. - - Pro secundo ist zu beachten, daß die Mitglieder des Frauenchors +da+ - sein müssen. - - Als ist zu nehmen, sie sollen praecise zur anberaumeten Zeit da - sein. - - Wer nun hiewieder also sündiget, daß er das ganze Viertheil einer - Stunde zu spät der Societät seine schuldige Reverentz und - Aufwartung machet, soll um 2 Schillinge H. C. gestrafet werden. - - |:Ihrer großen Meriten um den Frauenchor wegen und in Betracht - ihrer vermuthlich höchst mangelhaften und unglücklichen Complexion, - soll nun hier für die nicht genug zu favorirende und adorirende - Demoiselle Laura Garbe ein Abonnement hergestellt werden, wesmaßen - sie nicht jedesmal zu bezahlen braucht, sondern aber ihro am Schluß - des Quartals eine moderirte Rechnung praesentiret wird:| - - Pro tertio: Das einkommende Geld mag denen Bettelleuten gegeben - werden und wird gewünscht daß Niemand davon gesättiget werden möge. - - Pro quarto ist zu merken, daß die Musikalien großentheils der - Discretion der Dames anvertrauet sind. Derohalben sollen sie wie - fremdes Eigenthum von den ehr- und tugendsamen Jungfrauen und Frauen - in rechter Lieb und aller Hübschheit gehalten werden, auch in - keinerlei Weise außerhalb der Societät benützet werden. - - Pro quinto: Was nicht mit singen kann, das sehen wir als ein - Neutrum an. Will heißen: Zuhörer werden geduldet indessen aber pro - ordinario nicht beachtet, was Gestalt sonsten die rechte - Nutzbarkeit der Exercitia nicht beschaffet werden möchte. - - Obgemeldeter gehörig specifizirter Erlaß wird durch gegenwärtiges - General-Rescript anjetzo jeder männiglich public gemacht und soll - in Würden gehalten werden, bis der Frauenchor seine Endschaft - erreichet hat. - - Solltest du nun nicht nur vor dich ohnverbrüchlich darob halten, - sondern auch alles Ernstes daran sein, daß andere auf keinerlei - Weise noch Wege darwider thun noch handeln mögen. - - An dem beschiehet unsere Meinung und erwarte dero gewünschte und - wohlgewogene Approbation. - - Der ich verharre in tiefster Devotion - und Veneration des Frauenchors allzeit dienstbeflissener - schreibfertiger und taktfester - - Johannes Kreisler jun. - alias: Brahms. - - Geben auf Montag - den 30ten des Monats Aprili. - A. D. 1860 - -Professor Hübbe adds: - -'It must be said in explanation of the jesting note to section 2 that -the Demoiselle Garbe mentioned in it was often prevented from being -punctual, and that Brahms was unwilling to begin without her. The -exception at first taken by her to the note in question was met most -kindly by Frau Schumann, who pointed out that the special mention of her -name in the highly important document would be the very means of -securing its lasting fame. - -The 'begging people' of section 3 saw nothing, as I am told, of the -money collected by the fines, which was used for other purposes--on one -occasion for an excursion to Reinbeck. - -One of the ladies' copies still in existence bears the following -signatures: Auguste Brandt, Bertha Porubszky, Laura Garbe, Marie -Seebohm, Emilie Lentz, Clara Schumann, Julie Hallier, Marie Hallier, Ch. -Avé Lallement, Friedchen Wagner, Thusnelde Wagner, M. Reuter, Betty -Völckers, Marie Völckers, Henny Gabain, Marie Böhme, Francisca Meier, -Camilla Meier, Susanne Schmaltz, Antonie Mertens (Emma Grädener).' - -The metal badge which the members had to wear was no doubt adopted at -this time (1860). It had the form of a trefoil clover-leaf with a circle -in the centre. This displayed a B upon red, and the three surrounding -parts of the trefoil, the letters H. F. C. upon blue, ground. - -[98] From 'Brahms in Hamburg,' by Walter Hübbe. See p. 255 of this -narrative. - - -END OF VOL. I. - -BILLING AND SONS, LTD., PRINTERS, GUILDFORD. - - - - -Transcriber's Note - -Apparent printer's errors have been retained, unless stated below. - -"_" surrounding text represents italics. - -"+" surrounding text represents gesperrt. - -Punctuation, capitalization, accents and formatting markup have been -made consistent. - -Illustrations have been moved to be closer to their discussion in the -text. - -Page 71, "muscial" changed to "musical". (The boy's musical services -would be at his command in return.) - -Page 98, "Anzeige" changed to "Anzeiger". (The concert was advertised in -the _Lüneburger Anzeiger_ of May 7, the twentieth birthday anniversary -of our Johannes:) - -Page 145, "Den" chagned to "Dem". ('Dem Fräulein Japha, zum Andenken an -das Weihnachtsfest, 1853, als Vorbote des eigentlichen Gebers. R. -Schumann') - -Page 182, "cirsumstances" changed to "circumstances". (In spite of the -melancholy circumstances that kept them at Düsseldorf--and anxiety about -Schumann was again increasing--the time was a happy one to the two young -men, who passed many hours of the day in each other's society.) - -Page 290, "comm[=e]ce" and "prov[=e]ce" appear with a macron over the -first e. [=e] has been used to represent this. - -Footnote [6] originally referred to Chapter X. in Vol. II. However, as -there is no Chapter X. in Vol. II., this has been updated to read -Chapter XXI., which makes reference to the subject. - - - - - -End of the Project Gutenberg EBook of The Life of Johannes Brahms (Vol 1 of -2), by Florence May - -*** END OF THIS PROJECT GUTENBERG EBOOK THE LIFE OF JOHANNES BRAHMS *** - -***** This file should be named 40643-8.txt or 40643-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/6/4/40643/ - -Produced by Linda Cantoni, Veronika Redfern, Bryan Ness -and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive/Canadian -Libraries) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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