Project Gutenberg's The Life of Johannes Brahms (Vol 2 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 2 of 2) Author: Florence May Release Date: September 27, 2012 [EBook #40644] Language: English Character set encoding: UTF-8 *** 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) Transcriber's Note: Musical excerpts appear in the book, along with links to midi files [Listen] directly below each excerpt. To enlarge an image (excluding music), please click on it. The cross-referencing links included between the two volumes of this text worked at the time of posting. However, these links may become broken if adjustments are made to the Project Gutenberg site. For additional Transcriber's Notes, click here. Frontispiece. From a photograph by Rudolf Krziwanek, Vienna. J. Brahms. LONDON: EDWARD ARNOLD: 1905. THE LIFE OF JOHANNES BRAHMS BY FLORENCE MAY IN TWO VOLUMES VOL. II. WITH ILLUSTRATIONS LONDON EDWARD ARNOLD 41 & 43 MADDOX STREET, BOND STREET, W. 1905 (All rights reserved) CONTENTS OF VOL. II. PAGE CHAPTER XII 1862-1864 Vienna—Musical societies—Leading musicians—The Prater—Brahms' appearance at a Hellmesberger Quartet concert—Brahms' first concert in Vienna—Conductorship of Hamburg Philharmonic—First Serenade at Gesellschaft concert—Brahms' second concert—Richard Wagner —Second Serenade at Vienna Philharmonic concert—Return to Hamburg—Brahms elected conductor of Vienna Singakademie—Return to Vienna—Singakademie concerts under Brahms 1 CHAPTER XIII 1864-1867 Frau Schumann in Baden-Baden—Circle of friends there—Hermann Levi—Madame Pauline Viardot-Garcia—The Landgräfin of Hesse and the Pianoforte Quintet—Concert-journey—The Horn Trio—Frau Caroline Schnack—Last visit to Detmold—First Sonata for Pianoforte and Violoncello—The German Requiem—Brahms at Zürich—Billroth—Brahms and Joachim on a concert-tour in Switzerland—Hans v. Bülow—Reinthaler 27 CHAPTER XIV 1867-1869 Brahms' holiday journey with his father and Gänsbacher—Austrian concert-tour with Joachim—The German Requiem—Performance of the first three choruses in Vienna—Tour with Stockhausen in North Germany and Denmark—Performance of the German Requiem in Bremen Cathedral— Brahms settles finally in Vienna—Brahms and Stockhausen give concerts in Vienna and Budapest 57 [Pg v] CHAPTER XV 1869-1872 Brahms and Opera—Professor Heinrich Bulthaupt—The Liebeslieder—First performance—The Rhapsody (Goethe's 'Harzreise') performed privately at Carlsruhe—First public performance at Jena—Geheimrath Gille—The 'Song of Triumph'—Performance of first chorus at Bremen— Bernhard Scholz—The 'Song of Destiny'—First performance—Death of Johann Jakob Brahms— First performance of completed 'Triumphlied' at Carlsruhe—Summary of Brahms' work as a composer since 1862 89 CHAPTER XVI 1872-1876 Publication of the 'Triumphlied' with a dedication to the German Emperor William I.—Brahms conducts the 'Gesellschaft concerts'—Schumann Festival at Bonn—Professor and Frau Engelmann —String Quartets—First performances—Anselm Feuerbach in Vienna—Variations for Orchestra —First performances—'Triumphlied' at Cologne, Basle, and Zürich—Resignation of appointment as 'artistic director' to the Gesellschaft—Third Pianoforte Quartet 115 CHAPTER XVII 1876-1878 Tour in Holland—Third String Quartet—C minor Symphony—First performances—Varying impressions created by the work in Vienna and Leipzig—Brahms and Widmann at Mannheim— Second Symphony—Vienna and Leipzig differ as to its merits 145 CHAPTER XVIII 1878-1881 Hamburg Philharmonic Jubilee Festival—Violin Concerto; first performance by Joachim— Pianoforte Pieces, Op. 76—Sonata for Pianoforte and Violin—First performances—Brahms at Crefeld—Rhapsodies for Pianoforte—Heuberger's studies with Brahms—Second Schumann Festival at Bonn—Brahms' two Overtures—Breslau honorary degree 169 CHAPTER XIX 1881-1885 Second Pianoforte Concerto—First visit to the ducal castle of Meiningen—'Nänie'—Frau Henriette Feuerbach—Hans von Bülow in Leipzig—Brahms' Vienna friends—Dr. and Frau Fellinger— Pianoforte Trio in C major—First String Quintet—The 'Parzenlied'—Third Symphony 193 CHAPTER XX 1885-1888 Vienna Tonkünstlerverein—Fourth Symphony—Hugo Wolf—Brahms at Thun—Three new works of chamber music—First performances of the second Violoncello Sonata by Brahms and Hausmann —Frau Celestine Truxa—Double Concerto—Marxsen's death—Eugen d'Albert—The Gipsy Songs—Conrat's translations from the Hungarian—Brahms and Jenner—The 'Zum rothen Igel'— Ehrbar's Brahms'-birthday asparagus luncheons—Third Sonata for Pianoforte and Violin 214 CHAPTER XXI 1889-1895 Hamburg honorary citizenship—Christmas at Dr. Fellinger's—Second String Quintet—Mühlfeld— Clarinet Quintet and Trio—Last journey to Italy—Sixtieth birthday—Pianoforte Pieces—Billroth's death—Brahms' collection of German Folk-songs—Life at Ischl—Clarinet Sonatas—Frau Schumann, Brahms, and Joachim together for the last time 239 CHAPTER XXII 1895-1897 The Meiningen Festival—Visit to Frau Schumann—Festival at Zürich—Brahms in Berlin—The 'Four Serious Songs'—Geheimrath Engelmann's visit to Ischl—Frau Schumann's death—Brahms' illness—He goes to Carlsbad—The Joachim Quartet in Vienna—Brahms' last Christmas—Brahms and Joachim together for the last time—The Vienna Philharmonic concert of March 7—Last visits to old friends—Brahms' death 267 Chronological Catalogue of Works 293 Works Edited by Brahms 299 Arranged Catalogue of Works 300 [Pg vi] [Pg vii] Index 303 Advertisements 1 Transcriber's Note TN LIST OF ILLUSTRATIONS Brahms at Ischl Frontispiece Brahms at the Age of Forty To face page 122 Brahms' Lodgings at Ischl " 202 Brahms' Lodgings near Thun " 230 Silhouette by Dr. Böhler " 260 Brahms at Dr. Fellinger's " 276 THE LIFE OF JOHANNES BRAHMS CHAPTER XII 1862-1864 Vienna—Musical societies—Leading musicians—The Prater—Brahms' appearance at a Hellmesberger Quartet concert—Brahms' first concert in Vienna—Conductorship of the Hamburg Philharmonic—First Serenade at Gesellschaft concert—Brahms' second concert—Richard Wagner —Second Serenade at Vienna Philharmonic concert—Return to Hamburg—Brahms elected conductor of the Vienna Singakademie—Return to Vienna—Singakademie concerts under Brahms. It would be interesting, on accompanying Johannes Brahms in imagination on his first visit to Vienna—a visit that was to lead to results scarcely less important to his career than those of the first concert-journey through the provincial towns of Hanover undertaken nine years and a half previously—to describe the gradual change which had taken place in the musical life of the imperial city since the times when it had counted Haydn, Mozart, and Beethoven in turn among its inhabitants. It would, however, lead too far from the purpose of this narrative to follow the course by which the art of music, from being a luxury to be enjoyed chiefly by the rich—and in Vienna, perhaps, especially amongst the great capitals of Europe—had been opened to the cultivation of the masses of citizens. Suffice it to say that in the autumn of 1862 the conditions of musical activity in the Austrian capital were essentially the same as we know them in 1905. The Court Opera, the home of which was the Kärthnerthor Theater, was conducted by Otto Dessoff, who had been a distinguished pupil of the Leipzig Conservatoire, and had succeeded the celebrated capellmeister, Carl Anton Eckert, on his resignation of the post in 1860. In intimate though not official connection with the opera were the Philharmonic concerts given in the same building. These, started in 1849 by the orchestral musicians of the opera as their own undertaking, had, after a period of varying fortune, entered upon a flourishing phase of existence. They were conducted by Dessoff in virtue of his position as capellmeister of the opera, and though his rather cold style at first prevented his winning Austrian sympathy, he by-and-by succeeded in making good his footing by his musicianship and thoroughness, and by the perfect finish of rendering that was attained by the orchestra under his direction. The annual orchestral concerts given by the great Gesellschaft der Musikfreunde (Society of Music-lovers), founded in 1813, took place in the Redoubtensaal, and, though given under the Society's own 'artistic director,' had, during the eight or nine years preceding the appointment of Johann Herbeck to this post (1859), been dependent on the services of the opera orchestra. Herbeck, feeling the inconveniences of such an arrangement, determined to form an orchestra of his own, and, whilst successfully carrying out his project, sought to make amends for the first inevitable lack of complete finish in his performances by cultivating a liberal spirit in the choice of programmes, and introducing from time to time unfamiliar works by the best modern classical composers. From this period the Gesellschaft and the Philharmonic concerts came more or less to represent severally the liberal and the conservative spirit of classical art, though it must be added that Dessoff cherished the wish to educate his audience to wider powers of appreciation, and sometimes included the name of Schumann in the Philharmonic programmes, which, before his advent, had been closed to works of more modern tendency than those of Mendelssohn. Parallel with these two institutions for the performance of instrumental music were two choral societies, both supplied by [Pg viii] [Pg 1] [Pg 2] [Pg 3] amateurs. The Singverein, a branch of the Gesellschaft der Musikfreunde, which in 1862 was, like the orchestra, under Herbeck's direction, occupied itself with every kind of classical choral music in turn, and, occasionally giving concerts independently, often joined forces in public performance with the orchestra. The Singakademie, founded in 1858 by a circle of amateurs, made a special point of early church music, and of a capella singing, but usually devoted one of its three or four annual concerts to the performance of an oratorio or other great work, when, of course, the services of an orchestra were engaged. Under the direction of its first conductor, F. Stegmayer, the Singakademie gave the first performance in Vienna of portions of Schumann's 'Faust' (January 6, 1861) and of Bach's 'Matthew Passion' (April 15, 1862). Occupying a position in Vienna at the very top of his profession, partly in virtue of the musical prestige attaching to his family name, but mainly as the result of his personal gifts and attainments, was the violinist Josef Hellmesberger, director and professor of the conservatoire (itself another branch of the great Gesellschaft der Musikfreunde), concertmeister of the opera, and therefore also of the Philharmonic concerts, late artistic director of the Gesellschaft (1851-1859), leader of the only resident and justly celebrated string quartet party called by his name, and accomplished virtuoso. Hellmesberger's playing lacked broadness of tone, but was distinguished by grace, poetic sentiment, and a facile instinct for his composer's intention. He possessed a good knowledge of the orchestra, and was a fair pianist. Of other musicians resident in the Austrian capital in 1862 are to be mentioned the great contrapuntist Sechter, nearly approaching the end of his career, who, in his position of professor of composition at the conservatoire, had in his time taught several of the younger men next to be referred to; Nottebohm, professor of counterpoint at the conservatoire, known to the world by his writings on music, especially those on Beethoven's sketch-books; Rudolph Bibl, organist of the cathedral, and later, of the imperial chapel; Julius Epstein, professor of the pianoforte at the conservatoire, distinguished pianist and widely-reputed teacher, and esteemed, not only on account of his professional standing, but also by reason of his kindness to all persons having any sort of claim on his courtesy. The composer Carl Goldmark, who has since attained European reputation with his opera 'The Queen of Sheba,' had been almost entirely resident in Vienna since his sixteenth year, and now at thirty was rising to fame. Peter Cornelius, composer of the comic opera 'The Barber of Bagdad,' and already mentioned in our narrative as a disciple of Weimar, was living at this time in the Austrian capital. Anton Brückner was favourably esteemed by some of the first resident musicians, though he had not yet been called there. Carl Tausig, one of the greatest of pianoforte virtuosi, whose sympathies were much with the New-Germans, settled in Vienna for a few years from 1861, and gave occasional concerts there which were but partially successful. Of writers and critics, Edward Hanslick, Carl Ferdinand Pohl, and Selmar Bagge, all believers in the art of tradition and in its modern development as represented by the name of Schumann, were in the flower of their activity. Bagge's name is interesting in the history of Brahms' career on account of the sympathetic and detailed reviews of the composer's works which appeared from time to time in the Deutsche Musikzeitung, a paper founded by him in 1860. It became defunct at the close of 1863, when Bagge left Vienna to take up the editorship of the Allgemeine Musikzeitung, which he retained for two years. Very able articles were published in this periodical of Brahms' works as they appeared, some of them written by Bagge himself, and others by Hermann Deiters, a musical scholar and critic of exceptional insight and power of happy expression. Bagge remained just long enough in Vienna to witness the interest aroused by Brahms' first appearances there, to which, very likely, the remembrance of the articles of the Deutsche Musikzeitung gave additional stimulus. Of publishers, the name of C. A. Spina should be gratefully remembered as that of the man to whom the world is indebted for the publication of many great and long-neglected works of Schubert. A large number of the master's half- forgotten manuscripts—those of the Octet, the C major Quartet, the B flat and B minor Symphonies amongst them— were found by Spina when he took over the business of his predecessors, the firm of Diabelli, and were gradually placed by him in the possession of the world. On his arrival in Vienna, Brahms put up at the Hôtel Kronprinz in the Leopoldstadt, moving soon afterwards into a room at 39, Novaragasse, of the same inexpensive quarter, then called the Jägerzeil. Several of his old friends were fortunately at hand. Grädener had given up his position in Hamburg the preceding year to try his fortune in Vienna; Frau Passy-Cornet, whose name calls the concert of 1848 to remembrance, was now a professor of singing at the Vienna Conservatoire; and, a very few weeks after Brahms' arrival, Arthur Faber, lately married to Fräulein Bertha Porubszky, brought his bride to their home in the imperial city. His house was, of course, open to Johannes, who spent many, and especially Sunday, evenings with these friends. Amongst the most treasured memories of their early wedded life are those of performances of his compositions, played as he could play when quietly at ease with a few sympathetic friends for all audience. From the first he felt at home in Vienna. The good-natured, easy-going Austrian people attracted him, and he at once conceived an affection for the Prater, in the immediate vicinity of which his hotel was situated. This great park of the Kaiserstadt contains, indeed, attractions to suit every variety of taste. There is the Hauptallée, with its broad drive and shady walks, its open-air cafés and music of military bands, which play waltzes and various dance movements as they are played in no other city. There is the Würstelprater, the playground of children and other simple folk, where, in the fine-weather season, a continual fair goes on with shows and games and entertainments of every kind likely to attract the patronage of the multitude, and where in the Hungarian restaurant, the 'Czarda,' real gipsy music played by a real gipsy band may daily be heard. There is the wild portion, bounded on one side by the Danube canal and stretching for [Pg 4] [Pg 5] [Pg 6] some little distance beyond the town, where the solitary walker may fancy himself in a forest far from human habitation. Brahms, on this occasion of his first visit to Vienna, particularly attached himself to the Würstelprater, for which he ever after retained his partiality. The motley life to be seen there amused and interested him. He came to be a frequent listener at the 'Czarda,' and it is whispered that the spirit of fun has occasionally prompted him, when at the height of his fame, to prevail upon a party of friends to take a turn in his company on the curvetting horses of one or other of the 'carrousels' which are amongst the most popular attractions of this part of the grounds. One of Brahms' first visits was to Julius Epstein. He did not send in his name, and, as the professor was engaged with someone else at the moment, was not admitted. A second call was successful. 'My name is Johannes Brahms,' he said as he entered; and his simple manner at once attracted Epstein, who was well acquainted with his published works. An opportunity was arranged without delay for his introduction to some of the leading musicians of the city. 'Brahms in 1862 played the Quartets in G minor and A major with the members of the Hellmesberger Quartet (Hellmesberger, Dobyhal and Röver) at my house in the Schulerstrasse, in the first place,' writes Professor Epstein to the author. 'We were all delighted and carried away. The works were shortly afterwards played in public by Brahms with the same colleagues.' The G minor Quartet was, in fact, included in the list of works announced by Hellmesberger for the ensuing season, and the immediate interest awakened in musical circles by the arrival of the composer is even more strikingly testified by the fact that on October 14, only five weeks after his departure from Hamburg, the name of the orchestral Serenade in D major appeared in the forecast of the Gesellschaft season published in the Blätter für Theater, Künst und Musik. On Sunday evening, November 16, Brahms made his first appearance before his new public at Hellmesberger's Quartet concert, which took place, as usual, in the Vereinsaal (the concert-room of the Gesellschaft der Musikfreunde) before an audience that crowded every part of the house in anticipation of the début in Vienna of 'Schumann's young prophet.' The first and last numbers of the programme of three works were severally Mendelssohn's String Quartet in E flat and Beethoven's in C sharp minor, Op. 131, Brahms' G minor Pianoforte Quartet occupying the place of honour between them. If we were to judge of the result by the press reviews of the day, which were either unfavourable or reserved, it would be impossible to chronicle a success, and yet that the work was essentially successful is established by the fact that the composer received overtures after the concert from more than one Vienna publisher, which, however, he declined. He had certainly made his mark in his own characteristic way even before the 16th. A private circle of admirers began to form round him, and he was sufficiently encouraged to venture on a concert of his own, which took place in the Vereinsaal on November 29. On this occasion the Pianoforte Quartet in A major headed the programme, the composer being assisted in its performance by the three members of the Hellmesberger party with whom he had already appeared. The remaining instrumental numbers were pianoforte solos, the concert-giver's Handel Variations and Fugue, Bach's F major Toccata for organ, and Schumann's C major Fantasia, Op. 17. As regards the general audience, the concert was an unmistakable success. The room was fairly filled, and enough money taken to cover expenses. This, however, by the way. The circumstance most worthy of record is that artist and public found themselves en rapport. The performer had the infallible instinct of having with him the sympathy of his hearers, and played his best, giving out what was really in him as he had probably never been able to do before his indifferent or sceptical audiences in Germany. A friendly reception was accorded to the quartet, which was followed with close attention. Enthusiasm could scarcely have been looked for on a first hearing of so original a work. The variations and fugue, however, called forth a storm of applause that was renewed after the performance of Schumann's fantasia, the divine last movement of which was given with ideal insight and noble inspiration. The press notices, though respectful, were disappointing in regard to Brahms the composer. 'The quartet by no means pleased us, and we are glad that the unfavourable impression it created was obliterated by the variations which followed....' Hanslick wrote (die Presse). 'Brahms' talent has hitherto been displayed at its best in variation form, which requires, above all, facility in inventing figures, and unity of mood.... The unsatisfactory features of his creative style are more apparent in the quartet. The first subject has not enough significance. The composer chooses themes rather with a view to their capacity for contrapuntal treatment than on account of their intrinsic merit, and those of the quartet sound dry and flat.... The quartet and others of the composer's works remind us of Schumann's last period; the early works of his first period; but none of Brahms' yet known compositions can take their place beside those of Schumann's ripe middle period.' As a pianist, Brahms was mentioned in the papers in more decided terms of appreciation. Bagge says: 'We have to bestow high praise not only on the enormous technical acquirement, but also on a performance instinct with musical genius, on a treatment of the instrument as fascinating as it was original.' The playing of Bach's organ toccata is especially mentioned in terms of high admiration; the touch employed for the passages written for the pedals 'gave the pianoforte the effect of an organ.' The performance of each number was musical through and through, and although 'he has not the unfailing certainty nor the outward brilliancy of the virtuoso, he reaches and fascinates his audience by other means.' [Pg 7] [Pg 8] [Pg 9] The delightful natural letter to his parents, published by Reimann, written after the concert, shows the pleasure derived by Brahms from feeling his audience in sympathy with him: 'Dear Parents, 'I was very happy yesterday, my concert went quite excellently, much better than I had hoped. 'After the quartet had been sympathetically received, I had great success as a player. Every number was greatly applauded, I think there was real enthusiasm in the room. 'Now I could very well give concerts, but I do not wish to do so, for it takes up too much time so that I can do nothing else.... 'I played as freely as though I were sitting at home with friends; one is certainly influenced quite differently by the public than by ours. 'You should have seen the attention and seen and heard the applause.... I am very glad I gave the concert. You are probably rid of your guests again now and will be able to find a moment of time to write to me? 'Tell the contents of this letter to Herr Marxsen and say also that Börsendorfer[1] will not be able to send a piano before the New Year as so many are required for concerts. Shall I see about another for him? I await orders.... 'I think my serenade will be given next Monday. 'I should have liked to introduce some of my vocal things in my concert yesterday, but it gave me a terrible amount of running about and unpleasantness and that is one of my reasons for wishing to be quiet now.[2] 'Did you sit together on Wednesday over the egg-punch? Write to me about it and anything else.[3] 'The publishers here, especially Spina and Levi, have been pressing me for things since the quartet, but much pleases me better in North Germany and particularly the publishers, and I would rather go without the two or three extra Louis-d'ors that these would perhaps pay. 'Does Avé often go to see you? Has he told you anything particular about Stockhausen? 'How about the photograph of the girls' quartet? Am I not to have it? N.B. Every time I write I forget to ask about Fritz.... Is he very industrious? He ought to make up his mind to give Trio concerts in Hamburg next winter. I would help him in every way.... 'Write soon and have love 'from your 'Johannes. 'Hearty greetings to Herr Marxsen, and do not forget about Börsendorfer.'[4] The two Pianoforte Quartets were despatched to Simrock, and were published by the firm early in 1863—the first one in G minor, being dedicated to Baron Reinhard von Dalwigk, Court Intendant to the Grand-Duke of Oldenburg, a really musical amateur and a warm supporter of Brahms; and the second, in A major, to Frau Dr. Elisabeth Rösing of Hamm, in whose house it was written. The tone of the above extracts tells how lovingly the composer's thoughts turned to his home at the moment he was feeling conscious of a real success; and the question about Stockhausen may be taken as an indication of the clinging wistfulness with which he was bringing himself to resign the hope of being able to settle near his family as conductor of the Philharmonic—a position he would at the time have been proud to accept. The decision of the committee was now almost a foregone conclusion, though it was not formally arrived at till the following year. What it was may be told in the following extract from a letter written to Avé Lallement on January 31, 1863, by Joachim, whose influence with the committee had been energetically exerted in favour of his Johannes: '... What can I say further about your plan with Stockhausen? You know how highly I esteem his talent, and he is certainly the best musician among the singers, but how anyone, having to choose the director of a concert institution between him and Johannes, can decide for the former, I, with my limited musical understanding, cannot comprehend! It is precisely as a man upon whom one can rely that I regard Johannes so highly, with his gifts and his will! There is nothing he cannot undertake, and, with his earnestness, overcome! You know that as well as I, and if all of you in the committee and orchestra had met him with confidence and affection (as you, his friend, always do in private) instead of with doubt and airs of protection, it would have removed the asperity from his nature; whereas it must constantly make him more bitter, with his touching, almost childlike patriotism for Hamburg, to [Pg 10] [Pg 11] see himself put second. I dare not dwell on the thought, it would make me too unhappy, that his narrow compatriots have deprived themselves of the means of making him more contented and gentle, and happier in the exercise of his genius. I should like to give the committee a moral cudgelling (and a bodily one too!) for having left you in the lurch with your plan. The slight to Johannes will not be forgotten in the history of art! But basta!'[5] To the advertisement of the Hamburg Philharmonic programme of March 6, 1863, the words were added, 'Herr Julius Stockhausen has kindly undertaken to conduct the second and third numbers'; and a fortnight later Stockhausen's appointment as capellmeister to the society for the following season, 1863-64, was announced. Meanwhile Johannes in Vienna may still, in the beginning of November, 1862, have clung to hope in view of the forthcoming performance of his serenade at the Gesellschaft concert of the 14th under Herbeck. The reception of the work proved, in fact, as favourable as might reasonably have been expected. It was listened to with respect by public and critics, and some of its parts, notably the first minuet, were greeted with manifestations of decided approval. 'The serenade, a fine, interesting, and intellectual work, deserved warmer acknowledgment,' wrote Speidel in the Wiener Zeitung. Hanslick, in the Presse, pronounced it one of the most charming of modern orchestral compositions, but took exception to the first subject of the opening movement, as he had objected to that of the A major Quartet, as being workable rather than original or significant. 'The first minuet seems to us the pearl of the work and perhaps the prettiest movement as yet written by Brahms. The instrumental colouring and the grace of the melody give it the characteristic of night music, and it is full of moonlight and the scent of lilac.' A remarkable review—remarkable from its admirable appreciation of Brahms' creative personality—was despatched to Leipzig by the Vienna correspondent of the Neue Zeitschrift, who signs himself 'S.,' and appeared in the Vienna résumé contained in the paper's issue of March 23: 'As regards Brahms' serenade which has been favourably received, albeit in my opinion too severely criticised, only thus much; it is one of the most charming examples, not only of the class of composition from which it has sprung, but of all that has followed Beethoven up to the comprehensive conquests, as to contents and form, of the rising New Germany. 'It is fresh and rich in themes of which nearly every one is pervaded by a rare grace, and a brightness of tone becoming every day more unusual. The score convincingly exhibits, moreover, one of the most prominent sides of Brahms' musical individuality. I would call this a power of refashioning, in the best spirit of the present day, the contrapuntal forms of canon and fugue and of their degenerate and inferior representatives. Brahms succeeds in this, as in the majority of his works, in reconsecrating and carrying on the spiritual treasure inherited from Bach, Beethoven and Schumann, in the light of modernity. This fundamental characteristic is still more striking in a second great work of the composer, for the hearing of which opportunity is promised. I will therefore go on to remark on the orchestral colouring of the serenade, which, without being exaggerated, is, throughout, fresh and significant of youthful power. I should find it very difficult to express a preference for either of the six movements, whilst to speak of either of the several parts of this, in its way, masterly whole as inferior in excellence to others, appears to me utterly impossible. The vox populi, however, with which the principal journals here coincide on this occasion, has pronounced in favour of the first minuet and scherzo and the certainly wonderfully tender slow movement.' Brahms appeared on December 20 at Frau Passy-Cornet's concert in the Vereinsaal, playing Beethoven's E flat Sonata for pianoforte and violin with Hellmesberger, and some Schumann solos (Romance and Novelette), and, in spite of his frequently avowed distaste for public appearances, gave a second concert on January 6, 1863, in order to bring forward some of his songs. On this occasion he played Bach's Chromatic Fantasia, Beethoven's C minor Variations, his own Sonata in F minor Op. 5, and Schumann's Sonata in the same key Op. 14, with omission of the scherzo. 'Brahms' playing,' wrote the Vienna correspondent of the Signale, 'is always attractive and convincing. His rendering of Bach's Chromatic Fantasia and of Beethoven's Variations was of the highest interest.... After repeated recalls Brahms treated his audience to another piece, a four-hand march by Schubert arranged for two hands. The delightful freshness of this composition gave no little pleasure.' Frau Wilt, one of the first resident singers, performed several of the concert-giver's songs, amongst them being 'Treue Liebe' (Op. 7, No. 1), 'Parole' (Op. 7, No. 2), and 'Liebestreue' ('O versenk,' Op. 3, No. 1). 'This new experience was most agreeable and welcome to the whole public. All these songs breathe a fine sensibility, and are full of truth to life and nature.' This second concert, indeed, stamped Brahms' visit to Vienna with the seal of decisive and permanent success—a success not immediately wide or popular, but which marked the beginning of a new epoch in the musical life of the city. Though he could not stoop to the attempt to dazzle his public by phenomenal feats of virtuosity, the grace, tenderness, and truth of his musical nature appealed to his southern audience, whilst the significance of his genius dawned on the [Pg 12] [Pg 13] [Pg 14] perception of one or two discerning musicians. In a word, he had found a public which partially understood him; and a performance of the second serenade was announced for one of the Philharmonic concerts. Before the opening of the New Year, musical attention in Vienna was turned to Richard Wagner, who conducted three concerts devoted to selections from his own compositions, and was received and discussed with the extremes of enthusiasm and disapproval that usually attended his appearances and the early productions of his works. 'One evening,' writes Hanslick many years later,[6] 'when we listened to Brahms' sextet after attending a concert of excerpts from Wagner's "Tristan" in the afternoon, it was as though we were suddenly transported to a world of pure beauty.[7] ... The general impression made in public by the two men was almost as different as that of their music. Brahms approached the conductor's desk with almost awkward modesty; he responded reluctantly and doubtfully to the most stormy calls and could not disappear again quickly enough.' The attraction felt by Hanslick for Brahms' art increased with each opportunity of becoming acquainted with it. He secured his services as pianist at a lecture on Beethoven—one of a series—given by him in January, when Johannes, whose pianistic répertoire was almost inexhaustible, performed the thirty-three Variations on a waltz by Diabelli. Wagner remained at Penzing, a suburb of Vienna, until the spring, and Brahms, who was on cordial terms with Tausig and Cornelius, paid him a visit in Tausig's company. He was much pleased by Wagner's reception of him, and spoke heartily of the pleasure he had found in his society. There was no future personal intercourse between the two composers, who were too widely separated by disposition, tastes, and artistic faith to grow into intimacy, though it should never be forgotten that Brahms felt, from first to last, immense respect for Wagner's gifts and achievement. One of our composer's engrossing occupations during his nearly eight months' stay in Vienna was the study of Schubert's manuscripts, which Spina was delighted to show him, generously allowing him to copy from them for his own pleasure as he felt inclined. Shortly before his return home he sent some of the treasures thus obtained for Dietrich's perusal. '... It occurs to me that I can send you my Marienlieder and Variations for four hands which arrived lately, and I enclose with them some extracts from an Easter cantata of Schubert's which I copied from the manuscript. They are not specially selected portions of Lazarus. By no means; I merely wrote the beginning and end of the first part. The music is as fine throughout; Simon's aria—oh, if I could send you the whole, you would be enchanted with such loveliness!...' He decides to send in the same parcel, for Albert's inspection, the string quintet which he had taken to Vienna to get quite to his liking. The second Serenade was announced for the Philharmonic concert of March 8 as the opening number of the programme, to be followed by Joachim's Hungarian Concerto, with Laub as solo violinist, and this by a new symphony by M. Kässmeyer—an astonishingly progressive list, which was due to Dessoff's influence and was approvingly remarked upon by Hanslick in his review of the 11th of the month. Meanwhile difficulties presented themselves.[8] The discontent of the members of the orchestra was apparent during the first rehearsals of Brahms' work; complaints were heard of the great difficulty of performing many of the passages, and at the general rehearsal open mutiny broke out. The first clarinettist suddenly rose, and, in the name of the body of instrumentalists, declared their refusal to perform the composition. Dessoff, white with agitation, instantly replied by laying down his bâton and announcing his resignation of the post of conductor; Hellmesberger, as concertmeister, followed suit, and the first flutist, Franz Doppler, a celebrated performer, joined them. This decided matters. The malcontents gave way, the rehearsal proceeded, and the performance on the 8th was so greatly appreciated by the public that R. Hirsch, who made his début as Brahms' critic in the Wiener Zeitung in connexion with the occasion, and who for many years systematically (and perhaps conscientiously) decried his works, could find nothing worse to say than that the serenade would find many friends amongst those able to content themselves with modest gifts. 'Brahms should be on his guard against excess of things. The exorbitant applause raised by his friends had the effect of procuring him very loud hisses from other parties.' 'If either of the younger composers has the right not to be ignored, it is Brahms,' wrote Hanslick. 'He has shown himself, in each of his lately-performed works, as an independent, original individuality, a finely-organized, true, musical nature, as an artist ripening towards mastership by means of unwearied, conscious endeavour. His A major Serenade is the younger, tender sister of the one in D lately produced by the Gesellschaft and is conceived in the same peaceful, dreamy garden mood.... The work had an extremely favourable reception. The hearty applause became proportionately greater at the close as the modest composer made himself ever smaller in his seat in the gallery.' Hanslick pronounced the Hungarian Concerto 'a tone-poem full of mind and spirit, of energy and tenderness. One might almost regret Joachim's achievements as a virtuoso, which must be the only cause that his powers are so seldom concentrated on the composition of a great work.' [Pg 14] [Pg 15] [Pg 16] The music season was now coming to a close, but the many attractions of Vienna—and not least among them its beautiful neighbourhood, with which Brahms' frequent long walks with Nottebohm, Faber, Epstein, and others gradually made him familiar—inclined him to stay on for some weeks longer; and it was not until the spring had well set in that he set out for Hanover en route for Hamburg, carrying with him many new possessions as mementoes of his visit, engravings of some of his favourite pictures in the Belvedere Gallery,[9] and the entire collection of the then published works of Schubert, presented to him by Spina, being the principal. He had a particular reason for wishing to pass a day or two with his friend. He was to be introduced to Fräulein Amalie Weiss, to whom Joachim had lately become engaged. This lady had entered into a three years' engagement as first contralto on the stage of the Hanover court opera in the spring of 1862, and it was not long before her gifts attracted the enthusiastic interest of the celebrated court concertmeister of the same capital. The two artists were betrothed in February, 1863, and the birthday of the Queen of Hanover, April 14, was celebrated by a festival performance of Gluck's 'Orpheus,' conducted, by Her Majesty's express desire, by Joachim, in which Fräulein Weiss appeared with brilliant success in the title-rôle. Brahms, on his arrival a little later on, was a delighted witness of a repetition of the opera. Frau Amalie Joachim, who retired from the stage on her marriage (June, 1863), gradually acquired a very great reputation as a concert-singer, and was a much- admired interpreter of Brahms' songs. Brahms returned to Hamburg on May 5, and, after passing his thirtieth birthday with his family, took a lodging at Blankenese, on the Elbe, where an unexpected meeting with some of the former members of his Ladies' Choir agreeably reminded him of the charming society that had now quite fallen through, having served its purpose in the composer's course of self-training. Various plans for work and recreation for the summer and autumn months were under consideration, but were to be set aside. Before the month was out, Brahms received a convincing proof of the impression his visit had made in Vienna by getting a call to return there. The post of conductor to the Singakademie had fallen vacant by the death of Stegmayer, and, at the general meeting of the society in the course of May, Brahms was elected successor to the post. There was a severe competition between two sections of the members, a large and influential party, led by Prince Constantin Czartoriska, being strongly in favour of the election of Franz Krenn, an excellent musician of the old school, who belonged to Vienna as choir-master of the parish church of St. Michael, and professor of composition at the conservatoire, and who had conducted one of the Singakademie concerts during Stegmayer's illness. It happened, however, that amongst those members of the committee who desired that the practices and performances of the society should be placed under the direction of a young, resolute, and energetic musician, were several gentlemen belonging to the circle of enthusiastic admirers of Brahms' art which had sprung into existence almost simultaneously with his first appearance in Vienna, and had increased with each opportunity that had offered itself there for the hearing of his music. Amongst them were Dr. Scholz, a surgeon; Herr Adolf Schultz, a merchant; and Herr Franz Flatz, an insurance official of Vienna; and at their head Dr. Josef Gänsbacher, son of the distinguished musician and church composer Johann Gänsbacher, the pupil of Vogler and Albrechtsberger, acquaintance of Haydn and Beethoven, friend of Weber and Meyerbeer, and capellmeister of the cathedral from 1823 until his death in 1844. Dr. Josef Gänsbacher, whose name has become known in the musical world of many countries by its appearance on the title-page of Brahms' first sonata for pianoforte and violoncello, was, in 1863, a young doctor of jurisprudence and advocate's draughtsman. Later on he adopted music as a profession, and became a valued teacher of singing, professor at the conservatoire, and violoncellist. He was one of Brahms' earliest and truest friends in Vienna, and became a devotee of his art even before making his personal acquaintance. He had considerable influence with the members of the Singakademie, and representatives of both sections of the committee called on him at his bureau to solicit his help, Prince Czartoriska presenting himself in person in Krenn's favour. Gänsbacher's sympathies, however, were all the other way; and, being selected by his party to make a speech at the general meeting in Brahms' interest, he used such forcible arguments as to bring over several of Krenn's supporters and to win the election for his own side by a majority of one. It was in every way characteristic of our composer that he could not at once decide either to accept or reject the offer of the appointment, and was only at length brought to a resolution by a telegraphic request for his final answer. 'The resolve to give away one's freedom for the first time is exceptional,' he wrote to the committee, 'but anything coming from Vienna sounds doubly pleasant to a musician and whatever may call him thither is doubly attractive.'[10] Something of what it cost Brahms to send his affirmative decision may be perceived in a letter to Hanslick, which indicates, also, the quick advance of friendship between the two men: 'Dear Friend, 'You will wonder that most glad and grateful reply has not arrived sooner to yours and many other kind letters received by me. I seem to myself as one who has been praised beyond desert, and should like to creep into hiding for awhile. I resolved, on receipt of the telegraphic despatch ... to be content with such a flattering summons and not to tempt the gods further ... and since nothing more is in question than whether I have the courage to say "yes," it shall be so. Had I refused, my reasons would not have been understood by the academy or by you Viennese generally....' These occurrences put an end to the various holiday projects which Brahms had been considering. 'I cannot make up [Pg 17] [Pg 18] [Pg 19] my mind to deprive my parents of any of our short time together,' he wrote in answer to Dietrich's pressing invitation, and remained quietly near and at Hamburg. He began at once to occupy himself with plans for his programmes, and begged Dietrich's advice 'as a very experienced and learned court-conductor' on matters connected with his new duties. 'I feel enormously diffident,' he says, 'about trying my talent for these things in Vienna.' Allowing himself but three days en route for a visit to beautiful Lichtenthal, a suburb of Baden-Baden, where Frau Schumann had purchased a house the previous year on giving up her residence in Berlin, Brahms was back again in Vienna by the last week of August, and soon engaged with characteristic earnestness in work connected with his new appointment. His scheme for the weekly practices of the Singakademie season included works by Bach, Beethoven, Mendelssohn, Schumann, and masters of the earlier period whose music was a speciality of the society. The first concert of the season 1863-64, given on November 15 under his direction, presented the following programme: 1. Bach: Cantata, 'Ich hatte viel Bekümmerniss.' (First time in Vienna.) 2. Beethoven: 'Opferlied.' 3. H. Isaak (late 15th cent.): Three German Folk-songs— a. 'Innsbruck ich muss dich lassen.' b. 'Es ist ein Schnitter heisst der Tod.' c. 'Ich fahr dahin wenn es muss seyn.' 4. Schumann: 'Requiem für Mignon.' (First time in Vienna.) The co-operating artists were Frau Wilt and Frau Ferrari; Herr Danzer, Herr Dalfy, and Herr Organist Bibl. No doubt could be felt at the close of the performances of Brahms' gifts as a conductor. 'The concert was not only excellent in itself, but was, with exception of the first performance in Vienna of Bach's "Matthew Passion," by far the most noteworthy achievement in the record of the Singakademie, and gave us the opportunity of recognising Brahms' rare talent as a conductor.' Bach's cantata was rendered 'with splendid colouring and spiritual insight'; the three delightful Volkslieder 'opened all hearts.' These were received with such stormy applause that a fourth, not less acceptable, was added. Considerable surprise seems to have been excited, not by the conductor's inspired conception of the works performed, but by the precision and clearness of his beat, which, remarks one critic, 'could hardly have been expected of an artist who has shown himself, in his creations and performances, so essentially a romanticist and dreamer.' These last words sound strange as coming from a writer in Vienna who may be supposed to have gained some knowledge of the serenades, the B flat sextet, and the two pianoforte quartets, and they are quoted, not because of their aptness, but as illustrating a difficulty which the composer's individuality, reflected in his works as in a mirror, caused for many a long year to some of his less competent, even though friendly, critics—the difficulty of knowing how to classify him. From an early period his determination was strong to bring the womanly tenderness and dreamy romance that were in him under the complete control of his energetic will, to give supreme dominance in art, as in life, to understanding rather than to emotion, to possess and be master of his powers; but, during the earlier years of his activity, the subtle poetic charm dwelling within his works made itself felt by many sympathetic listeners who could not immediately follow their closely-woven texture, and who were puzzled by his independent treatment—at times almost amounting to a re-creation—of traditional form. Hence, he has not seldom been spoken of as essentially a romanticist long since his position as the representative descendant of Bach, Mozart, and Beethoven was recognised by those most competent to judge. Meanwhile his art was gradually spreading through Europe. On November 10 the first serenade was given at Zürich under Fichtelberger, the conductor of the subscription concerts. The work deserved a warmer reception than was accorded it, in the opinion of the Neuer Zürcher Zeitung, whose critic recognised in Brahms a composer, not only of profound knowledge, but of inborn genius. He did not commit himself to pronouncement as to whether the composer's creative power would be of sufficient force to discover really 'new paths,' or would prove better qualified for making further developments within the already conquered domain of musical art, but thought the serenade pointed to the latter probability. The B flat Sextet was performed at a concert given in Hamburg in November by Rosé and Stockhausen, whose friendship with Brahms had not been allowed to suffer by the action of the Philharmonic committee. The composition was given in Vienna at the Hellmesberger concert of December 27, when it awakened extraordinary interest and...