The Life of Johannes Brahms (Vol 2 of 2)
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Title: The Life of Johannes Brahms (Vol 2 of 2)
Author: Florence May
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*** START OF THE PROJECT GUTENBERG EBOOK THE LIFE OF JOHANNES BRAHMS (VOL 2 OF 2) ***
[Illustration: J. Brahms]
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.
CHAPTER XII
1862-1864
PAGE
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
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
INDEX 303
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 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 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.'
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 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 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.'
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 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 sympathy. In the
Austrian capital, as elsewhere, it was the first of the composer's
important works to become popular.
Christmas Eve was passed with the Fabers, Brahms being, as ever, the
most cordial, happy, childlike guest. He continued, during the first
years of his subsequent residence in Vienna, to spend the festival with
these friends, who took pains to invite his favourite companions to meet
him. Nottebohm was always of the party. Amongst his presents one
Christmas for the gift-making ceremony at home in Hamburg, was a
sewing-machine for his sister, who had expressed a wish for such a
possession as a help in her employment. After the lapse of a few
seasons, however, Brahms for a great many years habitually declined all
invitations for Christmas Eve, only breaking his rule by occasionally
spending it with Frau Schumann. Within the last decade of his life he
again changed his custom, and passed the evening regularly in the happy
home circle of some friends to whom the reader will be introduced in a
later chapter.
The second and third concerts of the Singakademie took place on January
6 and March 20, with the subjoined programmes:
PROGRAMME OF JANUARY 6.
1. Mendelssohn: Eight-part Motet.
2. Joh. Eccard (1553-1611): 'The Christian's Easter
Day Song of Triumph'
(double chorus).
3. Heinrich Schütz (1583-1672): 'Saul's Conversion'
(triple chorus).
4. Giov. Gabrielli (1557-1613): 'Benedictus' (double
chorus).
5. Giov. Rovetta (1643-1668): 'Salve Regina.'
6. Beethoven: 'Elegischer Gesang' (chorus
with string accompaniment).
7. Three German Folk-songs.
8. J. S. Bach: Motet, 'Liebster Gott wann
werd' ich sterben.'
PROGRAMME OF MARCH 20.
J. S. Bach: Christmas Oratorio. (First performance in Vienna.)
With the assistance of the Imperial and Royal Court-Opera Orchestra.
They do not seem to have been so successful as the first. The public
found the programme of January 6 monotonous. Hirsch, in his notice of
the concert in the _Wiener Zeitung_, goes so far as to speak of
'shipwreck,' while Hanslick himself owns that the performance of the
earlier numbers had the 'character of an improvisation or a practice
rather than a concert production.' The three German folk-songs (the two
last harmonized by Brahms) were so warmly received that the conductor's
Minnelied, 'Der Holdseliger' was given in addition. The success of the
Bach cantata was injured by a contretemps. The Börsendorfer piano, sent
in the absence of an organ, was too high in pitch and therefore
unavailable.
The concert of March 20, at which the Christmas Oratorio was given,
seems to have been rather overshadowed by the performance of Bach's 'St.
John's Passion' by the Gesellschaft forces at a somewhat earlier date.
The satisfaction and confidence extended to the conductor by the
Akademie remained undiminished, however, by the falling-off in the
success of the second and third public performances, and were expressed
at the close of the subscription season by the arrangement of an extra
concert devoted to Brahms' compositions. The instrumental numbers on
this occasion were the B flat Sextet, played by the Hellmesberger party,
and a Sonata for two pianofortes--in reality the arrangement in this
form of the manuscript string quintet with two violoncelli, to which
reference has already been made. Tausig, a great admirer of Brahms'
genius, who took the Paganini Variations under his especial care later
on, was the composer's colleague in the performance, for which,
therefore, every advantage was secured; but Brahms had not yet, as it
seemed, found the right medium for the expression of his thoughts. The
sonata fell flat, making no impression on the audience. There were
several vocal numbers, and amongst them was the charming 'Wechsellied
zum Tanze,' No. 1 of the three Quartets for solo voices, Op. 31, which
stand in an anticipatory relation to the 'Liebeslieder.' They show
Brahms in his graceful, playful, genial mood. The 'Wechsellied' is in
dance measure, and has two alternative melodies severally adapted to the
character of Goethe's verses--the first in E flat, allotted to the
contralto and bass, the 'indifferent' pair; the second in A flat, to the
soprano and tenor, the 'tender' pair. Brahms has delightfully expressed
the difference of mood animating the two couples, and, by the simple
device of writing the first of the two little duets in imitation, the
bass following the contralto at a bar's distance, has suggested a tone
of bright enjoyment which contrasts effectively with the romantic spirit
of the lovers' song. The four voices combine towards the close of the
composition, which comes to an end in the key of the lover's melody.
ALTERNATIVE DANCE SONG BY GOETHE.
THE INDIFFERENT PAIR.
Come, fairest maid, come with me to the dancing;
Dancing belongs to our festival day.
Though not my sweetheart, yet that may soon follow,
Follows it never, then let us still dance.
Come, fairest maid, come with me to the dancing;
Dancing belongs to our festival day.
THE TENDER PAIR.
Loved one, without thee what were there in pleasure?
Sweet one, without thee what joy in the dance?
If not my sweetheart, what care I for dancing?
Art thou it ever, then life is a feast.
Loved one, without thee what were there in pleasure?
Sweet one, without thee what joy in the dance?
THE INDIFFERENT PAIR.
Let them go loving and let us go dancing!
Languishing love careth not for the dance.
Circle we gaily amid the gay couples,
Wander the others in forest's dim shade.
Let them go loving and let us go dancing,
Languishing love careth not for the dance.
THE TENDER PAIR.
Let them go twirling and let us go wander!
Wand'ring of lovers is heaven's own dance.
Cupid is near, and he hears them deriding,
Certain and swift he will have his revenge.
Let them go twirling and let us go wander,
Wand'ring of lovers is heaven's own dance.
No. 2 of the same opus--'Neckereien' (Raillery), the text of which is a
Moorish folk-song, is full of graceful fun. In this the tenors and
basses alternate with the sopranos and contraltos; the youths court the
girls, who will rather be transformed into little doves, little fishes,
little hares, than have anything to do with them. The suitors, on the
other hand, hint that such changes may be of small avail against little
guns, little nets, little dogs.
No. 3, also set to a national text, this time Bohemian, is a charming
four-part song, with a graceful accompaniment in waltz rhythm, and is
developed from the melody used by Brahms in No. 5 of his set of waltzes
for pianoforte. These quartets were composed at Detmold.
On May 10 the annual foundation concert of the Singakademie took
place--as usual, before a private audience. The programme will be
perused with interest by English-speaking readers:
1. Schumann: First and second movements from
'Requiem für Mignon.'
2. Haydn: Duet for Soprano and Tenor.
3. Schumann: Stücke im Volkston for Violoncello
and Pianoforte.
4. John Bennet (1599): Madrigal (for chorus).
5. John Morley (1595): Dance Song (for chorus).
6. Schumann: Two Duets from the 'Spanisches
Liederspiel.'
7. Brahms: Two Songs for Soprano.
8. Schumann: Fifth and sixth movements from the
'Requiem für Mignon.'
The fourth and fifth numbers of the programme were no doubt selected by
Brahms from a collection of early English madrigals, edited by J. J.
Maier of Munich.
Our composer's appointment as conductor of the Singakademie lapsed at
the end of the season. By the rules of the society, election took place
triennially, and Stegmayer's death had left only a year to run. Brahms'
re-election was a matter of course, and was accepted by him, though not
without doubt and hesitation; but his resolution failed him later on,
and before the end of the summer he sent his resignation to the
committee.
In the course of the year, Spina of Vienna (Cranz of Hamburg) published
a setting of the 13th Psalm for three-part women's Chorus, with
accompaniment for organ or pianoforte; and four Duets for Contralto and
Baritone, dedicated to Frau Amalie Joachim. Breitkopf and Härtel issued
two Motets for five-part mixed Chorus _a capella_ (the first set to a
verse of a church hymn by Paul Speratus, 1484-1551; the second to words
from the 51st Psalm); a Sacred Song by Paul Fleming, 1609-1640 (set for
two-part mixed Chorus, and written in double canon); and the three
Quartets for Solo voices to which we have already referred as Op. 31.
Rieter-Biedermann published a set of nine Songs (Op. 32), No. 9 of which
is the exquisite 'Wie bist du meine Königin,' one of the most fragrant
love-songs ever composed; and a set of German Folk-songs, without opus
number, dedicated to the Vienna Singakademie.
An Organ Fugue in A flat minor was published as a supplement to No. 29
of the _Allgemeine Musikzeitung_, edited, as the reader may remember, by
Selmar Bagge.
[1] Head of the celebrated Vienna firm of pianoforte-makers.
[2] The _Deutsche Musikzeitung_ of November 29, the very day of the
concert, announces vocal duets and choruses by Brahms as part of the
programme. The review of the concert in the same paper concludes: 'Frau
Passy-Cornet and Herr Fürchtgott assisted the concert-giver, whose
programme was altered, by performing songs and ballads.'
[3] Egg-punch was a birthday institution in the family. The Wednesday in
question was probably the birthday of Brahms' mother.
[4] Reimann's 'Johannes Brahms.' Published in facsimile opposite p. 28.
[5] Moser's 'Joseph Joachim,' p. 177.
[6] 'Aus meinem Leben.'
[7] Probably a private performance. Hellmesberger's published programmes
give the first concert performance of the work by his quartet party as
on December 27, 1863.
[8] 'Brahms Erinnerungen,' by Franz Fribberg (_Berliner Tagblatt_,
December 18, 1898).
N.B.--Fribberg was a member of the Philharmonic orchestra of Vienna at
the period in question.
[9] The collection is now in the Imperial Gallery on the Burg Ring.
[10] This and the extract immediately following are from some letters
first published by Hanslick in the _Neue Freie Presse_ of July 1, 1897,
and republished in _Am Ende des Jahrhunderts_ ('Der Modernen Oper,' Part
VIII.): 'Johannes Brahms.'
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--Death of Frau Brahms--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 von Bülow--Reinthaler.
In the year 1864, or possibly at the end of 1863, the domestic troubles
that had arisen from Jakob Brahms' early marriage with a delicate woman
nearly twenty years his senior came to a crisis which Johannes, loving
both father and mother with tender devotion, could no longer bear. By
his wish the ill-assorted couple separated. Jakob had long since become
fairly prosperous in a small way, holding a recognised position as a
double-bass player amongst the orchestral musicians of Hamburg, and had
even been appointed a member of the Philharmonic band since
Stockhausen's election as the society's conductor. He now found quarters
for himself in the Grosser Bleichen; the home in the Fuhlentwiethe was
given up. Fritz, who, in spite of his want of energy, was doing well as
a teacher, took lodgings in Theaterstrasse, and Frau Brahms and Elise
removed to comfortable rooms in the Lange Reihe, Johannes, poor as he
was, taking upon himself the sole responsibility of their maintenance.
The time was still distant, in spite of the composer's steadily-growing
fame, when his circumstances were to become prosperous. Had money-making
been one of his immediate objects, he could certainly have attained it
with little difficulty; but his aims were wholly ideal, and directly
included pecuniary profit only so far as this was necessary for his own
decent maintenance and for the exercise of ungrudging generosity to his
family. His income, derived from the sale of his copyrights and from his
public activity as a pianist--for he practically gave up teaching on
going to Vienna--sufficed for these ends; he had learned from early
youth to find happiness in the realities of life, and to treat as
superfluities as many things as possible. The cultivation of happiness
he viewed, not only as a part of wisdom, but as a duty. 'Let us, so far
as we may, retain a fresh, happy interest in life, which we have at any
rate to live' was not with him a mere phrase to be offered for the
benefit of a friend in trouble, but one of the abiding principles by
which he shaped his own daily existence.
No year would have been possible to Brahms without sight of his parents
and he stayed near them for part of the summer, his first visit after
embracing father and mother being, as usual, to Marxsen. Further plans
were not difficult to arrange, and chief among them was that of a long
visit to Baden-Baden. 'Johannes took us by surprise on July 30' is Frau
Schumann's entry, in her diary, of his arrival. He stayed on for the
remainder of the season, residing in a charming villa close to the
grounds of the Kurhaus, which was placed at his disposal by Rubinstein,
who had taken it for the summer, but left in August.
Frau Schumann's residence at Baden-Baden brought in its train results
which are of much interest in the history of Brahms' career. The
not-distant capital of the duchy of Baden, Carlsruhe, was to become, in
the course of the next few years, an important centre for the
cultivation of his art. It seems convenient, therefore, to mention at
once the names of a few members of a group of friends belonging to Frau
Schumann's circle who resided or stayed frequently in the neighbourhood,
and with whom Brahms became more or less intimate.
Jakob Rosenhain (born 1813), a composer now forgotten, but esteemed in
his day, and recognised both by Schumann and Mendelssohn, lived at
Baden-Baden, and was sometimes to be met at Frau Schumann's house. His
name heads the programme of Johannes' first public concert of 1848. The
painter Anselm Feuerbach (1829-1880), a little-known and disappointed
man in 1864, whose art has attained great posthumous celebrity, came
annually with his mother to pass a few weeks there. The name of Frau
Henriette Feuerbach appears on the title-page of Brahms' work 'Nänie,'
which was composed soon after the premature death of her son. With the
mention of Feuerbach must be associated that of Julius Allgeyer,
introduced to our readers in an early chapter as a student of
copperplate engraving at Düsseldorf, and now settled in Carlsruhe as a
high-art photographer. Allgeyer had a genius for friendship. He was
extraordinarily attached to Feuerbach, of whose art he made himself the
apostle; but though his four years' residence in Rome (1856-1860) in
close intercourse with the painter caused an interruption of his
personal intimacy with Brahms, the two men remained in occasional
correspondence, and held each other in cordial esteem. Now the old
friendship was renewed, and it was not long before Brahms came to occupy
a place in the engraver's affections second only to that of Feuerbach.
The thought that he had known and loved both musician and painter
through the period of their dawning fame was, in after-years, a source
of satisfaction and pride to Allgeyer, whose name has become well known
in Germany as that of Feuerbach's biographer.
In the middle of the sixties Carlsruhe, under the encouragement of its
reigning Grand-Duke Frederick, occupied an exceptionally brilliant
position amongst the smaller European centres of dramatic and musical
art, to which it had been raised by the talents and devotion of Edward
Devrient, the eminent stage-director of its court theatre, whose name
may be familiar to some English readers as that of one of Mendelssohn's
intimate friends. A man of wide general culture, the author of the
standard work on its subject--'The History of German Dramatic
Art'--playwright, singer, actor, possessed of an intimate knowledge of
the best traditions of the German stage in the wide sense that includes
opera, which had been derived from thirty years of professional
association with the court theatres of Berlin and Dresden, Devrient was
an ideal man for his post. His own sympathies remained faithful to the
classical school of opera upon which his taste had been formed, but he
did not allow his devotion to Gluck and Mozart and his interest in the
revival of works of an early period to narrow the sphere of his
activity. Taking a broad view of the duties of his position, he
recognised the claim to hearing of the New-German school, and several of
Wagner's musical dramas had been performed in the Carlsruhe court
theatre by his permission, if not on his initiative, before his
resignation of his post soon after the celebration of his artistic
jubilee in April, 1869.
Not the least of his services to music was his choice of a successor to
the post of court capellmeister at Carlsruhe, which fell vacant on the
resignation of Joseph Strauss (not of the celebrated Vienna family)
early in 1864. By recommending Hermann Levi (1839-1900) for the
appointment, famous after the middle of the seventies amongst the famous
Wagner conductors, and director of the first performances of 'Parsifal'
(July-August, 1882), and by the generosity with which he permitted the
youthful musician to profit by the fruits of his own ripe experience, he
contributed in no small degree towards perfecting the technical
education of an artist whose name will be remembered in musical history
as amongst those of the great in his chosen branch of activity.
A gifted pupil of the Leipzig Conservatoire, Levi resolved, at an early
age, to aim at achieving distinction as a conductor, and, on entering
the service of the Grand-Duke of Baden in his twenty-sixth year, he had
already laid the foundation of his future celebrity in successive posts
at Saarbrück, Mannheim, and Rotterdam. He had a large and enthusiastic
nature which caused him to reject the formal and stereotyped in art and
to sympathize with what seemed to him genuinely progressive, and,
becoming early in his career a great admirer of Schumann's music, he
passed easily to a recognition of the genius of Brahms, with whom he
had a slight acquaintance before settling at Carlsruhe.
The singer Hauser, the violoncellist Lindner, the hornist Segisser, the
authoress Fräulein Anna Ettlinger--all resident in Carlsruhe--the
learned Oberschulrath Gustav Wendt, called there in 1867, whose rooms
were the scene of many distinguished gatherings, are to be included in
our list; and of particular interest is the name of the violoncellist
Bernhard Cossmann, of Weimar celebrity, who settled at Baden-Baden in
1870. Brahms was a willing and heartily welcome visitor at his house,
and took part there in performances of his E minor Violoncello Sonata,
and, with the hornist Steinbrügger, of the Horn Trio.
A noteworthy and picturesque figure, familiar in the artist circle, was
that of Tourgenieff, who visited Baden-Baden annually from early in the
sixties until the opening of the seventies. In conclusion is to be added
the name of Pauline Viardot-Garcia, who settled at Baden in 1863,
building a spacious villa in the Lichtenthaler Allée for her summer
residence, which contained a gallery of fine paintings, chiefly of the
Spanish and Netherlands schools. Amongst her possessions was Mozart's
autograph score of 'Don Giovanni,' which she kept enshrined in a
valuable casket. Madame Viardot was a musician in a very comprehensive
sense of the word. Her triumphs on the operatic stage belong to the
history of musico-dramatic art; she had been a pupil of Liszt on the
pianoforte, had studied counterpoint and composition, and composed a
good deal. Several of her operettas, for which Tourgenieff furnished the
text-books, were performed privately by her pupils and children in her
miniature theatre in Baden-Baden, where she was accustomed to entertain
many of the celebrities of the time. One was given in German translation
by Richard Pohl, as 'Der letzte Zauberer,' on the Court stages of
Carlsruhe and Weimar. At the request of some of her girl pupils, Brahms
composed a short choral serenade for her birthday one summer subsequent
to our present date, and conducted its performance by the young ladies,
outside her house, at an early hour of the morning. This pleasant
incident of the seventies recalls that of the forties, when the youthful
Johannes consented to fill the offices of composer and conductor at
Winsen on the occasion of Rector Köhler's birthday.
Brahms was presented by Frau Schumann, in the course of this his first
lengthened stay at Baden-Baden, to the Princess Anna, Landgräfin of
Hesse on an occasion when the two artists performed his sonata for two
pianofortes privately before Her Royal Highness. The work, which, as we
have seen, had failed to win public sympathy when performed in a Vienna
concert-room, made its mark on this occasion. It appealed strongly to
the royal listener, who, at the close of the last movement, warmly
expressed to the composer her sense of its beauty. Brahms, gratified and
pleased at the Princess's unreserved appreciation, called on her the
following day, and begged permission, which was readily granted, to
dedicate the work to her; and on its publication the following year in
its final form--a quintet for pianoforte and strings--Her Royal
Highness's name appeared on the title-page. The Princess acknowledged
the compliment of the dedication by presenting Brahms with one of her
treasures--the autograph score of Mozart's G minor Symphony. It passed
after his death, as part of his library, into the possession of the
Gesellschaft der Musikfreunde, Vienna.
An interesting reference to the dedication and the time is in the
possession of the present Landgraf of Hesse, whose musical talent was
recognised and encouraged by Brahms twenty years later, and is contained
in a letter of thanks written by the master in 1892 on the dedication to
him of a fantasia for pianoforte published that year by the Prince:
'YOUR ROYAL HIGHNESS MOST GRACIOUS HERR LANDGRAF!
'Whilst I venture to express to Your Royal Highness my most
respectful and hearty thanks for the dedication of the fantasia,
very many and very pleasant recollections occur to me.
'The high and agreeable distinction, as which I regard the
dedication, reminds me of the similar pleasure I experienced when
I was permitted to inscribe my quintet to your highly-honoured
mother, the Frau Landgräfin. That was in beautiful Baden-Baden, and
it would be too tempting to go on chatting about the unforgettable
music-hours and pleasant days; but much else crowds upon the
memory: Meiningen, Frankfurt, Vienna, Baden, etc. I think that by
my mere mention of these names Y.R.H. will know what a valued
memorial your work and its dedication, by which I am so much
honoured, will be to me of many pleasant times.
'With my hearty thanks for the valuable present, I unite the wish
that our glorious art may bring to Y.R.H. many more hours as happy
as those were of which this fantasia gives such convincing testimony.
'Your Royal Highness's deeply obliged
'JOHANNES BRAHMS.
'VIENNA, _Jan. 1892_.'
On September 12 Frau Joachim's first child was born, and there was no
doubt as to what he should be called. Johannes must, of course, be
godfather, and give his name to Joachim's boy. Brahms was not present at
the christening, but he sent to the parents as his congratulatory gift
the manuscript of the little song published long afterwards as No. 2 of
Op. 91, the 'Geistliches Wiegenlied,' or, as it is called in the
published translated title, 'The Virgin's Cradle Song.' The words are
imitated by Geibel from a text of Lope de Vega, 'Die ihr schwebt um
diese Palmen' (Ye who o'er these palms are hov'ring). The music,
composed for contralto, viola, and pianoforte, is founded upon the
melody of an old song,[11] which, given in Brahms' composition to the
viola, serves as the basis for the contrapuntal treatment of the voice
and pianoforte parts.
Brahms left Baden-Baden on October 10, and, returning to Vienna, passed
the next few weeks in quiet pursuit of his ordinary avocations, happy at
knowing himself in complete possession of his time, yet perhaps not
without an occasional passing regret at the thought of the pleasure he
had derived the previous season, as conductor of the Singakademie, from
his association with choir and orchestra. The change he had advised in
the family arrangements at Hamburg was not greatly to prolong for his
mother the peaceful old age he had desired to secure for her. Frau
Brahms had taken her last farewell of her dearly-loved son when he
quitted Hamburg in the summer. Her health, which had for some time been
growing weaker, continued to fail, and on February 2, 1865, she quietly
breathed her last.
Johannes, who took the next train to Hamburg after receiving his
sister's summons, arrived soon after all was over, and turned
immediately towards his mother's bed-chamber. He had once before passed
through a great sorrow, but in Schumann's case death had come in the
guise of a friend. This was another kind of bereavement, and the loss of
the dear, simply-loving old mother wrung his heart. 'Do not go in yet,
Hannes,' said Elise, trying to prevent him, and, indeed, as he passed on
into the room the sudden complete realization of the mother's tenderness
gone from his life broke down his self-command on the instant. He knelt
down by the quiet bed and sobbed aloud in uncontrollable grief. When he
had somewhat collected himself he presently went out. Solitude, however,
often welcome to him, was not what he wanted to-day, nor over-much
sympathy, but affection--and affection of a kind that perhaps may have
seemed to him something akin to the assured, unreasoning mother's love.
He turned into kind Frau Cossel's and asked her to let him have a child.
His own little goddaughter Johanna was most willingly at his service as
a companion, and as soon as she was ready the pair walked away together
hand in hand back to Elise, the little girl somewhat awed by the
situation and the changed demeanour of the friend whom she was
accustomed to regard as the merriest of her companions, but glad to be
in his society on any terms. Leaving his godchild with Elise, Johannes
almost immediately went out again, and returned after a while with his
father, whom he drew with him into the adjoining room, accidentally
leaving the door of communication a little open. The scene of the
death-chamber was thus made visible to the frightened Johanna from her
position in the parlour, and imprinted itself indelibly on her brain.
She watched it spellbound, and was not too young a child to be
penetrated and touched by what she saw.
The two men stood together by the bedside for a few seconds without
stirring. Then Johannes, putting his hand on his father's arm, gently
guided it towards the motionless figure, and, placing the husband's hand
over that of the dead wife, kept both covered with his own in a last
reconciliation. Kind friends came to the funeral, and true sympathy was
at hand, but Johannes shrank in his grief from hearing the expression of
condolence. 'I have no mother now: I must marry,' he said miserably when
the service was over. Stockhausen and his wife insisted that he and
Elise should dine quietly with them that day, and there is little doubt
that Brahms was helped by the affectionate consideration shown on all
sides, and was quietly grateful for it. He returned to his work in a few
days, but the responsibility for the maintenance of Elise, who, having
strongly felt the mother's side of the family difficulties, shrank from
the idea of rejoining her father, remained entirely his.
The two first books of the 'Magelone Romances,' dedicated to
Stockhausen, and the Pianoforte Quintet were published by
Rieter-Biedermann early in the year. The version of the quintet as a
Sonata for two Pianofortes was issued by the same house in 1872.
The Quintet in F minor, Op. 34, is unquestionably one of the greatest
works of chamber music for pianoforte and strings ever written. Some
distinguished writers go so far as to give it the first place amongst
the composer's works of its class; and if regard be had to the
largeness of its proportions, the stormy grandeur and the deep pathos of
its ideas, its extraordinary wealth of thematic material, and the
astonishing power with which this is handled, it must be admitted that
there is something to be said in support of such a view. To the author
it certainly appears impossible to select one of Brahms' works of this
period and this class for preference as compared with the others. All
are so great as, so to say, to defy future competition. They seem as
unapproachable and secure on their own lines as the immortal '48'
themselves in another category. The imaginative power which surges
through the first movement of the quintet recalls the daring of the
youthful Johannes, and is guided now by a master-hand. This movement
dominates the whole work. Its contrasted tones of passionate splendour
and scarcely less passionate mystery are reflected in the rich pathos of
the 'andante un poco adagio,' in the weird fitfulness of the scherzo
with its heart-gripping trio, and in the doubtful tranquillity of the
finale, bursting in the coda into a rushing impetuosity which carries
the movement to a triumphant conclusion. Few of Brahms' compositions
contain more striking illustrations than this one of his power of
fertilizing his themes and bringing new, out of previous, material, a
power which gives to his works a coherence and solidity hardly equalled
save in the compositions of Bach himself, and which has a certain
artistic analogy with the secret force that governs all natural organic
development.
The summer of this year was again spent near Frau Schumann. Brahms took
lodgings--two small rooms well provided with windows--in Frau Becker's
house, which was situated a little apart from the village of Lichtenthal
in an idyllic spot amongst the hills. His plan of life, essentially the
same wherever he fixed his summer residence, was to rise with the dawn,
and, after making himself an early cup of coffee, to enjoy the fresh
delights of early morning by going for a long walk in the surrounding
forest. He then returned to work in his rooms until the time arrived
for his mid-day dinner, taken usually in the garden of the 'Golden
Lion'; for in these days he only dined occasionally, when accompanied by
a friend, at the somewhat more expensive 'Bear.' By four o'clock he was
generally in Frau Schumann's balcony for afternoon coffee and to pass an
hour with her in music, conversation, or walking. More often than not he
returned to supper at half-past seven, when his place was laid at table,
as a matter of course, at Frau Schumann's right hand.
All the circumstances of his surroundings were favourable to his
creative activity, which was unceasing, and the profound emotional
experience that had recently moved and enriched his spirit had already
caused in him the stirrings of the impulse that was to grow and
gradually to dominate him until it had become embodied in a work which,
had it been the only child of his genius known to the world, would have
sufficed to immortalize his name.
Before Brahms' departure from Lichtenthal a communication from Hamburg
added to his feelings of tenderness and regret the shadow of a grave
family apprehension.
Having accepted engagements in Switzerland and Germany for the
ante-Christmas concert-season, he remained on till the end of October in
his quarters at Frau Becker's, and here, about a week before the
commencement of his _tournée_, he received the news that his father had
resolved to marry again, and had become engaged to a widow. The
intelligence, such as it was, came direct from Jakob, but it contained
no particulars whatever to soften the anxiety it aroused, no mention
being made in it even of the name of the intended wife, and it threw the
son into a state of the strongest agitation, in which the tender pang
for the dear old mother may very possibly not have been the
predominating element. Who could the wife-elect be? Would she make Jakob
happy? Could the marriage state be happy except under the rarest
combination of circumstances? Were there children of the widow's first
marriage to be provided for? if so, by whom? Jakob's means could bear no
additional burden. And yet, the dear, homely, uncultured father, often
enough a butt for the wit of the younger musicians standing by his side
in the Philharmonic orchestra; this musician without musical endowment,
who loved his music and his instruments, as Johannes sometimes declared,
if such affection were to be measured by proof given, better even than
he himself loved his art; who had persevered doggedly through long years
of privation and struggle in his endeavours to attain to some small
place in the world of art, and had won it, his father--and it needs no
prophet to realize the pathos of this thought to the loving heart of the
great composer--did he not deserve happiness if happiness should follow
the step? Johannes was that day capable of but two resolutions on the
subject: first, that his father should be made happy if anything he
could say or do could help to make him so, and, secondly, that as soon
as his engagements should permit, he would go to Hamburg and judge for
himself of the wisdom of Jakob's choice.
The first of Brahms' concert undertakings for the autumn was fulfilled
on November 3 in the hall of the Museum, Carlsruhe, where he performed
his Pianoforte Concerto at the first subscription concert of the season,
accompanied by the grand-ducal orchestra under Levi. The work was
received, for the first time, with every sign of approval. 'The people
had the surprising kindness to be quite satisfied, to call for me,
praise me, and all the rest of it,' he wrote to Dietrich.
Two of the vocal quartets, Op. 31, were included in the programme, and
Brahms played some unaccompanied Schumann solos in the second part of
the concert.
On the 6th of the month two new 'Magelone Romances' were sung for the
first time in public by Krause, at a concert given in the same hall by
Frau Schumann and Joachim; and before Brahms left Carlsruhe the first
private performance took place of the newly-completed Trio in E flat for
pianoforte, violin, and horn, a composition which has now long occupied
a peculiar place in the affection of genuine lovers of his music on
account of the tone of pure beauty that pervades it--beauty of sound,
of mood, and idea. The noble simplicity of its themes and the
spontaneous character which distinguishes their development hold the
attention even of the unfamiliar listener from beginning to end of this
inspired work, and the great musicianship of the composer has wrought it
to a flawless example of its kind, in which no weak spot can be detected
by deliberate examination. The adagio has the character of a lament, and
can hardly be matched as an expression of profound sadness excepting by
a few others of Brahms' and some of Beethoven's slow movements. The work
was a favourite with the composer, and it is of interest to know from
his own lips that its inception was due to an inspiration that came to
him in the course of one of his walks near Lichtenthal. A year or two
later than our present date, as he was ascending one of his beloved
pine-clad hills in Dietrich's company, he showed his friend the exact
spot where the opening theme of the first movement had occurred to him,
saying: 'I was walking along one morning, and as I came to this spot the
sun shone out and the subject immediately suggested itself.'[12]
From Carlsruhe Brahms proceeded to Switzerland, where he appeared at
Basle, Zürich, and Winterthur. At Zürich he conducted his D major
Serenade, given there two years previously under Fichtelberger, and
performed the solo of Schumann's Pianoforte Concerto, and Bach's
Chromatic Fantasia; and at Winterthur he gave a chamber music soirée in
combination with his friend Theodor Kirchner and the young violinist F.
Hegar. Of this Widmann, who saw and heard Brahms for the first time on
the occasion, has given some account in his 'Recollections.'
'There was,' he writes, 'a something in his countenance which
suggested the certainty of victory, the beaming cheerfulness of a
poet happy in the exercise of his art.'
Returning to Germany, Brahms appeared next at Mannheim, and, on December
12, conducted his D major Serenade and played Beethoven's E flat
Concerto at the fifth Gürzenich subscription concert of the season at
Cologne. He had but little success on this occasion either as pianist or
composer. The serenade was criticised as being too lengthy and its
themes as too 'naïve' for his elaborate treatment of them. A different
reception was accorded him at a soirée of chamber music held at the
conservatoire, when he performed with Hiller his Duet Variations, Op.
23, and with von Königslow and his colleagues the G minor Pianoforte
Quartet. Both works were received with acclamation, and the composer
achieved a success worthy of his position in the world of art. Before
leaving Cologne Brahms played at a meeting of the Musikverein to a
private audience of the members, most of them professors and students of
the conservatoire. Amongst the pieces chosen by him for performance on
this occasion were Bach's great Organ Prelude and Fugue in A minor.
And now the anxious son found opportunity to hurry with beating heart to
Hamburg to see his father and to make the acquaintance of his
stepmother-elect. To find, also, every probability that Jakob had chosen
wisely, and that his contemplated change of life bade fair to ensure a
happy and peaceful close to a career that had been full of hardship and
uncertainty.
Frau Caroline Schnack, a handsome widow who had already been twice a
wife, was just turned forty-one, and therefore more than seventeen years
the junior of her proposed third husband. She had an only child, her son
Fritz, born of her second marriage, now a lad of about thirteen. Capable
and managing, she kept an excellent public dining-room for single men
not far from the musicians' 'Börse,' described in an early chapter of
our narrative, and had a regular _clientèle_ amongst the members of the
Stadt Theater orchestra. Since the time when Johannes had thought it
advisable for his parents to separate, Jakob had been one of her daily
customers, and her good cooking and substantial capacity had gradually
opened for her the way to his affection. Johannes, on his interview with
Frau Schnack, was at once favourably impressed by her personality and
gave his consent to the engagement, only insisting that full time for
consideration on both sides should be allowed before the taking of the
irrevocable step of marriage; and after a day or two in Hamburg he set
out with a greatly relieved mind for Detmold, where he had arranged with
Bargheer to spend the Christmas week and to reappear as composer and
pianist on the scenes of his former activity.
The visit passed off most happily. The great composer, to whom, with
some disappointment, much success and fame had come since his last
sojourn in the little capital six years previously, was merry according
to his wont when in the midst of familiar associates. Such changes as
had taken place in the circle were for the better. Bargheer was married,
Carl von Meysenbug engaged. The reunions of the former bachelor friends
were enlivened by the presence of ladies--charming young married women
and pretty girls--and Brahms was ready to abandon himself to any amount
of fun, his almost extravagant buoyancy of spirits being no doubt
assisted by the reaction from his late tension of mind in regard to his
father's affairs. These social occasions were but the interludes between
more serious pleasures. Every day there was music at the palace, the
castle, or one or more of the private musical houses. Brahms conducted
his A major Serenade and played Beethoven's E flat Concerto at an
orchestral concert, and took part in a soirée at the palace, where,
amongst other things, he performed the Kreutzer Sonata with Bargheer
before the well-remembered sympathetic court circle. The visit, which
was the last paid by him to Detmold, formed a fitting close to his
association with Prince Leopold's court, to whose memory, and especially
to that of the various members of the princely family, must ever attach
the artistic distinction of their early recognition of the composer's
genius and their appreciation of his personality.
Brahms' next destination was Oldenburg, where he arrived in time to
celebrate the New Year's festival of 1866 with the Dietrichs. He played
his own Concerto and an unpublished composition of Schubert at the
subscription concert of January 5, and at the chamber music soirée of
the 10th contributed some Bach solos to the programme and took part with
Dietrich in a performance of Schumann's Variations in B flat, and with
Engel and Westermann in the first public performance of his own Horn
Trio, which created a deep impression. It is important to add here that
Westermann used the natural horn on the occasion by the particular
desire of Brahms, who now and always insisted to the hornists of his
acquaintance on the impossibility of securing a poetical interpretation
of his work with the ventil horn.
'If the performer is not obliged by the stopped notes to play
softly the piano and violin are not obliged to adapt themselves to
him, and the tone is rough from the beginning.'[13]
The appearances at Oldenburg closed the _tournée_. Gratified as our
musician declared himself to be with the results of his journey, which,
if it had not brought him a series of triumphs, had at least
demonstrated the fact that his works were gradually making their way
through the musical circles of Europe, it was not, as we know, part
either of his inclination or his aim to prolong his occasional artistic
travels. He chafed at the restriction to personal freedom resulting from
fixed engagements, and at the disturbance of mind inseparable from
hurried journeys from place to place, and this year he had more than
ordinary reason for desiring to be settled again to the quiet
concentration of thought essential to all art-creation worthy to be so
called. After a second and longer stay in Hamburg that confirmed the
satisfaction with which he had lately contemplated the idea of his
father's approaching marriage, he returned to Carlsruhe to pass the rest
of the winter in Allgeyer's house in Langenstrasse, now known as
Kaiserstrasse.
The first quarter of the year 1866 witnessed the publication of a long
list of works. By Rieter-Biedermann, the two sets of extraordinarily
difficult and brilliant Paganini Variations for Pianoforte, which, when
in the hands of a competent executant, are found to be full of original
and striking effects, even if they be inferior in musical value to the
composer's other achievements in this form[14]; the three Sacred
Choruses, Op. 37, for unaccompanied women's voices, and mentioned in our
first volume in connection with the Ladies' Choir. By Simrock, the
second String Sextet in G major, worthy sister to its companion work,
though it has not obtained quite so wide a popularity, and the Sonata in
E minor, dedicated to Dr. Josef Gänsbacher. The Horn Trio was issued by
the same house quite at the end of the year.[15]
The Sonata in E minor for pianoforte and violoncello, the earliest of
Brahms' seven published duet sonatas for pianoforte and another
instrument, all of which are characteristic examples of certain sides of
his genius, is a valuable number in the comparatively short list of
works of its class for the violoncello. The first movement is of
graceful, expressive, delicately melodious character, rising at one
point of the development section towards passion, but returning
immediately to the dainty, dreaming mood by which the composer so often
subdues his hearers to the spell of his imagination. The 'allegretto
quasi menuetto' which follows is an exquisite example of a species of
movement in the making of which Brahms stands unrivalled. It fascinates
with irresistible certainty by its ethereal, playful, poetic fancy, to
which the touch of seriousness in the trio offers just sufficient, not
too pronounced, contrast. The finale is written _con amore_ in the form
of a free fugue, which, full of spirit and energy throughout its course,
rattles to its close in a lively coda. Care should be taken not to
exaggerate the pace of this movement in performance. If taken too
quickly, the violoncello passages lose their due effect.
On his return to Carlsruhe, Brahms settled down to the actual writing of
the German Requiem, with which he was occupied during the succeeding
months, and it was one of Allgeyer's favourite recollections in later
years that a portion of the inspired work had been put on paper under
his roof.
It is well known that Brahms' nearest friends accepted the composition
as his memorial of his mother. 'We all think he wrote it in her memory,
though he has never expressly said so,' Frau Schumann told the author
some years later. 'Never has a nobler monument been raised by filial
love,' said Joachim, referring to the German Requiem in the course of
his address at the Brahms Memorial Festival held at Meiningen in
October, 1899; and we may at least say with certainty that the work,
which must be regarded as the crowning point of much of the composer's
previous activity, is, on the whole, a memorial of the emotions by which
he was stirred during the period that immediately succeeded his mother's
death, apart from the question of whether or not he had planned it at an
earlier time. It is, however, a circumstance of great interest that the
strains he had conceived in his grief for the tragedy of Schumann's
illness recurred to him as appropriate for the solemn mourning
march--one of the most vivid and extraordinary of his inspirations--of
the Requiem,[16] and we cannot be wrong in assuming that the remembrance
of his beloved friend was with him as he worked. Perhaps we may venture
to think that two of the strongest affections and griefs of Brahms'
life, associated with strangely contrasted objects--Schumann, the great
genius and master, Johanna, the simple old mother--live together in this
exalted music. There is no warrant for the statement of anything more
precise as to the composer's intention excepting with regard to the
fifth number, the soprano solo with chorus, which was added some time
after the completion of the other movements. Of this it may be said
definitely, as will presently appear, that whilst Brahms was engaged in
writing it the thought of his mother was present in a special sense to
his memory.
Jakob's marriage with Frau Schnack took place in March, rather more than
a year after the death of his first wife. Johannes sent a substantial
sum of money as a wedding present, and his great contentment in the
anticipation of his father's happiness was a constant and favourite
theme in his talks with Allgeyer, always an interested and sympathetic
listener.
Frau Caroline's business was given up, and the newly-married pair
settled into a comfortable flat on the fourth floor of No. 5,
Anscharplatz, at the corner of Valentin's Camp, a respectable business
quarter of Hamburg, where there was sufficient accommodation to allow
Frau Caroline to turn her housekeeping talents to account by taking two
or three men boarders. A large airy room, 'the corner room,' was
reserved for Johannes, who was ultimately responsible for the rent of
the flat, and to it were transferred his books, bookcase, and other
belongings, from the apartments that had been his mother's in the Lange
Reihe, whilst Elise arranged to live near an aunt in another quarter of
the city. A photograph of Johannes, taken by Allgeyer, was sent to Jakob
a few weeks after the wedding as a permanent souvenir of his son's
felicitations on the occasion. It is still in existence, and is now in
the possession of Herr Fritz Schnack, 'the second Fritz,' as Johannes
caressingly called his quasi stepbrother.
Persuaded by Theodor Kirchner, who was at this time resident in Zürich,
to spend the summer near him, Brahms, arriving in the middle of April,
found a lodging in a small house on the Zürichberg which commanded a
splendid prospect of lake and mountain. Here every facility was
abundantly at hand for his enjoyment. Dividing his time, from a very
early hour of the morning until noon, between musing in the open air and
work in his room, he was usually to be met about twelve o'clock in the
museum, which became a place of rendezvous for his friends. After the
early dinner, always taken out of doors in fine weather, and a more or
less prolonged sitting over newspapers, or in chat with acquaintance, in
the open air, he would drop in at a friend's house, generally
Kirchner's, pass an hour or two in informal sociability, and often make
music with some of the resident musicians. It was at Kirchner's that he
became acquainted with the celebrated Swiss writer and poet, Gottfried
Keller, and with the distinguished Zürich professor of surgery, Dr.
Theodor Billroth, who was some four years our composer's senior, and
who, called subsequently to Vienna, became one of Brahms' most familiar
friends. Billroth's love for music was second only to his devotion to
his own great vocation. He had studied the violin under Eschmann, played
at a weekly trio meeting at his house in Plattenstrasse, Zürich, and was
sufficiently proficient to take part on the viola with professional
musicians in private performances of Beethoven's quartets and Brahms'
sextets. He could play the piano well, was a good sight-reader, and
acted occasionally as musical critic to one of the Zürich papers.
'Brahms arrived here a few days ago,' he writes on the 22nd of
April to his friend, Professor Lübke of Stuttgart. 'This morning he
and Kirchner played some of Liszt's symphonic poems on two
pianofortes. Horrible music!... We purged ourselves with Brahms'
new sextet that has just come out. Brahms and Kirchner played it as
a duet.'[17]
The composer became intimate, also, at the house of Herr and Frau
Wesendonck, who had been Wagner's great friends during his residence at
Zürich, and could not hear enough about the composer of the
'Meistersinger,' of whom the Wesendoncks possessed inexhaustible
personal recollections and several valuable souvenirs. Amongst these was
the master's autograph score of the 'Rheingold,' an object that was
regarded by Brahms with a respect almost amounting to veneration.
Traits of habit and character similar to those with which the reader is
familiar, and which recall the period of the Detmold visits, are
described in Steiner's 'Recollections,' by Capellmeister F. Hegar,[18]
who was the inseparable associate of Brahms and Kirchner:
'... We were no less impressed by his extraordinarily sound health.
He could venture upon anything. How often has he passed the night
on the sofa of my bachelor's quarters when he was disinclined to
climb the Zürichberg in the late hours of evening. Once indeed,
when an older friend less hardy than himself claimed my
hospitality, he lay down underneath my grand piano, and declared
next morning that he had slept splendidly.'
Hegar mentions that Brahms' musical memory and unusually rapid power of
apprehension excited the astonished admiration of the Zürich musicians.
'When we played him our compositions for the first time, he would
afterwards sit down and repeat long portions note for note from
memory, pointing out the weak places.'
One or two reminiscences of the summer are to be found in the volume of
Billroth's letters from which quotation has already been made. Amongst
them is the description of a music-party at his house, at which Brahms
was present to hear a performance of his lately-published Sextet in G
major. The consciousness of the composer's presence so unnerved Billroth
that he was obliged to ask Eschmann, who was amongst the listeners, to
relieve him of his part of second viola.
'I have learnt never to play before a composer,' he wrote a few
days afterwards, 'unless his work has been well rehearsed. As I was
quite familiar with the composition, I could imagine the vexation
Brahms must have felt, although he put the matter aside in the
kindest way. Kirchner, Brahms and Hegar had been up late together
the night before and were tired. Everything contributed to make the
evening dull.'
Of the sextet he says: 'I think it wonderfully fine; so clear, so
simple, so masterly.'
Brahms remained in Switzerland until the middle of August, and, arriving
on the 17th of this month to stay for a few weeks at his old lodgings in
Lichtenthal, surprised Frau Schumann by appearing before her for the
first time with a beard. He did not at this period persevere very long
in wearing the appendage, which changed his appearance in an unusual
degree, but he adopted it a second time, and, as it proved, permanently,
about fourteen years later.
The composer had worked steadily on at the German Requiem during the
months of his residence in Zürich, and that he now completed it in
Lichtenthal--save and excepting only the fifth number--is to be inferred
from the inscription on the manuscript score--'Baden-Baden im Sommer,
1866'--now in possession of the Gesellschaft der Musikfreunde at Vienna.
Great additional interest is given to this date by a short entry made by
Frau Schumann in her diary early in September, which is, without doubt,
the earliest written note upon the now famous work.
'Johannes has been playing me some magnificent movements out of a
Requiem of his own and a string quartet in C minor. The Requiem
delighted me even more, however. It is full of tender and again
daring thoughts. I cannot feel clear as to how it will sound, but
in myself it sounds glorious.'[19]
The extract has a double interest, as furnishing a new illustration of
Brahms' caution with regard to publication, and especially in the case
of works which constituted for him a new artistic departure. The String
Quartet in C minor was not published until 1873, seven years from our
present date.
About the middle of September Joachim appeared in Lichtenthal, and after
a few days' stay there carried Brahms away with him. He had become a man
at large through the political events of the year, by which the kingdom
of Hanover became part of Prussia, having felt it impossible to accept
the offer made him to retain his appointment after the deposition of
King George, and was able to follow his inclination as to his
arrangements for the autumn and winter season. These included tours in
Switzerland and France, and it was ultimately arranged between the
friends that Johannes should combine with him in some of his Swiss
concerts.
Brahms spent most of the intervening time in Hamburg, and was so happy
in his comfortable corner room in the Anscharplatz that he began
seriously to entertain the idea of settling down again under his
father's roof. Frau Caroline managed the household with careful but
judicious thrift, and there was peace and contentment in the home. In
his own way Jakob was as regular in his habits as his son. Every morning
he went to the 'Börse' to inquire for work, and was generally successful
in obtaining small engagements, often to act as substitute in the
theatre orchestras. His position as bassist at the Stadt Theater had
come to an end in the course of the fifties, owing to changes in the
management, but he continued a member of the Philharmonic orchestra
until a year before his death. He was proud and fond of Frau Caroline,
always came home as soon as his work was done to enjoy the good plain
fare which she had ready for him, and was perfectly happy as he sat in
the kitchen with his pipe and a large cup of thin coffee, watching her
movements. Once a week he amused himself by walking in the Jews' quarter
of the city and inspecting the cheap second-hand wares with which the
vendors sought to tempt his custom. His weakness for bargains was
sometimes a source of embarrassment to his wife, in spite of her
firmness in limiting his loose pocket-money to the sum of a few pence.
Now he would send home to her a quantity of wardrobe hooks, another time
many pounds'-weight of honey. 'Goodness, Brahms! what are we to do with
it?' she would despairingly inquire. 'Yes, Lina, but I couldn't let it
stand at the price,' he would answer. Johannes used to lecture his
father on his weakness for spending money, telling him how careful he
himself was obliged to be, and could be seriously vexed if he found that
Jakob had been really extravagant or thoughtless. This, however,
occurred but seldom.
A letter to Dietrich from the Anscharplatz mentions the Requiem, and
evidently answers an inquiry from Albert as to the long-delayed Symphony
in C minor of which we heard in the summer of 1862.
'DEAR DIETRICH!
'Before the summer is over you shall be reminded of me by a short
greeting....
'Unfortunately I cannot wait upon you with a symphony, but it would
be a joy to have you here for a day, to play you my so-called
German Requiem.
'I have been till now living in Switzerland, in Zürich. I shall
stay here a little and think of going then to Vienna....'[20]
The concert-journey with Joachim was very successful, and afforded
Brahms quite unexpected evidence of the progress his music was making in
Switzerland. This country was, in fact, one of the earliest in which his
art met with general appreciation, and much of the credit of its
acceptance there must be ascribed to the efforts of Theodor Kirchner,
who, as the reader may remember, was one of the most gifted musicians of
the Schumann circle, and who seized every opportunity that offered from
the beginning of Brahms' career, to spread the understanding of his
compositions. Kirchner filled an organist's post at Winterthur for
nearly ten years before his removal to Zürich in 1862, and, whilst
developing an active musical life in the little town, made his influence
felt far beyond its limits.
The tour opened on October 24 in Schaffhausen, and included Winterthur,
Basle, and finally Mühlhausen in Alsace. An interesting incident of the
visit to Mühlhausen was the renewal of friendly relations, after ten
years of estrangement, between Joachim and von Bülow, who was resident
during the season 1866-67 at Basle, and gave Trio concerts there with
Abel and Kahnt. No communication took place between the former Weimar
intimates during the week passed by Brahms and Joachim at Basle, but
Bülow's affectionate nature was strongly stirred by seeing his old
friend again on the concert-platform and hearing his public
performances, which he describes as 'ideal perfection.' The sequel may
be told in the words of his letter to Raff, dated Basle, November 22.
'And now, a great piece of news. On Sunday the 10th I travelled to
Mühlhausen for the Brahms-Joachim concert, and the relation of
friendship between Joachim and me was renewed on French soil after
ten years' interruption. This will lead to no results of a positive
nature, but a stone has been taken from my heart, and from his also
as he has assured your sister-in-law. For my sake Joachim returned
to Basle for a few hours and then took the night train to
Paris.'[21]
Some years were yet to elapse before Bülow could pretend to any
cordiality of feeling towards the art of Brahms. In another letter of
1866 we read:
'I respect and admire him, but--at a distance. The Pianoforte
Quintet seems to me the most interesting of his large
compositions.... Kiel is much more sympathetic to me.'[21]
He prevailed upon himself, indeed, to play the Horn Trio at his Basle
Trio concert of March 26, 1867, when his colleagues were Abel and Hans
Richter, who commenced his artist's career as a hornist, and was at this
time living in Switzerland in the enjoyment of Wagner's intimacy; and he
included Joachim's Variations for viola and pianoforte in the same
programme; but as late as 1870 he wrote to Raff:
'What do the Br.'s matter to me? Brahms, Brahmüller, Bruch, etc.
Don't mention them again! Who knows whether a Riehl may not turn up
in 1950 to beplutarch them as maestrinelli? The only one who
interests me is Braff!'
The fact that von Bülow's critical faculty was subject to the disturbing
influence of his capacity for warm friendship cannot lessen the
admiration inspired by his talents and his generous nature. His severe
animadversions on Brahms' works, together with his practical neglect of
them up to a period when his opinion as to their merits had become very
much a matter of indifference, may be pardoned by the lovers of our
master's art, who remember that they were, for the most part, the
outcome of his deep personal affection for Liszt, Wagner, and Joachim,
and of his long-continued intimate association with the leaders and
prominent disciples of the New-German school.
Brahms returned to Vienna, after about a year and a half of absence,
immediately after his friend's departure from Mühlhausen, and spent the
winter quietly at work in his room on the fourth story of No. 6,
Poststrasse. The earliest event of any importance to his career that
marks the opening months of the year 1867 is the first public
performance of the Sextet in G major, which was given at the
Hellmesberger concert of February 3. The reader will by this time hardly
be surprised to learn that the work was received without enthusiasm.
'The composer was certainly called for and applauded,' says
Schelle, Hanslick's successor in the _Presse_, and a loyal though
unbiassed supporter of Brahms, 'but it was with a certain reserve.
One felt distinctly that the public was not carried away by the
work, but desired to do justice to so admirable an achievement....
Brahms may be called a virtuoso in the modern development of the
quartet style, ... but only that can reach the heart which proceeds
from the heart, and the sextet comes from the hand and the head,
whilst the warm pulsations of the heart are to be felt only at
intervals.'
So Bach's works were once spoken of, so Beethoven's in their day. So, it
may almost be said, must be criticised all musical creative achievement
that adequately expresses an original individuality. The composer of
genius has to go through a long apprenticeship before he acquires a
language of his own really capable of conveying his thoughts to the
world. By the time he is master of it, he has, by the nature of things,
placed himself outside the immediate comprehension of all but a few
specially qualified listeners, and must be willing to wait for his
reward until some of those to whom he speaks have had time to follow him
a certain distance along his appointed path, and opportunity to become
familiarized with his manner of utterance. Brahms was content to wait,
and he waited almost with equanimity of spirit, never losing faith in
the future, though he had something more pronounced to encounter than
indifference. Hirsch, of the _Wiener Zeitung_, wrote apropos of the
sextet:
'We are always seized with a kind of oppression when the new John
in the wilderness, Herr Johannes Brahms, announces himself. This
prophet, proclaimed by Robert Schumann in his darkening hours, who,
for the rest, has his energetic admirers in Vienna--we mention this
in our position, from pure love of truth--makes us quite
disconsolate with his impalpable, dizzy tone-vexations that have
neither body nor soul and can only be products of the most
desperate effort. Such manifest, glaring, artificiality is quite
peculiar to this gentleman. How many drops of perspiration may
adhere to these note-heads?'
On the 25th of this same month of February, the earlier B flat Sextet,
by this time almost popular in more than one Continental city, and long
known in New York through Mason's concerts, was performed for the first
time in England at the Monday Popular Concerts, St. James's Hall,
London, by Joachim, Louis Ries, Henry Blagrove, Zerbini, Paque, and
Piatti. The director, S. Arthur Chappell, printed a notice in the
programme-books to the effect that he introduced the work by Joachim's
desire. It made no impression, and the composer was not again heard at
the Popular Concerts for five years.
If the recognition of Brahms' exact claims as a composer, even by his
Austrian public, long remained dubious, his qualities as a pianist
seldom failed to evoke unmistakable signs of their warm approval. With
the arrival of March he prevailed upon himself this year to announce
concerts in Vienna, Graz, Klagenfurth, and Pesth, and the success of
his performances was unequivocal, in spite of the approach of spring and
the unusual warmth of the season.
'At last a pianist who entirely takes hold of one,' exclaims
Schelle, writing of the first concert; 'one only needs to hear his
first few chords to be convinced that Herr Brahms is a player of
quite extraordinary stamp. The musical critic of the _Wiener
Zeitung_ writes that Herr Brahms was cordially received by his
"party." We may remark that Brahms was received, not by a "party,"
but by the entire very numerous public, with applause such as is
seldom heard in Vienna concert-rooms. If, however, the audience of
the evening is to be described as the "party" of the distinguished
artist, it must be said that his party consists of the cultivated
experts of musical Vienna.'
The instrumental numbers of the programme were Beethoven's Fantasia, Op.
77; Bach's G major Fantasia; Brahms' Scherzo; Schumann's Etudes
Symphoniques; Brahms' Paganini Variations. The concert-giver played as
an additional piece his own arrangement for the pianoforte of the fugue
from Beethoven's String Quartet, Op. 59, No. 3,
'which,' says Schelle, 'claims almost more admiration even than his
performance, for it is a most faithful reflection of the entire
score which we meet unchanged in the effective costume.'
At the second concert in Vienna, which took place on April 7, after
Brahms' return from the provinces, the programme included Bach's F major
Toccata; Beethoven's Sonata, Op. 109; Brahms' Handel Variations and
Fugue; Schumann's Fantasia in C, Op. 17; and short pieces by Scarlatti
and Schubert. As an additional piece, an arrangement of a movement from
Schubert's Octet was conceded. Vocal numbers were included in both
programmes.
Brahms himself mentions the concerts in a letter to Dietrich.
'The result was so good in every respect,' he writes, 'that I must
call myself doubly an ass for not having secured it earlier and
taken the opportunity to get rid of my Requiem.'
He let the work lie for several months longer, however, without coming
to any decision about it. On July 30 he again wrote to Dietrich:
'... In all haste: I start to-morrow with my father on a little
tour through Upper Austria. I do not know when I shall be back.
Keep the accompanying Requiem until I write to you. Don't let it go
out of your hands and write to me very seriously by-and-by what you
think of it.
'An _offer_ from Bremen would be very acceptable to me.
'It would have to be combined with a concert engagement. In short
_Reinthaler_ must probably be sufficiently pleased with the thing
to do something for it.
'For the rest, I am inclined to let such matters quietly alone, for
I do not intend to worry myself about them.
'I am ready for anything from Christmas onwards. Joachim and I
probably gave concerts here before.'
There is a trace of nervous anxiety in this letter which leaves little
doubt that Brahms had within him the consciousness that in the German
Requiem he had transcended all his previous achievements, and that he
was even unusually anxious to ensure a favourable opportunity for the
hearing of his new work. Until now it had been submitted to none of his
companions, save, perhaps, Joachim, and it is evident that he did not
easily bring himself to the resolution of sending it away even for
Dietrich's sympathetic inspection, and that, whilst he hoped, he
somewhat dreaded to hear the result of a communication with Reinthaler.
We must postpone for awhile our account of the fortunes of the
manuscript in order to follow our musician on his holiday journey, on
which he no doubt started with a mind sufficiently relieved by the mere
fact of his decision to be able to await with composure the next issues
of fate.
Herr königlich Musikdirektor Carl Martin Reinthaler (born 1822),
municipal music-director of Bremen and organist of the cathedral, to
whom the manuscript is meanwhile to be submitted, was a distinguished
musician and the composer of numerous works in very varied forms, vocal
and instrumental. His oratorio 'Jepthah' was performed in London in
1856 under John Hullah's direction; several of his operas--'Käthchen von
Heilbronn,' 'Edda,' etc.--composed later in his career, were given with
success in Bremen, Hanover, and other towns; and his 'Bismarck Hymn' won
the prize in a competition adjudged at Dortmund. By his talent and
earnestness in his position as conductor of the orchestral concerts at
Bremen, he did much to raise the standard of musical taste in the city.
[11] 'Josef lieber, Josef mein,
hilf mir wieg'n mein Kindlein fein.
Gott der wird dein Lohner sein
in Himmelreich der Jungfrau Sohn, Maria.'
(Joseph dearest, Joseph mine,
Help me rock the babe divine.
Heaven's blessing shall be thine
In th' kingdom of the Virgin's Son, Mariè.)
[12] Personally communicated to the author by Herr Hofcapellmeister
Dietrich.
[13] From a letter published by Richard Heuberger (_Beilage zur Allg.
Musikzeitung_, 1899, No. 260).
[14] Brahms, by giving to the variations the second title of Studies for
the Pianoforte, has sufficiently indicated the intention with which he
placed them before the world.
[15] The date of the publication of the Horn Trio is given in Simrock's
Thematic Catalogue as 1868.
[16] See p. 167, vol. i.
[17] 'Briefe von Theodor Billroth' (sixth enlarged edition).
[18] 'Neujahrsblatt der Allgemeinen Musikgesellschaft in Zürich,' 1898.
[19] The author is indebted for this and a few other extracts from Frau
Schumann's diary to the kindness of Fräulein Marie Schumann.
[20] The date assigned to this letter in Dietrich's 'Recollections' is
one amongst several similar mistakes that occur in the volume. They are
to be explained by the circumstances that Brahms rarely put dates to his
letters, and that those in question were supplied from memory.
[21] 'Briefe u. Schriften von Hans von Bülow.' Published by Marie von
Bülow.
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.
Our composer's invitation to his father to accompany him on a tour
amongst the Austrian Alps had mightily gratified Jakob. The violinist,
young Carl Bade, happening to call at the Anscharplatz on the day of his
start for Vienna, found him carefully dressed for the journey, and in a
high state of elation and delight. Wrapping himself in an air of
mysterious mock dignity, he scarcely vouchsafed a word of greeting to
his wondering young friend, but, drawing himself up to his full height,
gravely adjusted his necktie and paced the room in silence. Then, coming
to a standstill, he pursed up his lips and looked at Bade with an
expression of sly significance. 'Min Hannes het mi inladt; ick reis mit
min Hannes' (My Hannes has invited me; I travel with my Hannes), he said
in answer to Bade's demands for an explanation. A glimpse of him on his
arrival is afforded by the recollection of Dr. Josef Gänsbacher, who was
to accompany father and son on their journey, and, calling to make last
arrangements with Johannes, found Jakob with him. The manuscript of the
beautiful song 'Mainacht,' which had that day been composed, was at
hand, and at his friend's request Gänsbacher sang it then and there, and
added the lovely 'Wie bist du meine Königin' for the benefit of the
elder Brahms, who expressed himself, as in duty bound, pleased with the
songs, and was undoubtedly gratified by the compliment paid him.
The route chosen by the travellers lay through Styria and Carinthia,
regions abounding in grand and romantic scenery of mountain, lake and
forest; but though Johannes, an inveterate optimist in many ways, talked
afterwards of his father's enjoyment of the journey, it is to be feared
that Jakob, who had scarcely quitted Hamburg since his arrival there as
a youth of nineteen, did not develop any great appreciation of the
beauties of nature. He managed the ascent of the Hochschwab, or part of
it, on foot, but it was a great deal too much for him. He was too old
and too heavy to begin an apprenticeship as a mountaineer, and on the
next expedition of the kind made by Johannes and Gänsbacher he remained
behind at the village of Wildalpen. He got on much better when walking
on the even, but wisely made no attempt to emulate the indefatigable
pedestrian powers of his son, who would frequently stride on until he
was an hour ahead of his companions. Jakob was better able to appreciate
those parts of the journey which were accomplished by carriage or boat,
though even there he spoke but little, perhaps hardly knowing how to
express himself. One day, however, when the three travellers were on the
Grundlsee, one of the most secluded and romantic of the Austrian lakes,
he stood up and looked slowly round him, as if impressed by the beauty
of the scene. 'Just like the Alster at home in Hamburg,' he remarked at
length, as he sat down again.
Johannes fell in with some parties of his Austrian friends during the
expedition, and was plainly gratified by the consideration shown to his
father by one and all. One enthusiastic lady went so far as to bestow a
kiss on the old man--an attention which procured him some good-natured
raillery from his son, and which he discreetly left unmentioned for some
time after his return to the Anscharplatz. He went back by way of
Heidelberg, stopping to see the castle and other attractions by the
desire of Johannes, and, a little while after reaching home, received
from Vienna a souvenir of the doubtful pleasures of his journey in the
shape of some mountain charts of the districts through which he had
travelled, with blue lines drawn to mark the summits he had been able to
attain by mountain railways or other mechanical means of transit. The
maps, carefully preserved by Jakob, remain as a memorial of the
composer's loving thought of his father, whom he indulged and spoilt
almost like a petted child at this period of his life.
The journey over, Brahms' thoughts reverted to the manuscript which he
had confided to Dietrich's care, and as soon as he was back in Vienna he
wrote to beg for its return:
'DEAR ALBERT,
'Please send my score back to me as soon as possible and turn the
opportunity to good account by enclosing this and that--above all a
long letter.
'I had the great pleasure of having my father with me for some
weeks. We made a pleasant tour through Styria and Salzburg. Imagine
what enjoyment my father's pleasure gave me, he had never seen a
mountain....
'Now I think of remaining here quietly; it is unfortunately useless
for me to make plans, for only that happens which comes of itself.
'Nevertheless I wish to have the Requiem in my own cupboard again,
so send....'[22]
To this note Dietrich returned no answer, and Brahms, becoming
impatient, applied for information as to the whereabouts of his work to
Joachim, who wrote back that it was in Reinthaler's keeping. Possibly
Brahms may have been a little startled at finding that Dietrich, in his
eager friendship, had put such an elastic interpretation upon the
mention of the Bremen director quoted in our last chapter as to pass
over the injunction not to part with the manuscript; but however this
may be, he cannot but have been gratified at finding, as the result,
that the musician of his own selection had been so impressed by the work
as to wish to produce it at the earliest appropriate opportunity in the
cathedral of Bremen. It is known to some of Reinthaler's old friends
that he suggested the enlargement of the work to the dimensions of an
oratorio. That Brahms did not entertain the proposal is matter of
history.
The first performance of the Requiem, as originally completed, to be
given under Brahms' direction in Bremen Cathedral, was fixed for Good
Friday, April 10, 1868. Meanwhile the composer's engagements kept him in
Austria. The first three numbers of the new work were to be produced
under Herbeck at the Gesellschaft concert of December 1, and a tour
arranged with Joachim for the ante-Christmas concert-season included
concerts in Vienna, Budapest, and various provincial towns. The journey,
which opened at Vienna on November 9, was triumphantly successful.
Joachim performed the great solos of his répertoire by Bach, Tartini,
and Spohr, and shorter pieces by Schumann and Paganini, with all of
which concert-goers are now familiar, appearing also on his own account
in several great orchestral concerts. Brahms played works by Bach,
Schumann, Schubert, and some of his own compositions. Together the
concert-givers were heard in several of Beethoven's duet Sonatas,
Schubert's Fantasia, Op. 159, and Rondo Brilliant, Op. 70, etc.
'When Brahms and Joachim play Beethoven, Bach, Schubert together, the
conceptions are like living tone pictures,' says Billroth, who, called
to Vienna about a year after his first acquaintance with Brahms at
Zürich and settled there for good, had the delight of receiving and
hearing his two great artist friends at his house several times during
the two months of Joachim's stay.
The Gesellschaft concert of December 1 was devoted to the memory of
Schubert, and the three first numbers of the German Requiem formed an
appropriate first portion of a programme of which the second half
consisted of a selection from Schubert's music to 'Rosamund,' given for
the first time in a concert-room. The choruses were, of course, sung by
the Singverein, and Dr. Pänzer, of the imperial chapel, was responsible
for the baritone solo of the Requiem.
The performance of Brahms' movements did not result in a success, though
the two first were received with some tokens of approval. At the
conclusion of the third an extraordinary scene took place. The now
celebrated pedal point,[23] on which the last section of this number is
constructed, produced--partly owing to a mistake of the drummer, who
drowned the chorus by playing the famous 'D' _forte_ throughout--a
condition of nervous tension in a portion of the audience, a longing to
be relieved from the monotony of the one dominating sound; and when the
composer appeared on the platform in answer to the calls of some of his
hearers, unmistakable demonstrations of hostility mingled with the
plaudits. It may, indeed, be confidently surmised, and cannot appear
surprising, that but few even of those who supported him on this
occasion had any clear conception either of the meaning or importance of
his work. To Hanslick it appeared
'one of the ripest fruits in the domain of sacred music, developed
out of the style of Beethoven's late works.... The harmonic and
contrapuntal art learnt by Brahms in the school of Bach, and
inspired by him with the living breath of the present, is almost
forgotten in the expression of touching lament, increasing to the
annihilating death-shudder.'
Of its reception he says:
'It is intelligible that a composition so difficult to understand,
and which deals only with ideas of death, is not adapted for
popular success and that it does not entirely answer to the demands
of a great public. We should have supposed, however, that a
presentiment of the greatness and seriousness of the work would
have suggested itself even to those who do not like it and would
have won their respect. This seems not to have been the case with
half a dozen gray-haired fanatics of the old school, who had the
rudeness to greet the applauding majority and the composer, as he
appeared, with prolonged hissing--a requiem on the decorum and good
manners of a Vienna concert-room which astonishes and grieves us.'
Schelle, after reviewing the first number sympathetically and the second
almost enthusiastically, continues:
'Unfortunately the third is extremely inferior to it [No. 2]; the
text demanded a strong increase of effect which the composer has
been incapable of giving. The bass solo is not written gratefully
for the voice and there is much that is obtrusively bizarre and
unedifying in the chorus.... The movement was a failure....'
Hirsch did not fail to make use of his opportunity in the _Wiener
Zeitung_. He speaks of the 'heathenish noise of the kettledrums,' and
declares 'in the interest of truth' that the opposition party in the
audience had an immense majority.'
The concert is mentioned by Billroth in a letter dated December 24:
'I like Brahms better every time I meet him. Hanslick says, quite
rightly, that he has the same fault as Bach and Beethoven; he has
too little of the sensuous in his art both as composer and pianist.
I think it is rather an intentional avoidance of everything
sensuous as of a fault. His Requiem is so nobly spiritual and so
Protestant-Bachish that it was difficult to make it go down here.
The hissing and clapping became really violent; it was a party
conflict. In the end the applause conquered.'
It is characteristic of Brahms that his belief in the future of his work
was not diminished by the untoward incidents of this occasion. He looked
forward to the result of the coming performance in Bremen with a
confidence that was even enhanced by the fact that he had gained
experience with respect to the instrumentation of the third chorus.
He sent part of his manuscript to Marxsen with a letter from which the
following quotation was first published by Sittard in his 'Studien und
Charakteristiken':
'I send you some novelties and beg you, if time allows, to write me
_one_ or _many_ words about them. I enclose also something from my
Requiem and _on this I earnestly beg you to write to me_. It looks
rather curious in places and perhaps, in order to spare my
manuscript, you would take some music paper and put down useful
remarks. _I should like that very much._ The eternal "D" in No. 3.
If I do not use the organ it does not sound. There is much I should
like to ask. I hope you have time and some inclination; then you
will perceive at once what there is to ask and what to say.'
It is, as Hanslick observed, by no means unintelligible that the first
part of the German Requiem was not immediately accepted by the general
body of listeners assembled at the Gesellschaft concert of December 1,
unprepared as they were for the new and important element underlying its
conception. The title chosen by the composer was at the time, and has
been occasionally since, demurred to as misleading, on account of the
long association of the term Requiem with the ritual of the Roman
Church. It should, however, be obvious that by the word 'German'
departure is indicated from the practice of previous composers, which
places the composition in a category of its own and gives to its message
an applicableness beyond the limitations of creed. Brahms arranged his
own words, and by the fact of doing so, by his inspired musical
treatment of his texts, and his direct avoidance of giving to his work
an association with a particular church service or a familiar musical
form, requiem or mass, cantata or oratorio, has preserved in it, whether
or not consciously, an element of personal fervour that constitutes part
of the secret of its spell.
The texts, culled from various books of the Old and New Testaments and
the Apocrypha,[24] have been chosen, with entire absence of so-called
doctrinal purpose, as parts of the people's book, of Luther's Bible, the
accepted representative to Protestant nations of the highest aspirations
of man, and have been so arranged as to present in succession the
ascending ideas of sorrow consoled, doubt overcome, death vanquished.
That they open and close with the thought of love is not of necessity
to be ascribed solely to the artistic requirements of the work, or the
exigencies of its sacred theme. Whoever has studied Brahms' life and
works with sympathetic insight will be aware that the suggestion of love
triumphant runs through both like a continuous silver thread, and it is
open to those who choose, to accept this as indicative of a faith
dwelling within him, which was none the less fruitful for good because
it knew nothing of the dogma of the Churches.
The opening chorus of the Requiem furnishes the key-note of its spirit:
'_Blessed are they that mourn, for they shall be comforted. He that
goeth forth and weepeth, bearing precious seed, shall doubtless come
again with joy, bearing his sheaves with him. They that sow in tears
shall reap in joy._'
What more reassuring prelude could prepare the human soul for encounter
with its most dreaded foe than these inspired words, heard in the
exquisite setting of consolation by which the composer has illumined
their meaning? The tenderness of the benediction, the passion of the
anticipation, the recurring mournful calm that dies away in the softest
whisper of comfort, place the mind in an attitude of awed suspense which
finds its solution in the opening bars of the solemn, mysterious march
of the second movement. Here we are surely in the majestic presence of
death incarnate, wrapped, however, in a haze of beauty, sorrow,
tenderness, compassion, that betoken, not the ruthless enemy of mankind,
but a deeply mournful messenger subdued to a Divine purpose. '_Behold,
all flesh is as grass, and all the glory of man as the flower of
grass_,' chant the altos and tenors in unison an octave above the
basses, something of unearthliness in their tones, with the alternate
repetitions of the march; and the delicate, evanescent harmonies of the
answering phrase, '_The grass withereth, the flower fadeth_,' strangely
deepen the impression of transitoriness conveyed by the text. Relief is
given by a middle episode of somewhat more animated character: '_Be
patient therefore, brethren, unto the coming of the Lord. Behold, the
husbandman waiteth for the precious fruit of the earth, and hath, long
patience for it until he receive the early and latter rain. Be ye also
patient._' The final ending of the march, which is repeated after the
episode, is succeeded by the outburst of a transitional passage--'_God's
word endureth for ever_'--leading to the vigorous gladness of the second
section of the movement (fugato)--'_And the ransomed of the Lord shall
return and come to Zion with songs and everlasting joy upon their heads:
they shall obtain joy and gladness, and sorrow and sighing shall flee
away_'--whose ringing, jubilant tones are checked only by the passing
shade of sorrow, until it subsides into the more tranquilly happy mood
in which the chorus terminates.
In the third number the vision alters. To exaltation succeeds abasement.
We are shown the despondency, that is almost despair, of the soul
prostrate before its Lord: '_Lord, make me to know mine end, and the
number of my days what it is, that I may know how frail I am_.' The
movement opens with a baritone solo, supported by basses, drums, and
horn, which seems to crave nothing, hope for nothing. Words and melody
are, however, immediately repeated in chorus with plain harmonies that
somewhat relieve the first impressive gloom. Then there is a change. The
final cadence of the solo[25] becomes, in the chorus, a surprise cadence
upon which the baritone re-enters: '_Behold, thou hast made my days as
an handbreadth, and mine age is as nothing before thee_.' The tension
relaxes, and a note of pleading makes itself felt that is strengthened
in the choral repetition of the phrase by the movement of the
accompanying instruments. Through despondency, through resignation,
through questioning, the soul gradually rises to hope: '_Verily man at
his best state is altogether vanity. Surely every man walketh in a vain
show, surely they are disquieted in vain; he heapeth up riches, and
knoweth not who shall gather them. Now, Lord, what do I wait for?_' The
pleading becomes importunity, and the crisis is reached with the
reiteration of the last words, first in an increasing agitation, and
finally in deliberate, hushed tones that seem to challenge the Lord. The
effect that follows is, perhaps, unsurpassed in its pure loveliness
throughout the domain of sacred music. With the passage '_My hope is in
thee_' all doubt is resolved in a glow of warmth, reconciliation, and
trust, and the perfect assurance of faith, '_The souls of the righteous
are in God's hand_' becomes the subject of an accompanied choral fugue,
constructed from beginning to end upon a tonic pedal point, which
establishes the brief inspiration of the transition passage in a
protracted expression of unshakable confidence, and forms, not only the
climax of the movement, but the first climax of the entire work. In it
the soul attains to an elevation of faith from which it does not again
falter. Though sorrow may not yet be finally subdued, doubt is
conquered, and the fourth number--'_How amiable are thy dwellings, O
Lord of Hosts! My soul longeth, yea, even fainteth for the courts of the
Lord: my heart and my flesh crieth out for the living God. Blessed are
they that dwell in thy house; they will be still praising thee_'--is a
clear, melodious choral song with a flowing accompaniment, harmonized
simply, and with an occasional point of imitation, that expresses simple
affection and trust, emphasized towards the close of the movement by the
employment of increased contrapuntal resource.
The fifth number, added, as we have said, after the work was first
finished, and not essential to its conception as a whole, may have been
conceded to some need of contrast felt by the composer on hearing the
completed six movements consecutively. It consists of a very beautiful
soprano solo with chorus, of rather mystic character, to the words '_And
ye now are sorrowful. As one whom his mother comforteth, so will I
comfort you._'
The sixth chorus opens with a dirge--'_For we have no abiding city, but
we seek one to come_'--soon to be interrupted by the baritone solo:
'_Behold, I shew you a mystery: we shall not all sleep, but we shall be
changed._' The words are repeated by the chorus with a heightening
agitation of mysterious expectancy, that leaps suddenly at the clarion
call to tumultuous exultation: '_In a moment, in the twinkling of an
eye, at the trump: for the trumpet shall sound, and the dead shall be
raised incorruptible, and we shall be changed._' The wild agitation is
stayed by the quiet message of the solo, '_Then shall be brought to pass
the saying that is written_,' and a prolonged half-cadence leads to the
re-entry of the chorus in a magnificently-sustained inspiration of
triumphant joy: '_Death is swallowed up in victory. O death, where is
thy sting? O grave, where is thy victory?_' The glorious movement, after
mounting from height to height of power and splendour, suddenly, with an
unexpected change of time and key, reaches its climax in a brilliant
fugue, that seems, with its passion of never-ending praise, to reopen
the door of heaven and to transport the soul of the hearer to the
dazzling scene of the throne that is filled with the ineffable presence
of God: '_Thou art worthy, O Lord, to receive honour and power, for thou
hast created all things, and for thy good pleasure they are and were
created._'
The great work has now reached its final climax. The imagination of the
modern seer, soaring beyond sorrow, doubt, death, has pierced for a
moment through the mystery of things and shown us the unspeakable. But
the vision is not yet at an end. As in the writing of the Revelation of
St. John, so in the inspired music of the German Requiem. After the
lightnings and thunders and all the manifold glory of the throne, the
voice of the spirit: '_Blessed are the dead which die in the Lord
henceforth; Yea, saith the Spirit, that they may rest from their
labours, and their works do follow them._' Confident, tender, majestic,
the message floats through the seventh movement, a veritable requiem, a
true song of peace, and, heard at length in the tones of the benediction
with which the work opens, sinks into silence with reiteration of
blessing.
It would be an attractive task to analyze the technical means that
Brahms has employed to give musical expression to the varied ideas, all
rooted in the central one of overruling love, which together form the
subject of this exalted work. Whilst he has used the resources of
classical art with a power and ease that recall the mastery of Bach and
Handel, he has given warmth and life to his creation by availing himself
of the harmonic development of musical means to which the genius of
Schumann gave such strong stimulus. Wisely conservative, he was also
modern in the best sense, nor could the German Requiem have attained the
position it has won in the hearts of thousands of men and women to whom
it has brought comfort in bereavement or solace in times of mental
distress, if he had not understood and shared in the spirit, and
answered to it in an idiom, proper to his time. This should not be
forgotten in the performance of the great work, which is sometimes given
with a cold, formal correctness supposed to be appropriate in the case
of classical compositions. Brahms was not a pedant, but a poet and
idealist, and the full beauty and fascination of his music is disclosed
only when it is interpreted with the insight that is born of enthusiasm
and imagination.
The Horn Trio was played in Vienna at the Hellmesberger Quartet concert
of December 29 by Brahms, Hellmesberger, and Kleinecke. Kleinecke
performed on the natural horn, and the beauty of his tone was remarked
on by one or two of the critics. The trio was received not unfavourably,
but with the reserve that usually attended the early performances of the
composer's works in the imperial capital at this period of his career.
The publications of the year were but two in number--the set of sixteen
Waltzes for four hands on the Piano, dedicated to Hanslick; and a book
of five Songs for men's four-part Chorus, both issued in the spring by
Rieter-Biedermann. Several, at least, of the waltzes date from the
Detmold period, and were played by Brahms, and heard by Carl von
Meysenbug, at the Hôtel Stadt Frankfurt. They are inimitable in their
delicate, caressing grace, and possess a charm which perhaps exceeds
that of any known examples of their kind. They were performed from the
manuscript, as finally arranged for publication, by Frau Schumann and
Dietrich at a music party given by the Grand-Duchess of Oldenburg in the
autumn of 1866.
Joachim's prolonged visit to Austria came to an end in the second week
of the New Year with a farewell dinner given in his honour by Brahms,
Billroth, Hanslick, and other friends, and a fortnight later he removed
with his family from Hanover to Berlin. His residence was permanently
fixed in the Prussian capital in the course of the following year by his
acceptance of the post of director of the Royal High School for Music
(executive art), which was about to be founded by King William of
Prussia (afterwards the German Emperor William I.), as an addition to
the State department for Art and Science, and in the planning and
practical arrangement of which Joachim actively participated. Under his
devoted management, it quickly rose to the high state of prosperity for
which it has long been famous, and now, after more than thirty-five
years of existence, it still enjoys the high advantage and distinction
of his personal labour and influence as director, conductor, and
teacher. The occasion of the opening in 1902, by the Emperor William
II., of the spacious new buildings of the Royal Schools for Art and
Science at Charlottenburg, of which the fine new music school is one,
must have seemed to the great veteran musician, as he recalled the
modest beginnings of his own special department in 1869, as one that
included the crowning of much of the activity of his life.
Brahms quitted Vienna a few weeks after his friend to fulfil a series of
concert engagements, most of them arranged with Stockhausen, for the
months of February and March, by which he hoped to make his journey to
North Germany on the business of the Requiem answer a practical as well
as an artistic purpose. He took up his headquarters at his father's
house, and it was the last time that he returned from Vienna to Hamburg
as to his nominal home. The post of conductor of the Philharmonic had
again fallen vacant in 1867 by Stockhausen's resignation, and again,
though Brahms did not apply for the appointment, there was a strong
conviction amongst his friends that he would accept it if it were
offered him. But it was not to be. Admired and loved as he was in
Hamburg by an ever-increasing circle of friends, it was by a circle
only. He was not popular with the average musician or the general
public, and the Philharmonic committee passed him over a second time,
electing Julius von Bernuth as Stockhausen's successor. Brahms said
little on the subject, but it is fairly certain that the mortification
caused him by this repeated slight from the musical officialdom of his
native city sufficed to lead him to the determination at which he soon
afterwards arrived, to settle permanently in Vienna.
Brahms made several public appearances in Hamburg during the second half
of February. He performed, at the Philharmonic concert of the 14th,
Beethoven's G major Concerto and Schumann's Etudes Symphoniques, adding
to the published version of the latter several variations contained in
Schumann's original manuscript. On the same occasion Stockhausen sang
Schubert's songs 'Memnon' and 'Geheimniss' to orchestral accompaniments
arranged by Brahms, at his request, a year or two previously. The
composer was able to spare a few days for Bremen, in order to make
Reinthaler's personal acquaintance, though his numerous engagements for
March obliged him to leave the work of preparation and rehearsal in the
experienced hands of his new friend. He played at the Oldenburg
subscription concert of the 4th,[26] and gave concerts with Stockhausen
during the same week in Dresden and Berlin, appearing for the first time
before the public of either capital. At the second concert in Berlin
(March 7) Nos. 3 and 5 of the 'Magelone Romances' were included in the
programme. On the 11th the two artists gave a soirée in Hamburg, when
Stockhausen introduced Brahms' 'Mailied' and 'Von ewiger Liebe' from the
manuscripts, and gave several folk-songs as an encore. At Kiel, where
they appeared on the 13th, they made the acquaintance of Löwe, the
famous ballad composer, now a man of seventy-two, with whose music
Brahms proved to be thoroughly familiar. Their next destination was
Copenhagen, where they had arranged to give four concerts. Stockhausen's
selection on the first of these occasions included songs by Stradella,
Schubert, and Boieldieu, all accompanied by Brahms, who performed as his
solos a Toccata and Fugue by Sebastian Bach Andante by Friedemann Bach,
two Scarlatti movements, Beethoven's Sonata in E flat, Op. 27, and, of
his own compositions, Variations on an original theme and the early
Scherzo in E flat minor. Both artists awakened a furore. Stockhausen
'electrified the house'; Brahms was 'enormously applauded,' especially
after the performance of his own compositions. The second concert, given
within the next few days, was equally successful. The concert-room was
crowded, the audience extraordinarily enthusiastic, and the financial
result brilliant beyond expectation. Then Brahms committed a _faux pas_,
which put an end, so far as he was concerned, to further result of the
triumph.
Being asked, at a party given by the Danish composer Niels Gade in his
and Stockhausen's honour, if he had visited and admired the great
Thorwaldsen Museum, of which the citizens of Copenhagen are so justly
proud, he replied in the affirmative, and added that the building and
its collection were so fine it was to be regretted they were not in
Berlin. This unfortunate remark, made in a circle representative of
educated Danish society, where the remembrance of the recent Prussian
occupation of Schleswig-Holstein was still sore, produced an effect
which the speaker had been far from intending. It was regarded as a
deliberate insult to the country in which Brahms had been a fêted guest,
and was resented so strongly as to make the composer's reappearance on a
Copenhagen platform impossible. Pursuing the wisest course open, he
embarked on the next boat for Kiel, leaving Stockhausen to make such
arrangements as he could for the third advertised concert, and to pursue
his success further by associating himself with Joachim, who was about
to pay a short visit to the Danish capital.
Arriving at Kiel at a very early hour in the morning, Brahms proceeded
to the house of Claus Groth, whose guest he had been on his outward
journey, and, walking in the garden until the inmates were astir, was
presently greeted by his friend from an upper window. 'Be quick and come
out; I have made a heap of money,' he cried in answer, slapping his
pocket. Coffee was soon served and a lively talk ensued, but, as no
explanation was offered by Brahms of his sudden reappearance, Groth at
length began to question him. 'What have you been about that you have,
so to say, run away? Stockhausen has not returned, and you have had
great success?' And thus brought to the point, the delinquent was
obliged to relate his indiscretion. 'Brahms! how could you have said
such a thing in a company of Danes!' cried Groth. 'I only meant,'
replied Brahms, 'that it would be better if so fine a work, so many
beautiful objects, were in a great centre where many people could see
them.' 'But you might have supposed Danes would not put up with such a
remark.' 'It did not occur to me,' answered Brahms. 'However,' he added
after a moment, 'I have earned so much money I shall not want more for a
long time; so the matter is indifferent to me.'
Brahms arrived in Bremen on the first day of April, to remain until
after the 10th as the guest of Reinthaler, with whom he soon became
intimate. Appreciation of his works had steadily grown in the artistic
circles of Bremen since the musical life of the city had been under the
leadership of the distinguished artist whose name will remain associated
with the first performance of the then complete German Requiem; and the
Good Friday concert of this year was anticipated with the interest
attaching to an event of unusual importance, the more so as many
distinguished visitors from far and near were expected to be present as
performers or in the audience. To the gratification of the former
members of the Ladies' Choir, Brahms expressed a wish that the old
favourite society should be represented in the chorus, and four of the
most enthusiastic and trusty of his quondam disciples--Fräulein Garbe,
Fräulein Reuter, Fräulein Seebohm, and Fräulein Marie Völckers--answered
to his summons, arriving at Bremen in time to take part in the last
general rehearsal. The programme of the sacred concert, the proceeds of
which were to be devoted to the Bremen musicians' provident fund,
included the German Requiem (baritone solo, Stockhausen), between the
first and second parts of which, some of the miscellaneous items were
placed; movements by Bach and Tartini, and Schumann's Abendlied for
violin (Joachim); 'I know that my Redeemer liveth' (Frau Joachim); air
for contralto with violin obligato from Bach's 'Matthew Passion' (Frau
Joachim and Joachim); and the 'Hallelujah' chorus. Brahms was to conduct
his new work, Reinthaler the remaining selections. All the soloists gave
their services.
The doors of St. Peter's Cathedral Church opened punctually at six
o'clock on Good Friday evening, and during the next hour the visitors,
many of them old acquaintances of the reader, streamed to their places.
Frau Reinthaler and Frau Stockhausen were of course present. The
Dietrichs, with their friend Fräulein Berninger, came from Oldenburg,
the Grimms from Münster. The Hamburg contingent included Minna Völckers,
the composer's former pupil and very stanch friend, now grown up into a
young lady, and her father, who had invited Jakob Brahms to accompany
them as his guest. Max Bruch, Schübring, and young Richard Barth were
there. Switzerland was represented by the future publisher of the
Requiem, Rieter-Biedermann; England by the enthusiastic John Farmer; and
shortly before the time of commencement Frau Schumann walked up the nave
on Brahms' arm. She had arranged that her intention of making the
journey from Baden-Baden with her daughter Marie should be kept a secret
from the composer, and the two ladies surprised him with their greeting
at the cathedral door.
No pains had been spared in the preparation of chorus and orchestra, and
their difficult tasks were perfectly achieved.
'The impression made by the wonderful, splendidly performed work
was quite overpowering,' says Dietrich, 'and it immediately became
clear to the listeners that the German Requiem would live as one of
the most exalted creations of musical art.'
The composer, the executants, and their friends, to the number of about
a hundred, met for supper in the ancient Rathskeller close to the
cathedral, and listened afterwards to a short address by Consul
Hirschfeld and to about a dozen other speeches.
'It is with great pleasure and justifiable pride,' said Reinthaler,
'that I greet this distinguished assemblage of visitors, some of
them gathered to perform, and others to hear, the new work of the
composer who is staying in our midst. The circumstance that it has
been performed for the first time here in Bremen gives me quite
peculiar happiness. It is a great and beautiful--one may say, an
epoch-making work, which has filled us who have heard it to-day
with pride, since it has inspired in us the conviction that German
art has not died out, but that it begins to stir again and will
thrive as gloriously as of old.
'A gloomy, anxious period has intervened since our last dear master
was carried to the grave;[27] it has almost seemed as though the
evening of musical art had fallen upon us; but to-day we are
reassured. In the German Requiem we believe that we have a sequel
worthy of the achievements of the great masters of the past.
'That I have had the good fortune to contribute towards ensuring a
not quite unworthy performance of the work gives me lively
satisfaction. Everyone concerned, however, has supported me to this
end. Each has brought cheerful good-will to his task, and devoted
himself to it with active zeal and unmixed enthusiasm, for each
felt it to be an elevating one.
'You will all certainly rejoice with me that the creator of the
glorious work is present amongst us and will joyfully raise your
glasses to the health of the composer, our Brahms.'
Brahms' answer was characteristically short and to the purpose:
'If I venture to say a few words to-night, I must premise that the
gift of oratory is in no wise at my command. There are, however,
amongst those present, many to whom I wish to say a word of thanks,
many dear friends who have been kind and good to me, and this is
especially the case with my friend Reinthaler, who has given
himself with such self-sacrifice to the preparation of my Requiem.
I place my collective thanks upon his head therefore, and call for
three cheers for his name.'
It may surprise and interest English readers to know that their country
was toasted on an occasion so peculiarly representative of German music
and musicians. After the various artists who had assisted in the
performance and one or two of the other distinguished guests had been
duly honoured, John Farmer rose to his feet, and delivered himself of
his sentiments in such German as he could command.
'I have come from a city,' he said, 'that is much larger than
Bremen, in which there are many fine houses and many rich men. You,
however, may be prouder than all the rich men in the big houses,
who are, indeed, very unfortunate. They have no such beautiful
music as you in Germany. If you were to come to England, and Brahms
himself were to come with you, to perform the Requiem, they would
not attend the concert, or if they were to attend it they would
say, "Is the fellow crazy?" You can have no idea how fortunate you
are in being able to understand all this beautiful music. Oh, I
have observed and have perceived that each one has followed it with
love and the whole energy of his soul! When I return to England, I
shall relate what I have seen, and will hope that we may, before
long, become as fortunate as yourselves and may be able to
understand and perform German music as you do.'
England found its defender in Herr Lehmann, who immediately rose to
reply:
'I would venture, nevertheless, to say a word in England's honour.
So many artists have met with an encouraging reception or have
found a happy home there; there are so many Englishmen who
understand and sympathize with German art and German life, that I
would beg leave to propose a glass to the honour of art-loving
England.'
The feeling of satisfaction expressed in Reinthaler's speech that the
distinction of the first performance of the German Requiem should have
fallen to Bremen was generally shared by the musicians and amateurs of
the city.
'Reinthaler has, with laudable judgment, concentrated his best powers
upon the arrangement of a concert which has given to Bremen a
distinctive artistic reputation,' says the critic of the _Bremen
Courier_, and the sentiment was expressed practically, as well as
verbally, in a communication sent to the composer a few days after his
return to Hamburg. The work was repeated on Tuesday, April 28, in the
hall of the Union, under Reinthaler's direction, when the baritone solo
was sung by Franz Krolop.
It is pleasant to be able to associate with the musical events of
1868--the year which, by virtue of the occurrences now recorded, marked
the beginning of a new period in Brahms' outward career and established
him in the eyes of the musicians of Europe as the greatest living artist
in his own domain--the name of an early friend whose skilled
appreciation of his genius had cheered and encouraged him in the dark
days of his youth. Frau Dr. Louise Langhans-Japha played the Quintet in
F minor for pianoforte and strings at her concert in the Salle Erard,
Paris, on March 24, and secured for it a very decided success. It is
impossible actually to affirm that the work was heard for the first time
in public in its final form on this occasion, but it is the first public
performance of which the author has been able to find record.
Brahms stayed on in the north for several weeks after the Good Friday
concert at Bremen, and found time to pay another, this time a holiday,
visit to the Reinthalers, and to make the acquaintance of many of their
friends. He derived particular pleasure from the society of some small
playfellows who welcomed him to Frau Reinthaler's nursery, and struck up
a special friendship with the eldest daughter of the house, little
Henriette. Hearing the child, hardly out of baby years, practising the
treble of a little pianoforte duet, he proposed to take the bass, and,
amusing himself by striking a wrong note, was promptly rebuked by his
colleague. 'You have played a wrong note,' said Misi, stopping short.
'Nun, we must do it again,' returned Brahms penitently, and recommenced.
'You have played another!' cried Misi; nor could the master be
pronounced perfect in his part until after two more attempts. He
stayed, too, for a few days in Oldenburg, and whilst there made several
excursions in the neighbourhood with Dietrich and Reinthaler. Driving
one day to Wilhelmshaven, the great northern war-harbour of Germany, he
was unusually absent-minded and serious, and mentioned that he had been
much struck with Hölderlin's poem, 'Hyperion's Song of Destiny,' which
he had read in the morning for the first time. After inspecting the
harbour and its sights, he withdrew to a distant part of the beach,
where he was observed by his friends to be busy with pencil and paper.
He was putting down the first sketches of his now celebrated setting of
the work.
Brahms spent the remainder of the year in Germany and Switzerland. After
attending the Rhine Festival held the last week of May in Cologne, he
settled down for some months at 6, Kessenicherweg, Bonn, in order to be
near Dr. Deiters, whom he met daily and admitted to his confidence on
the subject of his work. He was occupied with the final preparation of
the manuscript of the Requiem for the engraver, and played it through to
his friend, who had already studied it from the manuscript, saying, in
the course of the just-completed fifth number, '... _I will comfort you
as a mother comforts_,' that here he had thought of his mother.[28] He
was engaged again, also, with the C minor Pianoforte Quartet, which, as
we have seen,[29] has associations with a very much earlier period, and
played the sketches to Dr. Deiters, though the work was not finally
completed until after the further lapse of several years. The music to
Goethe's cantata 'Rinaldo' was in progress, and was finished shortly
before he quitted Bonn. Deiters was fortunate enough to have the
opportunity of listening, at his own house or in Brahms' rooms, to the
composer's interpretation of some of his published works, and to hear
his own opinion of many of his songs, which he estimated very variously.
Amongst those of which he thought most highly at this time was the 'Von
ewiger Liebe,' published later in the year as No. 1 of Op. 43.
Brahms was in happy summer mood throughout the time of his sojourn on
the Rhine. The fondness for dumb pets that always characterized him,
though he kept none of his own, was gratified by the confidence of some
pigeons that used to fly into his room and come to him to be fed. He
invited his father to join him during the last ten days of his stay, and
pleased himself by showing him the Rhine country and introducing him to
his friend. It was the only year of his life during which there was
intimate personal intercourse between himself and Deiters, but the two
men remained in correspondence, and the composer frequently sent copies
of his new works as they appeared, with an autograph inscription, to the
critic whose early appreciation through a period when their personal
acquaintance had been of the slightest had awakened in him a strong
feeling of regard and esteem. 'I feel under a great debt of obligation
to friend Deiters,' he says in the course of a letter to Dietrich
written in 1867.
Jakob Brahms was not allowed to return to Hamburg until he had a second
time tested his capacity for enjoying the delights of mountain scenery
by accompanying his son on a few weeks' journey in Switzerland; but
though Johannes made all possible arrangements to spare his father
fatigue, it became evident that he was very homesick. 'See, Johannes,
here is a little blue flower like that which grows near Hamburg,' he
said one day, lagging a little behind after he had walked some distance
in silence. An incident of the tour which pleased him, perhaps, better
than his pedestrian and driving experiences was the trial, at which he
was present, of the new movement of the Requiem, which the composer
wished to hear before delivering it for publication. This was arranged
for at Zürich by Hegar. Frau Suter-Weber undertook the soprano solo, and
orchestra and chorus were supplied by resident musicians. Jakob, on
this, as indeed on all occasions, fully appreciated the distinction he
derived from being his son's companion; but it is certain that he was
much relieved when the day came for him to return to his quiet home and
the unembarrassing society of his wife. 'Nu, Line, krigt mi Johannes nit
wieder hin' (Now, Lina, Johannes will not get me again), he said, as he
settled himself once more in his own chair; and he kept to his
determination, though he compromised matters on one or two subsequent
occasions by accepting his son's proposal that he should visit the Harz
and other districts in Frau Caroline's company.
Of the many pleasant social events of the year, a gathering in the
autumn at Dietrich's house in Oldenburg remains for mention. Frau
Schumann, her daughter Marie, and Brahms enjoyed their old friends'
hospitality during the last week of October, and the visit was
signalized by the first performance from the manuscript, before a
private audience, of the Hungarian Dances in their arrangement for four
hands on the piano.
'Frau Schumann and Brahms played them with an inspiration and fire
that transported everyone present,' says Dietrich.
Frau Schumann gave an evening concert in the hall of the Casino on the
30th, when her programme included her performance with the
composer--probably the first before a public audience--of Brahms'
Waltzes.[30]
Brahms and Stockhausen again united their forces in November, and gave
several concerts together. At the first of two soirées in Hamburg,
Brahms created a furore with some of the Hungarian Dances in their
arrangement as solos. The programme included a performance by
Stockhausen and his pupil Fräulein Girzik of two of the Duets, Op. 28,
the second of which was rapturously encored. Brahms, as usual,
accompanied his friend throughout the evening. He was received with
acclamation at Bremen on the 30th of the month, when he played the
pianoforte part of his A major Quartet at a concert of the excellent
resident string quartet party led by Jacobsen, a fine player, and second
concertmeister of the Bremen orchestra. On this, as on subsequent
visits to Bremen, Brahms stayed, as a matter of course, with the
Reinthalers.
Carl Bade, paying one of his frequent morning calls at the Anscharplatz
about this time, was startled as he entered the house by the appearance
of Jakob, who, coming towards him with finger on lip and laboriously
treading on tiptoe, solemnly whispered, 'Hush!...' 'What is it, Brahms?
Who is ill?' returned Bade under his breath, seriously alarmed. 'Hush!'
repeated Jakob as mysteriously as before; '_he is dor_' (he is there);
and, opening the door of the corner room, he pushed in the astonished
Carl and shut the door behind him without another word, leaving him
alone with his son, who was busy weeding out his library in readiness
for the despatch of his Hamburg possessions to Vienna. 'See here,' said
Johannes, after a kind word of greeting, giving Bade time to recover the
composure of which Jakob's strange _coup_ had for a moment robbed him,
by pointing to a volume in his hand, 'Kuhnau was a capable musician!'
The relation existing at this time between the elder and younger Brahms,
of which mention was made in an early chapter, was well illustrated
during the homely 'second breakfast' for which the party soon assembled.
Sociability was rendered impossible, in spite of the persistent efforts
of Johannes, by the father's overwhelming consciousness of his son's
presence. The awed feeling which possessed Jakob whenever he found
himself face to face with the living embodiment of his own miraculous
success in life was not unnatural, and can only inspire respect for the
memory of the older man, in whose simple humility, rooted in the
strongest and most legitimate pride, may, perhaps, be recognised some of
the essential qualities which endeared the great composer to all who
were privileged to call him friend.
Brahms returned to Vienna in December, and was, of course, present at
several concerts given there before and after Christmas by Frau
Schumann, who visited Austria after an interval of some years.
The list of publications belonging to this year is an important one,
not only because it includes the German Requiem (Rieter-Biedermann), but
because it is representative of the master in what may be roughly called
the second period of his activity as a composer of songs. From beginning
to end of his career he poured forth songs in many different forms--the
simple strophic, the 'durchcomponirtes' Lied, the latter necessarily
varying in structure with each fresh example.[31] This second period,
however, is marked not only by the sure mastery which had long
characterized Brahms' works in whatever domain he chose for the exercise
of his powers; its spirit is generally distinctive, and is that of the
poet's ripe manhood. Youth with its uncertainties is behind, age with
its gathering shadows not yet in sight; the composer holds the present
in firm grasp, and presents us with exquisite dream-pictures of life and
nature, the children of an imagination penetrated with a sense of the
beauty, the tenderness, the pathos of existence, and content in the
exercise of its ideality. Each of the five books published in 1868 (Op.
43 by Rieter-Biedermann, and Op. 46, 47, 48, 49 by Simrock) contains
such wealth of beauty that it is difficult to select either for
particular mention. Perhaps the palm should be given to Op. 43, of which
'Von ewiger Liebe' and 'Mainacht' are Nos. 1 and 2; but then, Op. 47
contains 'Botschaft,' and Op. 46 'Die Schale der Vergessenheit.'
Stockhausen, who stayed at Neuenahr in the summer of 1868, came over to
Bonn one day, and sang the greater number of these songs from the
manuscript, accompanied by the composer, to Deiters. Brahms seemed
determined not to publish 'Die Schale der Vergessenheit,' declaring it
to be too 'desolate,' but Stockhausen's enthusiasm prevailed to alter
his decision. Some of the shorter numbers belong, by date of
composition, to an earlier period, as Goethe's 'Die Liebende schreibt,'
the manuscript of which, in the possession of Frau Professor Böie, bears
the inscription 'Frl. Marie Völckers in kind remembrance' and the date
1863. The widely popular 'Wiegenlied,' Op. 49, No. 4, was composed for
one of Frau Faber's children, and the accompaniment is reminiscent of a
folk-song which Brahms heard from Fräulein Bertha Porubszky in the old
days of the Hamburg Ladies' Choir. The manuscript bears the inscription
'For Arthur and Bertha Faber for ever happy use. July 1868'; and at the
close 'Mit Grazie in infinitum,' and is in the possession of these old
friends of the composer.
Now, as ever, Brahms returned with delight to the fresh naïveté of the
folk-song, and numerous examples of his settings of texts obtained from
German, Bohemian, Italian sources are to be found in these books, of
which 'Sonntag,' Op. 47, No. 3, and 'Am Sonntag Morgen,' Op. 49, No. 1,
are perhaps the best known. 'Gold überwiegt die Liebe' is a touching
little lament (No. 4 of Op. 48). The text of 'Von ewiger Liebe' is
itself a Wendic folk-song, but the composer's treatment has placed it
amongst the finest works of German art in song-form. As a rule, however,
Brahms set folk-songs as such, and his treatment of them was direct,
and, so to say, unstudied. He has set for a single voice popular texts
of more than twenty nationalities besides his own, and, as he found
them, as they appealed to him, so he composed them, without attempt
either to interfere with the frank naturalness of the words, or to give
national colour to his music. Such musical references as he occasionally
makes in his songs to the origin of his texts are so unobtrusive as to
be hardly noticeable, excepting by a special student of the subject.[32]
'Vergangen ist mir,' Op. 48, No. 6, points back to the tonal system of
the Middle Ages. Like 'Sehnsucht,' Op. 14, No. 8, it is composed in the
Dorian mode.
The enumeration of the great song publications of 1868 is not yet at an
end. The issue by Rieter-Biedermann of Books 3, 4, 5, containing in all
nine numbers, of the 'Magelone Romances,' of which the first two books
had appeared in 1865, completed a song-cycle which ranks among the few
supreme achievements of its class, increasing to the number of four a
special group of names which had hitherto included those only of
Beethoven, Schubert, and Schumann.
The fifteen 'Magelone Romances' are extremely various in structure, and
can hardly be classified categorically under any of the ordinary
song-forms. Spitta expresses his sense of their importance by the word
'symphonic.' Brahms' own name 'Romance' sufficiently indicates their
nature, however. Some are of great, others of smaller, dimensions. Some
consist of several movements, others of one short movement in three
sections, of which the last repeats the first; one is bound into a whole
by the melody of a refrain. They give vivid expression to a wide range
of feelings: chivalric delight, progressive phases of passionate love,
the despair of separation, reawakened hope, the confident bliss of
reunion, certainty of the sacred power of love. Remembrance of the ideal
performances of Stockhausen, to whom the cycle is dedicated, was
indubitably present to Brahms' mind as he composed the songs, which,
with the exception of Nos. 11 and 13, should be sung by a man. One may
read and reread them, hear them and hear them again, but try in vain to
decide on a favourite number. Each one places the listener in an
enchanted world of noble beauty and romance, and in wealth and
individuality of idea the cycle assuredly does not rank last amongst the
few works of its kind.
The Songs and Romances Op. 44 mentioned in our first volume in
connection with the Ladies' Choir were now also published by
Rieter-Biedermann;[33] and Cranz of Hamburg issued the three Songs for
six-part Chorus _a capella_, Op. 42, all of great charm. Its five-bar
rhythm is an interesting feature of the second number, the lovely
'Vineta.' The text of No. 3, 'Darthula's Grabesgesang,' is a
translation from Ossian, and is contained in Herder's 'Stimmen der
Völker.'
'Brahms is here,' writes Billroth from Vienna on January 11, 'and
is to give concerts with Stockhausen. He is going to bring out a
cantata, Rinaldo, in February.... He is enthusiastic about the text
because it leaves so much to the composer.'
Goethe wrote his cantata expressly that music might be set to it by
Capellmeister Winter, a respectable musician of his day, for the Prince
Friedrich of Gotha, the possessor of an agreeable tenor voice, and a
good amateur vocalist. It is founded on an episode in Tasso's 'Jerusalem
Delivered,' and exhibits the conflict between weakness and strength in
the brave knight Rinaldo--a fictitious personage introduced into his
poem by Tasso--who is roused from his surrender to the witcheries of
Armida by the arrival, at the islet on which he is living with her, of a
party of knights, his friends--two only in Tasso's epic, but increased
to a chorus by Goethe. The cantata opens at a point where the knights
have succeeded in awakening Rinaldo from his dream of happiness, but are
unable to nerve him to the resolution of departure. As a final resource,
they hold up before him a diamond shield, which reflects his own image
in its degeneracy. The shock of what he sees restores him to full
consciousness, and he leaves the island in spite of Armida's
lamentations, fury, and enchantments, and his own regrets, encouraged
and supported by his friends. The final chorus with solo depicts the
happy return voyage, and the safe arrival of the ship at the shore of
the Holy Land.
Armida does not appear as a _dramatis persona_ in Goethe's work, and
Brahms' music is accordingly composed for tenor solo, men's chorus, and
orchestra. The poem is short and concise, containing but one dramatic
situation, but its very terseness has been advantageous to the composer,
for the text has not fettered his imagination by detail, whilst it has
supplied him with sufficient material for powerful and contrasted
musical presentation in the enchantments of Armida, the storm raised by
her to prevent the ship's departure, the calm, persuasive firmness of
the knights, the vacillation of Rinaldo (expressed in the first instance
in an impassioned scena), his pleadings with his friends, his final
awakening and recovery from the intensity of passion. Of all these
points Brahms has availed himself with force and warmth of imagination.
Many interesting details of the composition tempt our notice, but we may
only stay to direct the reader's attention to the conviction inspired by
the choruses of the noble, lovable character of the knights; to the
masterly means employed--so simple that only a master would have
ventured to restrict himself to them--at the moment when the shield is
displayed, which, in their place, convey, without any attempt at
tone-painting, but with absolute distinctness, the impression of the
friends' gentle determination with the shrinking Rinaldo; to the bright
martial movement in which the knights encourage him by reminding him of
the flashing lances, the waving pennons, the whole brilliant battle
array, of the crusaders' army from which the allurements of Armida have
too long detained him. In the final chorus a favourable wind swells the
sails of the ship, which rides joyously over the green waves, breaking
them into light foam as she passes, whilst Rinaldo and his companions
amuse themselves by watching the dolphins at play in the water, and are
filled with a light-hearted happiness that, as land is sighted, bursts
into exultant shouting of the names of Godfrey and Solyma (Jerusalem).
The work was performed for the first time from the manuscript, under the
composer's direction, on February 28, 1869, at a concert of the
Akademischer Gesangverein, Vienna. The title-part was sung with great
success by Gustav Walter, three hundred students well prepared by Dr.
Eyrich, the society's conductor, were responsible for the choruses, and
the orchestral accompaniments were performed by the entire body of
instrumentalists of the court opera.
A series of three concerts, given in Vienna in February and March by
Brahms and Stockhausen were phenomenally successful. The great baritone
had not been heard in the Austrian capital for many years, and all
tickets for the first concert were sold immediately after its
announcement. Brahms' selection for the series included works by Handel,
Bach, Couperin, Gluck, Beethoven, Schubert, Schumann, some of his own
Variations--notably those of the B flat Sextet--and Hungarian Dances;
and he accompanied his friend in many of the most celebrated songs of
his répertoire. The wonderful performance by the two artists of Brahms'
songs 'Von ewiger Liebe' and 'Mainacht' was one of the choice delights
of the first concert. A feature of the second was the performance by
Stockhausen and Fräulein Girzik of two of the composer's vocal duets.
The enthusiasm excited by the concert-givers in Vienna was equalled in
Budapest, whither they proceeded on March 10, in order to give a similar
series; and it was, if possible, exceeded on their final reappearance in
Vienna.
These concerts are of peculiar interest in Brahms' career, because the
last of them closes the period of his activity as a virtuoso. For
fourteen years, from the autumn of 1855 to the spring of 1869,
circumstances had obliged, and happily permitted, him to earn his
livelihood chiefly by the exercise of his powers as an executive artist;
but his reputation as a composer had grown uninterruptedly throughout
this time, and with the production of the German Requiem it attained a
height that gave him future independence of action. Though years were
still to pass before his circumstances became easy, they were not again
straitened, and from henceforth he undertook concert-journeys only in
the rôle of a composer, to assist at performances of his own works. The
occasions on which he appeared additionally as pianist with one of
Beethoven's or Schumann's great compositions became less and less
frequent, moreover, as, with passing time, he felt increasingly out of
regular practice. Brahms was, in later life, fond of illustrating the
fact of his long struggle with poverty by referring to the manuscript of
the Requiem. 'The paper is of all sizes and shapes, because at the time
I wrote it I never had money enough to buy a stock.' The immediate
impression created by the great work was, however, sufficiently
widespread and profound to place the composer alone, among the
musicians of his day, as the accepted representative of the classical
art of Germany, and the prices commanded by his copyrights gradually
increased accordingly. No long time elapsed before the German Requiem
had made the round of the musical cities of Europe. It was given, for
the first time after final completion and publication, at the Leipzig
Gewandhaus concert of February 18, 1869, under Reinecke, and was
performed in the course of the next few weeks in Basle (twice),
Carlsruhe (twice), Münster, Cologne, Hamburg, Zürich, and Weimar, and,
later in the year, in Dessau (twice), Chemnitz (twice), Barmen (four
choruses only), Magdeburg, Jena, and again twice in Cologne. The
complete work was not heard in Vienna until March 5, 1871, when it was
given by the Gesellschaft der Musikfreunde under the composer's
direction, with Frau Wilt and Dr. Krauss as soloists, but achieved no
striking success. It was performed on July 7 of the same year (1871) for
the first time in England, before an invited audience, at the residence
of Sir Henry Thompson. Stockhausen conducted the rehearsals and
performance, and sang the baritone solo, Fräulein Anna Regan the soprano
solo. The chorus was composed of about thirty good musicians, and the
accompaniments were played in their arrangement as a pianoforte duet by
Lady Thompson and the veteran musician Cipriani Potter, then in his
eightieth year. The first public performance in England which the author
has been able to authenticate with precision is that of the Philharmonic
Society in St. James's Hall on April 2, 1873, under the direction of W.
G. Cusins, when the soloists were Mlle. Sophie Ferrari and Santley. The
work was performed for the first time in Berlin, Munich and St.
Petersburg in the spring, and in Utrecht in June, of the year 1872, and
in Paris in 1874.[34]
Probably it was due to the impression created by the German Requiem that
the Serenade in D, Op. 11, was performed for the first time in Berlin in
November, 1869, at one of the concerts of the Symphony Orchestra under
Capellmeister Stern.
'The reception showed that the public is beginning to understand
and value the composer Brahms, one of the few living creative
artists who are genuine and sincere,' wrote a Berlin critic.
In the earlier part of the same year Louis Brassin played the Handel
Variations and Fugue in Munich with very great success. Brassin was one
of the first artists to perform the work in public, and that he
introduced it to a Munich audience is the more interesting since the
musicians of the Bavarian capital had in 1869 shown scant, if any,
recognition of our composer's art, which was too progressive for Franz
Lachner, and too conservative for von Bülow, the successive leaders, up
to that date, of the musical life of the city. The work was played by
Bülow in November, 1872, in Carlsruhe, and from that time was heard at
his concerts with increasing frequency.
[22] Dietrich.
[23] A pedal point is a sound sustained, according to conditions
prescribed by the rules of art, during a succession of varying harmonies
of which it need not form an essential part.
[24] Matt. v. 4; Ps. cxxvi. 5, 6; 1 Pet. i. 24; James v. 7; 1 Pet. i.
25; Isa. xxxv. 10; Ps. xxxix. 4-7; Wisd. iii. 1; Ps. lxxxiv. 1, 2, 4;
John xvi. 22; Ecclus. li. 27; Isa. lxvi. 13; Heb. xiii. 14; 1 Cor. xv
51-55; Rev. iv. 11; Rev. xiv. 13.
[25] The cadences of music are somewhat analogous to the punctuation of
literature. A 'final cadence' has the effect of closing a musical
period.
[26] Dated April 4 in Dietrich's 'Recollections.'
[27] Schumann.
[28] Communicated in a letter to the author by Dr. Deiters.
[29] See Vol. I., p. 207.
[30] _Cf._ Dietrich, p. 54 _et seq_. The dates in the text are given on
the authority of Frau Schumann's diary.
[31] The strict strophic form is that in which voice-melody and
accompaniment are the same in each verse. It admits, however, of several
kinds of modification, as by varied accompaniment, slight variation of
voice-melody, and so forth. The 'durchcomponirtes' Lied, for which there
is no technical English term, is that of which the text is set
throughout to fresh musical thoughts and developments.
[32] Those who wish to study Brahms' treatment of folk-music in detail
are referred to Hohenemser's articles, 'Brahms und die Volksmusik,' in
_Die Musik_, Nos. 15 and 18, 1903.
[33] Dated 1866 in the Thematic Catalogue.
[34] Sir C. Villiers Stanford remembers being present at a public
performance of the German Requiem in London earlier than that of the
Philharmonic Society. This was at a students' concert of the Royal
Academy of Music under John Hullah, the then conductor of the orchestra,
the date of which, however, the author has not succeeded in
ascertaining.
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.
The theory that found wide acceptance during the lifetime of Brahms, and
was discussed at length in a feuilleton of the _Strassburger Post_
immediately after his death, that he never had and never could have
seriously entertained the idea of composing for the stage, was long ago
conclusively refuted by Widmann in his 'Recollections.' He shows that
the master's wishes pointed at more than one period of his career in the
direction of dramatic composition, and that he was prevented from
following them by the same difficulty which proved insoluble to
Mendelssohn--that of finding a libretto to suit his fancy.
'He was always particularly animated when speaking of matters
connected with the theatre, as for instance when he once very
decidedly demonstrated to me the vaudeville character of the first
act of "Fidelio," which generally passes for a very good text-book.
He possessed a genuine dramatic perception, and it gave him real
pleasure to analyze the merits and defects of a dramatic
subject.'[35]
The interest of this passage is enhanced by a few words that occur in an
article on Brahms by Richard Heuberger:[36]
'We sat together the whole evening and I remember that Brahms spoke
in detail of Mozart's "Figaro" and laid stress on the unparalleled
manner in which Mozart has overcome the enormous difficulties of
his text; "Mozart has composed it, not as a mere ordinary
text-book, but as a complete, well-organized comedy."'
It would certainly have been matter for surprise if Brahms, who was
peculiarly sensitive to the influence of really poetic dramatic effect,
and whose interest in the drama furnished him with a source of frequent
pleasure that did not diminish as he grew older--he rarely missed a
première at the Vienna Burg Theater--had passed through life without
feeling the inclination to test his powers as a composer for the stage,
and this is very far indeed from being the case. Widmann's account of
what took place between himself and Brahms on the subject of opera
belongs to the late seventies, and we shall revert to it in its place;
it points back, however, to an earlier time, which proves, as we might
expect, to be that of the composer's intimacy with Devrient and Levi,
with whose varied professional activity he manifested the warmest
sympathy, and especially to the year 1869, when the publication of the
German Requiem had left his mind at leisure for new important effort.
Perhaps we may perceive the direction in which his wishes were moving in
the fact that 'Rinaldo,' which contains the nearest approach to dramatic
composition to be found in the catalogue of Brahms' works, was completed
almost simultaneously with the Requiem; and it is possible that an
indication of the obstacle that was to prove insuperable to their
fulfilment may be read in Billroth's words quoted in the last chapter:
'Brahms is enthusiastic about [the text of] Rinaldo because it leaves so
much to the composer.' However this may be, it is certain that he was
strongly possessed at this period and on into the early seventies with
the desire to compose an opera, and that he not only opened his mind
unreservedly on the subject to his friends at Carlsruhe, but made
repeated efforts in other directions to procure a libretto adapted to
his views. Allgeyer furnished him with a completed text-book on
Calderon's 'The Open Secret.' Through Claus Groth he obtained an unused
text written for Mendelssohn by the poet Geibel, founded on the episode
of Nausikaa in the 'Odyssey,'[37] and amongst others with whom he
discussed the subject were Tourgenieff at Baden-Baden, who provided him
with sketches, and, Heinrich Bulthaupt, then a rising young dramatic
author and an intimate friend of Reinthaler's.
To Bulthaupt he proposed as a subject Schiller's fragment of a play
'Demetrius,' which he esteemed very highly, and, in a long conversation
with this gentleman at his house in Bremen, he explained with precision
his ideas as to the desirable treatment even of the minutiæ of dramatic
action, taking as the theme of his exposition the libretto, written by
Bulthaupt, of Reinthaler's opera 'Kätchen von Heilbronn.' Some of the
peculiarities of his views which created for him unnecessary
difficulties must be attributed to his inveterately logical habit of
mind, which made it repugnant to him to take certain things for granted
for the sake of stage exigencies. He went too far in a desire that the
minor details of the drama should be visibly developed. Pointing to a
scene in 'Kätchen von Heilbronn,' in the course of which three soldiers
go into a drinking cellar, not to reappear, he inquired: 'What becomes
of them?' 'It is assumed that they go away,' replied Bulthaupt; 'do you
mean to say that you wish actually to see them come out again on to the
stage?' 'I should like to do so,' Brahms answered. A moment's reflection
would, of course, have shown him that the scene in question was, in
fact, realistic, since the soldiers might in actual life have left the
cellar by a back-door, unseen by those who observed them enter through
the front one. The anecdote is, however, illustrative of a mental habit
which must have confronted Brahms with countless difficulties so long as
he merely contemplated the composition of an opera. The work of
composing one, had he ever settled down to it, might probably have
solved many of them.
The idea of 'Demetrius' fell through. Bulthaupt suggested to Brahms a
consideration which, in no way applicable to Schiller's piece, seemed to
him of importance in view of its adaptation as an opera. He thought that
the necessity of introducing some amount of Russian colouring into the
music of a drama having for its subject an episode of Russian history,
not only might prove irksome to a composer so strongly imbued as Brahms
with the sentiment of German nationality, but would be prejudicial to
the tragic breadth of Schiller's play as it stands. Brahms, on thinking
over the matter, probably felt the weight of his friend's remarks, for
he did not return to his proposal.
Points of interest in the composer's suggestion of Schiller's
'Demetrius' for the subj
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