The Life of Johannes Brahms (Vol 2 of 2) — A Closer Reading

rcourse 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:

'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.

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.

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.