The Life of Johannes Brahms.

Vol 2.

by Florence May.

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 Karthnerthor 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 Bruckner 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 Hotel Kronprinz in the Leopoldstadt, moving soon afterwards into a room at 39, Novaragasse, of the same inexpensive quarter, then called the Jagerzeil. Several of his old friends were fortunately at hand. Gradener 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 Fraulein 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 Hauptallee, with its broad drive and shady walks, its open-air cafes and music of military bands, which play waltzes and various dance movements as they are played in no other city. There is the Wurstelprater, 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 Wurstelprater, 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 Rover) 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 _Blatter fur Theater, Kunst 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 debut 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 Borsendorfer[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 Ave 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 Borsendorfer.'[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 Rosing 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 Ave Lallement on January 31, 1863, by Joachim, whose influence with the committee had been energetically exerted in favour of his Johannes: