At what age precisely Johannes began to earn regular money by playing in the dancing-rooms and Lokals of Hamburg cannot now be ascertained. It is possible that he occasionally performed on the violin from early childhood, in cases of emergency, as substitute for his father or one of his father's colleagues, though the conjecture is not borne out by reliable record. There is no doubt, however, that loosely repeated anecdotes have given rise to considerable false impression on the point.

The notion which has been partially prevalent, that Jakob made systematic use of his boy from a tender age, employing his gifts for the family benefit, is warmly repudiated by those who have the best means of knowing the circumstances. 'With the best will,' says Christian Otterer, who, about twelve years Johannes' senior, has till lately led an active professional life, and retains a bright and unclouded remembrance of old days, 'I cannot recollect that Johannes played, as a young child, in Lokals. I was daily with his father at the time, and must have known if it had been the case. Jakob was a quiet and respectable man, and kept Hannes closely to his studies, and as much as possible withdrawn from notice.'

'It cannot be true,' said Mrs. Cossel repeatedly, referring to such tales; 'my husband never mentioned such a thing to me when speaking of Johannes' childhood; and even if it had been proposed, I am sure he would never have allowed it.' Two authentic sources of information, however, establish the fact that from the age of about thirteen the boy regularly fulfilled engagements of the kind. The earnings derived from them were eagerly contributed to the general family fund.

A glimpse of him at this period is furnished by Christian Miller,[11]

then a young musical student, who has related that he used to play for a small payment on Sunday afternoons during the summer of 1846, at a restaurant in Bergedorf, near Hamburg. Miller heard him there, and, fascinated by his performance, begged to be allowed to play duets with him. After this the two lads met frequently until Miller left Hamburg to become a pupil of the Leipzig Conservatoire. The companionship would seem to have been tolerated rather than actively desired by Johannes, who rarely spoke when out walking with Miller, but was accustomed to march along hat in hand, humming!

The reader will not have forgotten the band of six members which had, during the late thirties, delighted the fashionable loungers of the Jungfernstieg, patrons of the Alster Pavilion. Its activity had been continuous up to the year 1842, when the disastrous fire which broke out in Hamburg during the night of May 4-5, and was not extinguished till the morning of the 8th, destroying the churches of St. Nicholas and St.

Peter, St. Gertrude's Chapel, the Guildhall, the old Exchange, the Bank, and over 1,200 dwelling-houses and warehouses, had interrupted the pleasant labours of the musicians. The Alster Pavilion had miraculously been left untouched by the flames, whilst the Alster Halle, a similar establishment close by, had been razed to the ground; and the demolition of the row of shops and houses on the Jungfernstieg had changed the agreeable promenade into a scene of ruin. Little could be thought of in the city for a time save how to meet and repair the ravages inflicted by the calamity, which had stricken the grave citizens of Hamburg with dismay, and made an impression of mixed bewilderment and awe upon the sensitive soul of our little Hannes that was never completely effaced.

Gradually, however, public edifices and private houses were rebuilt, Hamburg was restored and beautified, and long before the year 1847, at which our story has arrived, the little orchestra had again become used to assemble, though with a somewhat changed personnel, in the familiar room of the Pavilion, to discourse in lively strains before the ever-shifting guests of the establishment. Jakob retained his position as bass player, and, from his long association with the house, had come to be regarded as an important support to its artistic attractions.

Amongst the most faithful patrons of the Pavilion concerts of this period was a certain Herr Adolph Giesemann, owner of a paper-mill and a small farm in the not very distant country townlet of Winsen-an-der-Luhe. He was in the habit of paying frequent business visits to Hamburg, and, being very fond of music, a performer on the guitar, and the possessor of a good voice, liked nothing better than to spend a leisure hour on the Jungfernstieg listening to a movement of Haydn or Mozart. A familiar acquaintance had grown up between him and Brahms. Giesemann willingly listened to Jakob's eager talk about the achievements of Johannes and the promise of his younger brother Fritz.

He had a little daughter of his own at home in Winsen, and hoped she might some day be able to take her part in the private musical doings there--at any rate, learn to play the piano well enough to accompany his guitar. One evening in spring Jakob approached him with a request. His Hannes had found constant employment during the past winter in playing the piano until well into the night in the dancing-rooms of various Hamburg Lokals, and the something under two shillings earned by each engagement had amounted to a valuable addition to the scanty family means. But the late hours had told sadly upon his health. Now the work had ceased for a time, and the little toiler could be spared from home.

Would Giesemann give him a few weeks' holiday at Winsen? The boy's musical services would be at his command in return. He could accompany him, play to him, and give pianoforte lessons to the little Lischen, a year younger than himself.

Giesemann's kind heart was instantly touched. He had no need to think twice about his own reply, and could answer for that of his wife.

Johannes was to be made ready to accompany him back to Winsen after his next visit to Hamburg, which would take place very soon.

And so, in the bright springing month of May, when the buds were bursting and the birds singing, and the gray skies of Hamburg beginning to show a little blue, our dear Hannes took his departure from his big, busy native city to taste for the first time the delights of a free country life, with a kind little sister as companion. He never for a moment felt like a visitor on his arrival, but forgot his constitutional shyness, becoming a child of the house to be petted and brought back to health by fresh air and good food and Frau Giesemann's motherly care.

Lischen was at school all the morning, but this was quite a good thing.

Hannes had his tasks to attend to also, and could not afford to lose time, for Jakob had made such arrangements as were at his limited command to ensure that his boy's general progress should not suffer by the holiday.

Fresh air, however, was all-important, so he had come provided with a small dumb keyboard for the mechanical exercise of his fingers, and every day after breakfast, after he had got through such practice as had to be done in the house, Frau Giesemann used to turn him into the fields with a bag slung over his shoulder, containing his books and lunch, the clavier under his arm, the notebook, without which he never stirred anywhere, peeping from his pocket, and orders not to show himself again till dinner-time. Johannes had already been enjoying himself out of doors long before this hour. He used to rise at four o'clock, and begin his day by bathing in the river. Joined not long afterwards by Lischen, the two would spend a couple of delightful hours rambling about, discovering birds' nests and picking flowers. Johannes was quite a simple child in spite of his fourteen years and hard experience, and revelled in the happy days passed amidst sunshine, wild blossoms, and fragrant air. He was very pale and thin, and had little strength on his arrival, but soon gained flesh and colour, to which the glass of fresh milk put by for him every day no doubt contributed. The animals about the place--the cows and pigs, the big dog, the doe--gave him great delight, and he was charmed when the crane spread its wings and flew high overhead as he and Lischen approached it, clapping their hands. He liked to join in the games with which the children of Winsen amused themselves by the river-side on cool summer evenings, but could not be persuaded to take part in the boys' rough sport, and would only play with the girls. The lads, of course, despised him for this, telling him he was no better than a girl himself; but he did not seem to mind, and continued quietly to follow his inclination. One evening, however, soon after his arrival, before he had picked up much strength, as he was returning with several children from wading in the river, Lischen well on in front, one or two rough boys set on him, emptied his pockets, and robbed him of all his possessions, even of the precious pocket-book. He could not help crying at this, but Lischen, seeing him standing on the bank rubbing his knuckles into his eyes, soon found out what was the matter, and, dashing back into the water, forced the molesters to restore everything to her. To the pocket-book Johannes confided his inspirations on every subject. Sometimes it was a melody, sometimes a line or two of verse, that occurred to him. Then, whether he were walking, or climbing trees, or practising, or doing his lessons, out came the book that the idea might be fixed on the spot.

It was not long before his musical talents awakened the admiration of the neighbourhood. There was a pleasantly situated Lokal at Hoopte, a village about two miles from Winsen, which contained a large apartment suitable for dancing and music. This and one or two adjoining rooms were annually taken by the Giesemann circle for the Sunday afternoons of the summer season, and after morning church and mid-day dinner as many of the subscribers as felt inclined would meet there to pass a few sociable hours. Johannes soon became the central figure of these occasions. It was found that he could play, not only the most inspiriting music for the dancers, but a variety of solos also, including some lovely waltzes to which it was delightful to listen quietly; and on being asked, one day, to conduct the men's choral society that was to contribute to the afternoon's programme, he showed himself so astonishingly competent for the role he consented to assume, and inspired such confidence and sympathy, as he stood before his forces in short jacket and large white turn-down collar, his fair girlish face, with its regular features and shock of long, light hair, adding to the impression made by his childlike manner, that he was unanimously elected conductor of the society for so long as he should remain at Winsen; a period which was, as now decided, to be prolonged until he should be recalled to the recommencement of his autumn duties.

The men's choral society of Winsen consisted of about twelve members, the majority of whom were school-teachers of the neighbouring villages.

The teachers Backhaus of Winsen, Albers of Handorf, Schroder of Hoopte, belonged to it; other prominent members were the goldsmith Meyer and the big master-baker Rieckmann, who had a splendid bass voice. The practices were held on Saturdays from six to eight o'clock, generally in Rector Kohler's schoolroom, because it contained a piano, but when this was not available, in the billiard-room of the Deutsches Haus, Winsen's best Lokal. The singers used to stand round the billiard-table, and Johannes would take his place at the top. Lischen was privileged to attend all meetings of the society during the period that her friend officiated as its conductor.

The boy found a most valuable ally in teacher Schroder, who had great talent and love for music, had worked hard at thorough-bass and counterpoint, and been a composer since his fourteenth year. When Johannes came upon a knotty point in his theoretical studies that required discussion, he would walk over to Hoopte and consult Schroder, who was always ready with sympathy and counsel. He had not returned late one evening from an expedition of the kind, and Giesemann, becoming uneasy, was about to start in search of his young guest, when up drove Mr. Carriage-overseer Lowe from Pattenzen, a few miles away. 'Here is your Johannes,' he cried as the boy jumped from the gig; he went out by the wrong gate this morning and missed his way. I found him asleep by the side of a ditch some distance out on the Luneburg Heath, the clavier by his side and the notebook fallen from his pocket; lucky they had not all rolled in together!'

The theoretical exercises and the little compositions for voices on which Marxsen encouraged his pupil to try his hand were regularly carried to Altona, for, with Marxsen's concurrence and the advice of the schoolmaster Hoffmann, it had been arranged that Johannes should go every week by steamboat to Hamburg and remain there two nights, which allowed him a clear day for his music-lessons and for general private instruction. Now and then Lischen was invited to accompany him, and to share sister Elise's tiny chamber in the Brahms' little dwelling on the Dammthorwall. The journeys were easily managed, for 'Uncle' Adolph Giesemann's brother, manager of the restaurant at the Winsen railway-station, was also contractor for the refreshment department of the steamboat service to and from Hamburg, and nothing could be simpler than for one or both of the children to go and return as his friends.

Frau Giesemann used to see that they started with a liberal supply of 'belegtes Brodchen,' a crusty roll cut through, buttered, and put together again, with slices of cold meat, sausage, cheese, or what not, between the two halves. Their friend the restaurateur provided each of them, at the proper time, with a large mug of thin coffee, and Lischen and Hannes, sitting together in the bottom of the boat, thoroughly enjoyed these picnic dinners.

Johannes always began the day after his arrival at Hamburg by exercising his fingers on the upright piano that stood against the parlour wall, on the music-desk of which a book invariably stood open, into which he poked his head--for he was very near-sighted--reading as he worked.

Lischen saw little of him afterwards, for his time was occupied by his various lessons, but she did not mind this. She soon became very fond of his dear, kind old mother, and liked to watch her at her duties, sometimes able to help her by fetching water from the pump at the bottom of the steps outside the house, a task which Johanna's lameness prevented her from performing herself. Lischen much admired the portrait of Frau Brahms that hung above the piano, and thought, as she looked at the youthful figure arrayed in a pink dress made Empire fashion, with flowing skirt, short waist, and low neck, the hair dressed with little curls in front and a high comb behind, that Hannes' mother must have been very pretty in her youth. The parlour was rather bare, containing little beyond the piano, table, chairs, a few shelves filled with books, and one or two small prints; but Lischen did not think this mattered, as everything was so neat and shining. She felt sorry, however, that it was so dark, and that its one small window had no other prospect than a close, dreary courtyard--for Johanna still had her little shop in front--and proposed to Hannes that they should bring some scarlet-runners from Winsen, which could be planted in the courtyard and trained up sticks. There would soon be something bright in front of the parlour window. Johannes greatly approved of the plan, which worked well up to the planting of the beans and the placing of some immensely high sticks in readiness for the training. After this stage it disappointed expectations, as the plants failed to do their part and firmly abstained from growing.

It would have been impossible for Johannes to pass with entire enjoyment through the months of his visit to Winsen if he had been without the means of gratifying a taste hardly less strong in him than his passion for music. From the very early age at which he was first able to read, he had been devoted to books, and, whilst showing the child's natural preference for the romantic and wonderful, had displayed strange discrimination in the choice of his favourite tales. He had always contrived by some means or other to provide himself with reading material, preferring books for his little birthday and Christmas gifts, buying them from time to time from pedlars' wheelbarrows with his collection of halfpennies, or begging the loan of a volume from a friend. Brahms' exceptional knowledge of the Bible grew from the time when, as a young child, he was accustomed to eat his dinner with the book lying open beside his plate, absorbed in the Old Testament stories which were then his prime favourites, misty speculations forming in his brain which laid the foundation of his future attitude towards many of life's problems. He had not been long at Winsen before he had exhausted the mental nourishment afforded by Uncle Giesemann's collection of volumes. Fortunately, another resource was at hand. There was a lending library in the neighbourhood belonging to a certain Frau Lowenherz, a Jewess, who had a son called Aaron. With Aaron the two children made friends, and of him, in the absence of sufficient funds to pay the full price of a constant supply of literature, they sought counsel. He proved an able adviser, and, whilst promising to obtain for them access to the coveted books, showed that he was not wanting in the capacity of turning opportunity to profit on his own account. He promised that he would, on his private responsibility, bring one volume at a time for the perusal of Hannes and Lischen, to be put back when done with and replaced by another; the price demanded and agreed to for this secret service being one groschen (about a penny) for each supply.

By this expedient Hannes and Lischen--the latter having probably been the active partner in striking the bargain, for Johannes had few spare pennies--found themselves provided with as many books as they could desire. Their best time for reading was when they sat together by the river-bank, or fished in the pond during the afternoon. Forgetting their rods, they used to pore silently over the open book supported between them, devouring one tale after another of knights and tournaments, outlaws and bandits. Aaron received very particular instruction as to the kind of selections he was to make, and took pains to suit the taste of his patrons. He appeared one afternoon with a volume containing the history of 'The Beautiful Magelone and the Knight Peter with the Silver Keys.' That was a red-letter day in the history of the young subscribers to the lending library which neither Hannes nor Lischen ever forgot. The romance made an indelible impression on both of them. As for bandits, what better could Johannes desire than a work bearing the stimulating title of 'The Robbers,' which Aaron offered another day, insisting with justifiable pride on the success of his researches? The book was written by one Schiller, and proved so satisfactory that Hannes begged Aaron to be on the look-out for other volumes bearing this name on the title-page.

It might be expected that the young conductor of the Winsen Choral Society and the pupil of the distinguished musician of Altona would turn his studies to account by writing something for the use of his choir, and so it was. Johannes composed an 'ABC' four-part song for his school-teachers, consisting of thirty-two bars in two-four time, preceded by three bars of introduction and followed by a kind of signature. The introduction and first three of the four eight-bar phrases had for their text the letters of the alphabet arranged, first in order, and then in syllables of two letters as in a first spelling lesson; the fourth phrase was set to a few words introduced at random.

The composition closed with the words 'Winsen, eighteen hundred seven and forty,' sung in full chorus, _lento_ and _fortissimo_, on the reiterated tonic chord. The little composition, tuneful and spirited, showing a feeling for independent part-writing, and conceived in a vein of boyish fun that was fully appreciated by the teachers, was soon succeeded by a second, 'The Postilion's Morning Song,' composed to the well-known words 'Vivat! und in's Horn ich stosse.' The young musician was also requested by a deputation from the school-children of Winsen to assist them in the performance of a serenade with which they were desirous of greeting their Rector Kohler on his birthday. He accordingly looked out one suitable to the occasion, arranged it in two parts, practised the boys and girls until they were perfect with it, and conducted the performance outside the Rector's house on the eve of the birthday celebration. He was very strict and serious when engaged in these professional duties, beat time with great verve, and insisted on careful observance of the _pianos_ and _fortes_, as well as on the proper graduation of the _rallentandos_. The singing of the Standchen was declared brilliantly successful by the quite considerable audience that assembled near the Rector's house to enjoy it.

Rumours of the increased musical activity of Winsen could not fail to reach the ears of the Amtsvogt, Herr Blume, an official of good social standing residing there, whose duties, as administrator of some of the rural districts of northern Hanover, brought him into touch with the life of such parts of the country as were included in his circuit. Herr Blume was not far short of seventy when Johannes paid his first visit to the Giesemanns, but his interest in music and love for Beethoven's art were as strong as ever, and Johannes, before leaving Winsen, was invited to his house, and pressed to use his piano for practice. The boy delighted the Amtsvogt by playing with him some four-hand pianoforte arrangements of Beethoven's works, and won the heart of Frau Blume, in spite of his shy, awkward manner, by his simple, childlike nature. If, as was hoped, he should be able to repeat his visit to Uncle Giesemann next year, he was to come often to the Blumes' house, and use the piano as long as he liked. Great regret was felt throughout the circle of Winsen friends at the news of the young musician's impending departure, but the arrival of autumn brought with it the necessity for the resumption of duties in Hamburg, and nothing remained save to hope for a renewal of the pleasures his long visit had brought to many beside himself.

Johannes returned to his home in such a satisfactory condition of health and spirits that he was able, with Marxsen's approval, to take a decided step forward in his career. He played in the Apollo Concert-room on November 20, at a benefit concert given by Birgfeld, already known to our readers as the violinist of the subscription concert at the 'Old Raven,' performing Thalberg's Fantasia on airs from 'Norma.' Marxsen's affection for his pupil and appreciation of his gifts are clearly to be read in the summary of concerts which appeared a week later in the _Freischutz_, a widely-read Hamburg paper to which he was one of the chief contributors:

'Birgfeld's concert is said to have been interesting and enjoyable as regards both the vocal and instrumental portions of the programme. A very special impression was made by the performance of one of Thalberg's fantasias by a little virtuoso called J. Brahms, who not only showed great facility, precision, clearness, power, and certainty, but occasioned general surprise and obtained unanimous applause by the intelligence of his interpretation.'

On the 27th of the same month, Johannes appeared in the small room of the Tonhalle at a concert of the pianist Frau Meyer-David, whom he assisted in the performance of a duet for two pianofortes, also by Thalberg, whose fame was at this time at its height. Marxsen's influence is again apparent in the special mention of Johannes in the Freischutz review, though it is evident, from the misspelling of the name, that he was not the writer of the notice:

'The duet performed by the concert-giver and the young pianist Bruns, who lately appeared for the first time in public with such marked success, gave satisfaction, and was played with laudable unity and facility.'

With the exception of a mere record of the same performance in the _Hamburger Nachrichten_, no further mention of Johannes is to be found in the newspapers of the winter 1847-48. It was passed by the young musician in much the same routine of severe study by day and fatiguing labour by night as the previous one had witnessed. He was, however, spared in the spring for another visit to the Giesemanns' house, to which he returned as to a second home. The members of the choral society were delighted to welcome their conductor, who, in the course of the season, added to their repertoire by arranging two folk-songs for use at the practices. These must be accepted as the earliest recorded illustrations of the partiality for national songs and melodies which remained one of the great composer's most characteristic traits, and which culminated, less than three years before his death, in the publication, in seven books, of his well-known collection of German Volkslieder.

Johannes was frequently at the Blumes' this year, and often played duets with the Amtsvogt. Lischen's pianoforte lessons were not resumed, as they had not been attended by any great result. It was difficult to confine her to the house to practise on bright summer afternoons, when she longed to be enjoying herself out of doors. She never entirely forgot what Johannes had taught her on his first visit, however, and continued to be very fond of music. It was hoped that by-and-by it might be possible to have her voice thoroughly trained. Johannes felt sure it would develop into a fine one.

Meanwhile she succeeded in procuring for her companion the greatest pleasure he had as yet experienced. He wanted very much to hear an opera, and Lischen thought she would like it, too, so one day, when they were going together to Hamburg, she persuaded her father to stand treat for two places in the gallery. It was to be a great night. Formes, then of Vienna, had been secured for a few weeks by the managers of the Stadt Theater (the opera-house of Hamburg), and was making a great sensation.

Lischen and Hannes were to hear him in 'Figaro's Hochzeit,' the title-role of which was one of his great parts. They started early from the house on the Dammthorwall, supplied by Frau Brahms with some buttered rolls, and waited for two hours in the street before the door opened, which was part of the pleasure. They got capital places, and enjoyed sitting in the gallery before the performance, looking at the house and seeing the people come in. But when the music began Johannes was almost beside himself with excitement, and Lischen has never to this day forgotten his joy. 'Lischen, Lischen, listen to the music! there never was anything like it!' Uncle Adolph was made so happy when he heard all about the evening and perceived the delight he had given, that he said the visit to the opera must be repeated, and accordingly the pair of friends went a little later on, to hear Kreutzer's 'Das Nachtlager von Granada,' which both of them enjoyed very, very much.

Johannes was not able to stay so long at Winsen this year as last, and still greater sadness was felt as the day drew near on which his visit would terminate, as it was the last of the kind he would pay. It was his confirmation year. He was past fifteen now, his general school education was finished, and he was to take his position in the world as a musician who had his way to make and would be expected to contribute regularly to the support of his family and the education of his brother Fritz, destined for a pianist and teacher. He copied out the four-part songs, dedicated to the Winsen Choral Society, beautifully, as a parting present to Lischen, putting headings to each in splendid caligraphy, and adding her name with a special inscription. Lischen treasured the manuscripts long after she had become a wife and mother, in memory of a happy episode of her youth.

There was a solemn farewell ceremony at the last meeting of the choral society, which took place at the Deutsches Haus. After the conclusion of the practice, the conductor addressed his singers in a poem written by himself for the occasion, which began with the line: 'Lebt wohl, lebt wohl, ihr Freunde schlicht und bieder' (Farewell, farewell, ye friends upright and simple). An instant's sorrowful silence followed; then there was a tremendous stamping and clapping and shouting, and the big master-baker Rieckmann, calling out, 'Here, young one!' hoisted Johannes over his shoulder pickapack, and marched several times round the table, followed by Lischen and the other members of the society singing a last chorus.

It was the concluding scene of Johannes' childhood, which had been unusually protracted, in spite of its drawbacks; but, as everybody said, he was to come often again to Winsen, and whenever he should be able to take a short relaxation from the serious duties of life awaiting him, he would know where to find a number of friends ready to greet his arrival amongst them with heartiest welcome.

[8] Clasing was a pupil of C. F. G. Schwenke, who succeeded C. P.

Emanuel Bach as cantor and music-director of St. Catharine's Church, Hamburg. On the death of Emanuel Bach in 1788, a portion of his library came into Schwenke's possession, including the score, in Sebastian Bach's own handwriting, of the great B minor Mass.

[9] La Mara, 'Studien Kopfe.'

[10] 'Brahms in Erinnerung.'

[11] Steiner's 'Johannes Brahms'. Neujahr'sblatt der Allg.

Musikgesellschaft in Zurich, 1898.

CHAPTER III 1848-1853

Johannes' first public concert--Years of struggle--Hamburg Lokals--Louise Japha--Edward Remenyi--Sonata in F sharp minor--First concert-tour as Remenyi's accompanist--Concerts at Winsen, Celle, Luneburg, and Hildesheim--Musical parties in 1853--Leipzig and Weimar--Robert Schumann--Joseph Joachim.

It was on September 21 that Johannes made his fresh start in life by giving a concert of his own, thus presenting himself to his circle as a musician who was now to stand on an independent footing. It took place in the familiar room of the 'Old Raven,' 'Herr Honnef's Hall,' with the assistance of Marxsen's friends, Madame and Fraulein Cornet, and some instrumentalists of Hamburg. The price of tickets was one mark (about a shilling), and the programme, as printed in the _Hamburger Nachrichten_ of the 20th, was as follows:

FIRST PART.

1. Adagio and rondo from Rosenhain's Concerto in A major for Piano, performed by the concert-giver.

2. Duet from Mozart's 'Figaro,' sung by Mad. and Fraul. Cornet.

3. Variations for Violin, by Artot, performed by Herr Risch.

4. 'Das Schwabenmadchen,' Lied, sung by Mad. Cornet.

5. Fantasia on Themes from Rossini's 'Tell,' for Piano, by Dohler, performed by the concert-giver.