The next concert took place on May 2 at Celle. It had been arranged for with the assistance of Dr. Kohler, a well-known inhabitant of the town, probably a relation of the Rector of Winsen, and a friend of Amtsvogt Blume, who, besides seeing through the business arrangements, had neglected no opportunity of arousing general interest in the event. The single public announcement appeared in the _Celles'sche Anzeigen_ of Saturday, April 30:

'Next Monday evening at seven o'clock the concert of the Herren Remenyi and Brahms will take place in the Wierss'schen room. The subscription price is 12 g.gr.[13] Tickets may also be obtained of Herr Wierss jun. at Herr Duncker's hotel, and on the evening at the room for 16 g.gr.'

At Celle there was a sensation. The two artists, going, on the morning of May 2, to try their pieces in the concert-room, were dismayed to find that the only pianoforte of which it boasted was in such an advanced state of old age as to be unusable for their purpose. Classical concerts were rare events in Celle, and it had occurred to no one to doubt the excellence of the instrument; a piano was a piano. It was arranged that every effort should be made, during the few hours that remained, to procure a better one, and a better one was actually discovered and sent in just as the hour had arrived for the concert to begin. But a fresh difficulty arose. The second instrument proved to be nearly a semitone below pitch, and Remenyi refused to make so considerable a change in the tuning of his violin. What was to be done?

The practised and intrepid Johannes made short work of the difficulty.

If Remenyi would tune his fiddle slightly up, so as to bring it to a true semitone above the piano, he himself would transpose his part of the Beethoven sonata a semitone higher than written, and play it in C sharp instead of C minor. No sooner said than done. The young musician performed the feat without turning a hair, though his colleague allowed him no quarter, and the performance was applauded to the echo. Remenyi behaved well on this occasion. Addressing the audience, he related the circumstances in which he and his companion had found themselves placed, and said that all approval belonged by right to Brahms, whose musicianship had saved the situation for everyone concerned. History does not relate whether the young hero transposed his parts throughout the evening, or whether the old instrument was sufficiently serviceable for the accompaniments of the violin solos, and the question does not appear to have suggested itself until the present time, when it cannot be solved. Johannes himself seems to have thought but little of his achievement. Writing presently to let Marxsen know how he was getting on, he mentioned the incident, not as worthy of comment, but as one amongst others.

The day after these events Remenyi and Brahms retraced their steps as far as Luneburg, where they were to remain for a week as the guests of Herr Calculator Blume, son of the Amtsvogt. At his hospitable house they were presented to the musical circle of the town, so far as it included members of the sterner sex. At the earnest persuasion of Brahms, no ladies were invited to the party arranged by Frau Blume in the interests of the forthcoming concert. 'It is so much nicer without them,' he said, and was so serious about the matter that his hostess regretfully gave way to him. He played part of the C major Sonata, on the composition of which he had lately been engaged, on this private occasion, making but little impression with it. Perhaps the double consciousness, which cannot but have been secretly present with him, of his great artistic superiority to Remenyi, and of the quite secondary place to which he found himself relegated whenever they appeared together, may have increased the awkward shyness which placed him at such a disadvantage by the side of his colleague. He was incapable of making any effort to assert himself in general society, and attracted little notice from ordinary strangers who had no particular reason for observing him closely. However, everyone behaved very kindly to him throughout the journey. He was certainly a good pianist, and accompanied Remenyi delightfully.

The concert was advertised in the _Luneburger Anzeiger_ of May 7, the twentieth birthday anniversary of our Johannes:

'The undersigned propose to give a concert on Monday evening, the 9th inst., at 7.30, in Herr Balcke's Hall, and have the honour to invite the attendance of the music-loving public. Amongst other things, the concert-givers will perform Beethoven's Sonata for Pianoforte and Violin in C minor, Op. 30, and Vieuxtemps' grand Violin Concerto in E major.

'Tickets to be had,' etc.

'EDWARD REMeNYI.

'JOHANNES BRAHMS.'

Again a great success was scored, and the next day a second concert 'by general desire' was announced, with the same programme and special mention of the 'Hungarian Melodies,' for Wednesday, May 11. It brought the visit to Luneburg to a brilliant conclusion, and the performances were again repeated on the 12th at a second concert in Celle, advertised in the Celle journal of the 11th.

With the account of these five soirees, exact record of the public concerts of the journey is exhausted. Neither advertisement nor local recollection of any other can be traced, though Heuberger speaks, on the authority of Brahms' personal recollection, of two given at Hildesheim.[14] The first was very sparsely attended, and the artists, after supping at a restaurant where they seem to have made merry with some companions, paraded the streets with a queue of followers until they arrived underneath the windows of a lady of position who had been their principal patron. Remenyi greeted her with some violin solos, the assembled party followed suit with a chorus, and the ingenious advertisement proved so successful that a second concert-venture on the following evening drew a crowded audience. The circumstances thus related point to the conclusion that the first concert at Hildesheim was hastily arranged, and the explanation may be that some unexpected introduction caused the musicians to visit the town. This would fit in with the fact that there is no reference in any Hildesheim journal of the date to Brahms and Remenyi, and with the absence of all knowledge, on the part of several persons still living who have personal associations with the journey, of any other concerts than those in Winsen, Luneburg, and Celle, and of one other of a different kind in Hanover, to which we shall return.

It is necessary for the understanding of what is to follow that we should here part company, for a time, with the travellers. Before introducing Johannes to the great musical world which he is to enter before long, we must glance at the party questions by which it was agitated in the early fifties, and which had hitherto been unknown or unheeded by our young musician in the inexperience of his secluded life.

The musical world of Leipzig, the city raised by the leadership of Mendelssohn to be the recognised capital of classical art, had become split after the death of the master in November, 1847, into two factions, both without an active head. The Schumannites, whilst receiving no encouragement from the great composer whose art they championed, decried Mendelssohn as a pedant and a phrase-maker, who, having nothing particular to say, had covered his lack of meaning by facility of workmanship. The Mendelssohnians, on the other hand, declared Schumann to be wanting in mastery of form, and perceived in his works a tendency to subordinate the objective, to the subjective, side of musical art. The division soon spread beyond Leipzig throughout Germany, and, in the course of years, to England, with the result that Mendelssohn, once a popular idol, is now rarely represented in a concert programme.

Meanwhile Franz Liszt, perhaps the greatest pianoforte executant of all times, and one of the most magnetic personalities of his own, had exchanged his brilliant career of virtuoso for the position of conductor of the orchestra of the Weimar court theatre, with the avowed noble purpose of bringing to a hearing such works of genius as had little chance of being performed elsewhere. He declared himself the advocate of the 'New-German' school, and, making active propaganda for the creeds of Hector Berlioz and Richard Wagner, succeeded in attracting to his standard some of the most talented of the younger generation of artists, amongst whom Joachim, Raff, and the gifted and generous Hans von Bulow, were some of the first converts. There were, therefore, three different schools of serious musical thought in the year 1853, each of which boasted numerous and distinguished adherents.

The purists of Leipzig held sacred the memory of Mendelssohn, clung to the methods as well as the forms of classical tradition, and declined to recognise as legitimate art anything that savoured of progress.

The Schumannites believed it possible to give musical expression to the world-spirit of the time by expanding their methods within the old forms--_i.e._, by free use of chromatic harmonies, varied cadences, mixed rhythms, and so forth.

The Weimarites, rejoicing in the potent leadership of Liszt, declared they would no longer be hampered either by old methods or old forms, which they regarded as worn out and perishing of inanition.

The party disputes as to the respective merits of Mendelssohn and Schumann, were as nothing beside the violent controversies which raged for years around the theories professed by the founders of the so-called 'music of the future.' For some time the battle was fought chiefly between the 'academics' of Leipzig and the 'revolutionists' of Weimar.

The classical-romantic art of Schumann had points of contact with that of each of the extremists. Animated by new impulse and instinct with modern thought, it was by no means coupled by the leaders of the new party with that of Mendelssohn, but was accepted by them for some years with more than toleration, and some of the master's works, as 'Genoveva'

and 'Manfred' were performed at Weimar under Liszt's direction. Schumann himself, however, whilst warmly appreciating the great qualities of Wagner's musicianship, was well aware that any relationship between his own works and that of the new school was merely superficial. He was second to none in his reverence for the forms of the great masters, upon which he based his compositions, and, though it is probably the case that the originality of his art-methods did not attract the sympathy of Mendelssohn, he clung to the memory of this departed friend as that of a beloved comrade in arms.

Schumann, who had long since retired from his labours as editor of the _Neue Zeitschrift fur Musik_, of which he was the founder, lived quietly at Dusseldorf, where he had, in 1850, succeeded Ferdinand Hiller as municipal conductor. The success achieved by him there, during the first season of his activity as director of the orchestral subscription concerts and the choral society, was only transient. His reserved nature, and the progress of the malady that threatened him, unfitted him for the position, and he was subject to the constant annoyance that resulted from differences with his committee. To this was added the serious disappointment of knowing that the periodical to which he had devoted untiring energy during some of the best years of his life, had become, under the editorship of Franz Brendel, the organ of the New-German party, from whose principles he felt increasing alienation.

These vexations probably augmented his nervous condition, and his habitual silence and reserve increased. His chief pleasure was found in the absorbing work of composition, and in his generous sympathy with a group of young musicians who regarded themselves as his disciples.

Perhaps feeling that the best part of his own career was already behind him, he lived in the constant hope that someone would appear of creative genius sufficiently decisive to indicate him as the worthy successor to the prophet's mantle of classical art.

Many of our readers are aware that Joseph Joachim was born on June 28, 1831, at Kittsee, a village near Presburg in Hungary; that at the age of twelve he had learnt all that the distinguished violinist Bohm, of the Vienna Conservatoire, master of many famous pupils, could teach him; and that he lived at Leipzig, well known at the conservatoire, though not its pupil, for the next six years, happy during the first four of them in the affection of Mendelssohn, to whom he was passionately attached, and who lost no opportunity of furthering his protege's genius and of laying the foundation of his future career.

It was not until after Mendelssohn's death that either of the party questions to which we have referred became acute, and Joseph grew up an unquestioning believer in the principles of musical tradition, which he reverenced with something of religious fervour. The loss of Mendelssohn left him, at the age of sixteen, lonely and disconsolate, in spite of his being himself already a distinguished personality and a universal favourite. The peculiar place in his life which the master had occupied could not again be filled, and for more than two years he was unable to regard anyone as even the partial successor to his best affections. It happened, however, that two events of the year 1850, awakened in his heart something of the personal enthusiasm which had made his early happiness. A week spent by the Schumanns at Leipzig in the month of March, convinced him of his sympathy with the composer and his art; and a visit which he paid to Weimar in August, on the occasion of the first performance of Wagner's 'Lohengrin,' stirred him so strongly that by the end of the year he had resigned his position in Leipzig and taken up his residence in Weimar as concertmeister in Liszt's orchestra.[15]

Here he lived for two years, and it seemed for a time as though he would become one of the most enthusiastic of the band of young musicians, amongst whom were Bulow, Raff, Cornelius, and the violoncellist Cossmann, who proclaimed themselves disciples of the new school. His genius and his already eminent position as an artist made him by far the most important member of the group, and he was treated by Liszt almost on equal terms, as a younger colleague. In the constant companionship of this fascinating master, Joachim felt some renewal of the satisfaction in life which he had experienced when with Mendelssohn at Leipzig; but his early convictions and affections were too deeply rooted to be effaced by newer impressions, and his allegiance to the school of the future was not permanent. Liszt's aspirations, as the composer of sounding orchestral works which Joachim ought to have admired, but could not, gradually caused the young concertmeister to feel his position a false one, and he was glad to accept a post offered him, at the close of 1852, as court concertmeister and assistant capellmeister at Hanover. By this step he regained his independence without hurting the feelings of his Weimar friends. His absence of warmth on the subject of the Symphonic Poems had, indeed, been observed by Liszt, but Joachim had naturally refrained from expressing himself about them in detail, and Liszt could not guess that his young companion had conceived a positive aversion to his compositions. Joachim remained for some years yet on terms of affectionate intimacy with Liszt, Bulow, and the others, and was, indeed, so lonely and depressed during the first few months of his residence in Hanover, that he was impelled to express his state of mind by the composition of an overture to 'Hamlet.' Sending the manuscript to Liszt in the middle of March, he wrote:

'I have been very much alone. The contrast between the atmosphere which is constantly resounding, through your influence, with new tones, and an air which is completely tone-still, is too barbarous.

Wherever I have looked there has been no one to share my aims--no one; instead of the phalanx of like-minded friends at Weimar ... I took up "Hamlet" ... I am certain that you, my ever-indulgent master, will look through the score, and will advise me as though I were sitting near you, dumb as ever, but listening eagerly to your musical wisdom.'[16]

The Festival of the Lower Rhine, held in the year 1853 at Dusseldorf (May 15-17), was a particularly brilliant function. The names of Robert and Clara Schumann, Ferdinand Hiller as chief conductor, Joseph Joachim, the English artist Clara Novello, and others of high distinction, roused lively expectations which were perhaps exceeded by the performances.

Schumann's D minor Symphony, Pianoforte Concerto played by his wife, and Overture and final chorus from the 'Rheinweinlied,' all given under his own direction, were received with enthusiasm; and the first appearance on the Rhine of the young concertmeister from Hanover, with Beethoven's then little-known Violin Concerto, resulted in a triumph that defies description. 'He opened a veritable world of enchantment,' 'He was the hero of the festival,' 'We will not attempt to describe his success; there was French frenzy, Italian fanaticism, in a German audience,' say the critics of the day.

For our readers, the peculiar interest of the occasion lies in the fact that Joachim, increasingly attracted by Schumann's art and individuality, took advantage of his few days' stay in Dusseldorf to draw closer his relations with the master, and it may be said that his future attitude was finally determined at this time. He saw in Schumann the living representative of the music that he loved, and to him and his he became bound henceforth by ties that death itself was but partially able to sever.[17]

[12] _Cf._ Kalbeck, p. 186.

[13] Two Guter Groschen were of about the value of 2-1/2d.

[14] Heuberger, 'Musikalische Skizzen.'

[15] The concertmeister is the leader--_i.e._, leading violin of the orchestra. The capellmeister is the conductor of the orchestra.

[16] Moser's 'Life of Joachim.'

[17] To assist those of our readers to whom the terms 'musical form,'

'absolute music,' 'programme music,' convey no distinct ideas, and who do not realize with exactness what the real position of Wagner's art was in its relation to the school of Weimar, we have entered into these subjects, in Appendix No. I. of this volume, in detail which cannot be conveniently introduced into the body of our narrative.

CHAPTER IV 1853

Brahms and Remenyi visit Joachim in Hanover--Concert at Court--Visit to Liszt--Joachim and Brahms in Gottingen--Wasielewski, Reinecke, and Hiller--First meeting with Schumann--Albert Dietrich.

Leaving Dusseldorf on May 18, the day following the close of the festival, Joachim proceeded on a week's visit to Weimar, and, returning thence to spend a day or two at home in Hanover before settling for the summer at Gottingen, where he proposed to attend University lectures, was surprised by a call from Remenyi and Brahms.[18] His first attention was naturally devoted to his old school-fellow, but by-and-by he turned to the stranger, and an account of the interview may be given in his own words:

'The dissimilar companions--the tender, idealistic Johannes and the self-satisfied, fantastic virtuoso--called on me. Never in the course of my artist's life have I been more completely overwhelmed with delighted surprise, than when the rather shy-mannered, blonde companion of my countryman played me his sonata movements, of quite undreamt-of originality and power, looking noble and inspired the while. His song "O, versenk dein Leid" sounded to me like a revelation, and his playing, so tender, so imaginative, so free and so fiery, held me spell-bound. No wonder that I not only foresaw, but actually foretold, a speedy end to the concert-journey with Remenyi. Brahms parted from him soon afterwards, and, encouraged before long by an enthusiastic recognition, marched proudly onwards in his own path of endeavour after the highest development.'[19]

Remenyi had not been mistaken in building hopes for the success of the concert-journey upon the chance of an interview with Joachim, who proved the medium through which both he and his companion were guided to the respective spheres for which each was peculiarly fitted. The great violinist was at this, his first interview with Brahms, so deeply penetrated by the certainty of his genius, so impressed by its daring, and so profoundly touched by the evident sincerity and childlike freshness of his nature, that he took him then and there to his heart, and made his cause his own. He at once exerted his influence in Hanover to such purpose that the travellers were engaged to appear before King George and the royal circle.

'There is in his (Brahms') playing,' he wrote to the Countess Bernstorff, a lady of great musical accomplishment attached to the Hanoverian Court, 'that concentrated fire, what I may call that fatalistic energy and precision of rhythm, which prophesy the artist, and his compositions already contain much that is significant, such as I have not hitherto met with in a youth of his age.'[20]

Joachim's engagements did not allow him to wait in Hanover till the date of the proposed court concert; but before his departure he cordially invited Johannes, who called to bid him farewell, to visit him in Gottingen if his relations with Remenyi should come to as early a termination as Joachim thought likely.

Mention of the concert before King George and the royal family is to be found in a volume, 'Aus allen Tonarten,' by Heinrich Ehrlich, court pianist at Hanover, who was present, and has recorded that Brahms played the E flat minor Scherzo. In a subsequent letter to this musician Joachim wrote:

'... It was his exceptional talent for composition, and a nature which could have been developed in its integrity only in close retirement, pure as the diamond, tender as snow.'

From Hanover, Remenyi and Brahms travelled to Weimar, where Joachim had ensured them a welcome by writing to Liszt on their behalf. Of the first meeting between the world-famous musician, who lived in a style of ostentatious luxury in a house on the Altenburg belonging to the Princess Caroline von Sayn-Wittgenstein, and the obscure young composer from the Lane-quarter of Hamburg, we have, fortunately, the account of an eye-witness, William Mason, of New York, who was at the time resident in Weimar as a pupil of Liszt, and one of the ardent young champions of the new school.

'One evening early in June,' says Mason,[21] 'Liszt sent us word to come up the next morning to the Altenburg, as he expected a visit from a young man who was said to have great talent as a composer, and whose name was Johannes Brahms. He was to come accompanied by Edward Remenyi.

'The next morning, on going to the Altenburg with Klindworth, we found Brahms and Remenyi already in the reception-room with Raff and Pruckner. After greeting the new-corners, of whom Remenyi was known to us by reputation, I strolled over to a table on which were lying some manuscripts of music. They were several of Brahms'

unpublished compositions, and I began turning over the leaves of the uppermost of the pile. It was the pianoforte solo, Op. 4, Scherzo in E flat minor.... Finally Liszt came down, and after some general conversation he turned to Brahms, and said: "We are interested to hear some of your compositions whenever you are ready and feel inclined to play them."

'Brahms, however, who was in a highly nervous state, declared that it was quite impossible for him to play, and as the entreaties of Liszt and Remenyi failed to induce him to approach the piano, Liszt went over to the table, saying, "Well, I shall have to play"; and taking the first piece at hand from the heap of manuscripts, he performed the scherzo at sight in such a marvellous way, carrying on, at the same time, a running accompaniment of audible criticism of the music, that Brahms was surprised and delighted. Raff found reminiscences, in the opening bars, of Chopin's Scherzo in B flat minor, whereupon Brahms answered that he had neither seen nor heard any of this composer's works. Liszt then played a part of Brahms'