[40] Numbers 1, 3, 10, were published in 1874 as arranged by the composer for orchestra, and were frequently conducted by him about that date.

[41] The full programme was as follows:

A German Requiem (under Reinthaler's direction).

Arie from Handel's 'Messiah' and Graun's 'Der Tod Jesu.'

'Hallelujah, Heil and Preis sei Gott.' A song of Triumph for eight-part Chorus and Orchestra lately composed by Johannes Brahms (under the composer's direction).

Soprano, Frau Wilt from Vienna, Imperial chamber singer.

Baritone, Herr Schelper, of the Berlin Court Opera.

(The chorus of the Singakademie was augmented for the occasion to about 300 voices.)

The general (public) rehearsal took place on Thursday evening, April 6.

[42] The following were, as the author believes, first performances in this country:

_Quartet in A major for Pianoforte and Strings_: May 23, 1871. St.

James's Hall, Musical Union (John Ella), by Jaell, Heermann, Wafelghem, Lasserre.

_Pianoforte Concerto, D minor_: March 9, 1872. Crystal Palace (A.

Manns), by Miss Baglehole (pupil of the pianist W. H. Holmes, one of the first English musicians to appreciate the significance of Brahms' art).

The concerto was played for the second time in London by Jaell at the Philharmonic concert of June 23, 1873.

_Sextet for Strings, G major_: November 27, 1872. St. George's Hall, Musical Evenings, by Henry Holmes, Folkes, Burnett, Hann, C. Ould, Pezze.

_Ballades for Pianoforte, Op. 10, Nos. 2 and 3_: March 17, 1873. St.

James's Hall, Monday Popular Concerts (S. Arthur Chappell), by Frau Schumann.

_Handel Variations and Fugue for Pianoforte_: November 12, 1873. Crystal Palace, by Florence May.

_Hungarian Variations for Pianoforte_: March 25, 1874. Crystal Palace, by Florence May.

_Schumann Variations (Pianoforte Duet)_: March 30, 1874. St. James's Hall, Monday Popular Concerts, by Miss Agnes Zimmermann and Mr. Franklin Taylor.

_Serenade in A major (small Orchestra)_: June 29, 1874. St. James's Hall, Philharmonic Society. Conductor: W. G. Cusins.

_Liebeslieder, Op. 52_: January 15 and 27, 1877. St. James's Hall, M.

and S. Popular Concerts. Pianists: Fraulein Marie Krebs and Miss A.

Zimmermann. Singers: Fraulein Sophie Lowe, Fraulein Redeker, William Shakespeare, G. Pyatt.

_Neue Liebeslieder, Walzer, Op. 65_: May 18, 1877. Cambridge University Musical Society's Concerts. Pianists: C. Villiers Stanford and Raoul C.

de Versan. Singers: Fraulein Thekla Friedlander, Fraulein Redeker, Rev.

L. Borrisow, Gerard F. Cobb.

N.B.--The _Quartet in G minor_ and the _Quintet in F minor_, both for _Pianoforte and Strings_, were played for the first time at the Popular Concerts respectively on January 26, 1874, by Halle, Madame Norman-Neruda (now Lady Halle), Ludwig Straus, and Piatti; and on February 27, 1875, by Halle, Joachim, L. Ries, and Piatti, but may have been previously given in England elsewhere.

The _Pianoforte Concerto in D minor_ was played for the first time in Vienna at one of the Philharmonic Concerts of the season 1870-71, by the composer, and for the second time in March, 1873, by Anton Door.

[43] The author has followed the date given in the published catalogue of the issue of these two books of songs. By their opus numbers they would rather belong to the year 1873 or 1874. Brahms' well-known arrangement for Pianoforte of Gluck's Gavotte in A was published in 1871 by Senff.

[44] P. 278 of Vol. I.

[45] Dietrich, p. 42.

CHAPTER XVI 1872-1876

Publication of the 'Triumphlied,' with a dedication to the German Emperor William I.--Brahms conducts the 'Gesellschaft concerts'--Schumann Festival at Bonn--Professor and Frau Engelmann--String Quartets--First performances--Anselm Feuerbach in Vienna--Variations for Orchestra--First performances--'Triumphlied'

at Cologne, Basle, and Zurich--Resignation of appointment as 'artistic director' to the Gesellschaft--Third Pianoforte Quartet.

Brahms returned to Vienna for the concert-season of 1872-73 with a new and absorbing interest before him. He had accepted the appointment of 'artistic director' to the Gesellschaft der Musikfreunde, thereby undertaking the duties of conductor, not only of the society's concerts, but of the bi-weekly practices of its choral society. The usual scheme of the Gesellschaft concert-season, extending from about the middle of November to April, comprised four regular, and two extra, concerts with orchestra and chorus, one at least of which was devoted to an oratorio or other great choral work.

'Brahms will now conduct the Gesellschaft concerts,' writes Billroth on October 25; 'he is preparing Handel's _Te Deum_ and "Saul," two Bach cantatas, his "Triumphlied," etc. At present he is all enthusiasm over the direction of the choral society, and enraptured with the voices and the musical talent of the choir.

Should the results be favourable, he will, I think, persevere; a failure might suffice to discourage him so much as to deprive him of all inclination for the work....'

The season opened on November 10 with the following programme:

1. G. F. Handel: _Te Deum_ for the Dettingen celebration of victory, 1743.

2. W. A. Mozart: Aria for Soprano, with obl. accompaniment for pianoforte and orchestra (Frau Wilt).

3.(_a_) J. Eccard: 'Ueber's Gebirg Maria geht.'

(_b_) H. Isaak: 'Inspruk ich muss dich lassen.'

Choruses _a capella_.

4. F. Schubert: Symphony in C major (arranged for Orchestra from the Pianoforte Duet, Op. 140, by J. Joachim).

This selection hardly invited an enthusiastic demonstration from a mixed audience, but the performances were well received, and the occasion resulted in a substantial artistic success for Brahms, and in the removal of the doubt which had been entertained, even in some friendly quarters, as to his fitness for his new duties. The inclusion of the so-called symphony by Schubert was mentioned with disapproval by some of the papers, though the masterly instrumentation of Joachim's arrangement--made, we may add, at Schumann's suggestion--was duly acknowledged.

The second concert, the first 'extra' of the season, was in every respect brilliant. It included the second performance of the complete Triumphlied, published shortly before by Simrock with Brahms' dedication to His Majesty the Emperor William I. The original title inscribed on the manuscript of the work--'Song of Triumph on the Victory of German Arms'--was shortened on publication to the simple 'Song of Triumph.' The programme of December 6 was as follows:

1. Handel: Concerto for Organ and Orchestra.

2. Mozart: Offertorium for double Chorus, Orchestra, and Organ.

3. Gluck: Aria from the opera 'Alcestis' (Frau Joachim).

4. J. S. Bach: Prelude and Fugue in E flat for Organ.

5. J. Brahms: Song of Triumph for Solo, eight-part Chorus, Orchestra, and Organ (solo, Dr. Krauss).

The performances of the great organ-player S. de Lange, invited from Rotterdam for the occasion, on the society's new instrument, which had been inaugurated at the previous concert by Bibl; the singing of Gluck's aria by Frau Joachim; the rendering of two choral works, both new to the audience, the productions of two masters each representative of his day, with the art history of a century lying between them, combined to make a programme of peculiar and varied interest. The Offertorium, an unpublished work composed by Mozart in his twenty-first year, was written for double chorus and organ, to which the composer afterwards added two violins. Brahms now availed himself for the support of his voices of the entire string band, and the performance of the beautiful and unfamiliar work made a great impression. It was published almost immediately by J. P. Gotthard of Vienna. The most important event of the concert was, of course, the first performance in Vienna of the performer's Song of Triumph.

'A truly magnificent work, which produced a profound and enduring impression,' says Schelle; 'the German victories have been the occasion of its composition.... Both as regards its form and its treatment of masses, this work bears the stamp of a masterpiece.

The performances were excellent. The society's concerts could certainly be in no better hands.'

The Triumphlied was given a week later, December 14, in Munich, under Franz Wullner, and was again reviewed at length in the _Allgemeine Zeitung_ of the 25th in a highly interesting article by Franz Pyllemann.

'The orchestra develops truly royal splendour.... What wealth of tone-combination, what intoxicating charm of colouring, strike the ear of the listener! The knowledge shown in the use and application of the most appropriate and noble means of expression, as offered by the various instruments, must be noted with deep admiration.