Meanwhile his art was gradually spreading through Europe. On November 10 the first serenade was given at Zurich under Fichtelberger, the conductor of the subscription concerts. The work deserved a warmer reception than was accorded it, in the opinion of the _Neuer Zurcher 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 Rose 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 Schutz (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 Borsendorfer 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.

THE TENDER PAIR.

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.

THE TENDER PAIR.

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.

No. 3, also set to a national text, this time Bohemian, is a charming four-part song, with a graceful accompaniment in waltz rhythm, and is developed from the melody used by Brahms in No. 5 of his set of waltzes for pianoforte. These quartets were composed at Detmold.

On May 10 the annual foundation concert of the Singakademie took place--as usual, before a private audience. The programme will be perused with interest by English-speaking readers:

1. Schumann: First and second movements from 'Requiem fur Mignon.'

2. Haydn: Duet for Soprano and Tenor.

3. Schumann: Stucke im Volkston for Violoncello and Pianoforte.

4. John Bennet (1599): Madrigal (for chorus).

5. John Morley (1595): Dance Song (for chorus).

6. Schumann: Two Duets from the 'Spanisches Liederspiel.'

7. Brahms: Two Songs for Soprano.

8. Schumann: Fifth and sixth movements from the 'Requiem fur Mignon.'

The fourth and fifth numbers of the programme were no doubt selected by Brahms from a collection of early English madrigals, edited by J. J.

Maier of Munich.

Our composer's appointment as conductor of the Singakademie lapsed at the end of the season. By the rules of the society, election took place triennially, and Stegmayer's death had left only a year to run. Brahms'

re-election was a matter of course, and was accepted by him, though not without doubt and hesitation; but his resolution failed him later on, and before the end of the summer he sent his resignation to the committee.