The attraction felt by Levi towards Wagner's art and personality had grown continually stronger since his preparation of the 'Meistersinger'

for performance at Carlsruhe in 1869 and the establishment of personal relations between himself and Wagner to which it led; and his enthusiasm for the man and his works received extraordinary stimulus from the first performances of the 'Nibelungen Ring,' at which he was present, in the temporary theatre at Bayreuth in August, 1876. The impulsive expression to Brahms of his boundless admiration, carried beyond the point which should have been prescribed by tact, seems to have convinced our master that future relations between himself and Levi would be embarrassing to both; and though he received his friend's outpourings without visible sign, he took the wise and friendly course of abstaining from further visits to Munich. Enough, it is hoped, has been related in these pages of Brahms' appreciation of Wagner's powers to exclude the suspicion that he was actuated by petty feeling in taking this line. Levi's want of self-restraint was in one sense an acknowledgment of the master's artistic generosity; but compliments of this kind should not be carried to extremes, and Brahms' courage in adhering to a course certain to expose him to misunderstanding saved Levi as well as himself from the danger of the false position which must inevitably have threatened their future intercourse. The wreath which Brahms sent to Bayreuth on Wagner's death in February, 1883, was not the sign of a mere decorous compliance with custom, but was a heart-felt tribute of recognition from the one great master to the other.

Brahms' separation from Levi necessarily involved a coolness between himself and Allgeyer, who was one of the closest intimates of the Levi circle, but this was only temporary, and was probably merely accepted by Brahms as one of the incidents of the situation. It was got over during a visit paid by Allgeyer to Vienna, and Brahms' pleasure at the renewal of personal relations between himself and his old friend may be read in the dedication of the 'Ballads and Romances' published in 1878, to which reference has already been made.

To Brahms' activity on the advisory committee for the granting of Government stipendiums to young artists, combined with the growing feeling of mental leisure which must have come to him at this period of his mature mastership, must be ascribed the willingness shown by him, from the middle of the seventies onward, to concern himself with the musical progress of certain young composers who were courageous enough to ask his opinion and advice, and in whose works he discerned talent.

Mention has been made of his prompt and emphatic appreciation of Dvorak.

Amongst other musicians of distinction who in their youth enjoyed the advantage of his interest and friendship are Drs. Richard Heuberger, Eusebius Mandycweski (now holding the important position of librarian to the Gesellschaft der Musikfreunde), von Rottenberg, and Jenner. We spoke in the last chapter of some of the incidents of the master's friendship for Heuberger, who says that Brahms' great talent for teaching became continually clearer to him. 'With gifted young people who had already passed through the school curriculum, he might have achieved great things.' His criticism was so ruthless and searching as to be at first profoundly discouraging, but he could praise warmly, too, and there was no mistaking the pleasure he felt in being able to do so. His remarks to Heuberger, chiefly called forth by points in the manuscripts--often songs--laid before him, and by suggested improvements, usually served to elucidate general principles. The close rhythmical association of music with words, the conditions indispensable to the admission of irregularity of bar rhythm, the construction of melody, are but a few of the important points that were handled in the brief, incisive, pregnant manner which illumined every subject that he touched upon.

'Do you think,' said he one day, taking exception to an expression inadvertently used by Heuberger apropos to the construction of his melody, 'that any one of my half-dozen passable songs "occurred" to me?

I had to worry myself with them rarely! One must be able--don't take this literally--to _whistle_ a song ... then it is good.'

'Those _must_ have been eyes, but perhaps not so interesting to other people,' he said, pointing to the too drawn-out setting of the words 'I saw two eyes last Sunday morn,' in one of Heuberger's manuscripts, and he improvised the passage in the closer form which the composer has retained in his published song 'Bitt' ihn o Mutter.'

The committee formed in 1871 to consider a scheme for the erection of a monument to Schumann at Bonn had been so successful during the few years following the festival of 1873, in collecting funds for their object, that by the beginning of May, 1880, the memorial, designed and executed by the sculptor Donnhorf, had been placed over Schumann's grave in the Bonn cemetery, and nothing remained to be done save to unveil and deliver it over to the municipal authorities. These ceremonies were to be performed on the 2nd of the month, and to be followed by some festival concerts with programmes of the master's music.

Proceedings opened on the evening of May 1, when Frau Schumann, arrived with some of her family on a visit to her old friends the Kyllmanns, to whose house the reader was introduced in an earlier chapter, was greeted by a serenade, sung in the garden by the members of the Concordia and the Academic Vocal Union, which was followed by performances within doors of the 'Lotos Blume' and the 'Traumender See.' President Wrede then delivered an address, and on its conclusion introduced each member of the societies individually to Frau Schumann. With her permission, Herr Branscheidt sang two of Schumann's songs to the accompaniment of Concertmeister Lorscheidt, and after the great artist had acknowledged these compliments in a few suitable words, the vocalists returned to the garden to sing 'Thou in the wood hast wandered,' from Schumann's 'Pilgrimage of the Rose.' With this performance the programme of the evening terminated, and after Frau Schumann had again expressed her warm thanks the visitors withdrew.

The cemetery was crowded early the next day by friends desirous of witnessing the unveiling of the monument. Nearly twenty-four years had gone by since the simple funeral procession had followed Schumann's remains through the streets of Bonn; since a group of young musicians stood together at the open grave, supported by the sympathy of a concourse of friends and music-lovers, to take their last farewell of the illustrious dead. Now they were reassembled on the same spot to do honour to the beloved master's memory. Not one was missing. Brahms, Joachim, Dietrich, the three young chief mourners of the first occasion, stood together again as middle-aged men; Hiller the older friend, Grimm, and Bargiel, all were there, and Stockhausen, since many years one of the circle. The central figure in to-day's proceedings had been absent, prostrated with sorrow, from the funeral ceremony. Frau Schumann now stood with her daughters at the foot of the monument, her usual pathetic expression deepened by the rush of varied memories, but with controlled demeanour. Amongst those present in an official capacity were the mayor of Bonn, Herr Oberburgermeister Doetsch; the sculptor, Professor Donnhorf, from Dresden; the president of the memorial committee, Professor Schaafhausen, and the members of the two choral societies with President Wrede.

The singing of the fine old chorale, 'Was Gott thut das ist wohlgethan'

was the prelude to the address in which Geheimrath Schaafhausen gave the monument over to the city of Bonn. Whilst he was speaking the covering fell, and as he concluded many beautiful wreaths were laid on the grave to the accompaniment of a second chorale. An address of thanks was delivered on behalf of the city by Oberburgermeister Doetsch, and the singing of a third chorale, with the placing of more wreaths, brought the formalities to a close. The following telegram was handed to the mayor in the course of the proceedings:

'The Society of Music-lovers and the Conservatoire of Vienna congratulate Bonn on the honour of having to-day erected the first memorial to Schumann as previously that to Beethoven.'

The programme of the orchestral concert which took place in the evening of May 2, beginning at six o'clock, included Schumann's E flat Symphony and Requiem for Mignon, conducted by Brahms; a poetic 'Prologue,'

composed and recited by Herr Emil Ritterhaus of Barmen; the Manfred music conducted by Joachim, with Ernst von Possart, director of the court theatre of Munich, in the chief declamatory part; and as single exception in the list of Schumann's works, Brahms' Violin Concerto, conducted by the composer, and played by Joachim in so perfect and ideal a manner as to be, 'not merely interpretative, but absolutely creative.'

A rain of bouquets followed its conclusion. Three works were given at the chamber music concert of the following morning: Schumann's String Quartet in A minor, led by Joachim; Spanisches Liederspiel; and Quartet for pianoforte and strings, of which Brahms and Joachim played the pianoforte and violin parts respectively.

To this year is to be referred the composition of the only two overtures published by Brahms. The 'Tragic,' the grave character of which may be inferred from its title, was performed for the first time in December at the fourth concert of the Vienna Philharmonic season. Dr. Deiters says of it:

'In this work we see a strong hero battling with an iron and relentless fate; passing hopes of victory cannot alter an impending destiny. We do not care to inquire whether the composer had a special tragedy in his mind, or if so, which one; those who remain musically unconvinced by the unsurpassably powerful theme, would not be assisted by a particular suggestion.'

The 'Academic Festival Overture' which we know, was the one out of three selected by the composer for preservation. It was composed in acknowledgment of the honorary doctor's degree offered to Brahms in 1880 by the university of Breslau, and was performed for the first time in that city on January 4, 1881, under his direction. The companion work, the Tragic Overture, and the second Symphony were included in the same programme. The newly-made Doctor of Philosophy was received with all the honour and enthusiasm befitting the occasion and his work, and was again stormily applauded on the 6th, when he performed Schumann's Fantasia, Op. 17, his two Rhapsodies, and the pianoforte part of his Horn Trio, at a concert of chamber music.

In the Academic Overture the sociable spirit reappears which had prompted the boy of fourteen to compose an ABC part-song for his seniors, the village schoolmasters in and around Winsen. Now the renowned master of forty-seven seeks to identify himself with the youthful spirits of the university with which he has become associated, by taking, for principal themes of his overture, student melodies loved by him from their association with the early Gottingen years of happy companionship with Joachim, with Grimm, with von Meysenbug and others.

Four of these, 'Wir hatten gebauet,' 'Hort ich sing' 'Was kommt dort,'

and the 'Gaudeamus,' are introduced in the course of the movement, which is written in regular classical form, and the composer lingers with particular affection over the third one, the song that in student circles accompanies the merry 'Fox-ride,' which in the summer of 1853 carried Brahms so many leagues distant from the earlier stages of his life's journey. The favourite 'Gaudeamus igitur,' given with the full strength of the orchestra, brings the masterly and effective work to a brilliant conclusion. The two overtures, bearing to each other a relation analogous to that which exists between the first and second symphonies, furnish another instance of the composer's occasional habit of writing at once, or in quick succession, two works of the same form animated by contrasted subjective qualities. The 'Academic' has become very familiar to concert-goers, and has, so far, attained to more universal popularity than the impressive 'Tragic.'

Both works were performed from the manuscript, under the composer's direction, at the Leipzig Gewandhaus concert of January 13, but alike failed to make much impression. If, however, Brahms felt any disappointment at the persevering coldness evinced towards his art in the musical metropolis of North Germany, he must have derived some consolation from the success which attended the performances of the Academic Overture and other works conducted by him in Munster on January 22 and in Crefeld on the 25th, and by the warm welcome which awaited him in each of the Dutch cities--Amsterdam, the Hague, Haarlem--which he visited in the course of the same month. Holland, distinguished musically by its early appreciation of Schumann's art, was now repeating history by its enthusiastic acceptance of that of Brahms. In each town where he appeared he had opportunity to perceive how deeply his music had taken root in the country. Of his many distinguished Dutch friends may be mentioned the composer Verhulst, a man of eminent parts and attractive personality, who had enjoyed the friendship of Mendelssohn and of Schumann. Brahms did not this winter fulfil any public engagement at Utrecht, but he stayed there for a day or two as the Engelmanns'

guest, and did his share of music-making in private. To one old habit he steadfastly adhered during the visit, though it had little to do with art. Every morning on returning from his early walk he made his way to the nursery, and after a game of romps carried one child or another on his shoulder down to breakfast. To say the truth, this was not an unmixed pleasure to the little ones, who were sometimes frightened at their elevation, for the master's gait was not of the smoothest. His persevering sociability, however, was generally rewarded in the end by the confidence of the little ones in which he felt such satisfaction.

It is interesting to find Liszt and Brahms crossing each other's paths again in the month of February, after a long interval of years that had been big with consequence, and not only to the younger musician; since the triumph of Wagner's art must for ever be associated with the name of its first generous protagonist. The two men were brought together by the occasion of a concert given in Budapest by Hans von Bulow, who, on arriving at the Hotel Ungaria, found Brahms staying there, probably by preconcerted arrangement.

'Tres cher unique,' writes Liszt to Bulow on February 13; 'I have taken a slight cold, and in order not to spoil the day and evening of to-morrow, must retire early to-night.

'Pray express my affectionate thanks to Brahms, and convey to him the invitation of Madame La Baronne Eotoos to luncheon to-morrow at 1 o'clock without ennui or vexation. Quite the contrary. I shall arrive at the Hotel Ungaria at a quarter before one in order to conduct you to Her Excellency's house.'

It no doubt afforded genuine satisfaction to the warm-hearted von Bulow to place his two friends on a passing footing of sociability. He had already begun, in his new position as capellmeister to Duke George of Saxe-Meiningen, to which he had been appointed the previous year, to use the increased influence at his command in the interests of our master's art, and before the close of this his first season of activity in the Thuringian capital, Brahms' first and second symphonies and other works had been performed under Bulow's direction before a highly sympathetic audience at the concerts of the court orchestra.

The two Overtures, and 'Nanie,' to which we have yet to refer in detail, were published in the course of 1881.[64]

[61] First published with others by Hanslick in the _Neue Freie Presse_ of July 1, 1897.

[62] Hanslick, _Neue Freie Presse_, as before.

[63] Claus Groth, in the Brahms Recollections to which we have several times referred, speaks of the festival banquet as having taken place at the Hamburger Hof, Hamburg, and 'as I think' after the performance of Brahms' symphony. Groth's articles were written in the year 1897, when he was at an advanced age--he was much Brahms' senior--and his memory has misled him in one or two of his details. As regards those here referred to, the author has, in the above description, followed the accounts given in the _Hamburger Correspondenten_ of the time, with which that of Hanslick, in his very interesting 'Essays on Music and Musicians,' is in strict accord.

[64] See p. 29 of this volume.

CHAPTER XIX 1881-1885

Second Pianoforte Concerto--First visit to the ducal castle of Meiningen--'Nanie'--Frau Henriette Feuerbach--Hans von Bulow in Leipzig--Brahms' friends in Vienna--Dr. and Frau Fellinger--Pianoforte Trio in C major--First String Quintet--The 'Parzenlied'--Third Symphony.

A holiday taken with Billroth in Sicily in the early spring was succeeded by Brahms' removal to summer quarters, chosen this year at Pressbaum, near Vienna. Here he was occupied with the composition of Schiller's 'Nanie,' to which Feuerbach's death had moved him, and of a second concerto for pianoforte and orchestra in B flat. The manuscripts of 'Nanie' and of portions of the concerto were soon lent to Billroth, the concerto movements being handed to him with the words, 'A few little pianoforte pieces.'

'It is always a delight to me,' writes Billroth, 'when Brahms, after paying me a short visit, during which we have talked of indifferent things, takes a roll out of his paletot pocket and says casually "Look at that and write me what you think of it."'

The composer was pleasantly disturbed in August from his quietly busy life by a visit from Widmann, who was staying in Vienna, and who thus describes his meeting with the friend he had not met for three years:

'Walking through the garden, I came upon the master sitting reading at an open window on the ground floor of his idyllic dwelling, and at once instinctively felt that he had entered upon a period of his career when there could be no longer any thought of his commencing upon an entirely new domain of his art [opera]. It may sound absurd when I confess that the splendid, already slightly grizzled beard in which I saw him for the first time, and scarcely recognised him, seemed to me a symbol of the great composer's present personality, now entirely self-adequate and perfectly defined and assured within its own limits. I was so completely dumbfoundered, however, by the surprise of seeing this Jupiter head that a question burst from me as to the reason of the alteration. "One is taken for an actor or a priest if one is clean shaven," answered Brahms, complacently stroking the flowing beard. He now had a nave satisfaction in his own appearance, and smilingly mentioned that his photograph with beard had been used in the Velhagen and Clasing school book edition to illustrate the Caucasian type.... The opera project was not mentioned....'[65]

Brahms accepted numerous invitations from Germany, Switzerland, and Holland to take part in performances of his new works. He had for some time relaxed his early caution, and was now generally ready to introduce his compositions to the public on their completion, though adhering to his old custom of retaining possession of the manuscript of an important work for his own benefit until after its first performances, when he allowed the business of engraving to proceed without delay.

The new Pianoforte Concerto was played by the composer in Stuttgart on November 22 (Court Capellmeister Seyfrix) first time; in Meiningen on the 27th; Zurich, Breslau, Vienna (Philharmonic), respectively December 6, 20, 26; Leipzig, Hamburg (Philharmonic), Berlin (Meiningen orchestra), Kiel, Bremen, Hamburg (Meiningen orchestra), Munster, Utrecht, in January, and Frankfurt in February, 1882. The work was received with immense enthusiasm throughout the tour, excepting at Leipzig, where it achieved only a _succes d'estime_.

During his visit to Meiningen, Brahms was the guest of the reigning Duke George and his consort, the Baroness von Heldburg. Three fine rooms _en suite_ on the ground-floor of the castle were placed at his disposal, and in the most spacious of them, arranged as a music-room, one of the Duke's fine Bechstein pianofortes had been placed. The apartment, having direct access to the castle grounds, afforded the composer easy opportunity to indulge in his favourite recreation of walking.

Bulow had left nothing undone that could contribute eclat to his friend's first public appearance in Meiningen, which he heralded a few days beforehand by giving a performance of the German Requiem at an extra concert of the court orchestra. The concert-hall was completely filled on the evening of the 27th, and on the arrival of the Duke of Saxe-Meiningen and the Baroness von Heldburg, accompanied by Cardinal Prince Hohenlohe, the opening number of the Brahms programme, the Tragic Overture, was listened to by a breathlessly expectant audience. The first glimpse of the composer as he advanced to the platform to play the solo of the new Pianoforte Concerto in B flat caused an outburst of welcome which made it impossible for him to take his seat immediately, and the enthusiasm, growing with each movement, reached its climax at the end. 'Brahms and Bulow transported the audience to a state of exaltation,' wrote the critic next day. The Haydn Variations closed the first part of the concert; the second part, consisting of the C minor Symphony and the Academic Overture, was conducted by the composer. On its termination the Duke expressed his appreciation by decorating Brahms with the cross of his family order.

The visit to Meiningen marked the beginning of a cordial friendship between the art-loving prince and his consort on one hand and Brahms on the other, which brought many pleasant hours to the great musician. He always stayed at the castle when at Meiningen, where he was the centre of many private musical gatherings. Several times he was a guest at the castle of Altenstein, the Duke's country residence. Here, as at Meiningen, he was allowed perfect freedom of action, could work without fear of disturbance, take solitary walks in the neighbourhood, or saunter in the grounds in company, and was even permitted to retain his very unconventional style of dress during the day. In the evening he recognised the claims of ceremonial custom, and actually seemed to take a kind of pleasure in dressing for dinner and wearing his decorations.

He did not abate one jot, however, of his usual independent expression of opinion, and would defend his own point of view with characteristic bluntness and tenacity no matter who might happen to differ from him. An instance of this trait, as well as of his singular political acumen, of interest at the present time, occurred at the beginning of the war between China and Japan. Brahms declared his belief, which was not shared by others present, in the ultimate success of Japan, and angrily anticipated the injustice by which the selfish interference of the Western Powers would deprive her of the fruits of victory. The Duke's answer, which reminded him that European interests were involved in the question, left him gruffly unconvinced, but the incident was allowed to pass.

It was not only by his illustrious host that the composer came to be loved. He made himself a favourite with everyone in the Duke's service with whom he came in contact; his visits to Meiningen and Altenstein Castles were regarded by the entire household as a distinction and pleasure, and the harmless jokes and playful sayings in which he continued to find a childlike satisfaction to the end of his life are remembered by these friends with affection and regret.

The concert at Zurich on December 6, the programme of which included the first performance of 'Nanie,' made an extraordinary impression, and was so brilliantly successful financially that, in the words of Steiner,

'the committee could not rest satisfied without giving visible and lasting expression to their feelings of gratitude and veneration towards the author of such glorious achievements.'

It took the form of a silver cup, designed for the occasion by Bosshard of Lucerne, and was forwarded to the master on its completion. Brahms wrote his thanks to Hegar in the following words:

'MOST ESTEEMED FRIEND,

'Your goblet has arrived, and the etui containing the musical silver angel glitters like an open altar shrine upon the piano. You cannot think how beautiful and kind it stands there, and with what pleasure I look at it!