7. Schubert: Rondeau Brilliant for Pianoforte and Violin.

8. Schubert, Schumann, etc.: Songs (including 'Der Nussbaum,'

'Mondnacht,' 'Widmung').

There was good reason to be delighted with the material result of the undertaking. The large Wormer hall was thronged. Brahms' artistic success was also assured in regard to his playing of the duet sonata and rondo with Joachim, and many of the musicians present appreciated his wonderful accompaniment of Stockhausen's songs. The serenade, however, now instrumented for small orchestra, and conducted by Joachim, was not received with any decided favour, and the _Nachrichten_ expressed the general sentiment of the time in the concluding sentence of its review:

'If Brahms will learn to say what is in his heart plainly and straightforwardly, and not go out of his way to cut strange capers, the public will endorse Schumann's hopes, and the laity be able to understand what it is that professional musicians prize so highly in his works.'

Such contemporary criticism might well pass unnoticed if it were not that, in spite of the wealth of beautiful material and the fine workmanship contained in the serenade, only one or two of its movements are occasionally heard in the concert-rooms of the present day, whilst the composer's later and more difficult orchestral works grow every year in the favour of the public. The circumstance is to be chiefly explained by considerations similar to those we have already applied to the first concerto. When Brahms wrote the work he had not quite passed from his apprenticeship. Though within sight of mastery, he had not achieved it.

The Serenade in D is a serenade in the character of its ideas, but not entirely so in the structure of its movements. The instrumental 'serenata' (fair weather), a form which flourished vigorously during the latter half of the eighteenth century, and was exhibited in its greatest perfection by Mozart, was especially cultivated in an age when music was dependent on the patron--the prince or nobleman who kept his private band, and who delighted himself and his friends by open-air performances in his park on fine summer nights. It consisted of a longer or shorter series of movements--a march, an allegro, rondo, one or two andantes, a couple of minuets, none of them developed to any great length, and was composed for more or less solo instruments according to circumstances. Brahms, fascinated by the performances of the Detmold wind players, probably began his work with the intention of composing a serenade _pur et simple_; but his interest in the art of thematic development outran his discretion, and, by over-elaborating one of its movements, he injured the balance of his composition and introduced into it a character of complexity foreign to the nature of its form. The Serenade in D consists of an allegro molto, scherzo, adagio non troppo, minuets 1 and 2, scherzo, rondo. Some of the six movements, irresistible from their grace, daintiness, or romance, delight the public when performed as separate numbers, but the length of the opening movement and the somewhat mechanical development of its middle section may perhaps prove in the future, as they have done in the past, obstacles to the frequent performance of the entire work. Traces of the young musician's studies are to be found in the well-known reminiscences of Beethoven and Haydn in the second scherzo.

The serenade, written as an octet and afterwards scored for small orchestra, was probably rearranged for large orchestra, the form in which it has become known to the world, in consequence of experience obtained on this occasion of the first public performance of the work at Hamburg.

The few years immediately succeeding Brahms' second return from Detmold must be regarded as forming another turning-point in his career. They witnessed the close of his _Sturm und Drang_ period and his complete transformation into a master. They are remarkable not only on account of the appearance of a number of short choral works which, perfect in themselves, lead directly to the splendid achievements of later years in the same domain, to the German Requiem, the Schicksalslied, the Triumphlied, but they form a period of actual magnificent fruition. To them is to be referred the inauguration of those chamber-music works of Brahms which stand in the forefront of the finest compositions of their kind, and the appearance of a classic for pianoforte unsurpassed by any other of its form, the Variations and Fugue on a theme by Handel. This portion of our composer's life belongs especially to his native city.

More than one consideration may have induced him, at the time, seriously to contemplate the idea of settling permanently in Hamburg, and not the least potent will have been furnished by his strong patriotic sentiment and his deeply-rooted family affections. That he was not at once accepted as a great composer by his fellow-citizens should not be matter of surprise. It has too often been forgotten by Brahms' partisans that his development as a creator was not precocious. The list of Mendelssohn's compositions when he was a boy of sixteen is bewildering in its length and variety; at the same age the most important of Johannes' achievements was presumably the set of Variations on a favourite waltz. Schubert's career was cut short in his thirty-second year; Mozart died at thirty-five. Brahms at the age of twenty-six had not completed any large work which can be regarded as entirely representative of his mature powers, and had introduced but few compositions either to the public or his friends. There were, however, those among the musicians of Hamburg who, belonging to the increasing circle of his personal acquaintances, believed in his creative genius with the enthusiasm of absolute conviction, and as a pianist, though not regarded as a phenomenal performer, he was generally accepted as an artist of first rank.

Brahms' regard for his pupil, Fraulein Friedchen Wagner, had led to his becoming intimate at her father's house, and here he frequently had opportunity of hearing some of the compositions and arrangements for voices which engaged much of his attention. Fraulein Friedchen, her sister Thusnelda, and the charming Fraulein Bertha Porubszky, from Vienna, who arrived in Hamburg to stay for a year with her aunt, Frau Auguste Brandt, were delighted to practise short works in two and three parts under his direction. Probably he hoped gradually to obtain a larger number of recruits for his purpose. Before long, however, accident led to his becoming the conductor of a quite considerable ladies' choir.

On May 19 the wedding of Pastor Sengelmann and Fraulein Jenny von Ahsen took place at St. Michael's Church. There was a large gathering of friends to witness the ceremony. Gradener, already mentioned as a friend of Brahms, who was an accomplished composer and the director of a singing school, conducted his pupils in the performance of a motet for female voices which he had written for the occasion, and Johannes, a very old acquaintance of the bride, accompanied on the organ. Pleased with the effect of Gradener's composition, Brahms expressed a wish to hear his own 'Ave Maria' for female voices with accompaniment for organ, composed during his second visit to Detmold, under similar conditions of performance, and with the assistance of Fraulein Friedchen, who exerted herself to procure the requisite number of voices, a rehearsal was arranged. On Monday, June 6, twenty-eight ladies assembled at the Wagners' house, and tried, not only the 'Ave Maria,' afterwards published as Op. 12, but the 'O bone Jesu' and 'Adoramus,' now known as Op. 37, Nos. 1 and 2. Brahms was seized with a fit of nervousness whilst conducting, and Gradener, who was present amongst a few listeners, stepped forward to the rescue; but a second rehearsal on the following day went well, and the third trial in church with organ accompaniment was in every respect highly successful. The practices had been so enjoyable that, with the concurrence of Gradener, it was arranged that the ladies, most of whom were pupils of the singing school, should assemble every Monday morning to practise with Brahms; and the little society thus founded became a source of delight to all who were associated with it. The meetings were held during the first season at the Wagners' house in the Pastorenstrasse; later on they took place at several members' houses in turn. Each young lady used to sing from a small oblong manuscript book, into which she copied her parts, and several of these volumes are still in existence. After the business of the morning was over, the conductor usually played to his young disciples and admirers, who soon learned to look upon his performances as not the least memorable part of the weekly programme. Writing in the course of the summer to Fraulein von Meysenbug, Brahms says:

'... I am here, and shall probably remain until I go to Detmold.

Some very pleasant pupils detain me, and, strangely enough, a ladies' society that sings under my direction; till now only what I compose for it. The clear silver tones please me exceedingly, and in the church with the organ the ladies' voices sound quite charming.'[83]

The season closed on September 19 with a performance at St. Peter's Church before an invited audience. Some of the 'Marienlieder'

(afterwards Op. 22) and the 13th Psalm (Op. 27) were included in the programme. The members of the choir appeared attired in black to denote their grief at the approaching departure of their conductor, and sent him, afterwards, a silver inkstand buried beneath flowers as a mark of their appreciation of his labours. This Brahms acknowledged from Detmold in the following official letter to Fraulein Friedchen, his energetic helper in the founding of the choir:

'DETMOLD, _end of Sept., 1859_.

'ESTEEMED FRaULEIN,

'Nothing more agreeable than to be so pleasantly obliged to write a letter as I am now.

'I think constantly of the glad surprise with which I perceived the inkstand, the remembrance from the ladies' choir, under its charming covering of flowers.

'I have done so little to deserve it that I should be ashamed were it not that I hope to write much more for you; and I shall certainly hear finer tones sounding around me as I look at the valued and beautiful present on my writing-table. Pray express to all whom you can reach my hearty greeting and thanks.

'I have seldom had a more agreeable pleasure, and our meetings will remain one of my most welcome and favourite recollections.

'But not, I hope, till later years!

'With best greetings to you and yours,

'Your 'heartily sincere 'JOHS. BRAHMS.'[84]

That the composer did not forget his maidens during his season at Detmold appears from another letter to Fraulein Wagner written a couple of months later:

'_Dec., 1859._

'ESTEEMED FRaULEIN,

'Here are some new songs for your little singing republic. I hope they may assist in keeping it together. If I can help towards this end pray command me.

'Kindest greetings to you and yours.

'Most sincerely, 'JOHS. BRAHMS.'[84]

Acquaintance with the charming circumstances which stimulated Brahms to the writing of most of his published choruses for women's voices gives an additional interest to the study of these beautiful compositions, which undoubtedly take their place amongst the most fascinating works of their class. Those with sacred texts, all evident fruits of the composer's studies in the strict style of part-writing, show, nevertheless, considerable variety of character. The 'Ave Maria,' with accompaniment for orchestra or organ, Op. 12, first sung by, though not composed for, the ladies' choir, is animated by a gentle, childlike, devotional spirit appropriate to a prayer addressed by a group of tender girls to the Virgin Mother of Christ. The 13th Psalm, with accompaniment for organ or pianoforte, Op. 27, strikes at once a more solemn note, with its three opening cries to the Lord; and the mourning plaint of the writer is reproduced in tones whose fervent pleading is not impaired by the clear simplicity of style in which the music is conceived. The Three Sacred Choruses, without accompaniment, Op. 37, are alike beautiful, whilst varying in character. The 'Adoramus' and 'Regina Coeli' (Nos. 2 and 3), written throughout in canon, are fine examples of learned facility; and the last-named, the bright 'Regina Coeli,' for soprano and alto soli and four-part women's chorus, is an entirely captivating composition.

The secular pieces--the Songs with accompaniment for horns and harp, Op.

17, and the Songs and Romances to be sung _a capella_, Op. 44--though fairly well known, should be heard oftener than they are. The dainty charm of such little works as the 'Minnelied' and the 'Barcarole,' to name only two of the most effective from Op. 44, gives welcome refreshment in a miscellaneous choral concert, and never fails to captivate an audience.

In our rapid survey of some of the works which are to be associated with Brahms' Ladies' Choir, we have only taken account of those that were actually published in the form required by the nature of the society.

Many settings and arrangements are to be found, in the little oblong manuscript books, of songs which have become known to the world amongst the composer's settings for a single voice or for mixed choir; and there are some there which have never been published. The canons Nos. 1, 2, 8, 10, 11, 12 of Op. 113 were sung at the society's meetings. The 'Regina Coeli,' on the other hand, was not included in the ladies'

repertoire.[85]

[76] Dr. Georg Fischer's 'Opera und Concerte im Hoftheater zu Hannover bis 1866.'

[77] The concerto opens with a long-continued roll of drums.

[78] From a letter first published in Max Kalbeck's 'Johannes Brahms,'

vol. i., p. 356.

[79] 'Musikalisches und Literarisches': 'Neuer Brahms Katalog.'

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

[81] Brahms' Trio in B major.

[82] First published in Reimann's 'Johannes Brahms.' One of the Princess Friederike's Christmas presents to Brahms whilst he was her teacher consisted of the five volumes (1851-1855 inclusive) of the Leipzig Society's edition of Bach's works issued before he became a subscriber, and it would appear from the opening of the above-quoted letter that she made herself responsible for his subscription during the consecutive seasons of his visits to Detmold. It is interesting to read the traces of his movements furnished by the subscription list placed at the commencement of each volume. In 1856 his name appears as belonging to Dusseldorf; 1857-1864 inclusive, to Hamburg; and from 1865 onwards, to Vienna.

[83] 'Aus Johannes Brahms' Jugendtagen,' by Hermann Freiherr von Meysenbug (_Neues Wiener Tagblatt_, May, 1901).

[84] First published, with an account of the Ladies' Choir, in Hubbe's 'Brahms in Hamburg.'

[85] Hubbe.

CHAPTER X 1859-1861

Third season at Detmold--'Ave Maria' and 'Begrabnissgesang'

performed in Hamburg and Gottingen--Second Serenade, first performed in Hamburg--Lower Rhine Festival--Summer at Bonn--Music at Herr Kyllmann's--Variations on an original theme first performed in Leipzig by Frau Schumann--'Marienlieder'--First public performance of Sextet in B flat in Hanover.

Brahms found himself more than ever in request amongst the general circle of Detmold society during the autumn of 1859. He had become the fashion. It was the thing to have lessons from him, and his presence gave distinction to a gathering. The very circumstance of his popularity, however, caused some friction between himself and his acquaintances. He disliked to waste his time, as he considered it, in mere society, and, when occasionally induced to attend a party against his will, gave his hosts cause to regret their pertinacity. If not silent the whole evening, he would amuse himself by exercising his talent for caustic speech. Carl von Meysenbug, when at home, jealous for his friend's credit, often called Johannes privately to account for his perversity, but was always silenced by the unanswerable reply, 'Bah!

that is all humbug!' (Pimpkram).

The young musician's relations with the princely family remained unclouded, and his musical gifts were, on the whole, fairly appreciated by the entire court circle, though he was not regarded personally with unanimous favour by those who did not know him well. Carl's mother, the Frau Hofmarschall, took a few lessons from him to please her friends at the castle, and once accepted his offer to play duets with her; but no subsequent invitation could induce her to repeat this performance. 'The good fellow should not have behaved as he did that once; I cannot put up with it,' she wrote to Carl. Something in Brahms' manner--independence, artistic self-consciousness, or whatever else it may be called--repelled her; and, in view of the fact that she was not the first person whom he had offended in a similar way, since the time when he had visited as a youth at the Japhas' house in Hamburg, it may fairly be assumed that Her Excellency had justifiable grounds for the reserved attitude she maintained towards him.