'We had the "Matthew Passion" here under Grund; Brahms also was delighted, in spite of the defective performance. He thinks of going to Vienna in the autumn; then I shall be quite alone, but thank God I have learnt to know the man so well. I have come a good piece forward through him.'

The pianoforte quartets finished, the composer was now busy with the great work which we know as a quintet for pianoforte and strings. It was finished in its first form--a string quintet with two violoncelli--by the end of the summer. When tried a year later by Joachim and his colleagues, the effect of the work was found insufficiently sonorous for its great material, and Brahms arranged it as a sonata for two pianofortes, and subsequently as a quintet for pianoforte and strings.

We shall have occasion later on to make particular mention of the first public, and of an early private, performance of the sonata version.

Brahms and Dietrich met at the Rhine Festival given this year at Cologne (June 8-10), where they made the artistic and personal acquaintance of Frau Louise Dustmann, court chamber singer, and of the court opera, Vienna, whom Brahms knew well in later years. From Cologne they proceeded to Munster-am-Stein, taking lodgings together near Frau Schumann, who was staying there with her family. From Munster Dietrich wrote to his wife:

'The longer I am with Brahms, the more my affection and esteem for him increase. His nature is equally lovable, cheerful, and deep. He often teases the ladies, certainly, by making jokes with a serious air which are frequently taken in earnest, especially by Frau Schumann. This leads to comical and frequently dangerous arguments, in which I usually act as mediator, for Brahms is fond of strengthening such misunderstandings, in order to have the laugh on his side in the end. This to me attractive humorous trait is, I think, the reason why he is so often misunderstood. He can, however, be very quiet and serious if necessary.'

Brahms and Dietrich composed industriously in the mornings; the afternoons and evenings were occupied with excursions or music, and at this time Brahms showed his friend an early version of the first movement of his C minor Symphony, not completed until fourteen years later. The six 'Magelone Romances' were pronounced by Dietrich to be amongst the finest works yet produced by their composer.

The Sextet in B flat, the Handel Variations, and the horns and harp Songs for women's Chorus, were published this year by Simrock. Two works in the hands of Rieter-Biedermann--the Marienlieder for mixed Chorus and the Variations for Pianoforte Duet Op. 23--appeared at the end of 1862 or the beginning of 1863.[95]

The Marienlieder, seven in number, to be sung _a capella_, are not sacred compositions. They are settings of old texts founded upon some of the medieval legends that grew up around the history of the Virgin, and are delightfully fresh examples of the pure style of part-writing of which Brahms had made himself a master. In spite of the restricted means at the disposal of the composer who elects to forego, for the nonce, all but the few diatonic harmonies alone available in this style, there is a something about these attractive little pieces which allows Brahms'

individuality to be distinctly felt. If, as is inevitable, they carry back the mind of the listener to the choral music of the sixteenth century, they recall the style of the early German, rather than of either of the Italian, schools. Perhaps the most fascinating of the set is No. 2, entitled 'Mary's Church-going.' Mary, on her way to church, comes to a deep lake, and, finding a young boatman standing ready, requests him to ferry her over, promising him whatever he may like best in return. The boatman answers that he will do what she asks provided she will become his housewife; but Mary, replying that she will swim across rather than consent to the suggestion, jumps into the water. When she is half-way to the other side, the church bells suddenly begin to ring, loudly, softly, all together. Mary, on her safe arrival, kneels on a stone in prayer, and the boatman's heart breaks. The first five verses are composed strophically (each like the other) for two sopranos, contralto, and tenor, in E flat minor, and are marked _piano_. The bass enters with the sixth verse, composed in E flat major, and, whilst the whole choir bursts into a jubilant _forte_, keeps up a movement in concert, first with the tenor and then with the soprano, suggestive of bell-ringing. The concluding words return to the setting of the first five verses, and by this means the little composition is rounded into definite shape.

The Variations are amongst the most beautiful of Brahms' many fine achievements in this particular domain, and present for admiration conspicuous qualities of their own arising from the opportunities offered by their composition in duet form. The theme on which they are founded is that supposed by Schumann to have been brought to him in the night three weeks before his malady reached its crisis. The work is dedicated to Fraulein Julie Schumann, the master's third daughter.

And now, in a few weeks, the period of Brahms' career which is to be especially associated with Hamburg was to close. He would gladly have strengthened his ties with the city to which he was so proud to belong, but, as we shall see, his compatriots would have none of him. Twice in the coming years they passed him by, and when the time at length arrived in which they would willingly have proclaimed the world-famous composer as their own special prophet, his interests and affections had become too deeply rooted within the city that he made his second home to be capable of a second transplantation.

Brahms quitted Hamburg for his first visit to Vienna on September 8.

That he expected to return speedily is evident from the lines sent by him to Dietrich on the eve of his departure:

'DEAR FRIEND,

'I am leaving on Monday _for Vienna_! I look forward to it like a child.

'Of course I do not know how long I shall stay; we will leave it open, and I hope we may meet some time during the winter.

'The C minor Symphony is not ready; on the other hand, a string quintet (2 v.celli) in F minor is finished. I should like to send it you and hear what you have to say about it, and yet I prefer to take it with me.

'Herewith my Handel Variations; the Marienlieder are not yet here.

'Greet all the Oldenburg friends.

'Pray do not leave me quite without letters. You might address for the present to Haslinger, or to Wessely and Busing.

'Heartiest farewell meanwhile, dear Albert, to you and your wife.

'Your JOHANNES.'

'Father,' said Brahms, looking slyly at his father as he said good-bye, 'if things should be going badly with you, music is always the best consolation; go and study my old "Saul"--you will find comfort there.'

He had thickly interlarded the volume with bank-notes.[96]

It is highly interesting to possess a clear conception of Brahms'

achievements as a composer, and, therewith, of his exact title to consideration at this important moment of his career. This will be best obtained by a glance at the list of the chief completed works with which he was to present himself in the city associated with the most hallowed memories of his art. His departure for Vienna is by no means to be regarded as coincident with the close of any one period of his creative activity, though it emphatically marks the end, not only of a chapter, but of the first book of his life.

LIST OF BRAHMS' CHIEF COMPLETED WORKS ON HIS DEPARTURE FOR VIENNA.

Pianoforte Solos:

Three Sonatas.

Scherzo.

Variations on Schumann's theme in F sharp minor.

Variations on an original theme.

Variations on a Hungarian song.

Variations and Fugue on Handel's theme.

Pianoforte Duet: Variations on a theme by Schumann.

Pianoforte with Orchestra: Concerto in D minor.

Orchestral: Two Serenades.

Chamber music:

Sextet in B flat for Strings.

Trio in B major for Pianoforte and Strings.

Quartet in G minor " " " "

Quartet in A major " " " "

Songs:

Five books (thirty songs).

'Magelone Romances' (first six).

Vocal Duets: two books.

Three Vocal Quartets.

Women's Chorus:

'Ave Maria.'

Part-songs.

Mixed Chorus:

Begrabnissgesang.

Marienlieder.

The 13th Psalm.

Motets.

Sacred Song.

The newly-finished String Quintet is not included in the list, as the work was not published in this its first form. The Hungarian Dances, as being arrangements, are also omitted.

[92] Max Kalbeck, p. 458.

[93] First published in Hubbe's 'Brahms in Hamburg,' pp. 42-44.