It is not easy to imagine the feelings of this youth of nineteen or twenty on his arrival, fresh from the simple life of the Ditmarsh peasants, in the great commercial fortress-city, still the old Hamburg of the day, with its harbour and shipping and busy river scenes; its walls and city gates, locked at sunset; its water-ways and bridges; its churches and exchange; its tall, gabled houses; its dim, tortuous alleys. Refined ease and sordid revelry were well represented there; the one might be contemplated on the pleasant, shady Jungfernstieg, the fashionable promenade where rich merchants and fine ladies and gay officers sat and sipped punch or coffee, wine or lemonade, served to them by the nimble waiters of the Alster Pavilion, the high-class refreshment-house on the lake hard by; the other, in the so-called Hamburger Berg, the sailors' quarter, abounding in booths and shows, small public-houses, and noisy dancing-saloons, in which scenes of low-life gaiety were regularly enacted. Johann Jakob Brahms was destined to appear, in the course of his career as a musician, in both localities. He made his debut in the latter.

Thrown entirely on his own resources, with a mere pittance in his pocket for immediate needs, he had to pick up a bare existence, as best he could, in the courtyards and dancing-saloons of the Hamburg Wapping. He seems to have preserved his easy imperturbability of temper throughout his early struggles, and to have kept his eyes open for any chance opportunity that might occur. Helped by his natural gift for making himself a favourite, he managed, by-and-by, to get appointed as one of the hornists of the Burger-Militair, the body of citizen-soldiers, or town-guard, in which, with a few exceptions, every burgher or inhabitant between the ages of twenty and forty-five was bound to serve. Each battalion of the force had its own band, and each band its own uniform, the musicians of the Jager corps, to which Johann Jakob was attached, wearing a green coat with white embroidered collar, headgear decorated with a white pompon, and a short weapon called a Hirschfanger. This was a distinct rise in the fortunes of the wanderer. He won for himself a recognised place in the world, obscure though it might be, when he acquired the right to wear a uniform of the city of Hamburg, and in due time he enrolled himself as one of its burghers. The document of his citizenship has been preserved, and will be mentioned again near the close of our narrative.[6] It cannot be said that his further advancement was rapid. His partiality for the music he knew of is suggestive rather of a struggling instinct than an actual talent. His professional acquirements were slender, and of general education he had none; but he was not without shrewdness, was upright and diligent, and he made gradual progress. He and his colleagues used to form themselves into small brass bands, and to play wherever they saw opportunity, sometimes getting trifling engagements in dancing-rooms, sometimes dependent on the goodwill of a chance audience in a beer-garden or small house of entertainment. He did not earn much, but was no longer entirely dependent on the very meanest exercise of his industry, and may be said to have obtained a footing on the lowest rung of fortune's ladder.

On June 9, 1830, a few days after completing his twenty-fourth year, Jakob committed himself to the second great adventure of his life. He married, choosing for his wife Johanna Henrika Christiana Nissen, who was forty-one years of age and in very humble circumstances. She was small and plain, and limped badly; was sickly in health, and somewhat complaining; of a very affectionate if rather oversensitive disposition, and had a sweet expression in her light-blue eyes that testified to the goodness of her heart. She was an exquisite needlewoman, possessed many good housewifely virtues which she exercised as far as her very limited opportunities allowed, and is said to have been endowed with great refinement of feeling and superior natural parts. One of her husband's colleagues has described her as having faded, later on, into a 'little withered mother who busied herself unobtrusively with her own affairs, and was not known outside her dwelling.'

The strangely-matched couple began their life together on the smallest possible scale, and in February of the following year a daughter was born to them, who was christened Elisabeth Wilhelmine Louise. The young father's material resources seem to have remained much as they were, but before this time his dogged perseverance had added yet another instrument to the list of those he had already practised. He contrived to learn the double-bass, and as his friends increased, and he became more known, he began to get occasional engagements as double-bass substitute in the orchestras of small theatres. Meanwhile he did not neglect his other instruments, but performed on either as occasion presented itself.

On May 7, 1833, the angel of life again visited the poor little home, and Johanna Henrika Christiana presented her husband with a son, who was baptized on the 26th of the same month at St. Michael's Church, Hamburg.

The child, being emphatically the 'son of Johann,' was called by the single name Johannes, after his father, mother, and paternal grandfather, and the grandfather was one of the sponsors.

The house in which Johannes Brahms was born still stands as it was seventy years ago, and is now known as 60, Speckstrasse. The street itself, which has since been changed and widened, was then Speck-lane, and formed part of the Gange-Viertel, the 'Lane-quarter' of the old Hamburg. Want of space within the city walls had led to the construction of rows of houses along a number of lanes adjacent to one another, which had once been public thoroughfares through gardens. A neighbourhood of very dark and narrow streets was thus formed, for the houses were tall and gabled, and arranged to hold several families. They were generally built of brick, loam, and wood, and were thrown up with the object of packing as many human beings as possible into a given area. The Lane-quarter exists no longer, but many of the old houses remain, and some are well kept and picturesque to the eye of the passer-by. Not so 60, Speckstrasse. This house does not form part of the main street, but stands as it did in 1833, in a small dismal court behind, which is entered through a close passage, and was formerly called Schluter's-court. It would be impossible for the most imaginative person, on arriving at this spot, to indulge in any of the picturesque fancies supposed to be appropriate to a poet's birthplace; the house and its surroundings testify only to the commonplace reality of a bare and repulsive poverty. A steep wooden staircase in the centre, closed in at night by gates, leads right and left, directly from the court, to the various stories of the building. Each of its habitations is planned exactly as every other, excepting that those near the top are contracted by the sloping roof. Jakob and Johanna lived in the first-floor dwelling to the left on facing the house. On entering it, it is difficult to repress a shiver of bewilderment and dismay. The staircase door opens on to a diminutive space, half kitchen, half lobby, where some cooking may be done and a child's bed made up, and which has a second door leading to the living-room. This communicates with the sleeping-closet, which has its own window, but is so tiny it can scarcely be called a room.

There is nothing else, neither corner nor cupboard. Where Jakob kept his instruments and how he managed to practise are mysteries which the ordinary mind cannot satisfactorily penetrate, but it is probable that his easy-going temperament helped him over these and other difficulties, and that he was fairly content with his lot. If Johanna took life a little more hardly, it is certain that husband and wife resembled each other in their affection for the children, and that the strong tie of love which bound the renowned composer of after-years to father and mother alike, had its earliest beginning in the fondness and pride which attended his cradle in the obscure abode in Schluter's-court.

[Illustration: NO. 60 SPECKSTRASSE, HAMBURG.]

The family moved several times during the infancy of Johannes, and their various homes are partly to be traced in back numbers of the Hamburg address-book, which may be consulted in the library of the Johanneum.

These early changes, however, have but little interest for the reader, and it will suffice to record that when the hero of our narrative was four or five years old, and the proud senior by two years of a little brother Friederich, known as Fritz, they moved into quarters less confined than those they had yet occupied, at 38, Ulricus-strasse. Here the anxious wife and mother was able to add a trifle to Jakob's scanty earnings, by engaging on her own account in a tiny business for the sale of needles, cottons, tapes, etc., which had been carried on for many years previously at No. 91 of the same street by the 'sisters Nissen,'

and by taking as boarder an acquaintance of her husband's, who, though not a musician, remained a life-long family friend. The intimacy descended to the next generation, and his son, Herr Carl Bade, has many a droll anecdote to relate of Jakob, whom he remembers with affectionate regard.

From such particulars as can be gathered, it is evident that the childhood of 'Hannes' gave early promise of the striking characteristics of his maturity, and that some of the most powerful sentiments of his after-life are to be traced to influences acting on him from his birth.

Indications of his possession of the musical faculty were apparent at a very tender age. He received his first actual instruction from his father, but his sensitive organization, aided by the music of one sort and another that he was constantly hearing, seems almost to have anticipated this earliest teaching. In his clinging affection for his parents the child was father to the man, and one of his constant petitions was to be allowed to 'help.' It is easy to imagine the little tasks he learned to perform for the mother whom he worshipped, and the feeling of pride with which he watched his tall father on the exercise-days of the Jager corps may have had something to do with his partiality for his beloved lead soldiers, the favourite toys which he kept locked in his writing-table long after he was grown up. He was sent, when quite a young child, to a little private school on the Dammthorwall, close to his parents' house, where the teaching was probably neither better nor worse than that of the very small English day-schools of the period. Until he was nearly eight his musical education was carried on at home, and did not include the study of the piano. It seems to have been taken for granted that he would, in due course, follow his father's calling, which was gradually ripening into that of a reliable performer in the humbler orchestras of the city. It is hardly surprising that Jakob, who knew nothing about genius, and was not troubled by notions about art for its own sake, should have looked forward contentedly to the career of an orchestral player for his boy.

He himself, after more than twelve laborious years, was only struggling into a position of acceptance by musicians of this class. That Johannes should begin life by taking his place amongst them as a fiddler or 'cellist, who might work his way to some distinction, must necessarily have appeared to him a sufficiently ambitious object, the attainment of which would enable his son to support himself and help the family. The orchestral players of the Hamburg of that time carried on their work under peculiar circumstances. They were bound together in a kind of musical trade-union, the Hamburger Musikverein, founded in 1831, which protected them from competition, no member being allowed to play in any band that included an outsider. They met constantly at their 'Borse,' or club, through which most of their engagements were made. It was open every morning for a couple of hours for the transaction of business, and there was a Lokal in the same building available for a chat over a glass of beer and a smoke. The establishment was, for some time, presided over by the father of Carl Rosa (originally Rose), who lived on the premises, and Johann Jakob Brahms was one of the original members of the society.

His copy of the rules is still in existence, and bears, underneath his signature the date May 1, 1831. The system of working by deputy was extensively practised in the arrangements of the union. If a member engaged for a certain performance happened to get a more lucrative offer for the same day and hour, he would give notice to the 'Borse' to furnish a substitute for the first appointment. The substitute might repeat the process in his turn, and it sometimes happened that a single engagement passed through several hands in succession before the date of its fulfilment. Under these conditions music was very much a mere business, but, on the other hand, orchestral players were expected to be fairly good all-round musicians, capable of performing passably on several instruments, and able to fill a gap at short notice. Many of these men, who made the musical atmosphere with which Johannes Brahms was familiar in his childhood, lived in the Lane-quarter, partly because it was cheap, partly in order to be near their 'Borse,' which was situated in the Kohlhofen. They were, as a rule, shrewd, hard-working, honourable members of their profession, happy in their calling and in their mutual friendly intercourse, and striving to bring up their children to improved circumstances. Those among them who were not able to obtain better employment were glad to acquire experience, and to earn something, by playing in dancing-saloons and Lokals of various degrees of repute, hoping for a rise of fortune in days to come.

Proofs of continual advancement in Jakob's career are to be found in the fact that, from about the year 1837 onwards, his services were requisitioned from time to time as substitute in the small band which played from six till eleven, every evening throughout the year, in a room of the Alster Pavilion, and especially in the circumstance that he by-and-by became one of its regular members, succeeding to the duties of double-bass player. The orchestra was composed of two violins, viola, two flutes, and double-bass, and performed 'evening entertainment-music,' consisting of overtures, airs, operatic selections, and pot-pourris. The public, which was a good one, was served with light refreshments outside, or crowded into the house to listen, according to inclination and the season, and the musicians were paid by contributions collected during intervals between the pieces.

Count Woronzow from St. Petersburg, who was present with his son in the audience one fine summer evening, was so delighted with the music, and so gratified at hearing the Russian national air played _con amore_ in his honour, that he not only put a gold piece on the plate, but wanted to carry off the six performers to Russia, guaranteeing that they would make their fortunes there, and would not take a refusal till they had had a week or two to consider the matter.

There lived at this time at No. 7, Steindamm a young pianist of Hamburg, Otto Friedrich Willibald Cossel, who was well known to the set of men belonging to the musicians' union, and in great and just repute with them as a teacher of his instrument. He was a pupil of the eminent teacher and theorist Marxsen of Altona, and had cherished dreams of fame as a pianoforte virtuoso. Adverse circumstances, delicate health, and want of self-confidence, may have been the causes of his failure to realize his aspirations; but whether or not this be the case, he has left behind him the reputation of having been a good player, an excellent instructor, and a thoroughly high-minded man. He was devoted to his art, and had a large number of pupils; but they were chiefly recruited from the classes who could not afford to pay much, and it was not in Cossel's nature to be difficult on the question of remuneration.

He was fain to content himself with the consciousness of hard work well done as a great part of his reward.

To Cossel came, one day in the winter of 1840-41, Jakob Brahms with the little seven-year-old Hannes, a pale, delicate-looking child with fair complexion, blue eyes, and a mane of flaxen hair falling to his shoulders. He was as neat and trim as a new pin--a little 'Patent-Junge'--and wore over his home-knitted socks pretty wooden shoes such as are seen to this day in the shops of Hamburg, an effective protection against the wet climate of the city. Too pale and serious to be called pretty, there was a something most attractive in his appearance, and when his face lighted up on hearing the conclusion of his father's business Cossel's heart was won.

'I wish my son to become your pupil, Herr Cossel,' said Jakob, speaking in his native Low-German tongue. 'He wants so much to learn the piano.

When he can play as well as you do, it will be enough!'

The short interview brought about important results to Hannes, whilst for Cossel it insured the future enduring respect of the musical world.

He soon perceived that in his new scholar he had no ordinary pupil, and his affection went out more and more to the docile, eager, easily-taught child. He got into the habit of keeping the little fellow after his lesson that he might practise on his piano, and be spared some of the fatigue entailed by constant walks between home, school, and the somewhat distantly-situated Steindamm. Hannes, on his part, grew passionately fond of his teacher, and the special relation in which he stood to him was soon recognised and accepted by Cossel's other pupils. The two were brought still closer together at the end of about a year, for Jakob and his wife, on the impending marriage of their boarder, moved again into smaller quarters close by--at No. 29, Dammthorwall--whilst Cossel took over their rooms in Ulricus-strasse.

Well for Hannes that an admirable method of instruction enabled him to get through the necessary drudgery of acquiring a good position of the hand and free movement of the fingers at a very early age, and that he was prepared by wise guidance easily to encounter successive steps of his master's system, which included the practice of the best masters of etudes--Czerny, Cramer, Clementi--of the great classical masters, and of pieces of the bravura school in fashion at the time.

In the course of the year 1843 Cossel added to the many proofs he had already given of his affection for his pupil, an admirable instance of generosity and sacrifice of personal considerations. It became evident to him that, notwithstanding--or perhaps in consequence of--the rapid progress made by Hannes, influence was being brought to bear on Jakob to induce him to transfer the boy to the care of some other teacher, and he at once determined that in spite of the keen pangs of disappointment any change would cause him, his darling should, if possible, be placed under Marxsen. Various causes may have led him to this resolution--anxiety to protect the boy from the chance of being thrown too early on the world as a regular bread-winner, to the detriment of the quiet course of his development; unselfish desire that he should grow up with the prestige of association with a man of established musical authority; above all, a profound sense of his own responsibility in regard to the genius of which he found himself guardian, and of the duty incumbent on him to submit its possibilities to the direction of the widest experience and best skill attainable.

La Mara[7] has related, on Marxsen's authority, the steps taken for the fulfilment of the plan, and their immediate issue. Cossel brought the ten-year-old Johannes to Altona, with the request that his master would examine the boy, and, if satisfied of his possession of the necessary gifts, undertake his further musical instruction. Marxsen, however, did not prove ready to accept this charge. After hearing Johannes play 'very capitally' some studies from Cramer's first book, he pronounced him in the best hands, saying nothing could be more desirable for the present than that he should remain, as heretofore, under Cossel's guidance.

The friends of the family, however, continued to press Jakob, pointing out that Cossel had been too retiring in his own case, prophesying that the history of his career would be repeated in that of Johannes if some change were not made, and insisting that the teacher was too cautious and pedantic in his methods with the boy, who now required to be brought forward. The upshot of these things was that, a few months after the interview with Marxsen, a private subscription concert was arranged 'for the benefit of the further musical education' of Johannes, which took place in the assembly-room of the Zum Alten Rabe, a first-class refreshment-house, long since pulled down, that stood in its own pleasure-garden near the Dammthor. The programme included a Mozart quartet for pianoforte and strings, Beethoven's quintet for pianoforte and wind, and some pianoforte solos, amongst them a bravura piece by Herz, the execution of which, by the youthful concert-giver, seems to have caused immense sensation in the circle of his admiring friends.

Hannes, who was the only pianist of the occasion, was assisted in the quintet by Jakob and three of his friends, and in the quartet by Birgfeld and Christian Otterer, two well-known musicians of Hamburg, and Louis Goltermann of the same city, afterwards professor at Prague (not to be confounded with the 'cellist-composer C. E. Goltermann, native of Hanover). The concert was a great success both from an artistic and a financial point of view, and as its result Jakob himself visited Marxsen to prefer, in his own name and that of Cossel, a second request that the distinguished musician would accept Johannes as a pupil. This time Marxsen consented, saying he would receive him once a week provided that the lessons from Cossel were continued without interruption side by side with his own. The mandate was carried into effect, and the arrangement worked smoothly for a time without let or hindrance; but the successful concert had brought danger as well as advantage in its train. An impresario, who had obtained admission on the occasion to the 'Old Raven,' conceived the idea of taking Johannes on a tour and exhibiting him as a prodigy, and presently made proposals to this effect to Jakob, who, not unnaturally, was transported to the seventh heaven by the dazzling prospects which the wily stranger presented to his imagination.

The first step to be taken, for which he prepared, probably, with some perturbation of mind, was to break the news to Cossel.

'Well, Cossel,' he said, finding the young musician at home, 'we are going to make a pile of money.'

'What?' shouted Cossel.

'We are going to make a pile of money. A man has been who wants to travel with the boy.'

Poor Cossel! all his worst fears seemed about to be realized; his heart leapt to his mouth.

'Then you are a word-breaker!' he thundered.

It was now Jakob's turn to look aghast, for Cossel, as described by all who knew him personally, was no stickler for ceremony, and could show his wrath right royally when he felt he had righteous cause for indignation. 'You are a word-breaker!' he cried, and, adopting a sudden idea, went on: 'You said to me, "You shall keep the boy till he knows as much as you do." He can only learn that from Marxsen!'

A heated argument followed, which ended in a compromise. The affair was to be allowed to stand over for a time, and, in fact, several succeeding months passed as quietly as heretofore. But the impresario renewed his proposal, and the struggle recommenced. Cossel perceived the only means of securing a permanent victory for the benefit of Hannes, and he determined to use it, cost him what it might. It lay in his own complete self-renunciation. He went again to Altona, and besought Marxsen to take entire charge of the boy's musical career, only to be once more refused. Marxsen did not yet feel convinced that the great progress made by Johannes during the past year had been due to other qualities than those of assiduous industry and eager wish to learn.

Cossel, however, was not to be beaten. He returned to the attack, actually declaring to his bewildered master that the boy made such rapid strides he felt he could teach him nothing more. The kind Marxsen at length gave way, and consented to take the musical education of Johannes into his own hands henceforth, and to teach him without remuneration, saying he did so the more willingly since the parents were not able to pay for the training they wished to secure for their child, and because he had become fond of the little pupil for his own sake.

'How could you let yourself be put off from such business?' said Aunt Detmering after the impresario had been finally dismissed. She had been partner with Johanna in the little shop of the 'sisters Nissen,' and had married into somewhat better circumstances than Jakob's wife. 'I can't interfere in it,' answered Johanna simply, for her boy's good was more precious to her than silver and gold, in spite of her hard, struggling existence. 'Min soote Hannes!' she would say, throwing her arms round him, when he came up sometimes to give her a kiss.

Thus was the rich, budding faculty of Johannes guided to the safe shelter of Marxsen's fostering care, and it is not too much to say that Cossel, by his noble action, secured the future of the genius the significance of which he was the first to recognise. It would be idle to speculate about the unrealities of a non-existent might-have-been, and to contemplate a fancied picture of Brahms' career based upon circumstances and events other than those actual to his childhood. It is, however, certain that no mere natural musical endowment, however splendid, can attain to its perfect growth without having been put in the right way, and those who have entered into the heritage of Brahms'

songs and symphonies, his choral works and chamber music, may well cherish Cossel's name in grateful remembrance. Although he will not again occupy a prominent place in our account of Brahms' life, his private relations with his pupil did not cease. His piano and his sympathy were still at the service of Hannes, who was grateful for one and the other, and who, remembering his early teacher and friend to the end of his life with admiring affection, strove, as opportunity served in later years, to obtain for him the more widely-known professional position to which his qualities so justly entitled him. Cossel died in 1865 at the age of fifty-two.

[4] 'Brahms Erinnerungen,' in _Die Gegenwart_, No. 45.

[5] Printed verbally in Max Kalbeck's 'Johannes Brahms,' p. 4.

[6] Vol. II., Chap. XXI.

[7] 'Musikalische Skizzen Kopfe,' vol. iii.

CHAPTER II 1845-1848

Edward Marxsen--Johannes' first instruction in theory--Herr Adolph Giesemann--Winsen-an-der-Luhe--Lischen--Choral society of school-teachers--'ABC' Part-song by Johannes--The Amtsvogt Blume--First public appearance--First visit to the opera.

Edward Marxsen was born on July 23, 1806, at Nieustadten, a village close to Altona, where his father combined the callings of schoolmaster and organist. His musical talent showed itself in early childhood, and was cultivated by his father to such good purpose that, whilst still a lad, he became competent to take the organist's duty from time to time when a substitute was needed. He was not, however, destined for the musical profession, and was on the verge of manhood when he was at length allowed to follow his unconquerable desire to apply himself with all his energies to the serious study of art. At eighteen he became the pupil of Johann Heinrich Clasing, a musician well qualified to bring up his students in the traditions of the classical school in which he had himself been trained.[8] His warm interest was soon aroused by the enthusiasm and unremitting application of his new pupil. Marxsen allowed nothing to interfere with the regularity of his lessons, and walked the two miles separating Nieustadten from Hamburg and back again, on dark winter evenings, by the light of his hand-lantern, no matter how stormy the weather. He continued to live at home, studying, teaching, and helping more and more frequently with the organ, till he reached the age of twenty-four, when his father's death left him free from ties. He soon resolved to go to Vienna, with the especial purpose of perfecting his theoretical knowledge under Ignaz von Seyfried, a prolific composer now chiefly remembered as editor of the theoretical works of his master, the renowned Albrechtsberger. Seyfried received the new-comer cordially, and, probably finding Marxsen's musicianship to be but little inferior to his own, treated him, during his lengthened sojourn at Vienna, more as a friend than a pupil. He did not give him formal instruction, but admitted him to frequent musical intercourse, which was chiefly devoted to the discussion of artistic questions and to the free interchange of opinion, and which brought to the younger musician, amongst other benefits, the special gain of thorough familiarity with the great forms of Beethoven. Seyfried's society was interesting and stimulating. He had had pianoforte lessons, as a child, from Mozart, and had been on terms of personal acquaintance with Haydn and with Beethoven, who was his hero. He was of a kind disposition, moreover, and the many opportunities he was able to offer for forming friendships, for hearing music, and for living in musical society, were placed unreservedly at the disposal of his protege. Marxsen at the same time pursued his study of the pianoforte under Carl Maria von Bocklet, a pianist and musician of eminence, and a very successful teacher, who had enjoyed the favour of Beethoven and been the close intimate of Schubert. Bocklet was one of the earliest to appreciate the genius of the younger master, and, with his colleagues Schuppanzigh and Klincke, gave the first performances, early in 1828, of Schubert's two pianoforte trios, written a few months previously.

Marxsen returned to Altona, after an absence of between two and three years, with the matured confidence of the travelled musician who has associated with the authorities of his art, his previous enthusiasm for the works of the great Vienna masters and for the then known instrumental works of the mighty Sebastian Bach fanned into ardent worship. That his mind was sufficiently powerful to rise entirely above the musical artificiality and bad taste of his time cannot be said. To us, who belong to a generation that has been educated on the purist principles first made widely acceptable by Mendelssohn's influence and since popularized by the genius of a few famous executants, with Clara Schumann, Rubinstein, and Joachim at their head, it is difficult to realize the revolution that has taken place in the general condition of musical art since the days when Marxsen, three years Mendelssohn's senior, was young. Many things were then accepted and admired in Vienna, in Berlin, in Leipzig, in London, which would now be regarded as impossible atrocities. Marxsen was capable of setting the Kreutzer Sonata for full orchestra, but this is hardly so surprising as that the Leipzig authorities should have produced the arrangement at one of the Gewandhaus concerts, or that Schumann should have mentioned it indulgently, on whatever grounds, in the _Neue Zeitschrift fur Musik_.

Marxsen came for the first time before the public of Hamburg on November 19, 1833, at the age of twenty-seven, in a concert of his own compositions. Such a programme was a novelty in the northern city, and excited attention. The occasion was successful, and established the reputation of the concert-giver as a sound and earnestly striving musician, and from this time his position as a teacher and theorist continuously rose. He was a man of catholic tastes and liberal culture, and his influence over his pupils was not merely that of the instructor of a given subject, but was touched with the power of the philosopher who has a wide outlook on life. The central aims of his theoretical teaching were to guide his pupils to a mastery of the principles illustrated in the works of the great composers, and to encourage each student to develop his own creative individuality on the firm basis thus afforded. He produced a very large number of works, which include examples of the most complex as well as of the simpler forms of composition, and many of them were brought to a hearing. That few show the attempt to appeal to a higher tribunal than the musical taste of the day may, perhaps, be a sign that Marxsen was conscious of not being endowed with original creative power, and did not try to go beyond his natural limitations. He had a genial, encouraging manner which invited his pupils' confidence, and his lively interest in all questions concerning literature, philosophy, and art gave constant impulse to the minds of the really gifted amongst them, which was not the least of the benefits they derived from association with him.

We shall not be far wrong if we fix the age of Johannes, at the time he became entirely Marxsen's pupil, as about twelve; and from this date his time, always well employed, must have been very fully occupied. He had to go to Altona for his pianoforte lessons (the question of his learning composition had not yet arisen), to practise at Cossel's or at the business house of some pianoforte firm--for there were too many interruptions at home--and to go regularly to school. Not to the one on the Dammthorwall mentioned above. He now attended F. C. Hoffmann's school in ABC-strasse, an establishment several grades higher than that of which he had formerly been a pupil, and one of good repute in its degree. Hoffmann was a conscientious as well as a humane man, and won the liking and respect of his scholars. He gave them sound elementary instruction, and even had them taught French and English. Brahms retained some knowledge of both languages, as the present writer can testify from her personal acquaintance with him, begun when he had entered middle age. He could read English to some extent, though he could not speak it, and was able to help himself out, when necessary, with a phrase or two of French, though his accent was hopeless. He preserved a pleasant remembrance of Hoffmann in after-life, recommended his school on one or two suitable occasions, and sent him a present on the celebration of his jubilee in the middle of the seventies.

Marxsen's interest and pleasure in Johannes' progress increased every week as he became more convinced of his exceptional capacity. 'One day I gave him a composition of Weber's,' he says,[9] 'going carefully through it with him. At the following lesson he played it to me so blamelessly and so exactly as I wished that I praised him. "I have also practised it in another way," he said, and played me the right-hand part with the left hand.' (No doubt Weber's _moto perpetuum_, published by Brahms, without opus number, as a left-hand study.)

Part of Marxsen's discipline was to accustom Johannes to transpose long pieces at sight, a practice he had probably learnt from Seyfried, who relates as a _tour de force_ of Albrechtsberger that on some public occasion, when he had to play on a low-pitched organ, he transposed an entire Mass from G to G sharp at sight, and without error. Brahms, it may be parenthetically remarked, continued to find diversion in this pastime, and would play fugues of Bach and other works for his own edification in various transposed keys when at the height of his mastership.

The boy had, almost from infancy, shown signs of the tendency to creative activity. Widmann[10] speaks of a conversation held with Brahms within the last decade of his life, during which the master, recalling early memories, described the bliss experienced by him as a very young child on making the discovery, unaided, that a melody could be represented on paper by placing large round dots in higher or lower positions on lines. 'I made a system for myself before I knew of the existence of such a thing.' When a few years older, he was fond of writing the separate parts of concerted works one under the other--of copying them into score, in fact. Nor was he to be kept from trying his hand at original composition. Louise Japha, an eminent pianist of Hamburg, whose more intimate acquaintance the reader will make later on, speaks of having heard him play a sonata of his own when he was about eleven, at the pianoforte house of Baumgarten and Heins, where she one day found him practising. Cossel, responsible for his advance in playing, is said to have been anxious at his spending too much of his time in these childish attempts; but the instinct was unconquerable, and Marxsen no doubt discovered this when he had Johannes constantly with him. After a time he began to teach him theory. Referring to the commencement of the new study, he writes to La Mara:

'I was captivated by his keen and penetrating intellect, and yet, when he came later on to original composition, it was at first difficult to him, and required a good deal of encouragement from me. Still, though his first attempts produced nothing of consequence, I perceived in them a mind in which, as I was convinced, an exceptional and deeply original talent lay dormant.... I therefore spared myself neither pains nor trouble to awaken and cultivate it, in order to prepare a future priest of art, who should proclaim in a new idiom through his works, its high, true, and lasting principles.'