;W!!H:'l!ih-Hii;r'::iil!iiiil'H|l|U;!;;iHi!;iHI]!iili|i;'l.["1^i.';'!;i.'r!;:;tn .J;A.FULLE CORNELL UNIVERSITY LIBRARY . MUSIC CLYDEMITCHEIiLCARR Cornell University Library ML 410.B81F96 Brahms. 3 1924 022 172 716 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022172716 THE NEW LIBRARY OF MUSIC General Editor: Ernest Newman BRAHMS ^ -'*< \ \ ^y lOHANNKS );RAHMS. ,+;'! ■20 i'KoM A I'ENCIL DRAWING DUNE FROM THE LIFE IN 1853, AT ZJUSSELDORF, 1!V J.J. B. 1..AURENS, Ml- MONTl'ELI.IER (lSoi-l8go), IN THE I'OSSESSION OF FRAU I'ROFESSOR MARIA ROIE OF BllNN, |;V WHo^^E PERMISSION IT IS HERE REPRODUCED. THE ORIGINAL DRAWING MAS AN INSCRII'TloN (l'.\RT!.N' LEGIBLE IN THE REPRODUCTION,) TO THE EFFECT THAT THE DRAWING WAS DoNI-; AT SCHUM.ANN's REQUEST : THE .ARTIST's NA.ME IS THERE Sl'ELT ' LAURENT,' AND THE DALE HAS KEEN .ALTERED TO 1854 BRAHMS BT J. A. FULLER-MAITLAND WITH TWELVE ILLUSTRATIONS NEW YORK JOHN LANE COMPANY MCMXI INTRODUCTORY NOTE ON ENTHUSIASM THE following pages are certain to inspire distrust in the minds of some readers because of their " enthusiastic " tone. Now, although enthusiasm is no longer considered a dangerous form of insanity, as it was in the eighteenth century, yet its presence is still regarded as tending to obscure the judgment, and the word conveys, whether intentionally or not, some idea of a mood that is necessarily transitory. The lamp that is trimmed gives the brightest and purest light, and the very sound of " enthusiasm " suggests some of the unpleasant accompaniments of an untrimmed wick. But is "en- thusiasm " rightly predicted of all eulogy ? Is all eulogy to be distrusted on the ground that no opinion can be at once favourable and dispassionate ? One sees how absurd the word sounds in regard to the supreme things of the world in art and literature. Enthusiasm about the Bible, Shakespeare, Dante, Michel Angelo, or Beethoven savours of a young ladies' seminary, and in a grown-up person is as unfitting on the one hand as "impartial" criticism would be on the other, although in the days shortly following the creation of the supreme things, enthusiasm and impartiality were quite appropriately exhibited vi BRAHMS towards them. Surely a frame of mind exists in which admiration for the greatest things is unmixed with any restless anxiety to discover flaws, a frame of mind free from all feverish desire to "gush'' over things which, having attained the position of classics, remain for the world's calm and steady delight. Perhaps the most recent of the incontestably supreme things in the world of music to call forth a display of " impartiality " was the life-work of Beethoven, upon whose death there were written obituary notices which must amuse the modern critic, and should warn him against a timid excess of coolness. The fact that the tone of many of the obituary notices of Brahms was unwittingly couched in the same kind of " temperate " language would of itself suggest the idea that that master's work was destined to rank among the great things of the world. It may be well to make it clear that the following pages are not written with any desire to make unwilling converts, but to explain the writer's own personal conviction regarding the music of Brahms. For him it has always been difficult to get into the position of a person who finds Brahms puzzling or crabbed ; from the date of the early performances of the first sextet at the Popular Concerts the master's ways of expressing himself, his idioms, have always seemed the most natural and gracious that could be conceived. Not that any unusual degree of musical insight can be claimed, nor any desire felt to disguise the few occasions on which passages have not been absolutely clear at a first hearing ; but it would be hardly honest to disarm criticism by adopting an artificial " impartiality " when the joy aroused INTRODUCTORY NOTE ON ENTHUSIASM vii by that first experience has spread and grown with un- wavering steadiness for over thirty years, during which each new work, as it appeared, has been eagerly welcomed as a new revelation of a spirit already ardently loved. It may be remarked that on that first occasion of encounter- ing the name of Brahms on a concert programme, the music was allowed to make its own impression. Musically inclined elders, anxious to train the young in the orthodox ways, as orthodoxy was understood in the seventies, were accustomed, with the best intentions, to call Handel sub- lime. Bach dry, Mozart shallow, and Mendelssohn sweet ; of Beethoven they spoke in tones that reminded the child of Sunday, telling him he could not expect to understand it till he was older, or to enjoy it till much later ; thus, all unconsciously, they damped for many years any ardour he might have felt for the great masters.. But Brahms was a new name and could not be "placed"; so that at once and for ever afterwards he seemed to speak to the heart with a rare directness, to use phrases that seemed to come from the home of the soul, and to speak so intimately as even to destroy any wish for personal communication with the man lest that might perchance detract from the eloquence of his music, J. A. FULLER-MAITLAND CONTENTS CHAP. PAGI I. Biographical ..... II. Brahms and his Contemporaries . III. Characteristics of the Art of Brahms IV. The Pianoforte Works V. Concerted Music .... VI. The Orchestral Works VII. The Songs ..... VIII. Music for Solo Voices in Combination . IX. The Choral Works .... List of the Compositions of Brahms, Arranged in Order of Opus-numbers List of First Lines and Titles of Vocal Compositions .... Index ...-•• I 38 64 81 105 131 157 189 196 221 233 357 LIST OF ILLUSTRATIONS Johannes Brahms, jet. 20 From a pencil drawing by J. J. B. Laurens, Professor Maria Bole Frontispiece By permission of Frau FACING PAGE 6 Brahms and Remenyi .... From a daguerreotype in the possession oC Mr, Edward Speyer Brahms in his Library . . . . . .24 From a pliotograpli by Frau Fellinger Autograph Letter from Brahms . . .26 Brahms Monument at Vienna . . .34 By permission of Messrs. Breitkopf and Hartel Brahms and Joachim . . . . . .48 From a photograpli Brahms Conducting . . . . . .64 From a drawing by Prof. W. von Beclcerath Brahms at the Piano . . . . .81 From a drawing by Prof. W. von Beclserath Brahms Conducting .... .131 From a drawing by Prof, W, von Beckerath Brahms Conducting . . . . . .144 From a drawing by Prof. W. von Beckerath Brahms Conducting . , . . .156 From a drawing by Prof. W. von Beckerath Brahms Conducting . . . . . .196 From a drawing by Prof. W, von Beckerath Autograph Canon by Brahms . . . . .208 Reproduced from J. A, Fuller-Maitland's Masters of German Music (1894), by permission of Messrs, Harper & Bros, BRAHMS CHAPTER I BIOGRAPHICAL THE advantages of an uneventful life, so obvious in the case of the happy nations that have no history, are less patent in regard to artistic careers. Goethe's " Wer nie sein Brod mit Thranen ass " is one of the most hackneyed quotations in existence, and is always brought forward to prove the great benefit resulting from personal affliction upon the minds of those who deal with the arts. It is so easy to show by its means that one man must have been an excellent painter because he could not get on with his wife, another a fine poet because he committed suicide, or that the operas of a third must be of excellent quality because the composer forged a banknote. Had Beethoven been the uncle of a respect- able nephew instead of a hopeless ne'er-do-weel, had Wagner prolonged his wedded life and not meddled with politics, had Schubert been rich instead of poor, had Handel kept his eyesight, we may be sure that certain writers of the present day would have been found to place them, on this account, among the composers of 2 BRAHMS whom Mendelssohn is the popular type, with his unfailing outward prosperity and his frequent lapses from musical greatness. We may admit that the indigestible character of modern Russian food has had much to do with the pessimism of modern Russian music; but the bread of tears is seldom made of flour, and many a great man has eaten it whose outward life seems to have passed in an unruffled calm, and whose biographer is at his wits' end to find some stain on his reputation, some skeleton in the cup- board to be brought forth as evidence of his close intimacy with the "heavenly powers." These skeletons do un- doubtedly serve the purpose of awakening interest in the work of the owners of their cupboards ; and the public vogue of a man with whom scandal has been busy is naturally greater than that of one against whose conduct nothing can be adduced. If a man's work declare itself as of supreme quality throughout, and prove that he has been " commercing with the skies," we are surely per- mitted to regard him as a rare exception to Goethe's rule, or to admit the possibility that his sorrows may have been real enough, even though they were hidden from the keenest human eye. A man's creations are far surer evidence of his emotional range than any list of social upheavals, personal privations, or scandalous actions ; and while those whose being vibrates to every characteristic mood of a musician's art need no outside testimony to his greatness, the less fortunate persons to whom that art is a sealed book are not likely to be convinced of its importance by a categorical account of the sorrows the musician endured. Such an outwardly uneventful life was that of Johannes Brahms, and it is only necessary to give a rapid summary of the main facts, pointing out the few incidents which BIOGRAPHICAL 3 bear directly upon his music. He was the second child and elder son of Johann Jakob Brahms and his wife, Johanna Henrika Christiana Nissen, who were married in 1830 and lived in humble circumstances in part of a large house, No. 60, Speckstrasse, Hamburg.^ The father, who had studied various stringed instruments and the flute, was a horn-player in the Biirger- Militair, or town-guard of Hamburg, and afterwards a double-bass player in a regular string band ; the mother, described as a small, plain, limping woman of delicate health and sensitive disposition, seems to have had few accomplishments except that of being a good needle- woman. Johannes Brahms was born on 7 May, 1833, and baptized on the 26th at St. Michael's Church. A pianist named Cossel, a pupil of Eduard Marxsen of Altona, taught the boy the piano from the time he was seven years old, and it was due to this man's per- severance that, after several refusals, Marxsen himself consented to take him as a pupil, at first for piano only. He played a study of Herz at a charity concert when he was ten years old. When he was fourteen, one Adolph Giesemann, a frequent attendant at the perform- ances of the band of which Jakob Brahms was a member, consented to take the boy into the country for a change, to Winsen-an-der-Luhe ; here he went on with his music, teaching Herr Giesemann's little daughter, and travelling every week to Altona for his lesson with Marxsen. He conducted a small choir of male voices at Winsen, and composed a few pieces for its use. In November, 1847, he appeared at public concerts in Hamburg, on the 20th and 27th, playing at his first appearance Thalberg's ' A photograph of the house is to be found in Miss May's Life oj Brahms, i.52- 4 BRAHMS Norma fantasia, and at the second a duet by the same popular virtuoso with Frau Meyer-David, the concert- giver. Nearly a year afterwards, on 21 September, 1848, he gave a concert of his own, at which he played a fugue of Bach, besides other things more suited to the taste of that day. On 14 April, 1849, he gave another concert, playing the " Waldstein " sonata of Beethoven, some popular pieces, and a fantasia by himself " on a favourite waltz." After this formal opening of his career as an executant, he had to endure the drudgery of playing night after night in dancing saloons. During the next five years his life must have been a hard one, and perhaps some of the necessary bread of tears was eaten at this time. Various small engagements, one of which was that of accompanist behind the scenes of the Stadt Theater, and teaching (at the high fee of about a shilling a lesson) occupied him, and in his spare time he read voraciously, poetry turning itself, half consciously, into music in his brain. Many songs were composed at this period of his life, when he was compelled, like Wagner, to do hack-work for publishers in the way of arrangements and transcriptions, operatic and otherwise ; these were published under the pseudonym of " G. W. Marks," and it would seem as though another nom de plume, " Karl WUrth," was kept for work of a more ambitious kind, such as duet for piano and violoncello, and a trio for piano and strings, which were played at a private concert on 5 July, 1851, and duly announced on the programme as the work of " Karl Wurth " ; a copy of the programme is still in existence on which Brahms has substituted in pencil his true name for the other. Not till 1853 did a brighter day dawn for the com- poser. A certain violinist named Rem^nyj, whose real BIOGRAPHICAL 5 name was Hoffmann, and who was of a mixed German, Hungarian, and Jewish origin, had appeared in Hamburg as early as 1849, ostensibly on his way to America with other Hungarian refugees. He found the "farewell" concert as profitable as numberless English artists have found it at various times, and after the departure of his compatriots for the United States he still lingered on in Hamburg until 1851. He then seems to have gone to America for a time, but he reappeared, at first in Paris, in 1852, and at Hamburg again in the winter of 1852-3. It was arranged that Brahms should act as his accom- panist at three concerts, at Winsen, Luneburg, and Celle, and finally should proceed thence to Hanover, where Joachim was court concertmeister {i.e., leader of the band), and assistant capellmeister (conductor), having given up his position as leader of the opera orchestra. The number of concerts was extended to about seven in all, at which the same programme was gone through by the two performers. Beethoven's sonata in C minor from Op. 30 was the most important composition performed. At Celle, where the only decent piano was a semitone too low for the violinist's convenience, Brahms undertook to play the sonata in C sharp minor, at a moment's notice. Remenyi was not a great artist, and would be of small importance in the career of Brahms if he had not happened to be slightly acquainted with Joachim. The meeting between Joachim and Brahms, which was the beginning of a lifelong and most fruitful intimacy, took place at Joachim's rooms in Hanover,^ and it was obvious to the older man that Brahms was no ordinary musician. In the oration pronounced by Joachim at the dedication of the Brahms monument at Meiningen, ' See Miss May's Life, i. io6, note. 6 BRAHMS 7 October, 1899, this first meeting is thus referred to: "It was a revelation to me when the song O versenk' struck my ears. And his piano-playing besides was so tender, so full of fancy, so free, so fiery, that it held me enthralled." After hearing such compositions as the young composer had brought with him, which included various movements of sonatas, the scherzo Op. 4, a sonata for piano and violin, a trio, and a string quartet, beside several songs, Joachim saw plainly that the association with a performer of Remdnyi's stamp was not likely to be a lasting one, and he invited Brahms to visit him at Gottingen (where he-^Joachim — was about to attend lectures) in the event of his tiring of his present post. There was some discussion between the two as to the order in which it would be advisable to publish Brahms's early compositions.' At the time Joachim could do no more than give Brahms a letter of introduc- tion to Liszt, as the pair of players intended to go to Weimar. The account of the interview with Liszt, given by William Mason, who was present, may be read in Miss May's Life.^ That Liszt played at sight the scherzo and approved of its style, is the one fact that is really important ; it is curious to read that after Raff had detected its (very obvious) likeness to Chopin's pieces in the same form, Brahms assured a friend that he had no knowledge whatever of the Polish master's scherzos. The reception of the two players by Liszt was of the most cordial, and they found, what so many others found before and afterwards, an atmosphere of flattering appreciation, practical kindness, and surroundings which could not but appeal to any ardent and artistic soul. It was Liszt's way to express to the full all the admiration he felt, but on ' See 'Can Joachim Correspondence, i. 10-12. " Vol. i. no. KRAHMS AND RKMENVI BIOGRAPHICAL 7 this occasion a letter of his to Biilow ' proves that he really thought highly of the C major sonata. For six = weeks the fellow-travellers stayed at Weimar, but gradually it became clear to Brahms at least that the spell of Armida's garden must be resisted, and every night when he went to bed he resolved to cut the visit short, but every morning a new enchantment seemed to be put upon him, and he stayed. The charm was broken almost as effectually as that of Venus in Tannhduser, but in a less poetical manner. William Mason tells us in his Memories of aj^usical Life that Liszt was on one occasion playing his beloved sonata in B minor, and, glancing round at a very expressive moment of the piece, saw that Brahms was slumbering peacefully; the composer stopped abruptly and left the room. The figure of Rem^nyi goes out of the story; his political and musical proclivities continued to appeal to Liszt, and in the year after he was made violinist to Queen Victoria. Although armed with Joachim's letter, Brahms hesitated for some little time before presenting himself to Schumann at Dusseldorf. Steeped in the classical traditions he had learnt from Marxsen, he had been almost deaf to the appeal of Schumann's music, for which a great friend, Fraulein Louise Japha, had unbounded admiration. Brahms had sent Schumann a number of his early compositions in 1850, when Schumann was at Hamburg ; but the older master was then too busy to open the parcel. When he did make up his mind to go over from Mehlem, where he had been staying almost ever since his departure from Weimar, he was welcomed at once by the Schumanns, whose expec- tations had been aroused by Joachim. When Brahms sat ' Franz Liszt, von Julius Kapp, p. 281. ' According to Kapp, p. 280 ; Kalbeck says the time was three weeks. 8 BRAHMS down to the piano to play one of his compositions to Schumann, the latter interrupted him with the words, " Clara must hear this," and he told his wife, when she came into the room, " Here, dear Clara, you will hear such music as you never heard before ; now, begin again, young man ! " They kept Brahms to dinner, and received him into their intimacy.' To Joachim Schumann wrote the memorable words, " This is he that should come" — words which, with the equally famous article, Neue Bahnen, claimed for Brahms a place in the royal succession of the great German composers. The article was all the more powerful since Schumann broke in it his four years' silence as a critic. It was not an altogether unqualified benefit to Brahms, seeing that it naturally aroused much antagonism both among the many musicians who did not yet know Brahms's compositions, and also among the few who, knowing them, did not like them. In October, 1853, Brahms collaborated with Schumann and Albert Dietrich in the composition of a sonata for piano and violin as a present of welcome to Joachim, who visited Diisseldorf. The first movement, by Dietrich, and the intermezzo and finale by Schumann, have not been pub- lished, as Joachim, who possessed the autograph, con- sidered the latter master's contribution not to be quite worthy of him, and to show signs of the mental ailment which was so soon to overshadow him ; but he gave per- mission for the publication, after Brahms's death, of the scherzo in C minor, which was the youngest man's share. Later in the same year came a visit to Leipzig, and an appearance at the Gewandhaus, at one of David's quartet- concerts, in which Brahms played his own C major sonata ' Dr. A. Schubring's Schumanniana, quoted by Kalbeck, fohannei Brahms, i. 121. BIOGRAPHICAL 9 and the E flat minor scherzo. At this time, too, occurred the last attempt of the "advanced" school to induce Brahms to return to the ranks of Liszt's followers ; Liszt was in Leipzig, in order to be present when Berlioz con- ducted important compositions at the Gewandhaus. Brahms found Liszt quite inclined to let bygones be bygones, and Berlioz was heard to praise the young artist (whether as performer or composer we are not told).' By this time there was, of course, little hope that the fixed convictions of Brahms would be unsettled, and personal as well as artistic reasons must have weighed with him against any real reconciliation with the Liszt school. He took up his residence at Hanover in order to work hard in congenial surroundings, and for the sake of the constant intercourse with Joachim. There, too, he saw Schumann again, for the last time before the tragic attempt at suicide. Schumann had come to Hanover for a performance of his Paradise and the Peri, and enjoyed the society of Joachim, Brahms, and Julius Otto Grimm. From the sad event of 27 February, when Schumann threw himself into the Rhine, Joachim and Brahms stood in a position of a filial or fraternal kind to Madame Schumann, who, throughout all her anxieties, bravely followed her artistic career in spite of the additional distress caused by her not being allowed to see her afflicted husband. The variations ofi Brahms on a theme by Schumann, in F sharp minor. Op. 9, are lasting evidence of the close intimacy which was only terminated by death. The variations, and the next compositions, the four Balladen, Op. 10, gave the greatest pleasure to Schumann. In 1855 there was some talk of Brahms being appointed to the post that Schumann had held in Diisseldorf, but it was ' Kalbeck, op: cit., i. 148. 10 BRAHMS felt that, standing as he had done in a relation of peculiar intimacy with Schumann, he could not enter as a candidate for the post, which was given to Julius Tausch in due course. In 1856, after Schumann's death, Brahms arranged to relieve Madame Schumann of some of the lessons she was engaged to give, and among the pupils was a Fraulein Laura von Meysenbug, whose father and brother were officials at the court of Lippe-Detmold, and whose mother was an ac- complished amateur pianist. Princess Friederike of Lippe- Detmold was another of Madame Schumann's pupils, and in consequence of the connection thus formed, Brahms was offered a kind of informal appointment at the court of Detmold, where he was to conduct a choral society recently re-organized, to perform at the court concerts, and to con- tinue the Princess's musical education. His duties only lasted through the winter season, from September to December, and he gained much useful experience as a conductor during the two years of his engagement at the court, which he retained until January, i860. About this time he made the acquaintance of a young Gottingen lady, Fraulein Agathe von Siebold, with whom he seems to have fallen in love ; there are various signs that it was a serious passion on his part, but worldly considerations made a marriage out of the question, and the fact that in his G major sextet there occurs this theme in the first move- ment is the most important record of the episode.^ i In 1859 the first performance of the D minor concerto for pianoforte, with the composer in the solo ' See Litzmann's Clara Schumann, iii. 70. BIOGRAPHICAL ii part, took place at Hanover, Leipzig, and Hamburg, being received at the first two very coldly. At the Gewandhaus of Leipzig its reception was distinctly unfavourable ; but Brahms took his repulse philosophically, and in a letter to Joachim (who had conducted it at Hanover) he says: "I believe it is the best thing that could happen to me ; for it compels one to order one's thoughts and to pluck up courage for the future." It is perhaps significant that the loudest notes of disapproval were from the extreme classicists of Leipzig ; the partisans of the new school of Weimar found more in it to praise, and it is greatly to their credit that they had the courage to say so. It has been suggested that this praise was bestowed as part of a deliberate plan to get hold of Brahms's allegiance to the new school and its tenets ; but whether it was so or not, the event showed that his devotion to the classical models had undergone no change. Brahms's position in regard to the new school was settled once for all by an awkward accident. In i860, it had been given out in the Neue Zeitschrift fur Musik, the organ of the new school, that all the most prominent musicians of the day were in favour of the " music of the future," as it was called. Brahms felt it to be his duty to protest against this falsehood, and con- sented to sign a document expressing disapproval of the high-handed and wholly gratuitous assumption ; the Erkldrung seems to have been written by Joachim and Bernhard Scholz, and a great number of influential musicians undertook to subscribe it, but while it was actually going round for signatures, a version of it got into print in the Berlin Echo, with only four names appended to it ; that those of Brahms and Joachim were among the ' See Joachim Correspondence, i. 227-9. 12 BRAHMS four was, of course, not forgotten nor forgiven by the Weimar partisans. ' The text of the famous '' Declaration " may be thus translated: — The undersigned have for some time followed with regret the course pursued by a certain party, whose organ is Brendel's Zeitschrift fur Musik. The said Zeitschrift gives wide publicity to the opinion that musicians of earnest aims are in agreement with the tendencies followed by the paper, and recognize in the compositions of the leaders of the movement works of artistic value, and that the dispute as to the so-called " Music of the Future " has been already fought out, particularly in North Germany, and decided in favour of the movement. The undersigned consider it their duty to protest against such a misstatement of facts, and to declare for their part at least that they do not recognize the principles expressed in Brendel's Zeitschrift, and that they can only bewail or condemn, as against the inmost and essential nature of music, the productions of the leaders and pupils of the so-called " New German " school, which on the one hand give practical expression to these principles, and on the other necessitate the establishment of new and un- heard-of theories. Johannes Brahms. Joseph Joachim. Julius Otto Grimm. Bernhard Scholz. ' On the whole question of the letter, and Brahms's, attitude towards it, see the Joachim Correspondence, i. 257, 268-9, 274, 279. Also Kalbeck, i. chap. x. BIOGRAPHICAL 13 This was accompanied by the following letter to those who were invited to add their names : — We feel that all to whom this is presented for signature may wish to add much to this declaration ; as we believe that each of them is in perfect agreement with the sense of the foregoing, we beg them earnestly to reflect on the importance of not putting aside the protest, and we have therefore tried to simplify the above document sent for signature. In case you are willing to associate yourself with us, we ask you to send in this page, duly signed, to Herr Johannes Brahms, Hohe Fuhlentwiete 74, Hamburg. The declaration with the names in alphabetical order will be published in the musical periodicals. The above signatories. It is obvious that every additional name would have added greatly to the effect of this document, which may or may not have been a very politic one ; but with only four names, although these included two of the most prominent of the German classicists, it could not but excite derision, and foster the inimical feelings of the men at whom it was directed. It was, as we can all see now, an ex- pedient of no practical utility whatever; but there are moments fvhen it is beyond human power to resist the temptation to nail to the counter such lies as had been uttered in the newspaper. Music, surely more than the other arts, has been liable to these outbursts of personal feeling, and every artistic revolution in its history must have stirred up recriminations of one kind or another. Happily we do not know exactly in what terms Pales- trina and the masters of the polyphonic school of the sixteenth century were attacked by the men who strove for some new means of expression. We know a good 14 BRAHMS deal more about the war of the Gluckists and Piccinnists in Paris, and more still about the silly rivalry between popular singers in the period of Handelian operas in London. In Germany the lovers of music are always curiously apt to take sides and split into two opposing parties, and it is easy to see that in many cases there is a good deal of reason on both sides. The classical party, whether itself creative or not, must feel responsible for the handing down of a great tradition in its purity, and that it should exaggerate the iconoclastic intentions of the other side is perhaps inevitable ; the party identified with tendencies that are new will, of course, secure the approval of the majority ; and, while always ready enough to pose as martyrs for truths that have been revealed to them alone, will as certainly minimize any originality which the works of the classicists may display. We know now that the " Declaration " was not a protest by hide- bound pedants against all the modern tendencies, but was really directed against special heresies which were traced in some of Liszt's Symphonic Poems. Brahms, as appears from his correspondence with Joachim,^ was particularly anxious not to include the music of Wagner in his condemnation of the modern tendencies, and it must not be forgotten that the friends did not take the initiative in the matter, but were bound to traverse the im- plied statement that all the eminent musicians of Germany were on the one side. While we know that the classical forms seemed to him sacred, yet on occasion he found it expedient to modify them in various ways, not from any poverty of his own ideas, but as it were to encour- age the natural development of a living organism. The " new school," for whose thoughts the older forms were i. 274. BIOGRAPHICAL 15 too scanty or too strictly defined, did, after all, very little indeed towards any really fruitful development of niusical form, and it is hard to get rid of the suspicion that the older forms were thrown aside by their leader on account of the easily recognized difficulties they present to one whose musical ideas are virtually with- out distinction. It is idle to guess what might have been the state of musical parties in Germany at the present day if the Weimar school had confined themselves to the accurate statement that a large number of musicians had embraced their principles ; but it is hardly probable that any degree of personal or artistic intimacy could ever have endured between men whose constitutional modesty made them hate all that was tawdry, and those to whom the adulation of a large public was as the breath of their nostrils, and who cared little for the real merits of their music as long as it was likely to surprise or tickle the ears of their audiences. Liszt's admirable breadth of view, his boundless generosity towards musicians of every kind, and his sur- passing genius as an executant, must have counted for very much in his own day ; but there is no gainsaying the fact that adoption of his methods of composition and ot artistic ideals based upon his, has brought German music into a most singular state at the present time. It is clear that Brendel himself thought he had gone rather too far in support of the Weimar clique ; for he afterwards allowed Schubring to express his convictions that Brahms was one of the giants of music, a man on the level of Bach, Beethoven, and Schumann, and had to make his peace with the " new " composers as best he might in a "hedging" article,^ in which he makes a somewhat ludicrous attempt to run with the hare and hunt with the » Kalbeck, i. 490. i6 BRAHM hounds. The extraordinary warmth of feeling exhibited by the new school after the " Declaration " and after the memorable letter written by Joachim to Liszt ' has been, no doubt rightly, ascribed to the great influence wielded by Joachim, and in a lesser degree by Brahms. Had the "New School" realized how many and how influential were the names that would have appeared below the " Declaration " if its appearance had not been forestalled, it is at least possible that their resentment would not have been so exclusively against Brahms and Joachim ; and it is even possible that Wagner's famous Judenthum in der Musik, the pamphlet which rendered any idea of reconcilia- tion for ever impossible, might never have been written. The names of those who had promised to support the "Declaration " are referred to in the letters between Joachim and Brahms, but it does not appear that -they were made in any way public before the issue of the correspondence in 1908. At Hamburg Brahms was busily and congenially occu- pied as conductor of a choir of ladies, on whose behalf he wrote the various sacred and secular works for female voices which are so numerous among his early opus- numbers. Many more were written, but were burnt by the composer, all but a single part (second soprano), in which Kalbeck discovered the germs of several mature works.2 The choir was developed from the fortuitous association of some ladies in the music arranged by Gradener for the marriage of a pastor named Sengelmann with a Fraulein Jenny von Ahsen. Brahms played the organ at the ceremony, and Gradener composed a motet for female voices, the effect of which was so . good, that ' lAostr's Joseph Joachim, p. 151. English translation, p. 167. = i. pp. 277, 386. BIOGRAPHICAL 17 Brahms asked the ladies to study his own Ave Maria and two other choral works for the same voices ; gradually a regular choral society was founded and the work of conducting it and writing music for it gave Brahms yet more experience in practical music. The details of the society, with various reminiscences of members, etc., may be read in the Jahrbuch of the Gesellschaft Hamburgischer Kunstfreunde for 1902, where Frau Lentz, geb. Meier, writes a series o{ Brahms-Erinnerungen. These are largely quoted by Kalbeck, who gives a full account of the society in his LifeJ- An amusing code of rules for the society was drawn up by Brahms for the use of the ladies in the queer bilingual style with which readers of Mattheson and the eighteenth- century German writers are familiar. The document is so amusing an illustration of Brahms's characteristic humour that it seems worth while to quote it entire : — "AVERTIMENTO " Sonder weilen es absolute dem Plaisire fordersam ist, wenn es fein ordentlich dabei einhergeht, als wird denen curieusen Gemiithern, so Mitglieder des sehr nutz- und lieblichen Frauenchors wunschen zu werden und zu bleiben jetzund kund und offenbar gethan, dass sie partoute die Clausuln und Puncti hiefolgenden Geschreibsels unter zu zeichnen haben, ehe sie sich obgenannten Tituls erfreuen und an der musikalischen Erlustigung und Divertierung parte nehmen konnen. " Ich hatte zwaren schon langst damit unter der Bank herfiir wischen sollen, alleine aberst dennoch, weilen der Friihling erst Heblich prdambuliret und bis der Sommer i. 367 ff- c i8 BRAHMS finiret, gesungen werden diirfte, als mochte es noch an der Zeit sein dieses Opus an das Tageslicht zu stellen. ^^ Pro prima ware zu remarquiren dass die Mitglieder des Frauenchors da sein miissen. " Als wird verstanden ; dass sie sich obligiren sollen, den Stehungen und Singungen der Soeietdt regelmassig beizuwohnen. " So nun Jemand diesen Articul nicht ^€ax)x\gobserviret und, wo Gott fur sei, der Fall passirete, dass Jemand wider jedes Decorum so fehlete, dass er wahrend eines Exercitiums ganz fehlete ; " soil gestraft werden mit einer Busse von 8 Schillingen H.C. (Hamburger Courant). " Pro secundo ist zu beachten, dass die Mitglieder des Frauenchors d a sein miissen. "Als ist zu nehmen, sie soWtxi praedse zur anberauraten Zeit da sein. " Wer nun hiewieder also siindiget, dass er das ganze Viertheil einer Stunde zu spat der Soeietdt seine schuldige Reverentz und Aufwartung machet, soil um 2 Schillinge H.C. gestrafet werden. (" Ihrer grossen Meriten um den Frauenchor wegen und in Betracht ihrer vermuthlich hochst mangelhaften und unglucklichen Complexion, soil nun hier fiir die nicht genug zu favorirende und adorirende Demoiselle Laura Garbe ein Abonnement hergestellt werden, wesmassen sie nicht jedesmal zu bezahlen braucht, sondern aber ihro am Schluss des Quartals eine moderirte Rechnung praesen- tiret wird) : "Pro tertio: Das einkommende Geld mag denen Bettelleuten gegeben werden und wird gewunscht, dass Niemand davon gesattiget werden moge. " Pro quarto ist zu merken, dass die Musikalien grossen- BIOGRAPHICAL 19 theils der Discretion der Dames anvertrauet sind. Dero- halben sollen sie wie fremdes Eigenthum von den ehr- und tugendsamen Jungfrauen und Frauen in rechter Lieb und aller Hiibschheit gehalten werden, auch in keinerlei Weise ausserhalb der Societat werden. "Pro quinto: Was nicht mit singen kann, das sehen wir als ein Neutrum an. Will heissen : Zuhorer werden geduldet indessen aber pro ordinario beachtet, was Gestalt sonsten die rechte Nutzbarkeit der Exercitia nicht beschaf- fet werden mochte. " Obgemeldeter gehorig spedfizirter Erlass wird durch gegenwartiges General-Rescript anjetzo jeder manniglich public gemacht und soil in Wiirden gehalten werden, bis der Frauenchor seine Endschaft erreichet hat. "Solltest du nun nicht nur vor dich ohnverbriichlich darob halten, sondern auch alles Ernstes daran sein, dass andere auf keinerlei Weise noch Wege darwider thun noch handeln mogen. " An dem beschiehet Unsere Meinung und erwarte aero gewiinschte und wohlgewogene Approbation. " Der ich verharre in tiefster Devotion und Veneration des Frauenchors allzeit dienstbeflissener schreibfertiger und taktfester "Johannes Kreisler, Jun., "alias: BRAHMS " Geben auf Montag, " den 30ten. des Monats Aprili. "A.D. 1 860." I It is far from easy to convey the exact meaning of the quaint old-world language, and to render it by any adequate ' The words in italics appear in Roman type in Kalbeck's Life, the rest being in German character. 20 BRAHMS English equivalent seems quite impossible ; the following translation aims at nothing more than giving the general drift of the document : — AVERTIMENTO Inasmuch as it is an undoubted enhancement of pleasure that it should be well-regulated and in order, it is hereby declared and made plain to those inquiring spirits who wish to become members of the very useful and lovely Ladies' Choir, that they must sign the whole of the clauses and periods of the here-following script, before they can enjoy the above title and take part in the musical enjoy- ment and diversion. I ought to have got the thing started before now," but (from) the advent of lovely spring until the end of summer, is a season proclaimed as the most fitting for singing, and the time is ripe for the execution of the scheme. In the first place, it is to be noticed that the members of the Ladies' Choir are to be there. That is to say : they shall undertake to attend regularly the meetings and practices of the Society. If any one shall not observe this condition, and if the case should happen (which Heaven forfend !) that any one should so err against decorum as to miss a whole practice ; » The meaning of the phrase "unter der Bank wischen '' is clearly "to sweep under the bench," but it is difficult to be sure in what sense the phrase is used. On the one hand, it has been suggested that it refers (as a phrase usual in Hainburg houses) to the periodical " spring cleaning," but it is more probable (considering the legal character of the whole document) that the " Bank " referred to is the "lange Bank," or shelf, on which deeds were placed in rows, those not immediately wanted being pushed along it, so that "to shove anything along the long shelf" means to postpone it indefinitely. Conversely, in the above, " I should have swept it out from under the shelf" may bear the meaning suggested in the text, but the general gist of the para- graph is clearly to confine the choral practices to the spring and summer. BIOGRAPHICAL 21 she shall be mulcted in a fine of 8 shillings (Hamburg currency). In the second place, it is to be noticed, that the members of the Ladies' Choir are to be there. That is to say, they shall be punctual to the appointed time. If any one so transgresses as to be a whole quarter of an hour too late in paying his due respect and attendance to the Society, he shall be fined 2 shillings (Hamburg currency). (On account of her great merit in regard to the choir, and in respect of her probably highly faulty and unfortu- nate [delicacy of] constitution, a subscription shall be got up for the never-enough-to-be-favoured-and-adored Demoi- selle Laura Garbe, so that she need not pay every time [that she is absent or late], but that a reduced account shall be presented to her at the end of the quarter.) In the third place, the money so collected may be given to the poor, and it is hoped that none of them will be sur- feited therewith. In the fourth place, it is to be noticed, that the music is for the most part confided to the discretion of the ladies. Therefore the honourable and virtuous ladies, married or single, shall preserve it neatly and fairly, like the property of some one else, and it is by no means to go outside the society. In the fifth place : Whatsoever cannot sing with us, we regard as of the neuter gender. That is to say, Listeners are tolerated, only so far as they do nothing that could interfere with the practical utility of the practices. The above permission is definitely made by the present document, and shall be observed by each and all of the public, until the Ladies' Choir shall come to an end. 22 BRAHMS You shall not only comply with this without fail, but shall do your best endeavour to prevent others from disobeying the rules. To whom our decisions are submitted [?] and whose desired and well-weighed approval is awaited in deepest devotion and veneration ; by the Ladies' Choir's diligent ready-writer and time-beater, Johannes Kreisler, Jun., alias Brahms It is not surprising to hear that the joke about Demoiselle Garbe and her frequent unpunctuality was not especially pleasing to the poor lady, who consulted Frau Schumann about it. That lady, who was one of those who signed the document as being a member of the Ladies' Choir, pointed out that in such a document as this her name would be handed down to posterity. It all seems a little childish, and the whole business of the rules has, of course, lost a good deal of what point it ever had, but it seems worth preserving for its quaint phraseology. Frau Schumann's presence in Hamburg at the date of the docu- ment is denied by Miss May,' but Kalbeck says that she played on 20 April, ten days before the above date, at a concert of Otten's Musical Society, at which Brahms repeated the solo part in his ill-fated concerto. It was awkwardly placed in the programme, and the reception of the first movement was so unfavourable that the composer got up and whispered to Otten, the conductor, that he must decline to go on with the work. Happily Otten persuaded him to finish it. The episode has nothing in itself remarkable, but in regard to the failure of this work here and in Leipzig, we are in danger of forgetting that ' Life, i. 254. BIOGRA.PHIOAL 23 Brahms's stoical manner was only assumed, and here we see how sorely he felt the attitude of the public. It may or may not have had to do with the composer's slowly formed determination to go and live in Vienna, which he visited in 1862, apparently meaning to remain only a short time. The migration from Hamburg and the ultimate adop- tion of Vienna as a home, is generally and conveniently held to mark the principal division in the outward career of Brahms. An appointment to the conductorship of the Vienna Singakademie was perhaps the immediate cause of the change of abode, and although the office was only retained for a year or two, yet, by the time Brahms gave it up, Vienna had become so attractive to him that he made it his head-quarters for the rest of his life. The conception and completion of his great Deutsches Requiem occupied him chiefly for the next five years or so. Not that his labours in other fields were unimportant, for the com- positions of the early Viennese period include his two most exacting pianoforte solos, the " Handel " and " Paganini " variations, the two quartets for piano and strings, Opp. 25 and 26, the quintet in F minor. Op. 34, the Magelone romances, and many other vocal works. It is, happily, unnecessary for the ordinary lover of Brahms's Requiem to settle definitely whether it was intended to enshrine the memory of the composer's mother (a theory supported by the disposition of the fifth section, the famous soprano solo and chorus, and by the direct testimony of Joachim and other friends), or whether it was, as strenuously argued by Herr Kalbeck, suggested by the tragedy of Schumann's end. Possibly both are in a measure true ; the composer may have been first led to meditate on death and its problems by the death of Schumann — the first deep per- 24 BRAHMS sonal sorrow he can have known — but we know that in chronological sequence its composition followed his own private loss. Frau Brahms died in 1865, and the Requiem was completed in 1868 by the addition of the number already referred to. Before the performance of the first three numbers (1867), the widower had married again, and there are few things more beautiful in Brahms's life than his conduct to his stepmother, over whose interests, and those of her son by a former marriage, Fritz Schnack, he watched with rare loyalty. His father died in 1872, Frau Caroline Brahms surviving her illustrious stepson by five years. About the period of the Requiem, or rather later, came several other works in which a chorus takes part, such as Rinaldo, for male voices, and three of the noblest choral compositions in existence : the Rhapsodie, for con- tralto solo, male choir, and orchestra ; the Schicksalslied and Triumphlied, the last, in eight parts, with solo for bass, in commemoration of the German victories in the war of 1 870-1. For three seasons, 1872-5, Brahms was con- ductor of the concerts of the Gesellschaft der Musikfreunde, and the programmes of the period given in Miss May's Life are enough to fill us with envy. During this time his music was continually advancing in popularity, and the great public of Vienna was conquered by the remarkable performance of the Requiem there on 28 February, 1875. This new attitude of the public gave the cue to the rest of the world, and during a tour in Holland in 1876 even the D minor concerto roused enthusiasm when the composer played it at Utrecht. The " Haydn " variations for orchestra were given in various musical centres, always with great success, but it was the first symphony, in C minor, that stamped Brahms as the legitimate representative of the great dynasty of German composers. It had been long expected ; BIOGRAPHICAL 25 for the musical world must have realized that the man who could show himself so great a master of thematic develop- ment as Brahms had done in many chamber compositions (the last of which were the three string quartets, Opp. 5 1 and 67, and the quartet for piano and strings, Op. 60), and who could handle the orchestra so skilfully as he had handled it in the " Haydn " variations, could give the world a new symphonic masterpiece. As such the work in C minor could hardly be universally accepted at once ; if it had not stirred up opposition and discussion, its real importance might well have been questioned, but by this time Brahms himself most probably cared but little for the opinions of friendly or adverse critics, although his warm heart was always appreciative of the enthusiasm of his intimate friends ; and the verdict of such people as Joachim and Frau von Herzogenberg was always eagerly awaited by him. In many cases their criticisms were followed, and alterations made in deference to them. The first symphony is one of the great landmarks in the history of Brahms's popularity in England ; for when it was quite new the University of Cambridge offered to the composer and to Joachim the honorary degree of Mus.D., which cannot be granted in absentia. Joachim would in any case be in England, and Brahms hesitated for some time whether to accept the invitation, but finally refused it in consequence of the publication of a premature announcement concerning his appearance at the Crystal Palace. He acknowledged the compliment of the University by allowing the first English performance of the new symphony to take place at a concert given by the Cambridge University Musical Society on 8 March, 1877, and it was conducted by Joachim, who contributed his own Elegiac Overture, conducting it himself, and playing the solo part of Beethoven's concerto. 26 BRAHMS The second symphony was not long in following upon the first, for it was given at the Vienna Philharmonic on 1 1 December, 1877, and at Leipzig in January, 1878 ; and the orchestral vein so successfully struck was further worked in the violin concerto which Joachim introduced to the Gewandhaus public and to the world on i January, 1879.^ Two important works for pianoforte solo belong to the same period, 0pp. "jS and 79, as well as the first of the three sonatas for pianoforte and violin, Op. 78. The tender, winsome grace of the last must have won Brahms almost more friends than any of his previous compositions, and the impression was deepened by the production of the two overtures, Opp. 80 and 81, the Academic Festival Overture and the Tragic Overture. In 1880, in the course of his duties as a member of a commission for the annual grant of Government stipends to young artists (on which he had served since 1875), he came across the early efforts of Anton Dvorak, and at once became a warm admirer of his music, in spite of so many points at which the artistic ideals of the two men diverged. In 1878 Brahms had undertaken the first of several Italian journeys in company with his great friend, Dr. Theodor Billroth. In i88l began the pleasant asso- ciations with the court of Saxe-Meiningen, brought about by the enthusiasm of von Bulow, the conductor of the ' A doubt has lately been raised, and is to be found in the analytical programmes of many performances of the concerto, as to whether the first performance of the work took place at Leipzig or at Berlin. There is no question at all that it was given first at the Leipzig Gewandhaus on i January, 1879. Unfortunately, the English translator of Moser's Joseph Joachim has made a tiresome blunder, stating on p. 263 that Joachim performed it for the first time in public at one of the Hochschule concerts. Reference to the original (p. 240) shows at once that the words "in Berlin " have been left out by the translator, and that Moser makes no claim that Berlin heard the first actual performance. Autograph letter from Brahms to a correspondent unknown (but not impossibly Sir George Grove), relating to the death of C. F. Pohl, the biographer of Haydn, who died in Vienna in April, 1887. Facsimile included by kind permission of the Brahms-Gesellschaft, and of W. Barclay Squire, Esq., the owner of the original letter. Translation "Dear and Much Honoured Sir, — " Please accept at this time my thanks and friendly greetings. Things have not altered with us much of late [literally, In our case the recently or quickly passed time has not signified much]. We still deplore our friend most sincerely. I am as grateful as I was before for your expressions of feeling. In the course of the winter I have seen our sick friend often, never without his remembering you affectionately. He never lacked sympathy and loving care, and the excellent people with whom he lived are highly to be commended in that respect. A few days before his death, I went to Italy, and only found your letter when I returned to Thun. " It was a great pleasure to me to read your words, and to know them addressed to myself. Will you let me again thank you for them ? My thanks come from the heart, as they must when I think of our friend, the best and most affectionate fellow on earth. With hearty greetings, "Your devoted, "J. Brahms" JU.^ I, Jt^ d(^Cocre^^ •..Ul /,-9^-^z:>^ 9rU. |w-W^^-^ ^ &<«^-/-''^ y p^n^yC ^-...yU.^ >^ ^^^^ 1.'/ <^ ' // /■ iJy,^, ii.-'- -„•<_-•*-/ i!^' / /- ./:>'• _. ^-y^'"- BIOGRAPHICAL 27 famous orchestra. The composer played his new pianoforte concerto with that body in 1882, and an odd result of the friendship with the Duke was the undertaking set on foot by BUlow of taking the Meiningen orchestra to Leipzig, to show how certain works of Brahms should be performed. The C minor symphony was in the programme, as well as the first pianoforte concerto, which Biilow played, the band accompanying without a conductor. The third symphony (Vienna Philharmonic, under Richter, 2 December, 1883) and the fourth (Meiningen, 25 October, 1885) put the crown on the master's orchestral achievements. For about ten years Brahms had now enjoyed the reward of his lifelong work and happy labours. As in the early part of his career his works had been held to be obscure, unintelligible, and ugly, so now a new style of attack on his music was led by Hugo Wolf, when hard up and disappointed, and therefore the more easily to be for- given, although his animadversions were bitterly resented at the time. In England we are not unfamiliar with the sort of invective which, consciously or unconsciously, has been based upon Wolfs diatribes. With the exception of such irritating experiences — and what great man was ever free from them for long ? — the later years of the composer's life were very happy ones. Surrounded by intelligent and devoted friends who understood all his little idiosyncrasies and humoured him in every way, the routine of his life, with the regular journeys to Ischl or some such resort in the summer, and to Italy in the spring (until 1893), must have been tranquil and fruitful in musical suggestion. For the record of the latest period of his career is really contained in a few casual reminiscences by his intimate friends, and above all in the beautiful works which glorified the last decade of his life. It is the decade of the piano- 28 BRAHMS forte pieces, 0pp. 1 16-19, of the German folk-songs, of the works suggested by the masterly clarinet playing of Professor Muhlfeld, and of those wonderful Ernste Gesange which close the master's list of compositions with such noble meditations on death and what lies beyond the grave. These were partly inspired by the death of Frau Schumann on 20 May, 1896, which was a terrible shock to Brahms ; mentally, he was grievously afflicted by it, and physically he never completely recovered from a chill caught at her funeral. Between this time and his own death the only work he accomplished was the arrangement of a set of eleven chorale-preludes for the organ, written at various dates, though not published till after his death. In September, 1896, he went to Carlsbad for a cure; he suffered very greatly during the winter, but managed to attend several concerts, such as those given by the Joachim Quartet in Vienna in January (when his G major quintet was played with great success), the Philharmonic Concert of 7 March; when his fourth symphony and Dvorak's violoncello concerto (a piece for which he had unbounded admiration) were played, and he went twice to the opera. He passed away — the cause of death being degeneration of the liver — in the presence of his kind housekeeper, Frau Celestine Truxa, on 3 April, 1897, at the lodging, 4, Carlsgasse, where he had lived quietly for a quarter of a century. He was buried in the Central Friedhof on 6 April, and many were the memorial concerts given in his honour all the world over. By a strange mischance, a will about which he consulted his old friends Dr. and Frau Fellinger was not executed, and the only valid testament was in the form of a letter to Simrock, the publisher. There were complications of various kinds, sundry cousins making claims to the BIOGRAPHICAL 29 master's property. Ultimately a compromise was arrived at, with the result that " the blood relations have been recognised as heirs to all but the library, which is now in the possession of the Gesellschaft der Musikfreunde ; that Frau Truxa's legacy has been paid, and that certain sums accepted by the societies [the Liszt Pensionverein of Hamburg, the Czerny Verein, and the Gesellschaft der Musikfreunde], by which they will ultimately benefit, have been invested, and the income arising from them secured for the payment of the life-annuity to Herr Schnack"^ [the son of Frau Caroline Brahms, who died in 1902]. The first monument to the master's memory was that executed by Hildebrandt, which was uncovered at Meiningen on 7 October, 1899. On the seventieth anniversary of the master's birth, 7 May, 1903, a monument, designed by Fraulein Use Conrat, was erected at the grave. Five years later, on the same anniversary, another monument was inaugurated at Vienna, the work of Rudolf Weyr; and on the "birthday" in 1909 a monument by Max Klinger was unveiled at Hamburg, near the entrance to the new Musikhalle, and a com- memorative tablet was placed on the house where Brahms stayed at Diisseldorf. Houses in which he lived at Vienna, Ischl, and Thun have been decorated in the same way. A Brahms Museum, planned so as to conform exactly to the dimensions of Brahms's rooms at Ischl, and to contain the furniture from those rooms, has been founded at Gmiinden by Dr. Victor von Miller zu Aichholz, who has collected many autographs and personal relics of all kinds. It would be difficult to name any famous man who had so great an objection as Brahms had to the habit of wearing his heart upon his sleeve. He carried his " Miss May's Life, ii. 290. 30 BRAHMS characteristic reticence so far that his brusquerie of manner is the feature most familiar to the readers of the books about him. There are already many hundreds of stories, some of them no doubt true, which show a certain mischievous disposition, especially towards people whom he suspected of a wish to " lionize " him ; but his quiet acts of kindness more than counterbalance these superficial eccentricities, which after all seem more like the small transgressions of a vigorous child. There were number- less points in which he remained a child throughout his life, as though he trailed his clouds of glory longer than most men. That he should have been devoted to his tin soldiers as a child is of course nothing at all remarkable, but it is rather significant that he should have carefully kept them in his possession until he was twenty-eight years old, and have shown them to his friend Dietrich, saying that he could not bear to part with them.^ He shared with many of the great men of the world a faculty for going to sleep at a moment's notice, and rising refreshed after only a few minutes' slumber. It is undoubtedly true that he was careless in the matter of dress, and that he hated anything like ceremonial customs or stiff behaviour ; on the platform his manner of bowing (in 1859) was, according to Joachim, like the action of a swimmer who comes to the surface and shakes the water from his hair.^ Official recognition of his eminence meant less than nothing to him ; his indifference was by no means a pose, but was just the result of the hatred he felt towards certain sycophantic recipients of court favour. Much was formerly heard of his bluff ways, which no doubt did often cause pain to many sensitive souls ; but the publication of his correspondence with such ' Recollections, by Dietrich and Widmann, trans., pp. 37, 38. ' Litzmann, Clara Schumann, iii. 48. BIOGRAPHICAL 31 intimates as the Herzogenbergs, J. O. Grimm, Joachim, and, above all, Madame Schumann, shows how delicate was his tact in the real things of life, how ready he was to show his practical sympathy with other people, though his friends may have had to humour his little idiosyncrasies in the matter of his personal habits and comforts, and how truly generous was his nature. Once, when leaving his parents' home after a visit to them (when his own means had become comparatively ample for his needs), he put a number of bank-notes between the pages of his copy of Handel's Saul, and said to his father when taking leave, " Dear father, if things go badly with you, the best consolation is always in music. Read carefully in my old Saul and you'll find what you want." His loving care for Frau Schumann, for his stepmother and her son, and for others who looked to him for help of one kind or another, is abundantly clear, and a larger-minded or more open-handed man surely never lived. He appreciated the pleasures of life and was not afraid to let his enjoyment be seen ; yet he was no voluptuary, careless of the ultimate destiny of the race or of the individual. Even if we had nothing to go by but the words of his choral works, we should know that the problems of human destiny, of life, death, and immortality, engrossed him throughout his life. The Schicksalslied, Rkapsodie, Requiem, the two motets. Op. 74, and the part-songs, Op. 104, tell us, even without the evidence of the Serious Songs, which were the last publication of his life, that he was an earnest thinker, and that he had faced the great questions bravely and had found an answer to them which for him was sufficient. While shrinking from the dogmas of the Churches, and very shy of owning the beliefs he held, he yet shows his deep conviction of the immortality of the soul and a sure and 32 BRAHMS certain hope of its future happiness. In letters to Frau von Herzogenberg.i he asks her to find "heathenish" words from Scripture for him to set, meaning thereby such texts as appear in the first three of the Serious Songs. Though the landmarks of religions might be removed, though doctrines that guided the lives of his ancestors might be assailed and discredited, though the higher criticism might seem to demolish the credibility of the Scripture records, yet a great and merciful system is dimly apprehended, and upon this he relies for comfort and guidance. The publication of the commonplace-book in which he wrote favourite extracts from the literature of different countries ^ has thrown a fresh light on his own inner life, and illustrates his big, healthy nature (see p. 36). This may be a convenient place to attempt a summary of the Brahms literature, including the Lives and the published correspondence, the issue of which makes the biographer's task especially easy in the present day. The first authoritative life of the master, by Dr. Hermann Deiters, appeared in the Sammlung musikalischer Vortrdge in 1880 ; it was translated into English by Rosa Newmarch, and published, with additions, in 1888; reissued after the master's death, in 1898. J. B. Vogel's Johannes Brahms, sein Lebensgang, appeared in 1888. Heinrich Reimann's Johannes Brahms was published, without date, by the Berlin Harmonie, as one of a useful series of illustrated monographs on great composers. It appeared soon after the composer's death, with a slip inserted at the beginning giving the date of that death as 1896I ' Correspondence, i. 200 ; trans., 274. " Des jungen Kreislers Schatzkastlein, herausgegeben von Johannes Brahms, was published by the Brahjns-Gesellschaft in 1908. BIOGRAPHICAL 33 Max Kalbeck's exhaustive biography of the master, the most thoroughgoing work of its kind, is not yet completed, and it is doubtful whether the difficulties which arose after the second instalment was published will ever be sur- mounted. The first volume appeared in 1904, carrying the narrative of his life only as far as 1862 ; the second, completed in 1909 (in two half-volumes), goes down to 1874. A remarkably good and complete biography was written by Miss Florence May, and published in two volumes in 1905. The author had previously contributed some "Personal Recollections of Brahms" to a short-lived periodical, The Musical Gazette (published by Joseph Williams in 1902). H. C. Colles's Brahms (John Lane, 1908) contains a wonderful amount of valuable information in a small space. Erinnerungen an Johannes Brahms, by Albert Dietrich and J. V. Widmann (1898), were issued in an English translation by Dora Hecht in 1899, and published by Seeley & Co. The letters of the eminent surgeon Dr. Theodor Billroth, one of the most intimate friends of Brahms, himself an enthusiastic musician and writer on the art, contain many interesting details of the master. Joachim's oration at the unveiling of the Meiningen monument in 1 899 was published as Zum Geddchtniss des Meisters Johannes Brahms. The Neues Wiener Tageblatt for 9 May, 1901, contains H. von Meysenbug's Aus Johannes Brahms' Jugendtagen, and the same periodical on 3 and 4 April in the following year printed K. von Meysenbug's contribution with the same title. The Jahrbuch of the Gesellschaft Hamburgischer D 34 BRAHMS Kunstfreunde for 1902 contains an interesting series of Brahms-Erinnerungen aus dem Tagebuch von Frau Wasserbaudirector Lentz, geb. Meier. The account of the Vienna monument, Zur EnthUllung des Brahms-Denkmal in Wien, 7 Mai, 1908, contains some interesting articles. A picture of the monument itself is inserted facing page 34. A special Brahms number of the periodical called Die Musik, issued May, 1903, contains various articles and illustrations. The Brahms-Gesellschaft, founded after the master's death, has done excellent work in publish- ing his correspondence, as well as in other ways. Six volumes have already appeared, containing the master's own letters and those of his correspondents. Vols. I. and II. contain the correspondence with Herr and Frau von Herzogenberg, edited by Max Kalbeck, 1908. They have been translated by Hannah Bryant, and published by John Murray, London, in 1909. The husband and wife were in some ways the most intimate friends of Brahms, with the exception of Joachim and Madame Schumann. Both the Herzogenbergs were accomplished musicians, the husband a composer of some distinction, the wife skilled in interpretation, and possessed of a remarkable insight and critical faculty. Both allowed themselves to criticize each new work of Brahms with perfect freedom, and it is interesting to see how often he took their hints and acted upon them. These volumes are • especially interesting to students of the details in Brahms's workmanship, though very often the reader is struck by his disregard of some important question put to him by Frau von Herzogenberg, or by his habit of dismissing what she says with a curt word or two that falls oddly on English ears accustomed to the conventional courtesies of daily life. The impres- «:"--:<■ BRAHMS' MONUMENJ AT \"1EN,\A BIOGRAPHICAL 35 sion made by these two volumes is that the bulk of the actual material of the letters comes from the Herzogen- bergs rather than from Brahms ; but in the third volume of the series (edited by Wilhelm Altmann) Brahms is the chief writer. The letters deal with the composition and the first performance of the Requiem, and are of the highest value to students of that work. Reinthaler organized the quasi- complete performance of the Requiem in Bremen Cathedral on 10 April, 1868 ; and the correspondence about that work, as well as about later compositions of the master, is most interesting. The letters range from 1867 until Rein thaler's death in 1896. The next division of the book contains six letters of Brahms to Max Bruch, with nine from Bruch to Brahms, which deal principally with Bruch's works rather than with those of Brahms, although there are passages concerning the Requiem to be found in them. To Hermann Deiters Brahms wrote a good many details concerning his works, notably the " Haydn " varia- tions and the two overtures ; these are printed next with a single letter to Professor Heimsoeth, of Bonn, about the Schumann festival of 1873. A few short communications from Brahms to Reinecke, of no great importance, lead to the correspondence with Professor Rudorff, a section of great interest, spread over the years 1865 to 1886. There are two facsimiles of the corrections under- taken by Brahms and Rudorff respectively of a corrupt passage in the score of a flute concerto of Mozart; and some details concerned with the edition of Chopin's complete works are given. The last section of the volume contains letters to and from Bernhard Scholz and his wife, who were among the closer friends of the composer ; it will be remembered that Scholz was one of the four signatories of the famous protest. The 36 BRAHMS correspondence dates from 1874 to 1882, or rather those dates cover all the letters that have been preserved. Julius Otto Grimm, the remaining signatory of the protest, whose correspondence with Brahms occupies the fourth volume of the series, edited by Richard Barth, was the master's friend from 1853, and outlived him by six years, although he was six years older. The volume gives us a representative picture of all the different sides of Brahms's nature, for there are plenty of boyish jokes enshrined in it, as well as discussions on music, and many references to the lady, Agathe von Siebold, upon whom Brahms's affections were fixed at the time of his tenure of the post at the court of Lippe-Detmold, and who lived at Gottingen, where Grimm was director of the Musical Academy. The fifth and sixth volumes of the letters, edited by Andreas Moser, take us into the inmost shrine of Brahms's life, for they contain the correspondence with Joachim, and show us the faithful picture of the wonderful friendship which produced such rich fruit in the history of music. With these, and the letters to and from Madame Schumann, published in the third volume of her Life by Litzmann (1908,) the reader is admitted into the close intimacy of the master. The Brahms-Gesellschaft also printed the extract-book or commonplace-book in which Brahms put down passages that struck him in the literature of many countries. He called it Desjungen Kreislers Schatzkdstlein — and this title is kept by the editor, Carl Krebs, who issued it in 1908 in a cover in imitation of the original paper-bound book. It contains over six hundred aphorisms and quotations from all manner of sources, as well as a number of weighty sentences by Joachim, marked " F. A. E." (see pp. 32, 49). The English reader may be directed to some important BIOGRAPHICAL 37 contributions to the Brahms literature, such as the follow- ing:— Studies in Modem Music, by W. H. Hadow, second series, 1895. Studies in Music, reprinted from Tke Musician, 1901, contains an article on Brahms by the late Philipp Spitta. James Huneker's Mezzotints in Modern Music contains an article on Brahms, called " The Music of the Future." Daniel Gregory Mason's From. Grieg to Brahms, New York, 1905, has a thoughtful article. J. L. Erb's Brahms is a summary published in Dent's Master Musicians, 1905. The Contemporary Review for 1897 contains an article on " Brahms and the Classical Position." Georg Henschel read a paper on " Personal Recollec- tions" of the composer before the Royal Institution in 1905. In French some very interesting books were written by the late Hugues Imbert, who did a great work in obtaining a hearing for Brahms in France. His chief book on the subject is Johannes Brahms, sa vie et son ceuvre, Paris, 1906. The later editions of the dictionaries of Grove and Riemann contain extensive articles. CHAPTER II BRAHMS AND HIS CONTEMPORARIES AS a supplement to the necessarily meagre summary of the outward events in the life of Brahms, it may not be uninteresting to touch upon his own preferences in music, to trace the course by which his works became known throughout the world, to consider the influence of his contemporaries upon him, and to gather as far as may be possible the opiriions formed about him by musicians of different generations. The first is, of course, far less important than the rest, for composers are most rarely dowered with the critical faculty, and the only value we can set upon the opinions even of a Brahms is for the sake of the light they throw upon his own nature. The fact, for example, that Carmen was one of the composer's favourite operas does not affect our estimate of that work one way or another. It is unlikely that any of the Brahms enthusiasts think more highly of it because he admired it, and we may do his professed detractors the justice to suppose that none of them has gone so far as to slight Bizet's masterpiece because Brahms praised it. But it is of no little interest to the student of his character to know that he could heartily admire the frank, straightforward melodies and the characterization of a work so very far removed in style from what are generally supposed to be 38 BRAHMS AND HIS CONTEMPORARIES 39 the distinguishing marks of his own music. It is of far greater importance to make clear the attitude of Brahms towards the work of Wagner, an attitude concerning which so many misstatements have been industriously circulated, that too much stress can hardly be laid upon the actual facts of the case. In German musical circles there has for many years been a habit of making sharp divisions between the admirers of any two great contemporaries. The harm it did in the case of Mendelssohn and Schumann is well known to every student of musical history ; and while the musical world of Germany continues to find a great part of its artistic enjoyment in the diversion of splitting itself into opposing camps, no observer can wonder that Brahms should have been set up, entirely against his will, as the chief bulwark against the music of the new school. About the year i860 the materials for a new arrangement of parties were just preparing, and the main difficulty in the way of a comfortable split was the personality and the art of Schumann himself. He had founded the Neue Zeit- schrift, and in many ways had shown himself in the advanced ranks of his time, so that the " new " party could by no means dispense with his name ; on the other hand, he had declared himself, with what might be almost called his last words to the world, a champion of the music of Brahms, who, a few years before, had definitely severed himself from the "new'' party. These latter, having celebrated the 25th anniversary of the foundation of Schumann's periodical by a festival of four days in 1859, arranged a festival in Schumann's special honour, at his birthplace, Zwickau, in June, i860. A general invitation was issued to all music-lovers to attend the festival ; but beyond this, neither Madame Schumann, Joachim, nor Brahms received any further communication 40 BRAHMS with regard to the celebration. It may not have been intentionally done in order to slight those who stood nearest to Schumann in life, but the net result to the " new " party was that the marked absence of these intimates on such an occasion could be conveniently turned to the uses of the combatants, as it was of course implied that they had stayed away out of jealousy. From this time forth, the " new " school was never tired of trying to make out that Schumann's friends wanted to keep his music and his fame as a kind of private property of their own, and even that the true traditions of Schumann's music were not to be found among those who knew him best. This assumption of the Liszt party may even now be occasionally observed in criticism, but of course there was not the slightest foundation for supposing that the " classical " party ever thought of making themselves into a kind of sect. They were ultimately forced into completely breaking with the " new " party, but it was the new party with which lay the responsibility for the cleavage. With regard to Liszt's most representative works, the symphonic poems, Brahms shared with Wagner and Joachim the unfavourable opinions which Wagner could not very well express, as the others were perfectly free to do ; but for the art of Wagner himself Brahms had nothing but admira- tion. In the correspondence with Joachim at the time of the unfortunate protest against the Weimar fabrications, Brahms is careful to make it clear that he does not include Wagner among the men whose influence he wishes to counteract.! What has been called the "Wahnfried" atmosphere, with its hothouse exhalations, could never have been congenial to Brahms, and the personalities of ' ^^^ Joachim Correspondence, i. 274. BRAHMS AND HIS CONTEMPORARIES 41 the two composers may very well have been rather antago- nistic, even if Wagner and his friends and satellites had refrained from attacking him. It is perhaps necessary to recall the manners and customs of the early Wagnerians in order that we may realize how much that was repulsive would have had to be endured by a clean-minded, earnest and catholic musician who should join their ranks. None of the professed Wagnerians knew, and very few loved, the music-dramas better than Brahms did, and it is on record that he very rarely missed a performance of Wagner's later works in Vienna.^ An interesting account is given by Kalbeck = of the single interview between Brahms and Wagner at Penzing, near Vienna, in 1863, when the former, lately come to Vienna, played his '' Handel " variations in a manner which called forth unstinted praise of the work and the perform- ance from the older master. The unfortunate episode concerning the autograph of Wagner's "new Venusberg music " from Tannhduser could not but spoil the relations between the two composers (it had been committed by Wagner to the charge of Peter Cornelius, and he, imagining it had been a gift, gave it to Brahms, who valued it highly ; the letters which passed between the composers on the occasion were of a kind it is difficult to forget) ; but even if the misunderstanding had not occurred, the natures of the two men were too unlike to have allowed any real intercourse between them. We cannot picture Brahms arraying himself in gorgeous stuffs when he wished to compose, or surrounding himself with a court of flatterers who should keep from him the least ' See the Herzogenherg Correspondence, i. 183 (trans., 159), and note. Also Litzmann's Clara Schumann, iii. 236. " Life, ii. 1 14-17. 42 BRAHMS breath of adverse criticism. But, apart from constitu- tional diversity, Brahms understood and sympathized with Wagner's music at a time when the Wagner cause was still to be won. The exact opposite of this is true in regard to the relations of Brahms with Tchaikovsky. The account of their meeting at Hamburg in 1889 shows that "the per- sonality of Brahms, his purity and loftiness of aim, and earnestness of purpose, won Tchaikovsky's sympathy. Wagner's personality and views were, on the contrary, antipathetic to him ; but his music awoke his enthusiasm, while the works of Brahms left him unmoved to the end of his life." ' It is well known that the art of each of the two had little which could appeal to the other. It may be suggested that there was a reason for this quite apart from the polemics which have so much to do with music on the Continent. Brahms, as we shall see, had a special liking for themes built on the successive notes of a chord ; it is one of Tchaikovsky's most obvious characteristics that in his most beautiful and individual subjects, the movement is what is called " conjunct" ; that is, the suc- cessive notes are those of a scale, not of a chord. Almost every theme in the " Pathetic " symphony, to take the best-known instance, is formed in this way, and a careful study of the Russian's themes from this point of view of structure will show a surprising preponderance of those which are built on successive notes of the scale. The difference is perhaps not one that would be obvious at once, least of all to the composers themselves, for it is probable that neither was conscious of his own predilec- tions in the formation of themes ; but for this very reason complete sympathy would be the less easy to establish ' Grove's Dictionary (2nd ed.), v. 39. BRAHMS AND HIS CONTEMPORARIES 43 between them. Remembering, too, that one was pre- eminently a colourist, the other pre-eminently a draughts- man, the wonder would have been if they had appreciated one another's music. The same cause might, it is true, be supposed to interfere with Brahms's admiration of Wagner, since Wagner was the greatest pioneer of orchestral colouring in modern music ; but the works of the great music-dramatist stand so obviously apart from the rest of music, and in particular from the classical models, that they could be thoroughly enjoyed as complete art-products in their own way, even by a champion of the classical tradition. The figure of Rubinstein loomed large on the world in his lifetime, and it is of some interest to see what he and Brahms thought of each other. Kalbeck ^ gives an extract from a letter of Rubinstein's to Liszt, in which the virtuoso's first impressions are amusingly summed up:— " Pour ce qui est de Brahms, je ne saurais pas trop prdciser I'impression qu'il m'a faite ; pour le salon, il n'est pas assez gracieux, pour la salle de concert, il n'est pas assez fougueux, pour les champs, il n'est pas assez primitif, pour la ville, pas assez g^ndral — ^j'ai peu de foi en ces natures-1^." Another less agreeable reference to Brahms is reported at secondhand in Billow's letters, and we may hope that Rubinstein never made it: "Si j'avais voulu courtiser la presse, on n'entendrait pas parler ni de Wagner ni de Brahms." It is hardly necessary to point out that of all men who ever lived, Brahms was the least likely to courtiser la presse, while Rubinstein lost no opportunity of adding to the very temporary edifice of his renown as a composer. Unfortunately, we have no ■ i. 268. 44 BRAHMS record of what Brahms's opinion was of Rubinstein's music, beyond a passing reference to his ways of com- posing, and in particular, to a sight Brahms once had of a set of perfectly blank music-pages provided with a full title and opus-number, before a note of the songs had been written.^^ Rubinstein's appreciation of the music of Brahms seems to have been limited to a performance of a movement from the D major serenade at one of the concerts of the Music Society of St. Petersburg in 1864. At his later historical pianoforte recitals not a note of Brahms was played, although he conducted choral works of his on various occasions. Although there ,is no record of Brahms being present at the performance of Verdi's operas in his Italian journeys, his admiration for the Italian master's Requiem was hearty, immediate, and sincere. One of Hans von Billow's not infrequent alterations of opinion was in regard to this composition, against which he spoke at first with characteristic lack of moderation. Some time after Brahms had expressed his delight in it, Bulow changed his mind, as he did with fine generosity in respect to the music of Brahms himself German writers have spent much time in debating why Brahms wrote no opera, and one of them, Alfred Kiihn by name, went so far as to invent an interview with the composer on the subject. The upshot of the story, quoted from the Strassburger Post of 13 April, 1897, may be read in J. K. Widmann's Recollections,^ and it is clear that the master was in no way disinclined to write an opera if a good libretto was forthcoming. He discussed many subjects with Widmann, but, as all the world knows, the cantata Rinaldo remains the only example of how he might have treated opera had ' Kalbeck, ii. 179, note 2. = English trans., 107. BRAHMS AND HIS CONTEMPORARIES 45 he found a good book. Looking at his completed work as a whole, it is easy to see that his subtle way of dealing with deep emotions, which comes out in so many of the songs, must have been lost on the stage or abandoned for a more superficial style which would not have been truly con- genial or characteristic. It is curious to learn from the same source ' that Brahms considered the ideal conditions of opera to consist in a combination of spoken dialogue or recitativo secco, with set-pieces for the lyrical climaxes. It would have been difficult even for Brahms to obtain the approval of the world at large for a method of operatic writing which must be considered a little reactionary in the present day ; and while the method of continuous music had the weighty support of Wagner and all the typically modern composers of all nations, it would have been a miracle if an opera composed on the other system, even by a great master, had really succeeded. On the whole we need not regret that Brahms left the operatic stage to others. The kindly interest he took in the career of Hermann Goetz was no doubt largely due to com- passion for his state of health ; he greatly admired The Taming of the Shrew, but regretted the posthumous pro- duction of Francesca da Rimini, though he had aided with his counsel those who undertook to complete the work ; but the two men were so widely different in character and disposition that they never could have become intimate, even if Brahms had not unintentionally wounded Goetz's supersensitive nature by asking him, " Do you also amuse yourself with such things ? " when he saw some newly written sheets of music on his desk. Of course Goetz was wrong to be annoyed, and his solemn reply, " That is the holiest thing I possess ! " naturally piqued Brahms, who ' Recollections, English trans., lo8, 109, 112. 46 BRAHMS always resented any self-importance on the part of musicians, and to whom any hint of pomposity was all his life most obnoxious. The ofifhand manner of hiding deep feelings under a jest is a kind of shyness more common with Englishmen than with Germans, but we cannot quite excuse Brahms for the many occasions on which his manner gave offence to harmless people. The stories concerning this peculiarity of his are very numerous, and there are many more which can be ascribed to nothing but sheer love of mischief. Once, at Baden- Baden, while he was taking his ease under a tree in his garden, a stranger advanced towards him and delivered a little complimentary speech, evidently prepared before- hand, of course expressing boundless admiration for Brahms's music. The stock-in-trade of the interviewer was a little too plainly displayed, and Brahms yielded to his love of mischief, and stopped the speech with the words, "Stop, my dear sir, there must be some mistake here. I have no doubt you are looking for my brother, the composer ; I'm sorry to say he has just gone out for a walk, but if you make haste and run along that path, through the wood, and up another hill, you may possibly still catch him up." On another occasion a young girl- pianist was allowed to turn over the pages of a new com- position for the piano which Madame Schumann was to read through for the first time from Brahms's autograph. The composer took the girl aside and explained to her that at one point two leaves were to be turned over at once, the portion between them being omitted, and that at another the leaf was to be turned before the bottom of the page was reached ; various other directions were given, to which the young lady paid, as was natural, the most careful attention. Her obedience to the master's orders BRAHMS AND HIS CONTEMPORARIES 47 led to awful confusion, as the alteration did not really exist ; she was reduced to tears, Madame Schumann was of course very angry with her, and we can only hope that Brahms took the blame of the not very pretty joke upon himself. His boyishness of disposition is noticed by many of his contemporaries, and it was by no means always mischievous. Many were the graceful things he said in congenial company, even when the hated " lionizing " pro- cess seemed to be within sight. The landlord of a certain restaurant at Vienna was asked to produce his best wine for some friends whom Brahms took to dine there, and remarked, "Here is a wine that surpasses all others, as much as the music of Brahms does that of other com- posers." " Well, then," says Brahms, " take it away, and bring us a bottle of Bach ! " In travelling in Italy, or other Catholic countries, he showed a decree of tact that is rare among English- men, and almost unknown among Germans, by taking holy water on entering a church, and signing himself, in order not to scandalize any worshippers who might observe him. As a rule he was seen at his best in the company of Madame Schumann or of Joachim, both of whom stood in the closest relations to his artist soul. Nothing can be more charming than the letter in which he pressed Madame Schumann to visit him at Hamburg in 1861,' or more delicate than the way in which he tried to persuade her to accept a sum of money at a time when her funds were low and his above his needs. Still he was very apt to tease the poor lady, who never failed to be vexed at what was, only meant in fun. Many instances from her point of view, showing how she felt his beha- viour, occur in the third volume of her Life. In the ' Litzmann, Clara Schumann, iii. 109, no. 48 BRAHMS Herzogenberg Correspondence^ are some very amusing references to the needless terrors felt by Frau von Her- zogenberg at the prospect of the Feuerzauber being played at a concert where Madame Schumann was to appear ; Brahms's good sense carried off the affair quite successfully, and, as a matter of fact, Madame Schumann had the perseverance to go to two performances of Die Walkiire a few years afterwards. A difference of opinion arose between Madame Schumann and Brahms, partly from a misunderstanding in regard to the complete edition of Schumann's works undertaken by his widow, and from the letters in Litzmann's life it is clear that she suffered much from the temporary coolness, which before long yielded to the old familiarity and affection.^ No influence on Brahms was more salutary than that of the Schu- manns, although it may be that he would have become more genial in mixed company, less uncertain in manner, if he had been intimate with men and women who lived more in the world than the Schumanns did. They and their circle would have thought it deceitful to assume a graciousness of demeanour they did not feel, and there are many instances in the lives of both of them which show that the amenities of ordinary social intercourse were rather neglected by them and their friends. Joachim may have learnt some of his wonderful unself-consciousness and simple courtesy by his intercourse with the world outside music ; but beyond this there was in him an inherent instinct of thoughtfulness for the feelings of others, and a power of ordinary human sympathy which Brahms could, perhaps, hardly have acquired. The friend- ship between these two men is one of the most beautiful ■ i. 44-9 ; trans., 38, etc. " Litzmann, Clara Schumann, iii. 558 ff. DRAHMS AND JOACHIM BRAHMS AND HIS CONTEMPORARIES 49 things in musical history. It lasted, with one sad break,' down to the end of Brahms's life. For some years he and Joachim were in the habit of exchanging compositions and sketches for each other's criticism. The correspond- ence between the two shows that they stood on terms of absolute equality ; throughout it is clear that Brahms had an enormously high opinion of Joachim's compo- sitions,'' and we need hardly refer to the loyalty with which the illustrious violinist made himself the champion of the music of Brahms. If, during the years of this profitable mutual criticism, either of the friends omitted to provide a composition at any of their meetings, a fine of a thaler was imposed, which the other spent in books for himself The compositions exchanged were for the most part in contrapuntal style, and some of the canons, Op. 113, the chorale-prelude and fugue, and the Geist- liches Lied for choir and organ. Op. 30, remain as the only surviving examples of the industry of Brahms, who wrote a great pile of music which he destroyed in later years. Of Joachim's influence on the music of Brahms there are many traces, even before the date of the A minor string quartet, Op. 5 1 No, 2, which begins with an allusion to the cryptic letters " F. A. E.," often used by the friends in their voluntary studies. They were taken as a motto by Joachim, and are understood to stand for " Frei, aber einsam" (Free, but alone). Every note that Brahms wrote for the violin, whether in chamber or orchestral music, was such as it would have been congenial to Joachim to play ; and in the violin concerto. Op. JJ, and the concerto for violin and violoncello. Op. 102, the special polyphonic effects in which Joachim was unrivalled among the ' See Kalbeck's Life, ii. 428-9, etc. ' Joachim Correspondence, i. 85. so BRAHMS violinists of all time, are found in abundance. As regards the world in general, it was Joachim, more than any one else, who started Brahms on his career by means of the memorable introduction to Schumann. It has been hinted before that Schumann's warm heralding of the new great master was not an unmixed benefit to him, as it neces- sarily prejudiced the German public against a man whose music was not yet generally accessible, and started the polemics which made so much noise in German musical circles. The temporary fiasco of the pianoforte concerto in 1859 naturally prejudiced a large section of the public against Schumann's protdg^ and the appearance of Brahms's name as the first of only four signatures to the protest against the Neue Zeitschrift filr Musik, in i860, completed the split between the old school and the new. It is quite clear that Brahms appreciated Liszt's playing, and even his character, although he could not quite swallow the symphonic poems ; but of course with the Weimar school it must be all or nothing, and they ruled that no notice was henceforth to be taken of Brahms or his music. Even in the other camp it was long before his position was assessed at anything like its true greatness. Nothing in this need surprise us, although of course it is common for those who know the completed work of a man to reproach with blindness those to whom only his earliest efforts were accessible. A most interesting set of articles by Richard Pohl, in the Neue Zeitschrift fiir Musik lot 1855,' shows the hesitation felt by the writer, who was anxious to see from Schumann's point of view, yet who felt unable fully to endorse his opinion. A quotation from them is to be found in Miss ' Pohl was an ardent champion of Wagner's music, who wrote over the signature " Hoplit." BRAHMS AND HIS CONTEMPORARIES 51 May's Life.'^ An attitude common at that time is adopted by Billow in a letter to Liszt, in which he refers to "Joachim and the statue of which he makes himself the pedestal." It is not unusual to see, in such antagonistic opinions of products that are afterwards universally acclaimed, the influence of prejudice or jealousy; but Miss May and Herr Kalbeck are careful to point out how sincere, for the most part, the adverse critics were. It is obviously impossible for the most enlightened and broad- nainded critic to appreciate at once a new creation in art. His idioms must be accepted, his vocabulary must become more or less familiar, before we can possibly reach the clear thought that underlies them. In music, prob- ably more than in any other art, that which is imme- diately accepted is for that very reason open to suspicion, for some of its component parts are probably of no great freshness, and will in the course of time be condemned as commonplace by the very men who hailed them most eagerly on a first acquaintance. It is the divine pre- rogative in great art of all kinds that it is not imme- diately received by all ; but, while the great public is making i. furore about something that is essentially com- monplace, the more earnest and skilful critics are faced with the difficulty of discriminating between the rival merits of two things which at first may seem equally obscure. For there is naturally an obscurity which pro- ceeds from lack of skill or inspiration, just as certainly as there is an obscurity caused by thought so weighty and original that it cannot be expressed in language of infan- tile simplicity. All that can be hoped for on behalf of a great new work of art is an attitude like that of the famous critic of Beethoven's C minor symphony : " I felt ' i. 189. 52 I BRAHMS there was a door that was closed to me, but that behind the door mighty things were happening." How gradually and surely the tide of public opinion went on flowing in Germany may be guessed from the various small attempts made by amateurs and professional musicians alike to set up some other composer as on a level with Brahms. To us, in the present day, it is hardly conceivable that a man like Raff can ever have been seriously considered as comparable to him in any way ; yet at one time that prolific writer was spoken of as Brahms's rival, and at another Rubinstein's compositions were considered by a section of the public as having equal merits with his. There were persons in London, during the few years when Goetz's music was most in vogue in England, who were accustomed to point to the two com- posers' settings of Schiller's Ndnie, and to express the opinion that Goetz's setting was so much the better of the two, that if he had only reached the natural term of human life he would have surpassed Brahms. For some time such important centres as Leipzig and Vienna made it a point of honour to contradict each other's verdicts on the new compositions as they appeared, one receiving with special favour what the other had most distinctly condemned. As we saw in the summary of the master's biography, the period of the Requiem was the time when his greatness was first generally realized, and after that the game of pitting this or that writer against him seems to have lost some of its charm. There was a moment, indeed, when Max Bruch was considered a formidable rival, but by the time that Bulow uttered his famous toast to " the three B's of music," things had so far attained their true perspective that Bruch was prob- ably the onLy person offended at the omission of his own BRAHMS AND HIS CONTEMPORARIES 53 name. Bruckner, the projector of colossal symphonies, was another who was more recently set up in competition with Brahms ; but the occasional performances of his works in London are quite enough to check any desire to exalt him to an equal place in the musical hierarchy. To Billow belongs the credit of first performing a piece by Brahms in public ; he played the first allegro of the C major sonata in Hamburg on i March, 1854. The distinction of giving the first public performance of one of his concerted works belongs to America, for William Mason introduced the trio in B, Op. 8, in New York on 27 November, 1855, nearly a month before its first per- formance in Germany, at Breslau. It was not till twelve years later that the propaganda of his music began in England with a performance of the first (B flat) sextet on 25 February, 1867,' at a Popular Concert, Mr. Chappell, the director of the institution, taking good care to protect himself from the stigma of bringing forward anything so revolutionary, by mentioning in a note in the programme that it was produced by request of Joachim. " No im- mediate result was perceptible from the performance," says Miss May, but there must have been many even then present who at least resolved to miss no future oppor- tunity of hearing music from the same quarter, and we cannot doubt that the four following years saw a good deal of private interest in the composer, which was of course stimulated by Joachim, Madame Schumann, and Julius Stockhausen. The last-named artist conducted the memorable first English performance of the Requiem on 7 July, 1 87 1, at the house of Sir Henry Thompson, when Lady Thompson and Cipriani Potter played the accom- ' It was repeated twice in 1873 with great success. See Joachim- Correspondence, ii. 76. S4 BRAHMS paniments in a four-hand arrangement, and the solos were sung by Fraulein Anna Regan and Stockhausen. By that time a couple of duets from Op. 28 had been sung (also in private) by Madame Viardot-Garcia and Stockhausen, and the quartet in A for piano and strings had been produced at one of Ella's Musical Union Concerts at St. James's Hall. The students of the Royal Academy of Music, fired, no doubt, by the veteran Cipriani Potter, seem to have given a performance of the Requiem under Hullah, before its production by the Philharmonic Society on 2 April, 1873, under Cusins.' On this occasion Miss Sophie Ferrari and Santley were the soloists, and the former gave the soprano solo with her characteristic purity of style at the performance of the work by the Cambridge University Musical Society, under Sir C. Villiers Stanford, in 1876. An interesting list is given in Miss May's book^ of first performances of various works by Brahms in England. In 1872 the D minor concerto was played at the Crystal Palace (solo, Miss Baglehole), and the G major sextet at St. George's Hall ; in 1873 the Popular Concerts admitted two of the early Ballades, Op. 10, played by Madame Schumann, and Miss May introduced the " Handel " variations at the Crystal Palace. The latter pianist also brought forward the " Hungarian " variations from Op. 21 at the same place in 1874, and, if I am not mistaken, she has forgotten to mention her own playing of the " Paganini " variations for the first time in England, in their entirety, at a later date. The G minor quartet was played (possibly not for the first time in England) at the Popular Concerts (Madame Neruda playing the first violin) in 1874, and the quintet in F minor was played at the same concerts (with Joachim as " See Miss May's Life, ii. 87, note. " ii. 102, 103. BRAHMS AND HIS CONTEMPORARIES 55 first violin) on 27 February, 1875. The year 1874 brought a performance of the Serenade in A for small orchestra at the Philharmonic Society under Cusins, and the two sets of Liebeslieder Walzer were heard for the first time in England in 1877, the earlier set, Op. 52, at the "Pops" in January, and the latter. Op. 65, at Cambridge in May. These last surprised the amateurs considerably, particu- larly those who had been under the impression that Brahms's music was always severe, " intellectual," and obscure. Both sets obtained immediate popularity, of which indeed they are always sure whenever six compe- tent artists can be found who can preserve the proper balance between the predominant piano part and the subordinate vocal parts. From the seventies until the present day the popularity of the music of Brahms has continually increased in England, and in one department of executive music after another it has won its way. There are some who, from their memorable first ex- perience of Brahms's music, have accepted its message, reverenced its creator, and awaited each new composition with the eager certainty that, even if it contained nothing appreciable by them at the first moment, there must be beauty and meaning which would become ultimately clear and well-beloved. These look back with amusement to the days when they were considered eccentric by their musical friends ; and in all kinds of music it is remarkable to w.tch the difference in the public attitude towards Brahms. At a party given at Bremen in honour of the first performance of the Requiem in 1868, John Farmer, one of the earliest of the English Brahms enthusiasts, gave it as his opinion that if the performance had taken place in London people would have asked, " Is the fellow crazy ? " ^ ' Miss May, ii. 75. 56 BRAHMS In the present day the vast spaces of St. Paul's Cathedral are crowded for the annual performance of the same work, which has even penetrated into the ken of the Royal Choral Society. The chamber music, as it was introduced at the Popular Concerts, was analysed in the programme- books in a way that was likely to check any enthusiasm the works might have excited ; in the present day not only is it a prominent part of the repertory of chamber concerts and a constant delight to amateur performers, but even among the poorest of the working classes of London it has made itself friends, entirely without extraneous influence, explanatory commentaries, or anything of that kind. At one of the concerts given in the Northern Poly- technic, Holloway, by the People's Concert Society, after a quartet of Beethoven had been played, a working man was heard to remark, as he left the hall, " Ah, that's all very well, but give me my Brahms ! " We may smile at his preference, but there is no doubting its genuineness. A sidelight is thrown on the present estimate of Brahms, as compared with the place he occupied twenty years ago, by a circumstance which any one will endorse who has written on music for the Press during that time. In the eighties and nineties it was an exceptional thing to find his name correctly spelt in proofs ; it usually came out as"Braham," the tradition of that famous singer having lasted on through the years in the printers' world. Nowadays those who may wish to refer to the singer are generally obliged to restore the proper spelling of his name, the printers being apt to give it as " Brahms." A few years ago, soon after the composer's death, a rumour was spread (in consequence of this similarity of names) that he had actually visited England, a circumstance that had escaped all his biographers up to that time. When it was investigated an old man was BRAHMS AND HIS CONTEMPORARIES S7 discovered who declared that he well remembered seeing Brahms, and hearing him sing " The Death of Nelson " ! There are many of us who remember the usual verdict of the pianists of the late nineteenth century »n the earlier piano solos of Brahms : " They may be very fine, but they are not piano music." Nowadays scarcely a recital pro- gramme is to be found which does not contain one of them, and the player's choice is by no means confined to the latest compositions for the instrument, in which we may admit that the peculiarities of timbre are more fully understood than in the earlier. Formerly even at a time when the Liebeslieder were received with delight, there were very few among the professional singers of London who ever ventured to perform one of the songs, unless it were the Wiegenlied, Sonntag, or Die Mainacht ; nowadays we are no longer assured that Brahms wrote ineffectively for the voice, but he has been on all hands tacitly included among the great song-writers of the world, the peer of Schubert and Schumann. Last of all, his orchestral works, with or without solo instruments, have come into a larger share of popular favour. For many years Joachim was left in undisputed possession of the violin concerto, as the very few players who were musicians enough to appreciate it were naturally so much alarmed at the diffi- culties of the last movement that they found it convenient to join in the cry that the solo instrument was made too subordinate to the orchestra. It is a circumstance not altogether without its humorous side that every violinist of position in the present day, whatever his school, thinks it necessary to have this concerto in his repertory, and even quite immature performers, whose technique far exceeds their musicianship, venture to interpret it as well as they can in public. 58 BRAHMS At the earlier Richter concerts all the four symphonies were brought out and admirably given, and the interesting set of concerts at which Herr Steinbach conducted the Meiningen Orchestra drew much of their attraction from the performance of the series in chronological order. It was very long before the Queen's Hall authorities had enough faith in them to put them definitely into the repertory ; but at last they got so far as to be included in the prospectus of the Promenade Concerts for 1908 (though they did not all reach the honour of actual performance) ; and lovers of the master may be quite certain that oppor- tunities will abundantly increase for improving their acquaintance with his most individual works. For it must be remembered that in all great music, as in other products of art, there is an enormous driving power inherent in the product itself, which in the long run far exceeds that of the different opposing forces arrayed against it. Its admirers may be comparatively few in any given generation — they must be few at first — but whether they promulgate their opinions actively or not, their influence must be far greater, because exerted in one direction, than that of the antagonists whose objections to the work of art are in all probability based on various, it may be contradictory, prejudices. With all their ap- paratus for driving some worthless song into the ears of the public, by constant repetition at concerts organized for the purpose, the English publishers have not obtained more than a very short life for the most popular of the effusions they issue ; but the influence of a noble song, like some masterpiece of Schubert, will go on spreading far and wide while the world lasts. Naturally the average publisher, treating the thing as a purely commercial specu- lation, knows his own business and makes his money over BRAHMS AND HIS CONTEMPORARIES 59 a popular success ; but it is at least possible that, even in England alone, as many copies have been sold of the Erlkdnig as oi Nancy Lee (even though poor Schubert was glad enough to part with some of his finest songs for lod. each), and from the large point of view the former is a more important achievement than the latter. It might be held that any very violent fit of exaggerated enthusiasm such as those from which the British public so often suffers, is of itself a mark of artistic shortcomings in the thing thus feverishly admired ; attacks of this kind are inevitably followed by periods of reaction during which the real merits of the work of art are as much underesti- mated as they were before exaggerated. It is unnecessary to point to anything later than the music of Mendelssohn for an instance ; there are already signs that after a long period of inflated popularity, and a shorter period of possibly unjust neglect by the leaders of musical fashion, it is slowly coming into a phase of recognition that may bear some relation to its real and ultimate value. It is perhaps not without significance that such a period of sudden, unreasoning popularity has never, even in England, been passed through by the music of Brahms. At no point since it began to be known has it been possible to say with truth, " The work of Brahms was formerly more popular than it is now." Year by year the growth in public estimation, if gradual, has been regular and wide- spread. Those who began with liking a few of what they called his " more comprehensible " works will be familiar with the experience of finding that the obscurities of the others have disappeared, as it were, of themselves, while new worlds of beauty lie open to their investigation. Apart from Wagner in modern times — and his is hardly a parallel 6o BRAHMS case, since there is so much that lies apart from music in the art which he himself perfected — it is difficult to find any composer but Brahms in the history of music of whom it could be said that at no time has his work been so highly appreciated as at present, until we come to the very greatest of all. For assuredly it is true of Bach and Beethoven, as it is of Brahms, that a love of their music has spread steadily through the civilized world from the moment when it first became accessible as a whole. None of the three, of course, lacked adverse criticism, and we know that each of them was galled by carping contem- poraries. It is interesting and instructive to compare the famous obituary notice of Beethoven which adorns the ninth volume of the Musical Quarterly Review with various articles that appeared after the death of Brahms. A startling parallel is afforded in the non-committal tone of both, which the later writers would perhaps have hardly cared to suggest if they had realized how their words were contributing incidentally to place Brahms in the highest circle of the musical hierarchy. It is fitting that some mention should be made of the various distinguished musicians who rank as the pioneers of the music of Brahms, those who bore the brunt of the attacks which were of course made upon it, and who so richly merit all the honour which Brahms's later admirers can give them. First and most important of all is Joseph Joachim, who gave Brahms the first helping hand in the introduction to Schumann, and who took the deepest interest in every one of his works as they came, identifying himself with Brahms's success in every possible way. The story of the intercourse of these two great men has already been told briefly, and the recently published correspond- BRAHMS AND HIS CONTEMPORARIES 6i ence between them throws new light on both men and their artistic relations. How through evil and good report Joachim championed the cause of his friend's music will be seen again when we come to consider the various works. Never had man a truer friend, and the oration spoken by Joachim at the unveiling of the Meiningen monument in 1899, from which quotation has already been made,^ is among the noblest tributes ever paid by one man to another. Madame Schumann's name must rank with Joachim's among the earliest pioneers of the music of Brahms ; her playing of the first piano concerto, and many of his masterpieces of chamber music, can never be forgotten by those who heard it; and though in England she naturally came before the public less often in his music than in that of her husband, it is worthy of record that at a London recital she won an encore for a "Sarabande" and " Gavotte " (whatever these may have been). Among other distinguished pianists who identified themselves with the master's music in the earlier days were Ignaz Briill, whose performance of the F sharp minor sonata was famous ; Fraulein Marie Baumeyer, the first lady to essay the B flat concerto in public ; Charles Halle, who played the same work for the first time in England, at Man- chester ; Miss Florence May, who introduced many of the most difficult pianoforte works at various concerts in London. Later on, Fraulein Ilona Eibenschiitz, whose playing of the C major intermezzo from Op. 119 was really memorable ; Mr. Berwick, identified with many of the later works, from the B flat concerto onwards ; Miss Fanny Davies, whose enterprise gave us in England the first opportunity of becoming acquainted with the sonatas for clarinet and piano. Later artists have so ' See also Hersogenberg Correspondence, i. l6l ; trans., 140. 62 BRAHMS fully entered into the labours of these older interpreters that they can hardly rank as pioneers in any sense. Returning to the earliest of those who encouraged the composer by giving special performances, we must men- tion the American, William Mason (see p. 53). Of the conductors who were associated with early performances the first to be mentioned is Julius Otto Grimm, who conducted many orchestral works at Got- tingen ; next come Reinthaler, who organized the first performance of the Requiem (six numbers only) in Bremen Cathedral in 1868; Reinecke, who directed the complete work in Leipzig in 1 869 ; Richter, who gave many orchestral works in England for the first time. In later days, Von Biilow, whose conversion to the cause of Brahms has been already related ; Fritz Steinbach, who, as director of the Meiningen Orchestra, was brought into close relations with the composer and received from him many authoritative readings. At Meiningen, too, began that friendship with Richard Muhlfeld, the eminent clarinettist, which had such weighty results during the composer's latest years of activity. Professor Hausmann, the famous violoncellist, for whom the double concerto was written, and the Rose Quartet of Vienna, who gave the first performances of several pieces of the late chamber music, deserve special honour. Of the singers who interpreted Brahms most success- fully in the early days, Stockhausen was perhaps the most eminent, and his name was for long identified with the Magelone-Lieder and many other things ; Madame Pauline Viardot-Garcia, who sang the alto part in the Rhapsodic for the first time ; Frau Amalie Joachim, for whom were written the two songs with viola obbligato ; Mademoiselle Antonie KuflTerath (now Mrs. Edward Speyer), who san BRAHMS AND HIS CONTEMPORARIES 63 the seven songs, Op. 95, for the first time at Cologne in 1885 ; Fraulein Hermine Spies, whose singing of Vergeb- liches Stdndchen will not soon be forgotten ; Gustav Walter, the soloist in the first performance of Rinaldo ; and particularly, as far as England is concerned, the party who first sang the Liebeslieder in London — Fraulein Thekla Friedlander and Fraulein Sophie Lowe (now Mrs. von Glehn), Fraulein Redeker (now Lady Semon), Mr. Shake- speare, and Mr. Henschel, who also sang some of the later songs for the first time. CHAPTER III CHARACTERISTICS OF THE ART OF BRAHMS NO attempt to submit to a really close analysis the characteristics of a great creative artist can wholly succeed, because, even if it were possible to enumerate and catalogue the principal component parts of his work, the proportion in which they are present must for ever elude us. It would be of little service to say of a medical prescription or a culinary recipe that it contained such and such ingredients, without referring to the relative amount of each ; this is all we can do in respect of works of art, and yet it must be attempted in any study of an artist's work. In the art of the composer, it will possibly be universally admitted that the most essential thing is the quality of his root-ideas, that part of his work to which the term " inspiration " is applied by fanciful, " invention " by more practical persons. It may happen, indeed, that a composer whose ideas are of the poorest and most thread- bare, may so disguise their poverty by the skill with which he places them before his hearers as to delude the world into accepting him for a time as a composer properly so called. On the other hand, a noble or distinguished musical idea may present itself to an unlearned musician, who may scarcely know how to convey it to others. Many of the most beautiful folk-songs of all nations may, nay, 64 ,|.'-v-^.|^| BRAHMS CONDUCTING FROM A DRAWMNG I(Y I'KOl", W. Vl.),\ liliCKEkATH CHAEAOTERISTICS OF BRAHMS'S ART 6? must, have been derived from sources such as this, and their unknown authors deserve the name of composers far better than the other type just spoken of. But in spite of the general custom of denying to the unlettered in- ventor of a melody the title of musical composer so willingly granted to the clever craftsman who disguises, with gaudy orchestral colouring or remarkable contra- puntal skill, the poverty of his melodic ideas, we shall probably be justified in regarding the actual invention of melody as the first and most important of the composer's functions, and as the greatest test of his power. Next to this will come the treatment of his ideas in regard to the order of their presentation, the form and design of the music built upon them, and the process of development to which the ideas themselves are subjected. Just as in the pictorial art some kind of design, some rudimentary plan, must precede the application of colour, so the com- poser's treatment of form must be considered before his skill in "colouring," using that term as including the art of setting the music in the most favourable and appro- priate light as regards the tone-quality of the instruments employed for its interpretation. In these days it is dangerous to imply any preference for form over colour in music, and it must not be supposed that the order in which the two are treated in the following pages is anything but an order of convenience ; it is not suggested that the one is superior to the other. (i) In the case of a very great man, it is far harder to point out the salient qualities of his work than it is with the less important men ; the reason is not far to seek, nor is it very satisfactory when found, the fact being that the compositions of the latter so closely resemble others already in existence as to be capable of awakening grateful 66 BRAHMS associations in the minds of those who hear them for the first time. But the work that is not truly original must soon lose whatever distinction or freshness of appeal it ever possessed. It might safely be maintained that all the great classical masters founded their art upon the bed- rock of folk-music, that mysterious thing which seems to spring from no individual creator, but from the hearts of the people at large. Bach, Haydn, Mozart, and Beethoven, to name no others of the great Germans, undoubtedly had the strongest admiration for the folk-music of their nation, and their most individual themes show the strongest affinity with genuine folk-song. Very frequently they used traditional themes as the basis of their works, or definitely arranged them, without reaching the level of an act of creation. No more striking instance exists of this affinity than Brahms, who arranged folk-songs for a male choir as early as 1847, whose first composition contains a folk-song as its slow movement, whose first successes out- side his native land were won by his arrangements of Hungarian dances, whose most appropriate offering to the children of his great predecessor was a set of arrange- ments of German folk-songs, and whose last published composition was a set of organ -preludes on the chorales that are the rich heritage of the Teutonic race. Apart from these, and from his great collection of actual folk- songs, published in 1894, there are abundant passages in his works of all kinds which prove how dear was traditional music to his heart. In the very earliest of his compositions, the simplicity of melodic structure that is characteristic of folk-music may not be often apparent ; but as early as the B flat sextet, Op. 18, the themes strike every intelligent hearer as having the strongest affinity with the music that CHARACTERISTICS OF BRAHMS'S ART 67 grows as it were spontaneously in a nation. They suggest, the first time they are heard, the idea that such beautiful and obvious sequences of notes must have been existing in the world long before they were written down ; there is about them, in fact, a kind of divine familiarity such as most people can remember feeling in regard to passages of Shakespeare, when they had the impression, " But that is what I was on the point of thinking for myself ! " All words that can be applied to this familiarity, whatever be the art referred to, must suggest some lack of originality ; there is in reality no such lack, for in poetry the eternal truth of the idea, in the plastic art the beauty of the form and in music the essential fitness of the musical phrase, come so immediately into their own when they are read, seen, or heard, that the feeling of novelty is never realized at all. Of the great classical composers, none have surpassed Mozart, Beethoven, Schubert, and Brahms in the power of creating things that seem to have been sounding all through the ages. As Hans Sachs says — " Es klang so alt, und war doch so neu, Wie Vogelsang im sUssen Mai ! " But Wagner, for all his genius, seldom managed to call forth this sudden acceptance of a new idea, and, in each of the later works especially, Brahms nearly always succeeded in doing it at least once. From the point of view of technique this familiarity was due in great measure to his fondness for themes com- posed of the successive notes of a chord, those which proceed by what is called "disjunct" rather than "con- junct '' motion. Though it first appears in the second of the four pianoforte ballades, it does not make itself con- spicuous as a characteristic until about the date of the 68 BRAHMS second symphony, whose first subject is a striking example. Another is the slow movement of the violin concerto ; the songs Feldeinsamkeit, from Op. 86, Sapphische Ode, from Op. 94, and many others, contain instances that show how keenly he felt the emotional appeal that is inherent in this way of constructing themes. It seems to give a touch of intimacy, of quiet peace, almost of homeliness ; were it unrelieved by themes of contrasting energy and austerity, it might easily become cloying, and it is only Brahms's masterly handling that prevents this ever being the case. The severer themes are not forced upon the attention as points of relief, and in some of the most characteristic compositions they occupy the field almost exclusively ; for example, the first and last movements of the first piano concerto gave offence to the Leipzig public, no doubt because of the austerity of their themes, and even in the slow movement, exquisite as it is, there may well have seemed to the hearers in the early sixties an absence of obvious melodic beauty. An extreme instance of this austerity is the second subject of the first movement in the string quintet in G, Op. iii, but there it is to be noticed that the first subject of the same movement has a bold swing, a spirit and energy, that would have carried off a really ungainly second theme, and here there is no ungain- liness, for even its asperity is so finely treated that those who know the quintet welcome it even at its first presenta- tion, knowing what is going to be done with it. Even this asperity is rare in the later works, which for the most part are built on themes of the utmost beauty and tender- ness. Perhaps the most striking examples of this are to be found in the four chamber works in which the clarinet is employed, Opp. 114, 115, and 120. The composer's admiration for the clarinet playing of Professor Muhlfeld CHARACTERISTICS OF BRAHMS'S ART 69 is known to have incited him to the composition of these beautiful things ; and it is not a little remarkable that they contain the only two passages in which a purist might detect something less than the ideal refinement that dis- tinguishes all the other melodies of Brahms. The opening of the sonata in E flat, Op. 120, No. 2, has something of what Italian critics of painting call morbidezza, that is, a beauty of such ripeness that the slightest touch must make it over-ripe. In the trio, Op. 1 14, the andantino begins with a theme that comes very near to the borders of the commonplace, for Balfe himself might (in his more inspired hours), have written something very like this : — p^ ^ %^ :s But whether austere or tender, all the themes of Brahms have the finest melodic curves that were ever devised in music. No man has ever attained such uniform distinction of utterance, and the presence of the two exceptions just quoted only throws into higher relief the extraordinary nobility of everything else. There is on record an intensely interesting conversation of the com- poser with Mr. George Henschel, in which the master analysed his own processes with rare minuteness, and in a way which must be instructive to all other composers, young or old. "What is properly called invention, or a real musical idea, is, so to say, a gift, an inspiration which I cannot further or encourage in any way (dafur kann ich nichts). At the time I must disregard this 'gift' as 70 BRAHMS completely as possible, but ultimately I have to make it my own inalienable property by incessant labour. And that will not be quickly accomplished. The idea is like the seed-corn ; it grows imperceptibly in secret. When I have invented or discovered the beginning of a song such as ' Wann der silberne Mond ' " — here he sang the first half- verse of Mainacht — " I shut up the book and go for a walk or take up something else ; I think no more of it for perhaps half a year. Nothing is lost, though. When I come back to it again, it has unconsciously taken a new shape, and is ready for me to begin working at it." ' (2) When we turn from the actual structure and essential features of the themes of Brahms to the manner in which he treats them, we feel ourselves in the presence of a master of the art that is called thematic develop- ment. Never, since music was a conscious art, have the ideals of its structure been so continually fulfilled as they were by Brahms. His power of handling his materials so as to bring out every beautiful aspect of every theme, is surpassed by none of the older masters, not even by Beethoven. That power is none the less conspicuous because, for the most part, the usual types of musical form, those which are called classical, have been employed. Brahms, being in no straits for new ideas, had not the need which Liszt and other " advanced " composers had, of altering the classical forms or experimenting in new ones, for as long as he lived the old forms, so far from hampering his genius or confining his inspiration, seemed to suggest fresh outlets for development, and while there is no slavish adherence to the moulds in which Haydn and Mozart cast their thoughts, there is no opposition to the ■ Kalbeck, ii. 178-9. CHARACTERISTICS OF BRAHMS'S ART 71 classic model. Any alteration is in the direction of ampli- fication, the groundwork of the structure being virtually in conformity with the rules laid down long before. This is especially true of the " first-movement " form, which, in all the many examples in the work of Brahms, is identical with that used by the classical masters, though in many instances some increased interest is imparted to the regular design by the presence of a motto-theme (neither first nor second subject, but dominating both), or by incorporating part of the development with the recapitu- lation. A third point of great importance with Brahms is the coda, and no more striking instance of his most successful innovation in form can be pointed out than the third symphony, where the motto pervades the whole work, and the coda of the last movement introduces new matter, fusing it with the old in a manner it is impossible to forget. Sometimes, too, an extra movement is added, as the section called " Ruckblick " in the piano sonata in F minor, Op. 5, or the marvellously poetic introduction to the last movement of the first symphony. In the close of the third symphony, already referred to, a touch of exquisite suggestiveness occurs quite at the end, where the first subject of the symphony (not the motto) is heard from the violins as the top note of a tremolando passage, dying down to a lovely close. The salient features of the work are discussed elsewhere (see p. 148 ff.). The coda just mentioned belongs to a class of final passages in which Brahms's genius seems to take special delight, and it has been said by an enthusiast for his work that if one might choose to have written anything by one of the great masters, one might ask to have imagined the last eight bars of each movement of the three sonatas for piano and violin, in all of which the closing strains are of rarest 72 BRAHMS beauty and ingenuity. Such points as these are among the most obvious things to a student of Brahms's work, but the more deeply it is studied, the more enthusiasm will be called forth by his skill in the development of his themes, sometimes from quite unpromising germs, but more often from some melodic strain already so beautiful in itself that we might expect it to be spoilt by any process of alteration. In this special art of development we may perhaps see the highest achievement of human intellect in music. It requires not merely a complete mastery of every harmonic and contrapuntal resource, and the insight to detect in the germ of a theme its latent possibilities, but a strongly poetic invention to control the different phases of the theme, and to present them in such a succession as will enhance their beauty or eloquence. This, too, is an art that is as applicable to vocal music as to instrumental, and to the slighter forms of the romantic school as to the more conventional designs of the classical. Nothing is more remarkable throughout the work of Brahms than this splendid art, and it is perhaps not without significance that the work in which it appears for the first time in full distinctness, the finale of the piano sonata in F minor. Op. 5, should come almost immediately after one in which the composer tried the principle of "transformation of themes " which Liszt supposed himself to have invented. In the sonata in F sharp minor. Op. 2, the theme of the andante is " transformed " into that of the scherzo — a most rare expedient with Brahms, and one of which the other most prominent instance is the second symphony, Op. 73, in the appearance of the allegretto grazioso first in triple time in a sedate measure and then in the presto non assai in duple time. It is fairly clear that Brahms's adoption of the one invention claimed by the new school was never CHARACTERISTICS OF BRAHMS'S ART 73 very whole-hearted, even though more instances of its employment by him might be pointed out. For a very brief period Brahms gave in his allegiance to the school of Liszt ; it is interesting to compare the episode in his social career with this momentary employ- ment of Liszt's favourite structural device, and it is not impossible that its presence in the sonata may have induced Liszt to believe that Brahms could be regarded as a promising disciple of the new school. As usual, Joachim's words sum up the convictions of Brahms in this respect most vividly : " For him who dominates all its resources, form is no binding fetter, but a spur, an incentive, to new, free designs that are pre-eminently his own." I The paradox that those who make the most diligent search for new forms in music, or for new struc- tural possibilities, are precisely those in whom the fountain of actual invention runs most slowly, and whose ideas are of the least value, is one that is being continually illus- trated in modern music ; and those who are richest in musical ideas are just those who find the old forms kmply sufficient for their purpose. On Brahms's treatment of rhythm a volume might be written ; almost every composition of his is remarkable for its rhythmic variety, or for its superb command of metrical resources. Mr. C. F. Abdy Williams has well said, in speaking of the pianoforte Rhapsodie^ Op. 119, No. 4, " This composition is only one amongst the many examples Brahms has given us of his mastery over rhythmical possibilities. He pushed forward the modern development of the art of music in many directions ; but ' " Foim ist ihm, der sie souveran beherrscht, keine Fessel, sondern Anregung zu immer neuen, ureigenen freien Gestaltungen " 0oachiin's oration at the dedication of the Meiningen monument, 7 October, 1899). 74 BEAHMS we believe that in no direction was his work more important than in the impetus he gave to the cultivation of a high, artistic, and intellectual sense of rhythm." ^ The same author analyses many of the salient compositions of Brahms from the point of view of their rhythmic structure, and the student may well be referred to his book, which is full of interest and value. (3) As Brahms attached so much importance to the art of design in music, it was almost inevitable that certain writers at different times should assert that he was deficient in a sense of musical " colour." The falsity of this is patent to any serious student of his work, but it is an error that has obtained a good many adherents among those who do not like his music and do not exactly know why. It is certainly true that, so far as his works give any evidence, the design of his music was of scarcely less importance than the invention of his themes, and that in his estimation the question of what instrument or tone- quality should be used in a particular passage was one of minor importance. In several cases he altered the whole scheme of colouring of a work without changing a line of its structure. The quintet, Op. 34, was originally designed for a quintet for strings, and was then turned into a sonata for two pianofortes, this latter version taking rank, not as an arrangement, but as a separate publication, numbered " Op. 34 bis." In the same way the variations on a theme by Haydn exist in two forms, " Op. s6a " being the orchestral version and " Op. s6b " that for two pianos. The vocal quartets. Op. 103, Zigeunerlieder, were arranged by the composer as solos with piano accompaniment, and we know enough of his independence of character to be sure that he would not do such a thing in deference to ■ The Rhythm of Modem Music, p. 209. CHARACTERISTICS OF BRAHMS'S ART 75 any publisher's whim. Against these alterations of colour- scheme, to which may be added his warm approval of Joachim's adaptation for violin and piano of his arrange- ment of Hungarian dances originally written for piano duet, there is only a single instance in which one of his designs was afterwards modified, viz., the trio in B, Op. 8, which, first published in 1859, was reissued in 1891 with very important alterations of structure. It may be admitted, then, that he was a far more assured master of design than he was of tone-colouring ; but that is not the same thing as saying that he was a bad tone-colourist, or that he had no ear for the subtle effects peculiar to the various instru- ments of the orchestra. Just as it is the present fashion to praise any painter who piles colour upon his canvas, and to belittle the work of the man who excels in draughts- manship, so the public is continually being told that the whole art of music lies in piling one sonorous orchestral effect upon another ; and, as it is far easier for the ear to be startled by some momentary impression of gorgeous sound, than to be trained to follow the rational develop- ment of a beautiful theme from some simple germ, the public is only too willing to follow its leaders, and to regard colour as the all-important consideration in the musical art. Where these leaders of thought got the notion that Brahms was contemptuous of musical colour, or indifferent to its charms, it is impossible to surmise ; certainly it was not from the study of his music as a whole. Although in works for piano solo (to which, like most young composers, the master was limited in his earliest efforts), colour is as little to be looked for as its counterpart is in a pencil-drawing, yet in a comparison of the early sonatas and the scherzo, 0pp. 1-5, with the latest piano works, 0pp. 1 16-19, it is clear that the tone- ;6 BRAHMS qualities peculiar to the piano were much more fully realized in later life than in youth. As early as Op. 8, the trio in B, we meet with one passage that foreshadows many of the more individual characteristics of the later compositions. In the finale, a haunting effect of fleeting, evanescent beauty is produced by the repeated staccato notes of the violoncello subject, supported only by the light arpeggios of the piano. This use of arpeggio passages, more especially of those for piano, is of curiously frequent occurrence in the master's work, and reaches its consummation in the third symphony, where the arpeggios are given to the violins (see p. 1 50 f ), and the plaintive, fleeting theme to the violoncellos. Although one hesitates to suggest anything that may create a mate- rialistic idea in connection with the work of Brahms, this characteristic idiom of his will always call up to some hearers a vision of a regretful spirit, half seen in the pale moonlight, as it flits past a scene of vanished happiness. A tearful smile, an April day, are suggested to other hearers ; the point is that the effect is produced entirely by the colour-scheme. The four Ballades, Op. 10, contain suggestions of sonority (as in the second), or the contrast of long-held notes with an evanescent accompaniment (as in the fourth), which show that the characteristic acoustics of the piano had been closely studied. In the Serenade, Op. II, in D, and in the noble Begrdbnissgesang, Op. 13, the wind instruments are essayed for the first time, and are mostly used as Bach would have used them, that is, to carry out the design in a series of monochromes, if we may apply that word to musical tones. In the second work, the whole accompaniment is given to wind instru- ments, and very striking is the impression it creates, even though in England we are not apt to associate, as a CHARACTERISTICS OF BRAHMS'S ART 77 German hearer would do, the sound of wind instruments with funereal ideas. In the trios for female chorus with horns and harp, another beautiful experiment in delicate colouring was tried. It is in the two quartets for piano and strings, 0pp. 25 and 26, that there is revealed for the first time that delicate and masterly handling of colour which is really peculiar to Brahms. The intermezzo of the G minor quartet, a plaintive and most spiritual move- ment, employs the mute for the violin, not for the other stringed instruments, and has the light treatment of the piano that has just been referred to. The andante, on the other hand, uses the stringed instruments in their most sonorous register, and the octave accompaniment of the piano is in exact balance with them. The poco adagio of the A major quartet begins with a curious device which seems to have been first used in the romance of Schumann's D minor symphony, where the solo violin and the violins of the orchestra play in what we may call approximate unison, the solo having passages of embroidery so slightly differing from the other that the casual hearer might easily infer carelessness on the part of the performers." The passage is less harsh than Schumann's, because on the one hand the muted violin is so very soft, and on the other the fading tone of the piano blends the whole into an effect of great beauty. In the Requiem and the Schicksalslied, the chief stress is naturally laid, not on the thematic development of the subjects, nor on the colour employed, but on the illustration of two spiritual moods strongly contrasted with each other, the brevity and uncertainty of human life being contemplated side by side with the eternal calm of the happy dead. In the two sets of Liebeslieder, the ■ See musical illustration on p. iii. 78 BRAHMS main point is the transference of the charm of the waltz to a new combination of voices and instruments. As the first piano concerto had as its main object the solution of the problem how best to combine the solo instrument with the orchestra, it is natural that we should seek in the first symphony the clear challenge of the master to the world at large as a designer and colourist at the same time. Here, no doubt, there is some ground for adverse criticism, in spite of the wonderful beauty of theme and design ; the violins are kept too constantly at work, and much of the orchestration is unduly thick, so that the many felicitous touches are less prominent to the ear in performance than to the eye in reading the score. But if it contained nothing else, it would deserve distinction even among the greatest of the compositions of Brahms, by the thrilling impression created in the introduction to the finale, at a place marked piic andante, where the horn announces a phrase against the tremolando of the muted strings. The second symphony, published only a year after the first, shows something of the same monotony and thickness of colour, but the slow movement is as rich and varied as any of the advanced school could desire. The concertos, Opp. TJ and 83, for violin and piano respectively, and the two overtures, Opp. 80 and 81, contain plenty of instances of colour dexterously used ; and who that ever heard it can forget the swing of the slow movement of the violin concerto, the wit in the orchestration of the students' songs in the Academic Overture, or the wonderful effect of the trombones in the Tragic ? By the date of the third symphony. Op. 90, the composer had completely realized his own ideal of scoring, and in colour the work is as fine and authoritative as it is in design. No thickness is here, but every touch tells, and makes not merely an effect, but the very effect CHAEACTERISTICS OF BEAHMS'S ART 79 that suits the instrument best, and best elucidates the composer's thought. The fourth symphony undoubtedly presents a stumbling-block to many of the less earnest students of the master's work, partly by the fact that its themes are presented in what we may imagine to be their primordial forms, in their very simplest and most rudi- mentary germs. The very square-cut rhythm of the third movement, and the adaptation of the passacaglia form to the finale, are also difficulties to the average hearer, who must hear the work very often to be able to follow the theme of the passacaglia through all its changes, and in England at the present day his chances of hearing this symphony are of the rarest. After the four symphonies, Brahms only wrote one more work in which the full orchestra is employed, the double concerto for violin and violoncello, Op. 102, in which he seems to have been mainly interested in the problem of welding together the solo instruments and the accompaniment in a new way, with entire avoidance of conventional effect. Of colour-effects, put in for their own sake, there are very few in the concerto, but the combination of the two solo instruments (often used in a manner that suggests a string quartet) is evidently the thing which is to hold the hearer's attention, rather than the richness or variety of the orchestral background. Henceforth, the master's attention seems to have been given to the colour-possibili- ties of various chamber combinations, among which the group of works for clarinet, and the pianoforte solos, Opp. 1 16-19, are perhaps the most prominent, though the six-part choruses. Op. 104, contain many real colour- effects, such as that of the exquisite Nachiwache II, with its horn-like calls, "Ruh'n sie?" — "Sie ruh'n." The melancholy regret which we have referred to as being 8o BRAHMS associated in Brahms's music with pianoforte arpeggios, finds its culmination in the song Aufdem Kirchhofe, from Op. 105. If they were nothing but studies in colouring, the pianoforte pieces of the later period would deserve immortality, so varied are the moods suggested in the mere disposition of the special keyboard effects, quite apart from the enthralling interest of the thematic inven- tion and development. It has seemed worth while to labour this point of the relation of Brahms's music to colour, since colour is more thought of than anything else by amateur and professional critics in the present day. When the art of design regains its old place in general estimation, it is certain that the position of Brahms among the supreme masters of music will be even more widely acknowledged than it is at present by the world at large. X CHAPTER IV THE PIANOFORTE WORKS LIKE all ardent young composers, Brahms must needs at first express himself with the means that were easily at his disposal, and, as usually happens, his first conceptions were allotted to the pianoforte, and after making a beginning with this instrument, songs followed next. There was an additional reason in his case for writing his earliest works for the piano, since it was the instrument he himself had studied, and on which he was a more or less finished performer before the eventful day on which he presented himself to Joachim.* Among the compositions with which he was pro- vided in 1853, were a violin sonata (the one that was afterwards lost), a trio-fantasia, and other things, but certainly the piano sonatas, 0pp. i and 2, the scherzo. Op. 4, and the first set of songs. Op. 3. Of this early batch of works, those which have been published are far more interesting to the student than are the usual run of youthful compositions, even when these proceed from one afterwards accepted as a great man. They show us with wonderful clearness at what point Brahms stood with regard alike to pianoforte technique and to formal methods ■ As late as 1887 he felt more at ease in writing for the piano than for any other instrument. See Joachim Correspondence, ii. 226. !. R fa o C/D J C/1 o < d, z H o o < u 2 s e o ' a fa C/1 H s Q fa H Z O fa < O J H o fa 5 C/3 z O (i s w »! J fa t3 K X H fa >■ r < •— 1 P5 fa o K H S & fj fa P D ifl '.x; u < Z o in cq g 3 fa 2; GO z o ^^ J z o S o u5 tD d S fa < 05 O O o Q Z H PS <1 t3 K the last column refer to the pages of this book on which the works are mentioned. Dates of publication are added in brackets. COMPOSITIONS OPUS PAGES 1. Sonata in C major foi pianoforte solo (1853) 8,66,75,81, 83, 85, 196 2. Sonata in F sharp minor for pianoforte solo (1853) ... 72, 75, 81, 83, 85. 86, 193, 196 3. Six Songs. Liebestreu, Liebe und Friihling (l and 2), Weit Uber das Feld, In der Fremde, and Lindes Rauschen (1854) 6,161,162,196 4. Scherzo in E flat minor for pianoforte solo (1854) ... 6,9,75,81, 86, 87 5. Sonata in F minor for pianoforte solo (1854) 71,72,75,81, 83, 87, 88, 125, 196 6. Six Songs. Spanisches Lied, Der Friihling, Nachwirkung, Juchhe ! Wie die Wolke, Nachtigallen schwingen (1853) 162, 163 7. Six Songs. Treue Liebe, Parole, Anklange, Volkslied, DieTrauernde, Heimkehr (1854) 161,163 8. Trio for piano and strings in B major (1854) 75, 76, 100, 107, 108, 196 9. Variations for pianoforte solo on a theme of Schumann (1854) 9,88,89 10. Four Balladen for pianoforte solo (1856) 9) S4i 67, 76, 89, 90, 193 11. Serenade in D major for orchestra {i860) 76,131,147, 196 12. Ave Maria for female choir and orchestra (1861) 16,17,196, 20 223 224 BRAHMS OPDS PAGES 13. Begrabnissgesangfor choir andwindinstruments(l86l) ... 76,196,197 14. Eight Songs (Lieder und Romanzen). Vor dem Fenster, Vom verwundeten Knaben, Murray's Ermordung, Ein Sonett, Trennung, Gang zur Liebsten, Standchen (" Gut' Nacht, gut' Nacht "), Sehnsucht (1861) ... 163, 164 15. Concerto for pianoforte and orchestra in D minor (1861)... 10, 11, 22, 23, 24, 27, 50, 54, 68, 78, 91, 132 16. Serenade for small orchestra in A major (1875) SSi 134, '35 17. Trios for female choir with accompaniment of two horns and harp. Es tdnt ein voller Harfenklang, Come away, Death (Komm' herbei. Tod), Der Gartner, Gesang aus Fingal (1862) 16, 77, 197, 198, 200 18. Sextet for strings in B flat (1862) 53,66,108 19. Five Songs. Der Kuss, Scheiden und Meiden, In der Feme, Der Schmied, An eine Aeolsharfe (1862) ... 164, 182 20. Three Duets for soprano and contralto. Weg der Liebe (l and 2), Die Meere (1861) 189 21. Variations for pianoforte solo. No. i on an original theme in D, No. 2 on an Hungarian theme in D (1861) ... 54, 91 22. Seven Marienlieder for mixed choir. Der englische Gruss, Maria's Kirchgang, Maria's Wallfahrt, Der Jager, Ruf zur Maria, Magdalena, Maria's Lob (1862) 91, 198, 199 23. Variations on a theme of Robert Schumann for pianoforte (four hands) (1866) 91, 92 24. Variations and fiigue on a theme of Handel for pianoforte solo (1862) 23, 91, 92 25. Quartet for piano and strings in G minor (1863) 23,54,77,92 no, III, 112 26. Quartet for piano and strings in A major (1863) 23,54,77,98, no, III 27. Psalm xiii (Herr, wie lange) for female choir with organ accompaniment (1864) 16, 199 28. Four Duets for alto and baritone. Die Nonne und der Ritter, Vor der Thiir, Es rauschet das Wasser, Der Jager und sein Liebchen (1864) 189 29. Two Motets for five-part choir unaccompanied. Es ist das Heil uns kommen her, Schaffe in mir, Herr Gott, ein rein Herz (1864) 199 30. Geistliches Lied for mixed choir with organ accom- paniment. Lass dich nur nichts (1864) 49, 200 31. Three Vocal Quartets. Wechsellied zum Tanze, Necker- eien, Der Gang zum Liebchen (1864) 190,191 LIST OF COMPOSITIONS 225 32. Nine Songs. Wie rafft ich mich auf in der Nacht, Nicht mehr zu dir zu gehen, Ich schleich' umher, Der Strom, der neben mir verrauschte, Wehe, so willst du mich wieder, Du sprichst, dass ich mich tauschte, Bitteres zu sagen denkst du, So steh'n wir, ich und meineWeide, Wie bist du, meine Konigin (1864) 164,165 33. Fifteen Sbi^s from Tieck's Magelone. Keinem hat es noch gereut, Traun ! Bogen und Pfeil, Sind es Schmerzen, Liebe kam aus fernen Landen, So willst du des Armen, Wie soil ich die Freude, War es dir, dem diese Lippen, Wir milssen uns trennen, Ruhe Sussliebchen, So tonet denn, Wie schnell verschwindet, Muss es eine Trennung geben, Sulima (Geliebter, wo zaudert), Wie froh und frisch, Treue Liebe dauert lange (Nos. 1-6 published 1865, Nos. 7-15 published 1868) 23,62,167- 170, 181 '34. Quintet in F minor for piano and strings (1865) 23,74,94, 112 ff., 170 34i8j. Sonata for two pianofortes, after the above Quintet (1872) ... 74,94,112 35. Variations (Studies) for piano on a theme of Paganini (1866) 36. Sextet for strings in G major (1866) 37. Geistliche Chore, three sacred choruses (Motets) for female voices. O bone Jesu, Adoramus, Regina coeli (1866) 38. Sonata in E minor for piano and violoncello (1866) 39. Waltzes for piano (four hands), also for solo (1867) 40. Trio in E flat for piano, violin, and horn (1868) ... 41. Five Songs for four-part male choir. Ich schwing' mein Horn, Freiwillige her ! Geleit, Marschiren, Gebt Acht ! (1867) 171, 201 42. Three Songs for six- part choir. Abendstandchen, Vineta, Darthula's Grabgesang (1868) 201,202 43. Four Songs. Von ewiger Liebe, Die Mainacht, Ich schell' mein Horn, Das Lied vomHerrn von Falkenstein (1868) 57, 70, 171 44. Twelve Part-songs (Lieder and Romanzen) for female choir. Minnelied, Der Brautigara, Barcarole, Fragen, Die MUllerin, Die Nonne, Lieder aus dem Jung- brunnen (4), Die Braut, Marznacht (1866) 200, 202 23, 54, 93. ,170 54, 114, 170 16, 200, 201, 202 "5 93 .94, 170, 190 "5, , 170 226 BRAHMS OPUS PAGES 45. German Requiem (Deutsches Requiem) for solo, choir, and orchestra (1868) 23,24,31,35, 5S< 62, 77, I2S> 133. 134. 170. 186, 187, 196, 197, 202-7, 211 46. Four Songs. Die Kranze, Magyarisch, Die Schale der Vergessenheit, An die Nachtigall (1868) 1 7 1, 172 47. Five Songs. Botschaft, Liebesgluth, Sonntag, O Uebliche Wangen, Die Liebende schreibt (1868) ... ... 57, 171, 172 48. Seven Songs. Der Gang zum Liebchen, Der Ueberlaufer, Liebesklage des Madchens, Gold Uberwiegt die Liebe, Trost in Thranen, Vergangen ist mir Gliick, Herbst- gefuhl (1868) t7i, 172, 190, 212 49. Five Songs. Am Sonntag Morgen, An ein Veilchen, Sehnsucht, Wiegenlied, Abenddammerung (1868) ... 57, 172 JO. Rinaldo. Cantata for tenor solo, male choir, and orchestra (1869) 24,44,63, 173, 207, 208 51. Two string quartets in C minor and A minor (1873) ••• 25, 49, 116, "7. 173 52. Liebeslieder. Waltzes for piano (four-hands) with vocal quartet, ad libitum (1869) SSi 57. 63, 77. 94, 118, 173, 190, 191, 209 53. Rhapsodic for alto solo, male choir, and orchestra (1870) 24, 31, 62, 173, 208, 209 54. Schicksalslied for choir and orchestra (1871) 24,31,77, 173, 186, 209, 210 55. Triumphlied, for eight-part choir, baritone solo, and orchestra (1872) 24,173,210, 211, 212 56. Variations on a theme of Haydn (a) for orchestra (1874), (*) for two pianofortes (1S73) 24,25,74, 13s. 136. 173 57. Eight Songs. Von waldbekranzter Hohe, Wenn du nur zuweilen lachelst, Es traumte mir, ich sei dir theuer, Ach, wende diesen Blick, In meiner Nachte Sehnen, Strahlt zuweilen auch ein mildes Licht, Die Schnur, die Perl' an Perle, Unbewegte laue Luft (1871) ... 173. 174 58. Eight Songs. Blinde Kuh, Wahrend des Regens, Die Sprode, O komme holde Sommernacht, Schwermuth, In der Gasse, Voriiber, Serenade (1871) 173, 174 59. Eight Songs. Damm'rung senkte sich von oben, Auf dem See, Regenlied, Nachklang, Agnes, Eine gate, LIST OF COMPOSITIONS 22; gute Nacht, Mein wundes Herz, Dein blaues Auge (1873) 121, 173, 174, 175. 176 60. Quartet in C minor for pianoforte and strings (1875) ... 25, 119 61. Four Duets for soprano and contralto. Die Schwestern, Klosterfraulein, Phanomen, Die Boten der Liebe (1874) 192 62. Seven Songs for unaccompanied chorus. Rosmarin, Von alien Liebeslieder, Waldesnacht, Dein Herzlein mild. Air meine Hergedanken, Es geht ein Wehen, Ver- gangen ist rair Gluck und Heil (1874) 171,212 63. Nine Songs. Frilhlingstrost, Erinnerung, An ein Bild, An die Tauben, Junge Lieder (i. Meine Liebe ist grun, ii. Wenn um den HoUunder), Heimweh (i. Wie traulich, ii. O wiisst' ich doch, iii. Ich sah als Knabe) (1874) 172 176. 177. 192 64. Three Vocal Quartets. An die Heimath, Der Abend, Fragen (1874) 192, 193 65. Neue Liebeslieder. Waltzes for four voices and piano- forte (four hands) (1875) SS) 19I1 192 66. Five Duets for soprano and contralto. Klange (i. Aus der Erde, ii. Wenn ein milder Leib), Am Strande, Jager- lied. Hut' du dich (1875) 193 ■67. StringQuartet in B flat (1876) 25,120 68. Symphony, No. I, in C minor (1877) 24,25,27,71, 78, 134, 137-140. 197 69. Nine Songs. Klage (i. Ach mir fehlt, ii. O Felsen) Abschied, Des Liebsten Schwur, Tambourliedchen, Vom Strande, Ueber die See, Salome, Madchenfluch (1877) "77 70. Four Songs. Im Garten am Seegestade, Lerchengesang, Serenate, Abendregen (1877) 175, 177, 178 71. Five Songs. Es liebt sich so lieblich. An den Mond, Geheimniss, Willst du, dass ich geh' ? Minnelied (1877) 177. 178, 192 72. Five Songs. Alte Liebe, Sommerfaden, O ktihler Wald, Verzagen, Untiberwindlich (1877) • ... 163,177,178 73. Symphony No. 2 in D major (1878) 26,68,72,78, 108, 140-2, 179 74. Two Motets for unaccompanied chorus. Warum ist das Licht, O Heiland, reiss' die Himmel auf (1879) ... 31, 179, 213, 214 228 BRAHMS OPUS PAGES 75. Four Duets (Balladen und Romanzen) for various combi- nations of voices. Edward, Outer Rath, So lass uns v?andern, Walpurgisnacht (1878) 90, 164, 179, 193, 194 76. Eight Pianoforte solos. (ClavierstUcke, Capricci, and Intermezzi) (1879) 26, 94-6, 179 ~77- Concerto for violin and orchestra in D major (1879) ... 26, 49, 57, 68, 78, 142, 179 78. Sonata in G for pianoforte and violin (1880) 26,71,121, 176, 179 79. Two Rhapsodies for pianoforte solo (1880) 26,94,96 80. Akademische Fest-Ouvertiire for orchestra (1881) ... 26,78,144, 145. 179 81. Tragische OuvertUre for orchestra (188 1) 26,78,145, 146, 179 82. Nanie, for choir and orchestra (i88l) ... 52,179,214, 215 78, 146-148, 179 83. Concerto in B flat, No. 2, for pianoforte and orchestra (1882) 27,61,78, 84. Five Songs (Romanzen und Lieder) for one or two voices. Sommerabend, Der Kranz, In den Beeren, Verge- bliches Standchen, Spannung (1882) 62, 63, 179, 180 85. Six Songs. Sommerabend, Mondenschein, Madchenlied (Ach ! und du mein ktihles Wasser !) Ade !, Friihlings- lied. In Waldeinsamkeit (1882) 180 86. Six Songs. Therese, Feldeinsamkeit, Nachtwandler, Ueber die Haide, Versunken, Todessehnen (1882) ... 180, 181 87. Trio in C major for piano and strings (1883) 122 88. Quintet for strings in F major (1883) 122 89. Gesang der Parzen (Song of the Fates) for six-part choir and orchestra (1883) 215,216 90. Symphony No. 3 in F major (1884) 71,76,78,98, 148-152 91. Two Songs for alto with viola obbligato. Gestillte Sehn- sucht, Geistliches Wiegenlied (1884) 62,181 92. Four Vocal Quartets. O schone Nacht, Spatherbst, Abendlied, Warum?(i884) 194. I9S 93a. Six Part-songs for unaccompanied chorus. Der bucklichte Fiedler, Das Madchen (" Stand das Madchen"), O siisser Mai !, Fahr' wohl !, Der Falke, Beherzigung {1884) 216 LIST OF COMPOSITIONS 229 OPUS PAGES 93^. Tafellied (Dank der Damen) for six-part choir with piano- forte accompaniment (1885) 216 94. Five Songs. Mit vierzig Jahren, Steig' auf, geliebte Schatten, Mein Herz ist schwer, Sapphische Ode, Kein Haus, keine Heimath (1884) 68, 181, 182 95. Seven Songs. Das Madchen (" Stand das Madchen "), Bei dir sind meine Gedanken, Beira Abschied, Der Jager, Vorschneller Schwur, Madchenlied ("Am jtingsten Tag"), Schon war, das ich dir weihte (1884) 62, 182, 216 96. Four Songs. Der Tod, das ist die kuhle Nacht, Wir wandelten, Es schauen die Blumen, Meerfahrt {1886) 182, 183 97. Six Songs. Nachtigall, Auf dem Schiffe, EntfUhrung, Dort in den Weiden, Komm' bald, Trennung (1886) 183 98. Symphony in E minor. No. 4(1886) 28,79,152-5, 183 .99. Sonata in F major for pianoforte and violoncello (1887) 123, 183 100. Sonata in A major for pianoforte and violin (1887) ... 71, 98, 123, 184 loi. Trio in C minor for pianoforte and strings (1887) ... 122,124 102. Concerto in A minor for violin and violoncello (1888) ... 49, 79> I5S> 156, 183 103. Zigeunerlieder, eleven gipsy songs for vocal quartet and piano (1888). (Eight of them arranged for solo voice, 1889) 74. 184, I9S 104. Five Part-songs for unaccompanied chorus. Nacht- wache (i and 2), Letztes Glilck, Verlorene Jugend, Im Herbst (1889) 79> 216, 217 105. Five Songs. Wie Melodien, Immer leiser, Klage, Auf dem Kirchhofe, Verrath (1889) 80, 95, 123, 183, 184 106. Five Songs. Standchen, Auf dem See, Es hing der Reif, Meine Lieder, Ein Wanderer (1889) 183, 185 107. Five Songs. An die Stolze, Salamander, Das Madchen spricht, Maienkatzchen, Madchenlied (1889) 183, 185 108. Sonata in D minor for pianoforte and violin (1889) ... 71,124,125 109. Fest- und Gedenksprtiche for eight-part choir unaccom- panied. Unsere Vater, Wenn ein starker Gewapp- neter, Wo ist ein so herrlich Volk (1890) 217, 2l8 no. Three Motets for four- and eight-part choir unaccom- panied. Ich aber bin elend, Ach, arme Welt, Wenn wir in hochsten Nothen sein (1890) 218 III. Quintet in G major for strings (1S91) 68, 122, 125, 126 230 BRAHMS OPUS PAGES H2. Six Vocal Quartets. Sehnsucht, Nachtens, Four Zige- unerlieder (1891) ,\ 195 113. Thirteen Canons for female voices (189 1 ) 49,218,219 1 14. Trio in A minor for pianoforte, clarinet, and violoncello (1892) 68, 69, 79, 127, 128 115. Quintet in B minor for clarinet and strings (1892) ... 68,79,128 116. Seven Fantasien for pianoforte solo (1892) 28,75,79,94- 100, lOI 117. Three Intermezzi for pianoforte solo (1892) 28,75,79,94- 100, 101 118. Six Clavierstticke for pianoforte solo (1893) 28,75,79,94- 100, lOI 119. Four ClavierstUcke for pianoforte solo (1893) 28,61,73,75, 79, 94-100, loi, 185 120. Two Sonatas in F minor and E flat major for clarinet and pianoforte (1S95) ?.. 61, 68, 69, 79, 129, 130 121. Four Serious Songs (Ernste Gesange) for baritone. Denn es gehet, Ich wandte mich, O Tod, Wenn ich mit Menschen (1896) 31.32) 186 ff., 213, 220 122. (Posthumously published, 1902). Eleven Chorale- Preludes for organ 28, 49, 66, 103, 104, 188, 213, 220 WORKS WITHOUT OPUS-NUMBERS Volkskinderlieder. Fourteen folk-songs arranged and dedi- cated to the children of Robert and Clara Schumann (1858) 66,161,219 Fourteen Deutsche Volkslieder for four-part choir (1864) ... 66, 200 Fugue in A flat minor for organ (1864) 102 Song, Mondnacht (1872) 161 Hungarian Dances for four hands (Books I and II, 1869 ; Books III and IV, 1880) 66, 75, loi Chorale-prelude and Fugue on "O Traurigkeit" for organ (1881) 49i 102 Fifty-one Uebungen (Studies) for piano (1893) 100,101 Deutsche Volkslieder. Books I to VI for solo voice ; Book VII for small choir (1894) 28, 85, 185, 186, 200 Scherzo in C minor for pianoforte and violin, from the sonata written with Schumann and Dietrich in 1853 (1906)... 8, 106, 107 LIST OF COMPOSITIONS 231 ARRANGEMENTS, Etc. PAGES Studien for the piano (1869). Etude of Chopin, Rondo of Weber, Presto of Bach in two forms, Chaconne of Bach loi Gavotte of Gluck, arranged for piano (1871) loi "Schumann's pianoforte quartet arranged for pianoforte four hands loi Two Sonatas of C. P. E. Bach for pianoforte and violin edited, with the figured bass filled up... 102 Orchestration of songs by Schubert 102 Editions of Handel's chamber duets, and complete works of Schumann, Chopin, and Couperin 102 EARLY WORKS (not now known to exist) Songs 4 Duet for pianoforte and violoncello 4 Trio for strings 4,6,81 Movements of sonatas for pianoforte 6 Sonata for pianoforte and violin 6,81,105 quartets for strings... ^ 6, ii6 Arrangements of folk-songs for male choir 66 Mass in canon, and other canons 196,214 LIST OF FIRST LINES AND TITLES OF VOCAL COMPOSITIONS LIST OF FIRST LINES AND TITLES OF VOCAL COMPOSITIONS la the following list the coavenient register at the end of the Thematisches Verzcichniss published by Simroclc has been used. Note that in a group of songs, the first line of each song is followed by the number of the pages on which the whole group, or any part of it, is referred to. Thus, under the separate titles of each of the Magelone-Lieder, the pages on which reference is made to the whole set of these songs are given. The titles of the songs are printed in Italic, the opening words in Roman type. " Volksl." without a date after it, refers to the seven boolis of Deutsche Volkstieder published in 1894. PAGES Abend, Der, Op. 64, No. 2 192, 193 Abenddammerung, Op. 49, No. 5 57, 172 Abtndlied, Op. 92, No. 3 ... 195 Abendregen, Op. 70, No. 4 175, 177, 178 Abendstdndchen, Op. 42, No. I 201, 202 Aber abseits, wer ist's ? Op. S3 24,31,62, 173, 186, 208, 209 Abschied, Op. 69, No. 3 177 Abschiedslied, Volksl. (1864) II, No. 2 66, 200 Ach, ach, ich armes Klosterfraulein, Op. 61, No. 2 192 Ach, anne Welt, Op. no. No. 2 218 Ach englische Sehaferin, Volksl. II, No. 8 28,85,185, i86, 200 Ach Gott, wie weh, Volksl. Ill, No. 17 28, 85, 185, 186, 200 Ach konnt' ich diesen Abend, Volksl. IV, No. 26 28, 85, 185, 186, 200 Ach kdnnt' ich, konnte vergessen. Op. 14, No. 4 163, 164 Ach lieber Herre, Jesu Christ, Volksl. (1864) I, No. 6 ... 66, 200 Ach, Madchen, Op. 75, No. 3 90> 164, 179, 193. 194 Ach mein Hennlein, Volkskinderlieder, No. 3 66,161,219 Ach mich halt. Op. 69, No. 3 I77 Ach mir fehlt, Op. 69, No. I 177 235 236 BRAHMS PAGES Ach Mutter, liebe Mutter, Op. 75, No. 2 90, 164, 179, I93> 194 Ach and du, mein kUhles Wasser, Op. 85, No. 3 180 Ach wende diesen Blick, Op. 57, No. 4 173, 174 Ach wer nimmt von meiner Seele, Op. 86, No. 6 180, 181 Ade .' Op. 8s, No. 4 180 Adoramus Te, Christe, Op. 37, No. 2 16,200,201, 202 Aetherische, feme Stimmen, Op. 70, No. 2 175, 177, 178 Agnes, Op. 59, No. S 121, 173, 174, 17s, 176 AUe Winde schlafen, Op. 20, No. 3 189 Alles, alles in den Wind, Op. 65, No. II 55, 63, 191, 192 All' mein' Gedenken, Volksl. V, No. 30 28, 85, 185, 186, 200 All' meine Herzgedanken, Op. 62, No. 5 171, 212 Alie£ieie,Op.72,'No.l... [ 163,177,178 Alt Mann woUt' reiten, Volkskinderlieder, No. 8i 66,161,219 Am Donaustrande, Op. 52, No. 9 55, 57, 63, 77, 94, "8, 173, 190, 191, 209 Am Gesteine, Op. 52, No. 2 SS. 57> 63, 77. 94. 118, 173, 190. 191.209 Amjiingsten Tag, Op. 95, No. 6 62, 182, 216 Am Sonntag Morgen, Op. 49, No. I 57,172 Am Sirande, Op. 66, No. 3 193 Am Wildbach die Weiden, Op. 44 (II), No. 3 200,202 An dem osterlichen Tag, Op. 22 (II), No. 6 91,198,199 An den Mond, Op. Jl, No. 2 177,178,192 An die Heimath, Op. 64, No. 1 192,193,194 An die Nachtigall, Op. 46, No. 4 171,172 An die Stolze, Op. iQfj, No. \ 183,185 An die Tauben, Op. 6'i, No. 4 172,176,177, 192 An dies Schifflein, Op. 106, No. 2 183, 185 An ein Sild, Op. 63, No. s 172,176,177, 192 An eine Aeolsharfe, Op. II), No. S 164,182 An ein Veilchen, Op. 49, No. 2 57, 172 Angelehnt an die Epheuwand, Op. 19, No. 5 164,182 An jeder Hand die Finger, Op. 65, No, 3 55, 63, 191, 192 Ankldnge, Op. 7, No. 3 161, 163 LIST OF FIRST LINES AND TITLES 237 An's Auge des Liebsten, Op. 113, No. 9 Auch das Schone muss sterben, Op. 82 Aufdem Kirchhofe, Op. 105, No. 4 Aufdem Schiffe, Op. 97, No. 2 Aufdem See (An dies Schifflein), Op. 106, No. 2 Aufdem See (Blauer Himmel), Op. 59, No. 2 Auf der Haide weht derWind, Op. 71, No. 4 Auf des Meeres tiefem, tiefem Grande, Op. 42, No. 2 ... Auf die Nacht in der Spinnstub'n, Op. 107, No. 5 Aus der Erde quellen Blumen, Op. 66, No. I Aus der Heimath hinter den Blitzen roth, Op. 3, No. 5 Ave Maria, Op. 12 Barcarole, Op. 44 (I), No. 3 Begrabnissgesang,Op. l'^ Beherzigung, Op. 93a, No. 6 , Bei dir sind meine Gedanken, Op. 95, No. 2 Beim Abschied, Op. 95, No. 3 , Beim Ritt auf dem Knie, Volkskinderlieder, No. 8a, b Bei nachtlicher Weil, Volksl. (1864) I, No. 3 Birg, o Veilchen, Op. 49, No. 2 Bitteres zu sagen denkst du. Op. 32, No. 7 Blauer Himmel, Op. 59, No. 2 Blinde Kuh, Op. 58, No. I Boten der Liebe, Die, Op. 61,^0. ^ Botschaft, Op. 47, No. i Brauner Bursche, Op. 103, No. 5 Brausten alle Berge, Op. 104, No. 4 Braut, Die, Op. 44 (II), No. 5 Briiutigam, Der, Op. 44 (I), No. 2 Brennessel steht am Wegesrand, Op. 112, No. 5 Bucklichte Fiedler, Der, Op. 93a, No. i Canons for female voices, O'p. 113 Come away, come away. Death, Op. 17, No. 2 Da die Welt, Op. 28, No. I Dammernd liegt der Sommerabend, Op. 85, No. i PAGES 49. 218, 219 52.: 179.: 214, 215 80, 95. 123. 183, 184 183 183, 185 121, 173- 174. 175. 176 177. 178, 192 201, 202 183, i8s 193 6, 161, 162, 196 16, 17, 196, 200 200, 202 76, 196, 200 2l6 62, 182, 216 62, 182, 216 66, 161, 219 66, 200 57. 172 164, 165 121, 173. 174 175. 176 173. . J74 192 S7, , 17I: , 172 74, ,184, ,195 79i ,216, ,217 200 , 202 200, , 202 19s 216 49 ,218 .219 16 '.77. 197, 198 , 200 189 180 238 BRAHMS PAGES Damm'rung senkte sich von oben, Op. 59, No. i 121, 173, 174, 175. 176 Dank tier Damen, Op. g^i 216 Darthulds Grabgesang, Op. 42, No. 3 ... ... ... ... 201, 202 Da unten im Thale (Trennung), Op. 97, No. 6 183 Da unten im Thale, Volksl. I, No. 6 28,85,185, 186, 200 Dein blaues Auge, Op. 59, No. 8 121,173,174, 175. 176 Dein Herzlein mild. Op. 62, No. 4 171,212 Dein Schwert, wie ist's, Op. 75, No. I 90,164,179, 193. 194 Dem Himmel will ich klagen, Volksl. VII, No. 44 28, 85, 185, 186, 200 Z)«/» 5irA«te«^«/, Volkskinderlieder, No. 14 66,161,219 Den gordischen Knoten, Op. 20, No. 2 189 Denn es gehet dem Menschen, Op. 121, No. i 31, 32, 186 ff., 213, 219, 220 Den Wirbel schlag' ich. Op. 69, No. s 177 Der graue Nebel, Op. 92, No. 2 194,195 Der Holdseligen sonder Wank, Op. 44 (I), No. I 200,202 Der Jager in dem Walde, Volkskinderlieder, No. 5 66, 161, 219 Der Mond steht iiberdem Berge, Op. 106, No. i 183, 185 Der Reiter spreitet sein Mantel aas, Volksl. IV, No. 23 ... 28,85,185, 186, 200 Der Strom, der neben mir. Op. 32, No. 4 164, 165 Der Tag ging regenschwer, Op. 105, No. 4 80,95,123, 183, 184 Der Tod, das ist die kuhle Nacht, Op. 96, No. I 182, 183 Des Abends kann ich nicht schlafen geh'n, Op. 14, No. 6 ... 163, 164 Des Abends kann ich nicht schlafen geh'n, Volksl. IV, No. 38 28, 85, 185 186, 200 Des Liehsten Schwur, Op. 69, No. 4 177 Dich, Mutter Gottes, Op. 22, II, No. 5 91,198,199 Die Berge sind spitz. Op. 44, II, No. 2 200,202 Die Bliimelein, sie schlafen, Volkskinderlieder, No. 4 66, 161, 219 Die Flamme hier. Op. 47, No. 2 57,171,172 Die griine Hopfenranken, Op. 52, No. S 55, 57, 63, 77,94. 118. 173. 190, 191, 209 Die ihr schwebet um diese Palmen, Op. 91, No. 2 62, 181 Die Liebende schreibt. Op. ^T,'^o. ^ 57,171,172 Die MUhle, die dreht ihre FlUgel, Op. 44, I, No. 5 200, 202 LIST OF FIRST LINES AND TITLES 239 Die Schnur, die Perl' an Perle, Op. 57, No. 7 173, 174 Die Schwalble ziehet fort, Op. 7, No. 4 161, 163 Die Sonne scheintnicht mehr, Volksl. I, No. S 28, 85, 185, 186, 200 Die Wellen blinken, Op. 71, No. 1 177,178,192 Die WoUust in den Mayen, Volltsl. (1864) II, No. 4 66, 200 Dornrbschen, Volkskinderlieder, No. i 66, 161, 219 Dort in den Weiden steht ein Haus, Op. 97, No. 4 183 Dort in den Weiden steht ein Haus, Volksl. V, No. 31 ... 28, 85, 185, 186, 200 Du mein einzig Licht, Volksl. VI, No. 37 28, 85, 185, 186, 200 Du milchjunger Knabe, Op. 86, No. i 180,181 Du sprichst, dass ich mich tauschte, Op. 32, No. 6 164,165 Dunkel, wie dunkel, Op. 43, No. 1 57,70,171 Edward, Op. 75, No. i 90, 164, 179, 193. 194 Ein Blick von deinen Augen, Op. 47, No. 5 57,171,172 Ein dunkeler Schacht ist Liebe, Op. 52, No. 16 55,57,63,77, 94. "8, 173. 190, 191, 209 Eine blaue Schilrze, Op. 44 (II), No. 5 200,202 Eine gute, gute Nacht, Op. 59, No. 6 121,173,174, 175, 176 Eine Schale des Stroms, Op. 46, No. 3 171,172 Einfbrmig ist der Liebe Gram, Op. 113, No. 13 49, 218, 219 Ein Gems aufdem Stein, Op. 113, No. 8 49, 218, 219 Ein kleiner, hUbscher Vogel, Op. 52, No. 6 55, 57, 63, 77, 94, 118, 173, 190, 191, 209 Ein Magdlein sass am Meeresstrand, Op. 7, No. i 161, 163 Ein Sonett, Op. 14, No. 4 163, 164 Ein Vogelein fliegt (iber den Rhein, Op. 97, No. 2 183 Ein Wanderer^ O^. \o(>,'^o. f, 183,185 Ei, schmoUte mein Vater, Op. 69, No. 4 177 Englische Grass, Der, Op. 22 (I), No. i 91, 198, 199 Englische Jager, Der, Volksl. (1864) II, No. 7 66, 199, 200 Entfuhrung,0-^.on,'^o. ■i 164,183 ^«'««er««^, Op. 63, No. 2 172,176,177 192 Erlaube mir, fein's Madchen, Volksl. (1864) I, No. 2 ... 66, 200 Ernst ist der Herbst, Op. 104, No. 5 79,216,217 240 BRAHMS PAGE Emste Gesdnge, O'p. 121 31, 32, i86fr., 213, 219, 220 Es bebet das Gestrauche, Op. 52, No. 18 55, 57, 63, 77, 94. "8, 173, 190, 191, 209 Es brausen der Liebe Wogen, Op. 86,' No. S 180,181 Es flog ein Taublein weiss, Volksl. (1864) I, No. 5 66, 200 Es fUrchte die Gotter das Menschengeschlecht, Op. 89 ... 215,216 Esgeht ein Wehen, Op. 62, No. 6 ... ... 171,212 Es ging ein Maidlein, Volksl. Ill, No. 21 ... 28, Sj, 185, 186, 200 Es ging sich uns're Frauen, Volksl. VII, No. 47 28, 85, 185, 186, 200 Es glanzt der Mond nieder. Op. 31, No. 3 190, 191 Es glanzt der Mond nieder, Op. 48, No. i 171, 172, 190, 212 Es hing der Reif, Op. 106, No. 3 183,185 Es ist das Heil, Op. 29, No. I • ... 199 Es ist ein Schnitter, Volksl. (1864) II, No. 6 66, 200 Es kehrt die dunkle Schwalbe, Op. 72, No. I 163, 177, 178 Es liebt sich so Ueblick, O'p. 'ji,'So. 1 177,178,192 Es lockt und sauselt. Op. 6, No. 2 162 Es pochet ein Knabe, Volksl. (1864) II, No. 3 66, 200 Es rauschet das Wasser, Op. 28, No. 3 189 Es reit' der Herr von Falkenstein, Op. 43, No. 4 57, 70, 171 Es reit' ein Herr, Volksl. IV, No. 28 28, 85, 185, 186, 200 Es rinnen die Wasser, Op. 112, No. I 195 Es ritt ein Ritter, Volksl. II, No. 10 28,85,185, 186, 200 Es sass ein Salamander, Op. 107, No. 2 183, 185 Es sass ein schneeweiss' Vogelein, Volksl. VII, No. 45 ... 28, 85, 185, 186, 200 Es schauen die Blumen, Op. 96, No. 3 182, 183 Es sprechen und blicken, Op. 66, No. 3 193 Es steht' ein Lind, Volksl. VI, No. 41 28,85,185, 186, 200 Es standen drei Rosen, Volksl. VII, No. 43 ... 28, 85, 185, 186, 200 Es tont ein voUer Harfenklang, Op. 17, No. i 16, 77, 197, 198, 200 Es traumte mir. Op. 57, No. 3 173,174 Es war, als hatt' der Himmel 161, 162 LIST OF FIRST LINES AND TITLES 241 Es war ein Markgraf, Volksl. V, No. 29 Es war eine schobe Judin, Volksl. 11, No. 9 Es war einmal ein Zimmergesell, Volksl. VII, No. 46 Es weht um mich Narzissenduft, Op. 63, No. I Es wohnet ein Fiedler, Op. 93a, No. I Es wohnet ein Fiedler, Volksl. VI, No. 36 Es woUt' die Jungfrau, Op. 62, No. 1 Es woUt' ein Madchen brechen gehn, Volkskinderlieder, No. lo Es wollt' ein Madchen friih aufsteh'n, Op. 14, No. 2 Es wollt' gut Jager jagen, Op. 22, II, No. 4 Es wollt' gut Jager jagen, Volksl. (1864) II, No. 7 Fahr' wohl ! o Voglein, Op. 93a, No. 4 Falke, Dtr, Op. 930, No. 5 Feiger Gedanken, Op. 93a, No. 6 Feinsliebchen, du soUst, Volksl. II, No. 12 Feinsliebchen, trau du nicht, Op. 105, No. 3 Feldeinsamkeit, Op. 86, No. 2 ... Fest- und Gedenkspriiche, O^. 109 Fidelin, Op. 44, No. 3 Finstere Schatten der Nacht, Op. 65, No. 2 Flammenauge, dunkles Haar, Op. 65, No. 14 Fliegt nur aus, geliebte Tauben, Op. 63, No. 4 Fragtn (Mein liebes Herz), Op. 64, No. 3 Fragen (Wozu ist mein langes Haar), Op. 44 (I), No. 4 Freiwilliger her. Op. 41, No. 2 Friedlich bekampfen Nacht sich und Tag, Op. 92, No. 3 ... Friihling, Der, Op. 6, No. 2 Friihlingslied, Op. 85, No. 5 Friihlingstrost, Op. 63, No. I Furwahr, mein Liebchen, Op. 31, No. 2 R PAGES 28, 8S, 185, 186, 200 28, 85, I8S, 186, 200 28, 85, 185, 186, 200 172, 176, 177, 192 2l6 28, 85, 185, 186, 200 171, 212 66, 161, 219 163, 164 91. 198, 199 66, 200 216 216 216 28; ,85, 185, 186, 200 80 .95. 123, 183. 184 180, 181 217, 218 200, 1 202 55 ,63, 191, 192 55 ,63, 191, 192 172, 176, 177. 192 192, , 193 200. , 202 171; , 201 194: , 195 162 180 172, 176, 177, 192 190 , 191 242 BRAHMS Gangzum Liebchen, Der, Op. 31, No. 3 Gang zum Liebchen, Der,Op. iil&i'Ho. 1 Gang zur Liebsien, Der, Op. 14, iio. 6 Gar lieblich hat sich gesellet, Volksl. I, No. 3 Gartner, Der, Op. 17, No. 3 Gebt Acht ! Op. 41, No. s GegrUsset, Maria, Op. 22 (I), No. I Ceheimniss, Op. 71, No. 3 Geh' schlafen, Tochter, Op. 84, No. I Geistliches Lied, Op. ■yi Geistliches Wiegenlied, Op. 91, No. 2 Geleit, Op. 41, No. 3 Geliebter, wo zaudert, Op. 33, No. 13 Gesangaus Fingal,Op. 11,'So. 4 Gesang der Parzen, Op. Sg GestilUe Sehnsucht, Op. 91, No. i Geuss nicht so laut, Op. 46, No. 4 Gleich wie Echo, Op. 93^ Cold iiberwiegt die Liebe, Op. i,^,'iS.o. 4 Gottlicher Morpheus, Op. 113, No. i Grausam erweiset sich, Op. 113, No. 2 Gunhilde, Volksl. I, No. 7 Guten Abend, guten Abend, mein tausiger Schatz, Volksl. I, No. 4 Guten Abend, gut' Nacht, Op. 49, No. 4 Guten Abend, mein Schatz, Op. 84, No. 4 Guter Rath, Op. ']t„'^o. 2. Gut'n Abend, mein tausiger Schatz, Op. 84, No. 5 Gut' Nacht, gut' Nacht, mein liebster Schatz, Op. 14, No. 7 ... Hab' ich tausendmal geschworen. Op. 72, No. 5 PAGES 190 , 191 171. 172, 190, 212 163: . 164 28 ,85, I8S. 186, , 200 16, 171. 197, 198, , 200 171, , 201 91, > 198, i 199 171, ,178, , 192 62 ,63, 179. 180 49. 200 62. 181 171, 201 23: ,62, 167- 170, i8t 16 ,77, 197, 198, 200 21S, 216 62, 181 171, 172 216 171. 172, 190, 212 49. 218, 219 49. 218, 219 28, ,8s. I8S, 186, 200 28, ,8s. 185, 186, 200 S7, 172 62, ,63, 179. 180 90, 164, 179, 193, 194 62, 63, 179. 180 163, 164 163. 177. 178 LIST OF FIRST LINES AND TITLES 243 PAGES ^ajVfeMmr/ejM, Volkskinderlieder, No. 6 66,161,219 Hallelujah, Heil und Preis, Op. 55 24,173,210, 211, 212 He, Zigeuner, Op. 103, No. I 74,184,195 Hebt ein Falke, Op. 93a, No. 5 216 Heimath, Die, Op. 64, No. i 192, 193 Heimath, Heimath, Op. 64, No. I 192,193 Heimkehr,0-p.'j,'Ho.6 161,163 Heimiaeh, Op. 63, Nos. 7, 8, 9 172, 176, 177, 192 Herhstgefuhl, Op. 48, No. 7 171, 172, 190, 212 Herr, wie lange. Op. 27 16,199 Hier, ob dem Eingang, Op. 46, No. 1 171,172 Hier wo sich die Strassen scheiden, Op. 106, No. 5 183, 185 Himmel strahlt so helle. Op. 112, No. 3 195 Hinter jenen dichten Waldern, Op. 49, No. 3 57,172 Hoch iiber stillen Hohen, Op. 7, No. 3 161, 163 HochgethUrmte Rimafluth, Op. 103, No. 2 74,184,195 Holder klingt der Vogelsang, Op. 71, No. 5 177,178,192 Horch, der Wind, Op. 103, No. 8 74,184,195 Horch, wei brauset der Sturm, Op. 44 (II), No. 6 200,202 Hor', esklagt die Flote wieder, Op. 42, No. I 201, 202 HU^chidich,Of.(^,'&a.t, 193 Ich aber bin elend, Op. 1 10, No. I 218 Ich blicke hinab. Op. 58, No. 6 173,174 Ichfahr' dahin, Volksl. (1864) II, No. 2 66,200 Ich hor' meinen Schatz, Op. 19, No. 4 164,182 Ich kose sUss, Op. 65, No. 10 55) 63, 191 1 192 Ich legt mich unter den Lindenbaum, Op. 58, No. 7 173,174 Ich muh' mich ab, Op. 95, No. 3 62,182,216 Ich muss hinaus, Op. 3, No. 3 6, 161, 162, 196 Ich rufe vom Ufer, Op. 69, No. 6 177. Ich ruhe stiU, Op. 86, No. 2 180, l8i Ich sah als Knabe, Op. 63, No. 9 172,176,177, 192 Ich sahe eine Tig'rin, Op. 58, No. 3 I73. I74 Ich sass zu deinen Fiissen, Op. 85, No. 6 180 Ich schell' mem Horn, Op. 43, No. 3 57) 7o, 171 Ich schleich' umher. Op. 32,_ No. 3 164,165 244 BRAHMS PAGES Ich schwing' mein Horn, Op. 41, No. I 171, 201 Ich sitz' am Strande, Op. 72, No. 4 163, 177, 178 Ich stand ruf hohem Berge, Volksl. IV, No. 27 28, 85, 185, 186, 200 Ich stand in einer lauen Nacht, Op. 105, No. 5 80,95,123, 183, 184 Ich wandte mich, Op. 121, No. 2 31,32, 186 ff,, 213, 219, 220 Ich Weiss ein Madlein, Op. 66, No. 5 193 Ich weiss rair'n Maidlein, Volksl. VI, No. 40 28, 85, 185, 186, 200 Ich weiss nicht was im Hain, Op. 113, No. 11 49, 218, 219 Ihr schwarzen Augen, Op. 65, No. 4 55, 63, 191, 192 Ihr wandelt droben im Licht, Op. 54 24,31,77, 173, 186, 209, 210 Ihr wunderschonen Augenblicke, Op. 63, No. 2 172,176,177, 192 Im Finstern geh' ich suchen, Op. 58, No. I 173,174 Im Garten am Seegestade, Op. 70, No. I 175, 177, 178 Im Herbst, Op. 104, No. 5 79, 216, 217 Im stillen Klostergarten, Op. 44 (I), No. 6 200,202 Im tiefen Wald, Volkskinderlieder, No. I 66,161,219 Immer leiser, Op. 105, No. 2 80,95,123, 183, 184 In dem Schatten meiner Locken, Op. 6, No. I 162 /k (/«» 5efi>-«», Op. 84, No. 3 62,63,179, 180 In den Garten woUen wir gehen. Op. 48, No. 2 171, 172, 190, 212 InderFeme,0'p.ig,'S^o.Z 164,182 Jn der Fremde, Op. $, 'No. S 6,161,162, 196 /n der Gasse, Op. SS, No. 6 I73i 174 In gold'nen Abendschein getauchet. Op. 91, No. 1 62, 181 In meiner Nachte Sehnen, Op. 57, No. 5 173,174 In Polen Steht ein Haus, Volkskinderlieder, No. 7 66, 161, 219 In stiller Nacht, Volksl. (1864) II, No. i 66, 200 In stiller Nacht, Volksl. VI, No. 42 28, 85, 185. 186, 200 In Waldeseinsamkeit, Op. 85, No. 6 180 1st nicht der Himmel so blau ? Op. 28, No. 4 189 /»3K, Op. 3, No. 4 6,161,162,196 LIST OF FIRST LINES AND TITLES 245 Jdgerlied, Op. 66, No. 4 Jetzt hab' ich schon zwei Jahre lang, Op. 41, No. 4 ... /«fM«.' Op. 6, No. 4 lungirunnen. Op. 44 (II), Nos. 1-4 Jungbrunnen, Op. 62, Nos. 3-6 [unge Lieder, Op. 63, Nos. S. 6 Jungffaulein, soil ich mit euch geh' ? Volksl. II, No. 11 Keinem hat es noch gereut, Op. 33, No. i Kein Haus, keine Heimath, Op. 94, No. 5 Klage (Ach mir fehlt). Op. 69, No. i Klage (Fein's Liebchen, trau du nicht), Op. 105, No. 3 Klage (O Felsen, lieber Felsen), Op. 69, No. 2 Kldnge, Op. 66, Nos. i, 2 Klosterfrdulein, Op. 61, No. 2 Komm bald. Op. 97, No. 5 Komm' herbei, Tod, Op. 17, No. 2 Komm' Mainz, komm' Ba}rrn, Volksl. (1864) I, No. 4 Komm' mit, o Schoner, Op. 31, No. I Kommt dir manchmal in den Sinn, Op. 103, No. 7 AVaK0, Z)e>-, Op. 84, No. 2 UTrdnze, Die, Op. 46, No. 1 /Tuss, Der, Op. 19, No. i Langsam und schimmernd fiel ein Regen, Op. 70, No. 4 Lass dich nur nichts nicht dauren. Op. 30 Leblos gleitet Slatt urn Blatt, Op. 104, No. 3 LeiseTone der Brust, Op. 113, No. 10 Leise Tone der Brust, Op. 104, No. I Leise, um dich nicht zu wecken, Op. 58, No. 8 Lerchengesang, Op. 70, No. 2 Letztes Gluck, Op. 104, No. 3 Liebe kam aus fernen Landen, Op. 33, No. 4 Liebe Schwalbe, Op. 112, No. 6 ., Liebende schreibt. Die, Op. 47, No. 5 Lieber Gott, du weisst, Op. 103, No. 4 PAGES 193 171. 201 162 200, ,202 171. 212 172, 176, 177. 192 28 .85, 185. 186, 200 23. 62, 167- 170, i8i 68, 181, 182 177 80, 95, 123 183. 184 177 193 192 183 16; >77. 197. 198. 200 66, 200 I go. 191 74> 184, I9S 62; ,63, 179, 180 171, 172 164, 182 I7S, 177. 178 49. 200 79. 2l6, 217 49. 21S, 219 79. 216, 217 173. 174 175. 177, 178 79. 216, 217 23. 62,1 [67- 170, 181 195 57, 171. 172 74. 184, 195 246 BRAHMS PAGES Liebesgluth, Op. 47, No. 2 57, 171, 172 Liebesklage des Mddchens, Op. 48, No. 3 171, 172, 190, 212 Liebeslieder, Op. 52 55, 57, 63, 77, 94. 118, 173. 190, 191, 209 Liebeslieder, Neue, Op. 65 55, 63, 191, 192 Liebestreu, Op. 3, No. I ; 6, 161, 162 196 Liebe undj^'riihling; Op. 3, Nos. I, 2 6,161,162, 196 Liebliches Kind, kannst du mir sagen. Op. 70, No. 3 175, 177, 178 Lieb' Mutter, heut' Nacht, Op. 75, No. 4 90, 164, 179, 193, 194 X«erf(Lmdes Rauschen), Op. 3, No. 6 ... 6,161,162, 196 Lied (Weit ilber das Feld), Op. 3, No. 4 6, 161, 162, 196 Lied (Komm' herbei, Tod — Come away, Death), Op. 17, No. z... 16, 77, 197, 198, 200 Lied vom Herrn vom Falkenstein, Das, Op. 43, No. 4 57, 70, 171 Lieder aus dem Jungbrunnen. Se&Jungbrunnen. Lindes Rauschen, Op. 3, No. 6 6, 161, 162, 196 Mddchen, Das, Op. 95, No. I 62, 182, 216 Madchenflztch, Op. 6% No. ^ 177 Mddchenlied (Ach, und du, mein kuhles Wasser), Op. 85, No. 3 180 il/a(/irA««/2ea?(Ain jtingsten Tag), Op. 95, No. 6 62,182,216 Mddchenlied (Auf die Nacht in der Spinnstub'n), Op. 107, No. 5 183, 185 Mddchen spricht, Das, Op. lO"], 'No. T, 183,185 Mddchenund die Hasel,Das,NoVK^iiitaAe.xX\eAs:x, No. 10 ... 66,161,219 Madchen von Kola, Op. 42, No. 3 201,202 Magdalena, Op. 22 (II), No. 6 91, 198, 199 Magelone JSomances, Op. 32 ... ... ... ... ... 23,62,167- 170, 181 Magyarisch, Op. 46, No. 2 171, 172 Maienkdtzchen, Op. 107, No. 4 183, 185 Maienkatzchen, erster Gruss, Op. 107, No. 4 183, 185 Mainacht, Die, Op. 43, No. 2 57, 70, 171 Mann, Der, Volkskinderlieder, No. $ 66, 161, 219 Maria ging auswandern, Op. 22 (I), No. 3 91, 198, 199 LIST OF FIRST LINES AND TITLES 247 PAGES Maria ging auswandem, Volksl. II, No. 14 28,85,185, 186, 200 Maria, wahre Himmelsfreud, Op. 22 (II), No. 7 91, 198, 199 Maria woUt' zur Kirche geh'n. Op. 22 (I), No. 2 91,198,199 Maria's ^ircigang. Op. 22 (1), 'No. 2 91,198,199 Marii^s Loi, Op- 22 (II), No. J 91,198,199 Maria's fVall/aArt, Op. 22 (I), No. 3 91,198,199 Marienlieder, Op. 22 91, 198, 199 Marienwiirmchen, setze dich, Volkskinderiieder, No. 13 ... 66, 161, 219 Marschiren, Op. 41, No. 4 171, 201 iMa>«K(K^/, Op. 44 (II), No. 6 200,202 Meere, Die, Op. 20, No. 3 189 Meerfahrt, Op. 94. "8, 173. 190, 191, 209 Nonne, Die, Op. 44 (I), No. 6 200, 202 Nonneund der Hitter, Die, O^. 2^, 'Ho. I 189 Nun, ihr Musen, genug, Op. 65, No. 15 55.63,191, 192 Nun lasst uns den Leib begraben, Op. 13 76,196, 197 Nun steh'n die Rosen in BlUthe, Op. 44 (II), No. i 200, 202 Nur ein Gesicht auf Erden lebt, Volksl. Ill, No. 19 a8, 85, 185, 186, 200 LIST OF FIRST LINES AND TITLES 249 PAGES O bone Jesu, Op. 37, No. I 16,200,201, 202 O brich nicht, Steg, Op. 7, No. 6 161,163 O die Frauen, Op. 52, No. 3 SS. 57. 63.77. 94. "8. 173. 190. 191. 209 O Engel mein, Volkskinderlieder, No. 14 66,161,219 O Felsen, lieber Felsen, Op. 69, No. 2 177 O Fischer auf den Fluthen, Op. 44 (I), No. 3 200, 202 O FrUhlingsabenddammerung ! Op. 71, No. 3 177, 178, 192 O Heiland, reiss' die Himmel auf. Op. 74, No. 2 ... ... 31, 179, 213, 214 O Hochland und o Sildland, Op. 14, No. 3 163,164 O komme, holde Sommernacht, Op. 58, No. 4 173, 174 O kiihler Wald ! Op. 72, No. 3 163,177,178 O Lady Judith, Op. 97, No. 3 183 O liebliche Wangen, Op. 47, No. 4 57,171,172 ONachtigall.dein susserSchall, Op. 97, No. 1 183 O schone Nacht ! Op. 92, No. I 194,195 O siisser Mai, Op. 93a, No. 3 zi6 O Tod, wie bitter bist du, Op. 121, No. 3 31, 32, 186 ff., 213, 219, 220 O versenk', Op. 3, No. i 6, 161, 162, 196 O wie sanft die Quelle sich, Op. 52, No. 10 55, 57, 63, 77, 94. "8, 173, 190, 191, 209 O wUsst' ich doch. Op. 63, No. 8 ... 172,176,177, 192 Och Moder, ich well en Ding ban, Volksl. V, No. 33 28, 85, 185, 186, 200 Parole, Op. 7, No. 2 161, 163 PAdnemen, Op. 61, 'No. 3 192 Rede, Madchen, Op. 52, No. I SS. S7. 63. 77,94, 118, 173. 190. 191.209 Pegenliea, Op. 59, No. 3 121.173. 174. 175. 176 Regentropfen aus den Baumen, Op. 59, No. 4 121, 173, 174. 175. 176 Regina Coeli, Op. 37, No. 3 16,200,201, 202 Jieiier, Der, Volksl. IV, No. 23 28, 85, 185, 186, 200 2S0 BRAHMS PAGES Rhapsodic, Op. 53 24, 31, 62, 173, 208, 209 Rinaldo, Op. 50 24, 44, 63, 173, 207, 208 Rosen brach ich, Op. 94, No. 4 68, i8r, 182 Rosen steckt mir an die Mutter, Op. 65, No. 6 55. 63, 191, 192 Rosenzeit, wie schnell vorbei, Op. 59, No. 5 121, 173, 174, I7S. 176 Rosmarin, Op. 62, No. i 171, 212 Rothe Abendwolken, Op. 103, No. 1 1 74,184,195 Rothe Rosen, Op. 112, No. 4 195 Roslein dreie in der Reihe, Op. 103, No. 6 74, 184, 195 Ruft die Mutter, Op. 69, No. 9 177 Rufzur Maria, Op. 22 (II), No. 5 91, igS, 199 Ruhe, Siissliebchen, Op. 33, No. 9 23,62,167- 170, 181 Ruh'n Sie ? Op. 104, No. 2 79,216,217 Sagt mir, o schonste Schafrin mein, Volksl. I, No. 1 28, 85, 185, 186, 200 Sah dem edlen Bildniss, Op. 46, No. 2 171,172 Sah ein Knab', Volkskinderlieder, No. 6 66, 161, 219 Salamander, Op. 107, No. 2 183, 185 Salome, Op. 69, No. 8 177 i'fl»rf^o/^a«/, Volksl. (1864) I, No. 7 66,200 Sandmdnnchen, Volkskinderlieder, No. 4 ... ... ... 66, 161, 219 Sapphische Ode, Op. 94, No. 4 68, 181, 182 Schaffe in mir, Gott, Op. 29, No. 2 199 Schale der Verges senkeit. Die, Op. 46, No. 3 ... ... ... 171, 172 Scheidenund Meiden,0^. \<),lio. 2 164,182 Schicksalslied, Op. 54 24, 31, 77, 173, 186, 209, 210 SchlaP, Kindlein, schlaP, Op. 113, No. 4 49, 218, 219 Schlaf, Kindlein, schlaP ! Volkskinderlieder, No. 11 66, 161, 219 Schlosser, auf ! Op. 52, No. 12 55, 57, 63, 77> 94. 1 18, 173, 190, 191, 209 Schmied, Der, Op. 19, No. 4 164, 182 Schnitter Tod, Volksl. (1864) II, No. 6 66, 200 Schon war, das ich dir weihte. Op. 95, No. 7 ... 62, 182, 216 Schoner Augen sckone Strahlen, Volksl. VI, No. 39 28, 85, 185, 186, 200 LIST OF FIRST LINES AND TITLES 251 PAGES ScionseerScAatz,Yol\isl.III,No. 20 28,85,185, 186, 200 Schwalbe, sag' mir an, Op. 107, No. 3 183, 185 Schwarzer Wald ! Op. 65, No. 12 55.63,191, 192 Sckwermuth, Op. 58, No. 5 173, 174 Schwesterlein, Volksl. Ill, No. 15 28, 85, 185, 186, 200 Schwestem, Die, Op. 61, No. i 192 Schwor ein junges Madchen, Op. 95, No. 5 62, 182, 216 5M»««-^/(Es rinnen das Wasser), Op. 112, No. I 195 Sehnsucht (Hinter jenen dichten Waldern), Op. 49, No. 3 ... 57, 172 5«A«™ir^/ (Mein Schatz ist nicht da). Op. 14, No. 8 163,164 Sei wiUkommen, Zwielichtstunde, Op. 49, No. 5 57,172 Senke, strahlender Gott, Op. 64, No. 2 192, 193 Serenade, Op. 58, No. 8 173, 174 Serenate, Op. 70, No. 3 175, 177, 178 Sieh', wie ist die Welle klar. Op. 52, No. 14 SS> S7j ^Sj 77> 94, "8, 173, 190, 191, 209 Sie ist gegangen, Op. 6, No. 3 162 Sie stand wohl am Fensterbogen, Op. 7, No. 2 161, 163 Silbermond, mit bleichen Strahlen, Op. 71, No. 2 177, 178, 192 Sind es Schuierzen, Op. 33, No. 3 23, 62, 167- 170, 181 Singe, Madchen, Op. 84, No. 3 62, 63, 179, 180 Singt mein Schatz, Op. 69, No. 8 177 Sitzt a schon's Vogerl, Op. 113, No. 3 ••• ... 49,218,219 Sitzt a schon's Vogerl, Volkskinderlieder, No. 2 66,161,219 So hab ich doch die ganze Woche, Op. 47, No. 3 57,171,172 So lange Schonheit, Op. 113, No. 6 49, 218, 219 So lass' uns wandern, Op. 75, No. 3 90, 164, 179, 193. 194 Soil sich der Mond, Op. 14, No. I 163,164 Soil sich der Mond, Volksl. V, No. 35 28, 85, 185, 186, 200 ^oOTOT^raigwrf (Dammernd liegt). Op. 85, No. I 180 SjOTOT^rafewi/ (Geh' schlafen, Tochter), Op. 84, No. I ... 62,63,179, 180 Sommerfadenj Op. 72, No. 2 163, 177, 178 Sonntag, Op. 47, No. 3 57, 171, 172 So soil ich dich, Op. 19, No. 2 164, 182 So steh'n wir. Op. 32, No. 8 164, 165 252 BRAHMS So tonet denn, Op. 33, No. 10 So will ich frisch und frohlich sein, Volksl. V, No. 32... So willst du des Armen, Op. 33, No. 5 So wunsch' ich dir, Volksl. Ill, No. 18 SpaniscAes Lied, Op. 6, No. I Spannung-, Op. 84, No. 5 Spdtherhst, Op. 92, No. 2 Spazieren woUt' ich reiten, Op. 62, No. 2 Sprode, Die, Op. 58, No. 3 Stdndchen (Der Mond steht iiber dem Berge), Op. 106, No. Stdndchen (Gut' Nacht, mein liebster Schatz), Op. 14, No. 7 Stand das Madchen, Op. 93a, No. 2 Stand das Madchen, Op. 95, No. I Steig' auf, geliebter Schatten, Op. 94, No. 2 Sternchen mit dem triiben Schein, Op. 48, No. 4 Store nicht den leisen Schlummer, Op. 86, No. 3 Strahlt zuweilen auch ein mildes Licht, Op. 57, No. 6 Sulima, Op. 33, No. 13 Tapllied, Op. 93* Tambourliedchen, Op. 69, No. 5 Taublein weiss, Volks. (1864) I, No. 5 ... Therese, Op. 86, No. I Todessehnen, Op. 86, No. 6 Todte Knabe, Der, Volksl. (1864) II, No. 3 Traitemde, Die, Op. 7, No. 5 Traun ! Bogen und Pfeil, Op. 33, No. 2 Trennung (Da unten im Thale), Op. 97, No. 6 Trennung (Wach' auf, wach' auf), Op. 14, No. 5 Treue Liebe, Op. 7, No. i Treue Liebe dauert lange, Op. 33, No. 15 Tritt auf, tritt auf. Op. 28, No. 2 Triumphlied, Op. 55 PAGES 23, 62, 167- 170, l8l 28, 85, 185, 186, 200 23, 62, 167- 170, 181 28, 8s, 185, 186, 200 162 62, 63, 179, 180 194. 195 171, 212 173. 174 183, i8s 163, 164 216 62, 182, 216 68, 181, 182 171, 172, 190, 212 180, 181 173. 174 23, 62, 167- 170, 181 216 177 66, 200 180, 181 180, 181 66, 200 161, 163 23, 62, 167- 170, i8i 183 163, 164 161, 163 23, 62, 167- 170, 181 189 24, 173, 210 211, 212 LIST OF FIRST LINES AND TITLES 253 PAGES Trost' die Bedrangten, Volks. (1864) I, No. 7 66, 200 Trost in Thrdnen, Op. 48, No. 5 171, 172, 190, 212 Ueber die Berge, Op. 20, No. i 189 Ueber die Haide, Op. 86, No. 4 180,181 Ueber die See, Op. 69, No. 7 177 WsfeWaw/ir, 27«r, Op. 48, Nc. 2 171,172, 190, 212 UU Man wuU tiden, Volkskinderlieder, No. 8a 66, 161, 219 Unbewegte, laue Luft, Op. 57, No. 8 173, 174 Und gehst du Uber den Kirchhof, Op. 44 (II), No. 4 200, 202 Und gleichwohl kann ichanders nicht, Op. 107, No. 1 ... 183, 185 Uns leuchtet heut', Volkskinderlieder, No. 12 66, 161, 219 Unsere Vater hofiten auf dich, Op. io9,;No. I 217,218 Unter Bluthen des Mai's, Op. 19, No. I 164,182 Uniibermindlich, Op. 72, No. 5 163, 177, 178 Vergangen ist mir Gliick und Heil, Op. 48, No. 6 171,172,190, 212 Vergangen ist mir Gliick und Heil, Op. 62, No. 7 171, 212 Ver^eilickes SicinticAett,Op.S4,No. 4. 62,63,179, 180 Verlm-ene /u£^end. Op. 104, Uo. 4 79,216,217 J^rra;^, Op. 105, No. S 80,95,123, 183, 184 Verstohlen geht der Mond auf, Volksl. VII, No. 49 28, 85, 185, 186, 200 Versunken, Op. 86, No. S 180, 181 Verzagm, Op. 72, No. 4 163, 177, 178 Verzicht, o Herz, Op. 65, No. 1 SSi 63, 191, 192 F«?i5Zfej^««^, Op. 33, No. 10 23,62,167- 170, 181 Vineta, Op. 42, No. 2 201, 202 Vogeleindurchrauscht die Luft, Op. 52, No. 13 55, 57, 63, 77, 94, 118, 173, 190, 191, 209 Volkskinderlieder 66,161,219 Volkslied, Op. 7, No. 4 161, 163 Volkslieder, Deutsche, two books, for four-part chorus, 1864, referred to in this list as " Volksl. (1864) " 66, 200 254 BRAHMS VolksUeder, Deutsche, seven books, six for one voice, the seventh for chorus, pubd. 1894, here referred to as "Volksl. " VoUer, dichter tropft urn's Dach, Op. 58, No. 2 VomGebirgeWell'aufWeir, Op. 65, No. 7 Vom heiligen Mdrtyrer Emmerano, Volksl. (1864) I, No. 4 ... Vom Strande, Op. 69, No. 6 Vom verwundeten Knaben, Op. 14, No. 2 Von alien Bergen nieder, Op. 44 (I), No. 2 Von alien Liebesliedem, Op. 62, No. 2 ... Von edler Art, Volksl. (1864) I, No. 1 ... Von ewiger Liebe, Op. 43, No. i Von waldbekranzter Hohe, Op. 57, No. i Vor dem Fenster, Op. 14, No. i ... Vor der Thur, Op. 28, No. 2 Vorschneller Schwur, Op. 95, No. 5 Voriiber, Op, 58, No. 7 Wach' auf, mein Herzensschone, Volksl. Ill, No. 16 .. Wach' auf, mein Hort, Volksl. II, No. 13 Wach' auf, mein Kind, Volksl. (1864) II, No. J Wach' auf, wach' auf, du junger Gesell, Op. 14, No. S Wdhrend des Regens, Op. 58, No. 2 Wahre, wahre deinen Sohn, Op. 65, No. 5 Waldesnackt, Op. 62, No. 3 Walle, Regen, Op. 59, No. 3 Walpurgisnaeht, Op. 75, No. 4 Wann der silbeme Mond, Op. 43, No. 2 War es dir, dem diese Lipeen bebten, Op. 33, No. 7 ... fFa>-«»? .? Op. 92, No. 4 Warum denn warten von Tag zu Tag ? Op. 97, No. 5 Warum ist das Licht, Op. 74, No. I Was freut einen alten Soldaten, Op. 41, No. 3 Was schaust du mich so freundlicb an. Op. 63, No. 3 ... 28, 85, i8s, 186, 200 173. 174 SS^ 63, 191. 192 66, 200 177 163, 164 200, 202 171, 212 66, 200 ... S7> 70, 171 173. 174 163, 164 189 ... 62, 182, 216 173. 174 ... 28, 85, i8s, 186, 200 ... 28, 85, 185, 186, 200 66, 200 163, 164 173, 174 - SS. 63, 191. 192 171, 212 ... 121, 173, 174, 175. 176 ... 90, 164, 179, 193. 194 - 57, 70, 171 ... 23, 62, 167-70, 181 194, 195 183 ... 31, 179, 213, 214 171, 201 ... 172, 176, 177. LIST OF FIRST LINES AND TITLES 255 PAGES We kumm' ich dann de Foots eren, Volksl. V, No. 34 ... 28,85,185, 186, 200 Wecksellied zum Tanze, Op. 31, No. i 190, 191 Wegder Liebe,0^. 2a,'iios. 1 3.nd.2 189 Wehe, LUftchen, Op. 47, No. i 57, 171, 172 Wehe, so willst du mich wieder. Op. 32, No. 5 164, 165 Weiche Graser in Revier, Op. 65, No. 8 55,63,191,192 Wtilitiachten, Volkskinderlieder, No. 12 66, 161, 219 Wein' an dem Felsen, Op. 17, No. 4 16, 77, I97. 198, 200 Weit und breit schaut Niemand, Op. 103, No. 9 74, 184, 195 Weit uber das Feld, Op. 3, No. 4 6,161,162, 196 Wenn die Klangenah'n, Op. 113, No. 7 49,218,219 Wenn du nur zuweilen lachelst. Op. 57, No. 2 I73i 174 Wenn ein miider Leib, Op. 66, No. 2 I93 Wenn ein starker Gewappneter, Op. 109, No. 2 217, 218 Wenn ich mit Menschen- und mit Engelszungen redete, Op. 121, No. 4 31, 32, i86ff., 213, 219, 220 Wenn Kummer hatte zu todten. Op. 113, No. 12 49, 218, 219 Wenn mein Herz beginnt zu klagen. Op. 106, No. 4 183, 185 Wenn so Und dein Auge mir. Op. 52, No. 8 5Si 57) 63, 77, 94, 118, 173, 190, 191, 209 Wenn um den Hollander, Op. 63, No. 6 172, 176. 177. 192 Wenn wir in hochsten Nothen sein. Op. no. No. 3 218 Wennzu der Regenwand, Op. 61, No. 3 192 Wer sehen will zween lebendige Brunnen, Op. 48, No. 3 ... 171, 172, 190, 212 Wie bist du, meine Konigin, Op. 32, No. 9 164,165 Wie des Abends, Op. 52, No. 4 5S. 57. 63, 77. 94, 118, 173, 190, 191, 209 Wie die Wolke,'Op. 6, No. 5 162 Wie froh und fiisch, Op. 33, No. 14 23,62,167-70, 181 tViegenlied (GvAsn Abend, gut' Nacht), Op. 49, No. 4 ... 57, 171. 172 Wiegenlied (Schlaf Kindlein, schlaf ), Volkskinderlieder, No. 11 66, 161, 219 Wie ist doch die Erde so schon. Op. 6, No. 4 162 Wie kommt's dass du so traurig bist, Op. 48, No. 5 171. 172, 19°. 212 Wie Melodien, Op. 105, No. i 80, 95, 123, 183, 184 256 BRAHMS PAGES Wje raflFt' ich mich auf in der Nacht, Op. 32, No. I 164,165 Wie schienen die Sternlein so hell, Op. 85, No. 4 igo Wie schnell verschwindet, Op. 33, No. II 23,62,167-170, 181 Wie sich Rebenranken, Op. 3, No. 2 6,161,162, 196 Wie soil ich die Preude, Op. 33, No. 6 23, 62, 167- 170, 181 Wie traulich war das Fleckchen, Op. 63, No. 7 172, 176, 177, 192 Wie viel schon der Boten flogen. Op. 61, No. 4 192 Wie wenn im frost'gen Windhauch, Op. 48, No. 7 171, 172, 190, 212 Will ruhen unter den Baumen hier. Op. 19, No. 3 164, 182 Wille, wille, will, Volkskinderlieder, No. 5 66, 161, 219 Wille, wille, will, Op. 113, No. 5 42, 218, 219 IVillsi du, das u: A g-eA' ? Op. 71, No. 4 I77i 178, 192 Wir mussen uns trennen. Op. 33, No. 8 23, 62, 167- 170, 181 Wir Schwestem zwei, Op. 61, No. I 192 Wir wandelten, wir zwei zusammen, Op. 96, No. 2 182, 183 Wisst ihr, wann mein Kindchen, Op. 103, No. 3 74, 184, 195 Wo gehst du hin, Volksl. IV, No. 22 28,85,185, 186, 200 Wo ist ein so herrlich Volk, Volksl., Op. 109, No. 3 217, 218 Wohin ich geh' und schaue. Op. 17, No. 3 l6, 77, 197, 198, 200 Wohl schon bewandt. Op. 52, No. 7 55)57,63,77, 94, 118, 173, 190, 191, 209 Wozu ist mein langes Haar, Op. 44 (I), No. 4 200, 202 Zigeunerlieder, Op. 103 74, 184, 195 Zum Sehluss, Op. 65, No. 15 55, 63, 191, 192 INDEX INDEX Ahsen, Jenny von, i6 Allgemeine Musikalische Zeitung, 102 Altmann, W., 35 Anonymous Translation of Brahms's songs, 188 Amim, Bettina von, 162 Aveling, Claude, 188 Bach, C. P. E. , Sonatas arranged by Brahms, 102 Bach, J. S., Chaconne, etc., arranged by Brahms, loi ; Chorale-choruses, 199 ; Chorale-prelude, " Erbarm' dich main," 104 ; Passion music, St. Matthew, 126; Variations for harpsichord, 86 Baglehole, Miss, 54 Barth, R., 36 Baumeyer, Marie, 61 Beethoven, Andante in F, 95 ; Sonatas, "Waldstein," 4, " Ham- merclavier," 83 ; Song, Wonne der Wehmuth, 160 ; Symphony, Eroica, 136; minor, 112; Choral, 137, 148 ; Obituary notice in Musical Quarterly Review, 60 Benson, R. H., 188 Berlin Hochschule, 26 Berlioz, 9 Billroth, Dr. Theodor, 26, 33, 118, 119 Bizet, Carmen, 38 Berwick, Leonard, 61 Braham, 56, 57 Brahms, Caroline (the composer's step- mother), 24, 29, 31 Brahms, Johann Jakob (the composer's father), 3, 31, 170 Brahms, Johanna Henrika Christiana (the composer's mother), 3 Brahms, Johannes, Birth, 3 ; Early education, 3 ; First appearance as pianist, 4 ; Engagement as accom- panist, 4, 5; Meeting with Joachim, 5, 6; Meeting with Schumann, 7-9; Det- mold appointment, 10, 36 ; Perform- ance of D minor pianoforte concerto at Hanover, Leipzig, and Hamburg, 10, II ; Protest against Brendel's journal, 11-16, 50 ; Conductor of ladies' choir at Hamburg, 16-22, 171 ; Visit to Vienna in 1862, 23; Residence in Vienna, 23 ; Conductorship of the Vienna Singakademie, 23 ; Conduc- torship of the Gesellschaft der Musik- freunde, 24 ; Cambridge degree offered, 25 ; Italian journeys, 26, 27 ; Meiningen court, 26, 27 ; Journeys to Ischl, 27 ; Carlsbad, 28 ; Death and funeral, 28; Will, 28; Character and personality, 29] ff., ifi^. ; Religious convictions, 31, 184, 186, 187, 208, 213, 214, 215; Characteristics of his art, 64 ff. ; Preferences in music, 38- 42 ; Preferences in opera, 45 ; Non- 359 26o BRAHMS composition of opera, 44 ; His piano music pronounced unsuitable to the instrument, 57 ; His piano-playing, 82 ff. ; Growing appreciation of his music, 51 fif.; Processes of composition, 6g{i. ; Use of musical "colour," 74 ff., 97, 106, 136, 181, 191, 197 ff. ; Unity of his ideals, 107 ; Transformation of themes, 84 ff. ; Influence of Hun- garian music, 110; Austerity of his style, 120 ; Key succession in the symphonies, 141 {note); Treatment of folk-songs, l8sf.; Self-criticism shown in revision of trio. Op. 8, 107 ; His vocal writing, 57, 199 ; Form in the songs, 166 ; Critical attacks, 27 ; His musical motto, 118, 149; Schatz- kastlein, 32, 36 ; Biographies, 32, 33 ; Brahms-Gesellschaft, 34, 36, 176; Correspondence-,^, 35; Monu- ments, etc., 29 ; Museum, 29 ; Tablets to his memory, 29 ; His relations with and opinion of other musicians, 39-44 ; with Joachim, 5, 6 ; Inter- change of compositions with Joachim, 49-50, 103, 108, no, 218; Relations with Liszt, 40, 73 ; with Rubinstein, 43, 44 ; with Tchaikovsky, 42, 43 ; with Verdi, 44 ; vrith Wagner, 39-42, 43 Brendel, editor oi Neue Zeitschrift fiir Musik, 12-16 Bruch, Max, 35, 52 ; Odysseus, 208 Bruckner, Anton, 53 Briill, Ignaz, 61 Bryant, Hannah, 34 Bulow, Hans von, 7, 26, 27, 44, 51, 53, 62, 217 Caccini, Nuove Musiche, 158, 159 Cambridge University Musical Society, 54. 55 Carlsruhe Philharmonic Society, 210 Chaconne-form, the, 153 f. Chappell, S. A., 53 Chopin, F., Barcarole, 86 ; Concerto in F minor, 197 ; Edition of his works, 35, 102 ; Scherzos, 86 ; Sonatas and Trio, 84 ; Study in F minor arranged by Brahms, loi CoUes, H. C, 33 Conrat, Use, 29 Cornelius, Peter, 41 Cossel, 3 Couperin, edited by Brahms, 102 Cusins, SirW., 54, 55 Czerny-Verein, 29 Daumer, C. F., 173 ; Polydora, 191 David, Ferdinand, 8 Davies, Fanny, 61 Day's theory of harmony, 99 Debussy, Claude, 160 Deiters, Hermann, 32, 35, 119 Deitrich, A., 8, 30, 33, 85, 86 ; Sonata with Schumann and Brahms, 8, 106 Duparc, Henri, 160 Dvofik, Ant., 26 ; Concerto for violon- cello, 28 Echo of Berlin, 1 1 Eibenschutz, Ilona, 61 Ella, John, Musical Union, 54 England, Paul, 188 Erb, J. L., 37 Farmer, John, SS Fellinger, Dr. and Frau von, 28 Ferrari, Sophie, 54 Feuerbach, 214 Franck, Cesar, 85, 160 ; Prelude, Aria et Final, 86 Friederike of Lippe-Detmold, Princess, 10 Friedlander, Thekla, 63 Garbe, Laura, 18, 21, 22 Gesangverein, Vienna, 102 INDEX 261 Gresellschaft der Musikfreunde, 24, 29 Giesemann, Adolph, 3 Giesemann, Lischen, 3, 167 Glehn, Mrs. W. von, 63 Gluck, gavotte arranged by Brahms, lOI God save the King, 211 Goethe, Gesang der Parxen, 215 ; Harzreise, 208 ; Werthers Leiden, 119 Goetz, Hermann, 45, 46, 52, 214, 215 Gradener, 16 Grimm, Julius Otto, 9, 12, 31, 36, 62 " Ground," The, 154 Grove's Dictionary of Music and Musicians, 37 Hadow, W. H., 37 Halle, Sir Charles, 61 Halle, Lady, 54 Hamburg Industrial Exhibition, 1889, 217 ; Ladies' Choir, 16-22, 200, 214 Handel's Chamber Duets, edited by Brahms, 102 ; His practice in varia- tions, 109; Handel Society, 211 Hausmann, Robert, 62, 123, 125, 155 Haydn, Canzonets, 160 ; " Chorale," varied by Brahms, 135 f. Hecht, Dora, 33 Heimsoeth, 35 Henschel, Georg, 37, 63, 69 Herder's VolksUeder, 90, 97, 193 Herzogenberg, Heinrich and Frau Elizabeth von, 25, 31, 32, 34, 48, 184, etc. Heyse, Paul, 162 Hildebrandt, 29 Holderlin's Schicksalslied, 1 87, 209 Hofimann (Rem^nyi), 5-7, no Huneker, 37 IMBERT, Hugues, 37 Isaac, Heinrich, 157 Japha, Louise, 7, 87 Joachim, Amalia, 62, 189 Joachim, Joseph, 5-6, 8, 9, 11-16, 23. 2S, 26, 31, 36, 39, 48-50, S3, 54, 57, 60, 61, 73, 128, 139 {note), 143, 151, 155, 205 {note), 218; Arrangement of Hungarian Dances, 75, loi ; Elegiac Overture, 25 ; Dedication of Biahms's quartet to, n8 ; Musical motto, 36, 90, 118; Quartet, 28 Kalbeck, Max, 33, etc. Klinger, Max, 29 Krebs, Carl, 36 Kreisler, Fritz, 143 Kuhn, Alfred, 44 Kufferath, Mile. Antonie, 62 Lang, Andrew, 188 Lawes, Henry, 159 Legrenzi, 88 {fiote) Lentz, Frau, geb. Meier, 17, 34 Liszt, Franz, 6, 7, 14, 16, 40, 51, 70, 72, 83, 84, 87 ; Pensionverein, 29 Litzmann, Berthold, 36, etc. Loewe, Carl, 194 Lowe, Sophie (Mrs. von Glehn), 63 Longfellow, I know a maiden, 193 Longo, Alessandro, edition of Scarlatti, 178 " Marks, G. W.," pseudonym of Brahms, 4 Marxsen, Eduard, 3, 7, 83 Mason, Daniel Gregory, 37 Mason, William, 6, 7, 53, 62 May, Florence, Life of Brahms, 5, 33, 53, 54, etc. ; As pianist, 54, 6i Meiningen Orchestra, 26, 27, 58, 62 Mendelssohn's C minor trio, 88 ifiote) ; Walpurgisnacht, 141 ; His changing popularity, 59 262 BRAHMS Meyer- David, Frau, 4 Meysenbug, H. and K. von, 33; Laura von, lo Miller zu Aichholz, Dr. Victor, 29 Monteverde, 159 Moser, Andreas, 26, 36 Mozart, " Batti, batti," 161 {noie) ; Figaro, 94 ; Flute Concerto, 35 MUhlfeld, Richard, 62, 68, 127, 128, 129 Musikalisches Blatt, 102 Nerdda, Mme. (Lady Halle), 54 Neue Zeitsckriftfiir Musik, 11-16 Nevirmarch, Mrs., 32 Niederrheinische Musikfest, 112 Nikisch, Arthur, 139 [note) Nissen, Johanna Henrika Christiana (Brahms's mother), 3, 24 Otten, conductor of a musical society, 22 Paganini, caprice, 93 Passacaglia-form, 79, 153, 154 Pauer, Ernst, edition of Scarlatt 178 People's Concert Society, 56 Philharmonic Society, 54, 55 Piatti, Alfredo, 129 Pohl, C. F., Letter on his death (fac- simile betvfeen pp. 26-27) Pohl, R., 50 Popular Concerts, 53, 54, 55, 56 Potter, Cipriani, S3, 54 Queen's Hall Promenade and Sym- phony Concerts, 58 Raff, Joachim, 6, 52 Ravel, Maurice, 160 Redeker, Frl. (Lady Semon), 63 Regan, Anna, S4 Reger, Max, 160 Reimann, H., 33 Reinecke, Carl, 35, 62 Reinthaler, K. M., 35, 62, 203 ff. Remenyi (HofRnann), 5-7, no Richter Hans, 58, 62, 139 (note) Riemann, Hugo, Musik-Lexikon, 37 Rose Quartet, 62 Royal Academy of Music, 54 Royal Choral Society, 56, 211 Rubinstein, Anton, 43, 44, 52 RudorfF, Ernst, 35 Santley, Sir Charles, 54 Saxe-Meiningen, Court and Orchestra of, 26, 27, 58, 62 Scarlatti, Domenico, theme by, 178 Schiller, Ndnie, 214, 215 Schnack, Fritz, 24, 29, 31 Scholz, Bernhard and Frau, 11-13, 35 Schubert, Franz, Songs, 160 ; orches- trated by Brahms, 102 ; Am Meer, 107 ; Doppelgdnger, 174 ; Hark, hark, the lark, 164 ; Leyermann, 219 ; Wanderer, 91 ; Winterreise, 185 ; Fantasia-sonata in G for piano, 86 ; Wanderer- Fantasia, 83 Schubring, 15 Schtitz, Heinrich, 1^9 Schumann, Clara, 8, 9, 10, 22, 28, 31, 36, 39, 46, 47, S3, 61, 91, 93 {note), 186 ; Romance variie, 89 ; Variations on theme of Schumann, 88 ; Her opinion of Brahms's playing, 82, 83 ; Criticism of the pianoforte quartets, no; Of the later pianoforte pieces, 96 Schumann, Robert, 7, 8, 9, 23, 50, 60, 105, " Mynheer Domine," 133 ; Edition of his works, 102 ; \Bunte Blatter, 88; Fantasia, Op. 17, 90; Genoveva, 207 ; Part-song, Der Schmied, 164 ; Pianoforte Quartet, arranged by Brahms, lOl ; Sonata written jointly with Brahms and Dietrich, 8, 106, 107 ; Songs, In der INDEX 263 Fremde, 162 ; Mondnacht, 162 ; Symphony in D minor, 77, 11 1 ; Themes varied by Brahms, 88-90, 91, 92; Variations on theme of Clara Schumann,89 ; Festival, Bonn, 35 ; Festival, Zwickau, 39 Semon, Lady (Frl. Redeker), 63 Sengelmann, 16 Shakespeare, William, 63 Siebold, Agatiie von, 10, 36 Singakademie, Vienna, 200 Songs, Classes of German, 157 ff. Songs translated from the German, 188 Speyer, Mrs. Edward (Mile. Kufferath), 62 Spies, Hermine, 62 Spitta, Philipp, 37 Stanford, Sir C. V., 54 Steinbach, Fritz, 58, 62, 139 {fioti) Stockhausen, 53, 54, 62 Sullivan, Sir Arthur, 145 Tausch, Julius, 10 Tchaikovsky, 42, 43 Thalberg, Norma fantasia, 4 Thompson, Sir Henry and L>ady, 53 Tieck, Magelone, i&j Truxa, Frau, Celestine, 28, 29 Uhland's Braittgesang, 171; Volks- lieder, 171 (note) Verdi, Requiem, 44 Viardot-Garcia, Mme., 54, 62 Vienna Gesangverein, 102 ; Gesellschaft fllr Musikfreunde, 24, 29 ; Singaka- demie, 2CX> Vogel, J. B., 32 Wagner, 48, 67, 160; Parsifal, 197 ; Tristan, 197 ; Die Judenthum in der Miisik, 1 6 ; Opinion of Brahms, 14; Relations with Brahms, 39-42, 43 ; Supposed reminiscences of in Brabms's music, 87, 117, 123, 149, 197 Walther, Gustav, 63 'Wehhe,W.,Discourse of English Poetrie, 194 Weber, C. M. von, Moto perpetuo arranged by Brahms, loi Weyr, Rudolf, 29 Widmann, J. V., Recollections of Brahms, 33, 44 Williams, C. F. Abdy, The Rhythm of Modem Music, 73, 74 Wolf, Hugo, 27, 160 "WUrth, Karl," pseudonym of Brahms, 4 YsAYB, Eugene, 143 Ube (Sresbam presei UNWIN BROTHERS, LIMITED^ WOKING AND LONDON.