JOHANNES BRAHMS , fET. 20

A P E NC I L DRAW ING DU N E F ROM T H E L I F E I N 1 8 53 , AT DU ss ELDOR F , mv j. j. u. L A U R E N S ,uF MONT I'ELL I ER ( 1 80 1 T H E I 'OSSESS I U N O F F RAU P RO F E SSO R MAR IA lam E o r BuNN ,

WHnsE P E RM I SS I O N | T I S H E R E T H E O R IG I N A L m m wuxc H AS A N I NSCRH 'T I H N

LEcm LE N T H E REPRO DU CT ION ) Tu 'l‘

H E E F F ECT T H AT TH E DR AW I NG WAS DO N E ATscH U MANN

'

s R EQU E ST ; TH E A RT I ST'S N AM E 13 T H E R E S I 'HL ' I‘ ‘L A U R E NT ,’ AND T H E DAT E H A S

BE E N A L' I' EN ED TO 1 8 54

INTRODU CTORY NOTE ON

ENTHU SIASM

HE fol lowing pages a re certa in to inspire distrust

in the m inds of some readers because of their

enthusiastic tone. Now, although enthusiasm is no

longer considered a dangerous form of insanity, as i t

was in the eighteenth century, yet its presence is stil l

regarded as tending to obscure the judgment, a nd the

word conveys, whether intentionally or not,some idea of

a mood that is necessarily transitory. The lamp that is

trimmed gives the brightest a nd purest light, a nd the very

sound of“enthusiasm ” suggests some of the unpleasant

accompaniments of a n untrimmed wick. But is “en

thusia sm” rightly predicted ofall eulogy ? I s all eulogy

to be distrusted on the ground that no opinion ca n be at

once favourable a nd dispassionate ? One sees how absurd

the word sounds in regard to the supreme things ofthe

world in art a nd l iterature. Enthusiasm about the Bible,

Shakespeare, Dante,M ichel Angelo, or Beethoven savours

of a young ladies’ seminary, a nd 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 ofthe supreme things, enthusiasm

a nd impartiality were quite appropriately exhibited

vi BRAHMS

towards them . Surely a frame ofmind exists in which

admiration for the greatest things is unmixed with a ny

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 a nd steady delight. Perhaps the most recent

of the incontestably supreme things in the world ofmusic

to cal l forth a display of“ impartiality was the l ife-work

of Beethoven,upon whose death there were written

obituary notices which must amuse the modern critic,a nd should warn him against a timid excess ofcoolness.

The fact that the tone ofmany ofthe 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. I t may be wel l to make i t

clear that the fol lowing pages a re not written with a ny

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 diffi cult to get into

the position of a person who finds Brahms puzzling or

crabbed ; from the date ofthe early performances ofthe

first sextet at the Popular Concerts the master’s ways of

expressing himself, his idioms, have always seemed the

most natural a nd gracious that could be conceived. Not

that a ny unusual degree ofmusical insight ca n be claimed,nor a ny 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 a n artificial impartiality ” when the joy aroused

INTRODU CTORY NOTE ON ENTHUSIASM vu

by that first experience has spread a nd grown with nu

wavering steadiness for over thirty years, during which

each new work, as it appeared, has beeneagerly welcom ed

as a new revelation of a spirit already ardently loved. I t

may be remarked that on that first occas ion of encountering the name of Brahms on a concert programme, the

m usic was allowed to make its own impression. Musical ly

incl ined elders, anxious to train the young in the orthodox

ways, as orthodoxy was understood in the seventies, were

accustomed, with the best intentions, to cal l Handel sub

lime, Bach dry, Mozart shallow, a nd Mendelssohn sweet ;ofBeethoven they spoke in tones that reminded the child

ofSunday, tel ling him he could not expect to understand

it ti l l he wa s older, or to enjoy it til l much later thus, a ll

unconsciously, they damped for many years a ny ardour

he might have fel t for the great masters. But Brahms wa s

a new name a nd could not be “placed so that at once

a nd 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, a nd to speak so intimately as

even to destroy a ny wish for personal communication with

the m a n lest that might perchance detract from the

eloquence of his music.

I . A. FU LLER-MAITLAND

CONTENTS

CRAP .BIOGRAPH ICAL

I I . BRAHMS AND HIS CONTEMPORARIES

I I I . CHARACTERISTICS OF THE BRAHMS

IV. THE P IANOFORTE WORKS

V. CONCERTED MUSIC

THE ORCHESTRAL WORKS

THE SONGS

VI I I . MU SIC FOR SOLO VOICES IN COMBINATION

THE CHORAL WORKS

L IST OF THE COMPOS ITIONS OF BRAHMS, ARRANGEDIN ORDER OF OPU S-NU MBER S

L IST OF F IRST LINES AND T ITLES OF VOCAL

COMPOSITIONS

INDEX

LI ST OF I LLU STRATlONS

JOHANNES BRAI—IMS, JET. 20

From a pencil drawing by J. J. B. Laurens. By perm ission of FranProfessor Ma ria Ba ie

BRAHMS AND REMENYIFACING PAGE

From a daguerreotype in the possessionofMr. Edward Speyer

BRAHMS IN H IS LIBRARY

From a photogra ph by Fra uPeninger

AUTOGRAPH LETTER FROM BRAHMS

BRAHMS MONU MENT AT VIENNABy perm issionofMessrs . Breitkopf and Ha rte)

BRAHMS AND JOACHIMFrom a photogr a ph

BRAHMS CONDUCTINGFrom a dra wing by Prof.W. von Beckora th

BRAHMS AT THE P IANOFrom a dra wing by Prof. W. va nBeckera th

BRAHMS CONDUCTINGFrom a drawing by Prof.W. van Beckera th

BRAHMS CONDUCTINGFrom a drawing by Prof.W. va nBeckera th

BRAHMS CONDUCTINGFrom a drawing by Prof.W. vonBeckera th

BRAHMS CONDUCTINGFrom a drawing by Prof.W. vonBeeqa th

AUTOGRAPH CANON BY BRAHMS .

Reproduced from I . A. Fuller-H a itlnnd’

s Ma stersby perm issionofMessrs . Ha rper 8; Bros.

XI

Germ a n Music

6

BR AHM S

CHAPTER I

BI OGRAP HI CAL

HE advanta ges of a n uneventfu l life, so obvious inthe case of the happy nations that have no

history, a re less patent in regard to artistic careers.Goethe’s “Wer nie seinBrod mit Thranen ass is one of

the most hackneyed quotations in existence, a nd is alwaysbrought forward to prove the great benefit resulting frompersonal affliction upon the minds of thosewho deal withthe arts. I t IS soeasy to showby its means that one m a n

must have been a n excel lent painter beca use he could not

get on with his wife, another a fine poet beca use hecommitted suicide, or that the operas of a third mustbe of excel lent quality because the composer forged abanknote. Had Beethoven been the uncle of a respectable nephew instead of a hopeless ne

’

er-do-weel, hadWagner prolonged his wedded life a nd not meddled with

pol i tics, had Schubert been rich instead of poor, hadHandel kept his eyesight, we may be sure that certainwriters of the present day would have been found toplace them , on this account, among the composers of

8 l

2 BRAHMS

whom Mendelssohn is the popular type, with his unfailingoutward prosperity a nd his frequent lapses from musicalgreatness. We may admit that the indigestible characterofmodern Russian food has had much to do with thepessimism of modernRussianmusic ; but the bread oftearsis seldom made offlour, a nd many a great m a n has eaten i twhose outward life seems to have passed in a n unruffied

calm, a nd whose biographer is at his wits’

end to findsome stain on his reputation, some skeleton in the cupboard to be brought forth as evidence ofhis close intimacywith the “heavenly powers.

” These skeletons do undoubtedly serve the purpose ofawakening interest in thework of the owners of their cupboards ; a nd the publicvogue of a m a n with whom scandal has been busy isnaturally greater than that ofone against whose conductnothing ca n be adduced. I f a man’s work declare itselfas ofsupreme quality throughout, a nd prove that he hasbeen “ commercing with the skies

,

”we a re surely per

m itted to regard him as a rare exception to Goethe’s rule,

or to admit the possibility that his sorrows may have beenreal enough, even though they were hidden from the

keenest human eye. A man’s creations a re far surerevidence of his emotional range than a ny l ist of socialupheavals, personal privations, or scandalous actions a nd

while those whose being vibrates to every characteristicmood of a musician’s art need no outside testimony to

his greatness, the less fortunate persons to whom that artis a sealed book a re not l ike ly to be convinced of itsimportance by a categorical account of the sorrows themusician endured.

Such a n outwardly uneventful l ife was that of JohannesBrahms, a nd it is only necessary to give a rapid summaryofthe main facts, pointing out the few incidents which

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4 BRAHMS

Norm a fantasia, a nd at the second a duet by the same

popular virtuoso with F rau Meyer-David, the concertgiver. Nearly a year afterwards, on 2 1 September, 1848,he gave a concert ofhis own, a t which he played a fugue

ofBach, besides other things more suited to the taste of

that day. On 14 April, 1 849, he gave another concert,playing the “Waldstein ” sonata of Beethoven, some

popular pieces, a nd a fantasia by himself“on a favourite

waltz.

”After this formal opening ofhis career as a n

executant, he had to endure the drudgery of playingnight after night in dancing saloons. During the nextfive years his l ife must have been a hard one, a nd

perhaps some of the necessary brea d oftears was eatenat this time. Various small engagements, one ofwhichwas that ofaccompanist behind the scenes ofthe StadtTheater

,a nd teaching (at the high fee ofabout a shil l ing

a lesson) occupied him, a nd in his spare time he readvoraciously, poetry turning itself, half consciously, intomusic in his brain. Many songs were composed at this

period of his life, when he was compel led, like Wagner,to do hack-work for publishers in the way ofarrangementsa nd transcriptions, operatic a nd otherwise ; these werepublished under the pseudonym of“ G. W. Marks, a nd

it would seem as though another nom de plum e,

“KarlWiirth, was kept for work ofa more ambitious kind

,such

as duet for piano a nd Violoncel lo, a nd a trio for pianoa nd strings, which were played at a private concert on

5 July, 1851 , a nd duly announced on the programme asthe work of Karl Wiirth ” a copy of the programme isstil l in existence on which Brahms has substituted inpencil his true name for the other.Not till 1853 did a brighter day dawn for the com

poser. A certain viol inist named Rem ényi, whose real

BI OGRAPHI CAL 5

name was Hoffmann, a nd who was ofa mixed German,Hungarian, a nd Jewish origin, had appeared in Hamburgas early as 1849, ostensibly on his way to America withother Hungarian refugees. He found the “ farewel lconcert as profitable as numberless English artists havefound it at various times, a nd after the departure ofhiscompatriots for the U nited States he still l ingered on in

Hamburg until 18 51 . He then seems to have gone toAmerica for a time, but he reappeared, at first in Paris, in1 852 , a nd at Hamburg again in the winter of 1852—3.

I t was arranged that Brahms should act as his aecom

pa nist at three concerts, at Winsen, L iineburg, a nd Cel le,a nd finally should proceed thence to Hanover, whereJoachim was court concertmeister leader of the

band), a nd assistant capellmeister (conductor), havinggiven up his position as leader ofthe opera orchestra .

The number ofconcerts was extended to about seven inall, at which the same programme was gone through bythe two performers. Beethoven’s sonata in C minor fromOp. 30 was the most important composition performed.

At Cel le, where the only decent piano was a semitone too

low for the viol inist’s convenience, Brahms undertook to

play the sonata in C sharp minor, at a moment’s notice.

Rem ényi was not a great artist, a nd would be ofsmallimportance in the career of Brahms if he had not

happened to beslightly acquainted with Joachim.

The meeting between Joachim a nd Brahms, which was

the beginning of a lifelong a nd most fruitful intimacy,took place at Joachim

’s rooms in H a nover,I a nd it was

obvious to the older m a n that Brahms was no ordinarymusician. In the oration pronounced by Joachim at

the dedication of the Brahms monument at Meiningen,

See Miss Ma y’s Life, i. 106, note.

6 BRAHMS

7 October, 1899, this first meeting is thus referred to

I t was a revelation to m e when the song 0 versm k’

struck my ears. And his piano-playing besides was so

tender, so full offancy, so free, so fiery, that it held m e

enthralled . After hearing such compositions as the youngcomposer had brought with him,

which included variousmovements of sonatas, the scherzo Op. 4, a sonata for

piano a nd viol in, a trio, a nd a string quartet, beside severalsongs

,Joachim saw plainly that the association with a

performer of R em ényi’

s stamp was not l ikely to be alasting one, a nd he invited Brahms to visit him at

Gottingen (where he— Joachim— was about to attendlectures) in the event of his tiring of his present post.There was some discussion between the two as tothe order in which it would be advisable to publishBrahms’s early com positions .

I At the time Joachimcould do no more than give Brahms a letter ofintroduction to L iszt, as the pair of players intended to go to

Weimar. The account ofthe interview with L iszt, givenby Wi l liam Mason,

who was present, may be read inM iss May’s L ife.

2 That L iszt played at sight the scherzoa nd approved of its style, is the one fact that is reallyimportant ; it is curious to read that after R aff haddetected its (very obvious) l ikeness to Chopin

’s pieces inthe same form ,

Brahms assured a friend that he had noknowledge whatever ofthe Polish master’s scherzos . The

reception ofthe two players by L iszt was of the mostcordial, a nd they found, what so many others found beforea nd afterwards, a n atmosphere offlattering appreciation,practical kindness, a nd surroundings which could not butappeal to a ny ardent a nd artistic soul. I t was L iszt’s wayto express to the full all the admiration he fel t, but on

See thejoa c/n'

m Correspondence, i. 10 - 12 .

2 Vol. i. 1 10 .

BIOGRAPHICAL 7

this occasion a letter ofhis to Bulow I proves that hereally thought highly of the C major sonata. For Six 2

w eeks the fellow-travel lers stayed at Weimar, but

gradually it became clear to Brahms at least that the spel lofArmida’s garden must be resisted, a nd every nightwhen he went to bed he resolved to cut the visit short,but every morning a new enchantment seemed to be putupon him, a nd he stayed. The charm was broken almostas effectually as that ofVenus in Ta nn/zd

’

user , but in a lesspoetical manner. Wi l l iam Mason tel ls us in his M em or ies

qfa Musica l L ife that L iszt was on one occasion playinghis beloved sonata in B minor, a nd

,glancing round at

a very expressive moment ofthe piece, saw that Brahmswas slumbering peaceful ly ; the composer stopped abruptly

a nd left the room . The figure of R em ényi goes out

of the story ; his po l itical a nd musical proclivitiescontinued to appeal to L iszt, a nd in the year after hewas made viol inist to Queen V ictoria. Although armedwith Joachim ’s letter, Brahms hesitated for some l ittletime before presenting himself to Schumann at Diisseldorf.

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, Fra uleinLouise

Japha,had unbounded admiration. Brahms had sent

Schumann a number ofhis early compositions in 18 50 ,

when Schumann was at Hamburg ; but the o lder masterwas then too busy to Open the parcel. When he didmake up his mind to go over from Mehlem , where he hadbeen staying almost ever since his departure from Weimar,he was welcomed at once by the Schumanns,whose ex pec

ta tions had been aroused by Joachim . When Brahms sat

F r a nz Liszt, von Julius Ka pp, p. 2 8 1 .

2 According to Ka pp, p. 2 80 Ka lbeck sa ys the tim e wa s 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,

”a nd he told his wife, when she

came into the room ,Here, dear Clara, you will hear such

m usic as younever heard before now, begin again, young

m a n '” They kept Brahms to dinner, a nd received him

into their intim a cy.

I To Joachim Schumann wrote the

memorable words, This is he that should come” —words

which,with the equally fam ous article, New Ba knen,

claimed for Brahms a place in the royal succession of

the great German composers. The article was al l themore powerful since Schumann broke in i t his four years’

silence as a critic. I t was not a n altogether unqualifiedbenefit to Brahms, seeing that it naturally aroused muchantagonism both among the many musicians who did not

yet know Brahms’s compositions, a nd also among the few

who, knowing them,did not l ike them . In October,

1 853, Brahms collaborated with Schumann a nd AlbertDietrich in the composition of a sonata for piano a nd

viol in as a present ofwelcome to Joachim , who visitedDusseldorf. The first movement, by Dietrich, a nd the

intermezzo a nd finale by Schumann, have not been published, as Joachim, who possessed the autograph

, con

sidered the latter master’s contribution not to be quiteworthy of him, a nd to Show signs ofthe mental ailmentwhich was so soon to overshadow him ; but he gave permission for the publication, after Brahms

’s death, ofthe

scherzo in C minor, which was the youngest man’s share.

Later in the same year came a visit to Leipzig, a nd a n

appearance at the Gewandhaus, at one ofDavid ’s quartetconcerts, in which Brahms played his own C ma jor sonata

Dr. A. Schubring’s Schum a nm

'

a na , quoted by Ka lbeck, [Ma nner

Bra hm s,-i. 12 1 .

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I O 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 indue course.

In 18 56, after Schumann’s death, Brahms arranged to

rel ieve Madame Schumann ofsome ofthe lessons she wasengaged to give, a nd among the pupils was a F ra uleinLauravon Meysenbug, whose father a nd brother were officials atthe court ofL ippe-Detmold

,a nd whose mother was a n a c

compl ished amateur pianist. P rincess Friederike ofL ippe

Detmo ld was another ofMadame Schumann’s pupils, a nd

in consequence ofthe connection thus formed,Brahms wasoffered a kind of informal appo intment at the court of

Detmold,where he was to conduct a choral society recentlyre-organized

, to perform at the court concerts, a nd to con

tinue the P rincess’s musical education. H is duties onlylasted through the winter season, from September to

December, a nd he gained much useful experience as aconductor during the two years ofhis engagement at thecourt

,which he retained until January, 1860 . About this

time he made the acquaintance ofa young GOttingen lady,F rauleinAgathe von S iebold,with whom he seems to havefallen in love there a re various signs that it was a serious

passion on his part, but worldly considerations made amarriage out of the question, a nd the fact that in hisG major sextet there occurs this theme in the first movement is the most important record ofthe episode.

1L

In 18 59 the first performance of the D minorconcerto for pianoforte, with the composer in the so lo

See Litzm ann’s Cla ra Sel mm a m z, iii. 70 .

BI OGRAPHI CAL 1 1

part, took place at Hanover, Leipzig, and Hamburg,

being received at the first two very coldly. At the

Gewandhaus of Leipzig its reception was distinctlyunfavourable but Brahms took his repulse phIIOSOphica lly,a nd in a letter to Joachim (who had conducted it atHanover) he says :

“ I bel ieve it is the best thing thatcould happen to m e ; for it compels one to order one’sthoughts a nd to pluck up courage for the future.

”

I t is perhaps significant that the loudest notes of

disapproval were from the extreme classicists ofLeipzigthe partisans of the new school ofWeimar found more init to praise, a nd it is greatly to their credit that they hadthe courage to say so. I t has been suggested tha t this

praise was bestowed as part ofa del iberate plan to get

ho ld ofBrahms’s allegiance to thenew school a nd its tenetsbut whether it was so or not, the event showed that hisdevotion to the classical models had undergone no change.

Brahms’s position in regard to the new school was settledonce for al l by a n awkward accident. In 1860 , it hadbeen given out in the New Zez

'

tscizrg'

ft fz'

e'

r Musz’

k, the

organ of the new school, that al l the most prominentmusicians of the day were in favour of the “ musicof the future, as i t was cal led. Brahms fel t it to

be his duty to protest against this falsehood, a nd con

sented to Sign a document expressing disapproval ofthehigh-handed a nd who l ly gratuitous assumption ; the

E rkla'

m ng seems to have been written by Joachim a nd

Bernhard Scholz, a nd a great number of influential

m usicians undertook to subscribe it, but while it wasactually going round for

.

signatures, a version of it got intoprint in the Berlin Eeko, with only four names appended

to it that those of Brahms a nd Joachim were among the

Seeja de/rim Correspondence, i. 227-9.

1 2 BRAHMS

four was, of course, not forgotten nor forgiven by the

Weimar partisans.t

The text of the famous “Declaration may be thus

translated

The undersigned have for some time fol lowed withregret the course pursued by a certain party, whose organ

i s Brendel’s Zez'

tscizrzfi fur M a sz'

k.

The said Zez’

tscbrzft gives wide publicity to the opinion

that musicians ofearnest aims a re in agreement with thetendencies followed by the paper, a nd recognize in the

compositions of the leaders of the movement works of

artistic value, a nd that the dispute as to the so-called“ Music of the Future has been already fought out,

particularly in North Germany, a nd decided in favour of

the movement.The undersigned consider it their duty to protest

against such a misstatement of facts, a nd to declare fortheir part at least that they do not recognize the principlesexpressed in Brendel

’s Z a nd that they ca n onlybewail or condemn, as against the inmost a nd essentialnature ofmusic, the productions ofthe leaders a nd pupilsofthe so-called “ New German ” school

,which on the one

hand give practical expression to these principles, a nd on

the other necessitate the establishm ent ofnew a nd un

heard-oftheories .

JOHANNES BRAHMS.

JOSEPH JOACH IM .

JU L I U S OTTO GR IMM.

BERNHARD SCHOLZ.

On the whole ’question of the letter, a nd Bra hm s’s a ttitude towa rds

it, see the joa clzz'

m Cor respondence, i. 257, 268—9, 2 74 , 279. Also

Ka lbeck, i. cha p. x.

BIOGRAPHICAL 13

This wa s accompanied by the fol lowing letter to thosewho were invited to add their names

We feel that all to whom this is presented for signaturemay wish to add much to this declaration ; as we believethat each of them is in perfect agreement with the senseof the foregoing, we beg them earnestly to reflect on the

importance ofnot putting aside the protest, a nd we havetherefore tried to sim pl ify the above document sent forsignature. In case you a re willing to associate yourselfwith us, we ask you to send in this page, duly signed, toHerr Johannes Brahms, Hohe Fuhlentwiete 74, Hamburg.The declaration with the names in alphabetical order wil lbe published in the musical periodicals.

s e a éove signa tories.

I t is obvious that every additional name would haveadded greatly to the effect ofthis document, which may ormay not have been a very politic one but with only fournames, although these included two ofthe most prominentof the German classicists, it could not but excite derision,a nd foster the inimical feel ings ofthe m en at whom itwas directed. I t was, as we ca n all see now, a n ex

pedient of no practical util ity whatever ; but there a re

moments when i t is beyond human power to resist thetemptation to nail to the counter such lies as had beenuttered in the newspaper. Music, surely more than the

other arts, has been l iable to these outbursts of personalfeel ing, a nd every artistic revolution in its history mustha ve stirred up recriminations ofone kind or another.Happily we do not know exactly in what terms Palestrina a nd the masters of the polyphonic school of thesixteenth century were attacked by the m en who strovefor some new means of expression. We know a good

14 BRAHMS

deal more about the war ofthe Gluckists a nd P iccinnists

in Paris,a nd more stil l about the silly rivalry between

popular Singers in the period of Hande lian Operas in

London. In Germany the lovers of music a re alwayscuriously a pt to take s ides a nd split into two opposingparties, a nd 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 responsiblefor the handing down of a great tradition in its purity,a nd that it should exaggerate the iconoclastic intentionsofthe other side is perhaps inevitable the party identifiedw ith tendencies that a re new will, of course, secure theapproval ofthe majority ; a nd, while always ready enoughto pose as martyrs for truths that have been revealed to

them alone, will as certainly minimize a ny originalitywhich the works ofthe classicists may display. We knownow that the “Declaration” was not a protest by hidebound pedants against all the modern tendencies, butwas really directed a gainst special heresies which weretraced in some of L iszt’s Symphonic Poems . Brahms,as appears from his correspondence with Joa chim ,

I was

particularly anxious not to include the music ofWagnerin his condemnation of the modern tendencies

, a nd itmust not be forgotten that the friends did not take the

initiative in the matter, but were bound to traverse the im

plied statement that al l the eminent musicians ofGermanywere on the one S ide. While we know that the classicalforms seemed to him sacred

, yet on occasion he foundit expedient to modify them in var ious ways

, not froma ny poverty ofhis own ideas

,but as it were to encour

a ge the natural development ofa living organism . The

new school,”for whose thoughts the older forms were

i. 274 .

B IOGRAPHI CAL I 5

too scanty or too strictly defined, did, after al l , verylittle indeed towards a ny really fruitful development ofmusical form, a nd it is hard to get rid of the suspicionthat the older forms were thrown aside by their leaderon account of the easily recognized difficulties they

present to one whose musical ideas a re virtually without distinction. I t is idle to guess what m ight have beenthe state ofmusical parties in Germany at the presentday if the Weimar schoo l had confined themselves tothe accurate statement that a large number ofmusicianshad embraced their principles ; but i t is hardly probablethat a ny degree ofpersonal or artistic intimacy could everhave endured between m en whose constitutional modestymade them hate all that was tawdry, a nd those to whom

the adulation ofa large public was as the breath of theirnostri ls, a nd who cared little for the real merits oftheirmusic as long as it was l ikely to surprise or tickle the

ears of thei r audiences.

L iszt’s admirable breadth of view, his boundlessgenerosity towards musicians of every kind

,a nd his sur

passing genius as a n executant, must have counted for verymuch in his own day ; but there is no gainsaying the

fact that adoption ofhis methods ofcomposition a nd of

artistic ideals based upon his, has brought German m usicinto a most singular state at the present time. I t is clearthat Brendel himself thought he had gone rather toofa r in support ofthe Weimar clique ; for he afterwardsal lowed Schubring to express his convictions that Brahmswas one ofthe giants ofmusic, a m a n on the level ofBach

,

Beethoven, a nd Schumann, a nd had to make his peacewith the “

new composers as best he might in a“ hedging a rticle,

I in which he makes a somewhatludicrous attempt to run with the hare a nd hunt with the

Ka lbeck , i. 490 .

16 BRAHM

hounds. The extraordinary warmth of feel ing exhibitedby the new school after the “Declaration a nd after the

memorable letter written by Joachim to L iszt has been,no doubt rightly, ascribed to the great influence wieldedby Joachim , a nd in a lesser degree by Brahms. Had the

New Schoo l ” realized how many a nd how influentialwere 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 havebeen so exclusively against Brahms a nd Joachim a nd itis even possible that Wagner’s famous jua

’entlzum in der

Muszlé , the pamphlet which rendered a ny idea ofreconciliation for ever impossible, might never have been written.

The names of those who had promised to support the“Declaration a re referred to in the letters betweenJoachima nd Brahms, but it does not appear that they were made

in a ny way public before the issue of the correspondencein 190 8 .

At Hamburg Brahms was busily a nd congenial ly occu

pied as conductor of a choir of ladies, on whose behalfhe wrote the various sacred a nd secular works for femalevoices which a re so numerous among his early opusnumbers. Many more were written, but were burnt bythe composer, all but a single part (second soprano), inwhich Ka lbeck discovered the germs of several matureworks 2 The cho ir was developed from the fortuitousassociation of some ladies in the music arranged byGradener for the marriage ofa pastor named Sengelm a nn

with a F raulein Jenny von Ahsen. Brahms played theorgan at the ceremony, a nd Gradener composed a motetfor female voices, the effect ofwhich was so good, that

Moser’

sjoseplzjoa efiim , p. 151 . English tra nsla tion, p. 167.

i. pp. 277, 386.

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18 BRAHMS

fiuz'

ret, gesungen werden durfte, als mochte es noch a n der

Zeit sein dieses Opus a n das Tageslicht zu stel len.

P ro prim o w'

a re zu rem a rquiren dass die Mitgliederdes F r a uenchors d a sein m iissen.

“ Als wird verstanden ; dass sie sich oélzgireu sol len,den Stehungen und Singungen der Societa t regelm a ssig

beizuwohnen.

So nun Jemand diesenArticul nicht gehorig observiretund, wo Gott fiir sei, der Fal l pa ssirete, dass Jemand widerjedesDecorum so fehlete, dass er wahrend einesExercitium s

ganz fehletesol l gestraft werden mit einer Busse von 8 Schill ingen

H C (Hamburger Courant).P ro secuua

’o ist zu beachten, dass die Mitglieder des

F rauenchors d a sein m iissen.

“AIS ist zunehmen, Sie sollenpra ecise zur anberaumtenZeit da sein.

Wer nun hiewieder also sundiget, dass er das ganzeViertheil einer Stunde zu sp

'

a t der Societa t seine schuldigeR everentz und Aufwartung machet, 5 0 11 um 2 SchillingeH.C. gestra fet werden.

I hrer grossenM eriten um denF ra uenchor wegen undin Betracht ihrer verm uthlich hochst mangelhaften und

ungliicklichen Complexion, so l l nun hier fiir die nichtgenug zu fa vorireua

’e und a a

’

orireua ’e Dem oiselle L a ura

Ga rbe ein Abom zem eut hergestellt werden, wesm a ssen sie

nicht jedesmal zu bezahlen braucht, sondern aber ihro a m

Schluss des Quartals eine m oderirte Rechnung praesentiret wird )

P ro ter tio : Da s einkom m ende Geld mag denenBettel leuten gegeben werden und wird gewiinscht, dassN iemand davon gesa ttiget werden m Oge.

P roqua rto ist zumerken, dass dieMusika lieugrossen

BI OGRAPHI CAL 19

theils der Discretion der Da m es a nvertrauet sind . Derohalben sol len sie wie fremdes E igenthum von den ehr und

tugendsamen Jungfrauenund F rauen in rechter L ieb undaller H iibschheit gehalten werden, auch in keinerlei Weiseausserhalb der Socz

'

eta'

t werden.

“ P ro guirzto : Wa s nicht mit Singen kann, das sehenwir als ein Neutrum a n. Wi l l heissen : ZuhOrer werdengeduldet indessen aber pro or a

’ina rio beachtet, was Gestalt

sonsten die rechte Nutzbarkei t der Exera'

tia nicht bescha ffet werden m Ochte.

Obgem eldeter gehorig spea fi zirter Erlass wird durch

gegenwa rtiges Genera l-R escript a njetzo jeder m anniglich

public gemacht und $0 11 in Wiirden gehalten werden, bisder F ra ueuc/zor seine Endscha ft erreichet hat.

“ Sol l test du nun nicht nur vor dich ohnverbruchlich

darob halten,sondern auch alles Ernstes daran sein, dass

andere a ufkeinerlei Weise nochWege da rwider thun nochhandeln m Ogen.

An dem beschiehet U nsere Meinung und erwarte a ero

gewiinschte und wohlgewogene Approba ti'

on.

Der ich verharre in tiefster Devotion und Vener a tion

des F rauenchors allzeit dienstbeflissener schreibfertiger

und taktfester

JOHANNES KRE I SLER , JU N.,

a lia s : BRAHMS

Geben aufMontag,den 3oten. des Moua ts Aprili.

“A.D.

I t is far from easy to convey the exact meaning ofthe

quaint old-world language, a nd to render it by a ny adequate

The words in ita lics a ppea r in Rom an type in Ka lbeck’

s Life, the rest

being in Germ a n cha ra cter.

20 BRAHMS

English equivalent seems quite impossible ; the followingtranslation aims at nothing more than giving the general

drift of the document

AVERTIMENTO

Inasmuch as it is a nundoubted enhancement of pleasure

that it should be wel l-regulated a nd in order, it is herebydecla red a nd made plain to those inquiring spirits whowish to become members of the very useful and lovelyLa dies’ Choir, that they must sign the whole of the clausesa nd periods of the here-following script, before they ca n

enjoy the above title a nd ta ke part in the musical enjoyment a nd diversion.

I ought to have got the thing started before now,I but

(from) the advent oflovely spring until the end ofsummer,

is a season proclaimed as the most fitting for singing, a ndthe time is ripe for the execution ofthe scheme.

In the first place, it is to be noticed that the membersof the Ladies’ Choir a re to be t h e r e .

That is to say : they shall undertake to attend regularlythe meetings a nd practices ofthe Society.

Ifa ny one shall not observe this condition, a nd if thecase should happen (which Heaven forfend that a ny one

Should so err against decorum as to miss a whole practice

I The m ea ning of the phra se unter der Ba nk wischen is clea rly,“ to

sweep under the bench,”but it is difficult to be sure inwha t sense the phra se

is used. On the one ha nd, it ha s been suggested tha t it refers (a s a phra se

usua l inHa m burg houses ) to the periodical Spring clea ning,” but it is m ore

proba ble (considering the lega l cha ra cter ofthe whole docum ent) tha t the“ Ba nk referred to is the “ lange Ba nk,” or shelf, on which deeds werepla ced in rows, those not im m edia tely wa nted being pushed a long it, so tha t

to shove anything a long the long shelf”m ea ns to postpone it indefinitely.

Conversely, inthe a bove, I should ha ve swept it out from under the shelf”

m a y bea r the m eaning suggested in the text, but the genera l gist ofthe pa ra

gra ph is clea rly to confine the chora l pra ctices to the spring a nd sum m er.

BI OGRAPHI CAL 2 1

she shall be m ulcted in a fine of 8 shill ings

(Hamburg currency) .In the second place, i t is to be noticed, that themembers

of the L adies’ Choir a re to be t h e r e .

That is to say,they shall be punctual to the appointed

time.

Ifa ny one so transgresses as to be a whole quarter ofa n hour too late in paying his due respect a nd attendanceto the Society, he shall be fined 2 shillings (Hamburgcurrency).

(On account ofher great merit in regard to the choir,a nd in respect ofher probably highly faul ty a nd unfortunate [del icacy of]constitution, a subscription shall be gotup for the never-enough-to—be-favoured-a nd-adored Dem oi

sel le Laura Garbe, so that she need not pay every time [that

she is absent or late], but that a reduced account shall bepresented to her at the end ofthe quarter.)

In the third place, the money so col lected may be given

to the poor, a nd i t is hoped that none ofthem will be sur

feited therewith .

In the fourth place, i t is to be noticed, that the musicis for the most part confided to the discretionofthe ladies.Therefore the honourable a nd virtuous ladies, married orsingle, shall preserve i t neatly a nd fairly, l ike the property

ofsome one else, a nd it is by no means to go outside

the so ciety.

In the fifth place : Whatsoever cannot sing with us, weregard as ofthe neuter gender. That is to say, L isteners

a re tolerated, only so far as they do nothing that couldinterfere with the practical utility ofthe practices.

The above permission is definitely made by the presentdocument, a nd shall be observed by each a nd all of the

public,until the Ladies’ Choir shal l come to a n end.

2 2 BRAHMS

Yousha l l not only comply with this without fail, butshall do your best endeavour to prevent others from

disobeying the rules.To whom our decisions a re submitted [P]a nd whose

desired a nd wel l-weighed approval is awaited in deepestdevotion a nd veneration ; by the Ladies

’ Choir’s diligent

ready-writer a nd time-beater,

JOHANNES KRE I SLER , JU N.,

a lia s BRAHMS

I t is not surprising to hear that the joke about

Demo iselle Garbe a nd her frequent unpunctuality was

not especially pleasing to the poor lady, who consultedF rau Schumann about it. That lady, who was one of

those who signed the document as being a member oftheLadies’ Choir, pointed out that in such a document as thisher name would be handed down to posterity. I t all seemsa little childish, a nd the whole business ofthe rules has, ofcourse, lost a good deal of what point it ever had, but itseems worth preserving for its quaint phraseology. F rau

Schumann’s presence in Hamburg at the date of the document is denied by M iss Ma y,

I but Ka lbeck says that Sheplayed on 20 Apri l, ten days before the above date, ata concert of Otten’s Musical Society, at which Brahmsrepeated the so lo part in his il l-fated concerto. I t wasawkwardly placed in the programme, a nd the reception of

the first movement was so unfavourable that the composer

got up a nd whispered to Otten, the conductor, that hemust decline to go on with the work. Happily Ottenpersuaded him to finish it. The episode has nothing ini tself remarkable, but in regard to the failure of this work .

here a nd in Leipzig, we a re in danger of forgetting that

L ife, i. 254 .

BI OGRAPHI CAL 2 3

Brahms’s stoical manner was only assumed, a nd here wesee how sorely he fel t the attitude ofthe public. I t mayor may not have had to do with the composer

’s slowlyformed determination to go a nd l ive inVienna, which hevisited in 1862 , apparently meaning to remain only a shorttime.

The migration from Hamburg a nd the ultimate adoption ofVienna as a home, is generally a nd convenientlyheld to mark the principal division in the outward careerofBrahms. An appointment to the conductorship of theVienna S ingakademie was perhaps the immediate cause of

the change of abode, a nd although the oflice was onlyretained for a year or two, yet, by the time Brahms gave itup, Vienna had become so attractive to him that he madeit his head-quarters for the rest ofhis life. The conceptiona nd completion ofhis great Deutsc/zes R equiem occupiedhim chiefly for the next five years or so. Not that hislabours in other fields were unimportant, for the com

positions ofthe early Viennese period include his two mostexacting pianoforte so los, the Handel a nd Paganini ”

variations,the two quartets for piano a nd strings, Opp. 2 5

a nd 26, the quintet in F minor, Op. 34 , the M ageloue

romances, a nd many other vocal works. I t is, happily,unnecessary for the ordinary lover ofBrahms’s R equiem to

settle definitely whether it was intended to enshrine the

memory ofthe composer’s mother (a theory supported by

the disposition of the fifth section,the famous soprano solo

a nd chorus, a nd by the direct testimony of Joachim a nd

other friends), or whether it was, as strenuously argued byHerr Ka lbeck, suggested by the tragedy of Schumann

’send. Possibly both a re in a measure true ; the composermay have been first led to meditate on death a nd itsproblems by the death ofSchumann— the first deep per

24 BRAHMS

sonal sorrow he ca n have known— but we know that inchronological sequence its composition followed his ownprivate loss. F rau Brahms died in 1865, a nd the R equiemwas completed in 1868 by the addition of the numberalready referred to. Before the performance of the firstthree numbers the widower had married again, a ndthere a re few things more beautiful in Brahms’s l ife thanhis conduct to his stepmother, over whose interests, a ndthose ofher son by a former marriage, F ritz Schnack, hewatched with rare loyalty. H is father died in 1872 , F rauCaroline Brahms surviving her i l lustrious stepson by fiveyears. About the period ofthe R equiem , or rather later,came several other works in which a chorus takes part,such as R ina ldo, for male voices, a nd three ofthe noblestchoral compositions in existence : the R itapsoa

’ie, for con

tra lto solo, male choir, a nd orchestra ; the Schicksa lsliea’

a nd Triumplzliea'

,the last, in eight parts,with solo for bass,

in commemoration ofthe German victories in the war of1 870—1 . For three seasons, 1872—5, Brahms was con

ductor ofthe concerts ofthe Gesel lschaft der Musikfreunde,a nd the programmes ofthe period given inM iss May

’s L ifea re enough to fi l l us with envy. During this time hismusic was continually advancing in popularity, a nd the

great public ofVienna was conquered by the remarkable

performance ofthe R equiem there on 2 8 February,1875.

This new attitude ofthe public gave the cue to the rest ofthe world, a nd during a tour in Hol land in 1876 even theD minor concerto roused enthusiasm when the composer

played it at U trecht. The“Haydn variations for orchestra

were given in various musical centres, always with greatsuccess, but it was the first symphony, in C minor, thatstamped Brahms as the legitimate representative ofthe greatdynasty ofGerman composers. I t had been long expected ;

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BIOGRAPHICAL 2 5

for the musical world must have realized that the m a nwhocould show himsel f so great a master of thematic development as Brahms had done in many chamber compositions

(the last of which were the three string quartets, Opp. 51a nd 67, a nd the quartet for piano a nd strings

,Op. a nd

who could handle the orchestra so skilfully as he hadhandled it in the Haydn variations, could give the

world a new symphonic masterpiece. As such the workin C minor could hardly be universally accepted at onceif it had not stirred up opposition a nd discussion, its realimportance might wel l have been questioned, but by thistime Brahms himself most probably cared but little for theopinions of friendly or adverse critics, although his warmheart was always appreciative of the enthusiasm of hisintimate friends ; a nd the verdict ofsuch people as Joachima nd F rau von Herzogenberg was always eagerly awaitedby him . Inmany cases their criticisms were followed, a ndalterations made in deference to them . The first symphonyis one of the great landmarks in the history of Brahms’spopularity in England ; for when i t was quite new the

U niversity ofCambridge offered to the composer a nd to

Joachim the honorary degree ofMus .D., which cannot begranted in a bsentia . Joachim would in a ny case be inEngland, a nd Brahms hesitated for some time whether toaccept the invitation, but finally refused it in consequenceof the publicationofa premature announcement concerninghis appearance at the Crystal P alace. He acknowledgedthe compliment of the U niversity by allowing the firstEnglish performance ofthe new symphony to take placeat a concert given by the Cambridge U niversity Musical

Society on8 March, 1877, a nd i t was conducted by Joachim,

who contributed his own Eleg ia c Overture, conducting i thimsel f, a nd playing the solo part ofBeethoven

’s concerto.

Autograph letter from Brahms to a correspondentunknown (but not impossibly Sir George Grove), relatingto the death of C. F . Pohl, the biographer ofHaydn,who died in Vienna in April, 1887. Facsimile includedby kind permission of the Brahms-Gesellschaft, a nd

ofW. Barclay Squire, Esq., the owner of the originalletter.

TRANSLATION

DEAR AND MUCH HONOURED SI R ,P lea se a ccept a t this tim e m y tha nks a ndfriendlygreetings.

Things ha ve not a ltered with us m uch of la te [litera lly, In our

ca se the recently or quickly pa ssed tim e ha s not signified m uch].We still deplore our friend m ost Sincerely. I a m a s gra teful a s I

wa s before for your expressions offeeling. In the course ofthewinter I ha ve seen our sick friend often, never without hisrem em bering you a ffectiona tely. He never la cked sym pa thy

a nd loving ca re, a nd the excellent people with whom he liveda re highly to be com m ended in tha t respect . A few days beforehis dea th, I went to I ta ly, a nd only found your letter when I

returned to Thun.

“ I t wa s a grea t plea sure to m e to rea d your words, a nd to

know them a ddressed to m yself. Will you let m e a ga in tha nk

you for them ? My tha nks com e from the heart, a s they m ustwhen I think ofour friend, the best a nd m ost a ffectiona te fellowon ea rth. With hea rty greetings,

Your devoted,“

J . BRAHMS ”

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28 BRAHMS

forte pieces, Opp. 1 16—19, of the Germ an folk-songs, of the

works suggested by the masterly clarinet playing of

P rofessor Muhlfeld, a nd ofthose wonderful Ernste Gesc’

iuge

which close the master’s list of compositions with suchnoble meditations on death a nd what l ies beyond the

grave. These were partly inspired by the death ofF rau

Schumann on 20 Ma y, 1896, which was a terrible shock toBrahms ; mentally, he was grievously afflicted by it, a ndphysically he never completely recovered from a chil lcaught at her funeral. Between this time a nd his owndeath the only work he accomplished was the arrangementofa set ofeleven chorale-preludes for the organ, written atvarious dates, though not published til l after his death.

In September, 1896,he went to Carlsbad for a cure ; hesuffered very greatly during the winter, but managed toattend several concerts, such as those given by the Joachim

Quartet in Vienna in January (when his G major quintetwas played with great success), the Philharmonic Concertof 7 March; when his fourth symphony a nd Dvoi' ak

’

s

Violoncel lo concerto (a piece for which he had unboundedadmiration) were played, a nd he went twice to the opera.He passed away— the cause ofdeath being degenerationofthe liver— in the presence ofhis kind housekeeper, F rauCelestine Truxa, on 3 April, 1897, at the lodging, 4,Ca rlsga sse, where he had lived quietly for a quarter of

a century. He was buried in the Central F riedhof on

6 April, a nd many were the memorial concerts given in hishonour all the world over .

By a strange mischance, a will about which he consultedhis old friends Dr. a nd F rau Fel l inger was not executed,a nd the only valid testament was in the form ofa letter toS imrock, the publisher. There were compl ications of

various kinds, sundry cousins making claims to the

BI OGRAPHI CAL 29

master’s property. U ltimately a compromise was arrivedat, with the result that the blood relations have beenrecognised as hei rs to all but the l ibrary, which is now inthe possession ofthe Gesellschaft der Musikfreunde ; that

F rau Trux a ’s legacy has been paid, a nd that certain sumsaccepted by the societies [the L iszt Pensionverein of

Hamburg, the Czerny Verein, a nd the Gesel lschaft derMusikfreunde], by which they wil l u ltimately benefit, havebeen invested, a nd the income arising from them securedfor the payment of the l ife-annuity to Herr Schna ck ’”l [theson ofF rau Caroline Brahms, who died in

The first monument to the master’s memory was thatexecuted by H i ldebrandt, which was uncovered atMeiningen on 7 October, 1899 . On the seventiethanniversary of the master’s birth, 7 Ma y, 190 3, amonument, designed by F raulein I lse Conra t, was erectedat the grave. F ive years later, on the same anniversary,another monument was inaugurated at Vienna, the workof Rudo lf Weyr ; a nd on the birthday in 190 9 amonument by Ma x Kl inger was unveiled at Hamburg,near the entrance to the new Musikhalle, a nd a com

memorative tablet was placed on the house where Brahmsstayed at Dusseldorf. Houses inwhich he lived at Vienna,I schl, a nd Thun have been decorated in the same way. A

Brahms Museum,planned so as to conform exactly to the

dimensions ofBrahms’s rooms at I schl, a nd to contain thefurniture from those rooms, has been founded at Gm iindenby Dr. V ictor von M iller zu Aichholz, who has col lectedmany autographs a nd personal rel ics ofall kinds.

I t would be diflicult to name a ny famous m a nwho had

so great a n objection as Brahms had to the habit of

wearing his heart upon his sleeve. He carried his

Miss Ma y’s Life, 11. 290 .

30 BRAHMS

characteristic reticence so fa r that his brusquerie of

manner is the feature most familiar to the readers ofthebooks about him. There a re already many hundreds ofstories

,some of them no doubt true, which Show a certain

mischievous disposition, especially towards people whom

he suspected ofa wish to “ lionize ” him ; but his quietacts ofkindness more than counterbalance these superficial

eccentricities, which after all seem more l ike the smalltransgressions ofa vigorous child. There were numberless points inwhich he remained a child throughout his life,as though he trailed his clouds ofglory longer than mostm en. That he should have been devoted to his tin so ldiersas a child is ofcourse nothing at al l remarkable, but it israther significant that he should have careful ly kept themin his possession until he wa s twenty-eight years old, a ndhave shown them to his friend Dietrich, saying that hecould not bear to part with them .

I He shared with manyofthe great m en ofthe world a faculty for going to sleepat a moment’s notice, a nd rising refreshed after only a fewminutes’ slumber. I t is undoubtedly true that he wascareless in the matter ofdress, a nd that he hated anythinglike ceremonial customs or stiff behaviour ; on the platformhis manner ofbowing (in 18 59) was, according to Joachim,

like the action ofa swimmer who comes to the surface a ndshakes the water from his hair.2 Oflicia l recognition ofhiseminence meant less than nothing to him his indifferencewas by no means a pose, but was just the result ofthehatred he fel t towards certain sycophantic recipients ofcourt favour . Much was formerly heard of his bluff ways

,

which no doubt did often cause pain to many sensitivesouls but the publication ofhis correspondence with such

Recollections , by Dietrich a ndWidm ann, tra ns . pp. 37, 38 .

Litzm a nn, Cla r a Scl mm a nn, iii. 48 .

BIOGRAPHICAL 3 1

intimates a s the Herzogenbergs, J. O. Grimm, Joachim ,

a nd, above all,Madame Schumann, shows how del icate washis tact in the real things ofl ife,how ready hewa s to Showhis practical sympathy with other people

,though his

friends may have had to humour his little idiosyncrasiesin the matter ofhis personal habits a nd comforts, a nd howtruly generous was his nature. Once, when leaving hisparents’ home after a visit to them (when his ownmeanshad become comparatively ample for his needs), he put anumber of bank-notes between the pages ofhis Copy of

Handel’s S aul, a nd said to his father when taking leave,Dear father, if things go badly with you, the bestconsolation is always in music. Read carefully in m y

old S a ul a nd you’l l find what you want . H is loving carefor F rau Schumann, for his stepmother a nd her son, a nd

for others who looked to him for help of one kind or

another, is abundantly clear, a nd a larger-minded or moreopen

-handed m a n surely never lived . He appreciated thepleasures of life a nd was not afraid to let his enjoyment be

seen ; yet he was no voluptuary, careless ofthe ultimatedestiny of the race or of the individual. Even if we hadnothing to go by but the words of his choral works, weshould know that the problems of human destiny, of life,death

, a nd immortality, engrossed him throughout his life.

The Sclzicksa lsliea'

, Rhapsoa’ie, Requiem ,

the two motets,Op. 74, a nd the apart-songs, Op. 104, tel l us, evenwithoutthe evidence of the Serious Songs, which were the lastpublication of his life, that he was a nearnest thinker, a ndthat he had faced the great questions bravely a nd hadfound a n answer to them which for him was sufficient.

While Shr inking from the dogmas of the Churches, a ndveryShy of owning the beliefs he held, be yet shows his deepconviction of the immorta l ity ofthe soul a nd a sure a nd

32 BRAHMS

certain hope ofits future happiness. In letters to F rau vonHerzogenberg,

I he asks her to find “ heathenish ” wordsfrom Scripture for him to set, meaning thereby such textsas appear in the first three ofthe Serious Songs . Though

the landmarks of rel igions might be removed, thoughdoctrines that guided the l ives ofhis ancestors might beassailed a nd discredited, though the higher criticism mightseem to demol ish the credibility ofthe Scripture records,

yet a great a nd merciful system is dimly apprehended, a ndupon this he rel ies for comfort a nd guidance. The

publication ofthe commonplace-book in which he wrotefavourite extracts from the l iterature ofdifferent countries 2

has throwna fresh l ight on his own inner life, a nd i llustrateshis big

,healthy nature (see p.

This may be a convenient place to attempt a summaryof the Brahms literature, including the L ives a nd the

published correspondence, the issue ofwhich makes thebiographer’s task especial ly easy in the present day.

The first authoritative life of the master,by Dr.

HermannDeiters, appeared in the S a m m lung m usz'

ka lzkclzer

Vortrage in 1880 ; it was translated into English by RosaNewm a rch, a nd published,with additions, in 1888 ; reissuedafter the master’s death, in 1898.

J . B. Vogel’s jolta nnes Bra hm s, sein Lebensga ng

'

,

appeared in 188 8 .

Heinrich Reim a nn’

s joha nnes Branm s was published,without date, by the Berlin H a rm onie

,as one ofa useful

series of il lustrated monographs on great composers. I t

appeared soonafter the composer's death

,with a S l ip inserted

at the beginning giving the date ofthat death as 1896 !

Correspondence, i. 20 0 ; trans ., 274 .

2 Des jungen Kreislers Sclza tzka'

stlein, her a usgegeben von [ofiannesBr a hm s, wa s published by the Bra hm s-Gesellscha ft in 190 8 .

BI OGRAPHI CAL 33

Ma x Ka lbeck’

s exhaustive biography of the master, themost thoroughgoing work ofits kind, is not yet completed ,a nd it is doubtful whether the difliculties which arose afterthe second instalment was published will ever be sur

mounted. The first volume appeared in 190 4, carryingthe narrative ofhis life only as far as 1862 ; the second,completed in 190 9 (intwo half-volumes), goes down to 1 874.

A remarkably good a nd complete biography was writtenby Miss F lorence Ma y, a nd published in two volumes in190 5. The author had previously contributed some“ Personal Recol lections of Brahms to a short-l ivedperiodical, The Musica l Ga zette (published by JosephWil l iams inH. C. Colles

’

s Branm s (John Lane, 190 8) contains awonderful amount of valuable information in a smallspace.

Erinnerungen a njo/za nnes Bra km s,by Albert Dietrich

a nd J . V. Widmann were issued in a n Englishtranslation by Dora Hecht in 1899, a nd published bySeeley Co.

The letters ofthe eminent surgeon Dr. Theodor Billroth,one of the most intimate friends ofBrahms, himself a nenthusiastic musician a nd writer on the art

,contain many

interesting details ofthe master.Joachim’s oration at the unveil ing of the Meiningen

monument in 1 899 was published as Zum Gea’

c'

z'

clztnzlrs a’es

M eislersjo/za nnes Bra /zm s .

The Neues Wiener Tagebla tt for 9 Ma y, 190 1, containsH. von Meysenbug

’

s Ans jona nnes Bra km s’

jugendtagen,a nd the same periodical on 3 a nd 4 April in the followingyear printed K. von Meysenbug

’

s contribution with the

same title.

The 74m m of the Gesel lschaft HamburgischerD

34 BRAHMS

Kunstfreunde for 190 2 contains a n interesting series of

B ra /zm s -Erinnerungen a us dem Tageéucic von F ra u

Wa sseroa udirector Lenta , geb. M eier .

The account oftheVienna monument,Zur Entnullunga’

es Bra /zm s-Den/em a l in Wien, 7 M a i,190 8, contains some

interesting articles . A picture of the monument itself is

inserted facing page 34 .

A special Brahms number ofthe periodical called DieMusik, issued M a y, 190 3, contains var ious articles a nd

i l lustrations. The Brahms-Gesel lschaft, founded afterthe master’s death, has done excel lent work in publishing his correspondence, as wel l as in other ways. Six

vo lumes have already appeared , containing the master’s

own letters a nd those of his correspondents. Vols. I .a nd I I . contain the correspondence with Herr a nd F rauvonHerzogenberg, edited by Ma x Ka lbeck, 190 8 . They havebeen translated by Hannah Bryant, a nd published byJohn Murray, London, in 190 9. The husband a nd wifewere in some ways the most intimate friends ofBrahms,with the exception of Joachim a nd Madame Schumann.

Both the Herzogenbergs were accomplished musicians, thehusband a com poser of some distinction, the wife skilledin interpretation, a nd possessed of a remarkable insighta nd critica l faculty. Both allowed themselves to criticizeeach new work ofBrahms with perfect freedom, a nd it isinteresting to see how often he took their hints a nd actedupon them . These volumes a re especial ly interesting tostudents ofthe details inBrahms’s workmanship, thoughvery Often the reader is struck by his disregard ofsomeimportant question put to him by F rau vonHerzogenberg,

or by his habit ofdismissing what she says with a curtword or two that falls oddly on English ears accustomedto the conventional courtesies ofdaily l ife. The impres

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BI OGRAPHI CAL 35

sion made by these two volumes is that the bulk ofthe

actual mater ial of the letters comes from the Herzogenbergs rather than from Brahms but in the third volume ofthe series (edited byWilhelm Alt-mann) Brahms is the chiefwriter. The letters deal with the composition a nd the firstperformance ofthe R equiem , a nd a re ofthe highest valueto students ofthat work. Reintha ler organized the quasicomplete performance ofthe R equiem inBremenCathedralon 10 April, 1868 ; a nd the correspondence about thatwork, as wel l as about later compositions of the master,is most interesting. The letters range from 1867 untilReintha ler

’

s death in 1896. The next division ofthe bookcontains six letters ofBrahms to Ma x Bruch

,with nine

from Bruch to Brahms, which deal principally with Bruch’s

works rather than with those ofBrahms, although therea re passages concerning the R equiem to be found in

them . To Hermann Deiters Brahms wrote a good manydetails concerning his works, notably the Haydn variations a nd the two overtures these a re printed next with asingle letter to P rofessor Heim soeth, ofBonn, about the

Schumann festival of1873. A few short communicationsfrom Brahms to Reinecke, ofno great importance, lead to

the correspondence with P rofessor Rudorff, a section

of great interest, spread over the years 1865 to 18 86.

There a re two facsimiles of the corrections undertaken by Brahms a nd R udorff respectively of acorrupt passage in the score of a flute concerto of

Mozart ; a nd some details concerned with the edition

ofChopin’s complete works a re given. The last section

of the volume contains letters to a nd from Bernhard

Scholz a nd his wife, who were among the closer friendsof the composer ; it will be remembered that Scholz was

one of the four signatories ofthe famous protest. The

36 BRAHMS

correspondence dates from 1874 to 18 8 2 , or rather thosedates cover all the letters that have been preserved . JuliusOtto Grimm, the remaining signatory of the protest,whose correspondence with Brahms occupies the fourthvolume of the series, edited by R ichard Barth, was themaster’s friend from 1853, a nd outlived him by six years,although he was six years o lder. The volume gives us arepresentative picture ofall the different sides ofBrahms’snature, for there a re plenty ofboyish jokes enshrined in it,as wel l as discussions on music, a nd many references to thelady, Agathe vonS iebold, upon whom Brahms’s affectionswere fixed at the time of his tenure of the post at thecourt of L ippe—Detmold, a nd who l ived at GOttingen,where Grimm was director ofthe Musical Academy. The

fifth a nd sixth vo lumes ofthe letters, edited by AndreasMoser, take us into the inmost shrine ofBrahms’s life, forthey contain the correspondence with Joachim , a nd showus the faithful picture ofthe wonderful friendship which

produced such rich fruit in the history ofmusic. Withthese, a nd the letters

[

to a nd from Madame Schumann,published in the third volume of her L ife by L itzmann

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 passagesthat struck him in the l iterature ofmany countries. He

cal led itDesjungenKreislers Sc/ia tzka'

stlein— a nd this titleis kept by the editor, Carl Krebs, who issued it in 190 8 in

a cover in imitation ofthe original paper-bound book. I t

contains over six hundred aphorisms a nd quotations fromall manner ofsources, as well as a number ofweightysentences by Joachim, marked F . A. E.

”

(see pp. 32 ,The English reader may be directed to some important

BIOGRAPHICAL 37

contributions to the Brahms literature, such as the fol lowing

S tudies in Modern Music, by W. H. Hadow, secondseries, 1895.

S tudies in Music, reprinted from Tlte Musicia n, 190 1 ,contains a n article on Brahms by the late Philipp Spitta.James Huneker’s Mezzotints inM odernMusic contains

a n article on Brahms, called The Music ofthe Future.

”

Daniel Gregory Mason’s F rom Grieg to Bra hm s, New

York, 190 5, has a thoughtful article.

J . L . Erb’s B r a hm s is a summary published in Dent’sM a ster Musicia ns , 190 5.

The Contempora ry R eview for 1897 contains a n articleon Brahms a nd the C lassical Position.

”

Georg Henschel read a paper on“Personal R ecollec

tions ” of the composer before the Royal Institution in190 5.

In F rench some very interesting books were written bythe la te Hugues Imbert, who did a great work inobtaininga hearing for Brahms in F rance . His chief book on the

subject isjolta nnes'

Bra itm sJ a vie et son ceuvre, Paris, 190 6.

The later editions of the dictionaries ofGrove a nd

R iemann contain extensive articles.

CHAP TER I I

BRAHMS AND H I S CONTEMPORAR I ES

S a supplement to the necessari ly meagre summary ofthe outward events in the l ife ofBrahms, it may not

be uninteresting to touch upon his own preferences inmusic, to trace the course by which his works becameknown throughout the World, to consider the influence of

his contemporaries upon him,a nd to gather as far as may

be possible the opinions formed about him by musiciansofdifferent generations. The first 15 of course, far lessimportant than the rest, for composers a re most rarelydowered with the critical faculty, a nd the only value weca n set upon the Opinions even ofa Brahms is for the sakeofthe light they throw upon his own nature. The fact,for example, that Ca rm en was one of the composer

’sfavourite operas does not affect our estimate ofthat workone way or another. I t is unlikely that a ny ofthe Brahmsenthusiasts think more highly ofit because he admired it,a nd we may do his professed detractors the justice to

suppose that none ofthem has gone SO far as to slightBizet’s masterpiece because Brahms praised it. But it isofno l ittle interest to the student ofhis character to knowthat he could heartily admire the frank, straightforwardmelodies a nd the characterization ofa work so very farremoved in style from what a re generally supposed to be

38

BRAHMS AND H I S CONTEMPORARIES 39

the distinguishing marks of his own music. I t is of fargreater importance to make clear the attitude of Brahmstowards the work ofWagner, a n attitude concerning whichso many misstatements have been industriously circulated,that too much stress ca n hardly be laid upon the actualfacts of the case. In German musical circles there has

for many years been a habit of making sharp divisionsbetweenthe admirers ofa ny two great contemporaries. Theharm it did in the case ofMendelssohn a nd Schumann iswel l known to every student ofmusical history a ndwhilethe musical world ofGermany continues to find a greatpart ofits artistic enjoyment in the diversion of splittingitself into opposing camps, no observer ca n wonder that

Brahms Should have been set up, entirely against his will,as the chief bulwark against the music ofthe new school.About the year 1860 the materials for a new arrangement ofparties were just preparing, a nd the main difficulty in the

way of a comfortable split was the personality a nd the artof Schumann himself. He had founded the Neue Zeit

sc/trift, a nd in many ways had shown himself in the

advanced ranks ofhis time, so that the “new partycould by no means dispense with his name on the otherhand, he had declared himsel f, with what might be almostcalled his last words to the world, a champion of the musicof Brahms, who, a few years before, had definitely severedhimself from the “

new”

party. These latter, havingcelebrated the 2sth anniversary of the foundation of

Schumann’s periodical by a festival of four days in1859, arranged a festiva l in Schumann

’s special honour,

at his birthplace, Zwickau, in June, 1860 . A generalinvitation was issued to all music-lovers to attend the

festival ; but beyond this, neither Madame Schumann,Joachim, nor Brahms received a ny further communication

4o BRAHMS

with regard to the celebration. I t may not have beenintentionally done in order to slight those who stoodnearest to Schumann in life, but the net result to the

new” party was that the marked absence of these

intimates on such a n occasion could be convenientlyturned to the uses of the combatants, a s it was of

course implied that they had stayed away out of jealousy.F rom this time forth, the new

” school was nevertired of trying to make out that Schumann’s friendswanted to keep his music a nd his fame as a kind ofprivate property of the ir own, a nd even that the truetraditions of Schumann’s music were not to be foundamong those who knew him best. This assumption ofthe L iszt party may even now be occasionally observedin criticism, but ofcourse there was not the slightestfoundation for supposing that the

“ classical party everthought ofmaking themselves into a kind ofsect. Theywere 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 L iszt’smost representative works, the symphonic poems, Brahmsshared with Wagner a nd Joachim the unfavourableopinions which Wagner could not very wel l express,as the others were perfectly free to do ; but for the

art ofWagner himself Brahms had nothing but admiration. 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 includeWagner among the m en whose influence he wishes tocounteract.t What has been cal led the Wa hnfried

”

atmosphere, with its hothouse exhalations,could never

have been congenial to Brahms, a nd the personalities of

Seejoa clzim Correspondence, i. 274 .

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42 BRAHMS

breath ofadverse criticism . But, apart from constitu

tiona l diversity, Brahms understood a nd sympathized with

Wagner’s music at a time when the Wagner cause wassti ll to be won.

The exact opposite of this is true in regard to the

relations ofBrahms with Tchaikovsky. The account oftheir meeting at Hamburg in 18 89 shows that

“the per

sona lity ofBrahms, his purity a nd loftiness ofaim, a nd

earnestness of purpose, won Tchaikovsky’s sympathy.

Wagner’s personality a nd views were, on the contrary,

antipathetic to him but his music awoke his enthusiasm,

while the works ofBrahms left him unmoved to the end

ofhis l ife.

” 1 I t is wel l known that the art ofeach ofthetwo had little which could appeal to the other. I t maybe suggested that there was a reason for this quite apartfrom the polemics which have so much to do with musicon the Continent. Brahms

,as we shall see, had a Special

l iking for themes built on the successive notes ofa chordit is one of Tchaikovsky’s most obvious characteristicsthat in his most beautiful a nd individual subjects, themovement is what is called conjunct that is

,the suc

cessive notes a re those ofa scale, not ofa chord. Almost

every theme in the “ P athetic ” symphony, to take the

best-known instance, is formed in this way, a nd a carefulstudy of the Russian’s themes from this point of viewofstructure will Show a surprising preponderance ofthosewhich a re built on successive notes of the scale. The

difference is perhaps not one that would be obvious at

once, least ofal l to the composers themselves, for it isprobable that neither was conscious ofhis own predilections in the formation ofthemes but for this very reason

complete sympathy would be the less easy to establish

Gra ve’s Dictiona ry (2nd v. 39.

BRAHMS AND HI S CONTEMPORARI ES 43

between them. Remembering, too, that one was preeminently a colourist, the other pro-eminently a draughts

m a n, 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 admirationofWagner, since

“ Wagner was the greatest pioneer oforchestral colouring in modern music ; but the works ofthe great music -dramatist stand so obviously apart from

the rest ofmusic, a nd in particular from the classicalmodels, that they could be thoroughly enjoyed as completeart-products in their own way, even by a champion of the

classical tradition.

The figure ofR ubinstein loomed large on the world inhis lifetime, a nd it is ofsome interest to see what he a nd

Brahms thought of each other. Ka lbeck I gives a n

extract from a letter of Rubinstein’s to L iszt, in whichthe virtuoso’s fi rst impressions a re amusingly summed“P

Pour cc qui est de Brahms, je ne saurais pas trop

préciser l’

im pression qu’il m ’a faite ; pour le salon il

n’

est pa s assez gracieux, pour la salle de concert, il nestpas assez fougueux, pour les champs, il n

’

est pa s assezprimitif

,pour la vi lle, pas assez général— j

’ai peu de foi ences natures Another less agreeable reference to

Brahms is reported at secondhand in B‘

ulow’s letters,a nd we may hope that Rubinstein never m ade i t : “ Si

j’

a va is voulu courtiser la presse, on n’

entendra it pas parlerni de Wagner ni de Brahms.” I t is hardly necessary to

po int out that of all m enwho ever lived, Brahms was theleast likely to courtiser la presse, while Rubinstein los tno opportunity ofadding to the very temporary edifice of

his renown as a composer. U nfortunately, we have no

i. 268 .

44 BRAHMS

record ofwhat Brahms’s opinion wa s of Rubinstein’smusic, beyond a passing reference to his ways of composing

, a nd in pa rticular, to a sight Brahms once had of aset of perfectly blank music-pages provided with a fulltitle a nd opus-number, before a note of the songs hadbeenwritten.

I Rubinstein’s appreciation of the music ofBrahms seems to have been l imited to a performance of amovement from the D major serenade at one of theconcerts ofthe Music Society ofSt . Petersburg in 1864.

At his later historical pianoforte recitals not a note ofBrahms was played, although he conducted choral worksof his on various occasions .Al though there is no record ofBrahms being present

at the performance of Verdi’s operas in his I talianjourneys, his admiration for the I talian m aster’s R equiemwas hearty, immediate, a nd sincere. One ofHans vonBiilow

’

s not infrequent al terations ofopinion was in regardto this composition, against which he spoke at first withcharacteristic lack of moderation. Some time afterBrahms had expressed his del ight in it

, Biilow changedhis mind, as he did with fine generosity in respect to themusic of Brahms himself. German writers have spentmuch time in debating why Brahms wrote no opera, a ndone of them, Alfred Kuhn by name, went so far as toinvent a n interview with the composer on the subject.The upshot of the story, quoted from the S tr a ssburger

P ost of 13 April, 1897, may be read in J . K.Widm a nn’

s

R ecollections,2 a nd it is clear that the master was in no

way disinclined to write a n opera if a good libretto wasforthcoming. He discussed many subjects withWidmann,but, as a ll the world knows, the cantata R ina ldo remainsthe only example ofhow he might have treated opera had

Ka lbeck, I I . 179, note 2 .2 English tra ns., 10 7.

BRAHMS AND HI S CONTEMPORARIES 45

he found a good book. Looking at his completed workas a who le, it is easy to see that his subtle way ofdealingwith deep emotions, which comes out in so many ofthesongs, must have been lost on the stage or abandoned for amore superficial style which would not have been truly con

genial or characteristic . I t is curious to learn from the

same source I that Brahms considered the ideal conditionsofopera to consist in a combination of spoken dialogue or

recita tivo secco, with set-pieces for the lyrical climaxes. I t

would have been dlffiCU lt even for Brahms to obtain the

approval of the world at large for a method of operat icwriting which must be considered a little reactionary inthe present day a nd while the method of continuousmusic had the weighty support ofWagner a nd all thetypica l ly modern composers ofall nations, it would havebeen a miracle if a n opera composed on the other system,

even by a great master, had really succeeded. On the

who le we need not regret that Brahms left the Operaticstage to others . The kindly interest he took in the careerofHermann Goetz was no doubt largely due to com

passion for his sta te ofhealth ; be greatly admired The

Ta m ing of the Shrew, but regretted the posthumous production ofF ra ncesca da R im ini, though he had aided withhis counsel those who undertook to complete the work ;but the two m en were so widely different in character a nd

disposition that they never could have become intimate,even if Brahms had not unintentionally wounded Goetz’ssupersensitive nature by asking him, Do you also amuseyourself with such things ?” when he saw some newlywritten sheets ofmusic on his desk . Of course Goetz waswrong to be annoyed, a nd his solemn reply,

“ That is thehol iest thing I possess ! ” naturally piqued Brahms, who

Recollections, English trans., 108 , 109, 1 12 .

46 BRAHMS

always resented a ny sel f-importance on the part ofmusicians

,a nd to whom a ny hint ofpompos ity was all his

life most obnoxious. The offhand manner ofhiding deepfeelings under a jest is a kind of shyness more commonwith Englishmen than with Germans, but we cannot quiteexcuse Brahms for the many occasions on which hismanner gave offence to harmless people.

The stories concerning this pecul iarity ofhis a re verynumerous

, a nd there a re many more which ca n be ascribedto nothing but sheer love ofmischief. Once, at BadenBaden, while he was taking his ease under a tree in hisgarden, a stranger advanced towards him a nd del ivereda little complimentary speech, evidently prepared beforehand

,of course expressing boundless admiration for

Brahms’s music. The stock-in-trade of the interviewerwas a l ittle too plainly displayed, a nd Brahms yieldedto his love ofmischief, a nd stopped the speech with thewords,

“Stop, my dear Sir, there must be some mistake

here . I have no doubt you a re looking for my brother,the composer ; I

’

m sorry to say he has just gone out for

a walk, but if you make haste a nd run along that path,through the wood, a nd up another hill, you may possiblystill catch him up.

”On another occasion a young girl

pianist was allowed to turn over the pages ofa new com

position for the piano which Madame Schumann wasto read through for the first time from Brahms’s autograph .

The composer took the girl aside a nd explained to herthat at one po int two leaves were to be turned over atonce, the portion between them being omitted

,a nd that

at another the leafwas 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 mostcareful attention. Her obedience to the master’s orders

BRAHMS AND HI S CONTEMPORAR I ES 47

led to awful confusion, as the alteration did not reallyexist ; she was reduced to tears, Madame Schumann wasofcourse very angry with her, a nd we ca n only hope thatBrahms took the blame ofthe not very pretty joke upon

himself. H is boyishness ofdisposition is noticed by manyof his contemporaries, a nd it was by no means alwaysmischievous. Many were the graceful things he said incongenial company, even when the hated lionizing pro

cess seemed to be within sight . The landlord ofa certainrestaurant at V ienna was asked to produce his best winefor some friends whom Brahms took to dine there, a ndremarked,

“ Here is a wine that surpasses all others, asmuch as the music of Brahms does that of other composers.” “Wel l, then,

” says Brahms,“ take it away, a nd

bring us a bottle ofBach ! ”

In travel ling in I taly, or other Cathol ic countries,he Showed a degree of tact that is rare among Englishm en

,a nd almost unknown among Germans, by taking

holy water on entering a church, a nd Signing himself,

in order not to scandalize a ny worshippers who mightobserve him. As a rule he was seen at his best inthe company ofMadame Schumann or ofJoachim

,both

ofwhom stood in the closest relations to his artist soul .Nothing ca n be more charming than the letter in whichhe pressed Madame Schumann to visit him at Hamburg inI S6 1 ,

I or more delicate than the way in which he tried topersuade her to accept a sum ofmoney at a time whenher funds were low a nd his above his needs . Stil l he wasvery apt to tease the poor lady, who never failed to bevexed at what was only meant in fun. Many instancesfrom her point of view, showing how she felt his behaviour, occur in the third volume ofher Life. In the

Litzm a nn, Cla r a Schum a nn, iii. 10 9, 1 10 .

48 BRAHMS

Herzogenberg Correspondence1 a re some very am using

references to the needless terrors fel t by Frau vonHer

zogenberg at the prospect of the Feuerza uber beingplayed at a concert where Madame Schumann was toappear ; Brahms

’s good sense carried offthe affair quitesuccessful ly

,a nd

,as a ma tter offact

,Madame Schumann

had the perseverance to go to two performances ofDieWa lhu

'

re a few years afterwards . A difference ofopinionarose betweenMadame Schumann a nd Brahms

,partly froma misunderstanding in regard to the complete editionofSchumann’s works undertaken by his widow, a nd fromthe letters in L itzmann’s l ife it is clear that she sufferedmuch from the temporary coolness, which before longyielded to the old familiarity a nd affection.

2 No influenceon Brahms wa s more salutary than that of the Schumanns, although it may be that he would have becomemore genial in mixed company

,less uncertain in manner,

if he had been intimate with m en a nd women who livedmore in the world than the Schumanns did. They a nd

their circle would have thought it deceitful to assume agraciousness ofdemeanour they did not feel, a nd therea re many instances in the l ives ofboth of them whichShow that the amenities ofordinary social intercourse wererather neglected by them a nd their friends . Joachim m a y

have learnt some of his wonderful unself—consciousnessa nd simple courtesy by his intercourse with the worldoutside music ; but beyond this there was in him a n

inherent instinct of thoughtfulness for the feelings of

others, a nd a power ofordinary human sympathy whichBrahms could, perhaps, hardly have acquired. The friendship between these two m en is one ofthe most beautiful

I i. 44—9 ; tra ns., 38 , etc.

2 Litzm a nn, Cla r a Schum a nn, iii. 558 fi'

.

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BRAHMS AND HI S CONTEMPORARIES 49

things in musical history. I t lasted , with one sad break,!

down to the end OfBrahms’s life. For some years he a nd

Joachim were in the habit of exchanging compositionsa nd sketches for each other’s criticism . The correspondence between the two shows that they stood on termsof absolute equality ; throughout it is clear that Brahmshad a n enormously high opinion ofJoachim’s compositionsfi a nd we need hardly refer to the loyalty withwhich the il lustrious vio l inist made himsel f the championof the music of Brahms . If

, during the years of thisprofitable mutual criticism, either ofthe friends omitted

to provide a composition at a ny oftheir meetings, a fineofa thaler was imposed, which the other spent in booksfor himself. The compositions exchanged were for the

most part in contrapuntal style, a nd some ofthe canons,Op. 1 13, the Chorale-prelude a nd fugue, a nd the Geist

liches Lied for cho ir a nd organ, Op . 30 , remain as theonly surviving examples ofthe industry ofBrahms

,who

wrote a great pile ofmusic which he destroyed in lateryears. Of Joachim’s influence on the music ofBrahmsthere a re many traces, even before the date ofthe A minorstring quartet, Op. 5 1 No . 2 , which begins with a n allusion

to the cryptic letters F . A. often used by the friends

in their vo luntary studies. They were taken as a mottoby Joachim, a nd a re understood to stand for “ F rei, aber

einsam”

(Free, but alone) . Every note that Brahms wrote

for the viol in, whether in chamber or orchestral music,was such as it would have been congenial to Joachim to

play ; a nd in the viol in concerto, Op. 77, a nd the concerto

for vio l in a nd Violoncel lo, Op. 10 2 , the special polyphonic

effects in which Joachim was unrivalled among the

1 See Ka lbeck’s L ifiz, ii. 428—9, etc.

joa chim Cor respondence, i. 85.

so BRAHMS

violinists of al l time, a re found in abundance. AS regardsthe world in general, it was Joachim , more than a ny one

else, who started Brahms on his career by means ofthememorable introduction to Schumann. I t has been hintedbefore that Schumann

’s warm heralding of the new greatmaster was not a n unmixed benefit to him, as it necessa rily prejudiced the German public against a m a n whosemusic was not yet generally accessible, a nd started thepolemics which made so much noise in German musicalcircles. The temporary fiascoofthe pianoforte concertoin 1859 naturally prejudiced a large section ofthe publicagainst Schumann’s protégé, a nd the appearance ofBrahms’s name as the first of only four signatures to theprotest against the Neue Zeitschrift fic

‘

r Musik,in 1860 ,

completed the Split between the old school a nd the new.

I t is quite clear that Brahms appreciated L iszt’splaying, a nd even his character, although he couldnot quite swallow the symphonic poems ; but ofcoursewith the Weimar school it must be all or nothing, a ndthey ruled that no notice was henceforth to be taken ofBrahms or h is music. Even in the other camp it waslong before his position was assessed at anything likeits true greatness . Nothing in this need surprise us,although ofcourse it is common for those who know thecompleted work ofa m a n to reproach with blindness thoseto whom only his earliest efforts were accessible. A mostinteresting set ofarticles by R ichard Pohl, in the Neue

Zeitschriftfur Musik for shows the hesitation feltby the writer, who was anxious to see from Schumann’spoint ofview, yet who felt unable fully to endorse hisOpinion. A quotation from them is to be found inMiss

Pohl wa s a n a rdent cha m pion ofWagner’s music, who wrote over the

signa ture Hoplit.”

BRAHMS AND HI S CONTEMPORARI ES 51

May’s Life.

I An attitude common at that time is adoptedby Biilow in a letter to L iszt

,in which he refers to

Joachim a nd the statue ofwhich he makes himself the

pedestal .”I t is not unusual to see, in such antagonistic

opinions of products that a re afterwards universallyacclaimed, the influence of prej udice or jealousy ; butM iss Ma y a nd Herr Ka lbeck a re careful to point out howsincere, for the most part, the adverse critics were. I t isobviously impossible for the most enl ightened a nd broadminded critic to appreciate at once a new creation in

art. H is idioms must be accepted, his vocabulary mustbecome more or less familiar, before we ca n possibly reachthe clear thought that underlies them . In music, probably more than in a ny other art, that which is immedia tely accepted is for that very reason open to suspicion,for some ofits component parts a re probably ofno greatfreshness, a nd will in the course oftime be condemned ascommonplace by the very m en who hailed them mosteagerly on a first acquaintance. I t is the divine pre

rogative in great art of all kinds that it is not immedia tely received by all ; but, while the great public ismaking afurore about something that is essentially comm onpla ce, the more earnest a nd skilful cr itics a re facedwith the difliculty of discriminating between the rivalmer its of two things which at first may seem equallyobscure. For there is naturally a n obscurity which proceeds from lack ofskill or inspiration, just as certainly asthere is a n obscurity caused by thought so weighty a nd

original that it cannot be expressed in language ofinfa n

tile S impl icity. All that ca n be hoped for on behalf ofa great new work ofart is a n attitude l ike that of thefa mous critic ofBeethoven’s C minor symphony : I felt

i. 189.

52 BRAHMS

there was a door that was closed to m e, but that behind

the door mighty things were happening.

How gradually a nd surely the tide of public opinion

went on flowing in Germany may be guessed from the

various small attempts made by amateurs a nd professionalmusicians alike to set up some other composer as on alevel with Brahms. To us, in the present day, it is hardlyconceivable that a m a n l ike R aff ca n ever have beenseriously considered as comparable to him in a ny way ;

yet at one time that prol ific writer was spoken of as

Brahms’s rival, a nd at another Rubinstein’s compositions

were considered by a section ofthe public as having equalmerits with his. There were persons in London, duringthe 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, a nd 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 l ife he would have surpassed Brahms.For some time such important centres as Leipzig a nd

V ienna made it a point of honour to contradict eachother’s verdicts on the new compositions as they appeared,one receiving with special favour what the other had mostdistinctly condemned. As we saw in the summary ofthemaster’s biography, the period of the R equiem was thetime when his greatness was first generally realized , a ndafter that the game ofpitting this or that writer againsthim seems to have lost some of its charm . There wasa moment, indeed, when Ma x Bruch was considered aformidable rival, but by the time that Bulow uttered hisfamous toast to the three B’

s ofm usic,” things had so

far attained their true perspective that Bruch was probably the only person offended at the omission of his own

BRAHMS AND HI S CONTEMPORARIES 53

name. Bruckner, the projector of colossal symphonies,was another who was more recently set up in competitionwith Brahms ; but the occasional performances of hisworks in London a re quite enough to check a ny desire toexalt him to a n equal place in the musical hierarchy.

To Biilow belongs the credit offirst performing a pieceby Brahms in public ; he played the first allegro ofthe

C major sonata in Hamburg on 1 March,18 54 . The

distinction ofgiving the first public performance of one

ofhis concerted works belongs to America, for Wi ll iamMason introduced the trio in B, Op. 8 , in New York on

27 November, 1855, nearly a month before its first per

form a nce in Germany, at Breslau. I t was not til l twelveyears later that the propaganda ofhis music began in

England with a performance ofthe first (B flat) sextet on2 5 February, 1867,I at a Popular Concert,Mr. Chappel l, thedirector of the institution, taking good care to protecthimself from the stigma ofbringing forward anything so

revolutionary, by mentioning in a note in the programmethat it was produced by request of Joachim .

“ No im

mediate result was perceptible from the performance,”

says M iss Ma y, but there must have been many even thenpresent who at least resolved to miss no future oppor

tunity ofhearing music from the same quarter, a nd wecannot doubt that the four fol lowing years saw a gooddeal of private interest in the composer, which was of

course stimulated by Joachim , Madame Schumann, a nd

Julius Stockhausen. The last-named artist conducted thememorable first English performance ofthe R equiem on

7 July, 187 1 , at the house ofSir Henry Thompson, when

Lady Thompson a nd C ipriani Potter played the a ccom

I t wa s repea ted twice in 1873 with grea t success . See joa chirn

Correspondence, ii. 76.

54 BRAHMS

pa nim ents in a four-hand arrangement, a nd the solos weresung by Fraulein Anna Regan a nd Stockhausen By thattime a couple ofduets from Op . 2 8 had been sung (also in

private) by Madame Via rdot-Garcia a nd Stockhausen, a ndthe quartet in A for piano a nd strings had been producedat one ofE lla’s Musical U nion Concerts at St. James’sHall . The students of the Royal Academy ofMusic

,

fired, no doubt, by the veteran C ipriani Potter, seem to

have given a performance ofthe R equiem under Hulla h,before its production by the Philharmonic Society on

2 April, 1 873, under Cusins .

lE On this occasion MissSophie Ferrari a nd Sa ntley were the soloists

, a nd the

former gave the soprano solo with her characteristic

purity of style at the performance of the work by the

Cambridge U niversity Musical Society, under Sir C .

V il l iers Stanford, in 1876. An interesting list is given inM iss May’s book 2 offirst performances ofvarious worksby Brahms in England. In 1872 the D minor concertowas played at the Crystal Palace (so lo, M iss Ba glehole),a nd 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, a nd Miss Ma y

introduced the Handel ” variations at the Crystal P alace.

The latter pianist also brought forward the Hungarianvariations from Op. 2 1 at the same place in 1874, a nd, if Iam not mistaken, she has forgotten to mention her own

playing ofthe “ P aganini variations for the first time inEngland, in their entirety, at a later date. The G minorquartet was played (possibly not for the first time in

England) at the Popular Concerts (Madame Neruda

playing the first viol in) in 1 874, a nd the quintet in F

minor was played at the same concerts (with Joachim asSee Miss Ma y

’s L ife, I I . 87, note.

2I I . 10 2 , 10 3.

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56 BRAHMS

In the present day the vast spaces of St. P aul’s Cathedral

a re crowded for the annual performance ofthe same work,

which has even penetrated into the ken of the RoyalChoral Society. The chamber music, as it was introduced

at the Popular Concerts, was a na lysed'

in the programmebooks in a way that was likely to check a ny enthusiasmthe works might have excited ; in the present day notonly is it a prominent part ofthe repertory ofchamberconcerts a nd a constant delight to amateur performers, buteven among the poorest ofthe working classes ofLondonit has made itself friends, entirely without extraneousinfluence, explanatory commentaries, or anything ofthatkind. At one ofthe concerts given in the Northern Polytechnic

,Hol loway

,by the People

’s Concert Society, after aquartet ofBeethoven had been played, a working m a n washeard to remark, as he left the hall,

“ Ah, that’s a ll very

well, but give m e my Brahms ! ” We may smile at hispreference, but there is no doubting its genuineness. A

sidelight is thrown on the present estimate ofBrahms, ascompared with the place he occupied twenty years a go, bya Circumstance which a ny one wi ll endorse who has writtenon music for the P ress during that time. In the eightiesand nineties it was a n exceptional thing to find his namecorrectly spelt inproofs it usually came out as “Braham,

”

the traditionofthat famous singer having lasted on throughthe years in the printers

’ world. Nowadays those who

may wish to refer to the Singer a re generally obl iged torestore the proper spell ing ofhis name

,the printers being

a pt to give it as“ Brahms .” A few years a go,

soon afterthe composer’s death, a rumour was spread (in consequenceofthis similar ity ofnames) that he had actually visitedEngland,a circumstance that had escaped all his biographersup to that time. When it was investigated a nold m a nwas

BRAHMS AND H I S CONTEMPORAR I ES 57

discovered who declared that he well remembered seeingBrahms

,a nd hearing him sing The Death ofNelson

There a re many ofus who remember the usual verdictofthe pianists ofthe late nineteenth century on the earlier

piano solos ofBrahms They may be very fine, but theya re not piano music.

” Nowadays scarcely a recital programme is to be found which does not contain one of

them, a nd the player’s choice i s by no means confined tothe latest compositions for the instrument, in which wemay admit that the peculiarities oftim bre a re more ful lyunderstood than in the earl ier. Formerly even at a timewhen the L iebeslieder were received with del ight, therewere very few among the professional singers ofLondonwho ever ventured to perform one ofthe songs, unless itwere the Wiegenlied, Sonntag ,

or DieM a ina cht ; nowadayswe a re no longer assured that Brahms wrote ineffectivelyfor the vo ice, but he has been on all hands tacitly includedamong the great song-writers of the world, the peer of

Schubert a nd Schumann. Last of all,his orchestral

works,with or without solo instruments, have come into a

larger share ofpopular favour. For many years Joachimwas left in undisputed possession ofthe violin concerto,as the very few players who were musicians enough to

appreciate it were naturally so much alarmed at the difficulties ofthe last movement that they found it convenientto join in the cry that the solo instrument was made toosubordinate to the orchestra. I t is a circumstance not

altogether without its humorous S ide that every violinist of

position in the present day, whatever his schoo l, thinks it

necessary to have this concerto in his repertory, a nd even

quite immature performers, whose technique far exceedstheir musicianship, venture to interpret it as wel l as they

ca n in public.

58 BRAHMS

At the earlier R ichter concerts all the four symphonieswere brought out a nd admirably given, a nd the interestingset ofconcerts at which Herr Steinbach conducted the

Meiningen Orchestra drew much oftheir attraction from

the performance ofthe series in chronological order. I t

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 ofthe P romenade Concerts for 190 8 (thoughthey did not all reach the honour ofactual performance) ;a nd lovers ofthe master m a y be quite certain that opportunities will abundantly increase for im proving theiracquaintance with his most individual works. For itmust be remembered that in all great music, as in other

products of a rt, there is a n enormous driving powerinherent in the product itself, which in the long run farexceeds that of the different opposing forces arrayedagainst it. I ts admirers may be comparatively few in a ny

given genera tionfl they m us t be few at first— but whetherthey promulgate their Opinions actively or not

,their

influence must be far greater,because exerted in one

direction, than that ofthe antagonists whose objections tothe work ofart a re in all probability based on various, itmay be contradictory

, prejudices . With all their a p

paratus for driving some worthless song into the ears ofthe public, by constant repetition at concerts organized forthe purpose, the English publishers have not obtainedmore than a very short life for the most popular oftheeffusions they issue ; but the influence of a noble song,l ike some masterpiece ofSchubert, will go on spreadingfar a nd wide while the world lasts. Naturally the average

publisher, treating the thing as a purely commercial speculation, knows his own business a nd makes his money over

BRAHMS AND HI S CONTEMPORARI ES 59

a popular success ; but it is at least possible that, even inEngland alone, as many Copies have been sold of the

E rlho'

nzg as ofN a ncy Lee (even though poor Schubert wasglad enough to part with some ofhis finest songs for 10 d.

each), a nd from the large point ofview the former is amore important achievement than the latter . I t might beheld that a ny very violent fi t ofexaggerated enthusiasmsuch as those from which the British public so oftensuffers, is ofitsel f a mark ofartistic shortcomings in the

thing thus feverishly admired ; attacks of this kind a re

inevitably fol lowed by periods of reaction during whichthe real merits ofthe work ofart a re as much underestimated as they were before exaggerated. I t is unnecessaryto point to anything later than the music ofMendelssohnfor a n instance ; there a re already signs that after a long

period of inflated popularity, a nd a shorter period of

possibly unjust neglect by the leaders ofmusical fashion,i t is s lowly coming into a phase ofrecognition that maybear some relation to its real a nd ultimate value. I t isperhaps not without significance that such a period of

sudden,unreasoning popularity has never, even inEngland,

been passed through by the music ofBrahms. At no

point since it began to be known has it been possible tosay with truth,

“ The work ofBrahms was formerly more

popular than it is now.

”Year by year the growth in

public estimation, if gradual, has been regular a nd wideSpread.

Those who began with liking a few ofwhat they calledhis “ more comprehensible works wil l be familiar with theexperience of finding that the obscurities of the othershave disappeared, as it were, of themselves

,while new

worlds ofbeauty lie open to their investigation. Apartfrom Wagner in modern times- a nd his is hardly a parallel

6o BRAHMS

case,since there is so much that l ies apart from music in

the art which he himself perfected— it is difficult to finda ny composer but Brahms in the history of music ofwhomit could be said that at no time has his work been so

highly appreciated as at present, until we come to the

very greatest ofall. For assuredly it is true ofBach a nd

Beethoven,as it is ofBrahms, that a love of their music h a s

spread steadily through the c ivilized world from the

moment when it first became accessible as a whole. None

ofthe three, ofcourse, lacked adverse criticism,a nd we

know that each ofthem was galled by carping contem

pora ries. I t is interesting a nd instructive to compare thefamous obituary notice of Beethoven which adorns theninth volume of the Musica l Qua rterly R eview withvar ious articles that appeared after the death ofBrahms.A startling parallel is afforded in the non-committal toneof both, which the later writers would perhaps havehardly cared to suggest if they had realized how their

words were contributing incidentally to place Brahms inthe highest circle of the musical hierarchy.

I t is fitting that some mention should be made ofthe

va rious distinguished musicians who rank as the pioneersofthe music ofBrahms, those who bore the brunt oftheattacks which were ofcourse made upon it, a nd who so

richly merit all the honour which Brahms’s later admirersca n give them. F irst a nd most important ofall is JosephJoach im, who gave Brahms the first helping hand in the

introduction to Schumann, a nd who took the deepestinterest in every one ofhis works as they came, identifyinghimself with Brahms’s success in every possible way. The

story ofthe intercourse ofthese two great m en has alreadybeen told briefly, a nd the recently published correspond

BRAHMS AND H I S CONTEMPORARI ES 61

ence between them throws new light on both m en a nd

thei r artistic relations. How through evil a nd good reportJoachim championed the cause ofhis friend ’s music wil lbe seen again when we come to consider the variousworks. Never had m a n a truer friend, a nd the orationspoken by Joachim at the unvei ling of the Meiningenmonument in 1899, from which quotation has alreadybeen m a de,I is among the noblest tributes ever paid byone m a n to another. Madame Schumann’s name mustrank with Joachim’s among the earliest pioneers of themusic of Brahms ; her p laying ofthe first piano concerto,a nd many of his masterpieces ofchamber music, ca n neverbe forgotten by those who heard it ; a nd though inEnglandshe naturally came before the public less often in his musicthan in that of her husband, i t is worthy of record that ata London recital she won a n encore for a “ Sarabande ”

a nd Gavotte (whatever these may have been). Amongother distinguished pianists who identified themselveswith the master’s music in the earl ier days were I gnazBriill, whose performance ofthe F sharp minor sonata wasfamous FréiuleinMarie Ba um eyer, the first lady to essaythe B flat concerto in public ; Charles Hallé, who playedthe same work for the first time in England, at Ma n

chester ; Miss F lorence Ma y,who introduced many of

the most diflicult pianoforte works at various concerts inLondon. L ater on

,Fréiulein I lona Eibenschiitz, whose

playing of the C major intermezzo from Op. 1 19 wasreally memorable ; Mr. Borwick, identified with manyof 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

sonata s for clarinet a nd piano . Later artists have so

See a lso Herzogenberg Correspondence, i. 161 trans., 140 .

62 BRAHMS

fully entered into the labours ofthese older interpretersthat they ca n hardly rank as pioneers in a ny sense.

Returning to the earliest of those who encouraged the

composer by giving special performances, we must m en

tion the American,Wi l liam Mason (see p .

Of the conductors who were associated with early

performances the first to be mentioned is Jul ius OttoGrimm, who conducted many orchestral works at GOttingen next come R eintha ler, who organized the first

performance of the R equiem (six numbers only) inBremen Cathedral in 1868 Reinecke, who directed thecomplete work in Leipzig in 1 869 ; R ichter, who gavemany orchestral works in England for the first time.

In later days, Von Biilow, whose conversion to the

cause of Brahms has been already related F ritzSteinbach, who, as director ofthe Meiningen Orchestra

,

was brought into close relations with the composer

a nd received from him many authoritative readings.At Meiningen, too, began that friendship with R ichard

Muhlfeld, the eminent clarinettist, which had such weightyresults during the composer’s latest years of activity.P rofessor Hausmann, the famous vio loncel list, for whomthe double concerto was written, a nd the R osé Quartet ofV ienna, who gave the first performances ofseveral piecesofthe 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, a nd his name was for long identified with theMugolone-Lieder a nd many other things ; Madame PaulineVia rdot-Garcia, who sang the alto part in the Rhapsodie

for the first time ; F rauAmalie Joachim, for whom werewritten the two songs with vio la obbligato Mademoisel leAntonie Kufferath (now Mrs. Edward Speyer), who sang

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CHAPTER I I I

CHARACTER I STI CS OF THE ART OF BRAHMS

O attempt to submit to a really close analysis thecharacteristics ofa great creative artist ca n wholly

succeed, because, even if it were possible to enumerate a nd

catalogue the principal component parts ofhis work, the

proportion in which they a re present must for ever eludeus. I t would be of little service to say of a medicalprescription or a cul inary recipe that it contained sucha nd such ingredients, without referring to the relativeamount ofeach this is all we ca n do in respect ofworksofart, a nd yet it must be attempted in a ny study ofa nartist’s work . In the art ofthe composer, it will possiblybe universally admitted that the most essential thing isthe quality ofhis root-ideas, that part ofhis work to whichthe term inspiration

” is appl ied by fanciful,“ invention

by more practical persons . I t may happen, indeed, that acomposer whose ideas a re ofthe poorest a nd most threadbare, may so disguise their poverty by the skill with whichhe places them before his hearers as to delude the worldinto accepting him for a time as a composer properly so

called. On the other hand, a noble or distinguishedmusical idea may present itself to a n unlearned musician,who may scarcely know how to convey it to others . Manyofthe most beautiful fo lk -songs ofall nations may

,na y,

64

CHARACTERI STI CS OF BRAHMS’S ART 65

must, have been derived from sources such as th is, a ndthei r unknown authors deserve the name ofcomposers farbetter than the other type just spoken of. But in spiteofthe general custom of denying to the unlettered inventor of a melody the title of musical composer so

will ingly granted to the clever craftsman who disguises,with gaudy orchestral colouring or remarkable contrapuntal skil l, the poverty of his melodic ideas, we shall

probably be justified in regarding the actual invention of

melody as the first a nd most important ofthe composer’sfunctions, a nd as the greatest test ofhis power. Next tothis wil l come the treatment ofhis ideas in regard to the

order of their presentation, the form a nd design of themusic built upon them,

a nd the process ofdevelopmentto which the ideas themselves a re subjected. Just as inthe pictorial art some kind ofdesign, some rudimenta ryplan, must precede the application of co lour, so the com

poser’s treatment of form must be considered before hisskil l in “ colouring,

” using that term as including the artofsetting the music in the most favourable a nd appro

pria te light as rega rds the tone-quality ofthe instrumentsemployed for i ts interpreta tion. In these days it isdangerous to imply a ny preference for form over colourin music

, a nd it must not be supposed that the order inwhich the two a re trea ted in the fo l lowing pages is

anything but a n order of convenience it is not suggested

that the one is superior to the other.

(1) In the case of a very great m a n, it is far harder to

point out the salient qualities ofhis work than i t is with

the less important m en; the reason is not fa r to seek,nor is i t very satisfactory when found, the fact being that

the composit ions ofthe latter so closely resemble othersalready in existence as to be capable of awakening grateful

F

66 BRAHMS

associations in the minds of those who hear them for thefirst time. But the work that is not truly original mustsoon lose whatever distinction or freshness of appeal it

ever possessed. I t might safely be maintained that all

the great classical masters founded their art upon the bedrock oi folk-music, that mysterious thing which seems tospring from no individual creator, but from the hearts of

the people at large.

Bach, Haydn, Mozart, a nd Beethoven, to name no

others of the great Germans, undoubtedly had the

strongest admiration for the fo lk-music of their nation,a nd their most individual themes show the strongesta flinity with genuine folk-song. Very frequently theyused traditional themes as the basis oftheir works, ordefinitely arranged them,

without reaching the level of anact of creation. No more striking instance exists ofthisaffinity than Brahms, who arranged fo lk-songs for a malechoir as early as 1847, whose first composition contains afolk-song as its slow movement, whose first successes outside his native land were won by his arrangements ofHungarian dances, whose most appropriate offering to thechildren of his great predecessor was a set ofarrangements of German fo lk-songs, a nd whose last published

‘

composition was a set oforgan-preludes on the choralesthat a re the rich heritage ofthe Teutonic race. Apartfrom these, a nd from his great co l lection of actual folksongs, published in 1894, there a re abundant passages inhis works of al l kinds which prove how dear was traditionalmusic to his heart. In the very earliest of his compositions,the simplicity of melodic structure that is characteristic offolk-music may not be often apparent but as early as theB flat sextet, Op. 1 8, the themes strIke every intelligent

bea rer as having the strongest affinity with the music that

CHARACTERI STI CS OF BRAHMS’

S ART 67

grows as it were spontaneously in a nation. They suggest,the first time they a re heard, the idea that such beautifula nd obvious sequences ofnotes must have been existingin the world long before they were written down there isabout them,

in fact, a kind ofdivine familiarity such asmost people ca n remember feel ing in regard to passages ofShakespeare, when they had the impression, But that iswhat I was on the point ofthinking for myself l All

words that ca n be applied to this familiarity,whatever be

the art referred to, must suggest some lack oforiginalitythere is in reality no such lack, for in poetry the eternaltruth ofthe idea, in the plas tic art the beauty ofthe forma nd in music the essential fitness ofthe musical phrase,come so immediately into their own when they a re read,seen, or heard, that the feel ing of novelty is neverrealized at all. Of the great classical composers, nonehave surpassed Mozart, Beethoven, Schubert, a nd Brahmsin the power ofcreating things that seem to have beensounding all through the ages. As Hans Sachs says

Es kla ng so a lt, und wa r doch so neu,

Wie Vogelsa ng im siiSSenMa i

ButWagner, for al l his genius, seldom managed to call forththis sudden acceptance ofa new idea, a nd, in each ofthe

later works especially, Brahms nearly always succeeded in

do ing it at least once.

F rom the po int ofview oftechnique this familiaritywas due in great measure to his fondness for themes com

posed ofthe successive notes ofa 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, i t does not make itself con

spiCuous as a characteristic until about the date ofthe

68 BRAHMS

second symphony,whose first subject is a striking example.

Another is the slow movement ofthe viol in concerto ; thesongs Feldeinsa m keit, from Op. 86, S apphische Ode, from

Op . 94, a nd many others, contain instances that show howkeenly he felt the emotional appeal that is inherent in thisway ofconstructing themes. I t seems to give a touch ofintimacy

,ofquiet peace, almost of homeliness ; were it

unrelieved by themes ofcontrasting energy a nd austerity,

i t might easily become cloying, a nd it is only Brahms’smasterly handling that prevents this ever being the case.

The severer themes a re not forced upon the attention aspoints ofrel ief, a nd in some ofthe most characteristiccom positions they occupy the field almost exclusively for

example, the first a nd last movements of the first pianoconcerto gave offence to the Leipzig publ ic, no doubtbecause ofthe austerity of their themes, a nd even in theslow movement, exquisite as it is, there may wel l haveseemed to the hearers in the early sixties a n absence of

obvious melodic beauty. An extreme instance of thisausterity is the second subject of the first movement in thestring quintet in G,

Op. 1 1 1, but there it is to be noticedthat the first subject ofthe same movement has a boldswing, a spirit a nd energy, that would have carried offareally ungainly second theme, a nd 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 presentation

,knowing what is go ing to be done with it. Even

this asperity is rare in the later works, which for the mostpart a re built on themes ofthe utmost beauty a nd tenderness. Perhaps the most striking examples ofthis a re to

be found in the four chamber works in which the clarinetis em ployed, Opp. 1 14 , 1 1 5, a nd 1 2 0 . The composer

’sadmiration for the clarinet playing of P rofessor Miihlfeld

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70 BRAHMS

completely as possible, but ultim a tely I have to make itmy own inalienable property by incessant labour. And

that will not be quickly accomp l ished. The idea is likethe seed-corn; it grows imperceptibly in secret. When Ihave invented or discovered the beginning of a song suchas Wann der silberne Mond —here he sang the firsthalf-verse of M a ina cht— “ I shut up the book a nd go for awalk or take up something else I think no more of it forperhaps half a year. Nothing is lost, though. When I

come back to it again, it has unconsciously taken a newshape, a nd is ready for m e to beginworking at it."

(2 ) When we turn from the actual structure and

essential features ofthe themes ofBrahms to the mannerin which he treats them, we feel ourselves in the presenceofa master of the art that is called thematic development.Never, since music was a conscious art, have the ideals

ofits structure been so continually fulfi lled as they wereby Brahms. His power ofhandling his materials so asto bring out every beautiful aspect ofevery theme, issurpassed by none of the o lder masters

,not even by

Beethoven. That power is none the less conspicuousbecause, for the most part, the usual types ofmusicalform,

those which a re called classical, have been employed.Brahms, being in no straits for new ideas, had not the

need which L iszt a nd other “ advanced composers had,of a ltering

'

the classical forms or experimenting in new

ones, for as long as he l ived the old forms, so far fromhampering his genius or confining his inspiration, seemed

to suggest fresh outlets for development, a nd while therei s no slavish adherence to the moulds in which Haydn a nd

Mozart cast their thoughts, there is no opposition to the

Ka lbeck , I I . 178—9.

CHARACTERI STI CS OF BRAHMS’S ART 7 1

classic model. Any alteration is in the direction ofamplifica tion, the groundwork of the structure being virtually inconformity with the rules laid down long before. This isespecial ly true of the first-movement form

,which

,in all

the many examples in the work ofBrahms,is identical

with that used by the classical masters, though in manyinstances some increased interest is imparted to the

regular design by the presence ofa motto-theme (neitherfirst nor second subject, but dominating both), or byincorporating part ofthe development with the reca pitu

lation. A third point ofgreat importance with Brahms isthe coda, a nd no more striking instance of his mostsuccessful innovation in form ca n be pointed out thanthe th ird symphony, where the motto pervades the who lework, a nd the coda ofthe last movement introduces newmatter, fusing it with the old in a manner it is impossibleto forget. Sometimes, too, a n extra movement is added

,

as the section called R iickblick in the piano sonata inFminor, Op. 5, or the marvel lously poetic introduction to

the last movement ofthe first symphony. In the closeof the third symphony, already referred to, a touch of

exquisite suggestiveness occurs quite at the end, where

the first subject ofthe symphony (not the motto) is heard

from the violins as the top note ofa tremolando passage,dying down to a lovely close. The salient features ofthework a re discussed elsewhere (see p. 148 The coda justmentioned belongs to a class offinal passages in which

Brahms’s genius seems to take special delight, a nd it hasbeen said by a n enthusiast for his work that if one mightchoose to have written anything by one of the great

m asters, one might ask to have imagined the last eightbars of each movement of the three sonatas for piano a nd

violin,in all ofwhich the closing strains a re of rarest

72 BRAHMS

beauty a nd ingenuity. Such po ints as these a re am ongthe most obvious things to a student ofBrahms’s work,butthe more deeply it is studied, the more enthusiasm will becalled forth by his skil l in the development ofhis themes

,

sometimes from quite unpromising germs, but more oftenfrom some melodic strain already so beautiful in itself thatwe might expect it to be spoilt by a ny process ofalteration.

In this special art ofdevelopment we may perhaps see

the highest achievement ofhuman intel lect in music. I t

requires not merely a complete mastery ofevery harmonica nd contrapuntal resource, a nd the insight to detect in thegerm of a theme its latent possibilities, but a strongly

poetic invention to control the different phases of the

theme, a nd to present them in such a succession as willenhance their beauty or eloquence. This, too, is a n artthat is as applicable to vocal music as to instrumental

,

a nd to the slighter forms ofthe romantic school as to the

more conventional designs of the classical. Nothing ismore remarkable throughout the work ofBrahms thanthis Splendid art, a nd it is perhaps not without significancethat the work in which it appears for the first time in fulldistinctness, the finale ofthe piano sonata in F minor

,

Op. 5, Should come almost immediately after one inwhichthe composer tried the principle of “ transformation of

themes ” which L iszt supposed himself to have invented.In the sonata in F sharp minor, Op. 2 , the theme of theandante is transformed ” into that ofthe scherzo— a mostrare expedient with Brahms, a nd one ofwhich the othermost prominent instance is the second symphony, Op. 73,

in the appearance ofthe a llegretto g ra zioso first in tripletime in a sedate measure a nd then in the presto non a ssa zin duple t ime. I t is fairly clear that Brahms’s adoption of

the one invention claimed by the new school was never

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74 BRAHMS

we bel ieve that in no direction was his work moreimportant than in the impetus he gave to the cultivationofa high

,artistic

, a nd intel lectual sense of rhythm.

” ll The

same author analyses many ofthe salient compositions of

Brahms from the point of view oftheir rhythmic structure,a nd the student may well be referred to his book, which isful l ofinterest a nd value.

(3) As Brahms attached so much importance to the artofdesign in music, it was almost inevitable that certainwriters at different times should assert that he was deficientin a sense ofmusical “ colour.” The falsity of this ispatent to a ny serious student of his work, but it is a n

error that has obtained a good many adherents amongthose who do not l ike his music a nd do not exactly knowwhy. I t is certainly true that, so far as his works givea ny evidence, the design of his music was ofscarcelyless importance than the invention ofhis themes, a nd thatin his estimation the question ofwhat instrument or tonequality should be used in a particular passage was one of

minor importance. In several cases he altered the wholescheme ofcolouring ofa work without changing a line of

its structure. The quintet,Op. 34, was originally designedfor a quintet for strings, a nd was then turned into a sonatafor two pianofortes, this latter version taking rank, not asa n arrangement, but as a separate publication, numberedOp. 34 bis.

”In the same way the variations on a theme

by Haydn exist in two forms,“ Op. 56A being the

orchestral version a nd “ Op. 56B that for two pianos.The vocal quartets, Op . 10 3, Zzgeunerlieder, were arrangedby the composer as solos with piano accompaniment, andwe know enough ofhis independence ofcharacter to besure that he would not do such a thing in deference to

1 The Rhy thm ofModern Music, p. 209.

CHARACTERI STI CS OF BRAHMS’

S ART 75

a ny publ isher’s whim. Against these altera tions of colour

scheme, to which may be added his warm approval ofJoachim’s adaptation for viol in a nd piano ofhis arrangement of Hungarian dances originally written for pianoduet, there is only a single instance in which one ofhisdesigns was afterwards modified, viz., the trio in B,

Op. 8 ,

which, first published in 18 59, was reissued in 189 1 withvery important alterations ofstructure. I t may be admitted,then, that he was a far more assured master ofdesign thanhe was oftone-colouring ; but that is not the same thingas saying that he was a bad tone-colourist, or that he hadno ea r for the subtle effects pecul iar to the various instruments ofthe orchestra. Just as it is the present fashionto praise a ny painter who piles colour upon his canvas,a nd to bel ittle the work ofthe m a nwho excels in draughtsmanship, so the public is continually being told that thewhole art ofmusic lies in piling one sonorous orchestraleffect upon another ; a nd, as it is far easier for the ea r to

be sta rtled by some momentary impression ofgorgeoussound, than to be trained to follow the rational development ofa beautiful theme from some simple germ, the

public is only too will ing to follow its leaders, a nd to

regard colour as the all-important consideration in the

musical art. Where these leaders of thought got the

notion that Brahms was contemptuous ofmusical colour,or indifferent to its charms, it is impossible to surmise ;certainly it was not from the study of his music as awhole. Although in works for piano solo (to which, l ike

most young composers, the master was limited in hisearliest efforts), co lour is as little to be looked for as itscounterpart is in a pencil-drawing, yet in a comparison of

the early sona tas a nd the scherzo, Opp . 1—5,with the latest

piano works, Opp. 1 16- 19, it is clear that the tone

76 BRAHMS

qualities peculiar to the piano were much more ful lyrealized 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 latercompositions. In the finale, a haunting effect of fleeting,evanescent beauty is produced by the repeated staccatonotes of the Violoncel lo subject, supported only by thel ight arpeggios of the piano. This use of arpeggiopassages, more especially of those for piano, is of

curiously frequent occurrence in the master’s work, a nd

reaches its consummation in the third symphony, wherethe arpeggios a re given to the vio lins (see p. 150 a nd the

plaintive, fleeting theme to the violoncellos. Althoughone hesitates to suggest anything that may create a materia listic idea in connection with the work ofBrahms, thischaracteristic idiom of his will always call up to somehearers a vision ofa regretful spirit, half seen in the palemoonlight, as it flits past a scene ofvanished happiness .A tearful smile, a n April day, a re suggested to otherhearers ; the po int is that the effect is produced entirelyby the colour-scheme. The four Ba lla des , Op . 10 , containsuggestions ofsonority (as in the second), or the contrastoflong-held notes with a n evanescent accompaniment (asin the fourth), which Show that the characteristic acousticsofthe piano had been closely studied . I n the S erena de,

Op. 1 1, in D, a nd in the noble Beg ra’

bnzlssgesa ng ,Op. 13,

the wind instruments a re essayed for the first time, a nd

a re mostly used as Bach would have used them,that is

,

to carry out the design in a series ofmonochromes,i f we

may apply that word to musical tones. In the secondwork, the whole accompaniment is given to wind instruments, a nd very striking is the impression it creates, eventhough in England we a re not a pt to associate, as a

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78 BRAHMS

main point is the transference ofthe charm of the waltzto a new combination ofvoices a nd instruments. As the

first piano concerto had as its main object the Solution of

the problem how best to combine the solo instrument withthe orchestra, i t is natural that we should seek in the firstsymphony the clear challenge of the master to the worldat large as a designer a nd colourist at the same time.

Here, no doubt, there is some ground for adverse criticism,

in Spite of the wonderful beauty oftheme a nd design the

violins a re kept too constantly at work , a nd much ofthe

orchestration is unduly thick,so that the many felicitOIIs

touches a re less prominent to the ea r in performance thanto the eye in reading the score. But if it contained nothingelse, it would deserve distinction even among the greatestofthe compositions ofBrahms, by the thrill ing impressioncrea ted in the introduction to the finale, at a place marked

piz‘

c a nda nte, where the horn announces a phrase againstthe tremolando of the muted strings . The secondsymphony, published only a year after the first

,shows

something ofthe same monotony a nd thickness ofcolour,but the slow movement is as rich a nd varied as a ny ofthe

advanced school could desire. The concertos, Opp. 77 a nd

83,for violin a nd piano respectively, a nd the two overtures,

Opp. 80 a nd 8 1, contain plenty of instances ofcolourdexterously used ; a nd who that ever heard it ca n forgetthe swing ofthe slow movement ofthe viol in concerto, thewit in the orchestration of the students’ songs in the

Aca dem icOverture, or the wonderful effect ofthe trombonesin the Tragic? By the date ofthe third symphony,Op. 90 ,

the composer had completely realized his own ideal ofscoring, a nd in colour the work is as fine a nd authoritativeas it is in design. No thickness is here, but every touchtel ls, a nd makes not merely a n effect, but the very effect

CHARACTERI STI CS OF BRAHMS’

S ART 79

that suits the instrument best, a nd best elucidates thecomposer’s thought. The fourth symphony undoubtedlypresents a stumbling-block to many of the less earneststudents ofthe master’s work, partly by the fact that its

themes a re presented in what we may imagine to be thei rprimordia l forms, in their very simplest a nd most rudimentary germs. The very square-cut rhythm ofthe thirdmovement, a nd the adaptation ofthe passacaglia form to

the finale,a re also diffi culties to the average hearer, who

must hear the work very often to be able to fo l low the

theme ofthe passacaglia through all its changes, a nd in

England at the present day his chances ofhearing thissymphony a re 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 a nd

Violoncel lo,Op. 10 2 , inwhich he seems to have been mainlyinterested in the problem of welding together the soloinstruments a nd the accompaniment in a new way, with

entire avoidance ofconventional effect.Of colour-effects, put in for their own s ake, there a re

very few in the concerto, but the combination ofthe twosolo instruments (often used in a manner that suggestsa 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-possibilities ofvarious chamber combinations, among which the

group of works for clarinet, a nd the pianoforte solos,Opp. 1 16—19, a re perhaps the most prominent, though

the six-part choruses, Op. 10 4, contain many real colour

effects, such as that ofthe exquisite N a chtwa che I ], withits horn-l ike calls, R uh’n sie ?

” — “ Sie ruh’

n. The

melancholy regret which we have referred to as being

80 BRAHMS

associated in Brahms’s music with pianoforte arpeggios,finds its culmination in the song Aufdem Kirchhofe, fromOp. 10 5. If they were nothing but studies in colouring

,

the pianoforte pieces of the later period would deserveimmortality, so varied a re the moods suggested in the

mere disposition of the special keyboard effects, quiteapart from the enthrall ing interest of the thematic invention a nd development .

I t has seemed worth while to labour this point oftherelation of Brahms’s music to colour, since colour is m orethought ofthan anything else by amateur a nd professionalcritics in the present day. When the art ofdesign regainsits old place in general estimation, it is certain thatthe position of Brahms among the supreme masters of

music will be even more widely acknowledged than it isat present by the world at large.

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CHAPTER I V

THE P IANOFORTE WORKS

IKE all ardent young composers, Brahms mustneeds at first express himself with the means that

were easily at his disposal, a nd, as usually happens, hisfirst conceptions were allotted to the pianoforte, a nd aftermaking a beginning with this instrument

,songs followed

next. There was a n additional reason in his case forwriting his earliest works for the piano, since it was theinstrument he himself had studied, a nd onwhich he wasa more or less finished performer before the eventful dayon which he presented himself to Joa chim .

I

Among the compositions with which he was provided in 18 53, were a vio l in sonata (the one that wasafterwards lost), a tr io-fantasia, a nd other things, butcertainly the piano sonatas, Opp. 1 a nd 2

,the scherzo,

Op. 4, a nd the first set ofsongs, Op . 3. Of this earlybatch ofworks

,those which have been published a re far

more interesting to the student than a re the usual run of

youthful compositions, even when these proceed from one

afterwards accepted as a great m a n. They Show us withwonderful clearness at what point Brahms stood withregard alike to pianoforte technique a nd to formal methods

As la te a s 1887 he felt m ore a t ea se in writing for the piano thanfor anyother instrum ent. Seejoa chz

‘

m Corr espondence, ii. 2 26.

G

82 BRAHMS

ofconstruction. In the former respect, they contain thingswhich no piano ca n possibly realize to the ful l ; the

handfuls ofchords,though they demand hands ofgreat

size a nd strength, yet do not represent al l the m ass of

sound which the young composer wants, only all thathe could get from one pair of hands . The phase oftechnique which the sonatas illustrate is that of the schoolwhere muscular force ranked highest, where gradation of‘C ‘

.r ! t ’

tone was less regarded than strong contrasts, a nd wherethe art ofca nta bzle playing was a little at a discount. Not

that the sonatas a re without opportunities for ca nta bz’

le

but a player who had little power of“ singing ” on the

keyboard,but who could produce a large volume of tone,

would succeed in them quite as wel l as a more sensitiveinterpreter. The contrasts a re less those of differentqualities of tone than ofmere force, a nd they derive theirchief interest from their inherent t ightness , not from the

richness oftheir co lour. I t used to be said that the earlypianoforte works ofBrahms were not real piano music ;this is by no means true, for even in the first sonatas therea re passages that lie wel l for the hands (as wel l as somethat lie more or less ill). The end ofthe first movementofthe first sonata ca n never be really very effective, but asa rule the sonorities ofthe instrument a re wel l considered.

Opinions differ greatly as to the characteristics ofBrahms’s

own playing, a nd it seems, in fact, to have varied atvarious times of his life. Joachim’s eulogy has beenalready quoted (see p. a nd M iss Ma y describes itin detail a nd with enthusiasm ; but Madame Schumannwrites of it with almost unqualified disa pprova l.I Two

anecdotes a re given by Ka lbeck,2 which illustrate, as the

writer carefully points out, the richness a nd beautiful

Litzm ann, Cla m Sf/mm a nn, iii. 2 18, etc.

2 i. 2 27.

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84 BRAHMS

which every freedom is permitted the composer to varythe aspect of the themes as he may please. Very oftenin the hands ofa great master of this “ development,

” atheme which at first seems unpromising, angular, or inadequate to take the chief part in a movement, is so

developed as to become a thing ofunforgettable beautybefore the movement is done. But this process is one ofthe greatest tests ofa composer’s powers, for whereas convention a nd second-hand learning may help him to presenthis two subjects in the orthodox way, it is in the development section that his imagination is most surely set free.

To those who possess no musical imagination, or whosemeans of expressing what they have a re deficient, thissection must always present unconquerable difliculties ;even Schubert was not always completely successful here,a nd the flounderings ofChopin do much to spoi l the firstmovements ofboth his sonatas a nd ofhis trio. L iszt a ndhis friends, loud in the denunciation ofthe classical forms,a nd eager to find a n alternative system ofdesign,lit upon,

the idea ofaltering the themes not by a gradual process,butby

x

suddéh” cha nges‘

ofrhythm or aspect—

3' 1

the transforma

principle wa s ca l‘lé

‘

djimplied the

continuance ofa certain sma ll number ofthemes throughseveral movements

,a nd the successive presentment of

them in changed aspects in each. No attempt wa s wm a de

at rea l development, a nd the newer system seemed at onetime to hold in it possibilities ofnew forms, a nd to giveopportunities to composers whose imaginative powers wereweak . We a re not now concerned to trace the futilityof the system down to more modern days ; when stil lnewer principles of design a re seen to run through thecompositions ofthe more modern writers, it is not l ikelythat L iszt’s example will be fol lowed for much longer.

THE P IANOFORTE WORKS 85

Even down to the present day the classical system has prevailed with all the more earnest composers of each country,with the possible exceptionofCésar F ranck

,who adopted a

principle ofhis own, not identical with either ofthe others.Brahm s, then, tried his hand at the L iszt system of

transformation,

” making the theme ofthe finale ofthisfirst sonata from that ofthe first movement, a nd presenting i t in a new rhythm,

in which we a re prevented fromfeel ing how sterile it is in th is form ,

because there a re suchbeautiful subordinate themes in the movement. One, in A

minor, g time, was a deliberate reference, as Brahms toldDietrich, to the theme of the song,M ee

’

nH erz is: £772 Hock

la m t’.I Another case ofthe same kind of transforma

tion treatment occurs in a less obvious way after theslow movement— a kind of fantasia on the volkslied,Verstoklen ge/zt a

'er M and a ufZ— which ends in a n

exquisitely tender a nd truly romantic passage on a tonic

pedal ; a cadence-phrase in the last bar gives the sugges

tionfor the vigorous theme ofthe scherzo .

The sonata in F sharp minor, Op. 2 , has a splendidly

energetic first subject, but the second theme is almost too

much in the manner ofSchumann, possibly with intention,as the piece was dedicated to that composer’s wife. The

theme of the a rzda nte reminds one of the folk-song

I t is difficult to sa y wha t setting ofBurns’s words is here referred to the

them e is not tha t ofthe tune to which Burns wrote them , nor is it tha t of

Schum a nn’s song.

2 I t is interesting to com pa re the version ofthe tune here given, with theversion in the la st (chora l) book ofDeutsche Volkslz

‘

eder , where the third line

is different from thefirst, and va rious ha rm onic va ria tions a re a lso to be tra ced.

86 BRAHMS

ofthe first sonata, a nd from Dietrich we learn that here

again the old song beginning M ir z'

s t lez'

a’e gave the

suggestion.I I t is transformed " into this phrase for

the scherzo, a movement ofc urious beauty, rel ieved by a n

exquisitely calm trio in a mood that Brahms was often torepeat. I t has a kind ofrusticity about it that could not

be anything but German. The type is set in the seventhvariation ofBach’s “ Goldberg ” series, a nd could be tracedin many places in Schubert, notably in the minuet-trio of

the fantasia-sonata in G.

The finale, introduced by a very effective piece of

pianoforte rhetoric, is on a bold subject,“ developed ” in

such a way as to show the far greater possibilities whichBrahms seems to find in the classical system than in thelater method. A series of long chords

,just after the

double-bar, has a strangely beautiful a nd“ atmospheric ”

effect, a nd the movement rises to a fine climax at theintroduction of the main theme in augmentation, a nd inoctaves, after which the work quietly ends, thesubdued brilliance of its final passage looking, on the one

hand, back to the close of Chopin’s Ba rca role, a nd, on

the other, forward to the similar ending ofCésar Fra nck’sP re

’

lud’e,Aria

,et F ina l.

The next of these early works, the scherzo in E flat

minor, Op. 4, carries us again back to Chopin, whose fourscherzos might be supposed to have been the model onwhich it was built (but see p. although they run on

consecutively, there is just as real a differentiation between

Ka lbeck, i. 2 2 1 .

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88 BRAHMS

a quotation from Sterna udescribing evening, a nd after thevigorous scherzo— a movement suggesting Mendelssohn inits them e I — the short section called R z

’

e’

ckblz’

ck gathers upagain the theme ofthe andante a nd presents it in a guisesuggesting a funeral march. Of the three sonatas this is themost often played in the present day

,for i t is technically

very effective, a nd its poetry is easy to understand a nd to

interpret.The next work for pianoforte solo, Op. 9, consists of

a set ofvariations on a theme ofRobert Schumann, in Fsharp minor. The fourth piece in that master’s Bum‘

e

Bldtter, Op. 90 , is cal led Album bla t‘

t, a nd during his lasti llness F rau Schumann composed variations on it. Duringher convalescence after the birth of her seventh child,Brahms wrote a set of variations to amuse her, a nd

submitted each one to her as it was written.

2 The

set has many personal allusions to the Schumann household

,a nd seems to be del iberately cast in a Schumann

esque mould, as if more were suggested than wasactually uttered. The first variation uses the theme asa bass ; in the third it appears in a n inner part ; its firstthree notes suggest variations 7 a nd 8 , a nd for number 9(in which the key is changed for the first time), the

pattern ofanother piece ofSchumann’s, a little composition

that immediately fo l lows that on which the variations a rebuilt (viz., Op. 99, No. 5) is taken for the figure. The

tenth of the series is a masterpiece of interweaving different themes, a nd the resulting effect is strikingly beautiful,whether we analyse its structure or not. As a matter of

The fina le ofMendelssohn’s C m inor trio m ust ha ve beenunconsciously

ba sed on Legrenzi’s song, Cite/fem costum e, which thus becom es the ultim a te

origina l ofthis beautiful m ovem ent ofBra hm s .

2 Miss Ma y’s Life, i. 160 .

THE P IANOFORTE WORKS 89

fact the original bass of the theme is put at the top,

appearing in the key ofD major,but unaltered in notes

a new bass is made by inverting the intervals of the

original bass, upon the supertonic ofthe scale as a centre,so that the E ofthe new key ineither part is answered by E,

D by F sha rp, C sharp by G, a nd so on. Between these twoextremities the theme ofthe variations appears in notes ofone-quarter the original value

Ba ss ofthem e.

dim inution.v

Even this does not exhaust the wonders ofthe variation,fornear its close, three bars from the end,we hear the characteristic notes ofa theme by F rau Schumann (R om a nce Va rz

'

e’

e,

Op. upon which Schumann had long before wri ttenvariations

,they being his Opus 5. The greatest marvel of

all in this tenth variation ofBrahms’s work is its deeplyemotional power from this point onwards the poeticalimagination ofthe young m a nbears all before it until inthelast three we find ourselves in a world ofromance, whereeven Schumann’s mysticism is surpassed. The last variation, with its faint, suspended harmonies, on the bass ofthetheme, dies away into silence with magical effect. I

The curious a nd beautiful work, Op. I O, which fol lows

The student should refer to wha t Bra hm s sa ys a bout the different va ria tion~form s in the Herzogenberg Cor respondence, i. 8 (tra ns. ,

90 BRAHMS

the Schumannvariations immediately,is sometimes spoken

of as if it were really a sonata, though it has few ofthe

sonata characteristics, except the close relation ofits keys.

The four Ba lla den may very possibly have been suggested by Herder’s S tz

'

m m en a’er Volker (a work to which

the composer again had recourse in one ofhis latest piano

pieces), a nd the first has the grim force ofthe ScottishEdw a rd

, the words of which were afterwards used inOp. 75, No . I but i t is not in sonata-form , a nd Brahmswas far too true a lover ofthat form to use the name without conforming to its laws. The second ballade is a purelyric, one ofthe loveliest slow movements ever written for

piano, a nd true piano-music in every bar . The spreadingnotes ofthe a nda nte,

I the vigour ofthe allegro, the elfin

beauty of the notes sustained, in the middle section,a gainst the fleeting sounds in the right hand, the resum p

tion ofthe first strain in a new key,bringing one back to

the original key quite natural ly, all these a re points thatmust appeal to every player a nd hearer. The intermezzo,

”

No. 3, reminds us ofthe Chopinesque scherzo, Op. 4, butthe weird, archaic beauty ofthe section in the rela tivemajoris more poetical than anything in the earlier work . The

fourth bal lade, after its Schubertian een

minor a nd major“sfrlk

’

e'

s the same te in theWm a rm —am ! a w l-M ii a ;

lento, when the composer del iberately orders that the

m elody In a n inner part is not to be too definitely marked,a nd reaches a close ofrare suggestiveness a nd beauty, inwhich the two themes a re finely worked together. We

feel under the influence ofthe mystic side ofSchumann’sfantasia, Op. 17, at its close.

Ka lbeck (i. I oz) points out tha t these notes, F, A, F, sta nd for Frei,a ber froh,

”a m otto chosen by Bra hm s a s a counterpa rt to the Frei, a ber

einsa m”ofJoa chim . See p. 49 .

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92 BRAHMS

a subject for variations. The theme bfSchumann is thepathetic melody by which the composer was hauntedabout three weeks before his mind gave way. He wasactually engaged upon variations on the theme at thetime of the attempted suicide in the Rhine. He wasconvinced that the spirit ofSchubert had sung it to him.

The first four ofBrahms’s variations a re l ike a summary ofcertain favourite devices ofSchumann, the gloomy fourthleading us into the o lder master’s most intimate mood in

the fifth we have the true Brahms in a pastoral vein (com

pare this with the nineteenth a nd twenty-second of the

Handel set, or the intermezzo ofthe G m inor quartet,Op. the sixth recalls us to active l ife, a nd the l ittlesolo

,after the vaguely alternating harmonies of the

beginning ofNo. 7, seems to suggest a n orchestral effectas ofa n oboe or clarinet. The strenuous mood ofthe

ninth has a noble transition to the tenth, a funeral marchofobvious significance, a nd the coda resumes the themein altered guise.

The Handel variations, Op. 24, for piano so lo, beginin a matter-of—fact a nd Handel ian style, but soon a deeperemotion comes in. In N0 5 . 3

—6 a new theme is generatedfrom the old

,a nd the texture ofthe work becomes closer

a nd richer ; the“ largam ente,

”No . 13, is a splendidly

impressive elegy ; a nd Nos . 23—2 5 work up a forcible

climax to the entry ofthe fugue, which fits the concertroom better than the study, a nd has a wonderful ly effectivedominant pedal near the end. The whole series, as a sub

sidia ry matter, shows the pianoforte technique ofBrahms’s

earlier years to perfection, a nd it is not surprising that itwas not often played until the average virtuoso’s skillhad advanced to a point where the difficulties of thesevaria tions a re part ofhis ordinary day

’s work.

THE P IANOFORTE WORKS 3

An even higher gra de oftechnique is required in thetwo books I ofvariations on a theme ofPaganini , Op. 35.

The theme,which is No. 24 ofPaganini’s Caprz

'

cez’

, Op . I ,

a nd has variations of its own, consists of little more thana sequence ofharmonies such as is most prol ific in sug

gestion to the ski lful variation writer. Bach’s greatGoldberg series ofth irty variations for harpsichord, hisChaconne for viol in alone, a nd Beethoven

’s thirty-twovariations in C minor, a re the greatest examples of thiskind of treatment ofthe harmonic basis of the theme.

A certain number of the variations by Brahms seem to

have been suggested by Paganini’s own variations, a nd inthe transcription of Weber’s onoto perpeta o with the

functions of the two hands interchanged, in the two

versions ofa certain presto ofBach, a nd in the tra nscrip

tion ofthe same master’s Clea conne (for left hand alone)Brahms, it is clear, took a del ight in translating one kindofdiffi culty into its equivalent. Nos. I a nd 13 ofthe firstbook show the influence of P aganini’s second var iation,the finale ofthe same set has a figure which appears inP aganini’s finale, a nd No. 8 ofBrahms

’s second book is a nenlargement ofP aganini’s first variation. These a re, not

withstanding,perfectly original in spirit, a nd such things

as 6, 9, 1 2 , the last ofthe first book, 2 , 4, a nd 7 ofthe

second, a nd the last of all the 2 8 , a re purest Brahms,although in musical interest a nd importance the seriesmay not compare with many of the other sets of

va riations.The piano-duet form again attracted Brahms, a nd in

Op. 39 he wrote for four hands a set ofsixteen waltzes,

The division into two books seem s to ha ve worried Ma da m e Schum ann.

See Litzm a nn, Cla ra Schum a nn, iii. 178 , where she sta tes her preference for

the fina le ofthe first book, and suggests va rious changes ofsequence, etc.

94 BRAHMS

some ofwhich he had composed several years before thecompletion of the set. They a re quite as effective fortwo hands as for four, a nd the elasticity oftheir rhythmca n be better preserved in the solo than in the duet. L ikethe they a re really l

'

alndler rather thanwaltzes, but all of them might be called “ Soirées deVienne, though they were written before Brahms took uphis residence inVienna. The theme of No. 5 was used fora vocal quartet, Der Ga ng ea r L z

'

ebsten, Op. 3 1, No. 3,

which appeared before the waltzes but was written afterthem . There a re many lovely things in the waltzes, a ndnothing is stranger than their quiet ending ; after thestress ofNos . 13 a nd 14, when the exquisite a nd familiarlittle strain in A flat is over, there is in the final waltz a

piece of double counterpoint as much unsuspected bythe average hearer as a similar device in the quartet inAct I I ofF ig a ro a curious thing about the waltz is thatthe second strain ofit is just as much in double counter

point as the first, but i t is not exhibited with the parts

inverted, the section being repeated literally.

Though the quintet, Op. 34, appeared as a duet fortwo pianos, a nd the Haydn variations similarly disposedcount as a separate opus number, not as a transcription of

a n orchestral piece, yet it will be best to consider theformer among the chamber compositions a nd the latteramong the orchestral, seeing that the ul timate dispositionofboth is fixed by general consent a nd the master’s owndecision.

We pass on to the eight Cla vz'

erstneke,Op . 76, a nd

the two R izapsoa’z’

es , Op. 79, which complete the com

poser’s works for piano solo down to the latest period,

when the all-important Opp. 1 16—9 del ighted the world .

I t seems as though in regard to short piano pieces Brahms

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96 BRAHMS

that of Op. 1 18, No. a ndNgg j mha s the suppressed

energy of a n old ba l lad. Energy, neither suppressed norwasted, is the note ofthe two R izapsoa

’z'

es, Op. 79, thoughthe musette-l ike trio of the first, a nd the mysteriouspianissimo passage in the second, hide that energy for atime ; in the second the gradual slackening of the tripletfigure seems to indicate that the object is attained ratherthan that the striver’s strength is spent. ”Q { 3

0}I t would be absurd to suppose that the four sets ofpiano pieces which appeared in 1892

—3 were written

shortly before their publication probably some ofthemwere actual ly conceived at a ny time after the issue ofthe two Rnapsoa

'z'

es, between 1880 a nd 1892 . The

del icate lyrical character ofmany ofthem would not haveserved for movements ofthe greater works uponwhich thecomposer was engaged during those years, a nd there isno doubt that he felt them to suit the character ofthepiano better than a ny other instrument. Thoughg ot lessdifficult of execution than a ny ofthe earlier pieces, theya re fa r more grateful to theable.

”I t is all piano music ofthe highest quality .

i

The

impression they created on a sympathetic admirer likeMadame Schumann is recorded in her dia ry.

I

Op. 1 16, called F a nta se'

en, begins with a vigorous presto

inD minor with difficult accentuations ; inNo. 2 we strikea vein ofgentle pathos that is worked in many ofthesepieces for the first time ; No. 3 is a masterpiece of pianoforte sonority, a nd the middle section in E flat has one

of the most irresistible tunes in the whole of Brahms.

In the£9,91i a n“ intermezzo ”

inE major, there is a subtle

touch showing how fully the composer understood whatis a really typical effect ofthe piano ; between the deeply

Litzm ann’s Cla r a Sc/mm a nn, iii. 563, etc.

THE P IANOFORTE WORKS 97

expressive, even passionate, phrases ofthe melody at thetop, a re l ittle rz

'

tornellz'

, in which the right hand has to-~W

cross over,“ rathen pointlessly, a

g

superficia l studentm ight

‘

tliirik,to pla y the u

ba ss notes ; ‘by thus obliging theleft ' hand to play the uppermost part for the moment,there is almost inevitably produced a kind of dul l tone,Which is a s . a.

, ,qojgur-con_trast.The whole ofthis l ittle piece, the use ofthe soft pedal, thesimultaneous employment of chords played with a nd

without arpeggio, a nd the disposal ofthe chords, would beenough to prove that Brahms was fully sensible ofwhat isca l led “ co lour ” in music. The intermezzo in E minor,No. 5, is one of the less obvious of his works, but itssuggested suspensions

,a nd the flowing legato ofits middle

part, endear i t to his professed admirers. No. 6, a perfectminuet in form

,i s aga in called “ Intermezzo,

" that namesharing with Capriccio the titles of the pieces calledcollectively F a nta sies, showing that the names meantl ittle or nothing to the composer. No. 7 is a wild a nd

rhapsodical piece with a central melody, each note of

which is delayed, after the manner of some pieces of

Schumann.

The first of the three Intermezzi, Op. 1 17, carries a ninscription from Herder’s Volkrlz

'

eder , which serves toidenti fy the German poem with La dy Anne Botlzwell

’

s

L a m ent, beginning“ Baloo, my babe. I t is a n ex

quisitely simple lullaby, with a touch ofdark foreboding

in its middle section. InNo. 2 we recognize that pathetic

use ofthe arpeggio which was noted as one ofthe mostM a t-w m o v ‘

wsa lIent cha ra cterI stIcs of Brahms’s music. i t IS

“

claun'

fi d‘

tha t thereisn

anyfliing new in the figure, or in themanner ofits employment, but in the spir itual application

(as it may be called) of the musical device to describe a

98 BRAHMS

mental state that cannot be put into words there is some

thing emphatically new . In this case, the figure suggestsa chilling autumn wind that

,as it blows the dead leaves to

a nd fro, calls up feel ings of a regret that is scarcely

painful for some long-past happiness. There is no foreboding here, as there is in a later piano piece, in the fina leofthe A major violin sonata

,or in the slow movement of

the pianoforte quartet, Op. 26 ; nor is the resultantimpression quite as ethereal a nd fairy- l ike as is that ofthe poco a lleg rez

‘za of the third symphony. But if less

poignant, the sorrowful element seems to lie deeper a nd to

The third ofthe'

series is in the mood ofsome old ballad,a nd its romantic middle section may suggest some wayward spirit of the woodland, some Lorelei or U ndine.

The intermezzo with which Op. 1 18 begins is slightlytouched with the plaintive Spiritwe associate with Brahms

’sarpeggios, but it is rather a prelude to the happy intimacyofthe next following piece, the intermezzo in A,

than a n

independent work . The ballade which comes third isthe most vigorous in outward form ofall the later pieces,a nd the contrasting quietude ofthe middle portion sets itsVirility in a brill iant light. I n No. 4 Brahms sets us a

puzzle, which most of the p'

i'

a rrists'

o fr the day seem to

regard as hopeless ofsolution. But if they would em pha

size the notes to which a n accent is attached, they couldhardly fail to see that it is a study Em il

, ~ou the descent of

a n octave, everything in the melodic pa rtTvN

Crliéth'

e

—f'

sihglenotes or passages, being immediately reiterated a n octavebelow, generally with altered harmony. Sometimes, as anatural result of this

,short canonic passages occur, but

their presence need not alarm those to whom such thingsa re a n abomination, for it is never obtrud

'

ed. The

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roo BRAHMS

continual play ofits reiterated notes above, is l ike someskilfully contrived fountain ; just before the resumption of

the theme, a nd again at the end, there is a l ittle gust of

wind that suggests the wisdom ofstepping backwards soas not to be wetted with the spray. The last of the

set, a nd Brahms’s last work for piano alone, is calledR izapsodz

'

e. I t has more thematic material, a nd is moreelaborate as well as more brill iant than the others ; itmarches along with a great swing at first, a nd the introduction ofa triplet figure does not impede its progress or

alter its step ; a charming melody, that could not be

imagined on a ny other instrument than the piano, servesas “ trio

,

”a nd the march reaches a noble climax after

wards,with final passages ofgreat difficulty such as appeal

to the ordinary virtuosor/ If is noteworthy that Brahms,

here a nd in one other work, has broken through a certainconvention ; while m es

were always made wascalled a fierce de P z

'

ca rdz'

e, it was most rare, then a ndM — M e e 0 o

later, to end a major com posI tIon In the m Inor . ThIs

R izapsodz'

e begins in E flat major, a nd the who le trend

of it is towards a conclusion in that key, but the codainsists on a minor close for some reason or other at whichwe cannot guess.

I

The fifty-one U ebnngen, which actually appeared

after Op. 1 19, had no doubt been devised long before,a nd a re properly classed with Brahms

’s curious experi

ments in transcription,which have been already mentioned.They a re whol ly mechanical so far as having next to no

melodic idea, a nd in regard to the unchanging figure of

each ; but the l i ttle“etc.

” with which a large number ofthem conclude demands exceptional powers oftra nsposi

Com pa re the trio, Op. 8, which ha s a m inor close to its fina le. See p. 10 8.

THE P IANOFORTE WORKS 10 1

tion a nd resource on the part of the student, who must

play these things a semitone higher at each repetition. In

the mere matter of technique the U ebungen have no

v’

ery grea t‘

ir‘

fi pToffa fi’

Eéf Odd"

little”

expedients, such aspractised pianists meet with but once or twice in a lifetime,a re here made the subject ofelaborate exercises, a nd manyofthe others a re calculated to tire rather than to train the

artist’s fingers. The com poser’

sw gom m a nd o fpianoforte

techniqueis shown to'

be far more complete a nd far moretruly sympatheticwith

w

thev

instrum ent in the later piano

piecesm'

pp.

’

116; 19,'

than in these exercises. The arrangem ents

,

’

soiri'

eofwhich have been referred to above, includeChopin

’s F minor study set in sixths, Weber’s moto

perpetuo with the right-hand part adapted for the left, twoversions ofa presto ofBach from the first unaccompaniedvio lin sonata in G, his Chaconne arranged for left handalone,G luck

’s gavotte in A from P a rz'

de ed Elena arrangedfor the special use ofMadame Schumann, a nd twentyone U nga rz

'

sclze Ta nze, two books ofwhich appeared in1 869 a nd two more in 1880 . Originally set for four handson the piano, the first two books were arranged for pianoso lo by the composer in 1872 a nd in joachim

’s arrangements for piano a nd viol in the dances have preserved theirpopularity to the present day. The themes ofthe greatmajor ity I a re taken from the s tores ofnational Hungarian

W m to be heard from every Hungarianb and

but the spirit with which the characteristics of the

Hungarian performers a re caught a nd transferred to the

pianoforte is irresistible, a nd it will be long before the

dances a re forgotten or Brahms’s na me dissociated fromthem. There exists also a n arrangement by Brahms of

Schumann’s quartet for piano a nd strings as a piano duet

,

Som e"

a re Origina l. See Ka lbeck, i. 66.

10 2 BRAHMS

as wel l as a n edition of Handel’s vocal chamber duets with

piano accompaniment, a model ofwhat such things shouldbe. The complete edition ofCouperin enjoyed the value

of his co-operation ; a nd he was also concerned in those

brought out by Breitkopf a nd Ha rtel of the complete

works of Schumann a nd Chopin. I t is not generallyknown that he fi lled up the figured bass, in the two

beautiful sonatas for piano a nd violin, by C . P . E. Bach,which R ieter-Biedermann published some years a go.

An orchestral version ofthe accompaniment to some of

Schubert’s songs, among them Grez'

sengesa ng'

, Gell ezm es,

a nd Mem non, was also made ; the effect ofthese hardlycame up to the master’s expectation, but two others,An Sclzw ager Kronor a nd Gr appe a us dem Ta r ta ra s, weregiven with great effect by the Vienna Gesangverein, withthe vocal part sung by all the m en ofthe chorus.

THE ORGAN WORKS

Three works for organ solo may be more convenientlyconsidered here than elsewhere. In 1864 the Allgem ez

'

ne

Musz'

ka lz'

sclze Zce'

ta ng contained as a supplement a n organfugue in the startling key ofA flat minor. Whether theseven flats in the signature deterred the average organistfrom the piece, or not, we cannot say, but the fugue has

never acqui red the vogue which Brahms’s name mighthave ensured for it. In 188 1 the Musz

'

ka lzlrclees Bla tt

included a chorale-vorspiel a nd fugue on“ O Traurigkeit,

O Herzeleid, the subject ofthe fugue being suggested by,

rather than founded on,the Chorale-melody. I t is a

curious coincidence that both these fugues have theiranswers at first by inversion. Both were among the

compositions dating from the time when Brahms a nd

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104 BRAHMS

set, N0 . I I, 0 Welt, z

'

clz m uss die/t la ssen (it) , in whicheach line is fo l lowed by a kind of double echo effect,arranged to be played on three manuals

,the second echo

repeating only a part ofthe first. Beautiful as they a re

on the organ,there a re yet instances when some other

medium,not the organ, seems required for their perfect

realization.

This is especially true of the tenth a nd eleventh in

the tenth, the reiterated notes ofthe bass, on the manual,do not tel l as reiterated notes, unless so l ight a stop isused that insufl‘icient support is given to the melody in thepedal part. For this a more beautiful effect is obtainedif a baritone voice sings the words ofthe hymn, a nd themanual-parts a re played on the pianoforte, as in the caseofBach’s exquisite Chorale-prelude, Eroa rm

’dz

'

c/z m ez'

n, o

H erre Gott,where the same balance creates the same

practical difficulty. In the last bars ofNo . 1 1 the gradualfading away ofthe last echo cannot be properly expressedon the organ, where the middle part, carrying the melody,cannot be brought out, nor its notes given the smallemphasis they seem to require ; but the pianoforte ca n

not fail to give exactly the effect it may be supposedthe master wanted. I t is a n open question whether hewas not thinking more of the piano than of the organin writing these two

,if no others ofthe set . Wa s ever so

suitable a n ending to a ny human work achieved as thise leventh Chorale-

prelude As the melody fades away, weseem to catch a glimpse of the soaring spirit entering intoits rest a nd reward.

CHAPTER V

CONCERTED MU SI C

F we allowed ourselves to feign a total annihilation of

all the music ofBrahms with the exception ofone

single class ofhis work,we should be probably justified

in thinking that the class chosen by the world in generalfor preservation would be the concerted chamber music .I t is this which first awoke the passionate love for his artin the souls ofmany Eng l ish people, a nd although theviolin sonata, which was among the pieces shown to

Schumann, has been lost beyond h0 pe ofrecovery, yet weknow that Schumann was as much impressed by it asby a ny ofthe other compositions. Of course, if it couldbe shown that the universal vote would be for this classagainst al l the rest, that would prove absolutely nothingone way or the other as to its relative merits, as comparedwith

,the other branches of music in which so many

masterpieces were left. But such a vote would demonstrate the popularity of this class

,a nd the general

opinion that in this Brahms excelled more incontest

ably than elsewhere. The forms of ensemble music forinstruments a re apt to find out the weak places in the

equipment of those whose aim is chiefly colour, a nd whonaturally rejoice in the chances they get when writing for

the orchestra. A great designer, as distinguished from10 5

106 BRAHMS

a great colourist,will feel more at home, a nd be apt to do

his best work in monochrome, a nd there a re masterswhose pencil drawings a re far more valuable than theirfinished oil pictures. Although we may not desire to givesupport to the stupid assertion that Brahms was not a fine

colourist, we may be willing to admit that noble design

was more to him than the most skilful colour-scheme. I t

is significant ofthe unity ofpurpose which marked all the

work ofthe great composer from beginning to end thatthe earliest piece of his ensemble work now extant,

published after his death, should yet not seem unworthyof his maturest days. The single movement which he

contributed to the viol in sonata written jo intly withSchumann a nd Albert Dietrich, is the short scherzo in

D minor,Dietrich having provided the first movement a nd

Schumann the intermezzo a nd finale. This was publishedwith joachim

’s permission some years after the death ofBrahms

,in 1906.

The scherzo is unmistakably the work ofone who wasdestined to do great things in the world, though as yetit might have seemed uncertain whether he would keep to

the old-established forms or break out into experiments ofdoubtful success. I t starts with reiterated notes on the

vio lin alone, a nd the rise ofa semitone with which the

piano part begins is soon— but not til l after the repeatofthe first part— developed into a flowing phrase in which

the upward a nd downward leap ofa n octave is a prominent feature. The trio begins with a new melodic phrasewhich promises excel lently but after fourteen bars it is

evident that the composer is hankering again after thefigures ofthe scherzo,

a nd after uniting them with the trio

phrase, the scherzo is definitely resumed, the trio phrase

serving for a n almost operatic coda. This movement

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10 8 BRAHMS

eloquent a nd passionate section, a nd the close of the

movement is much shortened . After the first fifty barsor so ofthe finale

,the whole course ofthe music changes,

a nd almost the only similarity there is between the

versions is that both end in B minor, instead of the

original major key. The great swinging theme which firstappears in D major is peculiar to the new version,

a nd

here one feels that the young Brahms of 18 54 had not

ga ined the full confidence in the use of his pinions to

venture on so bold a flight as carried the m a n of 189 1 to

such a perfect end. I t may seem like a paradox to speakofunity ofstyle in a work in which so many importantalterations were deemed necessary but the point is thatthere is not one ofthe changes which would be detected assuch by a person not already familiar with the trio in itsearlier version, a nd that the style ofthe work as it nowstands is at least as homogeneous as that ofthe original form.

The first sextet for stringed instruments, Op. 18 , in

B flat,has been wel l l ikened to Schubert in its fertil ity of

invention a nd its wealth ofmelody. The first movementhas no fewer than three of those haunting subjects in slowwaltz (or

“ landler”) time in which Brahms’s music is so

abundantly rich. The identity ofplan at the beginning ofthe first a nd last movements has often been noticed, forthe Violoncello gives out the theme ofeach a nd is echoedby the first violin. Originally the first movement beganwith its present eleventh ba r, but joachim pointed out thegreat gain in importance which would result if the violoncello started it, a nd the plan commended itself to the com

poser so heartily that he employed it again in the finale.

The coda, with its use ofpz’

zez'

ca to in all the instru

ments but the second Violoncel lo,which ho lds a pedal F,

anticipates the lovely ending of the first movement ofthe

CONCERTED MU SI C 109

symphony in D. Such things speak so directly a nd so

definitely to the heart that words a re whol ly inadequate toconvey the impression

,a nd the inspired moment ca n only

be compared to some touch of thrill ing simplicity in alyrical poem which makes the reader catch his breath.To analyse such moments is to destroy them, a nd yet the

student must long to find some means by which theirexact quality ca n be conveyed, short of a performanceby ideal musicians. In the second movement of thesextet, the first theme ofthe six variat ions is given out bythe first viola, a nd each half of it is repeated by a differentcombination of instruments, the first viola having extendedchords as if to maintain its prominence of position. In

the first three variations the movement ofthe figure-workgets more a nd more rapid, exactly as it does in the variations of Handel a nd his predecessors, groups of four a ndsix semiquavers being. fo llowed by demi-semiquavers.Then comes a quieter major variation, a nd a n exquisiteornamental variation, the first half of which is playedon violins a nd Vio las alone, the adorned theme being oncemore given to the first viola. A return is made to the

minor mode a nd the theme in its original form (given out

by the first violoncel lo) for the close ofthe movement.

The energy of the scherzo reminds one not a li ttle of

Beethoven, and the trio becomes absolutely uproarious,with a repetition ofits uncontro l led behaviour in the coda.

The final rondo Opens with H a ydnesque sedateness, on atheme played by the first Violoncel lo, answered by the

three upper strings. As with Mozart, the simple rondo

theme is soon carried to higher issues,a nd the workingout section contains passages of strenuous dignity,particularly at the point where the semiquaver figure

is worked against the three-note phrase.

1 to BRAHMS

The student of the future, relying exclusively on

internal evidence a nd seeing that the two quartets forpiano a nd strings, Opp. 2 5 a nd 26

,were published in 1863,

the year that Brahms went to l ive in Vienna, will, of

course, conclude that they a re the firstfruits ofthe atmo

sphere ofthe Kaiserstadt upon a n impressionable nature.

But notwithstanding the strongly Hungarian colouring of

the first ofthe two, the beautiful work in G minor, theywere both written while Brahms was resident in Germany.

But ofcourse Hungarian music was not a sudden revelation to him, for in his earl iest days his association withRem ényi had made him well acquainted with its characteristics

, a nd its truer nature was revealed to him far moreclearly in his close intercourse with joachim. The sombrecolouring ofthe first m ovem ent I finds its ideal counter

part in the plaintive grace ofthe intermezzo, one of thosethings which a re quite pecul iar to Brahms. Their fleetingcharm a nd gently elegiac character have never beenapproached by a ny composer, ancient or modern. Thisinstance is one ofthe most beautiful ofall. The trio hasa suggestion of greater strength, but we willingly fallagain under the spel l ofthe yearning weakness, as ofawounded fairy, which seems to be the note of this movement. The lovely andante has not flowed on very farbefore some arpeggio figures a re introduced in the pianoforte part which seem to prophesy one ofBrahms

’s favouritedevices, already spoken ofin the chapter dealing with his

piano music ; he seems to attach a mystic significance tothis figure, instead of leaving it one ofthe commonplaces

I n the faucl u'

m Correspondence, i. 30 3, is a n interesting pa s sa ge, in

which joa chim spea ks ofthe them es ofthis m ovem ent being less pregna nt withm ea ning tha n is usua l with Bra hm s, but wonders a t wha t he m a kes out of

them . See a lso p. 306. Ma da m e Schum a nn’s opinion on the two qua rtets

m ay be com pa red (Litzm ann, iii. 106

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1 12 BRAHMS

produce a peculiarly desolate feel ing, as of a cold windblowing over a deserted graveyard. The idea that thesearpeggios suggest wind is the only feature which thisinterpretation ha s in common with that of Ka lbeck, whois reminded by the. movement ofa lovely spring eveningwith nightingales in ful l song. In the scherzo we a re in

full daylight again,the theme being buoyant a nd very

vigorous ; that ofthe trio, too, with its energetic phrasegiven out on the piano a nd repeated in canon by the otherinstruments, is ful l of force, a nd the finale starts with arhythm caught with difficul ty at first even by the sharpestea r. The movement has the animation ofsome of Schumann’s best fina les a nd the ending is unmistakablySchum annesque, with its long dominant pedal a nd the

rapid coda. Many of the early works tel l of mastery tobe acquired, but these two quartets may wel l be con

sidered as the earliest th ings in which that mastery isfully apparent.The quintet for piano a nd strings in F minor

,Op. 34,

went through two transformations before reaching itspresent state. I t was at first a quintet for strings alone,with two violoncel los, but when tried over it was foundinsufficient in sonority to bear the weight ofthe importantmaterial,1 a nd it next became a sonata for two pianofortes.In this guise i t was published seven years after its appearance in the ultimate form as the quintet we know. The

bold unisons of theopening tel l us, as plainly as the first four

notes ofBeethoven’s C minor symphony, that somethingof great importance is starting, a nd the prophecy is amplyfulfilled, for the work is one of the com poser’s greatestmasterpieces. Mr. Col les has shown how the two parts

See the [w him Correspondence, i. 3 16 fi ., a lso Litzm ann, Cla ra

Sc/mm a m c, iii. 158 ; she a sks Bra hm s to a rra nge it for orchestra .

CONCERTED MUSI C 1 13

of the first theme a re really identical, a nd in his article on

Sonata ” in Gr a ve’s Dictiona ry (vol. iv. p. Sir HubertP arry points out in a very interesting way that a cadenceconcluding a paragraph is immediately taken up by a

diflerent instrument a nd embodied as a most significantfeature in the accessory subject which follows. I t may

be remarked that the essential part of this theme, thereturn to the same note after the interruption ofa note

either immediately above or immediat zly below it— a kindofenlarged m ordent or pra lltriller— is worked through themovement with wonderful effect in the triplet a ccom pani

ment a nd in the more prominent parts at the same time.

The pure lyricism ofthe a nda nte a n poco a dagio is ofarare beauty which even Brahms seldom surpassed, a nd thearrangement of i ts "delivery by the various instruments isso varied a nd so del ightful to the ea r that there is no fear

ofthe sweetness ofthe theme becoming too cloying. The

exquisite l ittle coda is a worthy ending to the movement.The scherzo,

in which the pulsating rhythm is set at firstby the Violoncello on reiterated C’s played pizzica to, ha s a nirresistible swing, a nd the varying paces of a horse a re

suggested in the alternation ofg. with 3 time, though thebeats ofthe bars never alter. The trio keeps up the same

1 I 4 BRAHMS

motion, a nd the abrupt ending of the section with acadence that falls upon the keynote from the semitoneabove is not its least original feature. The introduction tothe finale is another tribute to Schumann’s favourite wayofopening his last movements it is slow a nd mysterious,a nd those who study it minutely wil l find that the germof it is contained in the rising phrase of two notes,generally a semitone, sometimes a whole tone, which

phrase eventually generates the strenuous a llegro non

troppo. The coda in g time recalls the figure of the

scherzo, a nd its pace becomes apparently uncontrollablebefore the close ofthe whole.

The second sextet for strings, Op. 36, in G,will always

divide with the first the preferences ofmusicians ; it isquite impossible to say that one is beyond questionsuperior to the other, although the second has the greatermaturity which we should expect. I ts first a lleg ro startson a groundwork ofa wavering tonic pedal sustained on

the first viola,a nd the main theme alternates very boldly

between the keys ofG a nd E flat. Both these elementscombine to make the working out ofthe movement one of

the most interesting in existence, even without the help of

the attractive second subject— a suave melody in which, asin the first theme, Brahms

’s fondness for tunes bui lt on thesuccessive notes ofa chord shows itself. The scherzo isworked with masterly skill, but it is a l ittle overshadowedby the i rresistible merriment a nd spontaneity of the

presto giocoso, the del ivery ofwhich by joachim a nd hiscol leagues ca n never be forgotten by those who heard it,so full was it ofthe suggestion ofperennial youth. The

slow movement consists offive variations a nd a coda on asoaring theme (nearly allied to the first theme of the

opening movement), given out by the first viol in, supported

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I 16 BRAHMS

horn in combination with the other instruments is so

characteristic a nd so admirably skilful that when the

place of that instrument is taken by Vio loncel lo or violamuch is inevitably lost. (The latter instrument is the

more effective of the two permitted substitutes.) The

first a nd second subjects of the opening movement a reof infinite grace a nd eloquence, the scherzo has somesuggestion of the hunting scenes with which the toneof horns is most commonly associated, a nd the a dagio

m esto is pregnant with poetical meaning ; at one point,not far from the end, the viol in has a couple of barsin F major

,from which would seem to be derived the

joyous theme ofthe finale in which the horn’s favourite

kind ofpassage is conspicuous. By its moderate length,its genial character, a nd the beauty of its colouring,this trio is one ofthe most popular ofBrahms

’s works.In the central period of Brahms’s work, after the

R equiem a nd near the other great choral works a nd

the first Liebeslieder,his only contribution to concerted

chamber music was the pair ofstring quartets publishedin 1 873 as Op. 5 1 . He was wise, no doubt, to leavequartet-writing until he had proved himself in the othergreat branches of music ; for of them all

,the quartet

is surely the greatest test of a composer’s real power.

So narrow a re the l imits imposed, that nothing but realfine workmanship through a nd through wil l lead to

success ; yet the means a re sufficient to express deepa nd poetical thoughts, a nd there is no feeling that adifficul t problem has been s olved

,as there is in a

composition for three stringed instruments. The two

quartets were by no means the composer’s first attempts

in that form ; he told a friend 1 that he had writtenKa lbeck ,

CONCERTED MUSI C 1 17

as many as twenty string-quartets before achieving one

that seemed to him good enough to publish. The firstof the two, in C minor, suggests that, as Bra hms hadbeen so fully engaged in the composition of things whichwere definitely meant for the public at large, he willinglyturned to a style ofmusic which could appeal only tothe few who care to probe the depths ofa great man’sthought. The opening allegro i s not at al l easy to

fol low or to grasp even with every advantage of perform a nce a nd previous knowledge of the score. As Mr.

Colles says,“ Even the distinction of first a nd second

subject is difficult, so completely does each phrase seemto grow out of the last.” I t remains a masterly pieceof musical development, a nd if the romance in A flat isalmost too intimate ”

for most people, the intermezzo inF minor has a winning charm, a nd its trio in F major is

entrancing in i ts perfect simp l icity a nd naive grace. At

its commencement a beautiful undulating effect is produced by the second violin reiterating the note A on the

open s tring a nd a stopped string alternately. The severity

of the first movement is continued in the fina le,a nd

both movements a re for the student rather than for

the public. I t i s all the more curious on this accountthat here, ofall places, Herr Ka lbeck should have discovered two unconscious quotations from the Wagneriantrilogy, the

“ Erda-theme at the opening of the firstmovement a nd the “Walhall-theme ” at the opening of

the second.I The latter is of far slighter extent than

the former, but it is a n odd coincidence that both shouldcome from the same quarter and be embodied in surroundings where the average Wagnerian would be mostunlikely to look for them. The second quartet in A

b

Ka lbeck , I I . 451.

1 18 BRAHMS

minor is far more intell igible to ordinary hearers, a nd

it contains in its first notes the virtual dedication to

joachim,although the two quartets a re dedicated osten

sibly to Dr. Bil lroth. The notes “ F , A, E,

” standingfor F rei, aber einsam,

represent the motto whichstood with joachim for the ideal of his career. The

quartets were brought out during a short period of

estrangement between joachim a nd Brahms, a nd the

treatment ofjoachim’s artistic motto in this way had

its share in bringing about a reconcilia tion.I The open

ing notes,A

,F,A, a re said by the author to stand for

a musical motto ofBrahms himself, so that the union of

the two phrases had a special personal meaning? Theyappear with a marked distinctness at the opening in

the first violin part, a nd contain the germ of muchthat is to follow. The second subject is of the mostgracious beauty, a nd a subordinate theme in whichtriplets of crotchets a re prominent helps to carry on

the interest of the movement. The a nda nte m odera to

is deeply poetical, but in rather a sombre mood, a nd

the qua si m inuetto breaks in upon it with great charm.

The alternation of this movement with a n a lleg retto

viva ce in A major is one of the characteristic things inthe work, a nd foreshadows the similar device in the

vio l in sonata, Op. 10 0 . The finale is a remarkableachievement in the way of transformation of the maintheme, which appears in no fewer than eight differentshapes in its course, ending with a version in slowchords

, pia nissim o, leading to a pinviva ce,which ends

the work in brill iant style.

After a considerable space of time, occupied by the

L iebeslieder a nd various large choral works,a third

See Ka lbeck, n. 443ff.2 But see note onp. 90 .

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1 20 BRAHMS

Violoncello, is Brahms of the purest kind. The finale,with a figure in the manner of a m oto perpetuo, is veryeffective.

I

The third quartet for strings alone, Op. 67, in B flat,is the last of the chamber compositions in which a ny

trace is to be found ofthe austerity ofstyle with whichit was formerly the fashion to reproach the composer.The unceasing movement of the quavers in 3 time isrelieved very happily by short sections in } time, whichhave a most humorous effect. The theme of the

andante, delivered by the first viol in, has a kind of

royal serenity a nd ease about it which foreshadows thestyle ofmuch ofthe composer

’s later works ; the agita to

that comes after it is most plaintive, a nd the subject isgiven out by the unmuted viola, the other three being

played con sordino. The poco a llegretto con va rza zzonz

is one of the lovel iest themes in existence, absolutelysimple in design a nd deliciously fresh in invention. Six

variations pass, changing keys a nd figures, a nd after thesixth

,in G flat

, we a re surprised by a sudden return, notonly to the original key ofB flat, but to the theme of

the first movement, which is made to do duty as avariation, while for the close the theme ofthe variations

a nd this initial subject ofthe whole work a re joined inwith exquisite effect. “ Austerity ” is in truth not the

right word to apply to such a tenderly eloquent workas this quartet ; perhaps

“ intimacy ” will better express

the quality which prevents it from being a very generalfavourite. Some strange analytical remarks upon it may

be read in Ka lbeck,2 as, for example, that the opening

1 For Toa chim’s interesting criticism , see the Correspondence with him ,

i. rz4~ 7 .

2 ii. 455 ll .

CONCERTED MU SI C 12 1

theme of the first movement has a similarity to that ofa trumpery old piano piece

,which was fashionable (a nd

no doubt composed) long after this quartet was published, under the name Ga votte de Louis X I I ]. The

habit of hunting for reminiscences is apt to get quiteirrepressible

,a nd this instance may serve as a warning

not to attach too much importance to other exampleswhich Ka lbeck cites.

The sonata for piano a nd violin in G,Op . 78 , did not

appear until after the symphonies Nos . 1 a nd 2 werepublished, a nd it would almost seem as if in these a nd

the viol in concerto a gentler, more appealing manner ofexpression fo l lowed from the use ofthe orchestra, for fromthis po int onwards almost everything belongs to the classofmusic that is appreciable at once by the educatedhearer

, a nd after a short acquaintance by the less aecom

plished. The sonata brought Brahms more fr iends than

perhaps a ny other of his compositions, partly due,

‘no

doubt, to the zeal with which joachim spread its beauty

through Europe. Other viol inists were not slow in takingup the piece, a nd it has never lost its hold in the thirtyyears since it appeared . I ts lovely tenderness ofexpression all through

, the unity of its style, a nd the deftnesswith which the two instruments a re treated, all combine tomake it widely beloved . The initial phrase of the firstmovement, with the three repeated notes, the first indotted rhythm ,

foreshadows the theme of the finale,which is identical with the subject of the two songs in

Op . 59 (published in R egenlied a nd N a c/zkla ng ,

a nd the slow movement which comes between the movements, a nd which interrupts the course ofthe last m ovement, makes a n irresistible appeal to all who love musical

beauty.

12 2 BRAHMS

Three years after this appeared two more concertedpieces, the trio for piano a nd strings in C major, Op. 87,a nd the string quintet, Op . 88 . I fboth these works havebeen practically overshadowed by Op. 10 1 a nd Op. 1 1 1

respectively, it is pretty certain that as time goes on theirbeauties wil l be more a nd more widely appreciated, even

though their younger sisters may still be preferred bymost players a nd l isteners . The trio, starting with abroad unisonous phrase, has, in its a llegro, one of thoselovely, yearning second subjects that a re peculiar to

Brahms ; the slow movement, in A minor, is a set offivevar iations on a theme ofa character nearly all ied to whatis known as the Hungarian type of folk-tune. The

scherzo is genuine fairy-music, beginning with a phrase of

gossamer texture into which there breaks, at the tr io, asuggestion of fairy horns a nd signals. The finale hassomething almost grotesque in its rather stolid figure of

accompaniment, which makes ofcourse a perfect contrastto what has just been heard . The quintet in F ,

Op. 88,

begins with a splendid example of concise developmenton a strongly rhythmical subject, a nd its second movement presents us with a strange new feature, for it isinterrupted twice over, the first time by a section of

pastoral simplicity inA, g, a nd afterwards by a presto inthesame key, 3, the main theme returning at first in C sharpmajor, a nd at last in A major, after each contrastingepisode . I t is of such beautiful breadth a nd suavity thatthe interruptions might wel l be resented, if they were lessbeautiful than they a re. The finale starts fugally

, a nd the

strict style is maintained for some time, with free use of

episodical matter ; a coda, presto, winds up the work verysa tisfa ctorily.

I

See Fra uvonHerzogenberg’s rem a rks on it in the Correspondence with

her, i. 191 hi ; trans ., 167 if.

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1 24 BRAHMS

Op. 10 1 is the splendid trio for piano a nd strings in Cminor, a work distinguished in the highest degree, bothfor invention a nd treatment . No theme was ever moreenergetic than its opening, none more broadly flowingthan its second subject, nor anything more concise a nd to

the point than its development. The presto non a ssa i is

one of those plaintive“ April movements which a re

Brahms’s special ity ; the pianoforte chords a nd the pieci

ca to passages which distinguish the middle section may beheld to be aesthetical ly connected with the mysterious useofarpeggios, ofwhich we have so many examples. The

a nda nte g ra eioso begins with a dialogue, the two stringedinstruments giving out the first phrase a nd the pianorepeating them with ampl ified harmonies. The themeitself is in a rhythm expressed as a bar of3} time, fo llowedby two bars of24 time ; ofcourse this is actually a longbar of seven crotchets, with subordinate accents on the

fourth a nd sixth beats. But no one would guess thatthere was anything out ofthe way in rhythm, so suavea nd serene is the movement ofthe theme, a nd so broada nd calm its flow. A short alternative section in what thepundits would call “ compound quintuple timealternate bars ofg a nd g time) comes in by way ofrel ief,but, in spite ofthe verbal intricacies in which alone a n

accurate idea ofthe music ca n be given apart from actual

performance, the who le movement is one ofthe mostspontaneous in Brahms

’s works . The vigour ofthe firstmovement returns in the last, in the course ofwhich thereappearance ofthe main theme in the tonic major is likea gleam ofsunshine on a cloudy day.

In 1 889, two years after this, came the third oftheviolin sonatas, Op. 10 8 in D minor, a work of strongertexture but no less charm than the other two violin

CONCERTED MUSI C 12 5

sonatas. One of its pecul iarities is the sforza ndo note ina n unexpected part of the bar in the second subject ofthefirst movement, a passage to which very few players, bythe way, know how to give the exact value, some of themavoiding the emphasis altogether, a nd some overdoing it.The effect is at its best if the increase of force be only comparatively slight, but if the smallest imaginable break bemade a fter i t, in fact if more attention be paid to the

staccato mark thanto the sf. The famous dominant pedalpoint which occurs in this movement, lasting for forty-sixbars, carries us back to the pedal fugue in the R equiem , a nd

in its way is as fine as that. The slow m ovement is ofraredirectness a nd simplicity ofstructure, though it deals withgreat emotional passion. The movement label led U npoco

presto e con sentim ento i s, ofall the elfin movements of

Brahms, the most fairy- l ike, for its sadness is not human,l ike that ofthe preceding movement, a nd its exquisitebeauty must appeal to every one who is not deaf toimaginative poetry. The passage in which the pianofortepart suggests, rather than plays, a descending scale, quite

at the end, is ravishingly beautiful. The swing ofthe las tmovement is irresistible, a nd the suave theme whichre l ieves it reminds us of the third theme in the last move

ment ofthe piano sonata, Op. 5, by its serenity a nd

brea dth.I

The string quintet, Op . 1 1 1 , which appeared in 1 89 1,

opens with a passage concerning which there is a good dealin the letters.“ There was a feeling that no one but Hausmanncould possibly make the opening theme onthe violon

On the difficult pa ssa ge 0 1 syncopa tion in the fina le, p. 2 8, see the

Herzogenberg Corr espondence, vol . ii. p. 2 15 iii; trans. , 365 if.2 See the Herzogenberg Correspondence, ii. 24 5

-6 ; trans., 392 ; and the

joa clrim Correspondence, ii. 239-42 .

126 BRAHMS

cel lo tel l against the other strings if they were allowedto play forte with the sonorous trem ola ndo set down forthem. I t was found advisable to let them play m ezzo-fortewith ordinary violoncel lists, though theforte remains in the

printed copies. The wonderful swing of the openingtheme is finely contrasted with the half-hesitating gait ofthe two subordinate subjects, the first given out by the

first viola, the other by the second vio lin. The first viola,

throughout the work, has a n unusually large share of the“ leading ” to do. The adagio inD minor is in its hands,a nd near the end there is a cadenza for the same instru

ment. Thepoco a llegretto has a less important part for the

first viola until we get to the trio, where it leads again.

At the close ofthe main section,before the trio, a nd again

before the coda in which the trio-theme is resumed, there

is a curious instance ofunconscious plagiarism,for in the

last chorus of Bach’s S t. M a ttlzew P a ssion, the twoorchestras answer one another with this phrase

while in Brahms’s quintet, the fo l lowing two bars

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1 28 BRAHMS

whole trio has suffered by the simultaneous publication of

one of the most masterly a nd the lovel iest of all themaster’s works

, the quintet for clarinet a nd strings inB minor, Op. 1 15. Of the first movement, Mr. Colleswel l says : “The first movement seems to contain all things,the best ofhis life’s experience, surpassing beauty, infinite

tenderness, with here a nd there a gleam of that ruggedstrength which characterised all his art.” F rom the Open

ing phrase in thirds on the two violins,we feel enchantedby the twisting sextolets of semiquavers, a nd the secondsubject, by way ofbreaking through the usual convention,is of a more vigorous strain than the first. The a dagio

i s one of the most poetical things in the whole ofmusic ;its melody is long-drawn

,a nd above a n accompaniment

full of cross-rhythms, played on the muted strings, theclarinet notes soar with a beauty that is almost unearthly.The rhapsodical middle section is obviously designed with

particular reference to the clarinet a nd its facility in rapidpassages, a nd at the close of the movement there is adialogue between the first violin a nd the clarinet whichcannot be forgotten by a ny who had the happiness ofhearing the quintet interpreted with joachim a ndMuhlfeldin these parts. The clarinettist seemed to express, in the

pia nissim o phra se, the inmost secrets ofthe human heartin a mood ofpassionate rapture ; one thought, as he played,that the smallest touch more must end in exaggeration ;

yet when joachim took up the phrase he put even more

into it than Muhlfeld had done, a nd yet kept it entirelywithin the picture a nd within the bounds of truest art.

The a nda ntino, starting with a very square-cut theme,contains a very interesting instance of the transformation

of material, such as is found in the second symphony ;for the presto non a ssa i, though not textual ly the same, is

CONCERTED MU SI C 1 29

very nearly all ied to it. The variations, five in number,which form the finale, a re buil t on a lovely theme, in whicheach phrase is echoed rather sadly by the clarinet, afterbeing given out by the strings. The first variation openswith the Vio loncello alone, a nd here S igno r P iatti, whofirst played the work in England, used to make a greatimpression by his delicious phrasing. At the third variation we begin to be let into the secret of what is to come,for the echoing phrase, from the opening ofthe movement,has a little twist given to it which henceforth is never quiteout of sight until, for the coda to the who le work

, the

opening theme of the first movement is heard once more.

F rom beginning to end, the quintet is so lovely that al lmusicians must be thankful that P rofessor Miihlfeld l ivedto inspire it, although, as Mr . Col les says : Had Brahms

never heard the great c lar inettist, that music must havebeen expressed somehow.

” No doubt ; but the mode of

expression must have been different, a nd it is impossibleto conceive a ny change that could have improved it.

I t rema ins only to speak of the two sonatas for pianoforte a nd clarinet, which were published together, in 1 895,

as Op. 120 . The first, in F minor, has a first movementwhich is not easy either to play or to comprehend ; itsmost attractive moment is the sostenuto at the close,where the two instruments have beautiful ly characteristicpassages. The a nda nte breathes the calm, melancholyatmosphere ofthe quintet that has just been described ;a nd the a lleg retto has a Winsome grace l ike some lovely

a nd individual dance movement. The finale always seemsto promise a strictly contrapuntal treatment ofthe repeatedminims at the opening, but though these a re very prominentrhythmical ly through the movement, the working-out pro

ceeds along more usual l ines . The second sonata will alwaysK

130 BRAHMS

be the favourite both with musicians a nd with the public,for its tender appeal is irresistible, a nd its themes a re onea nd all ofthat attractive kind which distinguished the lastperiod ofBrahms’s work . The style ofthe opening a llegroa m a oile carries us back to the firs t viol in sonata, not in itsthematic material

,but by its general mood. The a llegro

appa ssiona to,which comes next, seems almost too importantin structure for its place, for though it conforms to the

type of scherzo with trio, the scherzo theme is so rich inmusical suggestion that one expects it to be more fullydeveloped than it ca n be in the space. The sostenuto, too,

belongs to the broadest things that Brahms was ever inspired to write. A free set ofvariations comes as the lastmovement. The third variation reminds us a little ofthe

second intermezzo from Op. 1 17, but the figure is dividedbetween the two instruments. The allegro variation, whichimmediately precedes the coda, is in the master’s mostvigorous vein, a nd the old use of pianoforte arpeggioswith a sense of menace comes to light just once morebefore the end ofthe sonata. After this Brahms wrote nomore for instruments in combination.

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CHAP TER V I

THE OR CHESTRAL WORKS

RAHMS’

S first essay in orchestral writing immedia tely preceded his first attempt to write for

chorus ; i t was in 1860 that his Op. 1 1 appeared, in alithographed score. I t is a serenade for ful l orchestra

(with four horns a nd no trombones) , a nd is in the key

ofD major. I t is curious to see how the unusual vehicleseems at first to hamper the freedom ofhis expression ;i t is not easy to realize that after the first trio, the

Schumann variations, a nd the Ba lla den, a m a n who hadacquired, in piano solo music a nd in concerted chambermusic, so much certainty ofutterance, should feel oppressedby the orchestra, as he seems to have done. Mr. Co lleshas wel l said : “ This serenade bows in turn to eachclassical predecessor, Haydn, Schubert, a nd the earlymanner of Beethoven, a nd accepts unhesitatingly eachconvention oforchestration that they used.

”The second

subject ofthe first allegro is the earl iest example in the

work ofa manner which may be called Brahms’s own,a nd

while the first scherzo is charming a nd individual, the slowmovement is certainly open to the charge often levelledunjustly against the whole ofBrahms’s orchestral music,that it is too thickly scored . The two minuets a re the

most successful part ofthe work ; the first is scored for131

132 BRAHMS

first flute, first a nd second Clarinets, first bassoon a nd

Violoncel lo, while, in the second, the two Clarinets takepart with the violas a nd violoncellos. There is a lovelycoda in which the viola has a descending passage betweenthe held notes ofthe flute a nd Vio loncello. The secondscherzo, for all its indebtedness to Beethoven, a nd pa rticula rly to the ninth symphony, has some individuality,a nd the final rondo, with its schoolboy humour, mustalways be effective.

As a matter offact, the first pianoforte concerto, Op . 15,

in D minor, was written before the first serena de,I a nd

actually made its appearance in public before that work ;but it seems more convenient to adhere to the order ofopus-numbers in analysing the compositions. The storyof the unfavourable reception accorded to the concertohas been to ld elsewhere (see pp. 10 , 1 Brahms took hisfailure l ike a m a n

,a nd, so far from disheartening him,

i tstrung him to new efforts, a nd the disappointment boregood fruit. But, looked at from the point ofview ofhislater music, the first piano concerto seems to have beenmost unfairly judged by the Leipzig public at all events,their verdict has been emphatically set aside by the worldin general,with whom the concerto has oflate years takenits place among the more frequently performed of the

master’s works with orchestra. I t is easy to see whereinlay the cause ofthe animosity it aroused . The opening,which now strikes the bea rer as a splendid demonstrationofvigour, must have offended the pundits with its chord

1 I t existed in the form ofa sona ta for two pianos a s ea rly a s 1854 (see the

[oa cfiim Correspondence, i. 2 8 , I t wa s next turned into a sym phony,but it is not clea r tha t it wa s finished in tha t form . As a concerto, its

first m ovem ent wa s being written out a t the end of 1856 (see Litzm ann’s

Cla r a Sclzum a nn, iii. I t wa s long before it sa tisfied the com poser, a nd

his fine expressions ofdissa tisfa ctionm a y be rea d in Litzm ann, op. cit.,iii. 25.

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134 BRAHMS

its present shape, for the finale which wa s first written to

it was no less genial a n inspiration than the last movementofthe symphony in C minor. I t really seems a littlehard on the concerto that it should once have possessedtwo ofthe most individual movements in the whole ofthe

master’s work,a nd had to sacrifice them , even though

their later form is no doubt far more amply a nd maturelydeveloped than the earlier. The present rondo of the

concerto is vigorous a nd buoyant, a nd the cadenza whichleads so fantastically into the fine resumption of11. m aintheme in the tonic major is most effective.

The next work for orchestra, Op . 16, is a second

serenade, in A major, for small orchestra, consisting oftwoflutes, two oboes, two Clar inets, two bassoons, two horns,violas, violoncel los, a nd double-basses . The

“

experimentof dispensing with the violins was tried again in the

opening chorus of the R equiem (see p . Here itseems to have been in some sort adopted as a n exercisein scoring (a letter from joachim to Madame Schumann,

printed in L itzm ann,iii . 46, shows that Brahms was still

giving much thought to var ious ways ofscoring it), or

possibly the composer may have felt that his .use ofthe

viol ins in the other serenade was too constant, a nd havedenied himself their employm ent altogether for the

purpose of getting ease a nd certainty in writing for

the rest of the orchestra. The serenade is not ofgreatimportance for the general musical public, though it willalways be beloved by those who discern in it the promiseofwhat was to come in the author’s maturer works. In

the l ight ofthese, the first movement is seen to have veryinteresting developments, a nd the who le has remarkablecharm

,spontaneity

,a nd grace. The scherzo in C major

has a suggestion of those crossing rhythms which a re

THE ORCHESTRAL WORKS 135

the most obvious ofBrahms’s characteristics, a nd the trio,given out by the clarinets a nd bassoons in unison, carrieson a suave a nd broad theme above the persistent rhythmofthe scherzo. The adagio is no doubt the most beautifulmovement, striking a note ofdeeper emotion than a ny of

the others, a nd containing a lovely passage in the middlefor the wind instruments alone. The Qua si Menuetto

has a halting rhythm ofexceedingly characteristic da intiness, a nd the final rondo is built on a theme whicheven on paper tel ls one who was the author. I t is insome way analogous in pattern to the opening movement ofthe horn trio.

”The first edition ofthe second

serenade appeared in 1860 , but the state in which it isbest known dates from 1875, when the composer hadrevised it in some details. I t is minutely analysed in

Ka lbeck,i . 38 1— 5.

After it,although ofcourse the orchestra was used in

the R equiem , the Sca icksa ls lied, R ina ldo, a nd other vocalworks

,Brahms did not write for orchestra alone until

Op. 56a , the variations on a theme ofHaydn which hadappeared in 1 873 as a duet for two pianos, the orchestralform not being published until 1874 I t occurs in one of

Haydn’s MS.

“ divertimenti ” for brass instruments, a nd

the tune is there headed “ Chorale St. Antoni ” (sic).

Whether it is Haydn’s in the beginning or not is quiteunknown, but no one has yet traced it to a n older source.

The theme is given out almost exactly as it is in Haydn,a nd a contrafagotto is very prominent in the opening.

Not til l the first variation do the viol ins come in ; in abeautiful contrapuntal passage two quavers a re playedagainst three, a nd in all the l ikeness to the theme is often

a little difficult to trace at a first hearing. Inthe secondvariation a persistent pizzicato bass supports the move

1.36 BRAHMS

ment ofthe clarinet a nd bassoon ; in the third the oboea nd bassoon have a sinuous figure above a striking unison

passage for violins a nd violoncel los. The unisonous treatment of the oboe a nd the horn in the fourth variation isone ofthe very few points where the scoring is not entirelyfel icitous. I n variation five the wind instruments

,with a

piccolo‘

added to the score, keep up a busy chattering overa kind ofpeda l-passage in the strings. NO . 6 brings out thecharacteristics ofthe horn with splendid effect, a nd N0 . 7,

in which the del icious fal ling theme is played on the flutea nd viola in octaves

,is perhaps the most popular passage

of the whole work. In No. 8 the piccolo is used withsingularly haunting effect among the gloomy surroundingsofthe muted strings. The serene opening ofthe finale on

the bass ofthe theme tel ls us ofwhat is to come, as surelyas Beethoven tells us that matters ofgreat m oment a re inhis mind at the beginning ofthe last movement oftheE roica symphony. The increasing elaboration of the

workmanship up to the climax where first the wind instrum ents a nd then the strings have a rushing scale, isamong the most powerful of

“

musical impressions ofa nydate

,a nd while all the variations a re a del ight to the ea r

,

whether on the orchestra or on the pianos, yet the best iskept till the last, a nd the learning displayed is only usedto enable the master to make the effect he wants upon hishearers. Even the m ost hide-bound ofcritics ca n hardlymaintain after hearing this work that Brahms had no

feel ing for orchestral colour. As wel l m ight he be deniedthe skill ofcounterpo int, which is the most obvious featureofthe finale. A fanciful analysis ofthe variations may beread in Ka lbeck

,i i. 463 ff; the author attem pts to read

into the work a musical picture of the temptation of

St. Anthony !

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138 BRAHMS

temporary indifference to,not from a ny inability to handle,

orchestral colour. The introductory portion is no doubtsevere in mood

,a nd its simultaneous exposition oftwo

themes, one ascending,the other descending, makes it

difll cult to grasp. To those who know the wholesymphony, it comes l ike the promise of a rare joy thatreaches its fulfi lment in the final allegro. There is, evenat a first hearing

,a wonderful rhythmic swing about the

whole movement, a nd its development from germs that atfirst seemed ofvery slight quality shows again the masteryof the composer, even if he has chosen to create thisdevelopment at the cost ofsome passages that might havetickled the ears of the audience. On the question of a

poetical suggestion from M a nfred, Ka lbeck’

s Life, i . 243 ff.may be consulted . The slow movement, a nda nte sostenuto,has plenty oforchestral effect, a nd its lyrical form might,one would think

,have propitiated even those who were

most hostile to the composer. There occurs in it a short

passage which, without a ny definite l iterary or poeticalsuggestion from outside

,comes as near as anything in

music to the place where tones have all the eloquence a nd

definiteness ofwords. The seven bars given out first bythe oboe

,a nd later on by a viol in so lo as well , have all the

satisfaction ofa perfect syllogism,all the beauty ofthe

highest poetry, a nd in listening to them as they come intheir place in the movement, one actually seems to take ina nd apprehend some idea that transcends words a nd musicalike. The impression fades alm ost as soon as it is created,like the remembrance Ofa dream at the moment ofwakingbut one ca n recall its presence, a nd that presence is calledup each time the work is heard . At the point where itseems to approa ch its natural ending, the instrument thathas given out the phrase stops, a nd a kind ofwarning

THE ORCHESTRAL WORKS 139

phrase is uttered pianissimo, at first by bassoon, horns, a ndstrings, a nd subsequently by flute, clarinets, and bassoons ,as if the complete utterance ofthe whole would havetransgressed some spiritual law, a nd let humanity intosome divine secret. The l ight-heartedpoco a llegrettowhichstands in the place of a scherzo gives the most perfectrel ief between the a nda nte a nd the solemn introduction tothe finale. There is, notwithstanding, a moment in the

alternative section which gives a touch of mystery that isin keeping with the work as a whole. The a dagio whichprefaces the finale begins with a descending phrase in thewind recall ing the opening ofthe symphony against thisis now played in the viol in parts a theme which eventuallybecomes the joyous theme of the a lleg ro. At the fifthcomplete bar there begins a mysterious passage ofpizzicatoquavers, which a re gradually quickened I to a most exciting

po int, where a drum rol l ushers in a series ofnotes on thehorn marked “

f sempre e pa ssiona to supported by the

strings,muted a nd trem ola ndo. A correlative theme ofhymnl ike squareness, in which the trombones make their fi rstprominent appearance in the work, brings back the hornphrase, imitated by various other wind instruments, l ikea signal passing from one watcher to another before thesunrise. On the occasionwhen the symphony was playedfor the first time in England, at Cambridge on 8 March ,

Herr Arthur Nikisch, in order to enhance the effect ofthis quickening,sta rts these qua vers so slowly tha t they a re a lm ost identica l in length with the

crotchets tha t ha ve preceded them . Whether it is perm issible to upset the

whole ba la nce ofthe section for such a n object m a y be doubted, especia llywhensuch conductors a s J'oa chim , Richter, a nd Steinba ch ,who ha d the m a ster

’s

own tra ditions, give no support to this reading. Ea ch ofthese grea tconductors

wa s a ccustom ed to m a ke certa in r a l lenta ndos a t va rious points of the firstm ovem ent, and as no written r a llenta ndo occurs there, the proba bility is tha t

Bra hm s a t different tim es ofhis life a pproved ofthe different rea dings, and a ta ll events tha t he did not a ctively disa pprove ofany.

140 BRAHMS

1877, the audience in the Guildhall heard the horn-phraseanswered, as it seemed, by the chimes ofSt . Mary’s Church,close at hand

,for the notes ofthe horn-phrase a re virtually

identical with those of the last part ofthe “ Cambridge

Quarters.” This of course has nothing to do with the

symphony itself, a nd the coincidence probably lessened

the emotional effect of the introduction, which reaches itsclimax at the entry ofthe allegro movement . There is nodoubt

, a s M iss Ma y has said,“ that every one who l istens

to Brahms’s first symphony thinks immediately, on the

entrance ofthe final allegro, ofBeethoven’s ninth.

”But

she adds , very truly,“ The association passes with the

conclusion ofthe subject ; Brahms’s movement develops

on its own l ines,which do not resemble those ofBeethoven.

”

The curious thing is that in the two themes there is little,if a ny, resemblance in the melodic curve or in the sequenceof notes ; both a re strongly a nd exclusively diatonic inmovement a nd in harmony, a nd the younger theme, equallywith the older, belongs to the most precious things in thetreasury ofmusic . Shortly before the end of the movement, the horn-phrase is again heard, most impressively,a nd is worked up together with the flowing second subjecta nd other things into a bril liant climax.

Only a year after the first sym phony was published thesecond, in D, Op. 73. Of the four, this work is far moreoften heard than the others

,a nd it is not surprising that it

should be so,for it is not only scored all through with more

regard to popular effect, but its material is of such com

pa ra tively slight qual ity that it ca n be appreciated to someextent by uncultivated hearers, a nd it is ful l ofpoints ofbeauty that a re easily understood . While the openingtheme ofthe a lleg ro non troppo, time , is among the mosteasi ly assimilated things ofBrahms, its component parts,

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142 BRAHMS

section in 18

2 contrasts with this, a nd at the resumption ofthe former time, the triplet figures left over as it were,from the middle section, a re used in the accompaniment,a nd a re finally allowed to die away gradually in the drums.The third movement, a n a lleg rettog ra zz

’

oso,in time,has

a kind of rustic simplicity about it, the oboes, clarinets, a ndbassoons

,the bumpkins of the orchestra, having the

opening theme above a pizzica to accompaniment on the

Violoncel lo. Contrast is made by transforming the themeinto a gay, excitable l ittle theme in time

,presto, whichpeeps out suddenly with a n air ofchildish mischief that isquite irresistible. Another presto, interrupts this a ndleads to the reappearance ofthe first theme in the key ofF sharp, a device of a kind most rarely employed byBrahms ; the modulation through B, back to G major, isdeftly managed. The final a lleg ro con spz

'

rz’

to is a littlesquare-cut a nd conventional after the rest of the lovelywork ; but its second subject has some of the joyfulbigness that was such a typical quality in Brahms

’

s naturea nd in his music. R apid quaver scales in thirds on the

various wood-wind instruments a re a characteristic featureof the movement, which from the entry of the secondsubject never loses its interest for a moment.

The first two sym phonies a re divided from the last twoby two concertos a nd two overtures among the orchestralworks. Op . 77, the vio l in concerto, is in D, a nd itsopening has much ofthe suavity ofthe second symphony,apart from the theme being, as there, buil t on the suc

cessive notes ofthe tonic harmony. Brahms goes back tothe tradition of the o lder concerto-form , giving a longexposition of the material of the first movement beforethe entry ofthe solo instrument. When the violin doescome in, i t is with a kind ofbreathless passage, on which

THE ORCHESTRAL WORKS 143

there was some discussion between the composer a nd

Joa chim .

I

We cannot fail to trace in the passages for solothe special points in which joachim was without arival , such as the handling of several parts a nd otherthings. The absence of the slightest trace of passageswritten for mere effect is as characteristic of the

player as ofthe composer ; a nd, like the other concertos,the work for vio l in is to be judged first a nd foremost as acomposition, not as a means ofdisplay. Occasionally itmay have happened that in the desire to avoid the

meretricious, Brahms allowed himself to make the vio linpart so harsh as almost to repel the general public at first ;even in the short time since the death ofJoachim

, who

was, of course, unrival led in it, the work has come increa singly into favour with vio l inists, a nd nowadays even the

prodigies a re bo ld enough to attempt it. M . Y saye,whose

sympathies must be altogether with another school ofmusic

,has given a strange reading of it

,which does not

throw much light on Brahms’s intentions ; Herr Kreisler’sperformance of i t stands alone in its superb ease a nd

command of resource. The working of the secondsubject with its dotted rhythms, a nd ofa figure introducedlater by the so loist oftwo semiquavers a nd a quaver, isof the utmost skil l a nd interest, a nd in the cadenzawhich, again fol lowing old custom

,Brahms leaves to

the performer— it is doubtless right to resume the con

sideration of all of them, as was done in the noble

On the whole question of Joa chim ’s influence on the work, see the

[oa cfiz'

m Correspondence, vol . i. pp. 139- 57. A footnote on p. 147 points

out how rea dy Bra hm s wa s to a ccept his friend’s suggestions in points of

structure or form , a nd how unwilling to ta ke the hints the grea t violinist ga vehim in m a tters of technica l difficulty a nd the like. The whole incident

throws a cha rm ing light on the rela tion ofthe two m en.

144 BRAHMS

cadenza which Joachim was accustomed to play. At the

opening of the a dagio, in F major,the wood-wind a nd

horns accompany the first oboe in a melody of the

most unmistakably Brahmsian origin. I t i s built on the

successive notes ofthe tonic chord, a nd its geniality, gentle

pathos, a nd artless beauty a re enhanced by the instrumenton which it is given out. I t is curious that, except for areference to the first three notes of this tune, the soloviol in never plays it, all the prominent solo passages beingin vigorous contrast to it, or else a n accompaniment ofdescending octave figures. One of the most romanticthings in the world is the ending to the movement, inwhich the violin, starting with syncopations that give the

effect of hardly restrained sobs, finally soars up to the

heights on a n arpeggio figure. The finale, a lleg ro gz'

ocoso,

has a n unmistakably Hungarian flavour about it, as if adedication to the great Hungarian vio linist were conveyed

in it. I ts strongly rhythmical first subject is contrastedwith a theme ofrising octaves in a dotted rhythm, a ndtowards the end a remarkable gravity is imparted into the

section by a polyphonic passage for the solo instrument,which gradually spreads to the other strings a nd thence to

the rest ofthe orchestra. The cadenza of this movementis a mere flourish, a nd is written out in ful l .

Brahms very often wrote, or at least published, his com

positions in pairs, the one forming a n artistic counterpart

a nd complement to the other. The instances ofthis habit

a re too numerous to point out in detai l it has been often

referred to by commentators on his work. As the first twosymphonies came within a year ofeach other, a nd the third

a nd fourth within two years ofeach other, so the two overtures which a re next to be considered, Opp. 80 a nd 8 1 ,

made their appearance together, a nd at the earlier perform

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THE ORCHESTRAL WORKS 145

auces were played in the same programme. The first,

Aka dem z'

sclze Fest-Ga ver tz'

ire, is a work of the utmostjo l l ity, the Tr agis

'

c/z'

e Ouver tzfire of the utmost solemnitya nd grandeur as though the master were anxious to keepthe balance between the two extremes before himself aswel l as before his hearers. The first ofthe two was a nacknowledgment of, not a n exercise for, the degree of

Dr. Phil . conferred on the composer by the U niversity of

Breslau in 1880 , a nd was performed there on 4 january,1 88 1 , the other overture having been played in the

previous month at the V ienna Philharmonic. The Aca

dem ic overture might stand as a n eternal refutation ofal lthat is meant by that misused adjective in the mouths ofa section ofmodern critics. Anything less academic,

”in

their sense, it would be impossible to imagine. I t isuniversity l ife from the student’s point ofview, a nd four ofthe best students’ songs ofGermany a re introduced intoit with extraordinary effect a nd ingenuity : Wz

'

r lza tten

geba uet ez'

n s tdttlz'

cizes H a a s, Hb

'

r t’ich sing , Wa s kom m t

da r t van der k’

? (the“ Fuchslied

,

”or F reshman’s

song), a nd last of al l, the famous Ga ua ’ea m us zzgz'

tur,

which makes a sp lendid climax . The first ofthe tunes,as wel l as the last, i s given out with a good deal ofpomp,a nd the hilarity of the whole ~ is never for a momentlacking in dignity, unless we except the passage where

the bassoon has the theme of the Fuchs lied,

” a touch

of colour which would have struck English people as

especial ly funny if the bassoon joke had not been done to

death in the majority ofthe operas ofSul livan. The use

ofthe viola in the delivery ofthe broad theme inF major,the use ofthe three trumpets later on, a nd the rushing viol inscales which accompany the Ga ua

’ea m us zgitur , a re surely

evidence that the composer had a sense oforchestral colour.

146 BRAHMS

The other overture tempts us by its name to attachsome particular story to it ; but as might be expectedfrom so great a master

,i t is indeed lost labour to guess at

a ny definite tragedy. I t opens ominous ly, although in themajor mode ; the suggestions on oboe

,bassoon, etc., of

the theme that is afterwards uttered with such wonderfuleffect by the trombones, gives the effect of a hush of

expectation. When the tragic character is ful ly realized,

the music seems to nerve us to new efforts,but the resum p

tion ofthe ominous opening tel ls us that these too a re

in vain ; the m olto pz'

z‘

t m odera to hints at a quiet,brave te

sumption ofordinary duties after some crushing blow hasfallen. A wonderful passage occurs (p. 50 ofthe score),where the horns appropriate the ominous phrase, but playit in half tim e

,changing its final notes with poignant

effect. P erhaps tragic is scarcely the word for a workwhich, while realizing all the sadness of l ife, yet sendsthe bea rer away all the stronger for having heard it.

Op. 8 3, the second concerto for pianoforte a nd orchestra,is in B flat, a nd came out in 18 8 2 . I t is a work oftheamplest proportions a nd of the utm ost difficul ty ; therea re four m ovements instead ofthe three almost universallyfound in concertos, the fourth (the second in order) being,so it is said, added because the composer thought the firstal legro was too simple. S implicity is not the characteristicwhich most people detect in this first movement, for, apartfrom its thematic beauty, its unusual structure is a pt to

puzzle even educated hearers at first. The essential partofit is a phrase given out by the horn alone a nd answeredby a fine pianoforte flourish, at the end ofwhich the horn

phrase is echoed ; there is after this a long prel iminary

passage for piano alone before the proper entry of the

theme, which is soon subjected to all kinds oftreatment

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i 4s BRAHMS

for i t needs a special degree of insight a nd sympathyto interpret it properly, a nd enormous staying power isdemanded from the soloist. The conductor, too, mustbe able to bring out the proper balance between the

piano a nd the orchestra, a nd to make one subordinateto the other as is required. Otherwise, however skilfulthe playing, the work will baffle ordinary hearers as muchby its newness of tone-effects as by the unconventionalityof its structure.

The third symphony, in F , Op. 90 , appeared in 1884,

a nd it is not too much to say that i t forms the finalculmination ofthe classical symphonic form developedalong the lines laid down before Beethoven, a nd carriedin his first eight symphonies to heights ofemotional powerunguessed at by those who created it. The ninth symphony ofBeethoven, a nd the fourth ofBrahms

,l ike many

other works by composers of the romantic a nd laterschools

,a re not under discussion just now , as in these

there a re attempts to extend the classical form in variousdirections . But the third symphony ofBrahms, in so faras it extends the classical form,

does so along the l ines ofi ts natural growth, a nd it may be said that no work existsofa ny date which more gloriously establishes the wealthof the form,

a nd its fitness for the purpose. Some con

cession is indeed made to those who hold that thethematic material of the various parts ofthe symphonyshould be closely related throughout ; for there a re caseswhere the themes recur in a m ost interesting way inmovements to which they do not properly belong. The

opening“ motto ”

on one of those incomplete arpeggiosso beloved ofthe master consists ofthe chord ofF minor

,

given out by wood-wind a nd trumpets, the rising notesF ,A flat, a nd the upper F being prominent. I t is tempting

THE ORCHESTRAL WORKS 149

to follow Herr Ka lbeck I in his assumption that here againwe have a n allusion to the motto “ F rei, aber froh !

”

though the actual form of the middle note is not A,

but “ As. At the third bar, the double bassoon has thethree notes in double length, while the real first subject of

the movement is F given out by the violins, a descendingpassage coming from the high F . just before the secondsubject appears, there occurs one of the rare instances inwhich Brahms has used phrases first uttered by anothercomposer, for the harmonies a nd melodic phrase ofthis

inevitably recal l a passage in the Venusberg scene in

Ta nnitt’

iuser . Few indeed will be the critics who willbase on this a charge of plagiarism ,

for even if it hadbeen worth while for Brahms to appropriate another man

’sthought del iberately, the logical a nd beautiful use he

makes ofit in the place where he puts it would be enough

to exonerate him . As a matter offact, it ca n be nothing

but the merest coincidence. The second subject in the

unusual key of A major is of exquisite suavity a nd

amenity, a nd its rhythm soon yields a new figure oftwo

staccato notes which is destined to become ofgreat im

portance. Soon our minds a re carr ied back to the openingmotto ”

of the whole, a nd matters ofgraver import lead

i. 10 2 .

1 50 BRAHMS

to the repetition ofthe first half ofthemovement. According to later usage in the classical form,

the working-outa nd recapitulationsections a re combined, the second subjectreappearing this time in D major

,a nd the whole ofthe

thematic material being elaborately developed in a waywhich makes the movement remarkable for i ts interesteven among Brahms’s greatest works . The sedate a nd

square-cut theme ofthe andante in C is given out bythe clarinets a nd bassoons

,a nd in its third bar, a nd

particularly in the echo ofthat bar in which the stringsa re led by the vio la, we may surely trace the influenceof the “ motto theme ofthe opening. In l ike manner,the two staccato notes which had their source in

the second subject of the allegro start the stronglyemotional second theme ofthe slow movement, a nd in

the course of discussion occurs this wonderful piece of

bold suspension a nd resolution of dissonances. The

Flute é} Oboe.

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1 52 BRAHMS

a nd emphasized by being the first occurrence of a ny butsquare time. How the main theme is dissected, presentedin changed aspects

,in fragments, a nd in conjunction with

the other themes, there i s not space to tell . I ts mostwonderful transformation occurs near the close, at the

poco sostenuto, which serves as a coda to the wholesymphony. The oboe has the theme in long notes, a ndafter two bars the first phrase is suddenly turned into the

major a nd taken up by the flute over a quasi—tremolandofigure on the upper strings.

Soon the reiterated chords a re joined with the stringfigure, a nd quite at the end a final a nd joyful surprise isreserved for us, the first (descending) theme ofthe openingallegro being suggested rather than distinctly heard at the

top of the wavering figure in the first vio l in part. There

a re many Brahms lovers who regard this third symphonyas the crowning point of the master

’s work,at least as far

as orchestral music is concerned ; for this cause, perhaps,i t is at present almost more rarely given than a ny ofthe

others . I t is so warm in colouring a nd so effectivelyscored that it might have been expected to appeal to thosewith whom such qualities a re paramount.

The fourth symphony, in E minor, Op. 98 , came out in

1 886,a nd at once gave rise to much discussion because of

the innovation in its final movement. In many ways it isin strong contrast with the third symphony, for its themesa re as a rule presented in shorter a nd more rudimentaryguise at first, as the mere germs ofwhat is to fol low. A

figure oftwo notes played by viol ins is the seed from which

the first subject ofthe a lleg ro non troppo is made, a nd the

subject is not one of those that make the most immediateappeal to the audience ; nor is the second subject verystriking at first

,though the l ittle figure which introduces

THE ORCHESTRAL WORKS 153

it, for horns a nd wood-wind, arrests attention i t is notfor its thematic value

,but for the marvellous ingenuity a nd

mastery of its development that the m ovement is so

highly esteemed . The a nda nte m oder a‘

to is professedly inE major

,but the opening on the horns treats the real

keynote as the third of the key ofC,so that we a re

deluded for a time into thinking the section is to be in thatkey. The theme is strongly emotional

,a nd although it is

in the major,the remembrance ofthe introductory bars

gives a kind ofundefined minor touch to i t which makesfor plaintive effect . I t is carried out at considerablelength, a nd

,as Mr. Co l les says

,I t approaches very

nearly to ful l first-movement form,since there is a second

subject which first appears in B major a nd afterwards in

the tonic key . At its appea rance in the tonic key thissecond subject is played on the strings divided into eightparts

,with beautiful quiet richness ofsound . The third

movement a llegro gz'

oooso, in C major, is again in a formclosely assim i lated to that of the typical first movement ;there is a fine coda, with a persistent drum-passage, but asa who le the movement is perhaps the least interesting part

ofthe symphony, a nd its note ofhilarity sometimes makesit seem a little wanting in distinction. The last movement,after these three sections in more or less close conformity

to the symphonic first-movement type, breaks entirely

new ground, for though the passacaglia a nd the chaconne,those two nearly allied forms, had been used freely in the

eighteenth century ( the chaconne was at one time a n almostindispensable ending to every opera), yet they had neverbefore come into the symphonic scheme, a nd the lastinstance of their employment by the great masters wasprobably the set of thirty-two variations in C minor by

Beethoven. I t i s of the essence ofthe best type ofthe

1 54 BRAHMS

chaconne,passacaglia, or ground — to give it its old

English name— that the repetitions of the simple a nd

constantly recurring theme should be made to flow intoone another so as to create a feel ing ofunity a nd risingclimax ; so in the three sections ofBach’s chaconne for

violin alone, each group of variations on the theme rises

to its own culmination a nd carries the hearer’s attentionon

,so that he forgets the reiteration of the underlying

succession ofnotes . Of this form,which

,in weaker b a nds ,

was a pt to degenerate into a n unrelated series ofm echa ni

cal variations,there never was a treatment so strongly

unified as the finale of Brahms’s last symphony. The

theme is of eight notes, a nd its repetitions in one guise or

another a re exactly continuous almost throughout themovement, though it is pretty safe to say that no hearer

unaccustomed to the work ever yet fol lowed them frombeginning to end without getting puzzled at certain points .The interest ofwhat is built on the theme is so great thatthe ea r ca n only with difficulty remember the successionofnotes that lie at the root ofthe who le, a nd, once lost,their sequence is very difficult to recall . I t is not a movement for the great public, at al l events for the present ;whether the people at large will unconsciously acquirethe skill to follow it without assistance from the printedbook or programme, cannot as yet be said ; but whenwe remember that experiments in form which, when

Schumann’s works were new,puzzled the professional

writers of English programmes, a re now accepted a nd

delighted in by uneduca ted working-people, we feel thatnothing is impossible in the way of human development.One of the hardest places to fo l low is where, at thethirteenth repetition, the time changes from 2 with a noteof the theme to each bar, to {t where the flute has a

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156 BRAHMS

to Brahms’s favourite gipsy music, which is inevitablysuggested in the rhythm ofthe opening, announced bythe Violoncello.

I I t is curious to see how prominent isthe part given to the lower solo instrument throughoutthe concerto

,a nd here again both subjects a re a t

'

firstal lotted to the Vio loncel lo. There is a remarkablewealth of thematic material in the movement, a nd the

writing for the so lo ists is so ful l that in more than one

passage the effect of a string sextet is given by bothvio lin a nd Vio loncel lo ha ving passages oftriple-stopping.The piece cannot be played by ordinary virtuosi, whofail to l ift it from its obscurities as great artists do.

The two great interpreters for whom it was written,though both a re now departed, have left the traditionsof their readings behind them, a nd i t is these, ratherthan a ny words or examples, which will throw light ona wo rk which may very possibly be long in enteringinto its due share ofappreciation.

On the bowing of the chief subject, see the [oa t/tin: Cor respondence,i. 2 20 , a nd on certa in other technica l points in the first m ovem ent, ii. 2 30 .

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158 BRAHMS

of chorales. The modern composer’s work in regard tothese is to arrange them a nd their accompanimentsin such a way as to bring out their natural beauty asfully as may be, in order that his contemporaries mayrealize the simple charm of the melody. Hence the

simpler the form of accompaniment, a nd ofthe harmonicscheme, the better as a general rule. Musical artifice of

a ny kind is usually to be eschewed altogether, or if employed at all it must almost necessarily be for the sake of

laying stress on some change in the character ofthe words.The second class is that ofthe Volksthum liches L ied,

”

in which the tune is the invention ofthe composer, butconforms more or less strictly to the type ofreal fo lk-song.

There is obviously great scope here for the art of a n

imaginative musician to fi t his theme so closely to the

expression ofthe words that it may seem as spontaneousas a fo lk-song

,while greater freedom is allowed in the

matter ofharmonic setting.

The third class, in which,as in the two former, the same

melody recurs for every stanza ofthe poem,is known a s

the Strophisches L ied,” differing mainly from songs ofthe

second class in its wider divergence from the folk -songtype, a nd in stil l greater plasticity in regard to harmony.

In the fourth class, that ofthe Durchcom ponirtesL ied,the composer is at full l iberty to follow the minute changesin the poem ,

without regard to the melody that may beset to the opening words . I t is clear that this class maybe fa r more highly organized than the others, although the

earl iest examples, dating from the times ofCaccini a nd his1 I t is a serious dra wba ck tha t there a re no recognized English equiva lents

for these two term s.

“ Volksthiim lich m a y be pa ra phra sed a s“a fter the

m a nner of a folk-song Durchcom ponirt— “

through-com posed

” —ca n

only be expressed in som e such rounda bout wa y a s“a song with different

m usic for every verse.

”

THE SONGS 159

Nuove Musz'

clze, when the strict musical forms ofthe sixteenth century were abandoned in order to obtain greatera nd more definite expressiveness in musical utterance,contain hardly a ny germs ofmusical organism. Caccini

,

Monteverde,a nd the other I talians of their times, Schiitz

a nd the Germans before Bach, Henry L awes a nd the

English masters before Purcel l, reveal hardly a ny systemofmusical design other than: the purpose offo llowing asfaithfully as possible the accentuation ofthe words theyset. There is not really as much difference as wouldappear between the ideals aimed at in this class ofsonga nd those ofthe other three classes ; for it is to be sup

posed that the unknown author or authors ofa folk-song

got the first hint oftheir melody from the rhythmic a ccentua tion of the first verse of the primitive poem , a nd in

some cases the writers offolk-song words no doubt adaptedtheir utterances to the rhythm a nd character of a preexisting tune, even as in later days Scott, Burns, ThomasMoore, a nd subsequent bards, in setting new words to old

tunes,have received their first inspiration from the swing

of the tunes themselves . While it is quite clear thatseveral different stanzas of poetry, sung to the samemelody, cannot al l be expected to fit it as closely as thefirst verse, yet true accentuation may often be found in astrophic ” song or ina folk-song. Nor is a composer’s preference ofone or other ofthe earl ier classes ofthis enum er

ation to be construed into a disregard on his part of the

need for just accentuation, or declamation as it is oftencal led, in setting words that must be fitted to new musicas they pass. Music, too, is a n art so highly organized,that such attempts as those ofCaccini in I taly or Lawes

in England a re to be regarded as essentially spasmodic ;the human ea r des ires recurrence ofmusical ideas, a nd

160 BRAHMS

such phenomena as these were inevita bly fol lowed by areturn to more or less formal mus ic in which accentuationis only one ofseveral objects. Of the great classical songwriters, Haydn, in his canzonets, seems to have been thefirst who contrived to put organic life a nd thematic continuity into the “Durchcom ponirtes L ied

”

; Beethoven,

in Wonne a'

er Wekm ut/z,a nd occasionally elsewhere

,

combined perfect accentuation with a symmetricalmusical design ; Schubert, l ike Mozart, ca n seldom forgohis love offormal symmetry in his exquisite melodies, a ndin his declamatory songs the long passages inwhich thereis true accentuation ofthe words usually give place, sooneror later, to a formal tune repeated over a nd over in the

strophic manner the planofthe whole is virtually identical with the “ cantatas of a n older day

,in which formal

airs a re separated by the driest ofrecitatives. At present,

the ultra-modern school ofsong-writers, from Duparc a ndCésar F ranck to Debussy a nd R avel in F rance, a nd fromHugo Wolf to Ma x R eger in Germany, while they neversacrifice the accentuation of the words to a ny purelymusical consideration,

a re yet a pt to give a certain con

tinuity to the ir songs by m eans of a figure of a ccom pa ni

ment. In the very earliest group ofthe songs ofBrahms,

we find instances of this way ofattaining musical unity in

Spite ofthe fact that the vocal part depends upon nothing

but the accentuation ofthe words . He is often as bold inthis w a y as Wagner was in works written long after these,when his early style had been replaced by one in which

the words, freely declaimed, a re rel ieved against a background ofmarvel lous richness a nd intricacy. I t was notby a mere happy accident that the literary standard ofthewords set by Brahms was always so remarkably high. He

paid the closest attention to this matter, a nd was accus

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162 BRAHMS

in the coda, set to the last couplet repeated, the originaltheme is sung in notes oftwice the original value, with the

new theme in the accompaniment. This minute analysisofthe song is ofcourse not meant as direct evidence of

the composer’s greatness, for feats of ingenuity have often,

as we all know,been made to h ide defects of real inspira

tion ; but in this case the expression of the song isspontaneous a nd direct, a nd the ingenuity is so finelysubordinated to the general effect that it might easilyescape notice. The next, [on m a ss nz

'

na us, has asplendidly ardent theme on a rising scale, which returnsat the close

,after a gentler section in which a. theme

suggested by the words,I ch will die R osen nicht mehr

sehn,

” is worked with the finest skill. The fourth ofthe

set,Wez

'

t nber da s Feld, is, l ike the first, strophic, withthe exception ofa slight intensification ofthe melody atthe close ; but all through the accentuation ofthe wordsis as careful as though the song were durchcom ponirt.

”

In I n der F renzde, as in the single song, M ondna ont,

published separately in 1 8 54, Brahms has here reset wordsidentified with Schumann’s most beautiful music ; a nd inboth songs Schum ann, we may freely adm it, has the bestof it. The sixth of the set, L z

'

ndes R a m a/zen in den

Wz'

pfeln, is“ durchcom ponirt, the main theme returning

for the close,after a short section ofbeautiful poetic a nd

musical contrast . I t is not without interest to students ofl iterary history that this first set ofsongs was dedicatedto Bettina von Arnim , the friend of Goethe

,to whom

Beethoven addressed some impassioned letters.The next set, Op. 6

, begins with a Spa nz'

senes Lz'

ed

to words by P aul Heyse,with many Spanish characteristicsin it ; among the next four

,in “ strophic form,

a re Der

F r an/ing , with a n ardour that makes it redolent ofspring,

THE SONGS 163

a nd juclzne ! on a motive of hunting-horns, a nd withshort interludes buil t on the theme ofthe song in dim inution in notes of half the original value) ; the s ixth,N a cntzga llen scnwz

'

ngen, with its exciting accompaniment,is the first of a type ofsongs in which Brahms has no rival,a nd which rise from a vivid picture ofa natural scene tostrong human emotion.

Treue Lz'

ebe a nd P a role, with which Op. 7 opens,a re strophic songs of great beauty

, the first giving aprophecy of Verzagen in i ts figure of accompanimentsuggesting the surf breaking on a desolate shore ; Ankla

'

nge is a haunting little picture ofa girl spinning thethread for a wedding garment which the hearer knowsshe will never wear, although the foreboding is nowherebut in the music. The last

, Hez'

m kelzr, i s a short gushof expectant emotion with beautiful a nd unobtrusive useof the thematic germ ofthe prelude.

In 1861—2 appeared two more sets of songs,which

show the composer as on the threshold of his great lyricalmasterpieces. Though they ca n hardly rank among hisbest songs, a nd though their comparative neglect in the

past is easy to account for, yet from the point ofview of

the later achievements they a re not only worthy ofstudy,

but actually effective for practical use when sung before a n

audience that is familiar with the characteristics of thecomposer. Op. 14, published in 1861 , has eight songs,several ofwhich a re inscribed Vo lkslied,

”the term clearly

referring to the words rather than to the music. In the

first, Vor dem Fenster , the strophic form is preserved,

but in the fourth verse a wonderful effect as of a suddenburst of sunl ight is produced by noth ing more elaboratethan a change to the major mode a nd a n upper vocal partthat soars above the melody. Vom verwuna

’eten Kna oen,

164 BRAHMS

Ga ng zur L z'

eosten,a nd Selznsnckt, show, in melody

a nd accompaniment, a feeling for the austerity of stylethat marks the best folk-songs, but the Sonett— to

thirteenth-century words— is singularly direct in i ts ex

pressiveness . Trennnng a nd S ta nds/ten a re vigorous, a ndboth have charming figures ofaccompaniment, the latterbeing in some ways suggestive ofSchubert’s H a rk, ba rk,

the la rk. Murray’

s E rm ordung ha s plenty of force,but is less directly eloquent than the later songs on similarsubjects, such as Edw a rd or Entfz

‘

inrnng .

F ive songs make up Op. 19 : Der Ka ss,

I with aflowing melody offive-bar rhythm Seizez

'

den a nd M ez'

den

a nd I n der F erne, a pair of songs built on the samestrange phrase with its wide intervals ofopen fifths

, a nd

each serving as the complement of the other ; DerSchm z

’

ed, that superb picture of a girl’s pride in her

lover’s strength,which is founded on a theme ofobviously

realistic suggestion (a part-song ofSchum ann’s,from his

Op . 145, m a y have brought U hland’s words under the

notice ofBrahms, a nd it is instructive to compare the

earl ier master’s rather tentative way of conveying the

swinging rhythm with the latter’s boldness a nd certaintyof handling) ; a nd, last, the exquisitely romantic Anez

'

ne Aeolsna rfe, in which the characteristic effect oftheinstrument is beautifully conveyed .

The nine songs ofOp. 32 a re so arranged in order asto set the last in the best possible l ight. This, the lovelyWz

'

e first da , m ez‘

ne Kong-tn

, comes as a most welcomecl imax ofobvious beauty after various intense emotionshave been portrayed ; for in this set we a re shown the

deeper things ofhuman feel ing, a nd the pictures ofvariousmoods a re drawn with wonderful skill . The first

,Wz

’

e

On the a ccentua tion ofthis song, see Ka lbeck, i. 342 .

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166 BRAHMS

other ; a nd at the final verse it is clear that the wordshave themselves suggested the musical phrase. This willbe easily seen by comparing the two verbal phrases, inrespect of their adaptation to the same musical theme.

Hard indeed must be the heart, a nd dul l the hearing,

of a ny pedant who should resist the appeal of the

lovely song on account of a momentary infractionof a rule which Brahms elsewhere shows himself mostcareful to observe. For the song

,from the first note to

the last, is one ofthe immortal lyrics ofthe world, a nd

it is quite clear that the musical theme could not havebeen so twisted a nd changed as to provide a n idealmusical equivalent for the opening words, without asacrifice of abso lute musical beauty which we may wel limagine that Brahms was reluctant to make . And i f newmusic had been made for the opening verse, the phraseat the climax would have lost its point, for it must comein as a remembrance, not as a subject heard for the firsttime. The song, besides being, in the word of the

refrain,“ wonnevol l ” in the highest sense, is especially

interesting in the ma tter ofform , for i t belongs to a typewhich Brahms uses more frequently than almost a ny other

,

a nd which unites som e characteristics of the “ strophic”

a nd the durchcom ponirt classes. Verses one, two, a nd

four a re set to the sam e strain (with a slight harmonicchange in the fourth, but the other two having identically

the same music) ; the third shows considerable thematicalteration a nd even developm ent

,so that the whole

scheme is a kind of miniature version of the classicalsonata-form,

but built on a single theme instead ofon twocontrasting subjects . The sections of the form, viz.,

statement, repetition, development, a nd reca pitulation,here correspond with the four stanzas ofthe poem.

THE SONGS 167

The set of fifteen romances from Tieck’s M agelone,

which make up Op. 33, stand entirely by themselves inthe history of song-writing. Though many of themillustrate moments in the story that a re more or lessdramatic, not one has a ny trace of dramatic treatment

,

a nd the passage, so ful l of suggestion for the averagedramatic composer

,where P ierre feels himself called in

one direction by the song ofthe Sul tan’s daughter,a nd

in another by the remembrance of the fair Ma gelone, isnot musically il lustrated at all . There i s not even a n

attempt at local colour, nor is Sulim a’

s song a ny moreoriental in character than the rest. The gallant Tr a nnBogen a nd Pfez

'

l has a vigour that suits knightly energy,but it is not especially characteristic ofthe a ge ofchivalry.

The songs may lack some ofthe qualities which ordinary

people would expect in lyrics illustrating a story, butthey have merits that outweigh those qualities. In

listening to them we feel that the conventional knight

a nd lady ofthe old romance, a nd ofTieck’s version,a re

mere puppets, but that the human emotions a re so vividly

portrayed in the songs that we willingly forget the

costumes a nd even the incidents of the story. The

explanation of the strange incongruity between the

Wardour Street romance a nd the deeply spi ritual moods

ofthe songs may be found perhaps in the fact that thestory, in the version ofMarbach, was one of the com

poser’s favourite books at a very impressionable time of

his life he read it with his gir l-friend a nd pupi l , L ischen

Giesem a nn,when he was fourteen a nd she thirteen, a nd nodoubt it kept its charm for him until the day when he gave

the poems a new glamour for the rest ofthe world. In

form,several of the songs a re on a new pattern, that ofa n

extended lyric, often passing into a fresh rhythm , altering

168 BRAHMS

the rate ofspeed, a nd introducing new thematic material.The songs a re not connected with each other by a ny

identity or even similarity ofsubject ; there is no effortto bind them together by “ leit-motives or a ny device of

that kind a nd while all a re removed into a n impersonalsphere where the story matters as little as the aspect ofthe characters represented, in all, or almost all, the heightof lyric utterance is touched . Each has its own climax,arrived at with every appearance ofspontaneity ; a nd forthis reason, even more than for the circumstance that thesongs a re divided among four characters (a minstrel,M a gelone, a nd Sul ima having one each, a nd P ierre the

remainder) , the set ofsongs does not make a very effectivecycle when performed in its entirety. The first

,the

minstrel’s song, with its trotting figure ofaccompaniment,is a n example ofthe composer

’s power ofkeeping up the

interest of one long continuous movement on a singletheme the second

,Tra un Bog en a nd Pfez

'

l, has alreadybeen mentioned ; the third, S z

'

nd es Sc/zneerzen, sz'

nd es

F reuden, in which the dawn of love in the knight’s heartat first sight of the beloved is described, from the firstalmost a we-struck uncertainty to the rapture ofconviction,is in four movements, the last being virtually identicalwith the second . The next

, the lovely L z'

eoe t a m a ns

fernen L a nden, a nd the Vigorous S o w z'

llst dcc des Arm en,

a re more conventional in design, but both a re among themost intimate a nd character istic ofBrahms’s songs ; thesixth

, Wie soll z'

clcdr'

e F rende, starts with a spirited themecarried out by vo ice a nd accom paniment with masterlyskill ofdevelopment at the words Schlage

,sehnsuchtige

Gewalt, a noble subject in triple time enters a nd isthoroughly a nd beautifully worked ; after a brief resum ption ofthe first theme, a new movement, vz

’

va ce m a non

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170 BRAHMS

one ofthe songs which,with the splendid force ofits figureofaccompaniment a nd the swing of its melody, seems tobear the l istener along towards the joyful ending ofthe

story,as P ierre is borne by favouring breezes to his beloved

Ma gelone. Ka lbeck I thinks that the phrase set to the

words,I n lieber , da m m ernder F erne, a re a n intentional

quotation from a military march pecul iar to Hamburg,in which Brahms’s father must often have taken part, a ndthat it is used to express the composer

’s love ofhome,as though he came out ofthe character ofP ierre for themoment. The final reunion ofthe lovers is celebrated inTrea eLz

'

eoe da uert la nge, inwhich there a re several changes

of theme a nd rhythm, the final tempo pr im o uniting themall into a n epilogue ofwonderful, if tranquil, impressiveness. I t is no operatic finale, no limel it apotheosis,

”but

our hearts have been uplifted into a world ofpure spiritualbeauty in which we desire not to remember the gimcrackfigures ofmake-bel ieve chivalry.

We should possibly be justified in considering the

twenty-five songs which were published in 1868, the yearthat saw the issue of the M agelonelieder , as being the

pa rerga , the slighter, lyrical efforts, ofthe period duringwhich were produced such important compositions as thequintet, Op. 34, the P aganini ” variations, the sextet in

G, the pianoforte waltzes, a nd the horn trio,while the

great R equiem was finished a nd published in that year.I f there seem among the songs of this period to be asmaller proportion than usual of those which have beenappropriated by the average concert-singer

,a nd com

pa ra tively few that cal l for minute analysis,there a re

some at least which stand among the cho icest specimens of their creator’s work. The first a nd second of

i 457

THE SONGS 171

Op . 43, Von ewiger L iebe a nd Die M a ina clzt, Sonntag1

from Op. 47, a nd Wiegenlied from Op. 49, for example,have probably few rivals in popular favour among thesongs ofBrahms, a nd they wel l deserve their position,for lovel ier genre pictures do not exist in music. Eachexactly expresses the mood of the words

, a nd it isscarcely a mere co incidence that all a re essentiallycharacteristic of German peasant-l ife, excepting onlyM a ina clit, which belongs to every class of life where loveis known. An interesting discovery of the germ of themain cl imax-theme ofVon ewzgrer Liebe was made by Ka lbeck, in the single part-book of some compositions writtenfor the Ladies’ Cho ir at Hamburg. The melody set tothe words, Eisen und S tahl,

”etc.

,Occurs in the part-book

set to U hland’s Br a ntgesa ng Da s Haus benedei’ ich,etc., a nd i s quoted by Ka lbeck.

2 Two curious experimentsin the simple accompaniment ofwhat might be choralesa re, [ck sc/zell

’

m ein Horn in’

s ja m m ert/za l from Op. 43,

a nd Verga ngen ist m ir Glue/c a nd Heil from Op. 48 .

The first appears again as the first of five male-voicechoruses, Op . 4 1 , a nd the second as the last of the sevenchoruses for mixed vo ices, Op. 62 . As a whole set,

Op. 4 6 i s the most completely satisfactory, since DieKra nze i s exquisitely tender, M a gya rzscli a fine

example of restrained treatment of a possibly national

Ka lbeck (u. 32 2 ) points out a very curious and m ost unfortuna te

m isprint which ha s been repea ted from the origina l edition ofthe song, in

the collection ofBr a hm s Tex te the second sta nza begins, in U hla nd’

s

Volksliea'cr , with the words, So will m ir doch die ga nze Woche da s La chen

nicht verjehn,” which Ka lbeck pa ra phra ses a s I ch ka nn kein vergntigtes

Gesicht m ehr m a chen.

”or I ca nnot a llow m yselfto sm ile.

"In the printed

song the la st word a ppea rs a s vergehn,”a nd so the m eaning is turned into

som ething like “ I ca nnot help la ughing,” which is ofcourse dia m etrica lly

opposed to the m eaning ofthe poet.

i. 386.

172 BRAHMS

though not very characteristic theme, Die Sclia le der Ver

gessen/zeit truly romantic (though the composer spokeof i t as wiist

”or dry a nd An die N a clttzga ll

one ofthe most intimate a nd lovely of the composer’ssongs. Botsclzaft is the most important, a nd (withthe exception of Sonnta g ) the most popular ofOp. 47 ;

its passion a nd spontaneity make it a worthy counter

part to M eine Liebe ist g ra n. L ieoesg lntli is not easyto perform or interpret adequately, but it is wellworth study. 0 liebliclze Wa ngen is buil t of suchshort phrases that it m ight seem trivial a nd even wearisome, were it not that in the second half ofeach verse

(it is strophic in design) a n effect ofhurrying is produced by a different disposal of the quavers in the bar.Der Ga ng sum L iebcnen,

with which Op. 48 begins, is a

German waltz of irresistible charm a nd swing ; the shortstrophic songs which make up the bulk of the set

a re not of very great importance, but the last, Herbst

gefz’

c'

lel,is deeply expressive a nd individual . Am Sonntag

M orgen, the fi rst of Op. 49, is a n unforgettable pictureofa peasant girl

’s disappointment, a nd a model ofthematicdevelopment . We must suppose that An ein Veilcnen

,

Selinsnc/zt, a nd Aoendda'

m m erung have as yet comerarely to public performance because ofthe difficulty of

the ir accompaniments, but when these a re mastered, itis possible that the great beauty of the songs will begenerally recognized, though they a re hardly likely to winthe rather unenviable popularity of the lovely Wiegenlied,

ofwhich no fewer than seventeen transcriptions ofvarious kinds (eight for pianoforte alone ! ) a re noted in

Sim rock’

s ca ta logue.

I

Though only seven opus-numbers intervene in the

I As to the old tune used in a ccom pa nim ent, see Ka lbeck, i. 378 .

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174 BRAHMS

being used throughout with all kinds of half-playfulmodifications

,but the deep a nd sincere emotion of the

song being never lost sight offor a moment. The last,

U nbeweg te la ne Luft, with its fine contrast between the

stil l summer night a nd the passion in the lover’s heart,

might belong to the M agelone series, so warm yet so

restrained is its expression, a nd so intimate its appeal.In Blinde Ka li , the first song of Op. 58 , the harmonicprogression gives exactly the feel ing ofthe F rench word

one seems onesel f to suffer from the blindfold

player’s uncertainty as to his bearings . d rend des

R egens may be a study for the R egenlied ofthe next set,but greater importance is here given to the actual droppingofthe rain. InDie Spro

'

de,which begins strophically a nd

in l ight-hearted mood, the final verse turns off,in poetry

a nd music, into a bitter upbraiding that is worthy of

Heine. The exquisite 0 kom m e, nolde Som m erna clzt !

is one ofthose songs that seem to have been composedin a single inspiration, so fresh is the melody, so a bso

lutely faithful the reflection ofjoyful expectancy, a nd so

deft the handling ofthe beautiful figure ofaccompaniment.I n der Ga sse is remarkable, not only for its suggestionofa mood in which Schubert’s Doppelga

'

nger is supreme,but because the first notes ofthe voice-part give the figurethat is mainly prominent in the accompaniment, thoughit is never sung again. Vornoer has many counterparts inthe master’s works, a nd it is not among his most individualthings. The last ofthe set, Serena de, is the most effectivefor the public, a nd the guitar-figure ofthe opening is thebest possible foil to the richly melodious voice-

part a ndaccompaniment of the middle section

,where a deeper

emotion is revealed. I t is at least possible that this lovelysong has escaped the attention ofmost singers, because of

THE SONGS 175

the similarity of its title to Serena te a nd S ta ndcken, bothOfwhich a re elsewhere used by Brahms . Da m m ’

rung senkte

sick f

oon oben, the first ofOp . 59, is as thoughtful as a ny of

the set, but as landscape-painting in music it is lessstriking than the delicious barcarolle, Anf dem See, the

final lines ofwhich might serve as a motto for the wholeofBrahms

’

s songs : “Also spiegle du in L iedern was dieErde schonstes hat. The two rain-songs that follow

,

R egenlied a nd N a ckkla ng , a re virtually one song,for the

thematic material is the same in both we may fancy thatthe same shower suggests in the first no thought but Of

grateful coolness, while in the second it enhances thesorrow of a mourning heart. Musically

, the gleam Of

sunshine in the second song is perhaps the most vividpassage, in its absolute faithfulness of del ineation. But

the system ofeconomizing thematic material is here carriedto a very high point ; with the exception ofa contrastingsection in R egenlied, there is no note in voice-“part or

accompaniment Ofeither song that does not derive from

W a l-le,Re gen, w a l le

The use ofthe two com ponent pa rts ofthe them e, here indica ted bya nd B,

m a y be tra ced throughout the songs .

176 BRAHMS

some part or other ofthe first phrase, a nd there is littlecause for wonder that the composer liked the idea wel lenough to build upon the sa me material the finale ofhisfirst sonata for piano a nd violin, in G , Op. 78 , publishedsome years after these songs. Another setting ofR egenlied

was published,with a facsimile

,by the Deutsche Brahms

Gesellschaft. The fifth ofthe series, Agnes , is a curiousexperiment in rhythm

,following the suggestion of the

words in its five-crotchet rhythm,a nd adding a n extra

“echo bar oftwo crotchets to each alternate l ine, withrather bewildering effect . Eine g a te, ga te N a ckt a nd

Dein éla nes Ange a re tender songs in the Schumannmanner ; in M ein wundes Herz a feat ofremarkable in

genuity is finely veiled beneath rare beauty ofexpression,a nd no one who is prejudiced against technical skill neednotice that the accompaniment is identical with the vocaltheme, but in notes ofhalf the value.

“Art is the veil ofbeauty over law

,

” said Bishop Creighton, a nd the presenceofm astery ofhandicraft surely does not mitigate againstthe spontaneity ofthe conception or the directness oftheappeal. To many hearers, too, who a re not contra

puntists enough to dissect the song, the feat itself maygive pleasure quite without knowledge of the cause.

The set ofnine songs which make up Op. 63 is lessknown than it ought to be, no doubt because the surpassinglovel iness Ofone ofthe set ha s inevitably tended to overshadow the others . This, the famous M eine L iebe istgr ain,

which stands fifth in order,as the first ofa pair called

junge L ieder , is one ofthe things concerning which it isimpossible to guess how it cam e into the creator’s brain.

I t is so ineffably spontaneous that it must seem to havebeen conceived in a single impulse a nd perfected at a ninstant. The glow ofyouthful passion has surely neverbeen so superbly reflected in music, a nd the mind cannot

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178 BRAHMS

to be attained by breaking the regularity ofthe rhythm inthe second part. None ofthe four songs ofOp. 70 a re

in the usual singer’s repertory, though the plaintive directness ofI m Ga rten a m Seegesta de, the ethereal rapture of

Lerckengesa ng , the grace ofSerena te, a nd the realism of

Abendregen might have recommended them for practicaluse. Op. 7 1 begins with Es liekt sick so lieblick im Lenze .

’

in a mood in which Brahms won greater renown later onAn dem M and a nd Gekeim niss a re for the declared Brahmslover rather than for the general public ; but Willst da ,da ss ick gek with its breathless longing a nd its masterlysense Ofpassionate climax, cannot fail of its effect whenadequately interpreted, a nd M innelied is one Ofthe most

purely lovely inspirations to be found in music. In Op. 72

the first,Alte L iebe, is a piece ofpure a nd characteristic

Brahms ; in Som m erfc’

z’

den the gossamer threads a re so

faithful ly portrayed in the accompaniment that one wants

to break them away’ so as to see,as it were, the melody

clear through the accompaniment, which gets the effect ofthickness, though only two parts a re used throughout.The tessitur a of0 kz

’

c’

kler Wa ld makes it diffi cult to sing

in almost a ny key, for the high voice required for thesustained close cannot give much effect to the notes at

the beginning, which yet need to be fairly sonorous. In

Verzagen, one ofthe most picturesque ofall the master’ssongs, the breaking ofwaves on a sunless shore, with thebackward wash ofeach as it retires, is wonderful ly drawn

in the accompaniment, a nd the sweeping melody is moststriking. The last, a setting ofGoethe’s U ntikerwindlick,is based on the theme of one of Domenico Scarlatti’sharpsichord sonatas (the 3 13t of the edition of Ernst

P auer, a nd NO . 2 14 in that of Alessandro Longo) .

Brahms has transposed it from D to A. I t is a curious

THE SONGS I 79

a nd powerful song, but never l ikely to be popular evenwith a n educa ted publ ic.The five years between 1877, when all these songs saw

the l ight, a nd 1883, when the next set was published,include among the compositions issued many ofthe mostremarkable of Brahms’s larger works. The secondsymphony, the two overtures, the first violin sonata, a nd

the eight Cla oierstz‘

c'

cke, the viol in concerto, a nd the second

pianoforte concerto, to say nothing ofNa'

nie a nd somemotets, fil l up the interval, a nd in these Brahms attainednot merely to his ful l accomplishment, but to the ful lrecognition of his contemporaries. Op. 75 a re reallymore like songs in dialogue than duets, although, a s theyrequire two singers, they a re most suitably analysedelsewhere. Op. 84 bea rs the strange inscription, F iir

eine Oder zwei Stimmen,” but it is unl ikely that on a ny

occasion a ny of them have been sung by two persons.The modern singer, especially in Germany, is so anxiousto show how many different sorts of voice-production hehas learnt, that he misses no opportunity ofsinging songsin which two or more vo ices ca n be imitated. There is,indeed, a n a d libitum part for the second voice simulta neously with the first, in the fifth of the set, Spa nnung ,

but here the music ofeach pair ofstanzas is the same, a ndthe male a nd female vo ices a re supposed to alternate, asthey a re also in the best known of the set, Vergeblickes

S ta ndcken, though this is always sung by one singer,whomust personify both the ardent lover a nd the disdainfullady at the window. Some ofthe set seem to be writtenwith a view to allow the extremities ofa voice oflargecompass to be displayed the second, Der Kra nz, has nota wide compass, but the tessi

'

tura ofthe daughter’s part is

soprano, that of the mother’s, contralto. The contrasting

180 BRAHMS

moods ofSom m era oend a nd ofI n denBeeren, in which thepersons a re again mother a nd daughter, a re faithfullyportrayed. A more tender a nd picturesque Som m era bend

begins the set ofsix,Op. 8 5, a nd its tenderly expressive

subject is carried on in the next, M ondensckein ; the

M a dckenlied, on a Servian motive in quintuple time, a ndthe Bohemian Ade ! belong to the volksthiim lich class.F rzcklingslied a nd I n Wa ldeinsa m keit have been, quiteintell igibly, overshadowed by others ofBrahms’s songs

,

for the second ofthe next set, Feldeinsa m keit, is warmlybeloved wherever Brahm s

’s name is known. Never was amore perfect picture ofa summer noonday

,in which the

soul feels itself uplifted on the white clouds into the

eternal spaces. The haunting beauty Of Tkerese hashardly been sufficient to keep it in popular favour, forthe average person likes to know a little more

“ what it isal l about.” Some very interesting passages about theshape ofthe melody in the opening bars a re to be foundin the Herzogenberg Cor respondence, i. 180 , 18 1 (trans.,1 57 ff), showing how Brahms, even in his ma turest period,was not above taking counsel with such friends asthese. The swa ying accompaniment of Na cktwa ndler ,

a nd the a lternation of the major a nd minor harmonies,give strange atmospheric effect to the song

,which

,little

known as it is, is yet one ofthe finest ofthe set. U eber

die H a ide is remarkable for its economy ofmaterial, butfor all that it is ful l Of restrained energy. The broadlysweeping m elody a nd accompaniment of Versnnken makei t effective when a singer a nd player a re found to do itjustice, though, as F rau von Herzogenberg said to the

composer, the voice-part is too like“ forked lightning

gewitterza ckig1 Correspondence, i. 188 ; tra ns . , 158 .

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18 2 BRAHMS

geliebte Scka tten invokes the departed spirit with suchpower that the cal l would seem irresistible.

The restless M ez’

n Herz is t sckwer leads finely intothe noble S appkisckeOde, a nd the set is closed with afew wayward bars

, Kein H a ns, keineHeim a tk, from aplay OfF riedrich Halm . In S appkiscke Ode the singerswho a re so fond ofsinging it may be warned that the lastfew bars Ofeach verse, if performed in strict time, makethe effect of a beautiful a nd wel l-ordered r a llenta ndo ; ifthe time be slackened, over a nd above this, mere nonsenseis the result. Da s M a

'

dcken, the first ofOp. 95, alsoexists as a part-song, but it is more effective as a solo, a ndits rhythm ofseven crotchets in a bar enables the capablesinger to give a n impression ofspontaneous utterance. I t

is again from a Servian source, a nd is“volksthiim lich

in the broadest sense. Bei dir sind m eine Geda nken isexquisitely suave

,a nd Beim Absckied is a remarkably

successful example of the conflicting rhythm betweenthree quavers in the vo ice part a nd four in the aecom

pa nim ent ; for a parallel to Der fager we must go backto the early Sckm ied

,a nd this, as wel l as the next two,

may have been suggested by a genuine folk- song. The

Servian Vorsckneller Sckwnr is a counterpart to many of

the whimsical songs similarly label led among Brahms’s

lyrics, a nd the I talian M a dckenlied is dainty, characteristic

, a nd deeply expressive. In the last ofthe set,

Scko'

n w a r,da s ick dir weikte

,the strangely strong accent

on the last syllable of “ go ldene will s tartle puristsin accentuation, but when the parallel phrase comesto balance the first strain,

this is easily excused, a nd the

song has rare charm . Two years after these, in 1886,

appeared the four songs OfOp. 96 a nd the six ofOp. 97.

The former set begins with the exquisitely poetical

THE SONGS 183

Der Tod, da s ist die kukle N a ckt,a nd the lovely Wir

w a ndelten,w ir zwei zusa m m en, two songs which must

always rank among the best ofthe master’s works . The

last-named turns a figure ofsingle notes, offthe regularbeats of the bar, into a vivid picture ofthe chiming bel lswhich the lover fancies he hears. After

,these eloquent

songs, Es scka uen die Blum en a nd M eerfa krt seem alittle wanting in spontaneity, but the last is sincerely

pla intive.

I

Two bird-songs begin Op. 97, the tender threnodyof N a cktzga ll a nd the fluttering movement ofAnf dem

Sckzfi'

e ; the others of the set a re volksthiim lich”

; the

vivid Entfz’

e’

krnng is actually strophic, with the exceptionof a n intercalated ba r at the end, put in in deference

to F rau von Herzogenberg’

s Opinion ; 2 a nd Kom m’

ba ld

i s so studiedly simple that it might wel l be a folk-song.

The words ofDor t in den Weiden come from the lowerR hine

,those of Trennung from Sua bia . This last is

another instance ofalteration made at the suggestion of

F rau von Herzogenberg .3

In 1889 there came out fifteen songs, Opp. 10 5, 10 6,

a nd 10 7, containing a wonderful proportion ofmasterpieces .

The fi rst Of these sets, five songs for a low voice, might

be taken as representing in ful lest perfection the a rt Of

Brahms as a song-writer in all its aspects . The fourthsymphony, the double concerto, a nd the second sonata forVio loncel lo a nd piano,

which almost immediately precededthem,

belong to the most intimate ofthe master’s com

positions, a nd it is not surpris ing to find that some ofthe

songs belong to the same category, but the long-drawn

See the Herzogenberg Corr espondence, u. 61 , 62 tra ns. , 2 27.

2 nee , ii. 65 ; tra ns. , 2 30 .

3 I bid. , ii. 64 trans . , 229, 2 30 .

184 BRAHMS

sweetness of the vio l in sonata in A, Op . 10 0 (secondtheme ofthe first movement), finds a counterpart in the

first song of Op. 10 5, Wie Melodien zickt es (the songwas written first), while the peasant-energy ofthe Zigeunerliea

'er for vocal quartet, Op. 10 3, appears in some

measure in the lower Rhenish Klage, a nd stil l morein the intensely dramatic Verra t/z. The remaining twosongs Ofthe set show us Brahms in his most individualmoods

, a nd it is not easy to point to a ny single songs, ofwhatever date or country, that a re worthy to be mentionedin the same breath with I m m er leiser a nd Anf dem

Kirckkofe.

I I m m er leiser lays open to us the inmostdepths ofa devoted woman’s love, a nd the tenderness ofthe quiet melody reaches a point ofirresistible pathos atthe words

Oft im Tra um e hor’ ich dich

Rufen draus vor m einer Thur,”

while the passionate close ofthe song marks a height thateven Brahms has seldom touched elsewhere. I t is strangethat a subtle a nd sensitive woman l ike Frau von Herzogenberg should have objected at first to the succession of

chords ofthe g in the last verse,which so exactly paint

the dying woman’s longing in all its weak intensity.2

Anf dem Kirckkofe touches a chord of emotion thatwas always very dear to Brahms, but never more so thanin his later years. Mortality, the physical horrors ofthegrave, the dreary passage ofthe soul from earth form one

side of the picture ; a nd though the composer s religionwas essentially undogmatic, yet he al lows himself to hold

There is an a llusion to this song in the fina le ofthe violin sona ta in

A m a jor,'

Op. 100 , written a fter it.See the Correspondence, ii. 132 , 135 ff. tra ns., 291, 293.

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186 BRAHMS

accompaniment, a nd there is throughout the col lection noexample ofthe tortured harmonies we so Often hear infolk-song arrangements, which suggest that the arrangerhas been anxious to show how clever he is. Such thingsas Die Sonne sckeint nickt m ekr a nd M a ria ging a ns

w a ndern show how richly developed is this type of

folk-song in Germany ; Sckwester lein is a poignant dramain miniature ; M ein M ddel ka t einen R osenm und isdeliciously mischievous ; a nd Es stekt ein L ind

’

a nd I n

stiller Na ckt a re exquisite things which have never beenso beautifully set. The latter also occurs as a part-songin the choral Deutscke Volkslieder ,which appeared in 1864.

The last ofthe seven books ofthe later col lection consistsofsongs in which the Vorsa nger is supported by a sm a ll

choir, a nd, as though to round Offthe work ofhis life,

Brahms gives, as the last ofthe set, Verstoklen gekt der

M ond, which served as the slow movement ofhis pianosonata in C, Op. 1 .

I t remains to speak ofthe work which set the crownon the master’s achievement both as a song-writer a nda profound religious thinker, the Vier ernste Gesc

’

z’

nge,

Op. 1 2 1 , the last composition published during hisl ifetime. They were inspired by the i llness a nd deathof F rau Schumann, as appears from L itzmann’s L ife,i ii . 60 9.

Throughout his l ife, the creeds of the Churches hadl ittle appeal for him, a nd dogma must have been repug

nant to him always. But his contemplation of the“ four last things ” bore manifold fruit, not only in the

R equiem , but in various choral works, which must bediscussed later. As early as the Sckicksa lslied he

realized the importance of a hope of life beyond the

grave, a hope which, however vague, was yet sure.

THE SONGS 187

There, it is true, this hope is only expressed instrumental ly, in the beautiful orchestral epilogue to HOIderlin

’

s

despondent poem,a n epilogue which raises our thoughts

to the serenity with which it began. In the R equiemhe leads our thoughts step by step from consideringthe state of the happy dead to the idea of consolation,a nd finally to the Bea tific

’

Vision of rapturous praise.

In these four serious songs," as they a re called in

English, we begin with the reflection that as death iscommon to m a n a nd beast alike

,so there is no assur

ance ofa difference in the future state between one a nd

the other. The rapid passages in the accompanimentseem to suggest that animal life ceases like the dust onthe highway. The next song seems to say,

“ Even ifthere be no future l ife, the dead in their perfect unconsciousness a re to be envied, rather than the l iving whomust see around them trouble a nd sorrow they cannotrel ieve ”

The same idea leads, in the third song, to the

praise ofdeath when it comes to the poor a nd afflicted ;a nd this is in some ways the most beautifu l of the four,as its picture of deep sympathy with the oppressed a nd

its musical contrasts between the aspects of death to therich a nd to the poor make it most impressive . Withthe last of the four songs we change from the glooma nd uncertainty ofthe hope of immortality held out in

the O ld Testament a nd Apocrypha to the Christianconviction, a nd to the love that spreads abroad to allmankind as the result of that conviction. In strongest contrast with the words ofEcclesiastes a nd Ecclesiasticus

, the

abstract of the P auline description of“ charity ” in 1 Cor.

xiii. comes with wonderful l ife, vigour, a nd confidence.

The passage Wir sehen jetzt d1’

1rch einen Spiegel,” which

represents, no doubt, Brahms’s own feeling of indefinite

188 BRAHMS

hope, has a serenity as of a beautiful sunset, a nd it isdiffi cult to imagine a happier ending to a glorious creativecareer than this song 1 or the posthumous Chorale-preludewhich possibly was composed later, 0 Welt, ick muss

The last set of songs has the great advantage of anEnglish translation (by P aul England), which echoes theScriptural words with remarkable faithfulness a nd yet

suits the music to perfection. The less said the betterabout the translation of the great majority ofthe othersongs, although objectors were assured that they were

“the

only translation authorized by the composer. They fulfil

few,if a ny, ofthe ideals ofwords for music ; they frequently

make nonsense, or contradict the inflection of the voicepart

,a nd a re seldom even tolerable in effect. There a re

exceptional cases in which the translations a re quite good ;those of the “Ma gelonelieder, by Andrew Lang a nd

R . H. Benson, many of the“unauthorized ” versions of

Lady Ma cfa rren, Paul England, Claude Aveling, a nd

others, a nd, perhaps best Of a ll, a n anonymous collection

(privately printed) ofSongs tr a nsla tedfrom tke Germ a n,

containing admirable versions of ten of the songs, a ndfour Ofthe Volkslieder.” I t is not impossible, ofcourse,that the atrocious style ofthe

“ authorized translations,by forcing singers to use the original words

,have done

good work in endearing the German poems to the Britishpublic.

1 See the [oa ckim Correspondence, 11. 287, 288 .

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190 BRAHMS

first of the vocal quartets, Op. 31, Weckselliea’sum

Ta nze, set to Goethe’s words. The measure is that ofa

minuet, a nd the one pair of“ indifferent dancers, thinking

only of the joys of the dance, is identified with the maintheme, while the tender pair, who only think of love

,

come forward at the trio-

portion, all four joining in the

elaborate coda. There i s a kind of foreshadowing Ofthe

L iebeslieder in this charming piece, which is too rarely tobe heard. The second, Neckereien

, is another dialoguebetween the two m en representing the lover a nd the two

women as the beloved, the four uniting their voices at theend. The use ofrapid triplets at this point is vividly picturesque. Der Ga ng sum L iebcken is on the lovely themethat the composer used for the first time in one ofhiswaltzes, Op. 39 (written before the vocal quartets

,though

published after them). I ts words were used again in the

song ofthe same name, Op . 48 , No. 1.

I t may be noticed that up to Op. 2 8 the concertedvocal music is entirely on dialogue-motives with the singleexception of this last quartet, where the four voices a reused after the simplest pattern of a part-song. This

purely lyrical use of solo voices, without a ny hint Of

personality, is one ofthe things that make the LiebesliederWa lzer (Op. 52 ) so ful l ofcha rm a nd a good deal ofthatcharm is lost if singers insist on putting vocal “ colour or

individuality into music that was never meant to havethese qualities ; for the voices a re to be subordinated tothe four-hand pianoforte part throughout, a nd the playersshould arrange their own readings ofthe waltzes,not so asto sui t the singers’ convenience, but quite independently.

x

The quartets a re “ landler rather thanwaltzes, but their

On the questionofthis subordina tion, and inconnexion with the wordingofthe title-page, Ma x Ka lbeck’s L ife (ii. pp. 292-6) m a y be consulted.

MUSI C FOR COMBI NED SOLO VOI CES 19 1

entr a in is not to be withstood by a ny hearer if the proportion between players a nd singers is kept, a nd i f the voicesblend wel l together. A curious instance ofthe proportionrequired is in the soprano (or alto) solo, No. 7, where the

primo ofthe pianists has to play the melody in unisonwith the vo ice ; the instrumental part has far more marksofexpression than the vocal, a nd at the end it actually hasa prominent turn, while the singer is required to makewhat must seem to her a n ineffective end. No. 6

,in which

the tenor is the prominent part, Ein kleiner , kubscker

Vogel, a nd NO . 9, Am Dona ustra nde, where the alto leads,will always be the favourite portions ofthe work, but theanimation ofNein

,es ist nickt a uszukom m en

,NO . 1 1

,a nd

the succeeding Scklosser , a uf! must appeal to those forwhom without them the sweetness of the tunes mighthave a n almost cloying effect. But the peculiarity oftheL iebeslieder is not so much in the beauty of its singlenumbers as in the curious a nd completely successful treatment Ofa co lour ” that is quite new to music, the subduedvoices sustaining the harmonic scheme, like some exquisitewind instrument, while the rhythm a nd sparkle of the

landler-measure is kept up by the piano. No furtherproof of Brahms’s power as a colourist, when he chose to

exert it, could be required than these quartets .

Although out oftheir proper o rder, it wil l be convenient

to consider next the Neue Liebeslieder , a second set of

similar pieces, which appeared in 1875 as Op. 65, sixyears after the first set. As compared with those, theystrike us as more austere a nd even gloomy in their expression, though the words ofthese, l ike those Ofthe others,a re taken from Da um er

’

s P olydora . Such dark a nd

splendid things as Finstere Scka tten der N a ckt, I kr

s ckw a rzen Angen, Sckwa rzer Wa ld, a nd F la m m ena uge

192 BRAHMS

a re even richer in colour than the quartets of the first seta nd the greater proportion of solo numbers gives theindividual voices slightly more prominence, besides whichthe subordination of the singers to the players is notinsisted on by the master as it was in the first set

,where

the title stands as fur P ianoforte zu vier Ha nden (undGesang a d libitum ) the words fiir vier SingstimmenundP ianoforte zu vier Handen suggest that the pianofortepart is relatively of less importance in the second set thanin the first. The most enchanting feature ofthe whole isthe epilogue (Goethe

’s words), Nun, ikr Musen,genug ! inwhich the slow landler-movement is expanded into a gravemeasure ofg, the faint suggestion of the dance-rhythmbeing allowed to die away gradual ly upon the ea r.

To resume the chronological order : the four duets,Op. 6 1

,a re for soprano a nd contralto

, a nd beginwith thewel l-known Die Sckwestern, the light mood ofwhichseems to prophesy tears to come ; Klosterfrc

'

iulein is apicture of regret that almost reaches despair ; butP ka

'

nom en is one of the loveliest inspirations of the

master’s middle period ; i t seems, l ike M innelied or Meine

L iebe ist g ritn, to have come into being at a moment witha single impulse of creation. The fourth

,Die Boten der

Lieke,is one ofthose soaring compositions that suggest

the swift, steady flight of a bird. In all these duets the

parts move together, a nd there i s no suggestion ofadialogue between two persons.

Op. 64 consists of three exceedingly beautiful quartets,which a re far too little known, since they a re most vocala nd grateful to the s ingers, as wel l as really effective. An

dieH eim a tk opens with r ichly disposed harmonies, a nd atriplet figure treated in free canon suggests the power withwhich the thought ofhome draws the heart. At the words

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194 BRAHMS

Scott ish in origin. To trace back the history of the

ballad, through the various Lord Rendal,”Lord Ronald

,

”

a nd“

King Henry stages, is beyond our present purpose ;but it may be said that we seem to have a faint recollectionOfthe suspected murder ofHenry I or I I ofEngla nd.

I

More important to the musician is the treatment ofthesuccessive repetitions ofthe word O at the end ofeachline ofthe poem . L ike Loewe

,Brahms has varied its ex

pressionuntil it finally becomes a dying cry. To make it

pregnant with dramatic meaning is perhaps ofdoubtfullegitimacy

,but the resul t is very striking. I t was ofcourse

originally intended as a meaningless extension ofthe line,just as ah or sir ” was often put into the refrain Of

rustic songs. William Webbe,inA Discourse ofEnglisk

P oetrie ( 1 586) refers to the rym ing ballet-mongers who

put in a n‘ a to make a jercke in the end.

”Brahms’s

mistake in giving significance to what was originally a n

unmeaning adjunct to the line is surely pardonable

enough. The second ofthe duets,Guter R a tk

,is sung

by a mother a nd daughter, the latter ofwhom has it all

her own way at the end. So la ss uns wa ndern, for soprano

a nd tenor, has a short section for the two voices together,a nd is very fluent a nd expressive the last ofthe set

,Wa l

purgisna ckt, is for two sopranos, a nd, excepting for two

notes in which both voices a re heard at once, might besung by one singer with a gift for sudden changes ofvocalcolour, such as is required for the songs, Op . 84 .

The four quartets, Op. 92 , begin with O sckone Na ckt,

the Opening bars ofwhich, with the piano arpeggios a nd

the richly harmonized phrase, a re extraordinarily full ofatmosphere.

”I t is a worthy companion to An die

H eim a tk . Spa tkerkst begins as if the lower voices were

See Folk—Song Society’sjourna l, iii. 43.

MUSI C FOR COMBI NED SOLO VOI CES 19;

going to keep up a n accompaniment to the soprano, butafter four bars they take a more prominent part a nd a re

interwoven with great beauty ofeffect. Abendlied givesthe picture of a troubled heart gradually receiving comfort from the peace ofevening, a nd the two little una ccom

pa nied cadences near the end a re of incompara ble charm.

The two sections ofWa rum a re finely contrasted, but thequartet is not one ofthe master’s most successful piecesOfvocal ensemble.

The Zzgeuner lieder , Op. 10 3, a re eleven in number, a ndeight ofthem were arranged for a single voice by the composer ; they a re not really very effective in the form of

solos, although they have been more often performed inthis way than according to the master’s original plan. As

quartets, they a re most exciting, a nd the changes ofcolour,from the single voice ofthe “Vorsanger

”to the ensemble of

the quartet, a nd the imitations ofthe gipsy“Cimbalom on

the piano, make them ofthe widest possible appeal. The

third,Wisst ikr, wa nn m ein Kindcken, is almost a csa rda s

in structure, a sedate allegretto being succeeded by aspirited allegro.

In Op. 1 12 , the master’s last set ofquartets, he added

four more to the number ofZigeuner lzeder, a nd the new a re

at least as fine as a ny in the first set. R otke R osenknospen

has infinite charm,a nd its ending is of special beauty.

The fourth, too, Liebe Sckw a lbe, has the genuine gipsyatmosphere, a nd all belong to the music Ofoutdoor life.

The two quartets by which these a re preceded in the collec

tion a re a plaintive a nd haunting Seknsuckt a nd Na‘

cktens,

one of Brahms’s rare experiments in unusual times, a

five-crotchet rhythm being maintained throughout.

CHAPTER IX

THE CHORAL WORKS

HE first choral works ofBrahms a re more experi

mental, more tenta tive, than his first essays inthe other forms. A Mass in canon a nd some othervocal canons a re referred to in the letters to Joachimas early as 18 56, but they were not published.ll Ifwe

compare the gentle, suave Ave M a ria for female voiceswith orchestral (or organ) accompaniment (Op. 12 ) withthe passionate L iebestreu, the first three piano sonatas

, the

trio, Op . 8, or the serenade in D, we shall be struck with

the timid a nd almost conventional style which it exhibits .I t is charmingly flowing in a pastoral manner, a nd to thestudent ofthe master

's works it has a n interest, in that itforeshadows some ofthe qualities ofthe chorus “How lovelyis Thy dwelling-place

”in the R equiem . I s it a mere coin

cidence, or from some unconsciously received suggestionin the music itself, that in the most easily accessibleedition ofthe piece, in Novello

’s series Ofanthems, it is setto the words ,

“Blessed a re they that dwel l inThy house ”P

At the same time with this, in the year 1861, was pub

lished the companion work, Begra‘

bnissgesa ng , Op. 13, afuneral march for six-part chorus, accompanied by windinstruments (without flutes or trumpets, but with trom

Seejoa ckim Correspondence, i. 136, 147-9 and Ka lbeck, i. 277.

196

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THE CHORAL WORKS 197

bones). As Mr. Co l les has said,Though there is no

thematic l ikeness, it has something ofthe solemn treadmore fully exemplified in the great funeral march oftheDeutsckes R equiem . But there is another a nd morecurious foreshadowing of a wel l-known piece of music

,

a nd the circumstances entirely preclude the idea that theauthor ofthe later piece ca n have known Brahms’s earlychorus the impression ofa hol low vault plunged ingloom

,

which is created by the vocal a nd orchestral colouringemployed, is exactly the same as that which m akes it impossible to forget the scene ofthe procession of Titurel

’sbody in the third act ofP a rszfa l . As Wagner was notsufficiently to lerant ofthe music of Brahms to investigatehis early works, which were probably not as easily accessible in Germany as they a re now, a nd as there is norecorded performance of the Begra

’

knzssgesa ng at a ny

time or place where Wagner could have been presentthe circumstance is of course nothing but the merestcoincidence.

Another experiment, this time a very beautiful one, is

the set Offour part-songs for three-part female choir withaccompaniment oftwo horns a nd harp, Op . 17. Neverwere there more romantic effects of instrumental co lour

ing than a re to be found in all the songs, the first ofwhich,Es to

’

nt ein voller H a rflznkla ng , Opens with a horn-signalthat is a wo rthy companion to certain passages inwhichsimilar sounds a re made with romantic intention, such as

the famous passage in the finale ofChopin’s pianoforte

concerto in F minor, the Opening of the second act of

Trista n, a nd the introduction to the finale ofBrahms’

s own

first symphony in C minor. I t might be thought that to

accompany all four songs, ofsuch very different character,with the same instruments must be a mistake, but nothing

I QS BRAHMS

ca n be more varied than the treatment ofthe instrumentsthroughout ; a nd in the Clown’s song from TwelftkNzgkt,

“ Come away,come away

,Death

,

”the l ight horn

notes a nd the staccato chords of the harp just give thetouch ofthe whimsical that the song needs. The third

,a

setting ofEichendorff’s Ga rtner,is almost Mendelssohnian

in its suavity, a nd as a purely lyrical utterance it comes inwell among the others . The last

, Gesa ng a us Finga l, to

Ossianic words,is exquisitely pathetic, a nd in the latter

part, where the chorus is divided into four parts,‘

there is a n unaccompanied passage, a nd the difficulty of

making simple homophonic writing sound interesting issatisfactorily solved . The unisonous chromatic passagein which the howling OfTrena r

’

s dogs is referred to isjoined in by the horn with weird effect, a nd the elegiacforce ofthe whole culminates in a fine climax, inwhichthe harp is prominently used.

The first experiment in writing for voices una ccom

pa nied throughout was m ade in the set Ofseven M a rien

lieder,for four-part choir. They a re part-songs of the

utmost simpl icity, in all ofwhich the melody Ofthe top

part is prom inent, although in all there a re points of

imitation,a nd the first

,Der eng liscke Gruss, ends with a

l ittle canonic passage. M a ria’

s Kirckg a ng uses the bass

part only in one ofthe seven verses, a nd when it com esin the chim ing of the bel ls is imitated . All the otherverses a re identical in their music. M a ria

’

s Wa llfa krt is

on the same words as the Volkslied in the second book of

Brahms’s collection, a nd it is curious to see the points of

resemblance a nd difference between the two,for the part

song is not actually founded on the traditional m elody.

This is surely enough to prove tha t the ordina ry English title ofthe songs,

trios,”is ina pplica ble, a nd tha t they a re only m ea nt for chora l use.

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200 BRAHMS

or cantata, as it might almost be called . I n these motetsthe study ofBach’s methods completed Brahms

’s technicaleducation, a nd the mastery he had now acquired wasshown again in a setting ofa Geistlickes L ied, by PaulF lemming, Op. 30 , in which the Chorale-melody ofHerr

jesu Ckr ist, duko'

ckstes Gut is treated after the manner of

Bach, each line set separately with organ interludes,with

a finely flowing figure between them,a nd the final “Amen

is ofsingular beauty a nd impressiveness. The voices a retreated canonically

,the tenor imitating the soprano, a nd

the bass the alto, at the ninth below.

In the same year, 1 864, was published a set offourteenDeutscke Volks lieder without opus-number. They a re

dedicated to the V ienna S ingakademie, a ndwhile studiedlysimple in design a re no less masterly in treatment thanthe more elaborate motets just mentioned. Von edler Art

is perhaps the lovel iest ofthe first book it has a hint ofthe madrigalian style about it, as has also No. 5, Ta ublein

weiss . A very quaint l ittle piece is that in honour ofthe

H eilzge M a rty/rer Em m er a no, a bishop ofR atisbon. The

second book begins with the exquisite I n stiller Na ckt,

which was afterwards arranged for one voice,among the

Volkslieder published in Brahms’s later life. In its choral

arrangement it seems m ore effective a nd more solemn.

The last, Der eng lisckeja’

ger , is m ore or less madrigalianin style, but whether imitative or not all these l ittle

pieces show a great advance on the earl ier works for choir

alone.

In Op. 37, three Geistlicke Ckore for female voices unaccompanied, we find the companion pieces to those, Opp.

1 2 , 17, 44 , which were written for the Hamburg Ladies’

Choir these three were published in 1866. 0 bone [esu is

short a nd reverent, a nd although the progressions in the

THE CHORAL WORKS 20 1

first bar would shock the student of old ecclesiasticalmusic, yet all three ofthe choruses suggest the mastersofthe past, a nd if the Adora m us breathes ofPalestrina,the third

,R eg ina Coeli, reminds us ofMorley’s two-

partcanzonets

,for the two soloists carry on the greater part of

the piece, the choir interjecting “ Al leluja ” here a nd

there.

The male part-songs, Op. 4 1, begin with the solemnI oli sckw ing

’

m ein Horn the second,F reiwillige ker ! startswith a phrase that is difficult in time til l the naturalaccentuation of the words is considered, a nd then it isobviously the only proper way in which they could be set.

This a nd the rest of the set a re clearly intended for

military use, a nd this one has a startling a nd very beautifulchange at the close from E flat to C major. Geleit issupposed to be sung at a so ldier

’s funeral,a nd M a rsckiren,

with its amusing words about the tedium ofbarrack life,is so simple in design that one almost wonders why it was

not taken as a national song in the F ranco-GermanWa r.

The last, Gebt Ackt ! is enough to explain the resul t ofthat war ; one feels that the nation which could produce

so noble a nd direct a n utterance was sure to win. But

when these songs were published, in 1867, there was noimmediate anticipation ofthe wa r. The next publishedcomposition, three six-part songs unaccompanied , Op. 42 ,

contains one ofthe best known ofBrahms ’s choral pieces,the lovely Vineta , with its fine vocal co louring that gives

the exact atmospheric effect oflooking down through clearwater to depths in which a city lies buried . The first of

the three Abendstc‘

indcken has the female voices singing inantiphony to the male, a nd a curious descending cadence,in which the major a nd minor modes play, as it were, into

each other’s hands . The third , Da r tkula’s Gr a bgesa ng , is

20 2 BRAHMS

the longest of the three, a nd is partly in dialogue, the twocontralto voices a nd the three male parts being in antiphony a t first

, a nd afterwards the soprano, two altos, a ndtenor a re answered by the two basses. This treatmentenhances the effect of the great ensemble when it doescome, at the words,

“Wach a uf,wach a uf,Da rthula !” There

is a most pathetic end at Sie schla ft.” Though publishedin the year ofthe three Geistlicke Ckore for female voices

,

the twelve L ieder nndR om a nzen for the same combinationa re numbered Op. 44 in the l ist. They begin with Demkoldselzgen s ander Wa nk, with a delicious effect ofout-Ofthe-way rhythm ; Der B ra utiga m ,

F ragen, a nd the fourL ieder a ns dem jungbrunnen a re all in the rather conventiona l style ofthe ordinary Germanpart-songs the barcarole, F idelin, has far more character, a ndDieNonne is veryfine, its final phrase being ofexquisite pathos . Die Bra nt

has a curious rhythmic effect it is in 33 time, a nd after twobars

,the crotchets going on regularly, the time changes to

g} , so that two crotchet rests seem always to be superfluous.The last, M a rzna ckt, has beautifully treated chromaticvoice parts above a n arpeggio accompaniment for though

the words “ a capel la” appear in the title, there is a n a d

libitum pianoforte accompaniment, though it is so lightthat a very small cho ir is needed if the accompaniment

is used .

With such studies, as they may be cal led, did Brahmsprepare himself for the execution of the scheme which

occupied him,though not continuously,for some five years.

I t is unnecessary here to pursue the inquiry into the

original object ofthe Dentsckes R equiem , Op. 45, a nd to

discuss whether the subject was originally suggested to

Brahms by the death ofSchumann or not (see pp. 2 3,

What concerns us more nearly in approaching the

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204 BRAHMS

even in this sl ight detail. How closely considered wasthe cho ice ofwords may be realized in the Cor respondencewit/c R eintka ler (pp. 7 where the composer gives hisreasons for not making the words more definitely a nd

expl icitly Christian. The first number conso les those whomourn the death of a beloved one ; the second beginswith the wonderful death-march of the race on its wayto the grave

,a nd places in Opposition to the brevity

Of human l ife the fact that “the Lord’s word endureth

for ever.” As these words a re uttered, the voices breakout with the jubilant words,

“ The redeemed ofthe Lordshall return a nd come to Zion with songs a nd everlasting

joy upon their heads. In the third number we startagain from the level ofhuman sorrow a nd anxiety, with

the baritone solo,Lord,make m e to know the measure of

my days,

” as though the universal fate were forgotten in

the individual desire to peer into the future. Everythingbreathes ofuncertainty a nd impatience, a nd the wonderful

passage in which these culminate, Now, Lord , what do Iwait for?” leads to the true so lution,

“My hope is inThee,the notes ofwhich grow from the bass part through the

others in succession,up to the famous pedal fugue,“But the

righteous souls a re in the hand ofGod, where the persistentbass note, D (which was a dreadful stum bling-block to

the first hearers), lays the foundation ofa confidence thatis not to be shaken. This is something more than meretone-painting, for the unchanging bass cannot fail toconvey the feeling ofsteadfastness that the words contain;there is in the former number , at the words,

“the early

a nd latter rain, a use of staccato notes on the violinswhich might be interpreted as a touch of realism,

but

whether it is so or not, here at all events the music illustrates a spiritual truth . The middle number ofthe work

THE CHORAL WORKS 2 0 5

for once does not open sorrowfully,but leads us on from

the conviction that the dead a re in God’s hands to the

contemplati n of the calm ce lestial joys. The humanlonging for he courts ofthe Lord is indeed expressed,by one voice ‘ter another, in its middle section, but theprevailing note is one of peaceful happiness.

The next part (added last Of all, after the Bremen

performance) contains the utterances of the departedspirit in the soar ing

,sustained notes ofthe soprano solo

,

with occasional interjections in the chorus, whose words,“As one whom his own mother comforteth,

” point to the

circumstance that was in the composer’s mind when hewrote it.I The words, Ye shall again behold m e,

”a re

set to the same notes as the Opening figure ofaecom

pa nim ent, a nd they a re echoed in notes of double the

length in the choral “ Yea , I will comfort you.

”In the

next section we reach the greatest climax of the work ;the chorus begins, Here on earth have we no continuingplace

,

"a nd although by this time the uncertainty is not

hopeless, yet the faint hopes kindled by what has gonebefore need the confirmation ofthe words, LO

, I unfo ldunto you a mystery,

"uttered by the baritone solo, a nd

leading to the marvel lously vivid description ofthe changethat is to come to pass

“ at the sound ofthe trumpet.” The

section, For the trumpet shall sound ,”in rapid triple

time, co rresponds in some measure to the Dies ira e of

the Catho l ic requiems, but as Death is swallowed up invictory, so the tumult of this choral passage is merged

into the magnificent fugal ending,“Worthy art Thou to

be praised.

” This climax is musical ly one ofthe mostardent a nd uplifting things in the whole range ofmusic,

See the foackim Correspondence, 11. 51 , etc.,for certa in deta ils which

the com poser a ltered in deference to Joa chim’s opinion.

206 BRAHMS

a nd forms the real ending ofthe work. I t must haveseemed a n impossible task to write anything to followthis without making a terrible anticlimax, a nd yet it isObvious that the note of rapture with which this chorusends must not dominate a composition called a

“ requiem.

”

The epilogue,“Blessed a re the dead,

” seems the onlypossible close to the who le, so right a nd so restful is itsmood._The long cantabile passage, first for sopranos a ndthen for basses

,with the swaying accompaniment of

strings, prepares us for the so lemn declaration, Yea,saith

the Spirit, for they rest from thei r labours,”in which the

soprano voices a re silent, a nd the horns a nd trombones a reused alone for the accompaniment. One of the mostsubtle effects in the work is the resumption of the themeof the Opening chorus at the close ; for the mood of theclosing chorus is made to assimilate itself gradually tothat ofthe opening, so that the transition is made almostimperceptibly. A kindred piece of refinement is at theend ofthe string quartet in B flat

,where the Opening

figure is resumed at the end ofthe variations, without a nysudden transition ; a nd yet another, even more subtle,at the end ofthe third symphony, where the Openingofthe first movement reappears in notes lightly touchedby the violins at the very end. The R equiem is not amere col lection Ofsubtleties,whether technical or spiritual,for if it were nothing more than this, it would long agohave lost its power over mankind. I t is the grandeur ofits conception, the truth ofthe way in which it presents

the essential truths ofreligion, the sincerity of its devotion,that give i t its wonderful influence. I t is true that the

sta ndard of vocal writing, both for solos a nd chorus,is of the highest, a nd that the orches tration is of themost masterly, having regard to Brahms

’s love ofrestraint

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20 8 BRAHMS

never intended for the stage, a nd that therefore stagecraft was not called for ; stil l, the one

“ situation ” istreated in a more or less theatrical way, though it is calcula ted to convince no one. The conduct of the sceneis handled with curious uncertainty. In this particularmood, there a re numerous passages in Bruch

’s Odysseusthat far exceed R ina ldo in the impression they produce.

But at the same time,a master like Brahms could not

put his name to a work of such magnitude unless itcontained fine things ; a nd when all is said, there remainparts of it that a re worthy ofthe composer ofthe M age

lane-Lieder, Ofcertain ofwhich the sea -music must remindus . The vigorous opening chorus, the voluptuous tenorso lo with its lovely slow movement,

“ Stelle hier dergo ldnen Tage, a nd the final chorus a re effective

,though

the work as a whole ca n never meet with a very widecircle ofadmirers .

In the next two works requiring chorus, Opp. 53 a nd

54, Brahms again reflects upon the contrasts that inspiredthe most beautiful things in the R equiem — the contrasts,that is

,between short-sighted views of human life a nd

the serenity ofthe eternal verities. In the H a rzreise im

Winter , Goethe describes the character ofa young m a n

who was driven into melancholy by reading Wertke/s

Leiden. I t may be hard for us in the twentieth centuryto realize what a n influence that romance had on impressiona ble Germ ans at the time it was written,

but we knowas a fact that it was very great. The victim ofthis melan

cholia , it is pleasant to know,recovered his mental balance,

but not before he had inspired the poet with the beautifulfragment which, under the name ofRkapsodie, was set

to music by Brahms for alto solo,male choir, a nd orchestra.

The figure of the wanderer in dark woods groping his

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2 10 BRAHMS

not the music, for Brahms was too good a designer to lethis work stop here

,as wel l as having more confidence in

a future l ife than the poet expressed. He resumes themovement ofthe opening part, for instruments alone, a ndsends us away with the idea ofpeace

“ beyond thesevoices.” This merely instrumental close was itself anafterthought

,for as at first projected the work was to

have ended with a repetition of the Opening words.Ka lbeck

,in his L ife, i i. 365, gives the original ending in

fa scim ile. The vocal a nd instrumental parts of thiscomposition a re equally happy in inspiration a nd in

treatment, a nd the atmosphere ofboth sections is represented with wonderful fidelity.

I

Though the Sckicksa l slied stands next in order of

opus-numbers, i t is separated from the Rkapsodie by thewhole ofthe stirring events ofthe F ranco-P russianWa r

,

a nd although the composer was not directly concernedin them,

seeing that he was a resident at Vienna at thetime, yet his sympathy with his countrymen could notbut find expression in the glorious Tr inmpkliea

’

, the

Hallelujah ” from which was performed in BremenCathedral on Good Friday, 7 April, 187 1, at a servicein memory of those who had fallen in the war. The

complete work was first given by the Philharmonic Societyof Carlsruhe on 5 June, 1872 . I t is set for baritone solo,eight-part chorus, a nd orchestra . I t is by no means an“ occasional piece, in the sense that its use in othercircumstances than the original would involve some lossof appropriateness, a nd i t is difficult to assign a reason

for i ts infrequent performance at English festivals, where

the north-count ry cho irs would have such a splendidchance of showing themselves off. There is possibly a

See the Correspondence witk R eintka ler , 40 , 42 .

THE CHORAL WORKS 2 1 1

reason for its sedulous neglect in Engla nd,I in the verygreat diflficulty of the vocal parts

, a nd the strain uponthe two soprano voices ; but it may be guessed thatanother cause of its want Ofpopularity here in Englandmay be the fact that its first section is built on the

theme of our own God s a ve tke King ,which was a p

propria ted as the German national anthem in 1790 .

Engl ish audiences unacquainted with the historical facts,

a nd constitutionally reluctant to think that anythinggood in music ca n be of English or igin, a re easilyinduced to believe that we adopted our nationalanthem from Germany, instead ofthe reverse being thecase. However this may be, the work is one whichsorely needs frequent revival

,for it is a noble song of

victory, a nd among other things it reveals a spirit ofgraveexultation a nd thankfulness to God, which is a salutarycorrective to certain forms ofpopular elation which haveoccasionally been seen in England . The whole ofthe firstsection is treated with the utmost elaboration, a nd the

thematic material ofthe national anthem is never far awayat a ny moment. A section in triple time

,Lobet unsern

Gott, is not less imposing, a nd in i ts course a n outburst of“Hallelujahs (a nd the resumption ofcommon time) leads

to what has been called the “ proclamation”Denn der

a llm a chtige Gott hat das Reich eingenommen -in which

the voices a re used in close imitation. This portiongives way in turn to a passage in which the second

choir sings in 1—8

2 time, a nd the whole is bui lt on the

strains of the hymn, Nun da nket a lle Gott. The third

a nd last section carries us back to the R equiem , by

I Since the a bove wa s written, perform a nces ofthe Tr iumpkliea’ ha ve been

given by the Ha ndel Society and the Roya l Chora l Society.

2 12 BRAHMS

its use of a baritone so lo to announce the apocalypticvision of the rider on the white horse, a nd we seem to

hear a nd see the new empire being founded on trutha nd j ustice. For a brief space our attention is turnedto H im who “ treads the winepress of the wrath of

God,

”a nd a great climax is reached at the point where

the soloist announces the Name that is written on the

conqueror’s vesture a nd on H is thigh, the words “Kingof kings, a nd Lord Of lords ” being uttered

, not bythe soloist, but by the basses of the first choir

,with

magnificent effect of grandeur. On the theme of thisphrase is built the jubilant chorus which fol lows a nd

ends the work .

After these important choral works, the seven um

accompanied songs, Op. 62 , must seem rather slight.The first, R osm a rin

,is a del icious little “

volksthiim liches

L ied for cho ir ; the second, Von a lten L iebes liedern, hasa n attractive rhythm of three bars, twice over, a nd thena five-bar phrase ; as both the male a nd female partsa re occasionally divided it is only theoretically in four

parts. Wa ldesna ckt a nd Dein Herzlein m ild a re ofthe

simplest structure a nd most winning charm. All ’ m eine

Herzgeda nken is in six parts, a nd is one of the few

compositions ofBrahms which might almost be called amadrigal in the strict sense. Es gekt ein Weben

,in five

parts, has a n uncanny ambiguity, as the basses reiteratea third of the minor key in such a way as to suggest atfirst that it is the tonic Of the major. Verga ngen ist

m ir Gluck nnd Heil, the last Of the set, had alreadyappeared as a solo in Op. 48 , where its accompanimentis so strictly in four parts 1that a mere transference to

the voices was all that was needed to make it a mostbeautiful a nd impressive part-song. I ts use ofthe Dorian

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2 I 4 BRAHMS

early contrapuntal mass which has been referred to ;

the theme was found by Ka lbeck in the one remaining

part-book containing the music for the Hamburg Ladies’

Choir.

I The third movement,S ieke

,w irpreisen selzg, again

in six parts, is a glorious piece offul l polyphony, but alltoo short, a nd it leads into another six-part section,

Die

Geduld H iob ka bt ikr geko'

ret, in which there is a n anti

phonal effect at the beginning, a nd a remarkable resumptionofthe lovely close ofthe second section. The whole endswith a chorale, M it F r ied

’

und F rend’

,treated after the

manner ofBach, in four more or less florid parts. The

second motet, O H eila nd, reiss

’

die H im m el a n]; is aChorale-cantata without so los ; that is to say, each verseof the hymn is treated differently, the melody being

predominant in each. In the first verse it is set in the

Soprano, with imitative passages in the others ; a similararrangement prevails in verse two, but the imitations a rein a different shape a nd speed . In the third, the tune isin the tenor part, a nd in the fourth in the bass, the fifthbeing in the manner of a double fugue. There is aspecially fine rol ling

“Amen”to close the motet . The

theme is possibly taken from one ofthe regular Germanchorales

,but it seem s not to have been identified as yet,

a nd may, after all, be Brahms’s own. I t is cur ious to find

that,as Ka lbeck states,2 this second motet was written

after, if not actually inspired by, the death ofHermann

Goetz.

The next choral work, Op. 8 2 , a setting ofSchiller’sN a nic for choir a nd orchestra

,inspired by the death of

Feuerbach the painter, is yet another meditation on the

brevity of l ife, a nd the inevitable nature of death. The

scoring is rich a nd the vocal writing exceedingly grateful toI See pp. 16, 196, a nd Ka lbeck, i. 386. i. 398 .

THE CHORAL WORKS 2 15

the singers. At the description of the rising ofThetisfrom the sea there is a fine change of tonality a nd style,the former movement is resumed after a time, a nd the

composer’s hopefulness appears in his repetition of the

word “ herrlich ” at the close, though what Schil ler calls“ splendid

” is nothing more exciting than the fate of

becoming a lament in the mouth ofa beloved friend . In

connexion with this work it may be mentioned that inthe days when it was new another setting of the samewords by Hermann Goetz wa s enjoying a brief periodof admiration, particularly in England ; it is, indeed, one

of Goetz’s most happily inspired compositions, but the

comparison between them, even granting that Goetz’s isthe better ofthe two , was rather a slight foundation on

which to build a n opinion that Brahms was inferior tohim as a composer. Yet this opinion,

absurd as itnow seems

,was held , not by a mere handful of irre

sponsible amateurs, but by certain musicians Of earnestaim .

The setting of Goethe’s Gesa ng der P a rzen for six

part choir a nd orchestra, Op. 89, is inevitably thoughtof as a companion piece to Nc

'

z'

nie, although two years

e lapsed between the publication of the one a nd of the

other . The Song of tke F a tes begins antiphonally, thethree male voices answering the three upper parts.The music is throughout austere, as befits the character Of the poem ,

a nd there is a wonderful ly mysterious

passage at the words,“ I m F instern. Even in setting

these sombre words, Brahms will not leave his hearerswith unrel ieved gloom in thei r hearts. “

He seems,

”

as Miss Ma y sa ys ,I “ in his setting of the last strophe

but one to concentrate attention on the past kindness

L ife ofBra km s, 11. 206.

2 16 BRAHMS

ofthe gods, a nd thus, perhaps, subtly to suggest a plea

for present hope.

Op. 93 consists of short choral works, the six songswithout accompaniment being numbered 93a , a nd the

Tafellied,which has a pianoforte accompaniment, standingby itself as Op. 93b. Der bucklickte F iedler is a merrydescription ofa village revel, with a touch Ofrealism at thebeginning ofthe waltz-section,

where the vo ices imitate thetuning of the fiddle. Da s Mddcken was afterwards

published as a song, in Op. 95 ; in its first form it has asoprano solo above the four-part chorus, a nd its rhythmis a n alternationof,

3; a nd common time,otherwise a rhythm

ofseven crotchets in the ba r . 0 sn'

sserM a i ! is ofslighterquality

,a nd F a kV w a bl though so short, is ofunspeakable

beauty,a nd the way its cadence leads to the repetition

of the Opening is particularly charming. Der F a lke is,

perhaps, less distinguished than this, but Bekerzzgnng isa remarkably vigorous little piece in canon. The Tafellied,otherwise called Da nk der Da m en, is a light a nd gallantdialogue between the ladies a nd the gentlemen at a feast

,

a nd at the climax,at the words

,

“ Recht so ! ” the sixvo ices join together with excel lent effect.

In Op. 10 4 we reach the culmination ofBrahms’s work

as a writer for voices unaccompanied. The five songs ofwhich it consists a re one a nd all concerned with the

transitory nature of human l ife, a nd from the first to the

last a re among the most individual compositions oftheirauthor. The first two a re called N a cktw a cke, a nd a re set

to words by R iickert. L eise Tone der B rnst Opens in adialogue between the upper a nd lower halves Ofthe usualsix-part division of the chorus. When del icately sung

(a nd the whole effect of these songs is lost if a large choirattempts them) this plaintive thing passes over like a

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2 18 BRAHMS

powerful close is very broad . The second , Wennein sta rker

Gewappneter , has a more rapid interchange of dialoguebetween the two choruses, a nd is marked throughout byappropriate vigour a nd dignity. The third, Wa ist ein so

kerr lick Volk, points out the lesson ofGod’s providence,a nd warns the hearers against confidence in themselves .There is a fine a nd solemn passage ofthe utmost breadtha nd bigness at the words “ H iite dich nur,

”a nd the

“ Amen ”resumes the theme ofthe opening.

The group of three motets, published immediatelyafter these as Op. 1 10 ,

begins with a n eight-part work,[ck a ber bin elend, with a n Opening of remarkableimpressiveness ; at the words

“ Herr,herr Gott ! ” one

choir whispers the consol ing words “

Barmherzig und

gna dig und geduldig,

” while the other repeats the threechords of the Opening invocation. The second

,in four

parts, Ack,a rm e Welt ! is, l ike the other, gloomy in

character, a nd this is increased by the introduction ofaD natural into the key ofF m inor, producing a sugges

tion ofthe severe Dorian mode. The third, Wenn wir

im ko’

cksten N a'

tken sein, is very austere a nd difficult evenfor the most accompl ished singers .

In his last work for chorus Brahms returns to his oldlove, fo lk-song, a nd although Op. 1 1 3 is called by the forbidding name of “ Canons, nothing more dreadful ismeant than what we in England call “ rounds . They a re

thirteen in number,a nd many a re of “

volksthiim lich”

character, if not actual fragments of traditional melody.

Several of them date from the O ld days when Brahms a ndJoachim exchanged thei r contrapuntal compositions. The

first a nd second a re to words ofGoethe ; all a re for femalevoices, some requiring a very large compass . The fourpart S ita t a seka

'

n’

s Vagerl is on a charming three-bar tune,

THE CHORAL WORKS 2 19

a nd the three-part Scklaf! Kindlein, scklaf.’ is del iciously

caressing Wille, wille, w ill is very humorous these threehad appeared as single songs in the early collection ofVa lkskinder liea ’er . In No. 6

,So la nge Scka

'

nkeit wird

bestekn, there is a more elaborate canonic treatment than

the strict unisonous imitation fol lowed hitherto . The two

sopranos have the canon in the ordinary way, the two

altos inverting the same subject. Another double canonis NO . 9, in which the pair ofparts sung by the sopranos isimitated exactly a fifth below by the two altos. No. 10 isa setting of R iickert’s Leise Tone der Brust (see Op. 10 4,

NO . a nd the next three a re in the plaintive mood weconnect with Brahms’s later years, so far as his vocal musicis concerned. No. 13 is a four-part canon for sopranovo ices supported by what is technically cal led a pes on

the tonic a nd dominant ofthe key, alternating in the twoalto voices a nd making a kind of drone.

” This dronebass is necessary, for the l ittle piece Einjo

'

rn ist der

Liebe Gra m is but a n adaptation ofthe famous Leyerm a nn

of Schubert ; a nd there is something very suggestive a nd

pathetic in the idea that Brahms should have finished hiscareer a s a choral writer by a reference to his great

V iennese predecessor. Schubert’s last song from the

Winterreise has struck many people as applying withsingularly pathetic force to his own case ; a nd though

Brahms ca n never have fe lt, for many years before hisdeath, that his own kleiner Tel ler bleibt ihm immer leer,

”

yet in the melancholy mood produced by his il lness he

may wel l have fel t even his hopefulness of disposition

forsaking him, a nd have been haunted by the plaintive

l ittle song of Schubert, so that he arranged it in this new

form.

2 20 BRAHMS

We have traced the development ofBrahms’s a rt from

the earliest pianoforte sonata, through all the classes ofmusic which he adorned with his genius. I t is difficult toknow where to consider that the end ofhis work a nd ofhiscareer came ; there were happily many important worksboth vocal a nd instrumental

,to come after these canons

that mark the end ofhis choral music ; most notable ofall,

ofcourse, a re the four Ernste Ges a nge which close the listofhis published works ; but the single posthumous work,the set of chorale-preludes for organ, is perhaps to be re

garded even more definitely as the close ofhis labours, a ndtheir conclusion is even more appropriate, as showingunmistakably the humble confidence with which his soulbetook itself to rest. Of Brahms it is true, as of so

very few among the popular musicians of their day, thatHe being dead

, yet speaketh a nd as the years flow on

since his death,notwithstanding all the changes ofm usical

fashion that have passed over the world in general, themessage ofhope, ofmanly endeavour, of trust in a higherpower, a nd ofassured conviction ofthe truth ofthe artisticprinciples he obeyed, must ever grow more a nd morestrongly a nd be more widely listened to . This is notmusic that time ca n a ge ; l ike Bach

’s,it must be more

a nd more widely understood a nd loved as time goes on;a nd more a nd more universal must be the world’s acceptance ofBrahms as one of the supreme masters among the

composers ofall time.

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L I ST OF THE COMPOS IT IONS OF BRAHMS,

ARRANGED IN ORDER OF OPU S-NU MBERS

The excellent Them a lisches Verzeichniss published by Sim rock Co. m a y be

recom m ended to rea ders who wish for m ore deta iled inform a tion. The figures

in -the la st colum n refer to the pa ges of this book on which the works a re

m entioned. Da tes ofpublica tion a re a dded in bra ckets .

COMPOSITI ONSopus

1. Sona ta in C m a jor for pianoforte solo (1853)

2 . Sona ta in F sha rp m inor for pianoforte 50 10 (1853)

3. Six Songs. Liebestreu, Liebe und Fruhling (1 a nd

Weit iiber da s Feld, In der Frem de, a nd Lindes

R a uschen (1854) 196

Scherzo in E fla t m inor for pia noforte solo (1854) 6, 9, 75, 8 1 ,

Sona ta in F m inor for pia noforte solo (1854) 71 , 72 , 75, 8 1,83, 87, 88 , 125, 196

Six Songs . Spanisches Lied, DerFruhling,Na chwirkung,Juchhe Wie die Wolke, Na chtiga llen schwingen(1853) 162 , 163

Six Songs. Treue Liebe, P a role, Anklange, Volkslied,DieTra uernde, Heim kehr (1854)

Trio for pia no a nd strings in B m a jor (1854)

Va ria tions for pianoforte solo on a them e ofSchum a nn

(1854)Four Ba lla denfor pianoforte solo (1856)

1 1 . Serena de inD m a jor for orchestra (1860 )

12 . AveMa ria for fem a le choir a nd orchestra (1861)

2 2a4

2 1 .

2 2 .

l3I iALI IBI E§

Begra bnissgesangfor choir a ndwindinstrum ents (1861)Eight Songs (Lieder und Rom a nzen). Vor dem Fenster,

Vom verwundetenKna ben, Murra y’

s Erm ordung,Ein

Sonett, Trennung, Ga ng zur Liebsten, Standchen

Gut’

Na cht, gut’Na cht Sehnsucht (1861)

Concerto for pia noforte a nd orchestra in D m inor

PAGES

76, 196, 197

163, 1642 2 , 23,

Serena de for sm a ll orchestra inA m a jor (1875)Trios for fem a le choir with a ccom pa nim ent oftwo horns

a nd ha rp. Es tOnt ein voller H a rfenkla ng, Com e a wa y,Dea th (Kom m

’herbei,Tod),DerGa rtner , Gesa ng aus

Finga l (1862 )

Sextet for strings inB fla t (1862 )Five Songs. Der Kuss, Scheiden und Meiden, In derFerne, Der Schm ied, An eine Aeolsha rfe (1862 )

Three Duets for sopra no a nd contra lto Weg der Liebe

(1 a nd Die Meere (1861)Va ria tions for pia noforte solo . No. I on a n origina l them e

inD, No . 2 on a nHunga ria n them e inD (1861)Seven Ma rienlieder for m ixed choir. Der englische

Gruss, Ma ria'

s Kirchga ng, Ma ria’

s Wa llfa hrt, Der

Jager, Rufzur Ma ria , Ma gda lena , Ma ria’s Lob (1862 )

Va ria tions on a them e ofRobert Schum a nnfor pia noforte

(four hands) (1866)Va ria tions a nd fugue on a them e ofH a ndel for pia noforte

solo (1862)Qua rtet for pia no a nd strings inG m inor (1863)

Qua rtet for pia no a nd strings inA m a jor

P sa lm xiii (Herr, wie la nge) for fem a le choir with orga n

a ccom pa nim ent (1864 )Four Duets for a lto a nd ba ritone. Die Nonne und der

Ritter, Vor der Thur , Es ra uschet da s Wa sser, Der

Jager und sein Liebchen (1864)Two Motets for five-pa rt choir una ccom pa nied. Es istda s

Heil uns kom m enher, Scha ffe in m ir, Herr Gott, ein

reinHerz (1864 )Geistliches Lied for m ixed choir with orga n a ccom

pa nim ent. La ss dich nur nichts (1864)Three Voca l Qua rtets . Wechsellied zum Tanze, Necker

eien,Der Ga ng zum Liebchen (1864)

541 91

91 1 92

190 , 191

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2 265

OPU S

4s.

52 .

I3I iALI I BJEi

pa ces

Germ a nRequiem (Deutsches Requiem ) for solo, choir, a nd

orchestra (1868) 23, 35,

551 62 , 77s 12 5! I 331 I 34 1 170 120 2—7, 2 1 1

Four Songs. Die Kr anze, Ma gya risch, Die Scha le der

Vergessenheit, An die Na chtiga ll (1868) 171 , 172

Five Songs. Botscha ft, Liebesgluth , Sonnta g, O liebliche

Wa ngen, Die Liebende schreibt (1868 ) 57, 171 172

Seven Songs . Der Ga ng zum Liebchen,Der U eberlaufer ,Liebeskla gedes Madchens, Gold iiberwiegt die Liebe,Trost inThranen, Vergangen ist m ir Gluck, Herbstgef

‘

uhl (1868)

Five Songs. Am Sonnta g Morgen, An ein Veilchen,

Sehnsucht, Wiegenlied, Abenddam m erung (1868) 57, 172

Rina ldo . Canta ta for tenor solo , m a le choir, andorchestra

(1869)

Two string qua rtets in C m inor a ndA m inor (1873)

Liebeslieder. Wa ltzes for piano (four-hands) with voca lqua rtet, a d libitum (1869) 55, 57, 63, 77,

Rha psodie for a lto solo, m a le choir, a nd orchestra (1870 )24 , 31, 62 , 173, 20 8, 209

Schicksa lslied for choir a nd orchestra (1871) 24, 31, 77,

173, 186, 20 9, 2 10

Trium phlied, for eight-pa rt choir, ba ritone solo, a nd

orchestra (1872 )

Va ria tions on a them e ofH a ydn (a ) for orchestra

(b) for two pia nofortes (1873)

Eight Songs . Vonwa ldbekra nzter Hohe, Wenn dunur

zuweilen la chelst, Es traum te m ir, ich sei dir theuer,

Ach ,wende diesen Blick, In m einer Nachte Sehnen,

Stra hlt zuweilen a uch ein m ildes Licht, Die Schnur,

die Perl’a n Perle, U nbewegte la ue Luft (1871) 173, 174

Eight Songs . Blinde Kuh , Wéihrend des Regens, Die

SprOde, O kom m e holde Som m erna cht, Schwerm uth

I n der Ga sse, Voruber , Serena de (1871) 173, 174

Eight Songs . Dam m’

rung senkte sich von oben, Auf

dem See, Regenlied, Na chkla ng, Agnes, Eine gute,

OPU S

LI ST OF COMPOSITI ONS 2 27

PAGES

gute Na cht, Mein wundes Herz, Dein blaues Auge

(1873)

Qua rtet inC m inor for pianoforte a nd strings (1875)Four Duets for soprano a nd contra lto. Die Schwestern,Klosterfriulein, Phinom en, Die Boten der Liebe

(1874)Seven Songs for una ccom pa nied chorus . Rosm a rin, Von

a lten Liebeslieder, Wa ldesna cht, Dein Herzlein m ild,

All’

m eine Hergeda nken, Es geht ein Wehen, Ver

ga ngen ist m ir Gluck und Heil 171, 2 12

Nine Songs. Friihlingstrost, Erinnerung, An em Bild,

An die Ta uben. Junge Lieder (i. Meine Liebe ist

grim , ii. Wenn um den Hollunder), Heim weh (i. Wietra ulich, ii. 0 wiisst

’ich doch , iii. I ch sa h a ls Kna be)

(1874)

Three Voca l Qua rtets. An die Heim a th, Der Abend,Fragen (1874) 192 , 193

Neue Liebes lieder . Wa ltzes for four voices a nd pia no

forte (four hands) 55, 191, 192

Five Duets for sopra no a nd contra lto. Kla nge (i.Aus derErde, ii. Wenn ein m ilder Leib), Am Stra nde, Ja

‘

ger

lied, Hut’ dudich (1875) 193

String Qua rtet inB fla t (1876) 2 5, 120

Sym phony, No. 1 , inC m inor (1877) 24, 2 5, 2 7, 71 ,

78 , 134. I 37—140 . 197

Nine Songs. Klage (i. Ach m ir fehlt, ii. 0 Felsen)Abschied, Des Liebsten Schwur, Ta m bourliedchen,

Vom Stra nde, U eber die See, Sa lom e, Madchenfluch

(1877)Four Songs . I m Ga rten a m Seegesta de, Lerchengesa ng

Serena te, Abendregen 175, 177, 178

Five Songs . Es liebt sich so lieblich, An den Mond,

Geheim niss, Willst du, da ss ich geh’? Minnelied

(1877)Five Songs. Alte Liebe, Som m erfaden, O kuhler Wa ld,

Verza gen, U nliberwindlich (1877) 163, 177, 178

Sym phony No. 2 inD m a jor (1878) 26, 68, 72 , 78 ,

10 8, 140 —2 , 179

Two Motets for una ccom pa nied chorus . Wa rum ist da s

Licht, O Heila nd, reiss’die Him m el a uf(1879)

:2 28

OPU S

ISI iALI I IflfS

75. FourDuets (Ba lla den und Rom a nzen) for va rious com bina tions ofvoices . Edwa rd, Guter R a th So la ss uns

wandern,Wa lpurgisna cht (1878)

76. Eight Pia noforte solos . (Cla vierstticke, Ca pricci, a nd

771

78 .

79

80 .

8 1 .

92 .

Interm ezzi) (1879)

Concerto for violin a nd orchestra inD m a jor (1879)

Sona ta inG for pianoforte a nd violin (1880 )

Two Rha psodies for pia noforte solo (1880 )Aka dem ische Fest-Ouvertlirefor orchestra (188 1)

Tra gische Ouverttire for orchestra (188 1)

Nanie, for choir a nd orchestra (1881)

Concerto in B fla t, No. 2 , for pia noforte and orchestra

(1882 )

Five Songs (Rom anzenund Lieder) for one or two voices.

Som m era bend, Der Kra nz, In den Beeren, Verge

bliches Standchen, Spa nnung (1882 )

Six Songs. Som m era bend, Mondenschein, Ma dchenlied

(Ach und du m ein kfihles Wa sser Ade Fruhlings

lied, InWa ldeinsa m keit (1882 )Six Songs . Therese, Feldeinsa m keit, Na chtwa ndler,

U eber die Ha ide, Versunken, Todessehnen (1882 )Trio in C m a jor for pia no a nd strings (1883)Quintet for strings in F m a jor (1883)Gesa ng der P a rzen (Song ofthe Fa tes) for six pa rt chOir

a nd orchestra (1883)Sym phony No 3 in F m a jor ( 1884)

Two Songs for a lto with viola obbliga to. Gestillte Sehn

sucht, Geistliches Wiegenlied (1884)Four Voca l Qua rtets . O schOne Na cht, Spa therbst,

Abendlied,Wa rum ? (1884)

93a . Six P a rt-songs for una ccom pa nied chorus . Der bucklichte

FIedler , Da s Madchen Sta nd da s

siisser Ma i Fa hr’ wohl t Der Fa lke, Beherzigung(1884 )

PAGES

62 , 63, I 791

I 94 1 195

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2 30 BRAHMS

O PU S1 12 . Six Voca l Qua rtets. Sehnsucht, Na chtens, Four Zige

unerlieder (1891)1 13 . ThirteenCa nons for fem a le voices (1891)1 14. Trio 111 A m inor for pia noforte, cla rinet, a nd violoncello

(1892 )

Quintet inB m inor for cla rinet a nd strings (1892 )Seven Fa nta sienfor pia noforte solo (1892 )

Three Interm ezzifor pianoforte solo (1892 )

Six Cla vierstucke for pianoforte solo (1893)

Four Cla vierstucke for pia noforte solo (1893)

PAGES

68, 69. 79.127, 12 8

68, 79, 128

28, 75. 79.94100 , 10 1

2 8, 75.79.9410 0 , 10 1

2 8, 751 791 94“

100 , 10 1

2 8 . 61.73. 75.

79, 94— 10 0 , 10 1, 185

12 0 . Two Sona ta s in F m inor and E fla t m a jor for cla rinet

a nd pianoforte (1895)

12 1 . Four Serious Songs (Ernste Gesange) for ba ritone.

Denn es gebet, I ch wa ndte m ich, O Tod, Wenn ich

m it Menschen (1896)

(Posthum ously published, 190 2) Eleven Chora le

P reludes for organ 2 8, 49, 66.

10 3, 10 4, 188, 2 13, 2 2 0

WORKS WITHOU T OPU S-NU MBERS

Volkskinderlieder . Fourteen folk-songs a rra nged a nd dedi

ca ted to the children ofRobert a nd Cla ra Schum a nn

(1858)FourteenDeutsche Volkslieder for four-pa rt choir (1864)Fugue inA fla t m inor for orga n (1864)Song, Mondna cht

Hunga ria n Da nces for four hands (Books I a nd I I , 1869 ;

Books I I I a nd IV, 1880 )Chora le-prelude a nd Fugue on O Tra urigkeit for orga n

(188 1)Fifty one U ebungen (Studies) for pia noDeutsche Volkslieder. Books I to VI for solo vorce ; Book

VI I for sm a ll choir (1894)

Scherzo in C m inor for pia noforte a nd violin, from the sona ta

writtenwith Schum a nn a nd Dietrich in 1853

66, 75, 10 1

8, 106, 10 7

LI ST OF COMPOSITI ONS

ARRANGEMENTS, ETC.

Studien for the piano Etude of Chopin, Rondo of

Weber, Presto of Ba ch in two form s, Cha conne

ofBa ch

Ga votte ofGluck, a rrangedfor piano (1871 )Schum ann’s pianoforte qua rtet a rra nged for pianoforte four

hands

Two Sona ta s ofC P . E.Ba ch for pia noforte a nd violinedited,with the figured ba ss filled up

Orchestra tion ofsongs by Schubert

Editions ofHandel’s cha m ber duets, a nd com plete works of

Schum ann, Chopin, and Couperin

EARLY WORKS (not now known to exist)

Songs

Duet for pianoforte and violoncelloTrio for strings

Movem ents ofsona ta s for pia noforteSona ta for pianoforte and violinQua rtets for stringsArra ngem ents offolk-songs for m a le choir

Ma ss in ca non, and other

231

PAGES

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LIST OF F I RST L INES AND T ITLES OF VOCALCOMPOSITIONS

In the following list the convenient register a t the end ofthe Them a tisches

Versei’

chniss published by Sim rock h a s been used. Note tha t in a group ofsongs, the first line ofea ch song is followed by the num ber ofthe pages onwhich the whole group, or any pa rt of it, is referred to. Thus, under the

sepa ra te titles ofea ch ofthe Hum ane-Lieder, the pages onwhich reference ism ade to the whole set of thos e songs a re given. The titles of the songs a re

printed in I ta lic, the opening words in Rom a n type. Volkel.“ without a da tea fter it, refers to the seven books ofDeutsche Volkstieder published in 1894.

Abend, Der , Op. 64, No. 2

Abendid‘

m m em ng, Op. 49, No.

Abendlied, Op. 92 , No. 3Abendregen, Op. 70 , No. 4

Abendstd‘

ndclzen, Op. 42 , No. I

Aber a bseits, wer ist’s ? Op. 53

Abs-dried, Op. 69, No. 3Abrclzz

'

edslz'

ed, Volksl. (1864 ) I I , No. 2

Ach, a ch, ich a rm es Klosterfra‘

ulein, Op. 61, No. 2

Ach, a rm eWelt, Op. 110 , No. 2

Ach englische Sé'

héiferin, Volksl . I I , No. 8

Ach Gott, wie web,Volksl . I I I , No.

Ach konnt’ ich diesenAbend, Volksl . IV, No . 26

Ach kohut’ ich, konnte vergessen, Op. 14 , No. 4

Ach lieber Herre, JesuChrist, Volksl. (1864) I , No. 6

Ach, M‘

adchen, Op. 75, No. 3

Ach m einHennlein, Volkskinderlieder, No .

Ach m ich ha lt, Op. 69, No. 3

Ach m ir fehlt, Op. 69, No. I

894.

PAGES

I 9S

I 77

192

2 18

I 93, 194

I 77I 77

2 36 BRAHMS

Ach Mutter, liebe Mutter, Op. 75, No. 2

Ach und du, m einkuhles Wa sser, Op. 85, No . 3Ach wende diesenBlick, Op. 57, No. 4 .

Ach wer nim m t vonm einer Seele, Op. 86, No. 6

Ade I Op. 85, No. 4Adora mus Te, Christe, Op. 37, No. 2

Aetherische, ferne Stim m en, Op. 70 , No. 2

Agnes, Op. 59, No. 5

AlleWinde schlafen, Op. 20 , No. 3

Alles , a lles indenWind, Op. 65, No . 1 1

All’m ein

’Gedenken, Volksl. V, No .

All’ m eine Hengedanken, Op. 62 , No . 5Alte L iebe,Op. 72, No. 1 . .

Al t Ma nnwollt’ reiten,Volkskinderlieder, No. 86Am Donaustrande, Op. 52 , No. 9

Am Gesteine, Op. 52 , No. 2

Am jiingstenTa g, Op. 95, N0 . 6

Am Sonntag Morgen, Op. 49, No 1

Am Stra nde, Op. 66, No. 3Am Wildba ch dieWeiden, Op. 44 (I I ), N0 .

Andem osterlichenTag, Op. 2 2 (I I ), No. 6

An denMaud, Op. 71, No. 2

An dieH abita t/I , Op. 64, No. 1

An dieNa cfitzjga ll, Op. 46, N0 . 4

An die Stolze, Op. 10 7, NO. 1

An die Ta ubm , Op. 63, NO. 4

An dies Schifi ein, Op. 106,No . 2

An ez'

n Bild, Op. 63, NO . 3

An cineAeolslza xfe, Op. 19, No. 5

An a ir: Voila/m t, Op. 49,No. 2

Angelehnt andie Epheuwand, Op. 19,No . 5An jeder Hand die Finger, Op. 65, No. 3

Anklz’

z‘

ngz, Op. 7, No. 3

0 0 .

PAGES

164. 179.193» I 94

180

I 73, I 74

180

20 2

I 75, 177, 173

175, 176

189

55, 63: 1911192

553 S7? 63, 77,

94.

55; 57» 633 77v

94. x73. 190 .

I 93

91, 198. 199

I 92 , I 93» I 94

172 . 176. 177.192

183, 185

192

164, 182

55.63. 191,192

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2 38 BRAHMS

Da m m ’rung senkte sich von oben, Op. 59, NO . 1

Da nk der Da m en, Op. 936

Da rtlzula’

s G m6gem ng, Op. 42 , NO . 3Da unten im Tha le (Trennung), Op. 97,No . 6

Da unten im Tha le,Volksl . I , No . 6

Dein blaues Ange, Op. 59, No . 8

Dein Herzlein m ild, Op. 62 , No. 4

Dein Schwert, wie ist’s, Op. 75, NO. 1

Dem Him m el will ich kla gen, Volksl . VI I , No. 44

Dem Sel mtzengel , Volkskinder lieder, No. 14

Den gordischenKnoten, Op. 2 0 , No. 2

Denn es gebet dem Menschen, Op. 12 1, No . 1

DenWirbel schla g’ ich, Op. 69,N0 . 5

Der gra ue Nebel , Op. 92 , No. 2

Der Holdseligen sonder Wa nk, Op. 44 (I), No. 1

Der Jager in dem Wa lde, Volkskinderlieder, N0 5Der Mond steht iiber dem Berge, Op. 10 6, No. 1

Der Reiter spreitet seinMa ntel a us, Volksl . IV, No. 23

Der Strom , der neben m ir, Op. 32 , No. 4

Der Ta g ging regenschwer, Op. 10 5, N0 . 4

Der Tod, da s ist die kiihle Na cht, Op. 96, No . 1

Des Abends ka nn ich nicht schla fen geh’

n, Op. 14 , NO. 6

Des Abends ka nn ich nicht schla fen geh’n, Volksl. IV, NO. 38

Des L z'

e6stm Se/zwur , Op. 69, No. 4

Dich, Mutter Gottes, Op. 2 2 , I I ,N0 . 5Die Berge sind Spitz, Op. 44 , I I , No. 2

Die Bliim elein, sie schlafen, Volkskinderlieder, N0 . 4

Die Fla m m e hier, Op. 47, No. 2

Die griine Hopfenr a nken, Op. 52 , No.

Die ihr schwebet um diese P a lm en, Op. 91 , No. 2

Die L iebende se/zrez6t, Op. 47, No . 5Die Miihle, die dreht ihre Fliigel, Op. 44 , 1, No. 5

PAGES

2 16

183

I 75, 176

90 . 164, 179.I 93, I 94

28 , 85, 185,

186, 200

66, 161 , 2 19

189

31 , 32 , 186 iii ,

2 13, 2 19, 2 20

I 77I 94, 195200 , 20 2

80 . 95. 123.

177

55, 57. 63,

77, 94. 1 18. 173.

57, 171, I 72

200 , 20 2

LI ST OF F IRST L I NES AND TITLES 2 39

Die Schnur, die Perl’a n Perle, Op. 57, No. 7

Die Schwa lble aichet fort, Op. 7, N0 .

Die Sonne scheintnicht m ehr, Volksl. I , No. 5

Die Wellen blinken, Op. 71, No . 1

Die Wollust in denMa yen, Volksl. (1864) I I No. 4Dom rc

'

iselzen, Volkskinderlieder, N0 1

Dort in denWeiden steht einH a us, Op. 97, NO. 4

Dort in denWeiden steht einH a us, Volksl. V, N0 . 31

Dum ein einzig Licht, Volksl . VI , NO . 37

Dum ilchjunger Kna be, Op. 86,No. 1

Du sprichst, da ss ich m ich tauschte, Op. 32 , No . 6

Dunkel, wie dunkel, Op. 43, NO . 1

Edwa rd, Op. 75, No. 1

Ein Blick von deinenAugen, Op. 47, No. 5Eindunkeler Scha cht ist Liebe, Op. 52 ,No . 16

Eine blaue Schiirze, Op. 44 (I I ), No.

Eine gute, gute Na cht, Op. 59, NO . 6

Eine Scha le des Strom s, Op. 46, No.

Einf'

o'

rm ig ist der Liebe Gra m , Op. 1 13, NO. 13

Ein Gem s a ufdem Stein, Op. 1 13, NO . 8

Ein kleiner , hiibscher Vogel , Op . 52 , No. 6

EinM a gdleinsa ss a m Meeresstra nd, Op. 7, No . 1

E z'

n Sonett, Op. 14, No . 4

EinV6gelein fiiegt iiber den Rhein, Op. 97, NO . 2

E in Wa nderer , Op. 10 6, N0 . 5

Bi, schm ollte m einVa ter, Op. 69, N0 . 4

Engliseke Gr a ss, Der , Op. 2 2 (I ) , No . 1

Englz‘

sc/zejdger , Der , Volksl. (1864) I I , No . 7

Entfz'

ilzrung, Op. 97, No . 3

E rinnerung, Op . 63, No. 2

Erla ube m ir , fein’s Madchen, Volksl . (1864) I N0 . 2

Ernst ist der Herbst, Op. 10 4, NO . 5

240 BRAHMS

Em ste Gesa nge, Op. 12 1

Es bebet da s Gestrauche, Op. 52 , No. 18

Es brausender LiebeWogen, Op. 86, No. 5,Es flog einTaubleinWeiss, Volks l . (1864) I , No. 5Es flirchte die G6tter das Menschengeschlecht, Op. 89

Es geht einWehen, Op. 62 , No. 6

Es ging einMaidlein, Volksl. I I I , No . 2 1

Es ging sich uns're Fra uen, Volksl. VI I , No. 47

Es glinzt der Mondnieder, Op. 31 , No. 3Es glinzt der Mondnieder, Op. 48, No. 1

Es hing der Reif, Op. 106, No . 3Es ist da s Heil, Op. 29, No. 1

Es ist einSchnitter, Volksl . (1864) I I ,No . 6

Es kehrt die dunkle Schwa lbe, Op. 72 ,N0 . 1

Er lz'

e6t sic/5 so lz’

e6lz‘

c6, Op 71 No . 1

Es Iockt und sa'uselt, Op. 6, No . 2

Es pochet einKna be, Volksl. (1864) I I , No. 3Es rauschet da sWa sser, Op. 2 8 ,No. 3 .

Es reit’der Herr vonFa lkenstein, Op. 43, No 4

Es reit’einHerr, Volksl . IV, No. 2 8

Es rinnendieWa sser, Op. 1 12 , No. 1

Es ritt einRitter, Volksl . I I , No. 10

Es sa ss einSa la m a nder, 0 p. 10 7, No . 2

Es sa ss ein schneeweiss’ Vdgelein, Volksl . VI I , No 45

Es schauendie Blum en,Op. 96, N0 . 3Es sprechenund blicken, Op. 66, No. 3Es steht’ einLind,Volksl.VI , N0 . 41

Es standendrei Rosen,Volksl . VI I , No. 43

Es tont ein voller Ha rfenkla ng, Op. 17, No. 1

Es traum te m ir, Op. 57, No. 3Es wa r, a ls ha tt

’der Himm el

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242 BRAHMS

Ga ng zum Lz'

e6e6en, Der , Op. 31 , No . 3Ga ng zum L iebe/Em , Der , Op. 48, No . 1

Ga ng zur L iebsten, Der , Op. 14, N0 . 6

Ga r lieblich ha t sich gesellet,Volksl . I , No . 3

Ga rtm r , Der , Op. 17, NO . 3

Gebt Acht ! Op. 4 1 , No . 5Gegriisset, Ma ria , Op. 2 2 (I ), No . 1

Gelzezu

m m ss , Op. 71 , No. 3Geh

’schlafen, Tochter, Op. 84, No . 1

Gezstlzc/zes L zea’

, Op. 30

Geistlicfzes Wz’

flegenlzed Op. 91 ,No. 2

Geleit, Op. 4 1 , No. 3

Geliebter , wo za udert, Op. 33, No. 13

Gesang a m F inga l , Op. 17, No. 4

Gesa ng der P a rzen, Op. 89

Gestillte Sehnsucht, Op . 91 , No . 1

Geuss nicht so la ut, Op. 46, No. 4

G leich wie Echo, Op.

Gold z‘

iberwz'

egt dz'

e Liebe, Op. 48, N0 .

Gottlicher Morpheus, Op. 1 13, NO . 1

Grausa m erweiset sich, Op . 1 13, NO. 2

Gunhilde, Volksl. I , No .

Guten Abend, gutenAbend, m ein ta usiger Scha tz, Volksl. I ,

No. 4

GutenAbend, gut’

Na cht, Op. 49, N0 . 4

GutenAbend, m einScha tz, Op. 84, No . 4

Guter R a m, Op. 75, No. 2

Gut’nAbend, m ein tausiger Scha tz, Op. 84,

Gut’

Na cht, gut’Na cht, m ein Iiebster Scha tz, Op. 14,No. 7

H a b ’ ich ta usendm a l geschworen, Op. 72 , No. 5 163, I 77, I 7S

LI ST OF FIRST LI NES AND TITLES 243

H a z'

denroslez'

n,Volkskinderlieder, No 6Ha lleluja h, Heil und Preis, Op. 55

He,Zigeuner, Op. 10 3, No. 1

Hebt ein Fa lke, Op. 93a , No. 5Heim a th, De

'

e, Op. 64, No. 1

Heim a th, Heim a th, Op . 64, No. 1

Hez'

m kelzr , Op. 7, No . 6

Hez'

m welz, Op. 63 , Nos. 7, 8, 9

Herbstgefz‘

e‘

lzl, Op. 48, No. 7

Herr,wie lange, Op. 27Hier, 0 b dem Einga ng, Op. 46, No . 1

Hier wo sich die Stra ssen scheiden, Op. 106 NO . 5Him m el stra hlt so helle, Op. 1 12 ,No. 3H inter jenen dichtenWa ldern, Op. 49, No. 3Hoch fiber stillen Héhen, Op. 7, No. 3Hochgethiirm te Rim a fluth, Op. 10 3, No. 2

Holder klingt derVogelsa ng, Op. 71 , No. 5Horch, der Wind, Op. 10 3,No. 8 .

Horch, wei bra uset der Sturm , Op. 44 (II),No. 6

Hér’, es kla gt die Flote wieder,Op. 42 , No. 1

E z‘

e‘

r’ da dic/z, Op. 66, No . 5

I ch a ber bin elend, Op. 1 10 , No. 1

I ch blicke hina b, Op. 58, No. 6

I ch fa hr’

da hin, Volksl. (1864) I I , No. 2

I ch hor'

m einen Scha tz, Op. 19, No. 4

I ch kose siiss, Op. 65, NO. 10

I ch Iegt m ich unter den Lindenba um , Op. 58, No. 7

I ch m iih’m ich a b, Op. 95, No . 3

I ch m uss hina us, Op. 3, No. 3

I ch rufe vom U fer, Op. 69, No. 6

I ch ruhe still, Op. 86, No. 2

I ch sa h a ls Kna be, Op. 63, No.

I ch sahe eine Tig’rin, Op. 58 , No. 3

I ch sa ss eudeinenFfissen, Op. 85, NO . 6

I ch schell’m einHorn, Op. 43, NO. 3

I ch schleich’um her , Op. 32 , No. 3

244 BRAHMS

I ch schwing’m einHorn, Op. 4 1 , No. 1

I ch sitz’a m Strande, Op. 72 , NO . 4

I ch stand rufhohem Berge, Volksl. IV, No. 27

I ch stand ineiner lauenNa cht, Op. 10 5,No. 5

I ch wa ndte m ich, Op. 12 1 , No. 2

I ch weiss einMa dlein, Op. 66, No. 5I ch weiss m ir ’nMa idlein, Volksl . VI , NO . 40

I ch weiss nicht wa s im Ha in, Op. 1 13, NO 1 1

I hr schwa rzenAugen, Op. 65, No. 4

I hr wa ndelt droben irnLicht, Op. 54

Ihr wunderschonenAugenblicke, Op. 63, No. 2

I m Finsterngeh ’ ich suchen, Op. 58,No. 1

I m Ga rten a m Seegesta de, Op. 70 , NO. 1

[m Her6st, Op. 104, No. 5I m stillenKlosterga rten, Op. 44 (I ), No. 6

I m tiefenWa ld, Volkskinderlieder, N0 1

I m m er leiser, Op. 10 5, No. 2

In dem Scha ttenm einer Locken, Op. 6, No. 1

I n den Beeren, Op. 84, No. 3

In denGa rten wollenwir gehen, Op . 48, No. 2

I n der F erne, Op. 19, NO . 3I n der F rem de, Op. 3, No. 5

I n der Ga sse, Op. 58, No . 6

In gold’nenAbendschein geta uchet, Op. 9 1 NO . 1

Inm einer Nachte Sehnen, Op. 57, NO . 5I n Polen Steht ein H a us, Volkskinderlieder, N0 . 7

In stiller Na cht, Volksl. (1864) I I , No. 1

In stiller Na cht, Volksl . VI ,No. 42

I n Wa ldesez'

nra m kez'

t, Op. 85, No. 6

I st nicht der Him m el so blauP Op. 2 8, No. 4

I va n, Op . 3, No . 4

pAGns

163. 177, 178

28. 85. 185.

80 , 95: 1231

31 , 32 , 186 iii,2 13, 2 19, 220

I 93

55» 63» 191 9

192

24, 31, 77,

192

I 73, 174

79, 2 161 2 17

80.95. 123.

162

180

2 12

196

I 73, 174

I 73, 17466, 161, 2 19

180

189

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246 BRAHMS

Lie6esglul lz, Op. 47, N0 . 2

L iebesklage des Ma de/tens, Op. 48, NO. 3

Lie6eslieder , Op. 52

Lie6eslieder , Neue, Op. 65

Lie6e5tren, Op. 3, No. 1

L iebe a nd F rz'

e'

hling, Op. 3, Nos. 1 , 2

Liebliches Kind, kannst da m ir sa gen, Op. 70 , No.

Lieb'

Mutter, heut’Na cht, Op. 75, N0 . 4

Lied (Lindes Rauschen), Op. 3, No. 6

Lied (Weit uber da s Feld), Op. 3, No. 4

Lied (Kom m’herbei,Tod— Com e a wa y,Dea th),Op. 17,No.

L ied m m Herrn worn F a lkenstein, Da r, Op. 43,No.

L ieder a us dem jungbm nnen. Seejung6runnen.

Lindes R auschen, Op. 3, No. 6 6, 161 , 162 ,

Made/zen, Da r, Op. 95, No. 1

M a'

dcleenfluch, Op. 69, No. 9

Mddelzenlied (Ach , und du, m ein kuhlesWa sser), Op. 85,No. 3

M afl

dclzenlzed (Am jungstenTa g), Op . 95, No . 6

M a de/zenlzed (Aufdie Na cht 1nder Spinnstub’n), Op. 10 7, No

"

5M adchen spr ee/l l ,Da r, Op. 10 7, No. 3

Ma de/zen a nd dieE a sel,Da r, Volkskinderlieder, No. 10

Madchen vonKola , Op. 42 , No. 3

M agda lena , Op. 2 2 (I I ), No. 6

M agelone Rom a nces, Op. 33

M a gya risc/z, Op. 46, No . 2

M a ienka‘

tzclzen, Op. 10 7, No . 4

Ma ienka tzchen, erster Gruss, Op. 10 7, NO . 4

M a ina elzt, Die, Op. 43, No. 2

M a nn, Der , Volkskinderlieder, NO . 5Ma ria ging auswa ndern, Op. 2 2 (I ), No. 3

PAGES

2 12

55, 571 631

77. 94. 1 18. 173.

55. 63. 191.192

196

196

90 . 164. 179.

I 931 194

196

196

I 6, 77) I 97,

LI ST OF FIRST LI NES AND TITLES

Ma ria ging auswandern, Volksl . I I , No. 14

Ma ria , wa hre Him m elsfreud, Op. 2 2 (I I ), No. 7

Ma ria wollt’ zur Kirche geh’n, Op. 2 2 (I ) No. 2

M a ria’

s Kirchga ng, Op. 2 2 (I ), No. 2

M a r ia’s L a b, Op. 2 2 (I I ), No. 7

M a ria’s Wa llfa lzrt, Op. 2 2 (I ), No. 3

Ma rienlieder , Op. 2 2

Ma rienwiirm chen, setze dich, Volkskinderlieder, No.

Mm e/ziren, Op. 4 1 No . 4

Ma'

m a e/et, Op. 44 (I I ), No. 6

Meere, Die, Op. 20 ,No. 3Meerfa hrt, Op. 96, No. 4

MeiMutter m ag m inet, Op. 7, No. 5Meine Liebe ist griin, Op. 63, No. 5

M ineLieder , Op. 106, No. 4

MeinHerz ist schwer, Op. 94 , No. 3Mein Liebchen, wir sa ssenbeisa m m en, Op. 96,No.

Mein Liebes Herz, Op. 64, No. 3Mein Lieb ist einJager, Op. 95, No. 4MeinMidel ha t einen Rosenm und,Volksl . IV, NO . 2 5

Mein Scha tz ist nicht da , Op. 14, N0 .

Meinwundes Herz, Op. 59, No. 7

[Minnelied (Der Holdseligen), Op. 44 (I ),No . 1

Minnelied (Holder klingt der Vogelsa ng), Op. 71 , No . 5Mir ist ein scho

'

n’s, bra un

’s M a idelein,Volksl . IV, N0 . 24

Mir ist so weh’ um’s Herz, Op. 58 ,No. 5

Mit geheimnissvollenDiiften, Op. 85, No. 5Mit Lust thalt ich ausreiten, Volksl . (1864) I , No. 2

Mit vierzig Ja hren,Op. 94, N6. 1

Al ondem e/iein,Op. 85, No . 2

Mond verhiillt seinAngesicht, Op. 10 3, No . 10

M rgengerang, Volksl. (1864) I I , No. 5Motels, Op. 29

Motets, Op. 74

Motets , Op 1 10

Mz'

illerin,Die,Op. 44 (I ),No .

247

248 BRAHMS

Murr ay’s Erm ordung, Op. 14, No. 3

Muss es eine Trennung geben, Op. 33, No. 12

Mutter, hilfm ir a rm enTochter, Op . 84, NO . 2

Na cfikla ng, Op. 59,No. 4

Na chtiga ll (O Na chtiga ll), Op. 97, No. 1

Na chtiga ll, Die (Sitzt a sch6n’s V6gerl), Volkskinderlieder,

No 2

Na chtiga ll, sa g’

, Volksl . VI I , No. 48

Na chtiga ll, sie singt so schon, Op. 52 , N0 . 15

Na chtiga llen schwingen, Op. 6, No . 6

Na cht liegt a ufdenfrem denWegen, Op. 85, No . 2

Na e/ziwa clze l a nd Op. 104, Nos . 1 , 2

Na elztw a ndler , Op . 86, No . 3Na e/zwirknng, Op. 6, No . 3Na gen a m Herzen, Op. 65, No. 9

Na chtens wa chen, Op. 1 12 , No. 2

No‘

nie, Op. 82

Neckereien, Op. 31 , NO . 2

Nein, es ist nicht a uszukom m en, Op. 52 , NO. 1 1

Nein, Geliebter, Op. 65 , No. 13

Neue Liebeslieder . See L ie6esliea’er ,Neue.

Nicht m ehr zudir zugehen, Op. 32 , No . 2

Nichtwandle, m ein Licht, Op. 52 ,No. 17

Nonne, Die, Op. 44 (I ), No. 6

Nonneund der R itter , Die, Op. 28 , NO. 1

Nun, ihrMusen, genug, Op. 65, N0 . 15 . .

Nun la sst uns den Leib begra ben, Op. 13

Nun steh’n die Rosen inBliithe , Op. 44 (I I ), No. 1

Nut ein Gesicht a ufErden lebt, Volksl. I I I , No. 19

I 9S

52 1 1791 2 14,2 15

55, S7, 63,

77, 94. 1 18, 173.

551 631 191 1 192

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250 BRAHMS

Rizaprodie, Op. 53

R ina ldo, Op. 50

Rosen bra ch ich, 0 p 94 1 N0 . 4 .

Rosen steckt m ir a ndie Mutter, op. 65,No.

Rosenzeit, wie schnell vorbei, Op. 59, No. 5

Rosm a rin, Op. 62 , No. 1

Rothe Abendwolken,Op. 10 3, No. 1 1

Rothe Rosen, Op. 1 12 ,No. 4

R6sleindreie 1n der Reihe, Op. 10 3, No. 6

Ruft die Mutter, Op. 69, No . 9Rufzur M a ria , Op. 2 2 (I I ), No. 5Ruhe, Siissliebchen,Op. 33, No. 9

Ruh’n Sie ? Op. 10 4, No. 2

Sa gt m ir, o schonste Schaf’rin m ein, Volksl . I , No. 1

Sa h dem edlenBildniss, Op. 46, No . 2

Sa h ein Kna b’, Volkskinderlieder, NO . 6

Sa la m a nder , Op. 10 7, No. 2

Sa lom e, Op. 69, No. 8

Sa nd R aph ael, Volksl. (1864) I , No . 7S a ndm z

‘

z’

nnelzen, Volkskinderlieder, No. 4

Sappl u‘

relze Ode, Op. 94, No . 4

Scha i‘fe inm ir, Gott, Op. 29, No . 2

Sela a le der Vergessenheit, Die, Op. 46, No.

Sefieiden a ndMeiden, Op. 19, No. 2

Sebicksa lrlied, Op. 54

Schlaf’

, Kindlein, schlaf’, Op. 1 13, No. 4

Schla f’

, Kindlein, schla f' Volkskinderlieder, No. 1 1

Schlosser, auf1 Op. 52 , No. 12

Scb nied, Der , Op. 19,No. 4

Se6nitler Tod, Volksl . (1864) I I , No. 6

Sch6nwa r, da s ich dir weihte, Op . 95, No

Selm'

ner Aa gen J anene Stra klen, Volksl. VI , No 39

PAGES

241 314 62 1

24.44. 63.

55. 63. 191.

192

I 75. 176

195I 9S

74. 184. 195I 77

91. 198. 199

I 77

I 99

241 31 1 771

554 572 632 77.

94. 1 18. 173.

LI ST OF F IR ST L INES AND TI TLES 2 5 1

Seltonster Scha tz, Volksl . I I I , NO . 2 0

Schwa lbe, sa g’m ir a n, Op. 10 7,NO . 3

Schwa rzer Wa ld ! Op. 65 , No. 12

Schwerm uth, Op . 58 , NO . 5Schwesterlein, Volksl. I I I , No. 15

Sekwestem , Die, Op. 61 , No. 1

Schwor ein junges Ma dchen, Op. 95, NO. 5Sefinruefit (Es rinnenda s Wa sser), Op. 1 12 , NO. 1

Selinsuefit (Hinter jenen dichtenWildern), Op. 49.NO . 3Sebnm clzt (Mein Scha tz ist nicht da ), Op. 14 , No. 8

Sei willkom m en, Zwielichtstunde, Op. 49, NO . 5Senke, stra hlender Gott, Op. 64 , No. 2

Serenade, Op. 58 , NO . 8

Serena te, Op. 70 , No . 3Sieh

’

, wie ist dieWelle kla r , Op. 52 , N0 . 14

Sie ist gega ngen, Op. 6, No . 3

Sie sta nd wohl a m Fensterbogen, Op. 7,No.

Silberm ond, m it bleichen Stra hlen, Op. 71 , No . 2

Sind es Schm erzen, Op. 33, NO . 3

Sta ge, Madchen, Op. 84, No . 3

Singt m ein Scha tz, Op. 69, N0 . 8

Sitzt a sch6n’

s V6gerl, Op. 1 13, NO . 3

Sitzt a sch6n'

s V6gerl , Volkskinderlieder, N0 . 2

So ha b ich doch die ga nze Woche, Op. 47, NO . 3

So la nge Schbnheit, Op. 1 13, NO. 6

So la rs’a n: w a ndern, Op. 75, No. 3

5 0 11 sich der Mond, Op. 14 , NO. 1

$0 11 sich der Mond, Volksl. V, No. 35

Som m era bend (Da m m em d liegt), Op. 85, N0 . 1

Som m er a bend (Geh’schla fen, Tochter), Op . 84 , No. I

Som m erfaden, Op. 72 , NO . 2

Sonnta g , Op. 47, NO. 3

So 50 11 ich dich, Op . 19, NO . 2

So steh’nwir, Op. 32 , No. 8

2 52 BRAHMS

S0 tonet denn, Op. 33, No. 10

So will ich frisch und fr6hlich sein, Volksl. V, No.

So willst dudes Arm an, Op. 33, No. 5

So wunsch’ ich dir, Volksl. I I I , No. 18

Spa nisches L ied, Op. 6, No. 1

Spa nnung, Op. 84, No . 5

Spdtberbst, Op. 92,

Spa zierenwollt’ ich reiten.Op. 62 , No . 2

Spro‘

de, Die, Op. 58 , No . 3Sidndc/zen (Der Mond steht uber dem Berge) ,Op. 106, No. 1

Sta‘

ndeben (Gut’Na cht, m ein Iiebster Scha tz ), Op. 14,NO. 7 .

Sta nd da s Madchen,Op. 932 ,No. 2

Stand da s Madchen, Op. 95, No. 1

Steig’auf, geliebter Scha tten, Op. 94, NO . 2

Stem chenm it dem triiben Schein, Op. 48, No. 4

Storenicht den leisenSchlum m er, Op. 86, No . 3Stra hlt zuweilen auch ein m ildes Licht, Op. 57.No. 6

Sulim a , Op. 33, No. 13

Tafellied, Op. 936 .

Ta m 6ourliede6en, Op. 69, No.

Ta'

ubleinweiss, Volks. (1864) I , NO . 5Tfierese, Op. 86, NO. 1

Todessehnen, Op. 86, No. 6

TadleKna be, Der , Volksl . (1864) I I ,No. 3Tra uernde,Die, Op 7,No 5Traun ! Bogenund Pfeil, Op. 33, No . 2

Trennung (Da unten im Tha le), Op. 97, NO. 6

Trennung (Wa ch’auf, wa ch’ a uf), Op. 14, No. 5

Treue Lie6e, Op. 7, No . 1

Treue Liebe dauert lange,Op. 33, No. 15

Tritt auf, tritt a nf, Op. 2 8, No . 2

Triump/zlied, Op. 55

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2 54 BRAHMS

PAGESVolkslieder , Denise/re, seven books, six for one voice, the

seventh for chorus, pubd. 1894, here referred to a s

Volksl.

Voller, dichter tropft um’s Da ch, Op. 58 , N0 . 2

Vom GebirgeWell ’ a ufWell’, Op. 65, No. 7

Vom IzeilzgrenM a r iy rer Em m era no, Volksl. (1864) I ,N0 . 4Vom Stra nde, Op. 69, No . 6

Von: verwundetenKna ben, Op. 14, No. 2

Von a llenBergennieder, Op. 44 (I ), No . 2

Von a ltenL ie6esliedern, Op. 62

,No . 2

Von edlerArt,Volksl. (1864) I ,No . 1

Van ewiger L iebe, Op . 43, No . 1

Vonwa ldbekranzter H6he, Op. 57, No. 1

Vor dem Fenster, Op. 14 ,NO . 1

Vor der Tlziir , Op. 2 8, No. 2

Vorselzneller Schwur , Op. 95, No. 5Voriiber , Op, 58, No. 7

Wa ch’auf, m einHerzensschone, Volksl . I I I , NO . 16

Wa ch’a uf, m ein Hort, Volksl . I I , No. 13

Wa ch’a uf, m einKind, Volksl. (1864) I I , No . 5

Wa ch’auf, wa ch

’

a uf, dujunger Gesell, Op . 14, NO . 5Wa

'

lzrend der R egens, Op. 58 , NO . 2

Wa hre, wa hre deinen Sohn, Op. 65, No . 5

Wa ldesna elzt, Op. 62 , No. 3Wa lle, Regen, Op. 59, No. 3

Wa lpurgisna elzi, Op. 75, No. 4

Wa rm der silberne Mond, Op. 43, NO. 2

Wa r es dir , dem diese Lipeen bebten, Op. 33, No. 7

Wa ra m ? Op. 92 , No . 4

Wa rum denn wa rten vonTag zuTa g ?Op. 97,No . 5

Wa rnm ist da s Licht, Op. 74 , No. 1

Wa s freut einen a ltenSolda ten'

, Op. 4 1 N0 . 3

Wa s schaust dum ich so freundlich a n, Op. 63, N0 . 3

LI ST OF FI RST LINES AND TI TLES 2 55

We kum m ’ich da nnde Poots eren, Volksl . V, No . 34

Wechsellied zum Ta nze, Op. 31 , No . 1

Weg der L iebe, Op. 2 0 , Nos. 1 a nd 2

Wehe, Liiftchen, Op. 47, No. 1

Wehe, so willst dum ich wieder, Op . 32 , NO . 5Weiche Gra ser in Revier, Op. 65.NO . 8

”fez'

kna clzten, Volkskinderlieder, No. 12

Wein’a n dem Felsen, Op. 17, No. 4

Weit und breit scha ut Niem a nd, Op. 10 3, No. 9Weit iiber da s Feld, Op. 3, No. 4

Wenndie Kl ange na h’n, Op. 1 13, No . 7

Wenn dunur zuweilen la chelst, Op. 57, No 2

Wennein m lider Leib, Op. 66, No 2

Wenn ein sta rker Gewa ppneter, Op. 109, No. 2

Wenn ich m it Menschen und m it Engelszungen redete,

Op . 12 1, No . 4 31, 32 , 186 th ,

2 13, 2 19, 2 2 0

Wenn Kum m er ha tte 211 todten, Op. 1 13, No. 12 49, 2 18, 2 19Wenn m einHerz beginnt zu klagen, Op. 10 6, No. 4 183, 185Wenn so Iind deinAnge m ir , Op. 52 , NO . 8 55, 57, 63, 77,

94. 1 18. 173. 190 . 191. 2 0 9Wennum denHollunder, Op. 63, No . 6 172 , 176, 177,

192

Wennwir in hochsten Nothen sein, Op . 1 10 NO . 3 2 18

Wenn zu der Regenwa nd, Op. 61 , NO . 3 192

Wer sehen will zween lebendige Brunnen, Op. 48, No. 3 171 , 172 , 190 ,2 12

Wie bist du, m eine Konigin, Op. 32 , No. 9 164, 165Wie des Abends, Op. 52 , No. 4 55, 57, 63, 77,

94. 1 18. 173. 190 . 191. 2 0 9

Wie die Wolke,'

Op. 6, No. 5 162

Wie froh 11nd frisch , Op. 33.No. 14 2 3,62 , 167—78

0 ,

1 1

Wiegenlied (GutenAbend, gut’Na cht), Op. 49, No. 4 57, 171, 172

PViegenliea’

(Schla f’Kindlein, Volkskinderlieder,NO. 1 1 66, 161, 2 19

Wie ist doch die Erde so seh6n, Op. 6, No. 4 162

Wie kom m t’s da ss da so traurig bist, Op. 48 , No. 5 171 172 , 190 ,2 12

Wie Melodien, Op. 10 5, No. 1 80 , 95, 123,183, 184

2 56 BRAHMS

Wie ra fl't’ ich m ich aufinder Na cht, Op. 32 , NO. 1

Wie schienendie Sternlein so hell, Op. 85, No. 4Wie schnell verschwindet, Op. 33,No. 1 1

Wie sich Rebenra nken, Op. 3, No. 2

Wie soll ich die Freude, Op. 33, N0 . 6

Wie traulichwa r da s Fleckchen, Op. 63, No. 7

Wie viel schonder Botenflogen, Op. 61 , No . 4

Wie wenni111 frost’genWindha uch, Op. 48 , No. 7

Will ruhenunter denBaum en hier, Op. 19, NO. 3Wille, wille, will , Volkskinderlieder, No. 5Wille, Wille, will, Op. 1 13, No. 5PVilLrt da , da s ie6 ge/t

’Op. 71 , NO. 4

Wir m iissenuns trennen, Op. 33, No. 8

Wir Schwesternzwei,Op. 61 No . 1

Wir wandelten, wir zwei zusa m m en, Op. 96, No. 2

Wisst ihr, wa nnm einKindchen, Op. 10 3, NO . 3W0 gehstduhin, Volksl . IV, No. 2 2

W0 ist ein so herrlich Volk, Volksl., Op. 10 9, No. 3Wohin ich geh

’und scha ue, Op. 17, N

3

0 . 3

Wohl schonbewandt, Op. 52 , No. 7

Wozuist m ein langes H a a r, Op. 44 (I ), No. 4

Zigeunerlieder, Op. 10 3

Zum Schluss, Op. 65, No. 15

0 0 .

PAGESI 64, 165

180- 17o,181

196

192

192

2 12

192

74.

94 1 1 18 1 173) 191: 209

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INDEX

AHSEN, Jenny von, 16Allgem eine Musika lzirche Zeitung, 10 2

Al tm a nn,W. , 35Anonym ous Transla tion of Bra hm s

'

s

songs , 188

Arnim, Bettina von, 162

Aveling, Claude, 188

BACH , C. P . E. , Sona ta s a rra nged byBra hm s, 10 2

Ba ch, J . S. , Cha conne, etc.,a rra nged

by Bra hm s, 10 1 Chora le-choruses,199 ; Chora le-

prelude, Erba rm’

dich m ein,”

10 4 ; P a s sion m usic,

St. Ma tthew, 126 ; Va ria tions for

ha rpsichord, 86

Ba glehole, Miss, 54Ba rth, R .

, 36

Ba um eyer, Ma rie, 61

Beethoven, Anda nte in F, 95Sona ta s ,

“ Wa ldstein,”

4, Ha m

m ercla vier," 83 Song, Wonne der

Wehm uth, 160 ; Sym phony, Eroica ,

136 ; C m inor, 1 12 ; Chora l, 137,

148 ; Obitua ry notice in Musica l

Qua rter ly Review, 60

Benson, R . H . , 188

Berlin Hochschule, 26

Berlioz, 9

Billroth, Dr. Theodor, 26, 33, 1 18, 1 19

Bizet, Ca rm en, 38

Borwick, Leona rd, 61

Bra ha m , 56, 57Bra hm s, Ca roline (the com poser

’s step

m other), 24 , 29, 31Bra hm s, Joha nn Ja kob (the com poser

’s

fa ther), 3, 31 , 170Bra hm s, Joha nna Henrika Christiana(the com poser

’s m other) , 3

Bra hm s , Johannes, Birth, 3 Ea rly

educa tion, 3 First a ppea ra nce a s

pianist, 4 ; Enga gem ent a s a ccom

pa nist, 4 , 5; Meetingwith Joa chim ,5,6; Meetingwith Schum a nn,7—9; Det

m old a ppointm ent, 10 , 36 ; Perform

a nce ofD m inor pia noforte concerto a t

Ha nover, Leipzig, and H a m burg, 10 ,

1 1 P rotest a ga instBrendel’

s journa l,1 1—16, 50 Conductor of la dies’

choir a t H a m burg, 16- 22 , 171

Visit toVienna in 1862 , 2 3; Residence

inVienna , 2 3 Conductorship ofthe

Vienna Singa ka dem ie, 23 ; Condue

torship oftheGesellscha ft der Musikfreunde, 24 Ca m bridge degree

offered, 25 ; I ta lian journeys, 26, 2 7Meiningencourt, 26, 27 Journeys toI schl , 2 7 ; Ca rlsba d, 2 8 ; Dea th a nd

funera l, 2 8 Will, 2 8 ; Cha ra cter a nd

persona lity, 29 H., 46 fl

'

. Religious

convictions, 31, 184, 186, 187, 20 8 ,

2 13, 2 14, 2 15 ; Cha ra cteristics ofhis

a rt, 64 ii ; P references in m usic, 38

42 ; Preferences in opera , 45 ; Non

260

com position ofopera , 44 ; His pia no

m usic pronounced unsuita ble to the

instrum ent, 57 His piano-

pla ying,82 if. Growing a pprecia tion ofhis

m usic,51 iii; Processes ofcom position,69fl

“

. U seofm usica l colour,”74H.,

97, 106, 136, 18 1, 191 , 197 PL ; U nityofhis idea ls, 10 7 Tra nsform a tion of

them es, 84 il l ; Influence of Hun

ga rian m usic, 1 10 ; Austerity ofhis

style, 120 Key succession in the

sym phonies, 141 (note) ; Trea tm entof

folk-songs, 185f. Self-criticism shownin revision oftrio, Op. 8, 10 7 ; H is

voca l writing, 57, 199 ; Form in the

songs, 166 ; Critica l a tta cks , 27 His

m usica l m otto, 1 18 , 149 ; Scha tz

kdstlein, 32 , 36 Biogr aplzies, 32 ,

33 Bra hm s-Gesellscha ft, 34, 36,

176 ; Correspondence, 34, 35 ; Monu

m ents,etc.

,29 ;Museum , 29 Ta blets

to his m em ory, 29 His rela tions

with a nd opinion ofother m usicians,

39—44 ; with Joa chim , 5, 6 ; Inter

cha nge ofcom positions with Joa chim ,

49—50 , 10 3, 10 8, 1 10 , 2 18 ; Rela tions

with Liszt, 40 , 73 with Rubinstein,43, 44 with Tcha ikovsky, 42 , 43 ;withVerdi, 44 ; with Wa gner,39

—42 ,

43Brendel , editor ofNeueZeitsclzrififur

Ma sik, 12— 16

Bruch, Ma x , 35, 52 ; Odysseus, 20 8

Bruckner, Anton, 53Briill, I gna z, 61

Bryant, H a nna h, 34

Billow, Ha ns von, 7, 26, 27, 44 , 51, 53,

Ca ccrm ,Nuove Musiche, 158, 159

Ca m bridge U niversity Musica l Society,54, 55

Ca rlsruhe Philha rm onic Society, 2 10

Cha conne-form , the, 153f.

BRAHMS

Cha ppell, S. A., 53

Chopin, F . , Ba rca role, 86 Concerto in

F m inor, 197 Edition ofhis works,35, 10 2 ; Scherzos, 86 ; Sona ta s andTrio, 84 Study inF m inor a rrangedby Bra hm s, 10 1

Colles, H . C. , 33Cont a t, I lse, 29Cornelius, Peter, 4 1

Cossel, 3Couperin, edited by Brahm s, 10 2

Cusins, SirW., 54, 55Czerny-Verein, 29

DAU MER , C. F ., 173 ; Polydora , 191

Da vid, Ferdinand, 8Da vies, Fanny, 61Da y

’s theory ofha rm ony, 99

Debussy, Claude, 160

Deiters, Herm ann, 32 , 35, 1 19Deitrich,A.

, 8, 30 , 33, 85 , 86 ; Sona ta

with Schum a nn a nd Bra hm s, 8, 106

Dupa rc, Henri, 160

Dvorak, Ant. , 26 Concerto for violoncello, 2 8

Ecrro ofBerlin, 1 1

Eibenschiitz, I lona , 61

Ella , John, Musica l U nion, 54Engla nd, P a ul, 188

Erb , J. L ., 37

FARMER, John, 55Fellinger, Dr . a nd Frauvon, 28

Ferra ri, Sophie, 54Feuerba ch, 2 14Franck,Césa r, 85, 160 P relude,Ar ia

et F ina l, 86

Friederike ofLippe-Detm old, Princess,10

Friedlander, Thekla , 63

GARBE, Laura , 18 , 2 1, 22

Gesangverein, Vienna , 10 2

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262

Meyer-Da vid, Fra u, 4

Meysenbug, H . a nd K.

La ura von, 10

Miller zuAichholz, Dr . Victor, 29Monteverde, 159Moser, A drea 26, 36

Moza rt, Ba tti, ba tti,”

161 (note) ;F iga ro, 94 ; FluteConcerto , 35

Muhlfeld, Richa rd, 62 , 68, 127, 12 8,129

Musika lisclres B la tt, 10 2

V0 11. 33 ;

NER U DA, Mm e. (La dy Ha llé), 54NeueZeitsclcriflfn

‘

r Musik, 1 1—16

Newm a rch, Mrs . , 32

Niederrheinische Musikfest, 1 12Nikisch, Arthur, 139 (note)Nissen, Joha nna Henrika Christia na(Bra hm s

'

s m other), 3, 24

OTTEN, conductor ofa m usica l society,2 2

PAGAN INI , ca price, 93P a ssa ca glia

-form , 79, 153, 154P a uer, Ernst, edition of Sca rla tti,

178

People’

s Concert Society, 56

Philha rm onic Society, 54, 55P ia tti, Alfredo, 129Pohl , C . F Letter on his dea th (fa c

sim ile between pp. 26—2 7)Pohl, R ., 50

Popula r Concerts, 53, 54, 55, 56

Potter , Cipria ni, 53, 54

QU EEN’

S H a ll Prom ena de a nd Sym

phony Concerts, 58

RAFF , Joa chim , 6, 52

R a vel, Ma urice, 160

Redeker, Frl . (La dy Sem on), 63Regan, Anna , 54

Reger, Ma x, 160

Reim ann, H . , 32

BRAHMS

SANTLEY , Sir Cha rles, 54Sa xe-Meiningen, Court and Orchestra

of, 26, 27, 58 , 62

Sca rla tti, Dom enico, them e by, 178

Schiller, Na m e, 2 14 , 2 15Schna ck, Fritz, 24, 29, 31Scholz, Bernha rd and Frau

, 1 1—13, 35

Schubert, Fra nz, Songs, 160 orches

tra ted by Bra hm s, 10 2 ; Am Meer ,

10 7 Doppelganger , 174 Ha rk lza ré ,tire la rk

,164 ; Leyerm a nn, 2 19

Wa nderer , 9 1 Winterreise, 185Fa nta sia -sona ta in G for pia no, 86 ;Wa nderer -F a nta sia , 83

Schubring, 15Schlitz, Heinrich, 159Schum a nn

, Cla ra , 8 , 9, 10 , 2 2 , 2 8, 31,

36. 39. 46. 47. 53. 61. 91.93 (note).186 R om a nceva r iée, 89 ; Va ria tions

on tlzem e of Scl mm a nn, 88 ; Her

opinionofBra hm s’s playing, 82 , 83

Criticism ofthe pia noforte qua rtets,1 10 ; Ofthe la ter pia noforte pieces,

96

Schum ann, Robert, 7, 8, 9, 23, 50 ,60 , 10 5,

“Mynheer Dom ine,”133 ;

Edition of his works, 10 2 ; Bunte

B la'

iier , 88 ; F a nta sia , Op. 17, 90 ;Genet/em , 2 0 7 P a rt-song, Der

Schm ied, 164 ; Pia noforte Qua rtet,a rra nged by Bra hm s, 10 1 Sona ta

written jointly with Bra hm s and

Dietrich, 8 , 10 6, 107 Songs, Inder

Reinecke, Ca rl, 35, 62Reintha ler, K . M . , 35, 62 , 203 if.

Rem ényi (Hoffm a nn), 5— 7, 1 10

Richter H a ns, 58, 62 , 139 (note)R iem ann, Hugo, Musz

'

la-Lexz'

kon, 37Rosé Qua rtet, 62Roya l Aca dem y ofMusic, 54Roya l Chora l Society, 56, 2 1 1

Rubinstein, Anton, 43, 44, 52

Rudorfl'

, Ernst, 35

I NDEX

F rem de, 162 ; Mondna cht, 162

Sym phony in D m inor, 77, 1 1 1

Them es va ried by Bra hm s, 88—90 ,

91 , 92 Va ria tions on them e of

Cla ra Schum ann,89 Festiva l, Bonn,35 Festiva l, Zwicka u, 39

Sem on, La dy (Frl. Redeker), 63Sengelm ann, 16

Sha kespea re, Willia m , 63Siebold, Aga the von, 10 , 36

Singa ka dem ie, Vienna , 2 00Songs, Cla sses ofGerm a n, 157

Songs tr a nsla tedfrom the Germ a n, 188

Speyer, Mrs . Edwa rd (Mlle. Kuflera th),62

Spies, Herm ine, 62

Spitta , Philipp, 37

Sta nford, Sir C. V., 54Steinba ch, Fritz, 58, 62 , r39 (note)Stockha usen, 53, 54 , 62Sulliva n, Sir Arthur , 145

TAU SCH , Julius, roTcha ikovsky, 42 , 43Tha lberg, Norm a fa nta sia , 4Thom pson, Sir Henry a nd La dy, 53Tieck, M agelone, 167m a , Fra u, Celestine, 2 8, 29

U HLAND’S Br a ntgesa ng , 171 ;

lieder , 171 (note)

263

VERDI , Requiem , 44

Via rdot-Ga rcia , Mm e. , 54, 62

Vienna Gesangverein, 10 2 Gesellscha ft

fiir Musikfreunde, 24 , 29 Singa ka

dem ie, 200

Vogel, J . B., 32

WAGNER , 48 , 67, 160 ; P a rsg'

fa l, 197Trista n, 197 Dz

’

ejua'

entkum in der

Mm z'

é , 16 ; Opinion of Bra hm s,

14 ; Rela tions with Bra hm s, 39—42 ,

43 ; Supposed rem iniscences of in

Bra hm s’s m usic, 87, 1 17, 123, 149,

197Wa lther, Gusta v, 63

ofEnglishP oetrz'

e,

I 94

Weber, C. M . von, Moto perpetuo

a rranged by Bra hm s, 10 1

Weyr, Rudolf, 29

Widm ann, J . V. , Recollections of

Bra hm s , 33, 44

Wil lia m s, C. F. Abdy, l e R fiytlzm ofModernMusic, 73, 74Wolf, Hugo, 2 7, 160“Wiirth, Ka rl,

"

pseudonym ofBra hm s,

4

Ysa va , Eugene, 143

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30

ARMINELL.

BLADYS OF THE STEWPONEY

Ba rr (Robert). JENNIE BAXTER.

IN THE MIDST OF ALARMS.

THE COUNTESS TEKLA.THE MUTABLE MANY.Benson (E. DODO.THE VINTAGE.

Bronte(Ch a r lotte). SHIRLEY.Brownel l (C. THE HEART OFJAPAN.

Burton (J. Bloundelle). ACROSS THESALT SEAS.

Ca m (Mr s ). ANNE MAULEVERER.

Ca pes (Berna rd). THE LAKE OFWINE.

Cliflord (Mr s . W. A FLASH OFSUMMER.

MR S. KEITH'S CRIME.

Cor bett (Julia n) A BUSINESS INGREAT WATERS.

Croker (Mr s. B.

A STATE SECRET.

PEGGY OF THE BARTONS.

JOHANNA .

Da nte (Ali hieri).COMEDY Ca ry).Doy le (A. Cona n).LAMP.Dunca n (Sa r a Jea nnette).OF CONSOLATION.

THOSE DELIGHTFUL AMERICANS.

Eliot (George). THE MILL ON THEFLOSS.

Findla terGRAVES

ANGEL.

TH E D I V I N E

ROUND THE RED

A VOYAGE

Ja ne THE GREENF BALGOWR IE.

Ga l lon (Tom ). RICKERBY’S FOLLY.

Ga skel l (Mr s ). CRANFORD.

MARY BARTON.

NORTH AND SOUTH.

Ger a rd (Dorothea ).MONY.THE CONQUEST OF LONDON.

MADE OF MONEY.Gissing THE TOWN TRAVELLER.

THE CROWN OF LIFE.

Gla nvil le (Ernest). TH E I N CA STREASURE.

I'HE KLOOF BRIDE

HOLY MATRI

METHU EN AND COMPANY L IMITEDBUNTER’S CRUISE.

GRIMM’SGieig (Cha r les).

Gr im m (The Brothers).FAIRY TALES.

Hope (AnthonY). A MAN OF MARK.

A CHANGE OF AIR.TH E C H RO N I C LE S OF CO U NTANTONIO.PHROSO.

THE DOLLY DIALOGUES.

Hornung (B. DEAD MEN TELLNO TALES.

Insr a ha m (J . THE THRONE OFAVID.

Le Queux THE HUNCHBACKOF WESTMINSTER.

Levett—Yea ts (S.WAY.

ORRAIN .

Linton (E. Lynn). THE TRUE HISTORY OF JOSHUA DAVIDSON.

Lya l l (Edna ). DERRICK VAUGHAN.

Ma let (Luca s). THE CARISSIMA.A COUNSEL OF PERFECTION.

Ma nn (Mrs. M. E. . MRS. PEHOWARD.

TER

A LOST ESTATE .

THE CEDAR STAR.

ONE ANOTHER’S BURDENS.

THE PATTEN EXPERIMENT.

A WINTER’S TALE .

Ma rchm ont (A.LEY’S SECRET.

A MOMENT'S ERROR .

Ma rrya t (Ca pta in). PETER SIMPLE.

JACOB FAITHFUL.Ma r ch (Richa rd). A METAMORPHOSIS.

THE TWICKENHAM PEERAGE.

THE GODDESS.

THE TRAITOR'S

MISER HOAD'

THE 10 8 5 .

Ma son (A. E. CLEMENTINA.Ma ther s (Helen). HONEY.GRIFF OF GR I FFI THSCOU RT.

SAM'

S SWEETHEART.

THE FERRYMAN.

Mea de (Mr s . L. DRIFT.

Mil ler (Esther ). 1. LIVING LIES.

Mitford (Ber tr a m ). THE SIGN OF THESPIDER.

Montresor (F. THE ALIEN.

F I CTI ON

Morr ison THE HOLE INTHE WA L.

Nesbit THE RED HOUSE.

Norris (W. HI S GRACE.

GILES INGILBY.

THE CREDIT OF THE COUNTY.

LORD LEONARD THE LUCKLESS.MATTHEW AUSTEN.

CLARISSA FURIOSA.Olipha nt (MI THE LADY’S WALK.

SI R ROBERT’S FORTUNE.

THE PRODIGALS.

THE TWO MARYS.

Oppenheim (E. MASTER OF MEN.

Pa rker Gilber t). THE POMP OF THELAVI L TTES.

WHENVALMOND CAME TO PONTIAC.THE TRAIL OF THE SWORD.

Pem berton (Ma x ). THE FOOTSTEPSOF A THRONE.

I CROWN THEE KING.Phil lpotts (Eden). THE HUMAN BOY.

CHILDREN OF THE MIST.

THE POACHER'S WI FE.

THE RIVER.

ur ).

'

%v }A Quillel' Couch).H TE WOLF.

Ridg‘e (W. Pett). A SON OF THE STATE.

LOST PROPERTY.GEORGE a nd THE GENERAL

TH E

ERB.

Rus sell (W. Cla rk). ABANDONED.

A MARRI AGE AT SEA.

MY DANISH SWEETHEART.

H I S ISLAND PRINCESS.Sergea nt Adeline). THE MASTER 0 1"BEECH OOD.

BALBARA’

S MONEY.THE YELLOW DIAMOND.

THE LOVE THAT OVERCAME.

Sidgwick (MP8. Alfred). THE KINS~MAN.

SU I-tees (R. HANDLEY CROSS.

MR. SPONGE’

S SPORTING TOUR.

ASK MAMMA.

Wa lfor d (Mrs. L.

COUSINS.

THE BABY'S GRANDMOTHER.TROUBLESOME DAUGHTERS.Wa lla ce (Genera l Lew). BEN-HUR.THE FAIR GOD.

Wa tsong. B.Ma rriott). THE ABYEN

TURE‘CAPTAIN FORTUNE.

Weekes (A. PRISONERS OF WAR .

Wells (H. THE SEA LADY.Whitee

IéPeI-oy). A PASSIONATE P I L

MR. SMITH.