Here he lived for two years, and it seemed for a time as though he would become one of the most enthusiastic of the band of young musicians, amongst whom were Bülow, Raff, Cornelius, and the violoncellist Cossmann, who proclaimed themselves disciples of the new school. His genius and his already eminent position as an artist made him by far the most important member of the group, and he was treated by Liszt almost on equal terms, as a younger colleague. In the constant companionship of this fascinating master, Joachim felt some renewal of the satisfaction in life which he had experienced when with Mendelssohn at Leipzig; but his early convictions and affections were too deeply rooted to be effaced by newer impressions, and his allegiance to the school of the future was not permanent. Liszt's aspirations, as the composer of sounding orchestral works which Joachim ought to have admired, but could not, gradually caused the young concertmeister to feel his position a false one, and he was glad to accept a post offered him, at the close of 1852, as court concertmeister and assistant capellmeister at Hanover. By this step he regained his independence without hurting the feelings of his Weimar friends. His absence of warmth on the subject of the Symphonic Poems had, indeed, been observed by Liszt, but Joachim had naturally refrained from expressing himself about them in detail, and Liszt could not guess that his young companion had conceived a positive aversion to his compositions. Joachim remained for some years yet on terms of affectionate intimacy with Liszt, Bülow, and the others, and was, indeed, so lonely and depressed during the first few months of his residence in Hanover, that he was impelled to express his state of mind by the composition of an overture to 'Hamlet.' Sending the manuscript to Liszt in the middle of March, he wrote:
'I have been very much alone. The contrast between the atmosphere which is constantly resounding, through your influence, with new tones, and an air which is completely tone-still, is too barbarous. Wherever I have looked there has been no one to share my aims—no one; instead of the phalanx of like-minded friends at Weimar ... I took up "Hamlet" ... I am certain that you, my ever-indulgent master, will look through the score, and will advise me as though I were sitting near you, dumb as ever, but listening eagerly to your musical wisdom.'[16]
The Festival of the Lower Rhine, held in the year 1853 at Düsseldorf (May 15-17), was a particularly brilliant function. The names of Robert and Clara Schumann, Ferdinand Hiller as chief conductor, Joseph Joachim, the English artist Clara Novello, and others of high distinction, roused lively expectations which were perhaps exceeded by the performances. Schumann's D minor Symphony, Pianoforte Concerto played by his wife, and Overture and final chorus from the 'Rheinweinlied,' all given under his own direction, were received with enthusiasm; and the first appearance on the Rhine of the young concertmeister from Hanover, with Beethoven's then little-known Violin Concerto, resulted in a triumph that defies description. 'He opened a veritable world of enchantment,' 'He was the hero of the festival,' 'We will not attempt to describe his success; there was French frenzy, Italian fanaticism, in a German audience,' say the critics of the day.
For our readers, the peculiar interest of the occasion lies in the fact that Joachim, increasingly attracted by Schumann's art and individuality, took advantage of his few days' stay in Düsseldorf to draw closer his relations with the master, and it may be said that his future attitude was finally determined at this time. He saw in Schumann the living representative of the music that he loved, and to him and his he became bound henceforth by ties that death itself was but partially able to sever.[17]
CHAPTER IV
1853
Brahms and Reményi visit Joachim in Hanover—Concert at Court—Visit to Liszt—Joachim and Brahms in Göttingen—Wasielewski, Reinecke, and Hiller—First meeting with Schumann—Albert Dietrich.
Leaving Düsseldorf on May 18, the day following the close of the festival, Joachim proceeded on a week's visit to Weimar, and, returning thence to spend a day or two at home in Hanover before settling for the summer at Göttingen, where he proposed to attend University lectures, was surprised by a call from Reményi and Brahms.[18] His first attention was naturally devoted to his old school-fellow, but by-and-by he turned to the stranger, and an account of the interview may be given in his own words:
'The dissimilar companions—the tender, idealistic Johannes and the self-satisfied, fantastic virtuoso—called on me. Never in the course of my artist's life have I been more completely overwhelmed with delighted surprise, than when the rather shy-mannered, blonde companion of my countryman played me his sonata movements, of quite undreamt-of originality and power, looking noble and inspired the while. His song "O, versenk dein Leid" sounded to me like a revelation, and his playing, so tender, so imaginative, so free and so fiery, held me spell-bound. No wonder that I not only foresaw, but actually foretold, a speedy end to the concert-journey with Reményi. Brahms parted from him soon afterwards, and, encouraged before long by an enthusiastic recognition, marched proudly onwards in his own path of endeavour after the highest development.'[19]