'R. S.'
Such was the proclamation by which Schumann, carried away by the impulsive generosity of his nature, designed to facilitate the entrance into the jealous musical world of the composer of twenty, whose gifts had not been tested by the publication of a single composition, whose name was hardly known to rumour.
'It is doubtful,' says Mason, 'if, up to that time, any article had made such a sensation through musical Germany. I remember how utterly the Liszt circle in Weimar were astounded at it. It was at first, no doubt, an obstacle in Brahms' way, but, as it resulted in stirring up great rivalry between two opposing parties, it eventually contributed much to his final success.'
In sober truth, Brahms' worst enemy could scarcely have weighted him with a heavier mantle of immediate difficulty. It made his name an easy subject of ridicule to those who would in any case have been inclined to regard a new-comer with incredulity; it drew upon him the sceptical attention of others who might have been prepared to receive him with indifference or indulgence; it was calculated to awaken extravagant expectations in the minds of some whom it disposed to be his friends.
The musical world generally, adopted an attitude of hostile expectancy, and this was shared especially by the 'Murls,'[38] as the young satellites of Liszt styled themselves. Their 'Padisha,' Liszt himself, could afford to be more or less indifferent, though he was not unobservant. 'Avez-vous lu l'article de Schumann dans le dernier numéro de Brendel?' he says, writing on November 1 to Bülow, who replies on the 5th, alluding to supposed Brahms resemblances: 'Mozart-Brahms ou Schumann-Brahms ne trouble point du tout la tranquillité de mon sommeil. Il y a une quinzaine d'années que Schumann a parlé en des termes tout-à-fait analogues du génie de W. Sterndale Bennett. Joachim, du reste, connait Brahms, de même l'ingermanique Reményi'.'
What Brahms' own feelings were on reading the paper cannot be difficult of conjecture. Joy and bewilderment, gratitude and dismay, must have struggled within him for mastery. The steady sense of proportion which was one of his life-long characteristics, the consciousness of the almost crushing weight of artistic responsibility thus thrust upon him at the outset of his career, must have conflicted severely with his natural loyalty and his delight at having won from Schumann such an overflowing measure of approval. To a man of weaker moral fibre, the temptation to overmuch exaltation or undue depression might have proved more than perilous. Brahms, however, was made of stuff that enabled him to face the situation, to accept it, and finally to triumph over it, and the means which he used are the only means that can enable even genius to win the kind of victory that he obtained. They were unswerving loyalty and single-hearted devotion to an exalted purpose.
The matter of the selection of works to be submitted for the approval of the publishers was much discussed both before and after the departure of Joachim and Johannes from Düsseldorf, with the result that Schumann, wrote on November 3, to Dr. Härtel, and proposed for publication; as Op. 1, String Quartet; 2, Set of six Songs; 3, Pianoforte Scherzo; 4, Second set of six Songs; 5, Pianoforte Sonata in C major. He hoped, he said, to arrive at an understanding by which, whilst the young composer would derive an immediate pecuniary advantage, the publishers would not run too much risk, and he suggested that if the sale of the works should, after five years, have realized expectations, Brahms should then receive further proportionate remuneration. He proposed as first payments; ten Louis-d'ors (about £9 10s.) each, for the quartet and sonata, eight Louis-d'ors (about £7 12s.) for the scherzo, six (£5 14s.) for each of the two sets of songs—in all about £38. Should these proposals meet Dr. Härtel's views, he would put Brahms into direct communication with him in order that the works might be submitted for his consideration.
'He is an intimate of Joachim's in Hanover, where he proposes to spend the winter. Joachim has written an extremely fine overture to Hamlet, and an equally original and effective concerto for violin and orchestra, which I can recommend to you with the warmest sympathy.'[39]
Schumann's kindness did not stop here. He sent a sympathetic note to Jakob Brahms at home in Hamburg, tidings of which, and of the rejoicing family circle, just established in a new dwelling at No. 7 Lilienstrasse, were forwarded by the father to the young musician at Hanover. Dr. Härtel did not delay in sending word that he would be glad to see the manuscripts, for on November 9, Schumann wrote him a letter of thanks for his favourable reply, and added:
'I will write to-day to Brahms, and beg him to go as soon as possible to Leipzig to introduce his compositions to you himself. His playing belongs essentially to his music. I do not remember to have heard such original tone effects before.'