Brahms was persuaded to make his first public appearance in Leipzig at one of the David Quartet Concerts, which took place regularly in the small hall of the Gewandhaus. The programme of the occasion consisted of Mendelssohn's D major Quartet, Brahms' C major Sonata and E flat minor Scherzo, and Mozart's G minor Quintet. The reception of the new works by the audience was not discouraging, in spite of the absence from them of the qualities that go to the making of an immediate popular success, and most of the critics treated the composer sympathetically. Some of them, not content with writing about his music, discussed his appearance, and one described his 'Raphael head.'
'In the second Quartet concert, which took place on December 17,' says 'Hoplit' [Dr. Richard Pohl, a writer in the interests of the Weimar school, who was on the staff of the Neue Zeitschrift], 'Johannes Brahms presented himself to the public with his Sonata in C major and his Scherzo. Schumann's article caused much division amongst the uninitiated, but all doubt has been dispelled by Brahms' public appearance, and we concur with all our heart, and with the warmest satisfaction, in Schumann's opinion of the unassuming and richly-endowed young artist. There is something forcible, something transporting, in the works which Brahms performed the other evening. A ripeness rare in one so young, a creative power springing spontaneously from a rich artist-mind, are revealed in them. We find ourselves in the presence of one of those highly-gifted natures, an artist by the grace of God. Some roughnesses and angularities in the outward, very independent form of Brahms' compositions may be overlooked for the sake of the imposing beauty of their artistic aim. His modulations are often of striking effect; they are frequently surprising, but always fine and artistically justifiable. Brahms' spirit is in affinity with the genius of Schumann. He will, advancing steadfastly and safely along his "new paths," some day become what Schumann has predicted of him, an epoch-making figure in the history of art.'
Stress was laid by the orthodox Signale on the originality and freshness of the composer's invention, on the significance of his thematic material, and on his eminent gift for presenting his ideas in varied and interesting forms. His facility in unexpected modulations was noted, but, by this critic, not always approved. With regard to the performance, 'much appeared more difficult to the executant than to the creator, for the sonata is very hard to play, and Brahms is a better composer than virtuoso.'
The composer's Leipzig successes had, indeed, been sufficient to enable him to arrange with a second publisher, Bartolf Senff, for the production of his sonata for violin and pianoforte, and of a third set of songs, as Op. 5 and Op. 6, respectively. His satisfaction at the remarkable turn in his affairs is summed up in a letter, overflowing with happiness, to the master at Düsseldorf. The style of the address is in allusion to the Schumanns' just completed brilliantly successful concert-journey in Holland.
'Mynheer Domine,
'Forgive him, whom you have made so boundlessly glad and happy, for the jesting address. I have only the best and most satisfactory news to relate.
'To your warm recommendation I owe my reception in Leipzig, friendly beyond all expectation, and especially beyond all desert. Härtels declared themselves ready, with great pleasure, to print my first attempts. They are these: Op. 1, Sonata in C major; Op. 2, Sonata in F sharp minor; Op. 3, Songs; Op. 4, Scherzo in E flat minor.
'I delivered to Herr Senff for publication: Op. 5, Sonata in A minor for Violin and Pianoforte; Op. 6, six Songs.
'May I venture to place Frau Schumann's name upon the title-page of my second work? I scarcely dare to do so, and yet I should like so much to offer you a little token of my respect and gratitude.
'I shall probably receive copies of my first things before Christmas. With what feelings shall I then see my parents again after nearly a year's absence. I cannot describe what is in my heart when I think of it.