'Most sincerely,
'Johs. Brahms.'[84]
Acquaintance with the charming circumstances which stimulated Brahms to the writing of most of his published choruses for women's voices gives an additional interest to the study of these beautiful compositions, which undoubtedly take their place amongst the most fascinating works of their class. Those with sacred texts, all evident fruits of the composer's studies in the strict style of part-writing, show, nevertheless, considerable variety of character. The 'Ave Maria,' with accompaniment for orchestra or organ, Op. 12, first sung by, though not composed for, the ladies' choir, is animated by a gentle, childlike, devotional spirit appropriate to a prayer addressed by a group of tender girls to the Virgin Mother of Christ. The 13th Psalm, with accompaniment for organ or pianoforte, Op. 27, strikes at once a more solemn note, with its three opening cries to the Lord; and the mourning plaint of the writer is reproduced in tones whose fervent pleading is not impaired by the clear simplicity of style in which the music is conceived. The Three Sacred Choruses, without accompaniment, Op. 37, are alike beautiful, whilst varying in character. The 'Adoramus' and 'Regina Cœli' (Nos. 2 and 3), written throughout in canon, are fine examples of learned facility; and the last-named, the bright 'Regina Cœli,' for soprano and alto soli and four-part women's chorus, is an entirely captivating composition.
The secular pieces—the Songs with accompaniment for horns and harp, Op. 17, and the Songs and Romances to be sung a capella, Op. 44—though fairly well known, should be heard oftener than they are. The dainty charm of such little works as the 'Minnelied' and the 'Barcarole,' to name only two of the most effective from Op. 44, gives welcome refreshment in a miscellaneous choral concert, and never fails to captivate an audience.
In our rapid survey of some of the works which are to be associated with Brahms' Ladies' Choir, we have only taken account of those that were actually published in the form required by the nature of the society. Many settings and arrangements are to be found, in the little oblong manuscript books, of songs which have become known to the world amongst the composer's settings for a single voice or for mixed choir; and there are some there which have never been published. The canons Nos. 1, 2, 8, 10, 11, 12 of Op. 113 were sung at the society's meetings. The 'Regina Cœli,' on the other hand, was not included in the ladies' répertoire.[85]
CHAPTER X
1859-1861
Third season at Detmold—'Ave Maria' and 'Begräbnissgesang' performed in Hamburg and Göttingen—Second Serenade, first performed in Hamburg—Lower Rhine Festival—Summer at Bonn—Music at Herr Kyllmann's—Variations on an original theme first performed in Leipzig by Frau Schumann—'Marienlieder'—First public performance of Sextet in B flat in Hanover.
Brahms found himself more than ever in request amongst the general circle of Detmold society during the autumn of 1859. He had become the fashion. It was the thing to have lessons from him, and his presence gave distinction to a gathering. The very circumstance of his popularity, however, caused some friction between himself and his acquaintances. He disliked to waste his time, as he considered it, in mere society, and, when occasionally induced to attend a party against his will, gave his hosts cause to regret their pertinacity. If not silent the whole evening, he would amuse himself by exercising his talent for caustic speech. Carl von Meysenbug, when at home, jealous for his friend's credit, often called Johannes privately to account for his perversity, but was always silenced by the unanswerable reply, 'Bah! that is all humbug!' (Pimpkram).