Parallel with these two institutions for the performance of instrumental music were two choral societies, both supplied by amateurs. The Singverein, a branch of the Gesellschaft der Musikfreunde, which in 1862 was, like the orchestra, under Herbeck's direction, occupied itself with every kind of classical choral music in turn, and, occasionally giving concerts independently, often joined forces in public performance with the orchestra. The Singakademie, founded in 1858 by a circle of amateurs, made a special point of early church music, and of a capella singing, but usually devoted one of its three or four annual concerts to the performance of an oratorio or other great work, when, of course, the services of an orchestra were engaged. Under the direction of its first conductor, F. Stegmayer, the Singakademie gave the first performance in Vienna of portions of Schumann's 'Faust' (January 6, 1861) and of Bach's 'Matthew Passion' (April 15, 1862).
Occupying a position in Vienna at the very top of his profession, partly in virtue of the musical prestige attaching to his family name, but mainly as the result of his personal gifts and attainments, was the violinist Josef Hellmesberger, director and professor of the conservatoire (itself another branch of the great Gesellschaft der Musikfreunde), concertmeister of the opera, and therefore also of the Philharmonic concerts, late artistic director of the Gesellschaft (1851-1859), leader of the only resident and justly celebrated string quartet party called by his name, and accomplished virtuoso. Hellmesberger's playing lacked broadness of tone, but was distinguished by grace, poetic sentiment, and a facile instinct for his composer's intention. He possessed a good knowledge of the orchestra, and was a fair pianist.
Of other musicians resident in the Austrian capital in 1862 are to be mentioned the great contrapuntist Sechter, nearly approaching the end of his career, who, in his position of professor of composition at the conservatoire, had in his time taught several of the younger men next to be referred to; Nottebohm, professor of counterpoint at the conservatoire, known to the world by his writings on music, especially those on Beethoven's sketch-books; Rudolph Bibl, organist of the cathedral, and later, of the imperial chapel; Julius Epstein, professor of the pianoforte at the conservatoire, distinguished pianist and widely-reputed teacher, and esteemed, not only on account of his professional standing, but also by reason of his kindness to all persons having any sort of claim on his courtesy.
The composer Carl Goldmark, who has since attained European reputation with his opera 'The Queen of Sheba,' had been almost entirely resident in Vienna since his sixteenth year, and now at thirty was rising to fame. Peter Cornelius, composer of the comic opera 'The Barber of Bagdad,' and already mentioned in our narrative as a disciple of Weimar, was living at this time in the Austrian capital. Anton Brückner was favourably esteemed by some of the first resident musicians, though he had not yet been called there. Carl Tausig, one of the greatest of pianoforte virtuosi, whose sympathies were much with the New-Germans, settled in Vienna for a few years from 1861, and gave occasional concerts there which were but partially successful.
Of writers and critics, Edward Hanslick, Carl Ferdinand Pohl, and Selmar Bagge, all believers in the art of tradition and in its modern development as represented by the name of Schumann, were in the flower of their activity. Bagge's name is interesting in the history of Brahms' career on account of the sympathetic and detailed reviews of the composer's works which appeared from time to time in the Deutsche Musikzeitung, a paper founded by him in 1860. It became defunct at the close of 1863, when Bagge left Vienna to take up the editorship of the Allgemeine Musikzeitung, which he retained for two years. Very able articles were published in this periodical of Brahms' works as they appeared, some of them written by Bagge himself, and others by Hermann Deiters, a musical scholar and critic of exceptional insight and power of happy expression. Bagge remained just long enough in Vienna to witness the interest aroused by Brahms' first appearances there, to which, very likely, the remembrance of the articles of the Deutsche Musikzeitung gave additional stimulus.
Of publishers, the name of C. A. Spina should be gratefully remembered as that of the man to whom the world is indebted for the publication of many great and long-neglected works of Schubert. A large number of the master's half-forgotten manuscripts—those of the Octet, the C major Quartet, the B flat and B minor Symphonies amongst them—were found by Spina when he took over the business of his predecessors, the firm of Diabelli, and were gradually placed by him in the possession of the world.
On his arrival in Vienna, Brahms put up at the Hôtel Kronprinz in the Leopoldstadt, moving soon afterwards into a room at 39, Novaragasse, of the same inexpensive quarter, then called the Jägerzeil. Several of his old friends were fortunately at hand. Grädener had given up his position in Hamburg the preceding year to try his fortune in Vienna; Frau Passy-Cornet, whose name calls the concert of 1848 to remembrance, was now a professor of singing at the Vienna Conservatoire; and, a very few weeks after Brahms' arrival, Arthur Faber, lately married to Fräulein Bertha Porubszky, brought his bride to their home in the imperial city. His house was, of course, open to Johannes, who spent many, and especially Sunday, evenings with these friends. Amongst the most treasured memories of their early wedded life are those of performances of his compositions, played as he could play when quietly at ease with a few sympathetic friends for all audience.
From the first he felt at home in Vienna. The good-natured, easy-going Austrian people attracted him, and he at once conceived an affection for the Prater, in the immediate vicinity of which his hotel was situated. This great park of the Kaiserstadt contains, indeed, attractions to suit every variety of taste. There is the Hauptallée, with its broad drive and shady walks, its open-air cafés and music of military bands, which play waltzes and various dance movements as they are played in no other city. There is the Würstelprater, the playground of children and other simple folk, where, in the fine-weather season, a continual fair goes on with shows and games and entertainments of every kind likely to attract the patronage of the multitude, and where in the Hungarian restaurant, the 'Czarda,' real gipsy music played by a real gipsy band may daily be heard. There is the wild portion, bounded on one side by the Danube canal and stretching for some little distance beyond the town, where the solitary walker may fancy himself in a forest far from human habitation. Brahms, on this occasion of his first visit to Vienna, particularly attached himself to the Würstelprater, for which he ever after retained his partiality. The motley life to be seen there amused and interested him. He came to be a frequent listener at the 'Czarda,' and it is whispered that the spirit of fun has occasionally prompted him, when at the height of his fame, to prevail upon a party of friends to take a turn in his company on the curvetting horses of one or other of the 'carrousels' which are amongst the most popular attractions of this part of the grounds.
One of Brahms' first visits was to Julius Epstein. He did not send in his name, and, as the professor was engaged with someone else at the moment, was not admitted. A second call was successful. 'My name is Johannes Brahms,' he said as he entered; and his simple manner at once attracted Epstein, who was well acquainted with his published works. An opportunity was arranged without delay for his introduction to some of the leading musicians of the city.
'Brahms in 1862 played the Quartets in G minor and A major with the members of the Hellmesberger Quartet (Hellmesberger, Dobyhal and Röver) at my house in the Schulerstrasse, in the first place,' writes Professor Epstein to the author. 'We were all delighted and carried away. The works were shortly afterwards played in public by Brahms with the same colleagues.'