Hegar mentions[48] that the works which occupied Brahms during his stay at Rüschlikon were the second set of Liebeslieder, the book of songs, Lieder and Gesänge, Op. 63, and the Vocal Quartets, Op. 64. It was at this time, also, that he finally completed the Pianoforte Quartet in C minor. The songs and quartets were published in the autumn by Peters; the four Duets for Soprano and Contralto, Op. 61, and the seven Songs for mixed Chorus, a capella, Op. 62, were issued about the same time by Simrock. The Neue Liebeslieder and the C minor Quartet for Pianoforte and Strings did not appear till 1875.
From this time onward Brahms' copyrights were acquired, as each new work was completed, by Simrock of Berlin, with only four exceptions—Nänie, Op. 82; six Vocal Quartets, Op. 112; thirteen Canons, Op. 113, which were bought by Peters of Leipzig; and a Prelude and Fugue for Organ, published in 1881 as a supplement to the Musikalisches Wochenblatt without opus number. In future, therefore, we shall mention the publication, but not the publisher, of the works. Those compositions which were originally acquired from the composer by Breitkopf and Härtel were resold by this firm to Simrock later on, and appear, therefore, in the complete published catalogue of Brahms' works as Simrock's publications.
The third and, as it turned out, the last season of Brahms' work as artistic director of the Gesellschaft der Musikfreunde opened in due course, and at the two ante-Christmas concerts of the season 1874-75 the following programmes were performed: On November 8—
| 1. Rubinstein: | Overture to the Opera 'Dimitri Donskoi.' |
| 2. Beethoven: | Pianoforte Concerto in E flat. (Pianoforte, Herr Brahms.) |
| 3. Brahms: | Songs for mixed Chorus, a capella, Op. 62— (a) Waldesnacht. (b) 'Dein Herzlein mild.' (c) Von alten Liebesliedern.' |
| 4. Berlioz: | 'Harold in Italy.' Symphony in four parts. |
On December 6—Beethoven's Missa Solemnis in D major.
Neither concert seems to have reached the usual high-water mark of success. Of the first programme the items most heartily appreciated were the three choral part-songs, which, attractive in themselves and sung to perfection, were applauded to the echo. Of doubtful wisdom was the selection of the pianist of the occasion. Brahms, who probably yielded to the persuasion of his committee, and was, perhaps, guided in his choice of a concerto by the circumstance of having played Beethoven in E flat in the spring at Bremen, had, as we have seen, given up regular pianoforte practice for some years, and it was inevitable that his performance should be affected by this fact. Berlioz's symphony, which may have owed its place in the programme to our master's broad view of his duties as the artistic director of an important society, was not performed with any great aplomb or heard with particular favour, though extra time and particular pains had been spent on its rehearsal.
Beethoven's great Mass, given on December 6, was followed with strained attention that was rewarded by a good, though, if Brahms' supporters in the press are to be trusted, not a perfect, performance.
'How different are these days from those of the forties,' remarks one of the critics, 'when many a music lover would rise and leave the room before the commencement of a work by Beethoven.'
The String Quartet in A minor was performed for the first time in Vienna at Hellmesberger's concert of December 3, when the andante and scherzo met with considerable appreciation.