The boat started from Blankenese on its return journey to St. Pauli's landing-bridge, Hamburg, at 9.30 p.m., and at the moment of its departure three rockets were sent up from deck and three shots fired from shore, by arrangement with the inhabitants of the numerous villas that line the bank of the Elbe, as a signal for the illumination of houses and gardens, which accordingly gave graceful testimony to the returning musicians of the widespread interest felt in the occasion.[63]
The third and concluding concert of the festival took place on the evening of Sunday, September 29, with performances of Weber's 'Oberon' overture, Songs by Schubert, Spohr's Concertante for two violins, Brahms' second Symphony, under his own direction, and Mendelssohn's 'Walpurgis Nacht.'
'The delight of the public at Brahms' symphony was most enthusiastically expressed,' says Hanslick. 'Brahms, who was received with orchestra flourish and laurel wreath, himself conducted, and Joachim played first violin in the orchestra. At the close of the symphony the ladies of the chorus and in the first rows of the audience threw their flowers to Brahms, who stood there, in the words of his own cradle-song, "covered with roses."'
Ludwig Meinardus, of the Hamburger Correspondenten, after giving a detailed and most appreciative account of the several movements of the work, continues:
'Brahms himself conducted his symphony, which is sealed with the stamp of immortality, in his native city before an audience of thousands raised to festival pitch, in which mingled a large number of musical authorities from outside. The enthusiasm was increased by this circumstance, and by the simplicity and quiet energy with which Brahms handled the bâton. It prepared for him an ovation as he ascended the conductor's desk in the shape of a big laurel wreath, a flourish, and a stormy welcome from those upon and in front of the platform; it broke out after each of the four movements, and increased at the close of the third to a da capo demand to which the conductor and composer only at length and with the reluctance of modesty resolved to yield; it was expressed finally, at the close of the work, by persistent recalls and by a rain of flowers which poured from all sides upon the admired and revered composer.'
The last few words seem to remind us of the early sixties, and to bring us once more face to face with the Halliers, Völckers, Wagners, Fräulein Laura Garbe, and other former members of the ladies' choir, many of whom were still resident in Hamburg, and, having retained their old affectionate admiration of their young musician without a jot of abatement as they watched his course during the passing years, now brought affection, admiration, and sympathetic triumph dressed in graceful guise to throw at the feet of the famous master. Marxsen, prevented by considerations of health from joining the excursion down the river, was present at the concert, beaming with joy; Böie, too, associated with early performances of the B flat Sextet and the G minor Pianoforte Quartet, was there, whilst the presence of Christian Otterer, who had played viola as an old friend at the subscription concert given by the youthful Hannes at the 'Old Raven,' carried the associations of the evening back almost to the year of the composer's birth. Two names which we should gladly have included are missing from the list of our old acquaintances. None would have more heartily rejoiced in the events of the evening than Friedrich Willibald Cossel, now some thirteen summers passed away; and what may not be imagined of Jakob Brahms' exultant pride had six more years of life been spared him! We may picture the pursed-up lips, the gratified expression of the eyes, the playful assumption of dignity towards his own particular chums, the tears of joy with which he would have answered Joachim's cordial hand-grasp, the shy, gratified whisper to Carl Bade, 'Ik segge nix' (I shall not speak), when some distinguished musician or charming lady had desired to be introduced to him as the father of his son. Frau Cossel was present with her talented daughter Marie (Frau Dr. Janssen), and the old family ties so treasured by our master were represented by Elise and Fritz, and by kind Frau Caroline with her son Fritz Schnack, who entertained an almost adoring affection for his stepbrother. Frau Caroline was invariably present at any concert in Hamburg in which Johannes took part, by the composer's express desire. Elise begged her brother after the concert for the wreaths that had been presented to him.
'So you want to brag with them?' said he; 'come to me early to-morrow morning; we will go together and lay them on father's grave.'
It may be added here, for the sake of completeness, that some time later, on von Bernuth's contemplated resignation, a representative of the Philharmonic Society called on Groth to ask his opinion as to the probability of Brahms' acceptance of an offer of the conductorship. He pointed out that the then committee could not justly be blamed for the mistakes of their predecessors, which they were anxious to repair as far as might now be possible, and Groth, after discussing the matter in detail, consented to lay it informally before Brahms. We cannot wonder that no answer was received to his communication; it must seem obvious to most minds that the master could neither accept nor decline an offer which had not been made. Had the committee decided to risk the slight mortification of a refusal from Brahms by writing a definite proposal to him, it is certain that he would have replied to it, though it seems unlikely that he would have uprooted himself from the city where he had formed intimate friendships now that one of the principal attractions which Hamburg had possessed for him—the presence of his parents—had ceased to exist.
The publications of the year include, besides the Symphony in D major, a set of 'Ballads and Romances' for two voices, dedicated to Julius Allgeyer, the first of which has the Scotch ballad 'Edward' for its text.