Johannes was at this time deeply engaged on his piano Sonata in F minor, Op. 5. He had already written two other piano sonatas, as yet little known. The Op. 5, is now constantly heard in concert rooms, played by the greatest artists of our time.
In disposition Hannes was kindly and sincere; as a youth merry and gay. A friend in Düsseldorf, where he now spent four weeks, thus describes him:
"He was a most unusual looking young musician, hardly more than a boy, in his short summer coat, with his high-pitched voice and long fair hair. Especially fine was his energetic, characteristic mouth, and his earnest, deep gaze. His constitution was thoroughly healthy; the most strenuous mental exercise hardly fatigued him and he could go to sleep at any hour of the day he pleased. He was apt to be full of pranks, too. At the piano he dominated by his characteristic, powerful, and when necessary, extraordinarily tender playing." Schumann, whom he now came to know in Düsseldorf, called him the "young eagle—one of the elect." In fact Schumann, in his musical journal, praised the young musician most highly. And his kindness did not stop there. He wrote to Hannes' father, Jakob Brahms, in Hamburg, commending in glowing terms his son's compositions. This letter was sent to Johannes and the result was the offering of some of his compositions to Breitkopf and Härtel for publication. He had already written two Sonatas, a Scherzo, and a Sonata for piano and violin. The Sonata in C, now known as Op. I, although not his first work, was the one in which he introduced himself to the public. For, as he said: "When one first shows one's self, it is to the head and not to the heels that one wishes to draw attention."
Johannes made his first appearance in Leipsic, as pianist and composer, at one of the David Quartet Concerts, at which he played his C major Sonata and the Scherzo. His success was immediate, and as a result, he was able to secure a second publisher for his Sonata Op. 5.
And now, after months of traveling, playing in many towns and meeting with many musicians and distinguished people, Johannes turned his steps toward Hamburg, and was soon in the bosom of the home circle. It is easy to imagine the mother's joy, for Hannes had always been the apple of her eye, and she had kept her promise faithfully, to write him a letter every week. But who shall measure the father's pride and satisfaction to have his boy return a real musical hero?
The concert journey just completed was the bridge over which Johannes Brahms passed from youth to manhood. With the opening year of 1854, he may be said to enter the portals of a new life.
He now betook himself to Hanover, to be near his devoted friend Joachim, plunged into work and was soon absorbed in the composition of his B major Piano Trio. Later Schumann and his charming wife, the pianist, came to Hanover for a week's visit, which was the occasion for several concerts in which Brahms, Joachim and Clara Schumann took part. Soon after this Schumann's health failed and he was removed to a sanatorium. In sympathy for the heavy trial now to be borne by Clara Schumann, both young artists came to Düsseldorf, to be near the wife of their adored master, Robert Schumann. There they remained and by their encouragement so lifted the spirits of Frau Clara that she was able to resume her musical activities.
Johann had been doing some piano teaching when not occupied with composition. But now, on the advice of his musical friends, he decided to try his luck again as a concert pianist. He began by joining Frau Clara and Joachim in a concert at Danzig. Each played solos. Johann's were Bach's "Chromatic Fantaisie" and several manuscript pieces of his own. After this the young artist went his own way. He played with success in Bremen, also in Hamburg. It is said he was always nervous before playing, but especially so in his home city. However all passed off well. He now settled definitely in Hamburg, making musical trips to other places when necessary.
Robert Schumann rallied for a while from his severe malady, and hopes were held out of his final recovery. Frau Clara, having her little family to support, resumed her concert playing in good earnest, and appeared with triumphant success in Vienna, London and many other cities. When possible Brahms and Joachim accompanied her. Then Schumann's malady took an unfavorable turn. When the end was near, Brahms and Frau Clara went to Endenich and were with the master till all was over. On July 31, 1856, a balmy summer evening, the mortal remains of the great composer were laid to rest in the little cemetery at Bonn, on the Rhine. The three chief mourners were: Brahms—who carried a laurel wreath from the wife—Joachim and Dietrich.
Frau Schumann returned to Düsseldorf the next day, accompanied by Brahms and Joachim. Together they set in order the papers left by the composer, and assisted the widow in many little ways. A little later she went to Switzerland to recover her strength, accompanied by Brahms and his sister Elise. A number of weeks were spent in rest and recuperation. By October the three musicians were ready to take up their ordinary routine again. Frau Clara began practising for her concert season, Joachim returned to his post in Hanover, and Johann turned his face toward Hamburg, giving some concerts on the way, in which he achieved pronounced success.