Without some citation from an oft-reprinted article in the “Neue Zeitschrift für Musik” no sketch of Brahms’ life is complete. Schumann greets him as the one whom he had expected to appear to utter the highest ideal expression of his times, claiming the mastership not by a gradual development, but appearing suddenly before us fully equipped as Minerva sprang from the brain of Jupiter. “And he has come, a youth at whose cradle graces and heroes kept watch.” “Sitting at the piano he began to unveil wonderful regions. We were drawn into more and more magical circles by his playing, full of genius, which made of the piano an orchestra of lamenting and jubilant voices. There were sonatas, or rather veiled symphonies; songs, whose poetry might be understood without words; piano pieces both of a demoniac nature and of the most graceful form; sonatas for violin and piano—string quartets—each so different from every other, that they seemed to flow from many different springs.” “Whenever he bends his magic wand, there, when the powers of orchestra and chorus lend him their aid, further glimpses of the ideal world will be revealed to us. May the highest genius strengthen him; meanwhile the spirit of modesty dwells within him. His comrades greet him at his first step into the world of art, where wounds may perhaps await him, but bay and laurel also; we welcome him as a valiant warrior.”
This cordial introduction created quite a sensation, yet it was by no means a guaranty of an enthusiastic reception of the young composer’s works. For, far from being an imitator of Schumann’s style, he appeared at once in his own strong personality and as a stranger, who even in Leipsic was not understood. Yet he found publishers for three pianoforte sonatas, a scherzo, a trio and several songs. For years the interest in him was confined to a small circle. He stayed for a while in Hanover, making from there several concert tours with Joachim or Stockhausen, the great singer, another devoted friend, visiting also Schumann in his retreat in the Endenich hospital. In his variations on a theme from Schumann’s Op. 99, he gave a touching expression to his sympathy with the master’s sufferings. After the publication of these and the ballads Op. 10, Brahms devoted several years to profound study. Schumann’s praise had not spoiled him, nor was he discouraged by the lack of success. For a few seasons he was the director of the orchestra and chorus in Detmold, spending also some time in Hamburg and in travelling. Meanwhile he finished many songs and choruses, two serenades for orchestra, and two sextets. In Jan., 1859, he played in Leipsic his first great pianoforte concerto; most of the criticisms thereon were, however, such as to now excite our mirth. It was in Switzerland and Vienna that his genius found a sincere recognition. About thirty years ago the writer first saw Brahms in his Swiss home; at that time he was of a rather delicate slim-looking figure, with a beardless face of ideal expression. Since then he has changed in appearance, until now he looks the very image of health, being stout and muscular, the noble, manly face surrounded by a full gray beard. The writer well remembers singing under his direction, watching him conduct orchestra rehearsals, hearing him play alone or with orchestra, listening to an after-dinner speech or private conversation, observing him when attentively listening to other works, and seeing the modest smile with which he accepted, or rather declined, expressions of admiration.
The Alpine summits and glaciers had great attractions for Brahms, but also the welcome which he was always sure to find in Basel and Zürich. For his permanent home he selected Vienna, in 1862, where he was surrounded by the spirits of the classic masters. He was received most favorably. His interpretation of Bach, Beethoven, Schubert and Schumann was particularly praised. He was appointed chorus master of the Sing-Academie for a season, and prepared a memorable performance of Bach’s Passion Music. Yet his genius would not allow him to devote much time to such services, and once only in later years he accepted a similar appointment, directing from 1872–1875 the concerts of the “Society of the Friends of Music.” Aside from this all his time was devoted to composing, interrupted only by frequent journeys to performances of his works, and by giving valuable assistance in the revision of the works of Couperin, Mozart and Chopin. During the first years of his residence in Vienna he finished many important chamber works, variations, waltzes and Hungarian dances for the pianoforte, and vocal compositions of every kind. The first great success was won by the “German Requiem,” begun after the death of his mother in 1866, and completed, for the greater part, in Switzerland, in the two following years. After the first famous performance in the Bremen Cathedral in the spring of 1868, it was soon heard in other cities and was greatly admired, although certain features were severely criticised. Other works of high importance followed: the “Song of Destiny,” “Rinaldo,” the “Rhapsody,” Op. 53, the “Song of Triumph” for the celebration of the happy ending of the Franco-German war, besides many songs, chamber works, and the charming Love-Song Waltzes. By all these works Brahms rose gradually higher and higher in the general estimation both at home and abroad. But he steadfastly avoided the one field in the reform of which all musical interest seemed to centre,—the opera. Perhaps the time will come when we may be fully informed as to his relation to dramatic music and the reasons which kept him away from the stage. Much might be guessed. But it is needless to pay attention to mere rumors and suppositions. There were other fields in which he was called upon to achieve great things. Nothing shows better the greatness of Brahms’ artistic character than the fact that, in spite of Schumann’s prophecy and many early instrumental masterpieces, he waited with his first symphony until he was a man of over forty years. Four great symphonies have appeared between 1876 and 1885, preceded by orchestral variations on a theme of Haydn; also, during the same time, two overtures, a second pianoforte concerto, one for violin, two smaller choruses with orchestra, chamber works, piano pieces and songs. Another great choral composition, “Deutsche Fest-und Gedenksprüche,” a double concerto for violin and violoncello, Gipsy songs and many other vocal and chamber works complete the list of his more recent compositions. And more great things may be expected from him. If there is anything inspiring in the present aspect of musical art, it is the fact that Johannes Brahms is still among us, physically and mentally as strong as if perpetual youth were granted to him. Indeed, the graces and heroes have not only kept watch at his cradle, but guided him throughout his long career.
JOHANNES BRAHMS.
In early youth.
Those who have met him will never forget the impression of his strong personality. Nor will those who saw him conduct or heard him play ever enter into the superfluous discussion whether he was a great leader of orchestra and chorus or a master of his instrument. For in both directions he was not only equal to the most exacting demands, but always appeared as if inspired, and inspiring everybody who sang or played under him or listened to the genius of his music. At the pianoforte and the conductor’s desk he is a king, but socially he appears unaffected and easy, neither reticent nor predominating in conversation, jolly and kind among friends and children. He has never married. Many honors have been conferred upon him: the degrees of Doctor of Music by the University of Cambridge, England, in 1877, and of Doctor of Philosophy by the Breslau University in 1879; also several orders and the membership of many societies and institutes. Throughout the musical world his music, especially his instrumental works, is now received with enthusiasm, although still finding a strong opposition on the part of many critics of either too conservative or too progressive tendencies. Yet the time is not far distant when it will be generally granted a high position in the history of our art.
Fac-simile autograph manuscript of Canon by Brahms. “An Album Leaf.”
Fac-simile autograph letter from Johannes Brahms to Karl Klauser.