NOT long after my visit to Raff in 1879-80 I went on a pleasure trip to Stuttgart, and on account of old associations stopped at the Hotel Marquand. One of the objects of my visit was to meet again my old Weimar fellow-pupil Dionys Pruckner, at that time eminent among the staff of pianoforte teachers in the famous Stuttgart Conservatory of Music. Alighting at the hotel, I was impressed with the marks of consideration shown to me by the hotel porter. He was so very attentive that I was somewhat puzzled. The explanation was apparent the next day when he respectfully inquired if I was the kapellmeister of New York! He had read the name and address on one of my trunks and jumped at conclusions. I told him that I was not that individual, and explained that in New York no such office existed, although the title might be with propriety applied to the conductor of the Philharmonic Society. However, the idea found a lodgment in his head, quite to my advantage, as evidenced by the many attentions he paid to me throughout my stay.
THE SCHUMANN "FEIER" IN BONN, 1880
OVER a quarter of a century elapsed after my first meeting with Brahms before I saw him again, and then the meeting occurred at Bonn on the Rhine, on May 3, 1880. He was there, in company with Joachim and other artists, to take part in the ceremonies attendant on the unveiling of the Schumann Denkmal.
There were also musical performances, and at a morning recital of chamber-music the program consisted solely of Schumann's works, vocal and instrumental, with the addition of the Brahms "Violin Concerto," played by Joachim. The concluding number was Schumann's "Piano Quartet in E Flat Major, Op. 47," Brahms playing the piano part, and Joachim, Heckmann, and Bellman playing respectively violin, viola, and violoncello.
BRAHMS'S PIANOFORTE-PLAYING
THE pianoforte-playing of Brahms was far from being finished or even musical. His tone was dry and devoid of sentiment, his interpretation inadequate, lacking style and contour. It was the playing of a composer, and not that of a virtuoso. He paid little if any attention to the marks of expression as indicated by Schumann in the copy. This was especially and painfully apparent in the opening measures of the first movement. This introductory passage is marked, "Sostenuto assai," followed by the main movement marked, "Allegro ma non troppo." Instead of accommodating himself to the quiet and subdued nature of the introduction, the pianist quite ignored Schumann's esthetic directions, and began with a vigorous attack, which was sustained throughout the movement. The continued force and harshness of his tone quite overpowered the stringed instruments. As an ensemble the performance was not a success.
On going home to dinner, and learning that Brahms was stopping at the hotel, I gave my card to the porter, with instructions to deliver it to Brahms as soon as he came in. When about half-way through the table d'hôte the porter entered and said that Brahms was in the outer hall, waiting to see me. He was very cordial. At the moment I had quite forgotten that I had met him at David's house in Leipsic, so I said: "The last time I met you was in Weimar on that very hot day in June, 1853; do you remember it?"
"Very well indeed, and I am glad to see you again. Just now my time is very much engaged, but we are going up the river on a picnic this afternoon—Joachim and others; will you come along? We are going to a summer restaurant on the Rhine, where they have excellent beer, and it will be ganz gemütlich."
I regretted extremely that I had to forego the pleasure of this excursion, and fully realized the opportunity I was losing; but my party—there were four of us, my wife and I and two children—had previously arranged our plans, and in order to make connections we were obliged to go on to Cologne that day.
Here was a companion-piece to the disappointment occasioned by my having to forego the pleasure and profit of a foot-tramp through the Tyrol with Richard Wagner, as already related in these "Memories." But so the Fates ordained.