Transcriber's Note

Blackletter Text

Sondern weilen esabsolutedemPlaisirefördersam ist, wenn es fein ordentlich dabei einhergeht, als wird denencurieusenGemüthern, so Mitglieder des sehr nutz- und lieblichenFrauenchorswünschen zu werden und zu bleiben jetzund kund und offenbar gethan, daß siepartoutedieClausulnundPunctihiefolgenden Geschreibsels unter zu zeichnen haben ehe sie sich obgenanntenTitulserfreuen und an der musikalischen Erlustigung undDivertirung partenehmen können.

Ich hätte zwaren schon längst damit unter der Bank herfür wischen sollen, alleine aberst dennoch, weilen der Frühling erst lieblichpräambuliretund bis der Sommerfiniret,gesungen werden dürfte,als möchte es noch an der Zeit sein diesesOpusan das Tageslicht zu stellen.

Pro primowäre zuremarquirendaß die Mitglieder desFrauenchorsdasein müssen.

Als wird verstanden: daß sie sichobligirensollen, den Stehungen und Singungen derSocietätregelmäßig beizuwohnen.

So nun Jemand diesenArticulnicht gehörigobserviretund, wo Gott für sei, der Fallpassirete,daß Jemand wider jedesDecorumso fehlete, daß er während einesExercitiumsganz fehlete:

soll gestraft werden mit einer Buße von 8 SchillingenH. C. [Hamburger Courant].

Pro secundoist zu beachten, daß die Mitglieder des Frauenchorsdasein müssen.

Als ist zu nehmen, sie sollenpraecisezur anberaumeten Zeit da sein.

Wer nun hiewieder also sündiget, daß er das ganze Viertheil einer Stunde zu spät derSocietätseine schuldigeReverentzund Aufwartung machet, soll um 2 SchillingeH. C.gestrafet werden.

|:Ihrer großenMeritenum denFrauenchorwegen und in Betracht ihrer vermuthlich höchst mangelhaften und unglücklichenComplexion,soll nun hier für die nicht genug zufavorirendeundadorirende Demoiselle Laura GarbeeinAbonnementhergestellt werden, wesmaßen sie nicht jedesmal zu bezahlen braucht, sondern aber ihro am Schluß des Quartals einemoderirteRechnungpraesentiretwird:|

Pro tertio:Das einkommende Geld mag denen Bettelleuten gegeben werden und wird gewünscht daß Niemand davon gesättiget werden möge.

Pro quartoist zu merken, daß dieMusikaliengroßentheils derDiscretionderDamesanvertrauet sind.Derohalben sollen sie wie fremdes Eigenthum von den ehr- und tugendsamen Jungfrauen und Frauen in rechter Lieb und aller Hübschheit gehalten werden, auch in keinerlei Weise außerhalb derSocietätbenützet werden.

Pro quinto:Was nicht mit singen kann, das sehen wir als einNeutruman.Will heißen: Zuhörer werden geduldet indessen aberpro ordinarionicht beachtet, was Gestalt sonsten die rechte Nutzbarkeit derExercitianicht beschaffet werden möchte.

Obgemeldeter gehörigspecifizirterErlaß wird durch gegenwärtigesGeneral-Rescriptanjetzo jeder männiglichpublicgemacht und soll in Würden gehalten werden, bis derFrauenchorseine Endschaft erreichet hat.

Solltest du nun nicht nur vor dich ohnverbrüchlich darob halten,

sondern auch alles Ernstes daran sein, daß andere auf keinerlei Weise noch Wege darwider thun noch handeln mögen.

An dem beschiehet unsere Meinung und erwartederogewünschte und wohlgewogeneApprobation.

Der ich verharre in tiefsterDevotionundVenerationdes Frauenchors allzeit dienstbeflissenerschreibfertiger und taktfester

Johannes Kreisler jun. alias: Brahms

Geben auf Montagden 30tendesMonats Aprili.A. D. 1860

Professor Hübbe adds:

'It must be said in explanation of the jesting note to section 2 that the Demoiselle Garbe mentioned in it was often prevented from being punctual, and that Brahms was unwilling to begin without her. The exception at first taken by her to the note in question was met most kindly by Frau Schumann, who pointed out that the special mention of her name in the highly important document would be the very means of securing its lasting fame.

The 'begging people' of section 3 saw nothing, as I am told, of the money collected by the fines, which was used for other purposes—on one occasion for an excursion to Reinbeck.

One of the ladies' copies still in existence bears the following signatures: Auguste Brandt, Bertha Porubszky, Laura Garbe, Marie Seebohm, Emilie Lentz, Clara Schumann, Julie Hallier, Marie Hallier, Ch. Avé Lallement, Friedchen Wagner, Thusnelde Wagner, M. Reuter, Betty Völckers, Marie Völckers, Henny Gabain, Marie Böhme, Francisca Meier, Camilla Meier, Susanne Schmaltz, Antonie Mertens (Emma Grädener).'

The metal badge which the members had to wear was no doubt adopted at this time (1860). It had the form of a trefoil clover-leaf with a circle in the centre. This displayed a B upon red, and the three surrounding parts of the trefoil, the letters H. F. C. upon blue, ground.

END OF VOL. I.

———————————————BILLING AND SONS, LTD., PRINTERS, GUILDFORD.

[1]An expression of commendation peculiarly German.[2]'Sehr geehrtes und liebes Fräulein,'Es war neulich zu spät am Abend geworden als dass ich, wie ich wünschte, Sie selbst noch hätte aufsuchen u. Ihnen meinen Dank aussprechen können.'So lassen Sie mich denn nachträglich diesen sehr herzlichen sagen für Ihr so freundliches u. werthvolles Geschenk.'Es war in der That gar zu liebenswürdig von Ihnen sich mir zu gefallen von dem hübschen Schatze zu trennen u. es soll Ihnen im nächsten Jahre auch noch zur Verfügung stehen!'In der Hoffnung Sie aber im nächsten Jahre wieder hier zu sehen u. Ihnen meinen herzlichen Dank wiederholen zu können,'Ihr sehr ergebener,'J. Brahms.'[3]'Geehrtes Fräulein,'Mannichfach abgehalten, erlaube ich mir die Anfrage ob es Ihnen nicht möglich ist vorzusprechen bei'Ihrem ergebensten'Johannes Brahms.'[4]'Brahms Erinnerungen,' inDie Gegenwart, No. 45.[5]Printed verbally in Max Kalbeck's 'Johannes Brahms,' p. 4.[6]Vol. II.,Chap. XXI.[7]'Musikalische Skizzen Köpfe,' vol. iii.[8]Clasing was a pupil of C. F. G. Schwenke, who succeeded C. P. Emanuel Bach as cantor and music-director of St. Catharine's Church, Hamburg. On the death of Emanuel Bach in 1788, a portion of his library came into Schwenke's possession, including the score, in Sebastian Bach's own handwriting, of the great B minor Mass.[9]La Mara, 'Studien Köpfe.'[10]'Brahms in Erinnerung.'[11]Steiner's 'Johannes Brahms'. Neujahr'sblatt der Allg. Musikgesellschaft in Zürich, 1898.[12]Cf.Kalbeck, p. 186.[13]Two Guter Groschen were of about the value of 2-1/2d.[14]Heuberger, 'Musikalische Skizzen.'[15]The concertmeister is the leader—i.e., leading violin of the orchestra. The capellmeister is the conductor of the orchestra.[16]Moser's 'Life of Joachim.'[17]To assist those of our readers to whom the terms 'musical form,' 'absolute music,' 'programme music,' convey no distinct ideas, and who do not realize with exactness what the real position of Wagner's art was in its relation to the school of Weimar, we have entered into these subjects, inAppendix No. I.of this volume, in detail which cannot be conveniently introduced into the body of our narrative.[18]The accounts of some authors place the visit in Göttingen. They must be regarded as, in this respect, mistaken. Dr. Joachim is positive on the point. 'The whole scene lives clearly in my memory; it occurred in my rooms in Princes Street, Hanover,' he lately said to the present writer.[19]Festival address at Meiningen, October 7, 1899.[20]Moser's 'Life of Joachim.'[21]'Memoirs of a Musical Life.'[22]From La Mara's 'Briefe hervorragender Zeitgenossen an Franz Liszt.'[23]According to a personal communication to the author by Frau Dr. Langhans-Japha, to whom Brahms showed the case.[24]'Aus siebzig Jahren.'[25]'Joh. Kreisler jun.'[26]This letter and another to Amtsvogt Blume, which follows in Chapter VI., were first published in theLüneburger AnzeigeMarch 29, 1901.[27]'Gedenkenblätter an berühmte Musiker,' by Carl Reinecke.[28]'Erinnerungen von Johannes Brahms.'[29]At this period envelopes were not in universal use. The large 'letter-paper' was folded and sealed, and addressed on the blank fourth page.[30]Ehrlich, 'Dreissig Jahre Künstlerleben.'[31]'Robert Schumann's Briefe.' Neue Folge. Edited by Gustav Jansen.[32]These words sufficiently disprove the assumption occasionally adopted, that Schumann expected Brahms before receiving his call at Düsseldorf.[33]The movements of the F minor Sonata were no doubt submitted to Schumann's criticism during the process of their composition.[34]See, for this and other letters of Schumann, Dr. Jansen's collection referred toabove.[35]'Frei aber einsam' (Free but lonely), Joachim's favourite device at this time.[36]'I have here in my mind Joseph Joachim, Ernst Naumann, Ludwig Norman, Woldemar Bargiel, Theodor Kirchner, Julius Schäffer, Albert Dietrich, not forgetting the earnest-minded E. F. Wilsing. As trusty heralds in the right path, Niels W. Gade, C. F. Mangold, Robert Franz, and St. Heller should also be named here.'[37]Joachim.[38]Anti-philistines.[39]'Robert Schumann's Briefe.' Neue Folge. Edited by Gustav Jansen.[40]The letters in this and the following chapters from Brahms to Schumann were first published by La Mara in theNeue Freie Presseof May 7, 1897.[41]'Eine Glückliche. Hedwig von Holstein in ihren Briefen und Tagebuchblättern.'[42]'Liszt's Briefe.' Edited by La Mara.[43]Kalbeck's 'Johannes Brahms,' p. 35.[44]Bülow's 'Briefe und Schriften.' Edited by Marie von Bülow.[45]Two overtures on which Joachim was working.[46]This and all other extracts from Dietrich are taken from his well-known 'Recollections of Brahms.'[47]From the original letter, presented by Dr. Joachim to the author.[48]Cf.Schumann's great variations: the 'Etudes Symphoniques.'[49]Sittard's 'Künstler-Charakteristiken.'[50]Seefootnoteon p.117.[51]Professor Carl Neumann's introduction to the second edition (1904) of Allgeyer's 'Life of Anselm Feuerbach.'[52]This and the following letters written by Schumann at Endenich were first published by Edward Hanslick in theNeue Freie Presseof October 27 and 29, 1896, and afterwards republished in Hanslick's 'Am Ende des Jahrhunderts' (Robert Schumann in Endenich).[53]Seefootnoteon p.131.[54]The introduction by diminution of Clara Wieck's theme mentioned on p.160.[55]In manuscript: Ballades for Pianoforte, Op. 10.[56]Thedoppio movimentomarked in the manuscript of the first ballade was changed before publication toallegro ma non troppo, no doubt in deference to Schumann's suggestion.[57]Concert-allegro with Introduction for Pianoforte and Orchestra, Op. 134.[58]Fantasia for Violin and Orchestra, Op. 131, dedicated to Joachim.[59]Fräulein Bertha Bölling, a young lady who was resident for some years in the Schumanns' house as domestic help to Frau Schumann, to whom she was greatly attached, and in whose confidence she stood high. During the first few days of Schumann's illness, before his removal to Endenich, she was allowed by the doctors to go in and out of the sick-room, and her presence had a tranquillizing effect on the patient.[60]Joachim's compositions.[61]'Gesammelte Aufsätze über Musik.'[62]'Aus meinem Leben.'[63]Die Musik, first May number, 1903.[64]In the author's possession.[65]In the possession of Professor Julius Spengel.[66]In the library of the Gesellschaft der Musikfreunde, Vienna.[67]In the possession of Fräulein Marie Grimm.[68]'Aus meinem Leben.'[69]Grove's 'Dictionary of Music and Musicians.'[70]Chiefly taken from the account written at the time for theNeue Zeitschrift, by Ferdinand Hiller.[71]'Aus Johannes Brahms' Jugendtagen,' by Carl, Freiherr von Meysenbug (Neues Wiener Tagblatt, April 3 and 4, 1902).[72]'Johannes Brahms,' p. 297.[73]In the possession of Fräulein Marie Grimm.[74]'Brahms in Hamburg,' by Professor Walter Hübbe.[75]The few sketches Brahms allowed to survive him are preserved in the library of the Gesellschaft der Musikfreunde at Vienna.[76]Dr. Georg Fischer's 'Opera und Concerte im Hoftheater zu Hannover bis 1866.'[77]The concerto opens with a long-continued roll of drums.[78]From a letter first published in Max Kalbeck's 'Johannes Brahms,' vol. i., p. 356.[79]'Musikalisches und Literarisches': 'Neuer Brahms Katalog.'[80]Moser's 'Life of Joachim.'[81]Brahms' Trio in B major.[82]First published in Reimann's 'Johannes Brahms.' One of the Princess Friederike's Christmas presents to Brahms whilst he was her teacher consisted of the five volumes (1851-1855 inclusive) of the Leipzig Society's edition of Bach's works issued before he became a subscriber, and it would appear from the opening of the above-quoted letter that she made herself responsible for his subscription during the consecutive seasons of his visits to Detmold. It is interesting to read the traces of his movements furnished by the subscription list placed at the commencement of each volume. In 1856 his name appears as belonging to Düsseldorf; 1857-1864 inclusive, to Hamburg; and from 1865 onwards, to Vienna.[83]'Aus Johannes Brahms' Jugendtagen,' by Hermann Freiherr von Meysenbug (Neues Wiener Tagblatt, May, 1901).[84]First published, with an account of the Ladies' Choir, in Hübbe's 'Brahms in Hamburg.'[85]Hübbe.[86]'Aus Brahms' Jugendtagen.' Seefootnoteon p.205.[87]'Joseph Joachim,' p. 154.[88]Reprint of Wagner's pamphlet 'Das Judenthum in der Musik.'[89]The rules, first published by Professor Walter Hübbe in his 'Brahms in Hamburg,' are given entire in the original German inAppendix No. III.[90]This pleasant description is given entire, as containing a substantially accurate account of Brahms' artistic progress, though Dietrich, writing after the lapse of many years, has overlooked the fact that the works referred to had already been performed in public from the manuscripts.[91]A revised edition of the second serenade was published by Simrock in 1875.[92]Max Kalbeck, p. 458.[93]First published in Hübbe's 'Brahms in Hamburg,' pp. 42-44.[94]Dietrich.[95]The Variations are dated 1866 in the published catalogue.[96]Max Kalbeck, p. 497. The reader must be reminded that at this period German bank-notes frequently represented but small sums.[97]'Music may accompany action, but can never become its substitute.''In the case even of the best and most ideal examples [of Programme-music] it always happened that I so completely lost the thread that no effort enabled me to recover it,' etc.Wagner, at a certain period of his career, professed himself a partial convert to Programme-music—i.e., as it is exemplified in the works of Liszt; but it is scarcely possible to read his remarks at this point without feeling that they were wrested from him by his conception of the obligations of friendship, and the circumstances of the time. Confessing that he finds it extremely difficult to explain himself, he says that he leaves to others the task of developing his meaning, and returns repeatedly to the expression of his general dislike of Programme-music.[98]From 'Brahms in Hamburg,' by Walter Hübbe. See p.255of this narrative.

[1]An expression of commendation peculiarly German.

[2]'Sehr geehrtes und liebes Fräulein,'Es war neulich zu spät am Abend geworden als dass ich, wie ich wünschte, Sie selbst noch hätte aufsuchen u. Ihnen meinen Dank aussprechen können.'So lassen Sie mich denn nachträglich diesen sehr herzlichen sagen für Ihr so freundliches u. werthvolles Geschenk.'Es war in der That gar zu liebenswürdig von Ihnen sich mir zu gefallen von dem hübschen Schatze zu trennen u. es soll Ihnen im nächsten Jahre auch noch zur Verfügung stehen!'In der Hoffnung Sie aber im nächsten Jahre wieder hier zu sehen u. Ihnen meinen herzlichen Dank wiederholen zu können,'Ihr sehr ergebener,'J. Brahms.'

[2]'Sehr geehrtes und liebes Fräulein,

'Es war neulich zu spät am Abend geworden als dass ich, wie ich wünschte, Sie selbst noch hätte aufsuchen u. Ihnen meinen Dank aussprechen können.

'So lassen Sie mich denn nachträglich diesen sehr herzlichen sagen für Ihr so freundliches u. werthvolles Geschenk.

'Es war in der That gar zu liebenswürdig von Ihnen sich mir zu gefallen von dem hübschen Schatze zu trennen u. es soll Ihnen im nächsten Jahre auch noch zur Verfügung stehen!

'In der Hoffnung Sie aber im nächsten Jahre wieder hier zu sehen u. Ihnen meinen herzlichen Dank wiederholen zu können,

'Ihr sehr ergebener,

'J. Brahms.'

[3]'Geehrtes Fräulein,'Mannichfach abgehalten, erlaube ich mir die Anfrage ob es Ihnen nicht möglich ist vorzusprechen bei'Ihrem ergebensten'Johannes Brahms.'

[3]'Geehrtes Fräulein,

'Mannichfach abgehalten, erlaube ich mir die Anfrage ob es Ihnen nicht möglich ist vorzusprechen bei

'Ihrem ergebensten

'Johannes Brahms.'

[4]'Brahms Erinnerungen,' inDie Gegenwart, No. 45.

[5]Printed verbally in Max Kalbeck's 'Johannes Brahms,' p. 4.

[6]Vol. II.,Chap. XXI.

[7]'Musikalische Skizzen Köpfe,' vol. iii.

[8]Clasing was a pupil of C. F. G. Schwenke, who succeeded C. P. Emanuel Bach as cantor and music-director of St. Catharine's Church, Hamburg. On the death of Emanuel Bach in 1788, a portion of his library came into Schwenke's possession, including the score, in Sebastian Bach's own handwriting, of the great B minor Mass.

[9]La Mara, 'Studien Köpfe.'

[10]'Brahms in Erinnerung.'

[11]Steiner's 'Johannes Brahms'. Neujahr'sblatt der Allg. Musikgesellschaft in Zürich, 1898.

[12]Cf.Kalbeck, p. 186.

[13]Two Guter Groschen were of about the value of 2-1/2d.

[14]Heuberger, 'Musikalische Skizzen.'

[15]The concertmeister is the leader—i.e., leading violin of the orchestra. The capellmeister is the conductor of the orchestra.

[16]Moser's 'Life of Joachim.'

[17]To assist those of our readers to whom the terms 'musical form,' 'absolute music,' 'programme music,' convey no distinct ideas, and who do not realize with exactness what the real position of Wagner's art was in its relation to the school of Weimar, we have entered into these subjects, inAppendix No. I.of this volume, in detail which cannot be conveniently introduced into the body of our narrative.

[18]The accounts of some authors place the visit in Göttingen. They must be regarded as, in this respect, mistaken. Dr. Joachim is positive on the point. 'The whole scene lives clearly in my memory; it occurred in my rooms in Princes Street, Hanover,' he lately said to the present writer.

[19]Festival address at Meiningen, October 7, 1899.

[20]Moser's 'Life of Joachim.'

[21]'Memoirs of a Musical Life.'

[22]From La Mara's 'Briefe hervorragender Zeitgenossen an Franz Liszt.'

[23]According to a personal communication to the author by Frau Dr. Langhans-Japha, to whom Brahms showed the case.

[24]'Aus siebzig Jahren.'

[25]'Joh. Kreisler jun.'

[26]This letter and another to Amtsvogt Blume, which follows in Chapter VI., were first published in theLüneburger AnzeigeMarch 29, 1901.

[27]'Gedenkenblätter an berühmte Musiker,' by Carl Reinecke.

[28]'Erinnerungen von Johannes Brahms.'

[29]At this period envelopes were not in universal use. The large 'letter-paper' was folded and sealed, and addressed on the blank fourth page.

[30]Ehrlich, 'Dreissig Jahre Künstlerleben.'

[31]'Robert Schumann's Briefe.' Neue Folge. Edited by Gustav Jansen.

[32]These words sufficiently disprove the assumption occasionally adopted, that Schumann expected Brahms before receiving his call at Düsseldorf.

[33]The movements of the F minor Sonata were no doubt submitted to Schumann's criticism during the process of their composition.

[34]See, for this and other letters of Schumann, Dr. Jansen's collection referred toabove.

[35]'Frei aber einsam' (Free but lonely), Joachim's favourite device at this time.

[36]'I have here in my mind Joseph Joachim, Ernst Naumann, Ludwig Norman, Woldemar Bargiel, Theodor Kirchner, Julius Schäffer, Albert Dietrich, not forgetting the earnest-minded E. F. Wilsing. As trusty heralds in the right path, Niels W. Gade, C. F. Mangold, Robert Franz, and St. Heller should also be named here.'

[37]Joachim.

[38]Anti-philistines.

[39]'Robert Schumann's Briefe.' Neue Folge. Edited by Gustav Jansen.

[40]The letters in this and the following chapters from Brahms to Schumann were first published by La Mara in theNeue Freie Presseof May 7, 1897.

[41]'Eine Glückliche. Hedwig von Holstein in ihren Briefen und Tagebuchblättern.'

[42]'Liszt's Briefe.' Edited by La Mara.

[43]Kalbeck's 'Johannes Brahms,' p. 35.

[44]Bülow's 'Briefe und Schriften.' Edited by Marie von Bülow.

[45]Two overtures on which Joachim was working.

[46]This and all other extracts from Dietrich are taken from his well-known 'Recollections of Brahms.'

[47]From the original letter, presented by Dr. Joachim to the author.

[48]Cf.Schumann's great variations: the 'Etudes Symphoniques.'

[49]Sittard's 'Künstler-Charakteristiken.'

[50]Seefootnoteon p.117.

[51]Professor Carl Neumann's introduction to the second edition (1904) of Allgeyer's 'Life of Anselm Feuerbach.'

[52]This and the following letters written by Schumann at Endenich were first published by Edward Hanslick in theNeue Freie Presseof October 27 and 29, 1896, and afterwards republished in Hanslick's 'Am Ende des Jahrhunderts' (Robert Schumann in Endenich).

[53]Seefootnoteon p.131.

[54]The introduction by diminution of Clara Wieck's theme mentioned on p.160.

[55]In manuscript: Ballades for Pianoforte, Op. 10.

[56]Thedoppio movimentomarked in the manuscript of the first ballade was changed before publication toallegro ma non troppo, no doubt in deference to Schumann's suggestion.

[57]Concert-allegro with Introduction for Pianoforte and Orchestra, Op. 134.

[58]Fantasia for Violin and Orchestra, Op. 131, dedicated to Joachim.

[59]Fräulein Bertha Bölling, a young lady who was resident for some years in the Schumanns' house as domestic help to Frau Schumann, to whom she was greatly attached, and in whose confidence she stood high. During the first few days of Schumann's illness, before his removal to Endenich, she was allowed by the doctors to go in and out of the sick-room, and her presence had a tranquillizing effect on the patient.

[60]Joachim's compositions.

[61]'Gesammelte Aufsätze über Musik.'

[62]'Aus meinem Leben.'

[63]Die Musik, first May number, 1903.

[64]In the author's possession.

[65]In the possession of Professor Julius Spengel.

[66]In the library of the Gesellschaft der Musikfreunde, Vienna.

[67]In the possession of Fräulein Marie Grimm.

[68]'Aus meinem Leben.'

[69]Grove's 'Dictionary of Music and Musicians.'

[70]Chiefly taken from the account written at the time for theNeue Zeitschrift, by Ferdinand Hiller.

[71]'Aus Johannes Brahms' Jugendtagen,' by Carl, Freiherr von Meysenbug (Neues Wiener Tagblatt, April 3 and 4, 1902).

[72]'Johannes Brahms,' p. 297.

[73]In the possession of Fräulein Marie Grimm.

[74]'Brahms in Hamburg,' by Professor Walter Hübbe.

[75]The few sketches Brahms allowed to survive him are preserved in the library of the Gesellschaft der Musikfreunde at Vienna.

[76]Dr. Georg Fischer's 'Opera und Concerte im Hoftheater zu Hannover bis 1866.'

[77]The concerto opens with a long-continued roll of drums.

[78]From a letter first published in Max Kalbeck's 'Johannes Brahms,' vol. i., p. 356.

[79]'Musikalisches und Literarisches': 'Neuer Brahms Katalog.'

[80]Moser's 'Life of Joachim.'

[81]Brahms' Trio in B major.

[82]First published in Reimann's 'Johannes Brahms.' One of the Princess Friederike's Christmas presents to Brahms whilst he was her teacher consisted of the five volumes (1851-1855 inclusive) of the Leipzig Society's edition of Bach's works issued before he became a subscriber, and it would appear from the opening of the above-quoted letter that she made herself responsible for his subscription during the consecutive seasons of his visits to Detmold. It is interesting to read the traces of his movements furnished by the subscription list placed at the commencement of each volume. In 1856 his name appears as belonging to Düsseldorf; 1857-1864 inclusive, to Hamburg; and from 1865 onwards, to Vienna.

[83]'Aus Johannes Brahms' Jugendtagen,' by Hermann Freiherr von Meysenbug (Neues Wiener Tagblatt, May, 1901).

[84]First published, with an account of the Ladies' Choir, in Hübbe's 'Brahms in Hamburg.'

[85]Hübbe.

[86]'Aus Brahms' Jugendtagen.' Seefootnoteon p.205.

[87]'Joseph Joachim,' p. 154.

[88]Reprint of Wagner's pamphlet 'Das Judenthum in der Musik.'

[89]The rules, first published by Professor Walter Hübbe in his 'Brahms in Hamburg,' are given entire in the original German inAppendix No. III.

[90]This pleasant description is given entire, as containing a substantially accurate account of Brahms' artistic progress, though Dietrich, writing after the lapse of many years, has overlooked the fact that the works referred to had already been performed in public from the manuscripts.

[91]A revised edition of the second serenade was published by Simrock in 1875.

[92]Max Kalbeck, p. 458.

[93]First published in Hübbe's 'Brahms in Hamburg,' pp. 42-44.

[94]Dietrich.

[95]The Variations are dated 1866 in the published catalogue.

[96]Max Kalbeck, p. 497. The reader must be reminded that at this period German bank-notes frequently represented but small sums.

[97]'Music may accompany action, but can never become its substitute.''In the case even of the best and most ideal examples [of Programme-music] it always happened that I so completely lost the thread that no effort enabled me to recover it,' etc.Wagner, at a certain period of his career, professed himself a partial convert to Programme-music—i.e., as it is exemplified in the works of Liszt; but it is scarcely possible to read his remarks at this point without feeling that they were wrested from him by his conception of the obligations of friendship, and the circumstances of the time. Confessing that he finds it extremely difficult to explain himself, he says that he leaves to others the task of developing his meaning, and returns repeatedly to the expression of his general dislike of Programme-music.

[97]'Music may accompany action, but can never become its substitute.'

'In the case even of the best and most ideal examples [of Programme-music] it always happened that I so completely lost the thread that no effort enabled me to recover it,' etc.

Wagner, at a certain period of his career, professed himself a partial convert to Programme-music—i.e., as it is exemplified in the works of Liszt; but it is scarcely possible to read his remarks at this point without feeling that they were wrested from him by his conception of the obligations of friendship, and the circumstances of the time. Confessing that he finds it extremely difficult to explain himself, he says that he leaves to others the task of developing his meaning, and returns repeatedly to the expression of his general dislike of Programme-music.

[98]From 'Brahms in Hamburg,' by Walter Hübbe. See p.255of this narrative.

Transcriber's NoteApparent printer's errors have been retained, unless stated below.Missing page numbers are attributed to blank or unnumbered pages in the original text.Punctuation, capitalization, accents and formatting markup have been made consistent.Illustrations have been moved to be closer to their discussion in the text.Bold and italicisedtext appeared in the original in fraktur. In these instances, images of the original fraktur appear directly before the occurrence in the text.Page71, "muscial" changed to "musical". (The boy's musical services would be at his command in return.)Page98, "Anzeige" changed to "Anzeiger". (The concert was advertised in theLüneburger Anzeigerof May 7, the twentieth birthday anniversary of our Johannes:)Page145, "Den" chagned to "Dem". ('Dem Fräulein Japha, zum Andenken an das Weihnachtsfest, 1853, als Vorbote des eigentlichen Gebers. R. Schumann')Page182, "cirsumstances" changed to "circumstances". (In spite of the melancholy circumstances that kept them at Düsseldorf—and anxiety about Schumann was again increasing—the time was a happy one to the two young men, who passed many hours of the day in each other's society.)In the midi representation of the first excerpt on Page219, the first measure has been adjusted to ensure there are two beats in the bar by changing the sixteenth (semiquaver) rest into an eighth (quaver) rest.In the midi representation of the second excerpt on Page219, the fourth note in the second measure is played as an A♭as in the music. Please note that some publications of this piece use an A♮instead.Footnote[6]originally referred to Chapter X. in Vol. II. However, as there is no Chapter X. in Vol. II., this has been updated to read Chapter XXI., which makes reference to the subject.

Apparent printer's errors have been retained, unless stated below.

Missing page numbers are attributed to blank or unnumbered pages in the original text.

Punctuation, capitalization, accents and formatting markup have been made consistent.

Illustrations have been moved to be closer to their discussion in the text.

Bold and italicisedtext appeared in the original in fraktur. In these instances, images of the original fraktur appear directly before the occurrence in the text.

Page71, "muscial" changed to "musical". (The boy's musical services would be at his command in return.)

Page98, "Anzeige" changed to "Anzeiger". (The concert was advertised in theLüneburger Anzeigerof May 7, the twentieth birthday anniversary of our Johannes:)

Page145, "Den" chagned to "Dem". ('Dem Fräulein Japha, zum Andenken an das Weihnachtsfest, 1853, als Vorbote des eigentlichen Gebers. R. Schumann')

Page182, "cirsumstances" changed to "circumstances". (In spite of the melancholy circumstances that kept them at Düsseldorf—and anxiety about Schumann was again increasing—the time was a happy one to the two young men, who passed many hours of the day in each other's society.)

In the midi representation of the first excerpt on Page219, the first measure has been adjusted to ensure there are two beats in the bar by changing the sixteenth (semiquaver) rest into an eighth (quaver) rest.

In the midi representation of the second excerpt on Page219, the fourth note in the second measure is played as an A♭as in the music. Please note that some publications of this piece use an A♮instead.

Footnote[6]originally referred to Chapter X. in Vol. II. However, as there is no Chapter X. in Vol. II., this has been updated to read Chapter XXI., which makes reference to the subject.

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