V.

THE END

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

[1]Head of the celebrated Vienna firm of pianoforte-makers.[2]TheDeutsche Musikzeitungof November 29, the very day of the concert, announces vocal duets and choruses by Brahms as part of the programme. The review of the concert in the same paper concludes: 'Frau Passy-Cornet and Herr Fürchtgott assisted the concert-giver, whose programme was altered, by performing songs and ballads.'[3]Egg-punch was a birthday institution in the family. The Wednesday in question was probably the birthday of Brahms' mother.[4]Reimann's 'Johannes Brahms.' Published in facsimile opposite p. 28.[5]Moser's 'Joseph Joachim,' p. 177.[6]'Aus meinem Leben.'[7]Probably a private performance. Hellmesberger's published programmes give the first concert performance of the work by his quartet party as on December 27, 1863.[8]'Brahms Erinnerungen,' by Franz Fribberg (Berliner Tagblatt, December 18, 1898).N.B.—Fribberg was a member of the Philharmonic orchestra of Vienna at the period in question.[9]The collection is now in the Imperial Gallery on the Burg Ring.[10]This and the extract immediately following are from some letters first published by Hanslick in theNeue Freie Presseof July 1, 1897, and republished inAm Ende des Jahrhunderts('Der Modernen Oper,' Part VIII.): 'Johannes Brahms.'[11]'Josef lieber, Josef mein,hilf mir wieg'n mein Kindlein fein.Gott der wird dein Lohner seinin Himmelreich der Jungfrau Sohn, Maria.'(Joseph dearest, Joseph mine,Help me rock the babe divine.Heaven's blessing shall be thineIn th' kingdom of the Virgin's Son, Mariè.)[12]Personally communicated to the author by Herr Hofcapellmeister Dietrich.[13]From a letter published by Richard Heuberger (Beilage zur Allg. Musikzeitung, 1899, No. 260).[14]Brahms, by giving to the variations the second title of Studies for the Pianoforte, has sufficiently indicated the intention with which he placed them before the world.[15]The date of the publication of the Horn Trio is given in Simrock's Thematic Catalogue as 1868.[16]See Vol. I., p.167.[17]'Briefe von Theodor Billroth' (sixth enlarged edition).[18]'Neujahrsblatt der Allgemeinen Musikgesellschaft in Zürich,' 1898.[19]The author is indebted for this and a few other extracts from Frau Schumann's diary to the kindness of Fräulein Marie Schumann.[20]The date assigned to this letter in Dietrich's 'Recollections' is one amongst several similar mistakes that occur in the volume. They are to be explained by the circumstances that Brahms rarely put dates to his letters, and that those in question were supplied from memory.[21]'Briefe u. Schriften von Hans von Bülow.' Published by Marie von Bülow.[22]Dietrich.[23]A pedal point is a sound sustained, according to conditions prescribed by the rules of art, during a succession of varying harmonies of which it need not form an essential part.[24]Matt. v. 4; Ps. cxxvi. 5, 6; 1 Pet. i. 24; James v. 7; 1 Pet. i. 25; Isa. xxxv. 10; Ps. xxxix. 4-7; Wisd. iii. 1; Ps. lxxxiv. 1, 2, 4; John xvi. 22; Ecclus. li. 27; Isa. lxvi. 13; Heb. xiii. 14; 1 Cor. xv 51-55; Rev. iv. 11; Rev. xiv. 13.[25]The cadences of music are somewhat analogous to the punctuation of literature. A 'final cadence' has the effect of closing a musical period.[26]Dated April 4 in Dietrich's 'Recollections.'[27]Schumann.[28]Communicated in a letter to the author by Dr. Deiters.[29]See Vol. I., p.207.[30]Cf.Dietrich, p. 54et seq. The dates in the text are given on the authority of Frau Schumann's diary.[31]The strict strophic form is that in which voice-melody and accompaniment are the same in each verse. It admits, however, of several kinds of modification, as by varied accompaniment, slight variation of voice-melody, and so forth. The 'durchcomponirtes' Lied, for which there is no technical English term, is that of which the text is set throughout to fresh musical thoughts and developments.[32]Those who wish to study Brahms' treatment of folk-music in detail are referred to Hohenemser's articles, 'Brahms und die Volksmusik,' inDie Musik, Nos. 15 and 18, 1903.[33]Dated 1866 in the Thematic Catalogue.[34]Sir C. Villiers Stanford remembers being present at a public performance of the German Requiem in London earlier than that of the Philharmonic Society. This was at a students' concert of the Royal Academy of Music under John Hullah, the then conductor of the orchestra, the date of which, however, the author has not succeeded in ascertaining.[35]'Johannes Brahms in Erinnerung,' p. 37.[36]'Meine Bekanntschaft mit Brahms,'Die Musik, No. 5 of 1902.[37]A few words that occur in a letter of Mendelssohn to his sister Fanny Hensel are of interest here. 'Yesterday I read "Nausikaa" to Cécile in Voss' translation.... This poem is really irresistible when it becomes sentimental. I always felt an inclination to set it to music, of course not for the theatre, only as an epic, and this whole day I feel renewed pleasure in the idea' (p. 148 of Lady Wallace's translation of Mendelssohn's letters, 1833-1847).[38]The entire letter is published by Richard Heuberger in the supplement to theAllgemeine Musikzeitung, 1899, No. 260.[39]'Franz Liszt's Briefe an Carl Gille,' with a biographical introduction by Adolph Stern.[40]Numbers 1, 3, 10, were published in 1874 as arranged by the composer for orchestra, and were frequently conducted by him about that date.[41]The full programme was as follows:A German Requiem (under Reinthaler's direction).Arie from Handel's 'Messiah' and Graun's 'Der Tod Jesu.''Hallelujah, Heil and Preis sei Gott.' A song of Triumph for eight-part Chorus and Orchestra lately composed by Johannes Brahms (under the composer's direction).Soprano, Frau Wilt from Vienna, Imperial chamber singer.Baritone, Herr Schelper, of the Berlin Court Opera.(The chorus of the Singakademie was augmented for the occasion to about 300 voices.)The general (public) rehearsal took place on Thursday evening, April 6.[42]The following were, as the author believes, first performances in this country:Quartet in A major for Pianoforte and Strings: May 23, 1871. St. James's Hall, Musical Union (John Ella), by Jaell, Heermann, Wäfelghem, Lasserre.Pianoforte Concerto, D minor: March 9, 1872. Crystal Palace (A. Manns), by Miss Baglehole (pupil of the pianist W. H. Holmes, one of the first English musicians to appreciate the significance of Brahms' art). The concerto was played for the second time in London by Jaell at the Philharmonic concert of June 23, 1873.Sextet for Strings, G major: November 27, 1872. St. George's Hall, Musical Evenings, by Henry Holmes, Folkes, Burnett, Hann, C. Ould, Pezze.Ballades for Pianoforte, Op. 10, Nos. 2 and 3: March 17, 1873. St. James's Hall, Monday Popular Concerts (S. Arthur Chappell), by Frau Schumann.Handel Variations and Fugue for Pianoforte: November 12, 1873. Crystal Palace, by Florence May.Hungarian Variations for Pianoforte: March 25, 1874. Crystal Palace, by Florence May.Schumann Variations (Pianoforte Duet): March 30, 1874. St. James's Hall, Monday Popular Concerts, by Miss Agnes Zimmermann and Mr. Franklin Taylor.Serenade in A major (small Orchestra): June 29, 1874. St. James's Hall, Philharmonic Society. Conductor: W. G. Cusins.Liebeslieder, Op. 52: January 15 and 27, 1877. St. James's Hall, M. and S. Popular Concerts. Pianists: Fräulein Marie Krebs and Miss A. Zimmermann. Singers: Fräulein Sophie Löwe, Fräulein Redeker, William Shakespeare, G. Pyatt.Neue Liebeslieder, Walzer, Op. 65: May 18, 1877. Cambridge University Musical Society's Concerts. Pianists: C. Villiers Stanford and Raoul C. de Versan. Singers: Fräulein Thekla Friedländer, Fräulein Redeker, Rev. L. Borrisow, Gerard F. Cobb.N.B.—TheQuartet in G minorand theQuintet in F minor, both forPianoforte and Strings, were played for the first time at the Popular Concerts respectively on January 26, 1874, by Hallé, Madame Norman-Néruda (now Lady Hallé), Ludwig Straus, and Piatti; and on February 27, 1875, by Hallé, Joachim, L. Ries, and Piatti, but may have been previously given in England elsewhere.ThePianoforte Concerto in D minorwas played for the first time in Vienna at one of the Philharmonic Concerts of the season 1870-71, by the composer, and for the second time in March, 1873, by Anton Door.[43]The author has followed the date given in the published catalogue of the issue of these two books of songs. By their opus numbers they would rather belong to the year 1873 or 1874. Brahms' well-known arrangement for Pianoforte of Gluck's Gavotte in A was published in 1871 by Senff.[44]P.278of Vol. I.[45]Dietrich, p. 42.[46]Allgeyers, 'Life of Feuerbach.'[47]From the article in theGegenwartalready referred to.[48]Steiner's 'Johannes Brahms.'[49]Reimann's 'Johannes Brahms,' p. 117.[50]See Vol. II., pp.77and138.[51]Schumann's essay, 'New Paths.'[52]The variations for orchestra on Haydn's theme and six of Brahms' songs, sung by Henschel, were included in the programme of the concert.[53]Goethe's song, 'Unüberwindlich,' set by Brahms and published in 1877 as No. 6 of Op. 72: 'Though a thousand vows I've taken.'[54]Article in theNew York Outlook, July 25, 1903.[55]See Vol. I.,Appendix No. 1.[56]Die Musik, in the article referred to in a previous chapter.[57]Fräulein Ettlinger informs the author that it was she herself who put the question to the master and received his answer. For the article on Levi see 'Biographisches Jahrbuch und Deutscher Nekrolog,' 1902.[58]Widmann's 'Brahms Recollections,' p. 38 and following.[59]Kalbeck's 'Johannes Brahms,' p. 187 and following.[60]Die Musik, No. 5 of 1902.[61]First published with others by Hanslick in theNeue Freie Presseof July 1, 1897.[62]Hanslick,Neue Freie Presse, as before.[63]Claus Groth, in the Brahms Recollections to which we have several times referred, speaks of the festival banquet as having taken place at the Hamburger Hof, Hamburg, and 'as I think' after the performance of Brahms' symphony. Groth's articles were written in the year 1897, when he was at an advanced age—he was much Brahms' senior—and his memory has misled him in one or two of his details. As regards those here referred to, the author has, in the above description, followed the accounts given in theHamburger Correspondentenof the time, with which that of Hanslick, in his very interesting 'Essays on Music and Musicians,' is in strict accord.[64]See p.29of this volume.[65]Widmann, p. 43.[66]Steiner's 'Johannes Brahms,' i., p. 25.[67]Allgeyer's 'Feuerbach': Introduction to the second edition.[68]Published by Hanslick in theNeue Freie Presse, July 1, 1897.[69]The scope of these pages does not permit the author to yield to the temptation of presenting an analysis of the means by which Brahms has produced the romantic, mysterious atmosphere which pervades the 'andante moderato.' They will be found strangely simple and intelligible by those inclined to examine for themselves the harmonic material; in the first place of the introductory bars (which consists of the chromatic major concord on the minor sixth of the key, E major, and a couple of passing notes); and in the second place of the full statement of the opening theme (which includes the chords of the dominant minor ninth and the tonic seventh and minor thirteenth, all chromatic).[70]Widmann's 'Johannes Brahms in Erinnerungen,' p. 58 and following.[71]A mountain near Thun.[72]Die Musik, first May number of 1902.[73]Neue Freie Presse, June, 1897.[74]Spengel's 'Johannes Brahms,' p. 8.[75]Neue Freie Presse, June 29, 1897.[76]Billroth's Briefe.[77]Neue Freie Presse, July 1, 1897.[78]Published in Steiner's 'Johannes Brahms,' p. 29.[79]Published in Reimann's 'Johannes Brahms,' p. 117.[80]The theme is the one alluded to on p.156of our first volume.N.B. On the occasion of Schumann's opera 'Genoveva' being put into rehearsal at the Hanover court theatre in 1874, Brahms, with Frau Schumann's approval, added a few bars to the close of Siegfried's song in the third act. These do not appear, however, in the pianoforte score of the work included in the complete edition.[81]SeeAppendix No. I.[82]Widmann's 'Recollections.'[83]Steiner, p. 33.[84]Reimann, p. 109.[85]July 1, 1897.[86]See for an account of Herzogenberg's church music 'Heinrich von Herzogenberg und die evangelischen Kirchenmusik,' by Friedrich Spitta. Reprint from theMonatschrift für Gottesdienst und kirchliche Kunst, 1900, No. 11.[87]Preface to the 'Vollständige Sammlung der von Johannes Brahms componirten und musikalisch bearbeiteten Dichtungen,' by Dr. G. Ophüls.[88]'Der musikalische Nachlass von Johannes Brahms,' by Ludwig Karpath.Signale, March 26, 1902.[89]In the author's possession.[90]First published by Reimann, p. 118.[91]Reimann, p. 118.[92]See 'Am Sterbebett Brahms,' by Celestine Truxa,Neue Freie Presse, May 7, 1903.[93]The dates of publication here printed are those given in Simrock's published Thematic Catalogue of Brahms' works, excepting in the few instances especially indicated in the main narrative.[94]Unless otherwise described, all songs for a single voice are composed with pianoforte accompaniment only.

[1]Head of the celebrated Vienna firm of pianoforte-makers.

[2]TheDeutsche Musikzeitungof November 29, the very day of the concert, announces vocal duets and choruses by Brahms as part of the programme. The review of the concert in the same paper concludes: 'Frau Passy-Cornet and Herr Fürchtgott assisted the concert-giver, whose programme was altered, by performing songs and ballads.'

[3]Egg-punch was a birthday institution in the family. The Wednesday in question was probably the birthday of Brahms' mother.

[4]Reimann's 'Johannes Brahms.' Published in facsimile opposite p. 28.

[5]Moser's 'Joseph Joachim,' p. 177.

[6]'Aus meinem Leben.'

[7]Probably a private performance. Hellmesberger's published programmes give the first concert performance of the work by his quartet party as on December 27, 1863.

[8]'Brahms Erinnerungen,' by Franz Fribberg (Berliner Tagblatt, December 18, 1898).N.B.—Fribberg was a member of the Philharmonic orchestra of Vienna at the period in question.

[8]'Brahms Erinnerungen,' by Franz Fribberg (Berliner Tagblatt, December 18, 1898).

N.B.—Fribberg was a member of the Philharmonic orchestra of Vienna at the period in question.

[9]The collection is now in the Imperial Gallery on the Burg Ring.

[10]This and the extract immediately following are from some letters first published by Hanslick in theNeue Freie Presseof July 1, 1897, and republished inAm Ende des Jahrhunderts('Der Modernen Oper,' Part VIII.): 'Johannes Brahms.'

[11]'Josef lieber, Josef mein,hilf mir wieg'n mein Kindlein fein.Gott der wird dein Lohner seinin Himmelreich der Jungfrau Sohn, Maria.'(Joseph dearest, Joseph mine,Help me rock the babe divine.Heaven's blessing shall be thineIn th' kingdom of the Virgin's Son, Mariè.)

[11]

'Josef lieber, Josef mein,hilf mir wieg'n mein Kindlein fein.Gott der wird dein Lohner seinin Himmelreich der Jungfrau Sohn, Maria.'

(Joseph dearest, Joseph mine,Help me rock the babe divine.Heaven's blessing shall be thineIn th' kingdom of the Virgin's Son, Mariè.)

[12]Personally communicated to the author by Herr Hofcapellmeister Dietrich.

[13]From a letter published by Richard Heuberger (Beilage zur Allg. Musikzeitung, 1899, No. 260).

[14]Brahms, by giving to the variations the second title of Studies for the Pianoforte, has sufficiently indicated the intention with which he placed them before the world.

[15]The date of the publication of the Horn Trio is given in Simrock's Thematic Catalogue as 1868.

[16]See Vol. I., p.167.

[17]'Briefe von Theodor Billroth' (sixth enlarged edition).

[18]'Neujahrsblatt der Allgemeinen Musikgesellschaft in Zürich,' 1898.

[19]The author is indebted for this and a few other extracts from Frau Schumann's diary to the kindness of Fräulein Marie Schumann.

[20]The date assigned to this letter in Dietrich's 'Recollections' is one amongst several similar mistakes that occur in the volume. They are to be explained by the circumstances that Brahms rarely put dates to his letters, and that those in question were supplied from memory.

[21]'Briefe u. Schriften von Hans von Bülow.' Published by Marie von Bülow.

[22]Dietrich.

[23]A pedal point is a sound sustained, according to conditions prescribed by the rules of art, during a succession of varying harmonies of which it need not form an essential part.

[24]Matt. v. 4; Ps. cxxvi. 5, 6; 1 Pet. i. 24; James v. 7; 1 Pet. i. 25; Isa. xxxv. 10; Ps. xxxix. 4-7; Wisd. iii. 1; Ps. lxxxiv. 1, 2, 4; John xvi. 22; Ecclus. li. 27; Isa. lxvi. 13; Heb. xiii. 14; 1 Cor. xv 51-55; Rev. iv. 11; Rev. xiv. 13.

[25]The cadences of music are somewhat analogous to the punctuation of literature. A 'final cadence' has the effect of closing a musical period.

[26]Dated April 4 in Dietrich's 'Recollections.'

[27]Schumann.

[28]Communicated in a letter to the author by Dr. Deiters.

[29]See Vol. I., p.207.

[30]Cf.Dietrich, p. 54et seq. The dates in the text are given on the authority of Frau Schumann's diary.

[31]The strict strophic form is that in which voice-melody and accompaniment are the same in each verse. It admits, however, of several kinds of modification, as by varied accompaniment, slight variation of voice-melody, and so forth. The 'durchcomponirtes' Lied, for which there is no technical English term, is that of which the text is set throughout to fresh musical thoughts and developments.

[32]Those who wish to study Brahms' treatment of folk-music in detail are referred to Hohenemser's articles, 'Brahms und die Volksmusik,' inDie Musik, Nos. 15 and 18, 1903.

[33]Dated 1866 in the Thematic Catalogue.

[34]Sir C. Villiers Stanford remembers being present at a public performance of the German Requiem in London earlier than that of the Philharmonic Society. This was at a students' concert of the Royal Academy of Music under John Hullah, the then conductor of the orchestra, the date of which, however, the author has not succeeded in ascertaining.

[35]'Johannes Brahms in Erinnerung,' p. 37.

[36]'Meine Bekanntschaft mit Brahms,'Die Musik, No. 5 of 1902.

[37]A few words that occur in a letter of Mendelssohn to his sister Fanny Hensel are of interest here. 'Yesterday I read "Nausikaa" to Cécile in Voss' translation.... This poem is really irresistible when it becomes sentimental. I always felt an inclination to set it to music, of course not for the theatre, only as an epic, and this whole day I feel renewed pleasure in the idea' (p. 148 of Lady Wallace's translation of Mendelssohn's letters, 1833-1847).

[38]The entire letter is published by Richard Heuberger in the supplement to theAllgemeine Musikzeitung, 1899, No. 260.

[39]'Franz Liszt's Briefe an Carl Gille,' with a biographical introduction by Adolph Stern.

[40]Numbers 1, 3, 10, were published in 1874 as arranged by the composer for orchestra, and were frequently conducted by him about that date.

[41]The full programme was as follows:A German Requiem (under Reinthaler's direction).Arie from Handel's 'Messiah' and Graun's 'Der Tod Jesu.''Hallelujah, Heil and Preis sei Gott.' A song of Triumph for eight-part Chorus and Orchestra lately composed by Johannes Brahms (under the composer's direction).Soprano, Frau Wilt from Vienna, Imperial chamber singer.Baritone, Herr Schelper, of the Berlin Court Opera.(The chorus of the Singakademie was augmented for the occasion to about 300 voices.)The general (public) rehearsal took place on Thursday evening, April 6.

[41]The full programme was as follows:

A German Requiem (under Reinthaler's direction).

Arie from Handel's 'Messiah' and Graun's 'Der Tod Jesu.'

'Hallelujah, Heil and Preis sei Gott.' A song of Triumph for eight-part Chorus and Orchestra lately composed by Johannes Brahms (under the composer's direction).

Soprano, Frau Wilt from Vienna, Imperial chamber singer.

Baritone, Herr Schelper, of the Berlin Court Opera.

(The chorus of the Singakademie was augmented for the occasion to about 300 voices.)

The general (public) rehearsal took place on Thursday evening, April 6.

[42]The following were, as the author believes, first performances in this country:Quartet in A major for Pianoforte and Strings: May 23, 1871. St. James's Hall, Musical Union (John Ella), by Jaell, Heermann, Wäfelghem, Lasserre.Pianoforte Concerto, D minor: March 9, 1872. Crystal Palace (A. Manns), by Miss Baglehole (pupil of the pianist W. H. Holmes, one of the first English musicians to appreciate the significance of Brahms' art). The concerto was played for the second time in London by Jaell at the Philharmonic concert of June 23, 1873.Sextet for Strings, G major: November 27, 1872. St. George's Hall, Musical Evenings, by Henry Holmes, Folkes, Burnett, Hann, C. Ould, Pezze.Ballades for Pianoforte, Op. 10, Nos. 2 and 3: March 17, 1873. St. James's Hall, Monday Popular Concerts (S. Arthur Chappell), by Frau Schumann.Handel Variations and Fugue for Pianoforte: November 12, 1873. Crystal Palace, by Florence May.Hungarian Variations for Pianoforte: March 25, 1874. Crystal Palace, by Florence May.Schumann Variations (Pianoforte Duet): March 30, 1874. St. James's Hall, Monday Popular Concerts, by Miss Agnes Zimmermann and Mr. Franklin Taylor.Serenade in A major (small Orchestra): June 29, 1874. St. James's Hall, Philharmonic Society. Conductor: W. G. Cusins.Liebeslieder, Op. 52: January 15 and 27, 1877. St. James's Hall, M. and S. Popular Concerts. Pianists: Fräulein Marie Krebs and Miss A. Zimmermann. Singers: Fräulein Sophie Löwe, Fräulein Redeker, William Shakespeare, G. Pyatt.Neue Liebeslieder, Walzer, Op. 65: May 18, 1877. Cambridge University Musical Society's Concerts. Pianists: C. Villiers Stanford and Raoul C. de Versan. Singers: Fräulein Thekla Friedländer, Fräulein Redeker, Rev. L. Borrisow, Gerard F. Cobb.N.B.—TheQuartet in G minorand theQuintet in F minor, both forPianoforte and Strings, were played for the first time at the Popular Concerts respectively on January 26, 1874, by Hallé, Madame Norman-Néruda (now Lady Hallé), Ludwig Straus, and Piatti; and on February 27, 1875, by Hallé, Joachim, L. Ries, and Piatti, but may have been previously given in England elsewhere.ThePianoforte Concerto in D minorwas played for the first time in Vienna at one of the Philharmonic Concerts of the season 1870-71, by the composer, and for the second time in March, 1873, by Anton Door.

[42]The following were, as the author believes, first performances in this country:

Quartet in A major for Pianoforte and Strings: May 23, 1871. St. James's Hall, Musical Union (John Ella), by Jaell, Heermann, Wäfelghem, Lasserre.

Pianoforte Concerto, D minor: March 9, 1872. Crystal Palace (A. Manns), by Miss Baglehole (pupil of the pianist W. H. Holmes, one of the first English musicians to appreciate the significance of Brahms' art). The concerto was played for the second time in London by Jaell at the Philharmonic concert of June 23, 1873.

Sextet for Strings, G major: November 27, 1872. St. George's Hall, Musical Evenings, by Henry Holmes, Folkes, Burnett, Hann, C. Ould, Pezze.

Ballades for Pianoforte, Op. 10, Nos. 2 and 3: March 17, 1873. St. James's Hall, Monday Popular Concerts (S. Arthur Chappell), by Frau Schumann.

Handel Variations and Fugue for Pianoforte: November 12, 1873. Crystal Palace, by Florence May.

Hungarian Variations for Pianoforte: March 25, 1874. Crystal Palace, by Florence May.

Schumann Variations (Pianoforte Duet): March 30, 1874. St. James's Hall, Monday Popular Concerts, by Miss Agnes Zimmermann and Mr. Franklin Taylor.

Serenade in A major (small Orchestra): June 29, 1874. St. James's Hall, Philharmonic Society. Conductor: W. G. Cusins.

Liebeslieder, Op. 52: January 15 and 27, 1877. St. James's Hall, M. and S. Popular Concerts. Pianists: Fräulein Marie Krebs and Miss A. Zimmermann. Singers: Fräulein Sophie Löwe, Fräulein Redeker, William Shakespeare, G. Pyatt.

Neue Liebeslieder, Walzer, Op. 65: May 18, 1877. Cambridge University Musical Society's Concerts. Pianists: C. Villiers Stanford and Raoul C. de Versan. Singers: Fräulein Thekla Friedländer, Fräulein Redeker, Rev. L. Borrisow, Gerard F. Cobb.

N.B.—TheQuartet in G minorand theQuintet in F minor, both forPianoforte and Strings, were played for the first time at the Popular Concerts respectively on January 26, 1874, by Hallé, Madame Norman-Néruda (now Lady Hallé), Ludwig Straus, and Piatti; and on February 27, 1875, by Hallé, Joachim, L. Ries, and Piatti, but may have been previously given in England elsewhere.

ThePianoforte Concerto in D minorwas played for the first time in Vienna at one of the Philharmonic Concerts of the season 1870-71, by the composer, and for the second time in March, 1873, by Anton Door.

[43]The author has followed the date given in the published catalogue of the issue of these two books of songs. By their opus numbers they would rather belong to the year 1873 or 1874. Brahms' well-known arrangement for Pianoforte of Gluck's Gavotte in A was published in 1871 by Senff.

[44]P.278of Vol. I.

[45]Dietrich, p. 42.

[46]Allgeyers, 'Life of Feuerbach.'

[47]From the article in theGegenwartalready referred to.

[48]Steiner's 'Johannes Brahms.'

[49]Reimann's 'Johannes Brahms,' p. 117.

[50]See Vol. II., pp.77and138.

[51]Schumann's essay, 'New Paths.'

[52]The variations for orchestra on Haydn's theme and six of Brahms' songs, sung by Henschel, were included in the programme of the concert.

[53]Goethe's song, 'Unüberwindlich,' set by Brahms and published in 1877 as No. 6 of Op. 72: 'Though a thousand vows I've taken.'

[54]Article in theNew York Outlook, July 25, 1903.

[55]See Vol. I.,Appendix No. 1.

[56]Die Musik, in the article referred to in a previous chapter.

[57]Fräulein Ettlinger informs the author that it was she herself who put the question to the master and received his answer. For the article on Levi see 'Biographisches Jahrbuch und Deutscher Nekrolog,' 1902.

[58]Widmann's 'Brahms Recollections,' p. 38 and following.

[59]Kalbeck's 'Johannes Brahms,' p. 187 and following.

[60]Die Musik, No. 5 of 1902.

[61]First published with others by Hanslick in theNeue Freie Presseof July 1, 1897.

[62]Hanslick,Neue Freie Presse, as before.

[63]Claus Groth, in the Brahms Recollections to which we have several times referred, speaks of the festival banquet as having taken place at the Hamburger Hof, Hamburg, and 'as I think' after the performance of Brahms' symphony. Groth's articles were written in the year 1897, when he was at an advanced age—he was much Brahms' senior—and his memory has misled him in one or two of his details. As regards those here referred to, the author has, in the above description, followed the accounts given in theHamburger Correspondentenof the time, with which that of Hanslick, in his very interesting 'Essays on Music and Musicians,' is in strict accord.

[64]See p.29of this volume.

[65]Widmann, p. 43.

[66]Steiner's 'Johannes Brahms,' i., p. 25.

[67]Allgeyer's 'Feuerbach': Introduction to the second edition.

[68]Published by Hanslick in theNeue Freie Presse, July 1, 1897.

[69]The scope of these pages does not permit the author to yield to the temptation of presenting an analysis of the means by which Brahms has produced the romantic, mysterious atmosphere which pervades the 'andante moderato.' They will be found strangely simple and intelligible by those inclined to examine for themselves the harmonic material; in the first place of the introductory bars (which consists of the chromatic major concord on the minor sixth of the key, E major, and a couple of passing notes); and in the second place of the full statement of the opening theme (which includes the chords of the dominant minor ninth and the tonic seventh and minor thirteenth, all chromatic).

[70]Widmann's 'Johannes Brahms in Erinnerungen,' p. 58 and following.

[71]A mountain near Thun.

[72]Die Musik, first May number of 1902.

[73]Neue Freie Presse, June, 1897.

[74]Spengel's 'Johannes Brahms,' p. 8.

[75]Neue Freie Presse, June 29, 1897.

[76]Billroth's Briefe.

[77]Neue Freie Presse, July 1, 1897.

[78]Published in Steiner's 'Johannes Brahms,' p. 29.

[79]Published in Reimann's 'Johannes Brahms,' p. 117.

[80]The theme is the one alluded to on p.156of our first volume.N.B. On the occasion of Schumann's opera 'Genoveva' being put into rehearsal at the Hanover court theatre in 1874, Brahms, with Frau Schumann's approval, added a few bars to the close of Siegfried's song in the third act. These do not appear, however, in the pianoforte score of the work included in the complete edition.

[80]The theme is the one alluded to on p.156of our first volume.

N.B. On the occasion of Schumann's opera 'Genoveva' being put into rehearsal at the Hanover court theatre in 1874, Brahms, with Frau Schumann's approval, added a few bars to the close of Siegfried's song in the third act. These do not appear, however, in the pianoforte score of the work included in the complete edition.

[81]SeeAppendix No. I.

[82]Widmann's 'Recollections.'

[83]Steiner, p. 33.

[84]Reimann, p. 109.

[85]July 1, 1897.

[86]See for an account of Herzogenberg's church music 'Heinrich von Herzogenberg und die evangelischen Kirchenmusik,' by Friedrich Spitta. Reprint from theMonatschrift für Gottesdienst und kirchliche Kunst, 1900, No. 11.

[87]Preface to the 'Vollständige Sammlung der von Johannes Brahms componirten und musikalisch bearbeiteten Dichtungen,' by Dr. G. Ophüls.

[88]'Der musikalische Nachlass von Johannes Brahms,' by Ludwig Karpath.Signale, March 26, 1902.

[89]In the author's possession.

[90]First published by Reimann, p. 118.

[91]Reimann, p. 118.

[92]See 'Am Sterbebett Brahms,' by Celestine Truxa,Neue Freie Presse, May 7, 1903.

[93]The dates of publication here printed are those given in Simrock's published Thematic Catalogue of Brahms' works, excepting in the few instances especially indicated in the main narrative.

[94]Unless otherwise described, all songs for a single voice are composed with pianoforte accompaniment only.

Mr. Edward Arnold'sList of New Books.

————

THE REMINISCENCES OFLADY RANDOLPH CHURCHILL.

By Mrs. GEORGE CORNWALLIS-WEST.

Second Impression.

Demy 8vo. With Portraits.15s. net.

The title of this delightful book gains point from its contents. Mrs. George Cornwallis-West is unable to bring her recollections down to the immediate present, and so she brings them to a close when she ceased to be Lady Randolph Churchill. But that was only a few years ago, and it is doubtful whether any volume of reminiscences of Society has ever described the life of the interesting and distinguished people so close to our own day.

Lady Randolph Churchill's earliest experiences were in Paris during the last gay days of the Empire and the horrors of the Franco-German War. Then came her marriage and introduction to all that was best and highest in English Society. In 1876 Lord and Lady Randolph accompanied the Duke of Marlborough to Dublin, and her account of life at the Viceregal Court is full of entertainment. Then come recollections of political society in London, of the formation of the Primrose League, and anecdotes of well-known politicians, such as Mr. Balfour, Sir William Harcourt, Mr. Chamberlain, and others.

Lady Randolph visited the Royal Family both at Windsor and at Sandringham: she has also many interesting glimpses to give of Continental Society, including an audience of the Czar in Russia, Court functions at Berlin, a dinner-party with Bismarck, a friendship with General Boulanger. Such are some of the varied items that catch the eye as one turns over the pages. They are samples from a mine of well-chosen topics, handled with tact, courage and grace.

————

LONDON: EDWARD ARNOLD. 41 & 43 MADDOX STREET. W.

EIGHTEEN YEARS IN UGANDAAND EAST AFRICA.

By the Right Rev. ALFRED R. TUCKER, D.D., LL.D.,Bishop of Uganda.

With 60 Full-page Illustrations from the Author's Sketches, several of themin Colour, and a Map. In Two Volumes. Demy 8vo.30s. net.

This is a book of absorbing interest from various points of view, religious, political and adventurous. It will appeal to the Churchman and philanthropist as a wonderful record of that missionary work, of which Mr. Winston Churchill has recently said:

'There is no spot under the British Flag, perhaps in the whole world, where missionary enterprise can be pointed to with more conviction and satisfaction as to its marvellous and beneficent results than in the kingdom of Uganda.'

It will interest the politician as a chapter of Empire-building, in which the author himself has played no small part. Lastly, it will delight all those who travel or who love reading about travel. The Bishop describes his wanderings, mostly afoot, through nearly 22,000 miles of tropical Africa. He tells of the strange tribes among whom he dwells, of the glories of the great lakes and the Mountains of the Moon. He tells of them not only with the pen, but also with pencil and brush, which he uses with masterly skill.

ON SAFARI.

Big-Game hunting in British East Africa, with Studies in Bird-Life.

By ABEL CHAPMAN, F. Z. S.,Author of'Wild Norway,' 'Bird-Life of the Borders,' 'Wild Spain,'etc.

With 170 Illustrations by theAuthorandE. Caldwell.Demy 8vo.16s. net.

The author of this fascinating book is a well-known ornithologist, as well as a mighty hunter and traveller. He takes us 'on safari' (i.e., on trek) through a new African region—a creation of yesterday, Imperially speaking, since British East Africa only sprang into existence during the current decade, on the opening of the Uganda Railway. 'The new Colony,' he says, 'six times greater in area than the Mother Island, is an Imperial asset of as yet unmeasured possibilities, consisting, to-day, largely of virgin hunting grounds, unsurpassed on earth for the variety of their wild fauna, yet all but unknown save to a handful of pioneers and big-game hunters.' Much knowledge, however, can be acquired through the pages and pictures of this book, describing, as it does, the vast tropical forests, with their savage inhabitants and teeming animal life. The numerous illustrations of African big game, owing to the expert knowledge of both author and artist, are probably the most accurate that have ever appeared.

OLD AND ODD MEMORIES.

By the Hon. LIONEL A. TOLLEMACHE,

Author of'Talks with Mr. Gladstone,' 'Benjamin Jowett,'etc.

Denny 8vo. With Portraits.12s. 6d. net.

One of the most brilliant men of his day, only prevented, probably, by the physical infirmity of near-sightedness, from being also one of the most prominent, gives us in this volume a collection of remarkably interesting reminiscences, which extend over half a century. They include, mostly in anecdotal form, life-like portraits of the author's father, the first Baron Tollemache (another Coke of Norfolk, but with more eccentricities), and of Dr. Vaughan of Harrow. The author's years at Harrow, of which he records his memories, were from 1850 to 1856, and those at Oxford from 1856 to 1860. The book contains, besides, a number of characteristic stories, now for the first time given to the public, of the Duke of Wellington, Lord Houghton, Lord and Lady Mount Temple, Fitz-James Stephen, to take but a few names at random from these fascinating pages.

IN SEARCH OF A POLARCONTINENT.

By ALFRED H. HARRISON, F. R. G. S.

Illustrated from Photographs taken by the Author in the Arctic Regions,and a Map. Derry 8vo.12s. 6d. net.

The white North continues to exert its magnetism upon British explorers. Mr. Harrison's object was to explore the unknown region off the North American Coast of the Arctic Ocean, but he first travelled 1,800 miles by waterway through Northern Canada, till he arrived at the delta of the Mackenzie River. There he was frozen in and delayed for three months. He then continued his journey to the Arctic Ocean with dogs, but was obliged to abandon his supplies. He hoped to obtain provisions at Herschel Island, but being disappointed in this, he went into the mountains and spent two months with the Eskimo, whose manners and customs he describes. He next returned to Herschel Island and made a voyage to Banks Land in a steam whaler. There, too, the failure of an expected tender to arrive from San Francisco again defeated his hopes of procuring supplies. Consequently he once more threw in his lot with the Eskimo, between the Mackenzie Delta and Liverpool Bay, and spent a year among them.

Such are the adventures described in this interesting book, the last chapter of which, explaining the author's plans for resuming his enterprise, once more illustrates the fact that an Englishman never knows when he is beaten.

CHRONICLES OF THE HOUGHTONFISHING CLUB, 1822-1908.

Edited by the Rt. Hon. Sir HERBERT MAXWELL, Bart.,Author of'Memories of the Months,' 'The Creevey Papers,''The Story of the Tweed,' 'British Fresh-Water Fishes,'etc.

With numerous Illustrations, many in Photogravure or on Japanese Vellum,including facsimile Reproductions from Sketches by Landseer, Chantrey,Turner, etc. Demy 4to.£2 2s. net.Limited to 350 copies.

This sumptuous volume, which gives the history of one of the oldest and most famous fishing clubs, on that finest of all English streams, the Test, forms an unique addition to angling literature. The effect of angling on literature has always been genial and discursive, and these delightful Chronicles are no exception to the rule. They throw much light on the changes which have affected social habits in general, and the craft of fly-fishing in particular, during the best part of a century. They contain not only records of sport, but various contributions—literary and pictorial—to the club album, made by celebrated members and visitors. These included Penn's well-known fishing maxims, some portraits by Chantrey, several sketches by Landseer and Sir Francis Grant, and one precious drawing from the hand of Turner. In the leisurely old days of mail-coaches, the members of the club and their guests had more time for such diversions, when the weather was unfavourable to sport, than is the case in the present age of telegrams and express trains.

IN OLD CEYLON.

By REGINALD FARRER,Author of'The Garden of Asia.'

With numerous Illustrations. Demy 8vo.12s. 6d. net.

The shrines of Oriental romance have once more charmed the pen of Mr. Reginald Farrer. His book has little concern with modern Ceylon, its industries and exports. He tells rather of the bygone glories and sanctities of ancient Lanka, when the island was the seat of a powerful monarchy and a dominant church. He gladly deserts the beaten track for the fastnesses of the jungle and the great dead cities whose bones lie lost in a shoreless ocean of green. Under his guidance, all those who love contemplation of 'old unhappy things and battles long ago' can follow the tale of the Buddhist hierarchy and the Cingalese monarchy, realizing their ancient glories amid the ruins where they lie buried, and their final tragedy in the vast jungle that now for many centuries has engulfed their worldly majesty.

Nor is the interest of the book wholly antiquarian and historic, for Ceylon—that Eastern Island of Saints—is a vast flowering garden, of whose blossoms and paradises all votaries of horticulture will delight to read in Mr. Farrer's pages.

THE BOOK OF WINTER SPORTS.

With an Introduction by the Rt. Hon. the EARL OF LYTTON,and contributions from experts in various branches of sport.

Edited by EDGAR SYERS.

Fully illustrated. Dewy 8vo.15s. net.

Every winter more and more visitors are attracted to Switzerland, the Tyrol, and Scandinavia, to take part in the various winter sports of which this book is the first and only comprehensive account in English. Each sport is dealt with separately by an expert. Thus, Mr. and Mrs. Syers write on Skating, Mr. C. Knapp on Tobogganing, Mr. E. Wroughton on Ski-running, Mr. Bertram Smith on Curling, Mr. E. Mavrogordato on Bandy, and Mr. Ernest Law on Valsing on Ice. The various chapters give instructions in practice, rules, records, and exploits, as well as useful information as to hotels, hours of sunshine, the size and number of rinks, and competitions open to visitors at the different centres. The book contains a large number of original illustrations. It should be indispensable, not only to experts in the various sports, but to the far larger class of holiday-makers who engage in them as a pastime.

FIVE MONTHS IN THE HIMALAYAS.

A Record of Mountain Travel in Garhwal and Kashmir.

By A. L. MUMM,Late Honorary Secretary of the Alpine Club.

Magnificently illustrated with Photogravure Plates and Panoramas, anda Map. Royal 8vo.21s. net.

The first and principal portion of this volume contains an account of a journey through the mountains of Garhwal made by the author in May, June, and July, 1907, with Major the Hon. C. G. Bruce and Dr. T. G. Longstaff, whose names are already well known in connexion with Himalayan mountaineering. The tour has considerable geographical interest, which is enhanced by a magnificent series of original photographs of scenes never before submitted to the camera, and it was rendered memorable by the fact that in the course of it Dr. Longstaff reached the summit of Trisul, 23,415 feet above the level of the sea, the loftiest peak on the earth's surface whose actual summit has, beyond all doubt or question, been trodden by man.

Later on, Major Bruce and Mr. Mumm proceeded to Kashmir, where they climbed Mount Haramukh, whose snowy crest is familiar to all visitors to 'the happy valley'; and made a 'high-level route' down the range of mountains which separates Kashmir from Kagan. Their photographic spoils were of an interest hardly inferior to those of the Garhwal journey.

PAINTING IN THE FAR EAST.

An Introduction to the History of Pictorial Art in Asia, especially China and Japan.

By LAURENCE BINYON.

With 31 Full-page Illustrations in Collotype from Original Chinese andJapanese Pictures. One Volume. Crown 4to.21s. net.

This important book is a pioneer work in the artistic interpretation of the East to the West, and in the breaking down of the spiritual barriers between them. For a basis of study of Eastern art, writes Mr. Binyon, 'the public at present has nothing but a few general misconceptions.' He therefore puts forward his volume with the modest hope that it 'may not be thought too presumptuous an attempt to survey the achievement and to interpret the aims of Oriental painting, and to appreciate it from the standpoint of a European in relation to the rest of the world's art. It is the general student and lover of painting,' he continues, 'whom I have wished to interest. My chief concern has been, not to discuss questions of authorship or of archæology, but to enquire what æsthetic value and significance these Eastern paintings have for us in the West.' Besides its stimulating artistic criticism, the book is full of interesting glimpses of Eastern history and thought in so far as they have affected art, as well as of biographical sketches of Eastern painters.

MADAME ELIZABETH DE FRANCE,1764-1794.

A Memoir.

By the Hon. Mrs. MAXWELL-SCOTT,Author of'Joan of Arc,' 'Abbotsford and its Treasures,'etc.

With Coloured Collotype and other Illustrations. Demy 8vo.12s. 6d. net.

Among the victims of the French Revolution, perhaps the figure which excites most sympathy is that of the modest and heroic Princess whose life is told in this deeply interesting memoir. Madame Elizabeth was the sister of Louis XVI. Her life was at first one of calm and quiet. Her studies, her charities, and her intimate friendships filled her time until the storm broke over France, and she left her peaceful Montruil to take her part in the dangers and sufferings of her family, and to be their consoler in the time of trial. It was not till the King and Queen had both been executed that Madame Elizabeth was brought from prison, tried for corresponding with her brother, and condemned to the guillotine.

The fresh documents lately discovered by M. Lenotre have enabled the author, who, by the way, is a great-granddaughter of Sir Walter Scott, to throw much new light on the life of 'The Angelic Princess.'

SCOTTISH GARDENS.

By the Right Hon. Sir HERBERT MAXWELL, Bart.Illustrated in Colour by MARY G. W. WILSON,Member of the Society of Scottish Artists.

With 32 Full-page Coloured Plates. Crown 4to.21s. net.Also an Edition de Luxe, limited to 250 copies, at£2 2s. net.

This work is the outcome of a desire to produce a volume worthy in every respect of the beautiful gardens of Scotland. Sir Herbert Maxwell, whose knowledge of the subject is probably unique, is personally acquainted with the places described, and has throughout been in consultation with the artist, Miss Wilson. Visitors to her studio in Edinburgh, or the exhibitions of her work in London, will need no further testimony to the charm of her pictures, which are here reproduced with the utmost care and on the largest feasible scale.

One of the objects of the work is to dispel certain popular fallacies as to the rigours of the Scottish climate. Its chief aim, however, is to present a typical selection of Scottish garden scenes representing all styles and all scales, modest as well as majestic, and formal as well as free, so that the possessor of the humblest plot of ground may be stimulated to beautify it, with as fair hope of success, in proportion, as the lord of many thousand acres.

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