The Life & Legacy of Johannes Brahms. Florence May

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СКАЧАТЬ to have been interesting and enjoyable as regards both the vocal and instrumental portions of the programme. A very special impression was made by the performance of one of Thalberg's fantasias by a little virtuoso called J. Brahms, who not only showed great facility, precision, clearness, power, and certainty, but occasioned general surprise and obtained unanimous applause by the intelligence of his interpretation.'

      On the 27th of the same month, Johannes appeared in the small room of the Tonhalle at a concert of the pianist Frau Meyer-David, whom he assisted in the performance of a duet for two pianofortes, also by Thalberg, whose fame was at this time at its height. Marxsen's influence is again apparent in the special mention of Johannes in the Freischütz review, though it is evident, from the misspelling of the name, that he was not the writer of the notice:

      'The duet performed by the concert-giver and the young pianist Bruns, who lately appeared for the first time in public with such marked success, gave satisfaction, and was played with laudable unity and facility.'

      With the exception of a mere record of the same performance in the Hamburger Nachrichten, no further mention of Johannes is to be found in the newspapers of the winter 1847-48. It was passed by the young musician in much the same routine of severe study by day and fatiguing labour by night as the previous one had witnessed. He was, however, spared in the spring for another visit to the Giesemanns' house, to which he returned as to a second home. The members of the choral society were delighted to welcome their conductor, who, in the course of the season, added to their répertoire by arranging two folk-songs for use at the practices. These must be accepted as the earliest recorded illustrations of the partiality for national songs and melodies which remained one of the great composer's most characteristic traits, and which culminated, less than three years before his death, in the publication, in seven books, of his well-known collection of German Volkslieder.

      Johannes was frequently at the Blumes' this year, and often played duets with the Amtsvogt. Lischen's pianoforte lessons were not resumed, as they had not been attended by any great result. It was difficult to confine her to the house to practise on bright summer afternoons, when she longed to be enjoying herself out of doors. She never entirely forgot what Johannes had taught her on his first visit, however, and continued to be very fond of music. It was hoped that by-and-by it might be possible to have her voice thoroughly trained. Johannes felt sure it would develop into a fine one.

      Meanwhile she succeeded in procuring for her companion the greatest pleasure he had as yet experienced. He wanted very much to hear an opera, and Lischen thought she would like it, too, so one day, when they were going together to Hamburg, she persuaded her father to stand treat for two places in the gallery. It was to be a great night. Formes, then of Vienna, had been secured for a few weeks by the managers of the Stadt Theater (the opera-house of Hamburg), and was making a great sensation. Lischen and Hannes were to hear him in 'Figaro's Hochzeit,' the title-rôle of which was one of his great parts. They started early from the house on the Dammthorwall, supplied by Frau Brahms with some buttered rolls, and waited for two hours in the street before the door opened, which was part of the pleasure. They got capital places, and enjoyed sitting in the gallery before the performance, looking at the house and seeing the people come in. But when the music began Johannes was almost beside himself with excitement, and Lischen has never to this day forgotten his joy. 'Lischen, Lischen, listen to the music! there never was anything like it!' Uncle Adolph was made so happy when he heard all about the evening and perceived the delight he had given, that he said the visit to the opera must be repeated, and accordingly the pair of friends went a little later on, to hear Kreutzer's 'Das Nachtlager von Granada,' which both of them enjoyed very, very much.

      Johannes was not able to stay so long at Winsen this year as last, and still greater sadness was felt as the day drew near on which his visit would terminate, as it was the last of the kind he would pay. It was his confirmation year. He was past fifteen now, his general school education was finished, and he was to take his position in the world as a musician who had his way to make and would be expected to contribute regularly to the support of his family and the education of his brother Fritz, destined for a pianist and teacher. He copied out the four-part songs, dedicated to the Winsen Choral Society, beautifully, as a parting present to Lischen, putting headings to each in splendid caligraphy, and adding her name with a special inscription. Lischen treasured the manuscripts long after she had become a wife and mother, in memory of a happy episode of her youth.

      There was a solemn farewell ceremony at the last meeting of the choral society, which took place at the Deutsches Haus. After the conclusion of the practice, the conductor addressed his singers in a poem written by himself for the occasion, which began with the line: 'Lebt wohl, lebt wohl, ihr Freunde schlicht und bieder' (Farewell, farewell, ye friends upright and simple). An instant's sorrowful silence followed; then there was a tremendous stamping and clapping and shouting, and the big master-baker Rieckmann, calling out, 'Here, young one!' hoisted Johannes over his shoulder pickapack, and marched several times round the table, followed by Lischen and the other members of the society singing a last chorus.

      It was the concluding scene of Johannes' childhood, which had been unusually protracted, in spite of its drawbacks; but, as everybody said, he was to come often again to Winsen, and whenever he should be able to take a short relaxation from the serious duties of life awaiting him, he would know where to find a number of friends ready to greet his arrival amongst them with heartiest welcome.

CHAPTER III

       1848-1853

       Table of Contents

      Johannes' first public concert—Years of struggle—Hamburg Lokals—Louise Japha—Edward Reményi—Sonata in F sharp minor—First concert-tour as Reményi's accompanist—Concerts at Winsen, Celle, Lüneburg, and Hildesheim—Musical parties in 1853—Leipzig and Weimar—Robert Schumann—Joseph Joachim.

      It was on September 21 that Johannes made his fresh start in life by giving a concert of his own, thus presenting himself to his circle as a musician who was now to stand on an independent footing. It took place in the familiar room of the 'Old Raven,' 'Herr Honnef's Hall,' with the assistance of Marxsen's friends, Madame and Fräulein Cornet, and some instrumentalists of Hamburg. The price of tickets was one mark (about a shilling), and the programme, as printed in the Hamburger Nachrichten of the 20th, was as follows:

First Part.
1. Adagio and rondo from Rosenhain's Concerto in A major for Piano, performed by the concert-giver.
2. Duet from Mozart's 'Figaro,' sung by Mad. and Fräul. Cornet.
3. Variations for Violin, by Artôt, performed by Herr Risch.
4. 'Das Schwabenmädchen,' Lied, sung by Mad. Cornet.
5. Fantasia on Themes from Rossini's 'Tell,' for Piano, by Döhler, performed by the concert-giver.
Second Part.
6. Introduction and Variations for Clarinet, by Herzog, performed by Herr Glade.
7. Aria from Mozart's 'Figaro,' sung by Frl. Cornet.
8. Fantasia for Violoncello, composed and performed by Herr d'Arien.
9. a) 'Der Tanz'	}	Lieder, sung by Mad. Cornet.
b) 'Der Fischer auf dem Meer' СКАЧАТЬ В начало < 15 16 17 18 19 20 21 22 23 24 > В конец