Edward Marxsen—Johannes' first instruction in theory—Herr Adolph Giesemann—Winsen-an-der-Luhe—Lischen—Choral society of school-teachers—'ABC' Part-song by Johannes—The Amtsvogt Blume—First public appearance—First visit to the opera.

Edward Marxsen was born on July 23, 1806, at NieustÄdten, a village close to Altona, where his father combined the callings of schoolmaster and organist. His musical talent showed itself in early childhood, and was cultivated by his father to such good purpose that, whilst still a lad, he became competent to take the organist's duty from time to time when a substitute was needed. He was not, however, destined for the musical profession, and was on the verge of manhood when he was at length allowed to follow his unconquerable desire to apply himself with all his energies to the serious study of art. At eighteen he became the pupil of Johann Heinrich Clasing, a musician well qualified to bring up his students in the traditions of the classical school in which he had himself been trained.[8] His warm interest was soon aroused by the enthusiasm and unremitting application of his new pupil. Marxsen allowed nothing to interfere with the regularity of his lessons, and walked the two miles separating NieustÄdten from Hamburg and back again, on dark winter evenings, by the light of his hand-lantern, no matter how stormy the weather. He continued to live at home, studying, teaching, and helping more and more frequently with the organ, till he reached the age of twenty-four, when his father's death left him free from ties. He soon resolved to go to Vienna, with the especial purpose of perfecting his theoretical knowledge under Ignaz von Seyfried, a prolific composer now chiefly remembered as editor of the theoretical works of his master, the renowned Albrechtsberger. Seyfried received the new-comer cordially, and, probably finding Marxsen's musicianship to be but little inferior to his own, treated him, during his lengthened sojourn at Vienna, more as a friend than a pupil. He did not give him formal instruction, but admitted him to frequent musical intercourse, which was chiefly devoted to the discussion of artistic questions and to the free interchange of opinion, and which brought to the younger musician, amongst other benefits, the special gain of thorough familiarity with the great forms of Beethoven. Seyfried's society was interesting and stimulating. He had had pianoforte lessons, as a child, from Mozart, and had been on terms of personal acquaintance with Haydn and with Beethoven, who was his hero. He was of a kind disposition, moreover, and the many opportunities he was able to offer for forming friendships, for hearing music, and for living in musical society, were placed unreservedly at the disposal of his protÉgÉ. Marxsen at the same time pursued his study of the pianoforte under Carl Maria von Bocklet, a pianist and musician of eminence, and a very successful teacher, who had enjoyed the favour of Beethoven and been the close intimate of Schubert. Bocklet was one of the earliest to appreciate the genius of the younger master, and, with his colleagues Schuppanzigh and Klincke, gave the first performances, early in 1828, of Schubert's two pianoforte trios, written a few months previously.

Marxsen returned to Altona, after an absence of between two and three years, with the matured confidence of the travelled musician who has associated with the authorities of his art, his previous enthusiasm for the works of the great Vienna masters and for the then known instrumental works of the mighty Sebastian Bach fanned into ardent worship. That his mind was sufficiently powerful to rise entirely above the musical artificiality and bad taste of his time cannot be said. To us, who belong to a generation that has been educated on the purist principles first made widely acceptable by Mendelssohn's influence and since popularized by the genius of a few famous executants, with Clara Schumann, Rubinstein, and Joachim at their head, it is difficult to realize the revolution that has taken place in the general condition of musical art since the days when Marxsen, three years Mendelssohn's senior, was young. Many things were then accepted and admired in Vienna, in Berlin, in Leipzig, in London, which would now be regarded as impossible atrocities. Marxsen was capable of setting the Kreutzer Sonata for full orchestra, but this is hardly so surprising as that the Leipzig authorities should have produced the arrangement at one of the Gewandhaus concerts, or that Schumann should have mentioned it indulgently, on whatever grounds, in the Neue Zeitschrift fÜr Musik.

Marxsen came for the first time before the public of Hamburg on November 19, 1833, at the age of twenty-seven, in a concert of his own compositions. Such a programme was a novelty in the northern city, and excited attention. The occasion was successful, and established the reputation of the concert-giver as a sound and earnestly striving musician, and from this time his position as a teacher and theorist continuously rose. He was a man of catholic tastes and liberal culture, and his influence over his pupils was not merely that of the instructor of a given subject, but was touched with the power of the philosopher who has a wide outlook on life. The central aims of his theoretical teaching were to guide his pupils to a mastery of the principles illustrated in the works of the great composers, and to encourage each student to develop his own creative individuality on the firm basis thus afforded. He produced a very large number of works, which include examples of the most complex as well as of the simpler forms of composition, and many of them were brought to a hearing. That few show the attempt to appeal to a higher tribunal than the musical taste of the day may, perhaps, be a sign that Marxsen was conscious of not being endowed with original creative power, and did not try to go beyond his natural limitations. He had a genial, encouraging manner which invited his pupils' confidence, and his lively interest in all questions concerning literature, philosophy, and art gave constant impulse to the minds of the really gifted amongst them, which was not the least of the benefits they derived from association with him.

We shall not be far wrong if we fix the age of Johannes, at the time he became entirely Marxsen's pupil, as about twelve; and from this date his time, always well employed, must have been very fully occupied. He had to go to Altona for his pianoforte lessons (the question of his learning composition had not yet arisen), to practise at Cossel's or at the business house of some pianoforte firm—for there were too many interruptions at home—and to go regularly to school. Not to the one on the Dammthorwall mentioned above. He now attended F. C. Hoffmann's school in ABC-strasse, an establishment several grades higher than that of which he had formerly been a pupil, and one of good repute in its degree. Hoffmann was a conscientious as well as a humane man, and won the liking and respect of his scholars. He gave them sound elementary instruction, and even had them taught French and English. Brahms retained some knowledge of both languages, as the present writer can testify from her personal acquaintance with him, begun when he had entered middle age. He could read English to some extent, though he could not speak it, and was able to help himself out, when necessary, with a phrase or two of French, though his accent was hopeless. He preserved a pleasant remembrance of Hoffmann in after-life, recommended his school on one or two suitable occasions, and sent him a present on the celebration of his jubilee in the middle of the seventies.

Marxsen's interest and pleasure in Johannes' progress increased every week as he became more convinced of his exceptional capacity. 'One day I gave him a composition of Weber's,' he says,[9] 'going carefully through it with him. At the following lesson he played it to me so blamelessly and so exactly as I wished that I praised him. "I have also practised it in another way," he said, and played me the right-hand part with the left hand.' (No doubt Weber's moto perpetuum, published by Brahms, without opus number, as a left-hand study.)

Part of Marxsen's discipline was to accustom Johannes to transpose long pieces at sight, a practice he had probably learnt from Seyfried, who relates as a tour de force of Albrechtsberger that on some public occasion, when he had to play on a low-pitched organ, he transposed an entire Mass from G to G sharp at sight, and without error. Brahms, it may be parenthetically remarked, continued to find diversion in this pastime, and would play fugues of Bach and other works for his own edification in various transposed keys when at the height of his mastership.

The boy had, almost from infancy, shown signs of the tendency to creative activity. Widmann[10] speaks of a conversation held with Brahms within the last decade of his life, during which the master, recalling early memories, described the bliss experienced by him as a very young child on making the discovery, unaided, that a melody could be represented on paper by placing large round dots in higher or lower positions on lines. 'I made a system for myself before I knew of the existence of such a thing.' When a few years older, he was fond of writing the separate parts of concerted works one under the other—of copying them into score, in fact. Nor was he to be kept from trying his hand at original composition. Louise Japha, an eminent pianist of Hamburg, whose more intimate acquaintance the reader will make later on, speaks of having heard him play a sonata of his own when he was about eleven, at the pianoforte house of Baumgarten and Heins, where she one day found him practising. Cossel, responsible for his advance in playing, is said to have been anxious at his spending too much of his time in these childish attempts; but the instinct was unconquerable, and Marxsen no doubt discovered this when he had Johannes constantly with him. After a time he began to teach him theory. Referring to the commencement of the new study, he writes to La Mara:

'I was captivated by his keen and penetrating intellect, and yet, when he came later on to original composition, it was at first difficult to him, and required a good deal of encouragement from me. Still, though his first attempts produced nothing of consequence, I perceived in them a mind in which, as I was convinced, an exceptional and deeply original talent lay dormant.... I therefore spared myself neither pains nor trouble to awaken and cultivate it, in order to prepare a future priest of art, who should proclaim in a new idiom through his works, its high, true, and lasting principles.'

At what age precisely Johannes began to earn regular money by playing in the dancing-rooms and Lokals of Hamburg cannot now be ascertained. It is possible that he occasionally performed on the violin from early childhood, in cases of emergency, as substitute for his father or one of his father's colleagues, though the conjecture is not borne out by reliable record. There is no doubt, however, that loosely repeated anecdotes have given rise to considerable false impression on the point. The notion which has been partially prevalent, that Jakob made systematic use of his boy from a tender age, employing his gifts for the family benefit, is warmly repudiated by those who have the best means of knowing the circumstances. 'With the best will,' says Christian Otterer, who, about twelve years Johannes' senior, has till lately led an active professional life, and retains a bright and unclouded remembrance of old days, 'I cannot recollect that Johannes played, as a young child, in Lokals. I was daily with his father at the time, and must have known if it had been the case. Jakob was a quiet and respectable man, and kept Hannes closely to his studies, and as much as possible withdrawn from notice.'

'It cannot be true,' said Mrs. Cossel repeatedly, referring to such tales; 'my husband never mentioned such a thing to me when speaking of Johannes' childhood; and even if it had been proposed, I am sure he would never have allowed it.' Two authentic sources of information, however, establish the fact that from the age of about thirteen the boy regularly fulfilled engagements of the kind. The earnings derived from them were eagerly contributed to the general family fund.

A glimpse of him at this period is furnished by Christian Miller,[11] then a young musical student, who has related that he used to play for a small payment on Sunday afternoons during the summer of 1846, at a restaurant in Bergedorf, near Hamburg. Miller heard him there, and, fascinated by his performance, begged to be allowed to play duets with him. After this the two lads met frequently until Miller left Hamburg to become a pupil of the Leipzig Conservatoire. The companionship would seem to have been tolerated rather than actively desired by Johannes, who rarely spoke when out walking with Miller, but was accustomed to march along hat in hand, humming!

The reader will not have forgotten the band of six members which had, during the late thirties, delighted the fashionable loungers of the Jungfernstieg, patrons of the Alster Pavilion. Its activity had been continuous up to the year 1842, when the disastrous fire which broke out in Hamburg during the night of May 4-5, and was not extinguished till the morning of the 8th, destroying the churches of St. Nicholas and St. Peter, St. Gertrude's Chapel, the Guildhall, the old Exchange, the Bank, and over 1,200 dwelling-houses and warehouses, had interrupted the pleasant labours of the musicians. The Alster Pavilion had miraculously been left untouched by the flames, whilst the Alster Halle, a similar establishment close by, had been razed to the ground; and the demolition of the row of shops and houses on the Jungfernstieg had changed the agreeable promenade into a scene of ruin. Little could be thought of in the city for a time save how to meet and repair the ravages inflicted by the calamity, which had stricken the grave citizens of Hamburg with dismay, and made an impression of mixed bewilderment and awe upon the sensitive soul of our little Hannes that was never completely effaced. Gradually, however, public edifices and private houses were rebuilt, Hamburg was restored and beautified, and long before the year 1847, at which our story has arrived, the little orchestra had again become used to assemble, though with a somewhat changed personnel, in the familiar room of the Pavilion, to discourse in lively strains before the ever-shifting guests of the establishment. Jakob retained his position as bass player, and, from his long association with the house, had come to be regarded as an important support to its artistic attractions.

Amongst the most faithful patrons of the Pavilion concerts of this period was a certain Herr Adolph Giesemann, owner of a paper-mill and a small farm in the not very distant country townlet of Winsen-an-der-Luhe. He was in the habit of paying frequent business visits to Hamburg, and, being very fond of music, a performer on the guitar, and the possessor of a good voice, liked nothing better than to spend a leisure hour on the Jungfernstieg listening to a movement of Haydn or Mozart. A familiar acquaintance had grown up between him and Brahms. Giesemann willingly listened to Jakob's eager talk about the achievements of Johannes and the promise of his younger brother Fritz. He had a little daughter of his own at home in Winsen, and hoped she might some day be able to take her part in the private musical doings there—at any rate, learn to play the piano well enough to accompany his guitar. One evening in spring Jakob approached him with a request. His Hannes had found constant employment during the past winter in playing the piano until well into the night in the dancing-rooms of various Hamburg Lokals, and the something under two shillings earned by each engagement had amounted to a valuable addition to the scanty family means. But the late hours had told sadly upon his health. Now the work had ceased for a time, and the little toiler could be spared from home. Would Giesemann give him a few weeks' holiday at Winsen? The boy's musical services would be at his command in return. He could accompany him, play to him, and give pianoforte lessons to the little Lischen, a year younger than himself.

Giesemann's kind heart was instantly touched. He had no need to think twice about his own reply, and could answer for that of his wife. Johannes was to be made ready to accompany him back to Winsen after his next visit to Hamburg, which would take place very soon.

And so, in the bright springing month of May, when the buds were bursting and the birds singing, and the gray skies of Hamburg beginning to show a little blue, our dear Hannes took his departure from his big, busy native city to taste for the first time the delights of a free country life, with a kind little sister as companion. He never for a moment felt like a visitor on his arrival, but forgot his constitutional shyness, becoming a child of the house to be petted and brought back to health by fresh air and good food and Frau Giesemann's motherly care. Lischen was at school all the morning, but this was quite a good thing. Hannes had his tasks to attend to also, and could not afford to lose time, for Jakob had made such arrangements as were at his limited command to ensure that his boy's general progress should not suffer by the holiday.

Fresh air, however, was all-important, so he had come provided with a small dumb keyboard for the mechanical exercise of his fingers, and every day after breakfast, after he had got through such practice as had to be done in the house, Frau Giesemann used to turn him into the fields with a bag slung over his shoulder, containing his books and lunch, the clavier under his arm, the notebook, without which he never stirred anywhere, peeping from his pocket, and orders not to show himself again till dinner-time. Johannes had already been enjoying himself out of doors long before this hour. He used to rise at four o'clock, and begin his day by bathing in the river. Joined not long afterwards by Lischen, the two would spend a couple of delightful hours rambling about, discovering birds' nests and picking flowers. Johannes was quite a simple child in spite of his fourteen years and hard experience, and revelled in the happy days passed amidst sunshine, wild blossoms, and fragrant air. He was very pale and thin, and had little strength on his arrival, but soon gained flesh and colour, to which the glass of fresh milk put by for him every day no doubt contributed. The animals about the place—the cows and pigs, the big dog, the doe—gave him great delight, and he was charmed when the crane spread its wings and flew high overhead as he and Lischen approached it, clapping their hands. He liked to join in the games with which the children of Winsen amused themselves by the river-side on cool summer evenings, but could not be persuaded to take part in the boys' rough sport, and would only play with the girls. The lads, of course, despised him for this, telling him he was no better than a girl himself; but he did not seem to mind, and continued quietly to follow his inclination. One evening, however, soon after his arrival, before he had picked up much strength, as he was returning with several children from wading in the river, Lischen well on in front, one or two rough boys set on him, emptied his pockets, and robbed him of all his possessions, even of the precious pocket-book. He could not help crying at this, but Lischen, seeing him standing on the bank rubbing his knuckles into his eyes, soon found out what was the matter, and, dashing back into the water, forced the molesters to restore everything to her. To the pocket-book Johannes confided his inspirations on every subject. Sometimes it was a melody, sometimes a line or two of verse, that occurred to him. Then, whether he were walking, or climbing trees, or practising, or doing his lessons, out came the book that the idea might be fixed on the spot.

It was not long before his musical talents awakened the admiration of the neighbourhood. There was a pleasantly situated Lokal at Hoopte, a village about two miles from Winsen, which contained a large apartment suitable for dancing and music. This and one or two adjoining rooms were annually taken by the Giesemann circle for the Sunday afternoons of the summer season, and after morning church and mid-day dinner as many of the subscribers as felt inclined would meet there to pass a few sociable hours. Johannes soon became the central figure of these occasions. It was found that he could play, not only the most inspiriting music for the dancers, but a variety of solos also, including some lovely waltzes to which it was delightful to listen quietly; and on being asked, one day, to conduct the men's choral society that was to contribute to the afternoon's programme, he showed himself so astonishingly competent for the rÔle he consented to assume, and inspired such confidence and sympathy, as he stood before his forces in short jacket and large white turn-down collar, his fair girlish face, with its regular features and shock of long, light hair, adding to the impression made by his childlike manner, that he was unanimously elected conductor of the society for so long as he should remain at Winsen; a period which was, as now decided, to be prolonged until he should be recalled to the recommencement of his autumn duties.

The men's choral society of Winsen consisted of about twelve members, the majority of whom were school-teachers of the neighbouring villages. The teachers Backhaus of Winsen, Albers of Handorf, SchrÖder of Hoopte, belonged to it; other prominent members were the goldsmith Meyer and the big master-baker Rieckmann, who had a splendid bass voice. The practices were held on Saturdays from six to eight o'clock, generally in Rector KÖhler's schoolroom, because it contained a piano, but when this was not available, in the billiard-room of the Deutsches Haus, Winsen's best Lokal. The singers used to stand round the billiard-table, and Johannes would take his place at the top. Lischen was privileged to attend all meetings of the society during the period that her friend officiated as its conductor.

The boy found a most valuable ally in teacher SchrÖder, who had great talent and love for music, had worked hard at thorough-bass and counterpoint, and been a composer since his fourteenth year. When Johannes came upon a knotty point in his theoretical studies that required discussion, he would walk over to Hoopte and consult SchrÖder, who was always ready with sympathy and counsel. He had not returned late one evening from an expedition of the kind, and Giesemann, becoming uneasy, was about to start in search of his young guest, when up drove Mr. Carriage-overseer LÖwe from Pattenzen, a few miles away. 'Here is your Johannes,' he cried as the boy jumped from the gig; he went out by the wrong gate this morning and missed his way. I found him asleep by the side of a ditch some distance out on the LÜneburg Heath, the clavier by his side and the notebook fallen from his pocket; lucky they had not all rolled in together!'

The theoretical exercises and the little compositions for voices on which Marxsen encouraged his pupil to try his hand were regularly carried to Altona, for, with Marxsen's concurrence and the advice of the schoolmaster Hoffmann, it had been arranged that Johannes should go every week by steamboat to Hamburg and remain there two nights, which allowed him a clear day for his music-lessons and for general private instruction. Now and then Lischen was invited to accompany him, and to share sister Elise's tiny chamber in the Brahms' little dwelling on the Dammthorwall. The journeys were easily managed, for 'Uncle' Adolph Giesemann's brother, manager of the restaurant at the Winsen railway-station, was also contractor for the refreshment department of the steamboat service to and from Hamburg, and nothing could be simpler than for one or both of the children to go and return as his friends. Frau Giesemann used to see that they started with a liberal supply of 'belegtes BrÖdchen,' a crusty roll cut through, buttered, and put together again, with slices of cold meat, sausage, cheese, or what not, between the two halves. Their friend the restaurateur provided each of them, at the proper time, with a large mug of thin coffee, and Lischen and Hannes, sitting together in the bottom of the boat, thoroughly enjoyed these picnic dinners.

Johannes always began the day after his arrival at Hamburg by exercising his fingers on the upright piano that stood against the parlour wall, on the music-desk of which a book invariably stood open, into which he poked his head—for he was very near-sighted—reading as he worked. Lischen saw little of him afterwards, for his time was occupied by his various lessons, but she did not mind this. She soon became very fond of his dear, kind old mother, and liked to watch her at her duties, sometimes able to help her by fetching water from the pump at the bottom of the steps outside the house, a task which Johanna's lameness prevented her from performing herself. Lischen much admired the portrait of Frau Brahms that hung above the piano, and thought, as she looked at the youthful figure arrayed in a pink dress made Empire fashion, with flowing skirt, short waist, and low neck, the hair dressed with little curls in front and a high comb behind, that Hannes' mother must have been very pretty in her youth. The parlour was rather bare, containing little beyond the piano, table, chairs, a few shelves filled with books, and one or two small prints; but Lischen did not think this mattered, as everything was so neat and shining. She felt sorry, however, that it was so dark, and that its one small window had no other prospect than a close, dreary courtyard—for Johanna still had her little shop in front—and proposed to Hannes that they should bring some scarlet-runners from Winsen, which could be planted in the courtyard and trained up sticks. There would soon be something bright in front of the parlour window. Johannes greatly approved of the plan, which worked well up to the planting of the beans and the placing of some immensely high sticks in readiness for the training. After this stage it disappointed expectations, as the plants failed to do their part and firmly abstained from growing.

It would have been impossible for Johannes to pass with entire enjoyment through the months of his visit to Winsen if he had been without the means of gratifying a taste hardly less strong in him than his passion for music. From the very early age at which he was first able to read, he had been devoted to books, and, whilst showing the child's natural preference for the romantic and wonderful, had displayed strange discrimination in the choice of his favourite tales. He had always contrived by some means or other to provide himself with reading material, preferring books for his little birthday and Christmas gifts, buying them from time to time from pedlars' wheelbarrows with his collection of halfpennies, or begging the loan of a volume from a friend. Brahms' exceptional knowledge of the Bible grew from the time when, as a young child, he was accustomed to eat his dinner with the book lying open beside his plate, absorbed in the Old Testament stories which were then his prime favourites, misty speculations forming in his brain which laid the foundation of his future attitude towards many of life's problems. He had not been long at Winsen before he had exhausted the mental nourishment afforded by Uncle Giesemann's collection of volumes. Fortunately, another resource was at hand. There was a lending library in the neighbourhood belonging to a certain Frau LÖwenherz, a Jewess, who had a son called Aaron. With Aaron the two children made friends, and of him, in the absence of sufficient funds to pay the full price of a constant supply of literature, they sought counsel. He proved an able adviser, and, whilst promising to obtain for them access to the coveted books, showed that he was not wanting in the capacity of turning opportunity to profit on his own account. He promised that he would, on his private responsibility, bring one volume at a time for the perusal of Hannes and Lischen, to be put back when done with and replaced by another; the price demanded and agreed to for this secret service being one groschen (about a penny) for each supply.

By this expedient Hannes and Lischen—the latter having probably been the active partner in striking the bargain, for Johannes had few spare pennies—found themselves provided with as many books as they could desire. Their best time for reading was when they sat together by the river-bank, or fished in the pond during the afternoon. Forgetting their rods, they used to pore silently over the open book supported between them, devouring one tale after another of knights and tournaments, outlaws and bandits. Aaron received very particular instruction as to the kind of selections he was to make, and took pains to suit the taste of his patrons. He appeared one afternoon with a volume containing the history of 'The Beautiful Magelone and the Knight Peter with the Silver Keys.' That was a red-letter day in the history of the young subscribers to the lending library which neither Hannes nor Lischen ever forgot. The romance made an indelible impression on both of them. As for bandits, what better could Johannes desire than a work bearing the stimulating title of 'The Robbers,' which Aaron offered another day, insisting with justifiable pride on the success of his researches? The book was written by one Schiller, and proved so satisfactory that Hannes begged Aaron to be on the look-out for other volumes bearing this name on the title-page.

It might be expected that the young conductor of the Winsen Choral Society and the pupil of the distinguished musician of Altona would turn his studies to account by writing something for the use of his choir, and so it was. Johannes composed an 'ABC' four-part song for his school-teachers, consisting of thirty-two bars in two-four time, preceded by three bars of introduction and followed by a kind of signature. The introduction and first three of the four eight-bar phrases had for their text the letters of the alphabet arranged, first in order, and then in syllables of two letters as in a first spelling lesson; the fourth phrase was set to a few words introduced at random. The composition closed with the words 'Winsen, eighteen hundred seven and forty,' sung in full chorus, lento and fortissimo, on the reiterated tonic chord. The little composition, tuneful and spirited, showing a feeling for independent part-writing, and conceived in a vein of boyish fun that was fully appreciated by the teachers, was soon succeeded by a second, 'The Postilion's Morning Song,' composed to the well-known words 'Vivat! und in's Horn ich stosse.' The young musician was also requested by a deputation from the school-children of Winsen to assist them in the performance of a serenade with which they were desirous of greeting their Rector KÖhler on his birthday. He accordingly looked out one suitable to the occasion, arranged it in two parts, practised the boys and girls until they were perfect with it, and conducted the performance outside the Rector's house on the eve of the birthday celebration. He was very strict and serious when engaged in these professional duties, beat time with great verve, and insisted on careful observance of the pianos and fortes, as well as on the proper graduation of the rallentandos. The singing of the StÄndchen was declared brilliantly successful by the quite considerable audience that assembled near the Rector's house to enjoy it.

Rumours of the increased musical activity of Winsen could not fail to reach the ears of the Amtsvogt, Herr Blume, an official of good social standing residing there, whose duties, as administrator of some of the rural districts of northern Hanover, brought him into touch with the life of such parts of the country as were included in his circuit. Herr Blume was not far short of seventy when Johannes paid his first visit to the Giesemanns, but his interest in music and love for Beethoven's art were as strong as ever, and Johannes, before leaving Winsen, was invited to his house, and pressed to use his piano for practice. The boy delighted the Amtsvogt by playing with him some four-hand pianoforte arrangements of Beethoven's works, and won the heart of Frau Blume, in spite of his shy, awkward manner, by his simple, childlike nature. If, as was hoped, he should be able to repeat his visit to Uncle Giesemann next year, he was to come often to the Blumes' house, and use the piano as long as he liked. Great regret was felt throughout the circle of Winsen friends at the news of the young musician's impending departure, but the arrival of autumn brought with it the necessity for the resumption of duties in Hamburg, and nothing remained save to hope for a renewal of the pleasures his long visit had brought to many beside himself.

Johannes returned to his home in such a satisfactory condition of health and spirits that he was able, with Marxsen's approval, to take a decided step forward in his career. He played in the Apollo Concert-room on November 20, at a benefit concert given by Birgfeld, already known to our readers as the violinist of the subscription concert at the 'Old Raven,' performing Thalberg's Fantasia on airs from 'Norma.' Marxsen's affection for his pupil and appreciation of his gifts are clearly to be read in the summary of concerts which appeared a week later in the FreischÜtz, a widely-read Hamburg paper to which he was one of the chief contributors:

'Birgfeld's concert is said 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.