Vienna, particularly attached himself to the Würstelprater, for which he ever after retained his partiality. The motley life to be seen there amused and interested him. He came to be a frequent listener at the 'Czarda,' and it is whispered that the spirit of fun has occasionally prompted him, when at the height of his fame, to prevail upon a party of friends to take a turn in his company on the curvetting horses of one or other of the 'carrousels' which are amongst the most popular attractions of this part of the grounds.

One of Brahms' first visits was to Julius Epstein. He did not send in his name, and, as the professor was engaged with someone else at the moment, was not admitted. A second call was successful. 'My name is Johannes Brahms,' he said as he entered; and his simple manner at once attracted Epstein, who was well acquainted with his published works. An opportunity was arranged without delay for his introduction to some of the leading musicians of the city.

'Brahms in 1862 played the Quartets in G minor and A major with the members of the Hellmesberger Quartet (Hellmesberger, Dobyhal and Röver) at my house in the Schulerstrasse, in the first place,' writes Professor Epstein to the author. 'We were all delighted and carried away. The works were shortly afterwards played in public by Brahms with the same colleagues.'

The G minor Quartet was, in fact, included in the list of works announced by Hellmesberger for the ensuing season, and the immediate interest awakened in musical circles by the arrival of the composer is even more strikingly testified by the fact that on October 14, only five weeks after his departure from Hamburg, the name of the orchestral Serenade in D major appeared in the forecast of the Gesellschaft season published in the Blätter für Theater, Künst und Musik.

On Sunday evening, November 16, Brahms made his first appearance before his new public at Hellmesberger's Quartet concert, which took place, as usual, in the Vereinsaal (the concert-room of the Gesellschaft der Musikfreunde) before an audience that crowded every part of the house in anticipation of the début in Vienna of 'Schumann's young prophet.' The first and last numbers of the programme of three works were severally Mendelssohn's String Quartet in E flat and Beethoven's in C sharp minor, Op. 131, Brahms' G minor Pianoforte Quartet occupying the place of honour between them. If we were to judge of the result by the press reviews of the day, which were either unfavourable or reserved, it would be impossible to chronicle a success, and yet that the work was essentially successful is established by the fact that the composer received overtures after the concert from more than one Vienna publisher, which, however, he declined. He had certainly made his mark in his own characteristic way even before the 16th. A private circle of admirers began to form round him, and he was sufficiently encouraged to venture on a concert of his own, which took place in the Vereinsaal on November 29.

On this occasion the Pianoforte Quartet in A major headed the programme, the composer being assisted in its performance by the three members of the Hellmesberger party with whom he had already appeared. The remaining instrumental numbers were pianoforte solos, the concert-giver's Handel Variations and Fugue, Bach's F major Toccata for organ, and Schumann's C major Fantasia, Op. 17.

As regards the general audience, the concert was an unmistakable success. The room was fairly filled, and enough money taken to cover expenses. This, however, by the way. The circumstance most worthy of record is that artist and public found themselves en rapport. The performer had the infallible instinct of having with him the sympathy of his hearers, and played his best, giving out what was really in him as he had probably never been able to do before his indifferent or sceptical audiences in Germany. A friendly reception was accorded to the quartet, which was followed with close attention. Enthusiasm could scarcely have been looked for on a first hearing of so original a work. The variations and fugue, however, called forth a storm of applause that was renewed after the performance of Schumann's fantasia, the divine last movement of which was given with ideal insight and noble inspiration. The press notices, though respectful, were disappointing in regard to Brahms the composer.

'The quartet by no means pleased us, and we are glad that the unfavourable impression it created was obliterated by the variations which followed....' Hanslick wrote (die Presse). 'Brahms' talent has hitherto been displayed at its best in variation form, which requires, above all, facility in inventing figures, and unity of mood.... The unsatisfactory features of his creative style are more apparent in the quartet. The first subject has not enough significance. The composer chooses themes rather with a view to their capacity for contrapuntal treatment than on account of their intrinsic merit, and those of the quartet sound dry and flat.... The quartet and others of the composer's works remind us of Schumann's last period; the early works of his first period; but none of Brahms' yet known compositions can take their place beside those of Schumann's ripe middle period.'

As a pianist, Brahms was mentioned in the papers in more decided terms of appreciation. Bagge says:

'We have to bestow high praise not only on the enormous technical acquirement, but also on a performance instinct with musical genius, on a treatment of the instrument as fascinating as it was original.'

The playing of Bach's organ toccata is especially mentioned in terms of high admiration; the touch employed for the passages written for the pedals 'gave the pianoforte the effect of an organ.' The performance of each number was musical through and through, and although 'he has not the unfailing certainty nor the outward brilliancy of the virtuoso, he reaches and fascinates his audience by other means.'

The delightful natural letter to his parents, published by Reimann, written after the concert, shows the pleasure derived by Brahms from feeling his audience in sympathy with him:

'Dear Parents,

'I was very happy yesterday, my concert went quite excellently, much better than I had hoped.

'After the quartet had been sympathetically received, I had great success as a player. Every number was greatly applauded, I think there was real enthusiasm in the room.

'Now I could very well give concerts, but I do not wish to do so, for it takes up too much time so that I can do nothing else....

'I played as freely as though I were sitting at home with friends; one is certainly influenced quite differently by the public than by ours.

'You should have seen the attention and seen and heard the applause.... I am very glad I gave the concert. You are probably rid of your guests again now and will be able to find a moment of time to write to me?

'Tell the contents of this letter to Herr Marxsen and say also that Börsendorfer[1] will not be able to send a piano before the New Year as so many are required for concerts. Shall I see about another for him? I await orders....

'I think my serenade will be given next Monday.

'I should have liked to introduce some of my vocal things in my concert yesterday, but it gave me a terrible amount of running about and unpleasantness and that is one of my reasons for wishing to be quiet