pronounced the Hungarian Concerto

'a tone-poem full of mind and spirit, of energy and tenderness. One might almost regret Joachim's achievements as a virtuoso, which must be the only cause that his powers are so seldom concentrated on the composition of a great work.'

The music season was now coming to a close, but the many attractions of Vienna—and not least among them its beautiful neighbourhood, with which Brahms' frequent long walks with Nottebohm, Faber, Epstein, and others gradually made him familiar—inclined him to stay on for some weeks longer; and it was not until the spring had well set in that he set out for Hanover en route for Hamburg, carrying with him many new possessions as mementoes of his visit, engravings of some of his favourite pictures in the Belvedere Gallery,[9] and the entire collection of the then published works of Schubert, presented to him by Spina, being the principal. He had a particular reason for wishing to pass a day or two with his friend. He was to be introduced to Fräulein Amalie Weiss, to whom Joachim had lately become engaged. This lady had entered into a three years' engagement as first contralto on the stage of the Hanover court opera in the spring of 1862, and it was not long before her gifts attracted the enthusiastic interest of the celebrated court concertmeister of the same capital. The two artists were betrothed in February, 1863, and the birthday of the Queen of Hanover, April 14, was celebrated by a festival performance of Gluck's 'Orpheus,' conducted, by Her Majesty's express desire, by Joachim, in which Fräulein Weiss appeared with brilliant success in the title-rôle. Brahms, on his arrival a little later on, was a delighted witness of a repetition of the opera. Frau Amalie Joachim, who retired from the stage on her marriage (June, 1863), gradually acquired a very great reputation as a concert-singer, and was a much-admired interpreter of Brahms' songs.

Brahms returned to Hamburg on May 5, and, after passing his thirtieth birthday with his family, took a lodging at Blankenese, on the Elbe, where an unexpected meeting with some of the former members of his Ladies' Choir agreeably reminded him of the charming society that had now quite fallen through, having served its purpose in the composer's course of self-training. Various plans for work and recreation for the summer and autumn months were under consideration, but were to be set aside. Before the month was out, Brahms received a convincing proof of the impression his visit had made in Vienna by getting a call to return there. The post of conductor to the Singakademie had fallen vacant by the death of Stegmayer, and, at the general meeting of the society in the course of May, Brahms was elected successor to the post. There was a severe competition between two sections of the members, a large and influential party, led by Prince Constantin Czartoriska, being strongly in favour of the election of Franz Krenn, an excellent musician of the old school, who belonged to Vienna as choir-master of the parish church of St. Michael, and professor of composition at the conservatoire, and who had conducted one of the Singakademie concerts during Stegmayer's illness. It happened, however, that amongst those members of the committee who desired that the practices and performances of the society should be placed under the direction of a young, resolute, and energetic musician, were several gentlemen belonging to the circle of enthusiastic admirers of Brahms' art which had sprung into existence almost simultaneously with his first appearance in Vienna, and had increased with each opportunity that had offered itself there for the hearing of his music. Amongst them were Dr. Scholz, a surgeon; Herr Adolf Schultz, a merchant; and Herr Franz Flatz, an insurance official of Vienna; and at their head Dr. Josef Gänsbacher, son of the distinguished musician and church composer Johann Gänsbacher, the pupil of Vogler and Albrechtsberger, acquaintance of Haydn and Beethoven, friend of Weber and Meyerbeer, and capellmeister of the cathedral from 1823 until his death in 1844.

Dr. Josef Gänsbacher, whose name has become known in the musical world of many countries by its appearance on the title-page of Brahms' first sonata for pianoforte and violoncello, was, in 1863, a young doctor of jurisprudence and advocate's draughtsman. Later on he adopted music as a profession, and became a valued teacher of singing, professor at the conservatoire, and violoncellist. He was one of Brahms' earliest and truest friends in Vienna, and became a devotee of his art even before making his personal acquaintance. He had considerable influence with the members of the Singakademie, and representatives of both sections of the committee called on him at his bureau to solicit his help, Prince Czartoriska presenting himself in person in Krenn's favour. Gänsbacher's sympathies, however, were all the other way; and, being selected by his party to make a speech at the general meeting in Brahms' interest, he used such forcible arguments as to bring over several of Krenn's supporters and to win the election for his own side by a majority of one.

It was in every way characteristic of our composer that he could not at once decide either to accept or reject the offer of the appointment, and was only at length brought to a resolution by a telegraphic request for his final answer.

'The resolve to give away one's freedom for the first time is exceptional,' he wrote to the committee, 'but anything coming from Vienna sounds doubly pleasant to a musician and whatever may call him thither is doubly attractive.'[10]

Something of what it cost Brahms to send his affirmative decision may be perceived in a letter to Hanslick, which indicates, also, the quick advance of friendship between the two men:

'Dear Friend,

'You will wonder that most glad and grateful reply has not arrived sooner to yours and many other kind letters received by me. I seem to myself as one who has been praised beyond desert, and should like to creep into hiding for awhile. I resolved, on receipt of the telegraphic despatch ... to be content with such a flattering summons and not to tempt the gods further ... and since nothing more is in question than whether I have the courage to say "yes," it shall be so. Had I refused, my reasons would not have been understood by the academy or by you Viennese generally....'

These occurrences put an end to the various holiday projects which Brahms had been considering. 'I cannot make up my mind to deprive my parents of any of our short time together,' he wrote in answer to Dietrich's pressing invitation, and remained quietly near and at Hamburg. He began at once to occupy himself with plans for his programmes, and begged Dietrich's advice 'as a very experienced and learned court-conductor' on matters connected with his new duties. 'I feel enormously diffident,' he says, 'about trying my talent for these things in Vienna.'

Allowing himself but three days en route for a visit to beautiful Lichtenthal, a suburb of Baden-Baden, where Frau Schumann had purchased a house the previous year on giving up her residence in Berlin, Brahms was back again in Vienna by the last week of August, and soon engaged with characteristic earnestness in work connected with his new appointment. His scheme for the weekly