Brahms received an ovation when he had finished his performance of the new concerto, and as he was retiring from the platform Bülow, unable to restrain his excitement, darted forward and gave him a kiss. It seemed to take him rather aback, but he submitted passively.
At length the rehearsal came to an end, and Brahms was immediately surrounded by friends eager to offer their congratulations and to receive a word of greeting from him. 'Now or never,' I thought, and, taking my courage in my hand, I managed to get near, though a little behind him. 'I, also, should like to say a word of thanks to you, Herr Brahms,' I said. Brahms turned his head. 'Are you here in Berlin, then?' he rejoined instantly, answering as he might have done if we had met the previous week. Someone else pressed forward to claim his attention as I was replying, and I fell behind again. I did not like to wait for a second opportunity, feeling there was no chance of his being free, so I straightway departed and went back to my lodgings.
Thinking things over on my road, I came to the conclusion that Brahms had not recognised me, but that when my words caught his ear he had uttered the first casual reply that rose to his lips, and which might be appropriate to any acquaintance whom he did not at the moment remember. However exceptional his memory for faces might be, it appeared to me incredible that, after the lapse of so many years, he should have known me without the hesitation of a second at a moment when his attention was preoccupied by the concert business of the day and by the claims of his Berlin friends.
It was in this frame of mind that I took my seat in the evening to hear the concert. Having got over the first excitement of seeing Brahms again, and knowing what I had to expect in regard to his personal appearance, I was able to listen to the music in a more composed mood than had been possible to me in the morning. My pleasure in the performance of the concerto was, of course, in some measure impaired by the circumstance that the long, intricate work was quite new. I think, however, that I should have enjoyed it more if Brahms had conducted and Bülow performed the solo. I did not think Brahms' playing what it had been. His touch in forte passages had become hard, and though he might, perhaps, be said to have mastered the difficulties of his part, he had not sufficiently surmounted them to execute them with ease. It could not, in fact, have been otherwise. No composer having attained to the height of Brahms' greatness could have kept his technical command of the pianoforte unimpaired; life is too short for this. I knew, however, that I had listened to a magnificent work of immense proportions, and longed for opportunity to hear it again that I might assimilate it.
There was a scene of tumultuous enthusiasm at the close of the work. The public applauded wildly, and shouted itself hoarse; the band joined in with its fanfare of trumpet and drum; Brahms and von Bülow were recalled again and again, separately and together; and in the moment of the great composer's triumph I saw the earlier Brahms once more standing before me, for, whilst his eyes shone and his face beamed with pleasure, I recognised in his bearing and expression the old familiar look of almost diffident, shy modesty which had been one of his characteristics in former days.
I did not, of course, seek for a further opportunity of speaking to Brahms on the evening of which I am writing, but I laid my plans for the next morning, and at the proper hour again made my way to the Singakademie and successfully begged for admission to the rehearsal.
During the first part Brahms sat as one of the audience in the front row of stalls, and in a convenient break between the pieces I sent my English visiting-card to him, having written on it a few lines recalling myself to his remembrance. He read it and looked round. 'I know that already,' he said coldly, but rising and coming towards me. 'I saw you yesterday.' 'But you did not know who I was?' I returned, still sceptical. 'Yes, I knew.' 'It seemed to me quite impossible you could have recognised me!' I ejaculated. 'Oh yes, yes—oh yes!' said Brahms in quite a different tone, and for a couple of seconds I forgot to look up or say anything.
'Are you taking notes?' he asked by way of recalling me to myself, touching my pencil. But the rehearsal had to proceed, and Brahms presently took his place on the platform with Bülow for the performance of the Concerto in D minor. When the rehearsal was over, I did not leave the hall so quickly as on the previous day, but waited in the hope of getting another word with Brahms, and was rewarded by having a good many.
In the evening, as he faced the audience before the commencement of the concerto, catching sight of me in the third row of stalls, he was at the pains to bestow upon me a kind bow and smile of recognition. He glanced slightly at me again once or twice during the evening, and I knew, though his appearance still seemed a little strange to me, that Brahms was in the world after all.
The execution of the D minor Concerto was one of those rare performances that remain in the memory as unforgettable events. Brahms, when conducting, indulged in no antics, and was sparing of his gestures, often keeping his left hand in his pocket, or letting it hang quietly at his side; but he cast the spell of his genius over orchestra and pianist alike. The performance was remarkable for its power and grandeur, but not chiefly so, for these qualities were to be expected. It was made supremely memorable by the subtle imagination that touched and modified even the rather hard intellectuality of von Bülow's usual style. Good performances of Brahms' orchestral works may not seldom be heard, and great ones occasionally; but the particular quality of his poetic fancy, by which, when conducting an orchestra, he made the music sound from time to time as though it were floating in some rarefied atmosphere, vibrating now with fairy-like beauty and grace, now with ethereal mystery, was, I should say, peculiar to himself, and is hardly to be reproduced or imitated.
As soon as Brahms had finished his share in the evening's programme I quitted the hall, for I was thoroughly exhausted by the excitement of the past two days, and felt I could bear nothing more. Early the next morning he left Berlin to fulfil engagements in another town.
Vienna.
During the next four years much of my time was passed in Berlin. I delighted in the concerts and general musical atmosphere of the German capital, and did not allow my plans to be disturbed by a vague invitation to visit Vienna which Brahms had given me in the course of our short interview in the hall of the Singakademie. I felt that however kind and friendly his recollection of me might have remained, yet I could not hope to derive direct musical benefit from one absorbed in the intense thought and brooding to which the life of a really great composer must be largely devoted.
It was not until December, 1888, that I paid my first visit to Vienna. I arrived there towards the end of the month, armed with letters of introduction which met with a kind response and obtained for me immediate admission into those English and Austrian circles to members of which they were addressed. I waited for a week before letting Brahms know of my arrival, as I wished not only to be settled before calling on him, but also to be in such a position in regard to my acquaintance as would make it impossible for him to suspect that I could want anything whatever of him beyond the delight and honour of seeing him again, and of recalling myself to his remembrance.
Meanwhile I gathered, from all I heard, that his dislike of anything approaching to general society had steadily grown upon him. Some, even, of his old friends spoke of