CHAPTER XXII

1895-1897

The Meiningen Festival--Visit to Frau Schumann--Festival at Zürich--Brahms in Berlin--The 'Four Serious Songs'--Geheimrath Engelmann's visit to Ischl--Frau Schumann's death--Brahms' illness--He goes to Carlsbad--The Joachim Quartet in Vienna--Brahms' last Christmas--Brahms and Joachim together for the last time--The Vienna Philharmonic concert of March 7--Last visits to old friends--Brahms' death.

But few events remain for record in the life which we have now followed step by step nearly to the end of its progress. Of these few, several have the pathetic interest of last visits to dear and familiar places made, so far as appears, without presentiment that they were final. The composer was present at a three days' festival held in Meiningen September 27-29; 'the Festival of the three B's,' as it has sometimes been called, from the circumstance that the programmes were devoted to works by Bach, Beethoven, and Brahms. Those of Brahms selected for performance included the Song of Triumph, the fourth Symphony, the B flat Pianoforte Concerto, with d'Albert as pianist, the Clarinet Sonatas performed by the same artist with Mühlfeld, some of the Vocal Quartets, amongst them the early favourite 'Alternative Dance Song,' and others.

The festival was an immense success, and the pleasure which the master derived from the concerts is evident in the following lines written to Steinbach immediately after the last one:

'DEAR FRIEND,

'However tempted I may feel, I dare not break in upon your well-deserved rest; but you shall find my hearty greeting awaiting you on your happy awakening; how hearty and grateful it is there is no need to tell you in detail. You must have perceived each day that you gave me and all who took part in your splendid festival, a quite exceptional pleasure....'[84]

Brahms was, of course, a guest at the castle, and he remained on for a few days after the last concert. Leaving Meiningen on October 3, he proceeded to Frankfurt on a flying visit to Frau Schumann. Professor Kufferath of the Brussels Conservatoire, with Mr. and Mrs. Edward Speyer, accompanied him on the short journey, and were, by his particular suggestion, invited to spend the evening at Frau Schumann's house. Professor Kufferath, a pupil of Mendelssohn at Leipzig, and on a very old footing of intimacy at the Schumanns', had been for more than twenty years on terms of cordial friendship with Brahms also, though the two men met but seldom. Frau Schumann's daughters Marie and Eugénie, and Stockhausen, were the only others present. The hours were spent in pleasant chat as between old friends, and music was represented only by a few of Brahms' folk-songs sung by Mrs. Speyer (Fräulein Antonia Kufferath) to the master's accompaniment.

Brahms left the next morning, but before his departure he requested his old friend to play to him. Forty-two years had passed since Schumann had desired him to play for the first time to her, marking both musicians with inevitable outward signs. The traces of suffering and sorrow had deepened of late on Frau Schumann's countenance, but those who were happy enough to listen to her playing at this period, in the privacy of her home, knew that her spirit was still young, and Brahms' last remembrance of the great artist, the remembrance of an old age which had left the poetry of her genius untouched, will have fitly completed the long chain of personal associations begun when Schumann called his wife to rejoice with him in the daring power and romantic enthusiasm of Johannes' inexperienced youth. When she rose from the piano on that October morning, the final link had been added. Frau Schumann and Brahms were not to meet again on earth.

A four days' festival in October (19-22) to celebrate the inauguration of the new concert-hall at Zürich seems to carry us more than one stage nearer the end. It brought Brahms for the last time to Switzerland to conduct his Triumphlied; a fine close--for as such it may almost be regarded--to a noble career.

Let us pause for a moment to picture the robust figure of the composer as he stands before the vast audience completely filling the brilliantly lighted hall, and leads with sure, quiet dignity the 'masses of chorus and orchestra' that swell out in proud tones of thankfulness for his country's glory. Listen! for with the sounds of the grand old hymn 'Now thank we all our God' the bells of victory are pealing, and a sensation of happiness spreads through the mass of hearers, a vibration that stirs something of the feeling which roused the great German audience at Cologne to enthusiasm as they listened twenty years ago to the same jubilant tones. Who so fitted to raise the strain as the patriot citizen of ancient Hamburg, the unique descendant of the mighty Bach, the musician of true, rich, loving spirit, conqueror of life and of himself, our Johannes Brahms? Conqueror, too, of death; for surely we cannot be mistaken in accepting the likeness of the master, that looks down with those of the greatest of his art from the painted ceiling of the new hall, as the symbol of a further life to be his even here on earth, when he has entered the darkness that is soon to cover him from our sight.

Brahms was in overflowing spirits during the entire festival, enjoying the concerts, the private gatherings, the meetings with old friends, in a mood of harmless gaiety that recalls the Detmold days.

'We have seen Brahms and Joachim together again, both in full vigour; may we not hope for a prolongation of this happy state of things?' writes Steiner a few days after the festival.

Widmann was, of course, there, and stayed with Brahms at Hegar's house. When he bade the master farewell on the day after the concert, the two friends clasped hands in a final grasp.

One of Brahms' late public appearances was on the occasion of the concert given in the Börsendorfer Hall, Vienna, by Signorina Alice Barbi (now the Baroness Wolff Homersee) shortly before her marriage. He pleased himself by acting as accompanist to the distinguished cantatrice, whose programme included a number of his songs. He held the bâton for the last time on a Vienna platform when he directed the performance of his Academic Overture by the students of the conservatoire at the festival concert given to celebrate the twenty-fifth anniversary (1895) of the opening of the present home of the Gesellschaft der Musikfreunde. He officiated for the last time in public at d'Albert's concert in Berlin of January 10, 1896, conducting his two Pianoforte Concertos and the Academic Overture, and was received with the usual enthusiasm. Stanford speaks of being present at a dinner-party given by Joachim during Brahms' brief visit.

'Joachim, in a few well-chosen words, was asking us not to lose the opportunity of drinking the health of the greatest composer--when, before he could say the name, Brahms started to his feet, glass in hand, and calling out "Quite right; here's to Mozart's health," walked round clinking glasses with us all. His old hatred of personal eulogy was never more prettily expressed.... The last vision I had of him was as he sat beside the diminutive form of the aged Menzel, drinking in, like a schoolboy, every word the great old artist said with an attitude as full of unaffected reverence as of unconscious dignity.'

Of all modern painters, Adolph von Menzel was the most admired by Brahms. He visited him on several occasions, and spoke of him and his works with unfailing enthusiasm.

That the master had realized a competence some years before his death--more than a competence for one of his extraordinarily simple habits--is generally known. How he regarded it, how he used it, may have been but little suspected outside a small circle. His friend and publisher, the late head of the firm of Simrock, shared his confidence on the subject more than anyone else, for it was often through his agency that Brahms' munificence was applied to its object; the substantial help, perhaps, of a needy musician, or a promising talent. He contributed more than one large donation to the 'Franz Liszt Pensionsverein' of Hamburg, a society founded by Liszt in 1840 for the benefit of aged or disabled members of the Stadt Theater orchestra. Several authentic stories are told by accidental witnesses of some of his particular acts of generosity. One has been related to the author by the Landgraf of Hesse, who was sitting with the master one morning when a caller appeared with a tale of distress which touched his heart. He listened quietly, asked some questions, then went to his writing-table, and, handing his visitor the entire sum of money towards which he was asked for a contribution, said quietly, 'Take this from me; I do not need it. I have more money than I want for myself.' This was his usual formula on such occasions, 'I do not need it,' to which was sometimes added, 'If you should ever have it in your power, you can pay me back.'

Brahms' heart was of gold, if ever such existed. He was rough sometimes--often, perhaps--let it be freely granted. The spoiled humours of his last two or three years have already been noted; they do not amount to much. He permitted himself deliberately to repulse strangers or slight acquaintances when he felt so disposed; necessarily, if his time and tranquillity were to be protected. Now and then he was inconsiderate or blunt to his friends. The concentration of mind, the sacrifice of immediate inclination, the devotion of energy, involved in the fulfilment of the career of genius are often but imperfectly realized even by the friends of a famous man. The great poet, the great painter, the great musician, has his brilliant rewards. He has also his bitter disappointments, and one of the hardest of these--which is especially apportioned to the lot of the creative musician--is the discovery that, as in the case of other princes and sovereigns of the world, his path in life must be solitary. Brahms may sometimes have imagined he had reason for his impoliteness; more frequently a gruff manner, an awkward joke, was the result of a constitutional want of presence of mind in trifling matters, which frequently caused him to be misunderstood. His real attitude is expressed in a note published after his death by Hanslick in the _Neue Freie Presse_ article from which we have already more than once quoted.[85] Hanslick had sent him a packet of letters to read, and had inadvertently enclosed in it one from a mutual friend which contained a comparison of Beethoven and Brahms. In it were these words:

'He is often offensively rough to his friends like Beethoven, and is as little able as Beethoven was to free himself entirely from the effects of a neglected education.'

Hanslick was very much upset on remembering what he had done, and immediately wrote to Brahms to throw himself on his mercy and beg his silence on the matter. The master immediately answered:

'DEAR FRIEND

'You need not be in the least uneasy. I scarcely read ----'s letter, but put it back at once into the cover, and only gently shook my head. I am not to say anything to him--Ah, dear friend, that happens, unfortunately, quite of itself in my case! That one is taken even by old acquaintances and friends for something quite different from what one is (or, apparently, shows one's self in their eyes) is an old experience with me. I remember how I, startled and confounded, formerly kept silence in such cases; now however, quite calmly and as a matter of course. That will sound harsh or severe to you, good and kind man--yet I hope not to have wandered too far from Goethe's saying, "Blessed is he who, without hate, shuts himself from the world."'

Brahms was ready for another journey to Italy in the spring, but Widmann was unable to accompany him, and he passed his sixty-third birthday anniversary in Vienna. When it dawned, the work that was for a short time generally accepted as his swan-song had been completed. Deiters writes that the immediate occasion of the composition of the 'Four Serious Songs' was the death of the artist Max Klinger's father, which occurred earlier in the year. The not unnatural assumption that has sometimes seen in these solemn utterances of the great composer a presentiment of his own fast-approaching end may or may not represent a fact. It has not been accepted by those of his friends amongst whom he passed the last few months of his life, and certainly nothing that is known of his individuality lends likelihood to the notion of his going out, as it were, to meet the thought of his death. On the other hand, his repeated assertion that the songs had been composed for his own birthday points to the possibility that his mind may have been under the influence of forebodings of which he was, perhaps, but vaguely conscious. 'Yes, Grüber, we are in the front line now,' he said to his landlord on hearing of the death of some of the old people in the course of one of his last summers at Ischl.

The 'Four Serious Songs' were published in the summer of 1896 with a dedication to Max Klinger, his personal friend, of whose work, including that inspired by his own compositions, he became a warm admirer, though he at first disliked the painter's 'Brahms Fantasie.'

Three of the songs deal grimly with the thought of death (Eccles. iii. 19-22, iv. 1-3; Ecclus. xli. 1, 2); the fourth has for its text St. Paul's beautiful glorification of love (1 Cor. xiii. 1-3, 12, 13):

'_For that which befalleth the sons of men befalleth beasts; as the one dieth, so dieth the other, for all is vanity...._

'_Though I spake with the tongues of men and of angels, and had not love, I should be as sounding brass or a tinkling bell...._

'_We see now through a glass, in a dark word, but then face to face. Now I know it partly, but then I shall know it as I am known._

'_Now remain faith, hope, love; but the greatest is love._'

It is certain that Brahms speaks to us in the songs from the depth of his convictions. Herr Geheimrath Dr. Engelmann arrived one evening in the course of the summer on a day's visit to Ischl. Brahms called at his hotel at six o'clock the next morning, and after breakfast brought his friend back to his rooms, where they spent several hours together. The composer was in delight over some lately-arrived volumes of the complete edition of Schubert's works, then in progress, and could not sufficiently express his joy in their contents. 'See here,' he said, with his energetic enthusiasm, as he pointed to one place after another with beaming face and lightening eyes--'see here, what a splendid fellow he was! People talk of him as a mere melodist, but look what material he had even in his early works; look what the melodies are, how they grow.' By-and-by, taking up a copy of the 'Four Serious Songs,' he said: 'Have you seen my protest? I wrote these for my birthday.'

The explanation of these words is that the master viewed with mistrust, or even dislike, modern efforts to revivify and popularize the services of the Evangelical Church by the introduction of sacred musical works composed for the purpose, of which those of Heinrich von Herzogenberg may be taken as the type. Brahms, who subscribed to no church dogmas, regarded this tendency as artificial, and therefore as weak and unhealthy, and much as he admired Herzogenberg's powers, he regretted that they were dominated during the last ten years of his creative activity by his strong ecclesiastical bias.[86] Brahms' love of the Bible and his preference for Scriptural texts was, as we know, not that of what is conventionally called a 'pietist.' He spoke in the language of the people's book as a realist who was at the same time an idealist. He has so arranged the texts of his German Requiem that it would be difficult to construe the work as the embodiment of a definite belief, and he expressly refused to enlarge it into an account of the Passion, Death, and Resurrection of Christ; and yet, as we have endeavoured to show, it contains the presentiment, the inspiration, of something positive. From Brahms' standpoint the attempt to go behind the mysteries of life and death, to construct the unspeakable, the unthinkable, into verbal formulæ, is not only predoomed to failure, but is almost irreverent. Yet, as we may remember, 'he had his faith,' and if anything may be judged of it from the story of his life, the spirit of his works, this faith lay in acceptance of the immutability of truth, the sacredness of life, and the sovereignty of love.

Brahms had been settled in his rooms at Ischl scarcely a fortnight, when he was profoundly shaken by the tidings of Frau Schumann's death. She passed away peacefully at her home in Frankfurt on May 20, in the seventy-seventh year of her age, and was laid to rest by her husband's side at Bonn on Whit Sunday, May 24. The story of her life, triply crowned by fame, love, and sorrow, remains amongst the ideal possessions of the world.

A great crowd of musicians and friends assembled at the funeral, those of Frankfurt, Bonn, and Cologne being strongly represented. The custom of the ceremony had changed with time since Johannes had borne Frau Clara's laurel-wreath to Schumann's grave, and on the conclusion of the service, which consisted of the singing of chorales and an address by Dr. Sell of Bonn University, more than two hundred floral tributes were piled up around the spot. Joachim with Herzogenberg, bound by Italian engagements, had attended a service held in the Schumanns' house at Frankfurt. Woldemar Bargiel and Bernhard Scholz were at the cemetery, and of our own particular musicians, Stockhausen and Brahms. Another last meeting.

On the termination of the service, Brahms, whose agitation had been very unpleasantly heightened during his journey from Ischl by the delay of a train, and his consequent anxiety lest he should be late, went to Honnef to stay till the next day with Herr and Frau Wehermann, the near relatives of his Crefeld friends, the von Beckeraths and von der Leyens, who were at the time on a visit there. Professor Richard Barth and his wife, Dr. Ophüls, and two of the Meiningen musicians, Concertmeister Eldering and Herr Piening, were also of the party. The master was very much excited and overcome on his arrival at Honnef, but the soothing influence of the Rhine country, so closely associated with the recollections of his youth, did him good, and he prolonged his visit to nearly a week. Confiding to Barth the day after his arrival that he had with him something new, which he would like to play very quietly to one or two chosen listeners, his three most intimate friends retired with him to a room secure from interruption, impressed by his manner with the feeling that something unusual was about to ensue. When the little party had taken their places, Brahms, with every sign of the most profound emotion, which communicated itself to his companions, played through the 'Four Serious Songs' from the manuscript. 'I wrote them for my birthday,' he said in the same words which he afterwards used to Dr. Engelmann. He then played some new organ preludes.

He was agreeably interested in Dr. Ophüls' project of arranging a collection of his composed texts. 'I have often wished for such a thing, for though I do not care to look closely at my music, it would be quite pleasant to recall it now and then by reading the texts.' The collection was completed during the ensuing months, and the manuscript placed in the master's hands.[87]

Brahms appeared unannounced in Vienna in the middle of June to take part in the family celebration of Dr. and Frau Fellinger's silver wedding day. Returning immediately to Ischl, he spent the next few weeks in his usual fashion, though neither mind nor body really recovered the double shock of Frau Schumann's death and of the anxious journey to Bonn. He occupied himself still with his art, and on June 24 had completed seven organ preludes, which he played to Heuberger on that date at Ischl. 'Splendid pieces,' says Heuberger's diary; and in another entry, dated July 5: 'Brahms' things must have been sent away already, for he has promised to show me _new_ compositions.'[88] These were, no doubt, some more preludes. Eleven were found after Brahms' death, the last four being written on a different kind of paper from that used for the first seven.

The 'Elf Chorale-Vorspiele' (Eleven Chorale-Preludes) for organ are instrumental movements founded, as their name implies, upon some of the grand old church tunes for which Germany is famous. They are worked in florid counterpoint in a style which may be studied, also, in the organ preludes contained in the third volume of the Leipzig Society's edition of Bach's works, and are written with an ease to which no other composer than Brahms has attained in this style since Bach's day. That the great modern master had studied it during the years of his retirement in the fifties, before he was in possession of the Society's volumes, seems certain, from the fact that three old books of Bach's Chorale-Preludes once belonging to Brahms are still in existence. One, bearing Brahms' pencil autograph, is in manuscript, possibly that of his father or brother; the others are early published editions.[89]

The majority of the chorales selected for treatment in 1896 have death for their subject, and are written in the profoundly serious vein to which we are accustomed in the composer's sacred works. The fourth prelude, 'Herzlich thut mich erfreuen,' is in a somewhat lighter vein than the others, but is, none the less, absolutely and distinctly Brahms. One of the most delicately touching is the eighth, 'Es ist ein Ros' entsprungen.' 'Herzlich thut mir' is the subject of two of the movements, 'O Welt ich muss dich lassen' of two, of which one is the eleventh and last.

It is impossible that we can be mistaken in accepting the Chorale-Preludes, together with the 'Four Serious Songs' which immediately preceded them, as indicating the bent of the composer's thoughts during his last year of life, and we involuntarily apply to them the words, quoted in the preceding chapter, used by Brahms in reference to Schumann's theme. They speak to us 'as the message of a spirit about to depart, and we think with reverence and emotion of the glorious man and artist.' Nevertheless, a note written by the composer to Frau Caroline on August 13 contains little sign of his depressed condition. It opens with charming, simple comments on his stepmother's last little budget of home news, urges a tour in Norway and Sweden on Fritz Schnack--'it would give me real pleasure if he would do it, and tell me all about it afterwards'--and ends:

'The summer is not exactly fine, but whoever, like myself, rises early and can go out walking when he will, may be content and there are innumerable beautiful walks here. I hope you will continue so well and write sometimes to

'Your heartily greeting JOHANNES.'[90]

It had not escaped the notice of Brahms' friends, however, that his ruddy complexion had changed to a yellow colour, and some of them were courageous enough to speak to him about his health, and urge him to consult a doctor. At first he showed much annoyance when the subject was broached, and turned it off impatiently with the reply that, as he never used a glass, he did not know how he looked. But the uneasiness felt about his condition increased, and he was at length persuaded to seek medical advice in Vienna. The doctor whom he consulted did not issue an alarmist report, but, pronouncing him to be suffering from jaundice, ordered him to Carlsbad for the 'cure.' Much against his will, the master, who hated the very idea of waters and cures, and who prided himself on never having being ill in his life, gave up some pleasant Ischl engagements, and started on September 2 for Carlsbad. He was met at the station by two friends of Hanslick, Herr Emil Seling and Musikdirektor Janetschek, who took him to the 'Stadt Brussels,' near the Hirschensprung. Here, during the fine autumn days which succeeded the wet summer, he made himself content, and even wrote cheerful reports to his friends, in which he expressed satisfaction at having been obliged to make the acquaintance of the celebrated watering-place. He was the object of much considerate and respectful attention, which seemed to cheer him; and Faber came to be near him, accompanied him in his daily walks, and took tender care of him.

The report written to Hanslick by the distinguished Carlsbad physician Dr. Grünberger, after three weeks' careful observation, was ominous. There was considerable swelling of the liver, with complete blocking of the gall-passages, and the inevitable results--jaundice, indigestion, etc. The eminent medical authority could not but regard the condition of his patient as 'very serious.'

No more definite name was given to the malady on the master's return to Vienna after some six weeks' treatment at Carlsbad, and his request that he should be told 'nothing unpleasant' was scrupulously observed. He went about as before, dining more frequently, however, with his most intimate friends the Fellingers, Fabers, Millers, Conrats, Strauss' and von Hornbostels, and often accepting the offer from one and another of a seat in a box at the Burg Theater. He became very testy if asked how he was or if told that he looked better, and answered to every inquiry, 'Each day a little worse,' but continued in letters to his stepmother and other friends at a distance to keep up the fiction that he was suffering from an ordinary jaundice which only needed patience. Those who loved him, however, looked with dismay at the alteration that was taking place in his appearance. The yellow colour, which had been the first striking symptom of his condition, was changing gradually to a darker hue, the bulky figure shrinking to terrible emaciation; the firm gait was beginning to falter, the head was no longer held erect. A visit to Vienna, early in December, of Joachim and his colleagues of the Quartet gave him touching pleasure; he was with them as much as possible during the day, and generally remained with them, after attending their concerts, until late at night. He continued to take interest in important new compositions, and begged Hausmann to come to his rooms to play him Dvorák's Violoncello Concerto. He accompanied the entire work on the piano, and broke into enthusiastic admiration at the end of each movement, exclaiming after the last one, 'Had I known that such a violoncello concerto as that could be written, I would have tried to compose one myself!'

He not only spent Christmas Eve with the Fellingers, but invited himself to dine with them also on December 25, 26, and 27. Frau Fellinger gave him a 'secco,' a soft, short coat, as one of her Christmas presents, and it seemed a sort of comfort to him to put it on when he was at the house, where it was kept in readiness for his use, and to sit quietly in the family sitting-rooms without need of exerting himself. After dinner on the 27th he raised his glass, saying, 'To our meeting in the New Year,' but by-and-by added, pointing downwards, 'But I shall soon be there.' He dined again on New Year's Day with the same dear friends, whose joy it was to feel that they were privileged to afford him some solace in his weakness and suffering.

The Joachim party returned to Vienna after a tour in the Austrian provinces, and gave two concluding concerts in the Börsendorfer Hall on January 1 and 2, 1897. Ill as he was, Brahms not only attended both concerts, but came on the morning of the 2nd to Joachim's rooms at the Hôtel Tegethof to listen to the rehearsal of his G major Quintet, which was in the evening's programme. He derived peculiar pleasure from hearing it. 'That is not a bad piece,' he said, as though half ignoring that it was his own. The scene which took place after the performance of the work in the evening is remembered with emotion by those who took part in it. It was the final one in the friendship of Brahms and Joachim--a friendship as striking and interesting as any contained in the history of art. Its character may be suggested to the reader's imagination in a few words written to the author by the great musician whose love and recognition Brahms enjoyed from beginning to end of his career.

'He had great pleasure that evening in the G major Quintet. It was touching to see him come before the public to acknowledge the enthusiasm aroused by his work. The tears were in his eyes and he was very weak. The people cheered and cheered endlessly.'

Thus the master's state gradually changed for the worse. He dined with the Fellingers in the middle of the day on February 7, and seemed excited and restless throughout the meal. When it was at an end, he intimated that he wished to be alone with Dr. and Frau Fellinger, and, retiring with them, began to speak about his affairs. He desired, he said, to make a new will, but dreaded the necessary formalities to such a degree that he knew not how to resolve to go through them. Would it not be possible to arrange his affairs quietly without having to speak about them with strangers? Dr. Fellinger said it could be done, and that by the Austrian law things could be so managed that there need not even be witnesses. The master remained for four hours--from two till six o'clock--with Dr. and Frau Fellinger, discussed his affairs in minute detail, and asked Dr. Fellinger to be his curator. He seemed relieved at the end of the conversation, and stayed on with the family, chatting about other topics. The following morning Dr. Fellinger took to the composer at his rooms in Carlsgasse the copy of a will which he had drawn out to meet Brahms' expressed desires, and explained to him that he had only to write it out himself, date and sign his name to it, and it would be valid according to Austrian law. Brahms, who was on the point of starting out to his dinner, expressed himself as glad and relieved, and placed the paper in a drawer of his writing-table; and Dr. Fellinger, pleased to have cheered him, returned home with the conviction that he would copy it without delay. The master did not return to the subject at any future meeting with his friends, whilst they, believing the matter to have been finally settled, did not again allude to it.

February passed, and Brahms grew continually worse. Every day he spent a good deal of time in looking through and destroying old letters and other papers. 'It is so sad,' he would say, when one or other intimate friend called and found him thus employed, his stove filled with ashes. He attended the Philharmonic concert on March 7, when Dvorák's Violoncello Concerto, played by Hugo Becker, and his own fourth Symphony in E minor were in the programme. Going into the concert-room he met his old friend Gänsbacher. 'Ah,' he said, 'you have been so often to see me, and I cannot go to you, I am so suffering;' then, rousing himself a little, went on, 'You will hear a piece to-day, a piece by a man!' (Dvorák's concerto).

The fourth symphony had never become a favourite work in Vienna. Received with reserve on its first performance, it had not since gained much more from the general public of the city than the respect sure to be accorded there to an important work by Brahms. To-day, however, a storm of applause broke out at the end of the first movement, not to be quieted until the composer, coming to the front of the 'artists'' box in which he was seated, showed himself to the audience. The demonstration was renewed after the second and the third movements, and an extraordinary scene followed the conclusion of the work. The applauding, shouting house, its gaze riveted on the figure standing in the balcony, so familiar and yet in present aspect so strange, seemed unable to let him go. Tears ran down his cheeks as he stood there shrunken in form, with lined countenance, strained expression, white hair hanging lank; and through the audience there was a feeling as of a stifled sob, for each knew that they were saying farewell. Another outburst of applause and yet another; one more acknowledgment from the master; and Brahms and his Vienna had parted for ever.

Brahms appeared after the concert at a luncheon-party given by Excellenz Dumba, a distinguished protector of art in Vienna. About twenty-five gentlemen, chiefly artists and art-lovers, and the ladies of the house were present. Brahms was placed near to several of his intimate friends--Epstein, Conrat, Hanslick, Gänsbacher, and Mandyczewski--but he was not able to remain long. Within a few days of this date his Ischl landlady received a postcard from him announcing his intention of going to Ischl earlier than usual, and desiring that his rooms might be got ready. The last opera he heard was his friend Goldmark's 'Das Heimchen'; he entered a theatre for the last time on March 13, sitting with Hanslick at the production of Johann Strauss' 'Die Göttin der Vernunft,' but was obliged to leave at the end of the second act, and, much against his will, suffered a friend to accompany him home in a cab.

From this time he grew rapidly worse. He complained that he could no longer remember what he read, but wished for Busch's 'Bismarck,' the last book with which he tried to occupy himself. He soon became unable to take a walk even in a friend's care, and Dr. Victor von Miller called every day in his carriage to take him to drive in the Prater, where the fresh air somewhat revived him. His strength of will remained phenomenal to the last. He dragged himself to a rehearsal of the Roeger-Soldat Quartet party held at Frau Wittgenstein's less than a fortnight before his death, to hear Weber's Clarinet Quintet with Mühlfeld's co-operation. A performance of the work at Meiningen had particularly pleased him, and its inclusion in the Soldat programme was by his suggestion. In the same week he paid his last visit to the Fabers, and, whilst ascending the staircase to their flat, nearly fainted with pain. Herr Faber revived him, and got him on to the drawing-room sofa, where he sat exhausted, his head on his breast. He was obliged to leave the family dinner-table of some other intimate friends, and, retiring to the next room, sank down in agony. Frau Fellinger was ill at this time, and unable to leave her room. Brahms' last call of inquiry at her house was made on March 19.

The master was very gentle during the last months of his life, and touchingly grateful for every attention shown him. His evenings were of necessity passed in his rooms, for he firmly refused all the entreaties of his friends that he would take up his abode in one or another house. Every evening at dusk he used to place himself at the piano, and improvise softly for about half an hour, and when too tired to continue, would sit by the window gazing out on the familiar scene till long after darkness had set in. On March 24 Frau Door, who had always been a favourite with him, called to take him a bunch of violets. She was not admitted, but, observing Dr. von Miller's carriage before the house door, waited near the entrance, hoping to see Brahms pass out. He came down in about half an hour leaning on his friend's arm, and, noticing Frau Door, gave her his hand. 'I am very ill' (Mir geht es sehr schlecht), he answered faintly to her inquiry. He did not go out again. The next day Conrat was admitted, and was sitting talking quietly with him, when Brahms, who was on the sofa smoking, suddenly dropped his head. 'There must be something in it,' he muttered. Conrat gently left the room without disturbing him. On the 26th the physician wrote word to Frau Fellinger that all chance of moving him was over. Brahms did not leave his bed again. His two or three closest friends were constantly at his side, whilst his landlady, Frau Truxa, was his faithful and devoted nurse. He spoke little during the last days, and was too weak to notice much of what was passing in his room, but he managed on the 29th to write a few pencil lines from his bed to Frau Caroline:

'D. M. For the sake of change I am lying down a little and cannot, therefore, write comfortably. Otherwise there is no alteration and as usual, I only need patience.

'Affectionately your JOH.'[91]

A few more weary days and nights, during which the beloved master's life ebbed rapidly away, bring us to the early morning of April 3. He had lost consciousness several times in the night and been restored, and had recognised Faber, who, calling at about six o'clock and performing some slight service for him, caught the whispered words, 'Du bist ein guter Mensch' (You are a kind man). It is now nearly nine o'clock, and Brahms has fallen asleep. Early messages of inquiry have been answered, and the doctor, who has been at hand during the night, has departed, promising soon to return. The day has begun with the bright spring promise that the master was wont to greet year after year with joyful welcome; the sun shines, a soft breeze enters through the open window; outside there is a twittering of birds. Near the bed sits the untiring nurse, noticing the signs of the fast-approaching end. A movement from the bed claims her assistance. Brahms has opened his eyes, and tries to raise himself. With Frau Truxa's help he attains a sitting posture, and, looking at her, tries to speak. The lips move, but the tongue has lost its power, and he can only utter an inarticulate sound. Great tears roll down his cheeks; a last sigh, a last breath, and he sinks back, supported by gentle hands, on to his pillow, rid of his sufferings, passed quietly to his rest.[92]

Dr. von Miller, whose house was in the vicinity, was the first of the friends to receive intelligence of the master's decease. He hurried at once to Carlsgasse, and was immediately joined by Dr. Fellinger and Herr Faber. Many others called during the morning, some of whom were admitted to look at the still features, smoothed by the caress of death into an expression of noble serenity. A sketch was taken by the painter Michalek, a mask by Professor Kundemann, a photograph by a private friend. The cause of death was certified, after a medical examination of the remains, as degeneration of the liver. The body, in evening dress, was placed the same afternoon in the coffin, and the room arranged with candelabra containing lighted candles; on a crimson cushion were displayed the various orders of the deceased composer. The next day the arrival began of the flowers, wreaths, crosses, and other floral tributes that transformed the room into a temple of beauty.

On the afternoon of the 4th General-Secretary Koch, Dr. Fellinger, and Herr Faber met in the dwelling, and searched for a will in the presence of a notary, but only found one written in May, 1891, on two sheets of paper, the last of them signed and dated, in the form of a letter to Simrock. This, a legally competent document in its original form, except for the slight omission of the signature on the first sheet of paper--which, under the indisputable circumstances establishing the authenticity of the will, would not have rendered it invalid--had been returned to the master at his own request by Simrock some time subsequent to the death of his sister, Elise Grund, in 1892. It was found, however, to have been marked by Brahms in pencil, some of the clauses lined out, whilst notes in the margin indicated designed alterations. These were in exact correspondence with the wishes expressed by Brahms in February to Dr. and Frau Fellinger, and embodied by Dr. Fellinger in the paper he had delivered into the hands of the composer to be copied by himself and signed. Another search was made the next day, therefore, but it proved fruitless. Only Dr. Fellinger's manuscript was found, and it must be presumed that Brahms had put off the dreaded task from day to day in the hope of feeling more capable of it, until his strength was no longer equal to its fulfilment. Nothing remained, therefore, but to apply to the proper authorities for the nomination of a curator in order that the necessary arrangements might be proceeded with. This was done; Dr. Fellinger was appointed, and on the afternoon of the 5th the sitting-room which, with the small inner room leading from it, contained Brahms library, manuscripts, and other possessions, was formally sealed. The coffin was closed the same day.

As soon as the master's death became known, the offer of an honorary grave was made by the city of Vienna. There was no hesitation in accepting it, but a deliberation was held as to whether the remains should be taken direct to the Central Friedhof or should be cremated at Gotha, according to directions contained in the letter to Simrock, and the ashes only deposited in Vienna. The remembrance of a few words dropped by Brahms himself when speaking of the 'sacred spot' which contains the graves of Beethoven and Schubert decided the point. It was felt that he would have chosen to rest in the place selected for him: the particular garden of the Friedhof in which the remains of Beethoven and Schubert lie, and which is sacred also to the memory of Mozart.

'All musical Vienna accompanied the great dead to the grave on the afternoon of April 6 and a stranger not knowing the man's greatness might have measured it by the number of prominent artists mingling in the great assemblage of the funeral procession, by the celebrated men and women who came from afar to show the last honour to Brahms.'

Till the hour appointed for the commencement of the ceremony deputations continued to arrive, from various parts of Europe, from the numerous societies of which the composer had been an honorary member, and telegrams and messages to pour in. At one o'clock a deputation from the Hamburg Senate was admitted to the house to lay a magnificent wreath on the coffin side by side with that from the Corporation of Vienna. Wreaths had been sent by the Queen of Hanover, the Duke of Cumberland, the Princess Marie of Hanover, Duke George of Saxe-Meiningen, the Princess Marie of Saxe-Meiningen, Helene, Baroness von Heldburg, and innumerable private friends known and unknown to Brahms; by the Society of Plastic Arts, Committee of the Opera, Gesellschaft, and other societies of Vienna; by the Philharmonic Society, Society of Music-lovers, Cecilia Society of Hamburg; by the Royal Academy of Arts, Berlin; by the various musical societies of Berlin, Leipzig, Budapest, Cologne, Salzburg, Mannheim, Frankfurt, Jena, Laubach, Lemberg, Graz, St. Petersburg, Brussels, Amsterdam, Cambridge, Basle, Zürich, and many other towns. Six cars scarcely sufficed to hold them.

The arrangements of the public funeral with which the city of Vienna honoured the remains of the great composer formed a singular contrast to the simplicity which had marked the daily habits of his life. Details may be read in the journals of the time. We shall confine ourselves to the record of a few of those appropriate to our narrative. The cortège, followed by the long train of mourners, started from Carlsgasse about half-past two, and, proceeding to the building of the Gesellschaft der Musikfreunde, halted before the principal entrance, where arrangements had been made for a short ceremony, consisting of an address by Herr Direktor J. R. Fuchs, of the conservatoire, and the singing of Brahms' part-song 'Fahr'wohl,' for unaccompanied chorus, under the direction of Richard von Perger, conductor of the Singverein. The procession then passed on to the Evangelical Church in Dorotheenstrasse, where the clergy and choir and several of the city dignitaries were assembled. After the coffin had been carried into the church, the choir sang Mendelssohn's 'Es ist bestimmt in Gottes' Rath.' The funeral address was delivered by Dr. von Zimmermann, who especially dwelt on the inspiration derived by the deceased composer's art from the pages of the Bible, on his love for children and the childlike spirit, and on his sympathy with distress.

'Wherever he could bring support to the unknown sufferer, the laborious striver, the helpless, the dying, there, in the man who, in his own habits, was frugal to the verge of parsimony, was found the most eager benefactor. The master Johannes Brahms is not dead. His spirit has conquered death and has entered into the light and blessed world of the pure harmonies of peace.'

At the entrance to the Friedhof the coffin was surrounded by personal friends of the deceased composer, carrying lighted wind-torches, and was accompanied by them to the grave. They were Ignaz Brüll, Anton Dvorák, Arthur Faber, Dr. Fellinger, Robert Fuchs, Richard Heuberger, Max Kalbeck, Ludwig Koch, Eusebius Mandyczewski, Dr. von Miller-Aichholz, Richard von Perger. At the grave-side Dr. von Perger spoke a few words of last farewell:

'This sacred place is now to receive the mortal remains of our great contemporary. He who has so enriched and blessed the whole world, what has he been to us musicians! In the light which streamed from his creative genius, his penetrating art-comprehension, we were able to look up confidently to his incomparable mastership, to his lofty, unbending artistic intelligence. Amid the countless paths and by-paths which to-day intersect the domain of musical art, we were guided by the torch held high and secure by the hand of her first priest. He has met his worthy spiritual brothers, indeed, for the first time to-day in this resting-place, but he was always a simple, sympathetic friend to his living colleagues in art, in spite of the great distance which raised him above them; always a helper of uprising talent, a sure and faithful friend in adversity and suffering.... Here thou restest now, thou blessed of heaven, in this vast, awful world-solitude; clouds of light float above thee and that of thee which is immortal floats with them through eternal spaces. Ade Meister Johannes, fahr'wohl, fahr'wohl.'

Joachim was in England at the time of Brahms' death, fulfilling long-contracted engagements. Stockhausen, now a man of seventy-three, and not in strong health, was at this period unequal to a hurried and distressing journey from Frankfurt to Vienna.

Memorial performances were given by the Cecilia Verein, Hamburg, on April 5, the day preceding the funeral; by the Vienna Gesellschaft on the 11th; by the Beethoven-Haus Verein, Bonn, in May; by the Royal High School for Music, Berlin, in the summer; and by innumerable musical societies of Europe and America during the season 1897-98. In nearly all instances the German Requiem formed part of such concerts as were orchestral.

A clause in Brahms' will provided that any of his unpublished works found in his rooms after death should be the property of Simrock. There was one opus only--the eleven Organ Preludes. With them were the arrangements, as pianoforte duets, of Joachim's two overtures referred to in an earlier chapter. All three works were published in 1902, a delay of five years having been caused by difficulties that arose in connection with the will. Apart from detail, these may be generally stated as follows:

Brahms is said to have left, besides his library, which included valuable autograph musical manuscripts, and a very few personal possessions, about £20,000 in investments. In the original will three societies--the Liszt Pensions-Verein of Hamburg, the Czerny Verein and the Gesellschaft der Musikfreunde of Vienna--were named as the inheritors, subject to the payment of a legacy to the composer's landlady, Frau Truxa, and of two life-annuities--one to his stepmother, Frau Caroline Brahms, to be continued after her death to her son, Fritz Schnack, for his life; the other to Brahms' sister, Elise Grund. These would practically account for the time being for the income arising from the investments.

In the absence of any legally valid document, about twenty cousins of various degrees of kinship came forward, in answer to advertisements in the newspapers, as claimants to the property. Litigation ensued, and was protracted through several years. The original process and the first appeal were determined in favour of the societies; the second appeal reversed these decisions, and declared the blood relations to be the heirs. To prevent the further expense and delay of another appeal, a compromise was now arrived at by the contending parties, and the general results of the will, the law-processes, and the compromise have been that the blood relations have been recognised as the heirs to all but the library, which is now in the possession of the Gesellschaft der Musikfreunde; that Frau Truxa's legacy has been paid; and that certain sums accepted by the societies, by which they will ultimately benefit, have been invested, and the income arising from them secured for the payment of the life-annuity to Herr Schnack. (Frau Caroline Brahms died in the spring of 1902.)

Projects for the erection of memorials to the master in Hamburg, Vienna, and Meiningen, were set on foot soon after his death. The first to be completed has been that now standing in the 'English Garden' at Meiningen, the unveiling of which was made the occasion of a Memorial Festival in October, 1899. The bust of the master which it displays is the work of Professor Hildebrandt.

The memorial erected at the grave by the heirs, after the final settlement of the property, designed and executed by Fräulein Ilse Conrat, was unveiled on May 7, 1903, the seventieth anniversary of Brahms' birth. It consists of a marble bust and pedestal in front of a marble headstone, on which are allegorical figures in bas-relief.

Memorial tablets have been placed by the respective municipalities on the houses in which Brahms lived in Vienna, Ischl, and Thun, and the garden of the house at Mürz Zuschlag has been bought by the town and made into a music-garden. A bronze bust of the master by Frau Dr. Fellinger stands in the musicians' pavilion.

A Brahms-Haus has been erected by Dr. von Miller-Aichholz in his private grounds at Gmünden, the rooms of which are constructed to the exact dimensions of those occupied by Brahms in Ischl, and furnished with the Ischl furniture as it used to stand. They contain an interesting collection of musical and other autographs of the master, photographs, programmes, and other mementos.

A Brahms Society has been formed in Vienna for the purpose of collecting and preserving all available mementos in a special museum.

Our task is now completed. If it should prove to have been so far successfully accomplished as to suggest to our readers at all a true conception of the character and individuality of Brahms, to throw some additional light upon the spirit which dictated the composition of his works, our aim will have been achieved. It is as yet far too soon to attempt any surmise as to the exact ultimate place that he will occupy amongst the great ones of his art. Schumann's words, however, spoken rather more than half a century ago, which proclaimed Johannes as the prophet destined to give ideal presentment to the highest spirit of his time, have, even now, been surely proved true. Brahms stands immovable in his position as the representative of the musical thought of the ages as it has gradually developed through three hundred and fifty years from Palestrina's day to his own; and in his works dwells the high and beautiful spirit--the essential spirit of life--which, whilst it knows no compromise with truth, works out its appointed course in 'faith and hope and love, these three; and the greatest of them is love.'

[84] Reimann, p. 109.

[85] _July 1, 1897._

[86] See for an account of Herzogenberg's church music 'Heinrich von Herzogenberg und die evangelischen Kirchenmusik,' by Friedrich Spitta. Reprint from the _Monatschrift für Gottesdienst und kirchliche Kunst_, 1900, No. 11.

[87] Preface to the 'Vollständige Sammlung der von Johannes Brahms componirten und musikalisch bearbeiteten Dichtungen,' by Dr. G. Ophüls.

[88] 'Der musikalische Nachlass von Johannes Brahms,' by Ludwig Karpath. _Signale_, March 26, 1902.

[89] In the author's possession.

[90] First published by Reimann, p. 118.

[91] Reimann, p. 118.

[92] See 'Am Sterbebett Brahms,' by Celestine Truxa, _Neue Freie Presse_, May 7, 1903.

CHRONOLOGICAL CATALOGUE OF THE PUBLISHED WORKS OF JOHANNES BRAHMS

_The references are to the pages of this work._

-----+--------------------------------+-----------+---------------------- OP. | TITLE OF WORK. | PUBLISHED | PAGES. | | [93] | -----+--------------------------------+-----------+---------------------- 1 | Sonata in C major for | 1853 | I. 98, 109, 116, 118, | Pianoforte | | 129, 131, 132, | | | 139, 140, 141, | | | 144, 154, 170, | | | 281; | | | II. 180. 2 | Sonata in F sharp minor for | 1853 | I. 93, 116, 132, 141, | Pianoforte | | 144, 176, 177, | | | 281; | | | II. 180. 3 | Six Songs for Tenor or | 1854 | I. 141, 145. | Soprano[94] | | 4 | Scherzo in E flat minor for | 1854 | I. 90, 108, 116, 131, | Pianoforte | | 132, 138, 140, | | | 141, 144, 281; | | | II. 71. 5 | Sonata in F minor for | 1854 | I. 117, 133, 135, | Pianoforte | | 144, 172, 193; | | | II. 150. 6 | Six Songs for Soprano or Tenor | 1853 | I. 141, 144, 145. 7 | Six Songs for one voice | 1854 | I. 145, 167. 8 | Trio in B major for Pianoforte,| 1854 | I. 154, 161-163, 167, | Violin and Violoncello | | 193, 215, 217, | | | 273, 281. | The same; revised edition | 1891 | I. 162; II. 242. 9 | Variations on a theme by | 1854 | I. 160, 161, 167, | Schumann for Pianoforte | | 171, 193, 281. 10 | Ballades for Pianoforte | 1856 | I. 166, 173, 174, | | | 191; | | | II. 103. 11 | Serenade in D major for large | 1860 | I. 220, 223, 233, | Orchestra | | 236, 237, 249, | | | 257, 272, 281; | | | II. 11-13, 21, 39, | | | 88. 12 | Ave Maria for women's Chorus | 1861 | I. 239, 241, 246, | with accompaniment for | | 256, 257, 281. | Orchestra or Organ | | 13 | Funeral Song for Chorus and | 1861 | I. 245, 246, 256, | Wind instruments | | 263, 281. 14 | Songs and Romances for one | 1861 | I. 257; | voice | | II. 82. 15 | Concerto in D minor for | | I. 30, 167, 207, 220, | Pianofortewith accompaniment | | 222, 223, 225-235, | for Orchestra | | 256, 257, 281; | | | II. 38, 42, 101, | | | 102-104, 136, | | | 145, 146, 198. 16 | Serenade in A major for small | 1860 | I. 247, 257, 260, | Orchestra | | 273, 281; | | | II. 14-16, 103, | | | 112, 135. | The same; revised edition | 1875 | 17 | Songs for women's Chorus with | 1862 | I. 242, 262. | accompaniment for two | | | Horns and a Harp | | 18 | Sextet in B flat major for two | 1862 | I. 19, 259, 260, 270, | Violins, two Violas and two | | 274, 278, 281; | Violoncellos | | II. 14, 22, 23, 53, | | | 86, 102, 113, | | | 175. 19 | Five Songs for one voice | 1862 | I. 281. 20 | Three Duets for Soprano and | 1861 | I. 260, 281. | Contralto with Pianoforte | | | accompaniment | | 21, |} Variations on an original | 1861 | I. 260, 281; II. 71. No. 1|} theme for Pianoforte | | 21, |} Variations on a Hungarian | 1861 | I. 211, 260, 281; No. 2|} air for Pianoforte | | II. 103. 22 | Marienlieder for mixed Chorus | 1862 | I. 278, 279, 280, | _a capella_ | | 281; | | | II. 15, 163. 23 | Variations on a theme by | 1863 | I. 278, 279; | Schumann for Pianoforte | | II. 15, 40, 93, 103. | Duet | | 24 | Variations and Fugue on a | 1862 | I. 238, 269, 270, | theme by Handel for | | 272, 280, 281; | Pianoforte | | II. 7, 8, 54, 103, | | | 180. 25 | Quartet in G minor for | 1863 | I. 245, 259, 270, | Pianoforte, Violin, Viola | | 271, 274, 281; | and Violoncello | | II. 6, 7, 40, 103, | | | 135, 144, 175. 26 | Quartet in A major for | 1863 | I. 259, 267, 271, | Pianoforte, Violin, Viola | | 274, 281; | and Violoncello | | II. 6-10, 79, 102, | | | 144. 27 | The 13th Psalm for three-part | 1864 | I. 241, 281; II. 26. | women's Chorus with | | | Pianoforte accompaniment | | 28 | Duets for Alto and Baritone | 1864 | I. 281; | with accompaniment for | | II. 26, 79, 102. | Pianoforte | | 29 | Two Motets for five-part mixed | 1864 | I. 281; | Chorus _a capella_ | | II. 26. 30 | Sacred Song (by Paul Fleming) | 1864 | I. 281; | for four-part mixed | | II. 26. | Chorus with accompaniment | | | for Organ or Pianoforte | | 31 | Three Quartets for Solo voices | 1864 | I. 281; | with Pianoforte | | II. 24, 26, 38, 113, | | | 267. 32 | Songs for one voice | 1864 | II. 26. 33 | Romances from Tieck's | 1865 | I. 264, 265, 275, | 'Magelone' for one voice. | | 276, 278, 281; | Nos. 1-6 | | II. 35, 70. | " 7-15 | 1868 | II. 38, 83. 34 | Quintet for Pianoforte, two | 1865 | I. 259, 277; | Violins, Viola and | | II. 32, 35, 36, 51, | Violoncello | | 76, 103. 34 |}Sonata for two Pianofortes | 1872 | I. 277; II. 23, 24, _bis_|} (after the Quintet) | | 32, 35. 35 | Variations on a theme by | 1866 | II. 24, 43, 54, 112, | Paganini for Pianoforte. | | 180. | (Two sets) | | 36 | Sextet in G major for two | 1866 | I. 259; | Violins, two Violas and two | | II. 43, 47, 52, 102, | Violoncellos | | 113. 37 | Three Sacred Choruses for | 1866 | I. 239, 242; II. 43. | women's voices without | | | accompaniment | | 38 | Sonata in E minor for | 1866 | II. 31, 43, 113. | Pianoforte and Violoncello | | 39 | Waltzes for Pianoforte Duet | 1867 | II. 25, 68, 79. 40 | Trio for Pianoforte, Violin | 1866 | I. 259; | and French Horn | | II. 31, 38, 39, 43, | | | 51, 68, 113. 41 | Five Songs for four-part men's | 1867 | II. 68. | Chorus | | 42 | Three Songs for six-part | 1868 | II. 83. | Chorus _a capella_ | | 43 | Four Songs for one voice | 1868 | II. 81. 44 | Twelve Songs and Romances for | 1868 | I. 242, 256, 262; | women's Chorus. Pianoforte | | II. 83. | accompaniment _ad libitum_ | | 45 | A German Requiem for Soli, | 1868 | I. 6, 167, 238; | Chorus and Orchestra (Organ | | II. 44, 48, 50, 54, | _ad libitum_) | | 55, 59-68, 72-78, | | | 81, 86-88, 90, | | | 93, 98, 102, 111, | | | 114, 140, 141, | | | 156, 167, 169, | | | 180, 195, 201. 46 | Four Songs for one voice | 1868 | II. 81 47 | Five Songs for one voice | 1868 | II. 81, 82. 48 | Seven Songs for one voice | 1868 | II. 81, 82. 49 | Five Songs for one voice | 1868 | II. 81, 82. 50 | Rinaldo (Cantata by Goethe) | 1869 | II. 84, 85, 90, 94, | for Tenor solo, men's | | 135. | Chorus and Orchestra | | 51 | Two Quartets for two Violins, | 1873 | II. 48, 113, 122, | Viola and Violoncello (C | | 124, 128, 130, | minor and A minor) | | 140, 147. 52 | Love Songs. Waltzes for | 1869 | II. 93, 94, 103, 113. | Pianoforte Duet with voices | | | _ad libitum_ | | 53 | Rhapsody (Fragment from | 1870 | II. 93-97, 135, 141, | Goethe's 'Harzreise') for | | 183. | Contralto solo, men's Chorus | | | and Orchestra | | 54 | Song of Destiny for Chorus and | 1871 | I. 238; II. 77, | Orchestra | | 104-106, 108, 114, | | | 136, 155, 205. 55 | Song of Triumph for eight-part | 1872 | I. 238; II. 98-101, | Chorus and Orchestra (Organ | | 111, 112, 114-119, | _ad libitum_) | | 132, 136, 137, | | | 146, 180, 183, | | | 267, 269. 56A | Variations on a theme by | Jan. 1874 | II. 121, 128, 129, | Joseph Haydn for Orchestra | | 135, 136, 145, | | | 195. 56B | Variations on a theme by | Nov. 1873 | II. 121, 130. | Joseph Haydn for two | | | Pianofortes | | 57 | Songs for one voice | 1871 | II. 106. 58 | Songs for one voice | 1871 | II. 106. 59 | Songs for one voice | 1873 | II. 130. 60 | Quartet in C minor for | 1875 | I. 207, 220; | Pianoforte, Violin, Viola | | II. 138, 143, 144. | and Violoncello | | 61 | Four Duets for Soprano and | 1874 | II. 138. | Contralto with Pianoforte | | 62 | Seven Songs for mixed Chorus | 1874 | II. 138, 139. | _a capella_ | | 63 | Songs for one voice | 1874 | II. 138. 64 | Quartets for Solo voices with | 1874 | II. 138. | Pianoforte | | 65 | New Love Songs. Waltzes for | 1875 | II. 103, 138. | four Solo voices and | | | Pianoforte Duet | | 66 | Five Duets for Soprano and | 1875 | | Contralto with Pianoforte | | | accompaniment | | 67 | Quartet in B flat major for | 1876 | II. 146, 147. | two Violins, Viola and | | | Violoncello | | 68 | Symphony in C minor for large | 1877 | I. 133, 220, 280; | Orchestra. (No. 1) | | II. 114, 142, | | | 147-156, 162, | | | 163, 166, 168, | | | 184, 195, | | | 198-220. 69 | Nine Songs for one voice | 1877 | II. 162. 70 | Four Songs for one voice | 1877 | II. 162. 71 | Five Songs for one voice | 1877 | II. 162. 72 | Five Songs for one voice | 1877 | II. 162. 73 | Symphony in D major for large | 1878 | II. 142, 163-166, | Orchestra. (No. 2) | | 170, 171, 174, | | | 176, 183, 220. 74 | Two Motets for mixed Chorus | 1879 | II. 177. | _a capella_ | | 75 | Ballads and Romances for two | 1878 | I. 166; II. 176. | voices with Pianoforte | | | accompaniment | | 76 | Pianoforte Pieces. (Two books) | 1879 | II. 170, 179, 181, | | | 257. 77 | Concerto in D major for Violin | 1879 | II. 170, 177-179, | with accompaniment for | | 181, 188. | Orchestra | | 78 | Sonata in G major for | 1880 | II. 122, 179, | Pianoforte and Violin | | 181-183, 184. 79 | Two Rhapsodies for Pianoforte | 1880 | II. 183, 184, 189, | | | 256. 80 | Academic Festival Overture for | 1881 | II. 104, 189, 190, | large Orchestra | | 192, 195, 201, | | | 270. 81 | Tragic Overture for Orchestra | 1881 | II. 189, 190, 192, | | | 195, 201. 82 | Nänie (by Friedrich Schiller) | 1881 | II. 29, 192, 193, | for Chorus and Orchestra | | 196-198, 205, | (Harp _ad libitum_) | | 206. 83 | Concerto for Pianoforte in | 1882 | I. 27, 33; | B flat major with | | II. 193, 194, 195, | accompaniment for Orchestra | | 198-201, 231, | | | 267, 270. 84 | Romances and Songs for one or | 1882 | II. 201. | for two voices with | | | Pianoforte accompaniment | | 85 | Six Songs for one voice | 1882 | II. 201. 86 | Six Songs for a deep voice | 1882 | II. 201. 87 | Trio in C major for Pianoforte,| 1883 | II. 203, 204. | Violin and Violoncello | | 88 | Quintet in F major for two | 1883 | II. 203, 204. | Violins, two Violas and | | | Violoncello | | 89 | Song of the Fates (by Goethe) | 1883 | II. 202, 203, | for six-part Chorus and | | 204-207. | Orchestra | | 90 | Symphony in F major for large | 1884 | II. 207-210, 220. | Orchestra. (No. 3) | | 91 | Two Songs for Contralto with | 1884 | II. 33, 210. | Viola and Pianoforte | | 92 | Quartets for Soprano, | 1884 | II. 210. | Contralto, Tenor and Bass | | | with Pianoforte | | 93A | Songs and Romances for | 1884 | II. 210, 288. | four-part mixed Chorus | | | _a capella_ | | 93B | Tafellied for six-part mixed | 1885 | II. 213. | Chorus with Pianoforte | | 94 | Five Songs for a deep voice | 1884 | II. 210, 211. 95 | Seven Songs for one voice | 1884 | II. 210. 96 | Four Songs for one voice | 1886 | II. 229. 97 | Six Songs for one voice | 1886 | II. 229. 98 | Symphony in E minor for large | 1886 | II. 211, 215, | Orchestra (No. 4) | | 216-220, 229, | | | 255, 267, 282. 99 | Sonata in F major for | 1887 | II. 222, 223, 229. | Pianoforte and Violoncello | | 100 | Sonata in A major for | 1887 | II. 222, 223-225, | Pianoforte and Violin | | 229. 101 | Trio in C minor for Pianoforte,| 1887 | II. 222, 229. | Violin and Violoncello | | 102 | Concerto in A minor for Violin | 1888 | II. 230, 231, 232, | and Violoncello with | | 233. | accompaniment for Orchestra | | 103 | Gipsy Songs for four Solo | 1888 | II. 233, 234. | voices with Pianoforte | | | accompaniment | | 104 | Five Songs for mixed Chorus | 1889 | II. 238. | _a capella_ | | 105 | Five Songs for a deep voice | 1889 | II. 238. 106 | Five Songs for one voice | 1889 | II. 238. 107 | Five Songs for one voice | 1889 | II. 238. 108 | Sonata in D minor for | 1889 | II. 238. | Pianoforte and Violin | | 109 | Fest and Gedenksprüche for | 1890 | II. 240, 241. | double Chorus | | | _a capella_ | | 110 | Three Motets for four- and | 1890 | II. 242, 246. | eight-part Chorus | | 111 | Quintet in G major for two | 1891 | II. 246-248, 251, | Violins, two Violas and | | 280, 281. | Violoncello | | 112 | Six Quartets for Soprano, | 1891 | II. 251. | Contralto, Tenor and Bass | | | with Pianoforte | | 113 | Thirteen Canons for women's | 1891 | II. 251. | voices | | 114 | Trio in A minor for | 1892 | I. 40; | Pianoforte, Clarinet (or | | II. 249-251, 261. | Viola) and Violoncello | | 115 | Quintet in B minor for | 1892 | I. 39; | Clarinet (or Viola), two | | II. 249-251, 261. | Violins, Viola and | | | Violoncello | | 116 | Fantasias for Pianoforte (two | 1892 | II. 251, 258. | books) | | 117 | Three Intermezzi for | 1892 | I. 166; II. 251, 257, | Pianoforte | | 258. 118 | Pianoforte Pieces | 1893 | II. 256, 261. 119 | Pianoforte Pieces | 1893 | II. 256, 261. 120 | Two Sonatas for Clarinet (or | 1895 | II. 265, 266, 267. | Viola) and Pianoforte (F | | | minor and E flat major) | | 121 | Four Serious Songs for a Bass | 1896 | II. 273, 274, 276, | voice | | 277. 122 | Eleven Chorale-Preludes for | 1902 | II. 276-278, 289. | Organ (the only posthumous | | | work) | | -----+--------------------------------+-----------+----------------------

WORKS WITHOUT OPUS NUMBER

-------------------------------------+--------------+-------------- TITLE OF WORK. | PUBLISHED | PAGES. -------------------------------------+--------------+-------------- Song, 'Mondnacht,' for one voice | 1854 | republished | 1872 | Children's Folk-songs with added | 1858 | I. 220. Pianoforte accompaniment | | German Folk-songs arranged for | 1864 | II. 26. four-part Chorus | | Fugue in A flat minor for Organ | 1864 | II. 26. Studies for Pianoforte (Nos. 1 and 2)| 1869 | I. 67; after Chopin and Weber | | II. 98. Hungarian Dances arranged for | 1869 | II. 79, 98. Pianoforte Duet, Books 1 and 2 | | Gavotte by Gluck arranged for | 1871 | I. 201; Pianoforte | | II. 106. Hungarian Dances arranged for | 1872 | I. 222; | | II. 79, 98. Pianoforte solo, Books 1 and 2 | | Hungarian Dances arranged for | 1874 | I. 135. Orchestra, Nos. 1, 3, 10 | | Studies for Pianoforte (Nos. 3, 4, 5)| 1879 | II. 181. after Bach | | Hungarian Dances arranged for | 1880 | II. 184. Pianoforte Duet, Books 3, 4 | | Chorale-Prelude and Fugue for Organ | 1881 | I. 219; | | II. 138. Fifty-one Technical Exercises for | 1893 | II. 256. Pianoforte. (Two books) | | German Folk-songs with Pianoforte | 1894 | I. 80; accompaniment. (Seven books) | | II. 261, 262. Arrangements of Joachim's Overtures | 1902 | II. 92, 289. to 'Henry IV.' and 'Demetrius' | | as Pianoforte Duets | | -------------------------------------+--------------+--------------

WORKS EDITED BY BRAHMS

Couperin: Clavier Compositions. (Chrysander's 'Denkmäle der Tonkunst.')

Mozart: Requiem. (Breitkopf and Härtel's critically revised complete edition.)

Schubert: Three Pianoforte pieces.

Schumann: Supplementary volume to Clara Schumann's complete edition.

Brahms' name appears for the first time in 1878 in the list of the committee of the Leipzig Society's edition of Bach's works.

[93] The dates of publication here printed are those given in Simrock's published Thematic Catalogue of Brahms' works, excepting in the few instances especially indicated in the main narrative.

[94] Unless otherwise described, all songs for a single voice are composed with pianoforte accompaniment only.

ARRANGED CATALOGUE OF WORKS

INSTRUMENTAL MUSIC

FOR ORCHESTRA.

Op. 11. Serenade, D major Op. 16. " A major Op. 56A Variations, Haydn's Theme Op. 68. Symphony, C minor Op. 73. " D major Op. 90. " F major Op. 98. " E minor Op. 80. Overture, Academic Op. 81. " Tragic Arrangement: 3 Hungarian Dances

PIANOFORTE WITH ORCHESTRA.

Op. 15. Concerto, D minor Op. 83. " B flat major

PIANOFORTE SOLOS.

Op. 1. Sonata, C major Op. 2. " F sharp minor Op. 5. " F minor Op. 4. Scherzo, E flat minor Op. 10. Ballades Op. 9. Variations, Schumann's Theme Op. 21,} " Original Theme No. 1 } Op. 21,} " Hungarian Air No. 2 } Op. 24. Variations and Fugue, Handel's Theme Op. 35. Variations, Paganini's Theme Op. 76. Pianoforte Pieces, 2 books Op. 79. Two Rhapsodies Op. 116. Fantasias, 2 books Op. 117. Three Intermezzi Op. 118. Pianoforte Pieces Op. 119. " " Technical Exercises, 2 bks. Arrangement: Hungarian Dances, 2 books " Studies 1-5 " Gavotte by Gluck

PIANOFORTE DUETS.

Op. 23. Variations, Schumann's Theme Op. 39. Waltzes Op. 52A Waltzes Arrangement: Hungarian Dances, 4 books

TWO PIANOFORTES.

Op. 34} Sonata in F minor (after _bis_} the Pianoforte Quintet) Op. 56B. Variations, Haydn's Theme

PIANOFORTE AND VIOLIN.

Op. 78. Sonata, G major Op. 100. " A major Op. 108. " D minor

PIANOFORTE AND VIOLONCELLO.

Op. 38. Sonata, E minor Op. 99. " F major

PIANOFORTE AND CLARINET (OR VIOLA).

Op. 120,} Sonata, F minor No. 1 } Op. 120,} " E flat major No. 2 }

TRIOS.

Op. 8. Pianoforte, Violin, Violoncello, B major Op. 87. Pianoforte, Violin, Violoncello, C major Op. 101. Pianoforte, Violin, Violoncello, C minor Op. 40. Pianoforte, Violin, Horn, E flat major Op. 114. Pianoforte, Clarinet, Violoncello, A minor

QUARTETS.

Op. 25. Pianoforte, Violin, Viola, Violoncello, G minor Op. 26. Pianoforte, Violin, Viola, Violoncello, A major Op. 60. Pianoforte, Violin, Viola, Violoncello, C minor

QUINTET.

Op. 34. Pianoforte, 2 Violins, Viola, Violoncello, F minor

PIANOFORTE WITH VOICES.

Op. 52. Liebeslieder, Waltzer (voices _ad libitum_) Op. 65. Neue Liebeslieder

ORGAN.

Op. 122. Eleven Chorale-Preludes Chorale-Prelude and Fugue Fugue in A minor

STRINGS WITH ORCHESTRA.

Op. 77. Violin Concerto, D major Op. 102. Concerto for Violin and Violoncello, A minor

STRING QUARTETS.

Op. 51,} C minor No. 1.} Op. 51,} A minor No. 2.} Op. 67. B flat major

STRING QUINTETS.

Op. 88. F major Op. 111. G major Op. 115. Quintet for Clarinet, 2 Violins, Viola, Violoncello, B minor

STRING SEXTETS.

Op. 18. B flat major Op. 36. G major

VOCAL MUSIC

MIXED CHORUS WITHOUT ACCOMPANIMENT.

Op. 22. Marienlieder Op. 29. Two Motets; five-part Op. 42. Three Songs (Gesänge); six-part Op. 62. Seven Songs (Lieder) Op. 74. Two Motets; four- and six-part Op. 93A Songs (Lieder) and Romances Op. 104. Songs (Gesänge) Op. 109. Fest and Gedenksprüche Op. 110. Three Motets; four- and eight-part German Folk-songs (dedicated to the Vienna Singakademie)

WOMEN'S CHORUS WITHOUT ACCOMPANIMENT.

Op. 37. Three Sacred Choruses Op. 44. Twelve Songs and Romances Op. 113. Thirteen Canons

MEN'S CHORUS WITHOUT ACCOMPANIMENT.

Op. 41. Five Songs (Lieder)

VOCAL MUSIC WITH ORCHESTRAL ACCOMPANIMENT.

Op. 12. Ave Maria: women's Chorus Op. 45. A German Requiem: Soli and Chorus Op. 50. Rinaldo: Tenor Solo and men's Chorus Op. 53. Rhapsody: Contralto Solo and men's Chorus Op. 54. Song of Destiny: mixed Chorus Op. 55. Triumph-Song: double Chorus Op. 82. Nänie: mixed Chorus Op. 89. Song of the Fates: mixed Chorus

VOCAL MUSIC VARIOUSLY ACCOMPANIED.

Op. 13. Funeral Song: mixed Chorus and Wind Op. 17. Songs for women's Chorus with accompaniment for 2 Horns and a Harp Op. 91. Two Songs for Contralto with Viola and Pianoforte

CHORUSES WITH PIANOFORTE OR ORGAN ACCOMPANIMENT.

Op. 12. Ave Maria: women's Chorus Op. 27. The 13th Psalm: women's Chorus Op. 30. Sacred Song: mixed Chorus

CHORUSES WITH PIANOFORTE ACCOMPANIMENT.

Op. 93B. Tafellied: mixed Voices German Folk-songs

VOCAL QUARTETS WITH PIANOFORTE ACCOMPANIMENT.

Op. 31. Three Quartets Op. 64. " " Op. 92. Four " Op. 112. Six " Op. 52. Love Songs (Pianoforte duet) Op. 65. New Love Songs (Pianoforte duet) Op. 103. Gipsy Songs

VOCAL DUETS WITH PIANOFORTE ACCOMPANIMENT.

Op. 20. Soprano and Contralto Op. 61. " " Op. 66. " " Op. 28. Contralto and Baritone Op. 75. Ballads and Romances Op. 84. Romances and Songs

SONGS FOR ONE VOICE WITH PIANOFORTE ACCOMPANIMENT.

Op. 3. 6 Gesänge Op. 6. 6 " Op. 7. 6 " Op. 14. 8 Lieder und Romanzen Op. 19. 5 Gedichte Op. 32. 9 Lieder und Gesänge Op. 33. 15 Magelone Romanzen Op. 43. 4 Gesänge Op. 46. 4 " Op. 47. 5 Lieder Op. 48. 7 " Op. 49. 5 " Op. 57. 8 Lieder und Gesänge Op. 58. 8 " " Op. 59. 8 " " Op. 63. 9 " " Op. 69. 9 Gesänge Op. 70. 4 " Op. 71. 5 " Op. 72. 5 " Op. 84. 5 Romanzen und Lieder Op. 85. 6 Lieder Op. 86. 6 " Op. 94. 5 " Op. 95. 7 " Op. 96. 4 " Op. 97. 6 " Op. 105. 5 " Op. 106. 5 " Op. 107. 5 " Op. 121. 4 Gesänge Mondnacht (Total 195 Songs) German Folk-songs Children's Folk-songs

INDEX

FOR INDEX OF WORKS, SEE CHRONOLOGICAL CATALOGUE, P. 293.

A.

Abel, II. 50, 51. Aegidi, I. 259. Ahle, J. H., II. 130. Ahna, de, II. 204. Ahsen, Jenny v., I. 239. Albers, I. 73. Albert, Eugen d', II. 232, 267, 270. Albrechtsberger, I. 64, 67. Allgeyer, Julius, I. 166; II. 29, 42, 44, 90, 93, 104, 120, 159, 176, 185. Arien, d', I. 84. Arnim, Bettina v., I. 144. " Gisela v., I. 195. Artôt, I. 83. Asmus, Christiana, I. 46. Astor, II. 134. Austria, Francis Joseph, Emperor of, II. 242.

B.

Bach, Friedemann, II. 71. " Philipp Emanuel, I. 113, 188. " Johann Sebastian, I. 12, 13, 17, 18, 63, 65, 146, 188, 216, 234, 244; II. 20, 23, 115, 116, 119, 120, 130, 136, 141, 148, 155, 168, 172, 180, 182, 218, 267, 269, 277. " Works of, played by Brahms on the pianoforte, I. 15, 16, 185, 199, 201, 209, 215, 221, 235, 272; II. 13, 39, 40, 54, 60, 71, 86, 102. Bachrich, II. 143, 246. Bächthold, II. 229, 262. Backhaus, I. 73. Bade, Carl, I. 54; II. 57, 80, 175. Baden, Frederick, Grand-Duke of, II. 29. Bagge, Selmar, II. 4, 26. Baglehole, II. 102. Balcke, I. 98. Barbi, Alice, II. 270. Bargheer, Carl, I. 208-210, 214, 215, 217, 245, 247; II. 41, 137, 171, 204. Bargiel, Woldemar, I. 126, 218, 275; II. 187, 275. Barth, Heinrich, II. 200, 204. " Richard, II. 73, 183, 276. Baumeyer, Marie, II. 201. Baumgarten and Heins, I. 68, 88, 192. Bavaria, Ludwig II., King of, I. 127, 131. Bechstein, II. 195. Becker, Dr., I. 257. " Frau, I. 36. " Hugo, II. 230, 282. Beckerath, Alwyn v., II. 183, 213, 275. Beethoven, Ludwig van, I. 104, 180, 197, 267, 283, 285, 289; II. 1, 20, 23, 119, 123, 130, 139, 140, 148, 152, 155, 164, 168, 171, 172, 177, 181, 189, 198, 200, 212, 217, 218, 267, 287. " Works played by Brahms, I. 59, 84, 96, 98, 186, 191, 199, 206, 209, 215, 263, 272; II. 13, 40, 54, 60, 70, 71, 86, 139. Begas, I. 92. Bellini, I. 180. Bennet, John, II. 25. Bennett, W. Sterndale, I. 128, 197; II. 155. Bergmann, Carl, I. 163. Berlioz, Hector, I. 100, 124, 135, 136, 138, 139, 147, 286, 288; II. 139. Bernhard de Trèves, I. 290. Berninger, II. 73. Bernsdorf, Edward, I. 227, 228, 229; II. 134, 154, 178. Bernstorff, Countess, I. 107. Bernuth, Julius v., II. 70, 166, 176, 183, 210. Bibl, Rudolf, II. 4, 20, 117, 119. Billroth, Theodor, II. 46, 47, 60, 62, 84, 90, 115, 119, 124, 137, 140, 142, 149, 150, 163, 169, 184, 199, 201, 203, 207, 237, 239, 240, 247, 248, 256, 258, 259. Birgfeld, I. 59, 79. Bismarck, Otto v., II. 137, 240, 283. Bizet, G., II. 242. Blagrove, Henry, II. 53. Blume, Amtsvogt, I. 78, 80, 94, 117, 164. " Calculator, I. 97. " " Frau, I. 98. Bocklet, C. M. v., I. 64. Böhm, Josef, I. 92, 102. Böhme, F. M., II. 262. Böie, John, I. 261, 268, 270, 277; II. 143, 175. Böie, Marie, I. 123, 266. See also under Völckers. Boieldieu, F. A., I. 236, 255; II. 71. Bölling, Bertha, I. 176, 184. Boni, II. 94. Borrisow, Rev. L., II. 103. Börs, I. 84. Börsendorfer, II. 9, 10. Borwick, Leonard, II. 201. Bosshard, II. 196. Boston Symphony Orchestra, I. 273. Brahms, Caroline, II. 45, 49, 79, 109, 110, 142, 175, 201, 253-255, 278, 284, 290. " Elise, I. 51, 74, 142, 205, 218; II. 22, 27, 34, 35, 110, 175, 176. See also under Grund. " Fritz, I. 53, 70, 81; II. 10, 27, 109-111, 175. " Johann, I. 46. " Johann Jakob, I. 48-60, 87, 130, 142; II. 27, 35, 37, 38, 45, 49, 57-59, 73, 78, 79, 80, 108, 109, 175, 176. " Johanna Christiana, I. 51-54, 75, 81, 95, 121, 142; II. 9, 34, 35. See also under Nissen. " Peter, I. 45, 46. " Peter Hinrich, I. 47. Brahmüller, II. 51. Brandes, Emma, See Engelmann. Brandt, Auguste, I. 239. Branscheidt, II. 187. Brassin, Louis, II. 88. Breitkopf and Härtel, I. 123, 124, 129, 135, 141, 144, 162, 187, 191; II. 26, 138. Brendel, Franz, I. 102, 128, 138, 139, 249-253, 274, 275; II. 95. Brentano, Arnim, I. 169. Breyther, F., I. 261, 270. Broadwood, I. 197; II. 200. Brodsky, II. 179. Brouillet, II. 94. Bruch, Max, II. 51, 73, 141, 168, 177. Brückner, Anton, II. 4. Brüll, Ignaz, II. 153, 163, 202, 207, 240, 288. Bruyck, Carl Debrois van, I. 193, 194. Bülow, Hans v., I. 26-31, 100, 103, 124, 128, 133, 139, 154, 211, 217, 252; II. 50-52, 148, 183, 191, 192, 198, 216, 217, 218, 231, 232, 238, 241. " Marie v., II. 51. Bulthaupt, Heinrich, II. 91, 92, 157. Burnett, II. 103. Busch, II. 283. Buths, Julius, II. 104.

C.

Calderon, II. 91, 159. Candidus, Carl, II. 162. Carlyle, Thomas, I. 276. Chamisso, Adalbert v., I. 89. Chappell, S. Arthur, II. 53, 103. Cherubini M. Luigi, I. 228; II. 172. Chopin, Frederic, I. 109; II. 256. Chorley, Henry, I. 180. Chrysander, Friedrich, I. 283. Cicero, I. 89. Clasing, Heinrich, I. 63, 150. Claus, Wilhelmine, I. 177. Clementi, Muzio, I. 10, 21, 58. Cobb, Gerard F., II. 103. Conrat, Frau, II. 260. " Hugo, II. 233, 234, 251, 260, 279, 282, 284. " Ilse, II. 260, 261, 291. Cordes, August, I. 215. Cornelius, Peter, I. 103, 124; II. 4, 14. Cornet, Madame, I. 83, 84, 85, 90. " Fräulein, I. 83, 84. 85. See also under Passy-Cornet. Cossel, Frau, I. 69; II. 34, 175. " Johanna, II. 34, 35. " Marie, II. 175. See also under Janssen. " Otto Friedrich Willibald, I. 56-62, 66, 118, 143; II. 175, 244. Cossmann, Bernhard, I. 103, 140; II. 31. Couperin, François, I. 283; II. 86. Cramer, John, I. 58. Cranz, August, I. 86; II. 26, 83. Cusins, G. W., II. 87, 103, 136, 156, 179. Czartoriska, Prince Constantin, II. 18. Czerny, Carl, I. 12, 58; II. 290.

D.

Dalfy, II. 20. Dalwigk, Reinhard v., II. 10. Dante, I. 89. Danzer, II. 20. Daumer, G. F., II. 93, 106. David, Ferdinand, I. 140, 179, 180, 256, 263, 270; II. 133, 135. Davidoff, C., I. 263, 270. Davies, Fanny, II. 233, 238, 250, 266. Davison, J. W., I. 227. Deichmann, I. 115-117. Deiters, Hermann, I. 201; II. 4, 77, 78, 81, 94, 122, 154, 162, 189, 272. Denninghoff-Giesemann, I. 263-265. See also under Giesemann. Derenberg See under Eibenschütz. Dessoff, Otto, II. 2, 15, 128, 142, 147. Detmering, I. 61. Detmold, Lippe-- Leopold II., Prince of, I. 182, 216, 221, 246; II. 41. Dowager Princess of, I. 183. Friederike, Princess of, I. 183, 208, 216, 233, 244. Luise, Princess of, I. 183. Pauline, Princess of, I. 183. Devrient, Edward, II. 29, 30, 90. Diabelli, Anton, II. 5, 14. Dietrich, Albert, I. 93, 119, 120, 124, 126, 142, 145, 156, 158, 188, 201, 203, 255, 256, 265, 267, 277, 278, 280; II. 15, 38, 39, 42, 50, 54, 55, 59, 68, 73, 79, 93, 97, 101, 114, 131, 136, 142, 187, 259. " Clara, I. 255. Dobyhal, II. 6. Doetsch, II. 188. Döhler, Theodor, I. 83. Dömpke, II. 217. Donizetti, I. 84. Donnhorf, II. 186, 188. Doppler, Franz, II. 16. Door, Anton, I. 185; II. 103, 202, 217, 237. " Frau, II. 284. Dörffel, A., II. 134, 152, 164, 165, 178, 179, 217. Dräseke, Felix, I. 252. Dumba, II. 282. Dunkl, II. 98. Dustmann, Louise, I. 277; II. 128. Dvorák, Anton, II. 143, 185, 280, 282, 288.

E.

Eberhard, G., II. 137. Eccard, J., II. 22, 116. Eckert, Carl Anton, II. 2. Ehlert, Louis, II. 153. Ehrbar, Friedrich, II. 153, 163, 207, 208, 217, 237, 252, 253. Ehrlich, Heinrich, I. 107, 122. Eibenschütz, Ilona, II. 258. Eichendorff, J. v., I. 89, 137. Eldering, II. 276. Ella, John, I. 197; II. 102. Engel, I. 272; II. 42. Engelmann, Dr. and Frau, II. 121, 138, 145, 154, 191. " Dr., II. 274, 276. Eötoos, Baroness, II. 191. Epstein, Julius, II. 4, 6, 16, 202, 214, 217, 236, 259, 282. Erard, I. 197. Erk, II. 262. Ernst, I. 96. Essen, II. 142. Eschmann, II. 46, 47. Ettlinger, Anna, II. 31, 159. Eyrich, II. 85, 162.

F.

Faber, Arthur, II. 5, 16, 22, 202, 207, 217, 279, 283, 284, 285, 288. " Bertha, II. 5, 22, 82, 279, 283. See also under Porubszky. Falk, Clementina, I. 14. Farmer, John, II. 73, 75. Fellinger, Dr. and Frau, II. 202, 203, 215, 244-246, 276, 279, 280, 281, 286. " Dr., II. 285, 288. " Frau, II. 223, 226-228, 283, 291. Ferrari, Frau, II. 20. " Sophie, II. 87. Feuerbach, Anselm, II. 29, 124-127. " Henriette, II. 29, 197, 198. Fichtelberger, II. 21, 39. Fischer, Georg, I. 226. Flatz, Franz, II. 18. Fleming, Paul, II. 26. Flotow, II. 173. Folkes, II. 103. Formes, I. 80. Frank, Ernst, II. 146, 156. Franz, Frau, II. 202. " Robert, I. 126. Fräsch, I. 85. Frege, I. 228. Freund, Robert, II. 251. Fribberg, Franz, II. 15. Friedländer, Theka, II. 103. Froude, J., I. 276. Fuchs, II. 202, 217, 288. Fürchtgott, II. 9.

G.

Gabrielli, Giovanni, II. 22. Garcia, Manuel, I. 198. Garibaldi, II. 243. Gehring, Franz, II. 111. Geibel, Emanuel, II. 33, 91. Gericke, W., II. 205. Gernsheim, Friedrich, II. 173. Giesemann, Adolph, I. 71, 74, 78, 80, 81, 90, 94, 95, 113. " Elise, I. 71-77, 80, 81, 90-92. See also under Denninghoff. Gille, II. 95. Glade, I. 84. Gleich, Ferdinand, I. 227, 229, 230, 231. Gluck, C. W. v., I. 5, 201; II. 86, 116. Goethe, Wolfgang v., I. 16, 89, 180; II. 24, 84, 94, 95, 96, 154, 202. Goldmark, Carl, II. 4, 131, 143, 163, 202, 217, 239, 240, 259, 283. Goldschmidt, Otto, I. 87, 180-182, 183, 184; II. 200. " Lind-, Jenny, I. 179-182, 183, 184. Goltermann, C. E., I. 59. " Louis, I. 59. Gompertz-Betteheim, II. 233. Gompertz, Richard, II. 183. Gotha, Friedrich, Prince of, II. 84. Götz, Hermann, II. 138, 156. Götze, I. 138. Gouvy, Theodor, I. 136, 180. Gozzi, II. 92, 159. Grädener, I. 207, 239; II. 5, 173. Graun, II. 98. Grimm, Hermann, II. 92. " Julius Otto, I. 134, 135, 142, 146, 154, 155, 188, 191, 207, 211, 219, 223, 246, 251, 270; II. 95, 146, 154, 166, 173, 176, 187, 190, 259. " Marie, I. 142, 188, 211. " Philippine, I. 207, 219. Groth, Claus, I. 46, 49, 198, 201; II. 71, 72, 91, 106, 122, 126, 127, 128, 173, 176, 229, 234, 235. Grove, George, I. 198. Grüber, II. 262, 273, 283. Grünberger, II. 279. Grund, Elise, II. 286, 290. See also under Brahms. " Wilhelm, I. 88, 235, 268, 277; II. 170, 172.

H.

Hafner, Carl, I. 260, 261, 263. Hallé, Charles, II. 103. " Lady, See Norman-Néruda. Hallier, I. 258, 259, 262; II. 175. " Julie, I. 268, 269. Handel, G. F., I. 113, 216, 244; II. 98, 115, 116, 117, 136, 172. Handel's 'Saul', I. 280; II. 118. Hanover, George V., King of, I. 107; II. 48, 120, 238. " Queen of, II. 238, 287. " Marie, Princess of, II. 287. Hanslick, Edward, I. 168, 180, 190, 230; II. 4, 8, 12, 14, 15, 16, 19, 23, 61, 68, 69, 113, 142, 143, 150, 151, 170, 171, 173, 174, 202, 208, 212, 213, 217, 229, 237, 240, 242, 247, 259, 272, 278, 279, 282, 283. Hare, I. 276. Hauptmann, Moritz, I. 136, 187. Hauser, II. 31. " Frau, II. 94. Hausmann, Fräulein, II. 94. " Robert, I. 40; II. 204, 222, 223, 230, 231, 280. Heermann, II. 102, 204. Hegar, Friedrich, II. 39, 47, 78, 95, 137, 138, 196, 229, 251, 252, 270. Heldburg, Helene, Baroness v., II. 194, 195, 287. Heller, Stephen, I. 126, 180. Hellmesberger, Josef, II. 3, 6, 7, 14, 15, 23, 52, 68, 122, 140, 143, 146, 156, 181, 204, 222, 250. Henschel, Georg, II. 137, 152, 231, 233. " Lilian, II. 233. Hensel, Fanny, II. 91. Henselt, Adolf, II. 95. Herbeck, Johann, II. 2, 108, 141, 142. Herder, I. 166; II. 84. Hermann, I. 270. Herz, Henri, I. 59, 84. Herzog, I. 84. Herzogenberg, Heinrich v., II. 134, 154, 274, 275. " Elisabeth v., II. 134, 154. Hesse, Anna, Landgräfin of, II. 32. " Alexander Friedrich, Landgraf of, II. 32, 33, 146, 216, 229, 230, 236, 271. Heuberger, Richard, I. 99; II. 42, 89, 158, 162, 163, 186, 276, 288. Hildebrant, II. 291. Hille, I. 154. Hiller, Ferdinand, I. 101, 118, 179, 203; II. 40, 118, 173, 187, 203. Himmelstoss, II. 104, 183. Hirsch, R., II. 16, 53, 62, 151. Hirschfeld, II. 74. Hoch, II. 122. Hoffmann, E. T. A., I. 89, 93, 116, 121, 164. " J. F., I. 66, 188. Hölderlin, F., II. 77, 104, 105, 205. Hohenemser, II. 82. Hohenlohe, II. 195. Hohenthal, Ida, Gräfin v., I. 135, 144. Holmes, Henry, II. 103. " W. H., II. 102. Holstein, Franz and Hedwig v., I. 136; II. 134, 154. See also under Salamon. Honnef, I. 83. Honroth, I. 261. Hopfer, Bernhard, II. 138. Hoplit, See Pohl, R. Hornbostel, v., II. 279. Hubay, Eugen, II. 222. Hübbe, Walter, I. 241, 258. Hullah, John, II. 56, 87. Hummel, J. N., II. 95. Hummer, II. 246. Hunger, I. 270.

I.

Isaak, Heinrich, II. 20, 116.

J.

Jacobsen, II. 79. Jaell, Alfred, I. 217; II. 102. Jahn, Otto, I. 180, 195, 198, 201, 249, 257. Janetschek, II. 278. Janovitch, I. 93. Japha, Louise, I. 67, 88-90, 93, 113, 119, 121, 125, 144, 145; II. 76. " Minna, I. 90, 93, 121, 144. Jansen, Gustav, I. 123. Janssen, Marie, II. 243, 244. See also under Cossel. Jenek, II. 246. Jenner, II. 186, 234-236. Joachim, Amalie, II. 17, 26, 33, 73, 95, 117, 121, 135. " Joseph, I. 39, 40, 65, 95, 100, 102-108, 112-114, 123-126, 139, 144, 147, 154-158, 172-175, 182, 183, 186, 187, 200, 203, 204-207, 211-213, 221-223, 225, 226, 232-236, 245, 247, 249-252, 255-260, 262, 263, 267, 268, 271, 277; II. 10, 11, 15, 48, 50, 51, 53, 59, 60, 69, 71, 73, 92, 101, 102, 103, 116, 121, 122, 124, 134, 141, 146, 147, 148, 154, 155, 166, 167, 170, 171, 174, 175, 177-179, 182, 187-189, 190, 198, 204, 209, 210, 223, 230, 231, 233, 234, 236, 238, 246, 249, 250, 259, 265, 269, 270, 275, 279, 280, 281, 289.

K.

Kahnt, II. 50. Kalbeck, Max, I. 49, 87, 148, 280; II. 144, 217, 229, 288. Karpath, Ludwig, II. 277. Kayser, I. 261. Keiser, Reinhard, I. 113. Keller, Gottfried, II. 46, 137, 162, 222, 229. Kemp, Stephen, II. 201. Kiel, Friedrich, II. 51. " Capellmeister, I. 183, 209, 222, 247. Kirchner, Theodor, I. 120, 126, 157, 275; II. 39, 45-47, 50, 134, 154, 173, 229, 259. Kleinecke, II. 68. Kleist, Heinrich v., II. 155. Klems, I. 168. Klindworth, Carl, I. 109, 111, 112, 144. Klinger, Max, II. 273. Klopstock, I. 89, 113. Knaus, II. 207. Kneisel, I. 273. Koch, Town-musician, I. 91. " Sophie, I. 91. " General-Secretary, II. 285. " Ludwig, II. 288. Köhler, Louis, I. 227. " Dr., I. 96. " Rector, I. 73, 78; II. 32. Königslow, Otto v., I. 256, 277; II. 40. Koning, II. 203. Köppelhöfer, I. 85. Köstlin, Professor, II. 203. " Josephine Lang, II. 203. Krause (Pianist), I. 138. Krause, (Singer), II. 38. " Emil, I. 192. Krauss, Dr., II. 87, 94, 116. Krebs, Marie, II. 103. Kreisler, Johannes (Pseudonym for Joh. Brahms), I. 93, 122, 146. Kreisler, Fritz, II. 179. Kremser, Edward, II. 177. Krenn, Franz, II. 18. Krziwanek, II. 264. Krolop, Franz, II. 76. Kufferath, Professor, II. 268. " Antonia, II. 183, 205. See also under Speyer. Kuhnau, Johann, II. 80. Krummholtz, I. 270. Kundemann, II. 285. Kürner, II. 94. Kyllmann, I. 256, 257; II. 187.

L.

Lachner, Franz, I. 180; II. 88, 230. Lallement, Avé, I. 207, 232, 233, 258, 268, 277; II. 10, 11. Lamond, Frederic, II. 201, 216. Lange, S. de, II. 116. Langhans-Japha, Louise, See under Japha. Lasserre, II. 102. Lasso, Orlando di, I. 188. Laub, Ferdinand, I. 136; II. 15. Laurens, de, I. 122, 169. Lee, Louis, I. 260, 261, 268, 270; II. 143. Lehmann, II. 75. Lemke, Carl, II. 162. Le Roy, Guillaume, I. 290. Leser, I. 169, 255. Lessing, Gotth. Eph., I. 89, 113. " C. F., I. 120. Levi, Hermann, II. 30, 38, 90, 93, 94, 104, 111, 120, 129, 133, 136, 137, 147, 159, 184, 185. " (Publisher), II. 10. Levin, II. 143. Leyen, Rudolf v. der, II. 183, 275. Lind, Jenny, See under Goldschmidt. Liszt, Franz, I. 100, 101, 103, 108-112, 124, 128, 135, 136, 139, 144, 147, 180, 181, 211-213, 249-252; II. 46, 95, 132, 191, 271, 290. Litolff, Henry, I. 90. Little, Lena, II. 233. Lohfeldt, Rudolph, I. 86. Lorscheidt, II. 187. Löwe, I. 74. " J. C. G., II. 70. " Sophie, II. 103. Löwenherz, Aaron, I. 76, 77, 264. Lükbe, II. 46. Luther, Martin, II. 63.

M.

Maier, II. 26. Mangold, C. F., I. 126. Manns, August, II. 102, 179. Mannstädt, II. 207, 216. Mara, La, I. 59, 67, 85, 131, 140, 147. Marks, G. W. (ps. Joh. Brahms), I. 86. Martucci, II. 229. Marxsen, Edward, I. 57-61, 63-68, 74, 79, 84, 85, 89, 90, 97, 113, 118, 143, 147-152, 161, 187; II. 9, 10, 28, 62, 175, 200, 230, 231. Mason, William, I. 108, 109, 111, 128, 163, 273; II. 53. Mattheson, Johann, I. 113. May, Florence, II. 103, 200. Meinhardus, Ludwig, II. 174. Mendelssohn, Felix, I. 21, 99, 100, 101, 180, 216, 226, 227, 238; II. 22, 91, 118, 132, 141, 174, 177, 191, 198, 268, 288. Menzel, Adolph v., II. 270. Meyer, I. 73. " C., I. 85. " David, I. 79. Meyerbeer, II. 18. Meysenbug, Carl v., I. 204, 205, 208-210, 214, 223, 243, 246; II. 41, 68, 121, 190. " Hermann v., I. 214, 217, 240. " Hofmarschall v., I. 208, 246. " Frau v., I. 214, 216. " Fräulein v., I. 204, 208, 240. Michalek, II. 285. Miller, Christian, I. 69, 90. " Victor v. zu Aichholz, II. 202, 239, 279, 283, 284, 285, 288, 291. Mollenhauer, I. 85. Moltke, v., II. 240. Morley, John, II. 25. Moscheles, Ignaz, I. 216. Moser, Andreas, I. 107, 155, 249. Mozart, Wolfgang A., I. 17, 18, 70, 220, 238, 267; II. 116, 117, 141, 148, 171, 172, 177, 199, 200, 202, 217, 270, 287. Mozart's works played by Brahms, I. 59, 192, 215, 216, 262. " 'Figaro's Hochzeit', I. 80, 81, 83, 84, 180; II. 90. Mühlfeld, Richard, I. 39, 40; II. 248-251, 265-267, 283. Müller, II. 203, 204.

N.

Nagy, Zoltan, II. 233. Naumann, Ernst, I. 120, 126, 157, 158; II. 94, 95. Néruda, Franz, II. 147. Neumann, Carl, I. 167; II. 197. Niebuhr, I. 46. Nissen, the sisters, I. 54. " Johanna H. Christiana, See under Brahms. Norman, Ludwig, I. 126. Norman-Néruda, Wilhelmine, II. 103, 147, 183, 204. Nottebohm, M. G., II. 3, 16, 22. Novello, Clara, I. 104.

O.

Oldenburg, Grand-Duke of, I. 267; II. 10. " Grand-Duchess of, II. 68. Ophüls, G., II. 276. Oser, Dr. and Frau, II. 163, 202. Ossian, II. 84. Otten, G. D., I. 186, 192, 206, 253. Otterer, Christian, I. 59, 68; II. 175. Ould, C., II. 103.

P.

Paganini, Nicolo, II. 60. Palestrina, G. P. da, I. 188, 250; II. 292. Pänzer, II. 60. Paque, W., II. 53. Passy-Cornet, II. 5, 9, 13. See also under Cornet. Paul, Jean (F. Richter), I. 89, 116, 170, 173. " Jeanette, I. 138. Perger, Richard v., II. 288, 289. Peroni-Glasbrenner, I. 154. Peters, II. 138. Petersen, II. 241, 242. Pezze, II. 103. Pfund, I. 228. Piatti, Alfredo, II. 53, 103, 147, 204, 250. Piening, II. 276. Pohl, C. F., II. 4, 202, 259. " Richard (Hoplit), I. 140, 189, 190, 193; II. 31. Pope, Alexander, I. 89. Popper, David, II. 143, 222. Porubszky, Bertha, I. 239, 258. See also under Faber. Possart, Ernst v., II. 188. Potter, Cipriani, II. 87. Prückner, Dionys, I. 108, 124. Pyatt, G., II. 103. Pyllemann, Franz, II. 117.

R.

Radicati di Marmorito-- Count, II. 93. Countess, II. 93. See also under Julie Schumann. Raff, Joachim, I. 100, 103, 108, 136; II. 51. Rameau, J. P., I. 38. Raphael, I. 140. Redeker, II. 103. Regan, Anna, II. 87. Reichhardt, J. F., II. 94, 95. Reimann, Heinrich, I. 234; II. 9, 142, 278, 284. Reimers, Christian, I. 116, 256. Reinecke, Carl, I. 118, 259; II. 87, 132, 173. Reinhold, II. 143. Reinthaler, Carl Martin, II. 55, 56, 59, 60, 73-76, 91, 98, 112, 173. " Henriette, II. 76, 211, 212. Reuter, I. 266; II. 72. Rheinberger, II. 131. Richarz, I. 157. Richter, Hans, II. 51, 163, 208, 217. Rieckmann, I. 73, 82. Riedel, II. 133. Ries, Louis, II. 53, 103, 147. Rieter-Biedermann, I. 257, 265, 278; II. 26, 35, 43, 73, 81, 83. Rietz, Julius, I. 180, 259; II. 132, 136. Risch, I. 83. Ritter, I. 113. Ritterhaus, II. 188. Rittermüller, Philippine, See under Grimm. Roeger-Soldat, Marie, II. 179, 283. Röntgen, I. 270. Rosa, Carl, I. 55. Rosé, Arnold, II. 22, 246, 250, 266. Rosegger, II. 215, 216. Rosenhain, J., I. 83; II. 28, 230. Rösing, Elisabeth, I. 265, 276; II. 10. Rossini, G. A., I. 83. Rottenberg, v., II. 186, 237, 240. Röver, II. 6. Rovetta, Giovanni, I. 188; II. 22. Rubinstein, Anton, I. 3, 65, 191, 192, 217; II. 28, 108, 133, 139. Rückert, Friedrich, II. 211.

S.

S..., Agathe, I. 223, 224. Sahr, Heinrich v., I. 134, 137, 256. Salamon, Hedwig, I. 136-138. See also under Holstein. Sallet, Friedrich v., II. 161, 162. Santley, Charles, II. 87. Saxe-Meiningen-- George, Duke of, II. 194-196, 207, 248, 287. Marie, Princess of, II. 287. Sayn-Wittgenstein, Princess Caroline v., I. 108. Scarlatti, D., I. 5, 6, 18, 38, 197; II. 54, 71, 102. Schaafhausen, II. 188. Schäfer, Julius, I. 126. Schelle, II. 52, 54, 62, 119. Schelper, II. 99. Schiller, Friedrich, I. 89, 137, 138, 289; II. 91, 92, 193, 197, 206. Schirmer, J. W., I. 120. Schleinitz, I. 136. Schloenbach, I. 136, 138, 139. Schmall, II. 143. Schmidt, Julius, I. 209, 214-217, 245. " Professor, II. 213. Schnack, Caroline, II. 40, 41. See also under Brahms. " Fritz, II. 40, 45, 108, 109, 175, 254, 278, 290. Scholz, Bernhard, I. 251; II. 103, 104, 140, 166, 183, 275. " Dr., II. 18. Schröder, I. 73, 74, 90, 96. Schröder-Devrient, I. 177. Schubert, Franz, I. 21, 84, 235, 238, 267; II. 5, 15, 116, 119, 130, 136, 162, 174, 212, 274, 287. " Works played by Brahms, I. 5, 186, 199, 205, 209, 215, 236, 263, 268; II. 42, 54, 60, 70, 71, 86. Schübring, A., I. 118, 274, 275; II. 73. Schultz, A., II. 18. Schulze, I. 209, 245. Schumann, Clara, I. 1-9, 13, 15, 22, 23, 65, 89, 104, 119, 125, 144, 155, 159, 160, 163-178, 181-185, 192, 193, 194-198, 201-206, 210, 211, 218-220, 222, 259, 260, 262, 267-271, 273, 278; II. 48, 68, 73, 79, 80, 94, 101, 102, 103, 111, 121, 122, 154, 167, 171, 187, 188, 203, 204, 230, 255, 258, 259, 268, 269, 275. " Robert, I. 65, 89, 101, 102, 113, 116, 118-132, 133, 134, 143, 154-158, 167-178, 179, 186, 187, 189, 190, 194, 195, 198, 201-203, 255, 256; II. 3, 20, 25, 26, 74, 113, 116, 121, 132, 136, 141, 148, 166, 171, 172, 186-189, 190, 191, 198, 255, 256, 275. " Works played by Brahms, I. 186, 191, 206, 215, 216, 246, 247, 253, 263; II. 7, 13, 39, 42, 54, 60, 70, 86, 102, 189. " Elise, I. 168, 173. " Eugénie, I. 220; II. 268. " Felix, I. 219. " Julie, I. 169, 279; II. 93. " Marie, I. 168, 173, 252, 262; II. 48, 73, 268. Schütz, Heinrich, II. 22. Schwarz, Johanna, II. 106. Schwenke, I. 63. Sechter, Simon, II. 3. Seebach, Elizabeth v., I. 137. Seebohm, II. 72. Segisser, II. 31. Seling, Emil, II. 278. Sell, II. 275. Senff, I. 141, 144; II. 98. Sengelmann, I. 239. Seyfried, Ignaz v., I. 64, 67. Seyfrix, II. 194. Shakespeare, I. 258. Shakespeare, W., II. 203, 233. Siebert, II. 246. Simrock, Fritz, I. 257; II. 154, 202, 229, 271, 286. " N., I. 257; II. 10, 43, 81, 94, 98, 106, 124, 138, 203, 289. Sittard, Josef, I. 151, 152; II. 62, 218, 231, 241. Smetansky, II. 130. Sohn, Carl, I. 93, 120. " Clara, See under Dietrich. Sommerhoff, II. 265. Sophocles, I. 89. Speidel, II. 11, 12. Spengel, Julius, I. 188; II. 207, 234, 241. Speratus, Paul, II. 26. Speyer, II. 268. See also under Antonia Kufferath. Spiess, Hermine, II. 213, 229. Spina, II. 5, 10, 15, 17, 26. Spitta, Friedrich, II. 274. " Philipp, I. 246; II. 83, 134, 181, 219. Spohr, L., I. 183, 208; II. 171. Stanford, C. V., II. 87, 103, 155, 156, 183, 270. Steche, Lily, I. 138. Stegmayer, F., II. 3, 17, 18, 26. Stein, I. 180. Steinbach, Fritz, II. 232, 267. Steinbrügger, II. 31. Steiner, A., II. 47, 138, 197, 229, 250, 269. Stern, Adolph, II. 95. Stern, Capellmeister, II. 88. Stockhausen, Julius, I. 198, 199, 233-236, 255-257, 262, 263, 265, 275; II. 10, 11, 22, 35, 69-72, 73, 79, 81, 83, 84, 85, 86, 87, 102, 104, 106, 111, 121, 137, 154, 167, 187, 211, 259, 265, 268, 275, 289. " Frau, II. 35, 73. Stone, I. 277. See also Minna Völckers. Stradella, A., II. 71. Straus, Ludwig, II. 103, 147, 238, 250. Strauss, Richard, II. 216. " Johann, I. 22; II. 127, 202, 239, 249, 264, 279, 283. " Joseph, II. 30. Suter-Weber, II. 78. Sybel, II. 248.

T.

Tartini, I. 235, 247; II. 60, 73. Tasso, Torquato, I. 89; II. 84. Tausig, Carl, II. 4, 14, 23. Taylor, Franklin, II. 103. Telemann, G. P., I. 113. Thalberg, Sigismund, I. 85, 87. Thomas, Theodor, I. 163. Thompson, II. 87, 102. Thorwaldsen, II. 71. Tieck, Ludwig, I. 265, 275, 276, 291, 303. Tourgenieff, II. 31, 91. Truxa, Celestine, II. 226-228, 246, 259, 285, 290.

V.

Vega, Loppe de, II. 33. Verhulst, I. 180; II. 173, 191. Versan, Raoul de, II. 103. Vesque v. Püttlingen, Helene, I. 136, 137. Viardot-Garcia, Pauline, II. 31, 94, 95, 102. Vienna Singakademie concerts under Brahms, II. 20, 22, 23, 25, 26. Vienna Gesellschaft concerts under Brahms, II. 116-120, 129-131, 136, 139-141. Vieuxtemps, Henry, I. 96, 98. Vinci, Leonardo da, I. 218. Viotti, II. 177. Vogel, II. 107. Vögl, Bernhard, II. 217. Vogler, II. 18. Völckers, Herr, I. 258, 265, 266. " Betty, I. 255, 265, 266; II. 175. " Marie, I. 255, 265, 266; II. 72, 82, 175. See also under Böie. " Minna, I. 266; II. 73. Volkland, Alfred, II. 134. Volkmann, R., II. 130. Voss, J. Heinrich, II. 91.

W.

Wachtel, Theodor, I. 84. Wäfelghem, II. 102. Wagner, Friedchen, I. 192, 218, 219, 238, 239, 240, 241, 269; II. 175. " Thusnelda, I. 239. " Richard, I. 100, 101, 103, 105, 252, 287-290; II. 14, 30, 95, 141, 157-159, 184, 185, 186. Wahrendorf, Fritz, I. 88. Waiz, I. 113. Wallace, Lady, II. 91. Walter, Gustav, II. 85, 94, 233. " Fräulein, II. 233. Wasielewsky, Josef v., I. 114-116, 118, 132, 195; II. 121. Webbe, Septimus, II. 201. Weber, C. M. v., I. 67, 288; II. 18, 174, 249, 283. Wehermann, II. 275. Wehner, I. 118, 137. Weigand, II. 133. Weiglein, II. 233. Weiss, Amalie, See under Joachim. Weitzmann, I. 251 Wendt, Gustav, I. 148; II. 31, 229, 230, 264. Wenzel, Ernst F., I. 134, 144. Wesendonck, II. 46. Westermann, II. 42. Widmann, J. V., I. 67, 86; II. 39, 89, 138, 156-161, 193, 194, 221-225, 229, 230, 238, 239, 243, 251-253, 258, 269, 270, 272. Wieck, Friedrich, I. 134. " Marie, I. 134. Wiedemann, II. 94. Wiemann, I. 261. Wiesemann, I. 203. Wildenbruch, Ernst v., II. 222. William I., German Emperor, II. 69, 116, 137. William II., German Emperor, II. 69. Wilsing, E. F., I. 126. Wilt, II. 13, 20, 87, 99, 116. Winter, II. 84. Wittgenstein, II. 202, 283. Wolf, Hugo, II. 220. Wolff-Homersee, Baroness, See under Barbi. Woronzow, I. 56. Wrede, II. 187. Wüllner, Franz, I. 116; II. 117, 166.

Y.

Young, Edward, I. 89.

Z.

Zelter, II. 94. Zerbini, II. 53, 147. Zimmermann, Agnes, II. 103. " Dr. v., II. 288.

THE END

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The title of this delightful book gains point from its contents. Mrs. George Cornwallis-West is unable to bring her recollections down to the immediate present, and so she brings them to a close when she ceased to be Lady Randolph Churchill. But that was only a few years ago, and it is doubtful whether any volume of reminiscences of Society has ever described the life of the interesting and distinguished people so close to our own day.

Lady Randolph Churchill's earliest experiences were in Paris during the last gay days of the Empire and the horrors of the Franco-German War. Then came her marriage and introduction to all that was best and highest in English Society. In 1876 Lord and Lady Randolph accompanied the Duke of Marlborough to Dublin, and her account of life at the Viceregal Court is full of entertainment. Then come recollections of political society in London, of the formation of the Primrose League, and anecdotes of well-known politicians, such as Mr. Balfour, Sir William Harcourt, Mr. Chamberlain, and others.

Lady Randolph visited the Royal Family both at Windsor and at Sandringham: she has also many interesting glimpses to give of Continental Society, including an audience of the Czar in Russia, Court functions at Berlin, a dinner-party with Bismarck, a friendship with General Boulanger. Such are some of the varied items that catch the eye as one turns over the pages. They are samples from a mine of well-chosen topics, handled with tact, courage and grace.

LONDON: EDWARD ARNOLD. 41 & 43 MADDOX STREET. W.

EIGHTEEN YEARS IN UGANDA AND EAST AFRICA.

By the Right Rev. ALFRED R. TUCKER, D.D., LL.D., BISHOP OF UGANDA.

_With 60 Full-page Illustrations from the Author's Sketches, several of them in Colour, and a Map. In Two Volumes. Demy 8vo._ =30s. net.=

This is a book of absorbing interest from various points of view, religious, political and adventurous. It will appeal to the Churchman and philanthropist as a wonderful record of that missionary work, of which Mr. Winston Churchill has recently said:

'There is no spot under the British Flag, perhaps in the whole world, where missionary enterprise can be pointed to with more conviction and satisfaction as to its marvellous and beneficent results than in the kingdom of Uganda.'

It will interest the politician as a chapter of Empire-building, in which the author himself has played no small part. Lastly, it will delight all those who travel or who love reading about travel. The Bishop describes his wanderings, mostly afoot, through nearly 22,000 miles of tropical Africa. He tells of the strange tribes among whom he dwells, of the glories of the great lakes and the Mountains of the Moon. He tells of them not only with the pen, but also with pencil and brush, which he uses with masterly skill.

ON SAFARI.

Big-Game hunting in British East Africa, with Studies in Bird-Life.

By ABEL CHAPMAN, F.Z.S., AUTHOR OF 'WILD NORWAY,' 'BIRD-LIFE OF THE BORDERS,' 'WILD SPAIN,' ETC.

_With 170 Illustrations by the_ AUTHOR _and_ E. CALDWELL. _Demy 8vo._ =16s. net.=

The author of this fascinating book is a well-known ornithologist, as well as a mighty hunter and traveller. He takes us 'on safari' (_i.e._, on trek) through a new African region--a creation of yesterday, Imperially speaking, since British East Africa only sprang into existence during the current decade, on the opening of the Uganda Railway. 'The new Colony,' he says, 'six times greater in area than the Mother Island, is an Imperial asset of as yet unmeasured possibilities, consisting, to-day, largely of virgin hunting grounds, unsurpassed on earth for the variety of their wild fauna, yet all but unknown save to a handful of pioneers and big-game hunters.' Much knowledge, however, can be acquired through the pages and pictures of this book, describing, as it does, the vast tropical forests, with their savage inhabitants and teeming animal life. The numerous illustrations of African big game, owing to the expert knowledge of both author and artist, are probably the most accurate that have ever appeared.

OLD AND ODD MEMORIES.

By the Hon. LIONEL A. TOLLEMACHE, AUTHOR OF 'TALKS WITH MR. GLADSTONE,' 'BENJAMIN JOWETT,' ETC.

_Denny 8vo. With Portraits._ =12s. 6d. net.=

One of the most brilliant men of his day, only prevented, probably, by the physical infirmity of near-sightedness, from being also one of the most prominent, gives us in this volume a collection of remarkably interesting reminiscences, which extend over half a century. They include, mostly in anecdotal form, life-like portraits of the author's father, the first Baron Tollemache (another Coke of Norfolk, but with more eccentricities), and of Dr. Vaughan of Harrow. The author's years at Harrow, of which he records his memories, were from 1850 to 1856, and those at Oxford from 1856 to 1860. The book contains, besides, a number of characteristic stories, now for the first time given to the public, of the Duke of Wellington, Lord Houghton, Lord and Lady Mount Temple, Fitz-James Stephen, to take but a few names at random from these fascinating pages.

IN SEARCH OF A POLAR CONTINENT.

By ALFRED H. HARRISON, F.R.G.S.

_Illustrated from Photographs taken by the Author in the Arctic Regions, and a Map. Derry 8vo._ =12s. 6d. net.=

The white North continues to exert its magnetism upon British explorers. Mr. Harrison's object was to explore the unknown region off the North American Coast of the Arctic Ocean, but he first travelled 1,800 miles by waterway through Northern Canada, till he arrived at the delta of the Mackenzie River. There he was frozen in and delayed for three months. He then continued his journey to the Arctic Ocean with dogs, but was obliged to abandon his supplies. He hoped to obtain provisions at Herschel Island, but being disappointed in this, he went into the mountains and spent two months with the Eskimo, whose manners and customs he describes. He next returned to Herschel Island and made a voyage to Banks Land in a steam whaler. There, too, the failure of an expected tender to arrive from San Francisco again defeated his hopes of procuring supplies. Consequently he once more threw in his lot with the Eskimo, between the Mackenzie Delta and Liverpool Bay, and spent a year among them.

Such are the adventures described in this interesting book, the last chapter of which, explaining the author's plans for resuming his enterprise, once more illustrates the fact that an Englishman never knows when he is beaten.

CHRONICLES OF THE HOUGHTON FISHING CLUB, 1822-1908.

Edited by the Rt. Hon. Sir HERBERT MAXWELL, Bart., AUTHOR OF 'MEMORIES OF THE MONTHS,' 'THE CREEVEY PAPERS,' 'THE STORY OF THE TWEED,' 'BRITISH FRESH-WATER FISHES,' ETC.

_With numerous Illustrations, many in Photogravure or on Japanese Vellum, including facsimile Reproductions from Sketches by Landseer, Chantrey, Turner, etc. Demy 4to._ =£2 2s. net.= _Limited to 350 copies._

This sumptuous volume, which gives the history of one of the oldest and most famous fishing clubs, on that finest of all English streams, the Test, forms an unique addition to angling literature. The effect of angling on literature has always been genial and discursive, and these delightful Chronicles are no exception to the rule. They throw much light on the changes which have affected social habits in general, and the craft of fly-fishing in particular, during the best part of a century. They contain not only records of sport, but various contributions--literary and pictorial--to the club album, made by celebrated members and visitors. These included Penn's well-known fishing maxims, some portraits by Chantrey, several sketches by Landseer and Sir Francis Grant, and one precious drawing from the hand of Turner. In the leisurely old days of mail-coaches, the members of the club and their guests had more time for such diversions, when the weather was unfavourable to sport, than is the case in the present age of telegrams and express trains.

IN OLD CEYLON.

By REGINALD FARRER, AUTHOR OF 'THE GARDEN OF ASIA.'

_With numerous Illustrations. Demy 8vo._ =12s. 6d. net.=

The shrines of Oriental romance have once more charmed the pen of Mr. Reginald Farrer. His book has little concern with modern Ceylon, its industries and exports. He tells rather of the bygone glories and sanctities of ancient Lanka, when the island was the seat of a powerful monarchy and a dominant church. He gladly deserts the beaten track for the fastnesses of the jungle and the great dead cities whose bones lie lost in a shoreless ocean of green. Under his guidance, all those who love contemplation of 'old unhappy things and battles long ago' can follow the tale of the Buddhist hierarchy and the Cingalese monarchy, realizing their ancient glories amid the ruins where they lie buried, and their final tragedy in the vast jungle that now for many centuries has engulfed their worldly majesty.

Nor is the interest of the book wholly antiquarian and historic, for Ceylon--that Eastern Island of Saints--is a vast flowering garden, of whose blossoms and paradises all votaries of horticulture will delight to read in Mr. Farrer's pages.

THE BOOK OF WINTER SPORTS.

With an Introduction by the Rt. Hon. the EARL OF LYTTON, and contributions from experts in various branches of sport.

Edited by EDGAR SYERS.

_Fully illustrated. Dewy 8vo._ =15s. net.=

Every winter more and more visitors are attracted to Switzerland, the Tyrol, and Scandinavia, to take part in the various winter sports of which this book is the first and only comprehensive account in English. Each sport is dealt with separately by an expert. Thus, Mr. and Mrs. Syers write on Skating, Mr. C. Knapp on Tobogganing, Mr. E. Wroughton on Ski-running, Mr. Bertram Smith on Curling, Mr. E. Mavrogordato on Bandy, and Mr. Ernest Law on Valsing on Ice. The various chapters give instructions in practice, rules, records, and exploits, as well as useful information as to hotels, hours of sunshine, the size and number of rinks, and competitions open to visitors at the different centres. The book contains a large number of original illustrations. It should be indispensable, not only to experts in the various sports, but to the far larger class of holiday-makers who engage in them as a pastime.

FIVE MONTHS IN THE HIMALAYAS.

A Record of Mountain Travel in Garhwal and Kashmir.

By A. L. MUMM, LATE HONORARY SECRETARY OF THE ALPINE CLUB.

_Magnificently illustrated with Photogravure Plates and Panoramas, and a Map. Royal 8vo._ =21s. net.=

The first and principal portion of this volume contains an account of a journey through the mountains of Garhwal made by the author in May, June, and July, 1907, with Major the Hon. C. G. Bruce and Dr. T. G. Longstaff, whose names are already well known in connexion with Himalayan mountaineering. The tour has considerable geographical interest, which is enhanced by a magnificent series of original photographs of scenes never before submitted to the camera, and it was rendered memorable by the fact that in the course of it Dr. Longstaff reached the summit of Trisul, 23,415 feet above the level of the sea, the loftiest peak on the earth's surface whose actual summit has, beyond all doubt or question, been trodden by man.

Later on, Major Bruce and Mr. Mumm proceeded to Kashmir, where they climbed Mount Haramukh, whose snowy crest is familiar to all visitors to 'the happy valley'; and made a 'high-level route' down the range of mountains which separates Kashmir from Kagan. Their photographic spoils were of an interest hardly inferior to those of the Garhwal journey.

PAINTING IN THE FAR EAST.

An Introduction to the History of Pictorial Art in Asia, especially China and Japan.

By LAURENCE BINYON.

_With 31 Full-page Illustrations in Collotype from Original Chinese and Japanese Pictures. One Volume. Crown 4to._ =21s. net.=

This important book is a pioneer work in the artistic interpretation of the East to the West, and in the breaking down of the spiritual barriers between them. For a basis of study of Eastern art, writes Mr. Binyon, 'the public at present has nothing but a few general misconceptions.' He therefore puts forward his volume with the modest hope that it 'may not be thought too presumptuous an attempt to survey the achievement and to interpret the aims of Oriental painting, and to appreciate it from the standpoint of a European in relation to the rest of the world's art. It is the general student and lover of painting,' he continues, 'whom I have wished to interest. My chief concern has been, not to discuss questions of authorship or of archæology, but to enquire what æsthetic value and significance these Eastern paintings have for us in the West.' Besides its stimulating artistic criticism, the book is full of interesting glimpses of Eastern history and thought in so far as they have affected art, as well as of biographical sketches of Eastern painters.

MADAME ELIZABETH DE FRANCE, 1764-1794.

A Memoir.

By the Hon. Mrs. MAXWELL-SCOTT, AUTHOR OF 'JOAN OF ARC,' 'ABBOTSFORD AND ITS TREASURES,' ETC.

_With Coloured Collotype and other Illustrations. Demy 8vo._ =12s. 6d. net.=

Among the victims of the French Revolution, perhaps the figure which excites most sympathy is that of the modest and heroic Princess whose life is told in this deeply interesting memoir. Madame Elizabeth was the sister of Louis XVI. Her life was at first one of calm and quiet. Her studies, her charities, and her intimate friendships filled her time until the storm broke over France, and she left her peaceful Montruil to take her part in the dangers and sufferings of her family, and to be their consoler in the time of trial. It was not till the King and Queen had both been executed that Madame Elizabeth was brought from prison, tried for corresponding with her brother, and condemned to the guillotine.

The fresh documents lately discovered by M. Lenotre have enabled the author, who, by the way, is a great-granddaughter of Sir Walter Scott, to throw much new light on the life of 'The Angelic Princess.'

SCOTTISH GARDENS.

By the Right Hon. Sir HERBERT MAXWELL, Bart.

Illustrated in Colour by MARY G. W. WILSON, MEMBER OF THE SOCIETY OF SCOTTISH ARTISTS.

_With 32 Full-page Coloured Plates. Crown 4to._ =21s. net.=

_Also an Edition de Luxe, limited to 250 copies, at_ =£2 2s. net=.

This work is the outcome of a desire to produce a volume worthy in every respect of the beautiful gardens of Scotland. Sir Herbert Maxwell, whose knowledge of the subject is probably unique, is personally acquainted with the places described, and has throughout been in consultation with the artist, Miss Wilson. Visitors to her studio in Edinburgh, or the exhibitions of her work in London, will need no further testimony to the charm of her pictures, which are here reproduced with the utmost care and on the largest feasible scale.

One of the objects of the work is to dispel certain popular fallacies as to the rigours of the Scottish climate. Its chief aim, however, is to present a typical selection of Scottish garden scenes representing all styles and all scales, modest as well as majestic, and formal as well as free, so that the possessor of the humblest plot of ground may be stimulated to beautify it, with as fair hope of success, in proportion, as the lord of many thousand acres.

ALPINES AND BOG-PLANTS.

By REGINALD FARRER, AUTHOR OF 'MY ROCK GARDEN,' ETC.

_With Illustrations. Large Crown 8vo._ =7s. 6d. net.=

Like most hobbies, rock-gardening provides an endless topic of interest for its devotees, and the lore of the subject is inexhaustible. At any rate, Mr. Reginald Farrer, who is a recognized authority on the art, by no means exhausted his stock of information and anecdote in his previous work, 'My Rock Garden.' That garden, as most of his fellow-enthusiasts know, is on the slopes of Ingleborough in Yorkshire, and it is a place of pilgrimage for the faithful of this cult. As a writer, Mr. Farrer combines a light and genial style with sound practical information, so that his books are at once readable and instructive. Some idea of the scope of the present volume may be gained from the list of chapters, which is as follows: 1. Of Shrubs and their Placing. 2. Of Shrubs, Mostly Evergreen. 3. Ranunculaceæ, Papaveraceæ, Cruciferæ. 4. A Collecting Day above Arolla. 5. Between Dianthus and Epilobium. 6. From Epilobium on through Umbelliferæ and Compositæ. 7. Of Odd Treasures. 8. The Big Bog and its Lilies. 9. The Greater Bog Plants. 10. Iris. 11. The Mountain Bog. 12. More of the Smaller Bog Plants. 13. The Water Garden.

THE HISTORY OF THE 'GEORGE' WORN ON THE SCAFFOLD BY KING CHARLES I.

By SIR RALPH PAYNE-GALLWEY, Bart., AUTHOR OF 'THE MYSTERY OF MARIA STELLA,' ETC.

_Finely illustrated in Collotype. Royal 8vo._ =7s. 6d. net.=

A 'George,' in the sense in which it is here used, is the jewelled pendant of St. George and the Dragon which is worn by Knights of the Garter. There are two of these 'Georges' used in the Insignia of the Order. One is attached to the collar, and is worn only on solemn feasts: the other is called 'the lesser George,' and is worn on general occasions, attached to a chain or lace of silk.

The sovereign is, of course, head of the Order, and Charles the First was wearing his 'George' when he ascended the scaffold to be executed. The question afterwards arose as to what had become of it, and it has since been given up as lost. Sir Ralph Payne-Gallwey, however, who has already, in his book on Maria Stella, proved himself a skilful literary unraveller of historical mysteries, makes out a very good case, in his new volume, for identifying the missing 'George' with one that is now in King Edward's possession at Windsor.

A PARSON IN THE AUSTRALIAN BUSH.

By C. H. S. MATTHEWS, M.A., LATE VICE-PRINCIPAL OF THE BROTHERHOOD OF THE GOOD SHEPHERD, N.S.W.

_Illustrated from Sketches by the_ AUTHOR, _etc. Crown 8vo._ =6s. net.=

The Rev. C. H. S. Matthews, better known in the bush of New South Wales as 'Brother Charles,' is one of the founders and chiefs of an Anglican Society called the Brotherhood of the Good Shepherd, formed to minister to the religious needs of those remote regions. During five years spent almost entirely in itinerating in the 'back-blocks' of the colony, he has had exceptional opportunities for studying bush-life. Finding, on his return to England, a widespread interest in Australian affairs, coupled often with an astonishing ignorance of the real Australia, it occurred to him to set down his own experiences and views on various Australian problems. Knocking about among the bushmen, camping with sleeper-cutters and drovers, visiting the stations and selections 'out-back,' Mr. Matthews has caught the spirit and atmosphere of the bush, with its mingled pathos, humour and humanity. The book should appeal, not only to those interested in missionary enterprise, but to all who like to learn how the other parts of the Empire live.

THE ROSE-WINGED HOURS.

English Love Lyrics.

Arranged by St. JOHN LUCAS, EDITOR OF 'THE OXFORD BOOK OF FRENCH VERSE,' ETC.

_Small 8vo., elegantly bound._ =5s. net.=

The special claim of this anthology, arranged, as it is, by one of our most promising younger poets, will be due to the prominence given in it to the love-lyrics of those Elizabethan and Jacobean poets whose verse, though really entitled to rank with the finest flowers of their better-known contemporaries, is unduly neglected by the ordinary reader. The love-lyric is, indeed, the only form in which a great many of the lesser poets write anything at all memorable.

Sidney and Campion, both writers of extraordinary power and sweetness, devote themselves almost entirely to this form, and the strange and passionate voice of Doune finds in it an accent of deep and haunting eloquence. And since every love-lyric from Meleager to Meredith has a certain deathless interest that is shared by every poem of its kind, no matter how many the centuries between them, in this volume the great line of the Elizabethans will lead to the nineteenth century poets, to the singers of an epoch with a lyrical harvest as great, indeed, as all the gold of Elizabeth.

THE MISTRESS ART.

By REGINALD BLOMFIELD, A.R.A., PROFESSOR OF ARCHITECTURE TO THE ROYAL ACADEMY. AUTHOR OF 'A HISTORY OF RENAISSANCE ARCHITECTURE IN ENGLAND.'

_Crown 8vo._ =5s. net.=

The author of this interesting book, who speaks, as it were, _ex cathedrâ_, has here collected a series of eight lectures on architecture delivered in the Royal Academy. In them he has endeavoured to establish a standpoint from which architecture should be studied and practised. His general position is that architecture is an art with a definite technique of its own, which cannot be translated into terms either of ethics or of any of the other arts, and the development of this thesis involves a somewhat searching criticism of the views on architecture advanced by Ruskin and Morris.

The first four lectures deal with the study of architecture--its relation to personal temperament, its appeal to the emotions, and its limitations. In the last four, devoted to 'The Grand Manner,' the writer has illustrated his conception of the aims and ideas of architecture by reference to great examples of the art in the past.

WOODSMEN OF THE WEST.

By M. ALLERDALE GRAINGER.

_With Illustrations. Demy 8vo._ =7s. 6d. net.=

This is an extremely interesting personal narrative of 'logging' in British Columbia. 'Logging,' as everyone knows, means felling and preparing for the saw-mill the giant timber in the forests that fringe the Pacific coast of Canada, and it is probably true that no more strenuous work is done on the face of the earth. Mr. Grainger, who is a Cambridge Wrangler, has preferred this manual work to the usual mental occupations of the mathematician, and gives us a vivid and graphic account of an adventurous life.

ARVAT.

A Dramatic Poem in Four Acts.

By LEOPOLD H. MYERS.

_Crown 8vo._ =4s. 6d. net.=

The author of this play is a son of the late Frederick Myers, the well-known authority on 'Psychical Research.' It is a poetical drama in four acts, describing the rise and fall of the hero, Arvat. The time and place are universal, as are also the characters. But the latter, though universal, and therefore in a sense symbolic, are psychologically human, and the significance of the action, heightened as it may be by interpretation through the imagination, is nevertheless independent of it. Thus Arvat's career, while providing subject-matter for a drama among individuals in the flesh, may also be taken as the symbol of a drama among ideas in the spirit.

PEEP-IN-THE-WORLD.

A Story for Children.

By Mrs. F. E. CRICHTON.

_Illustrated by Harry Rountree. Crown 8vo._ =3s. 6d.=

The author of this charming tale ought to take rank with such writers as Mrs. Molesworth in the category of childhood's literature. The story tells of a little girl who visits her uncle in Germany and spends a year in an old castle on the borders of a forest. There she finds everything new and delightful. She makes friends with a dwarf cobbler, who lives alone in a hut in the forest, and knows the speech of animals and birds. Knut, the cobbler, is something of a hermit and a misanthrope, but he is conquered by Peep-in-the-World, whom he eventually admits to the League of Forest Friends. She wants him to teach her how to talk to the wild things of the woods, and though she has to leave Germany without learning the secret, she gains a growing sense of the magic power of sympathy and kindness.

LONDON SIDE-LIGHTS.

By CLARENCE ROOK.

_With Frontispiece by S. de la Bere. Crown 8vo._ =6s.=

The author of these entertaining sketches has taken his place as an ordinary Londoner who is a journalist as well. He has walked and ridden about London with pennies in his pocket, eyes in his head, and a brain behind the eyes. He has found secrets of London hotels, he has pierced the problem of London traffic, he has been to queer boxing contests, and he has been present at the birth of the popular song. He has sat in the gallery of the House of Commons, and in the newspaper office that cuts and carves its speeches. And he knows the story of the famous block in Piccadilly. He has found, too, the problem of the London woman who is alone. The problem also of those London children whom the Salvation Army rescues. And at the end comes the 'Bath of Silence,' which gives the City peace.

THE DOWAGER OF JERUSALEM.

A Romance in Four Acts.

By REGINALD FARRER, AUTHOR OF 'IN OLD CEYLON,' 'MY ROCK GARDEN,' ETC.

_Crown 8vo._ =3s. 6d. net.=

CHRONICLES OF SERVICE LIFE IN MALTA.

By Mrs. ARTHUR STUART.

_Illustrated by Paul Hardy. Crown 8vo._ =6s.=

Fiction is always the more interesting the more closely it is drawn from life, and these sketches of naval and military society in Malta, depicted in the form of stories, come from the pen of a lady who is intimately acquainted with the life of which she writes. The names of some of the stories, such as 'The Temptation of the Engineer,' 'The Red Parasol,' 'The Prince, the Lady, and the Naval Captain,' will perhaps be as good an indication as can be given of the character of the book. It will doubtless appeal especially to those familiar with society at naval and military stations, while the fact of its having a specific _milieu_, should in no way detract from its general interest. 'Plain Tales from the Hills' did not appeal only to the Anglo-Indian.

KNOWN TO THE POLICE.

Memories of a Police Court Missionary.

By THOMAS HOLMES, AUTHOR OF 'PICTURES AND PROBLEMS FROM LONDON POLICE COURTS.'

_Demy 8vo._ =10s. 6d. net.=

There is probably no man living who is so well qualified as Mr. Holmes to write the naked truth about the 'submerged tenth' of our population. His are not the casual, superficial observations of the amateur, but the first-hand experiences of one whose whole life is spent among the scenes he describes. His work has lain among the hungry and thirsty; he has visited the criminal in prison, and been face to face with the Hooligan and the Burglar in their own haunts; but through all the gloom and shadow of crime he has contrived to preserve a fellow-feeling with humanity in its most depressing garb. Every chapter is full of interest, of strange and quaint narratives in chequered pages of despair and hope.

VEGETARIAN COOKERY.

By FLORENCE A. GEORGE, AUTHOR OF 'KING EDWARD'S COOKERY BOOK.'

_Crown 8vo._ =3s. 6d.=

Some are vegetarians for conscience' sake, and others for the sake of their health. Miss George caters for both these classes in her new book; but she does not strictly exclude all animal food, since eggs, butter, milk, cream and cheese form a large part of her dishes. As far as possible, dietetic foods have been avoided in the recipes, as they are often difficult to procure. Every recipe given has been tested to ensure accuracy, and the simplest language is used in explaining what has to be done. A special feature of the book is the large number of vegetable soufflés and creams. The various chapters deal with Stock and Soups; Sauces; Pastes, Borders and Garnishes; Casseroles, Patties, Pies, Puddings and Timbales; Curries, Stews and Scallops; Galantines; Croquettes; Vegetables; Aspics, Creams and Salads; Soufflés, Omelettes and Egg Dishes; Aigrettes and Fritters; Savouries; Macaroni and Rice; Sweets; and Menus.

THE SEEKERS.

By FRANK SAVILE, AUTHOR OF 'THE DESERT VENTURE,' ETC.

_Crown 8vo._ =6s.=

This is a stirring novel of adventure in Eastern Europe. A learned Professor astonishes the British Association by announcing that he has located the famous lost treasure of Diocletian, as buried somewhere in the principality of 'Montenera.' This little State with its brave Prince is hard pressed for funds to defend itself against more powerful neighbours who aim at absorbing it, and the treasure would be invaluable. Whether it was discovered or not, the reader learns in the course of a spirited and exciting story. In reviewing the author's last novel, 'The Desert Venture,' the _Times_ said: 'When you have agreed to treat it as crude adventure, it is really as good as you can wish.' The _World_ said: 'If Mr. Savile's style is to some extent modelled on that of Merriman, this is no fault, but a virtue. And the reading world will find that it may safely welcome such work as this on its own account--as it assuredly will.'

THE WITCH'S SWORD.

By DAVID KERR FULTON.

_Illustrated by the Author. Crown 8vo._ =6s.=

This work, by a new author, is of a highly imaginative and romantic tendency, and deals with a most interesting period in Scottish history. The hero, who tells his own story, is an All Hallows child, born in the one weird hour which makes him kith and kin to the spirits of the air. The mystery of Flodden and the strange events grouped round the ancient tradition as to the fate of the gallant James are stirringly told, and lead up to the dénouement, which comes with vivid unexpectedness at the close of the book.

The lonely orphan of a wronged father is unwittingly schooled to vengeance by the fiery Welsh swordsman Jevan, who, at the instigation of the dying old nurse, forges the wizard steel that gives the story its name.

A tender love idyll is woven into the tale and relieves the scenes of violence through which the wearer of the Witch's Sword must fight his way to honour and acceptance.

AMABEL CHANNICE.

By ANNE DOUGLAS SEDGWICK, AUTHOR OF 'VALERIE UPTON,' ETC.

_Crown 8vo._ =6s.=

Readers of 'Valerie Upton' will turn eagerly to Miss Sedgwick's new novel. The scene is laid in England, and the principal characters are four--Amabel Channice, her son, her husband, and another woman, Lady Elliston. The relations between mother and son form the basis of the story, and the dramatic situation begins when the son, a youth of nineteen, broaches to his mother the question why she and his father do not live together. Curiosity is thus awakened, and the emotional atmosphere charged with uneasy expectation. Thereafter events move quickly, reaching a dramatic climax within the space of a week. Further than this it would not be fair to the author to reveal her plot.

A ROOM WITH A VIEW.

By E. M. FORSTER, AUTHOR OF 'THE LONGEST JOURNEY,' 'WHERE ANGELS FEAR TO TREAD,' ETC.

_Crown 8vo._ =6s.=

A novelist's third book, when its predecessors have shown great promise, is generally held to make or mar his reputation. There can be no question that Mr. Forster's new story will effectually establish his position. It is a comedy, having more affinity in style with his first book, 'Where Angels Fear to Tread,' than with 'The Longest Journey.' The author's whimsical humour, and unexpected turns of satire, have attained a still more piquant quality. He excels especially in satirizing the banalities of ordinary conversation, and his dialogue is always deliciously amusing.

MIRIAM.

By EDITH C. M. DART.

_Crown 8vo._ =6s.=

This is a promising first novel by a new writer, whose style is remarkable for delicate workmanship. The story moves round the dying fortunes of an old country family and its ancestral home. The hero belongs to another branch of this family, and there is a mystery about his birth. The heroine is an orphan, the daughter of a yeoman father and a French mother. Another important character is a scheming lawyer, and with these threads of love and intrigue the author has woven an interesting plot which is cleverly worked out.

THE DRESSING OF MINERALS.

By HENRY LOUIS, M.A., PROFESSOR OF MINING AND LECTURER ON SURVEYING, ARMSTRONG COLLEGE, NEWCASTLE-ON-TYNE.

_With about 400 Illustrations. Royal 8vo._ =30s. net.=

The object of this book is to fill a gap in technological literature which exists between works on Mining and works on Metallurgy. On the intermediate processes, by which the minerals unearthed by the miner are prepared for the smelter and for their use in arts and manufactures, no English text-book has yet appeared. The present work should, therefore, be very welcome to students, as well as to miners and metallurgists.

THE GEOLOGY OF ORE DEPOSITS.

By H. H. THOMAS and D. A. MACALISTER, OF THE GEOLOGICAL SURVEY.

_Illustrated. Crown 8vo._ =7s. 6d. net.=

This book belongs to a new series of works under the general editorship of Dr. J. E. Marr, F.R.S., for students of economic geology, a subject which is receiving more and more attention in our great educational centres. It is also hoped that the series will be useful to students of general geology, as well as to surveyors and others concerned with the practical uses of geology. The chapters in the present volume treat severally on the Genesis of Ore Deposits, Segregation, Pneumatolysis, Metasomasis, Deposition from Solution, Sedimentary Deposits, and Secondary Changes in Lodes.

STEEL ROOF AND BRIDGE DESIGN.

By W. HUME KERR, M.A., B.Sc., LECTURER ON ENGINEERING, DRAWING AND DESIGN, UNIVERSITY OF EDINBURGH.

_With detailed Drawings. Demy 8vo._ =10s. 6d. net.=

In accordance with a need long felt by engineering students, this work presents the complete designs of four typical structures--two roof trusses and two bridges--worked out with full arithmetical calculation of stresses. There is a minimum of theory, and the author's object has been to make the methods of design so clear as to enable students and engineers to proceed to design independently.

THE BODY AT WORK.

By ALEX HILL, M.A., M.D., F.R.C.S., SOMETIME MASTER OF DOWNING COLLEGE, CAMBRIDGE. AUTHOR OF 'AN INTRODUCTION TO SCIENCE,' 'THE PHYSIOLOGIST'S NOTE-BOOK,' ETC.

_With Illustrations, xii + 452 pages, Demy 8vo._ =16s. net.=

This is a book for the non-professional reader, not a regular text-book for the medical student. It does not assume any technical knowledge of the sciences, such as chemistry, physics and biology, which lead up to a formal study of physiology. Dr. Hill describes the phenomena of life, their interdependence and causes, in language intelligible to people of general education, and his book may be compared in this respect with Dr. Hutchison's well-known work on 'Food.' There is perhaps a prejudice against the ordinary popularizer of scientific knowledge, but when a master of his subject takes up his pen to write for the public, we cannot but be grateful that he has cast aside the trammels of the text-book, and handled subjects of vital interest to humanity in so broad and philosophic a manner.

A TEXT-BOOK OF EXPERIMENTAL PSYCHOLOGY.

By Dr. C. S. MYERS, PROFESSOR OF PSYCHOLOGY AT KING'S COLLEGE, LONDON UNIVERSITY.

_Crown 8vo._ =8s. 6d. net.=

The lack of a text-book on Experimental Psychology has been long felt, the literature of the subject having been hitherto so scattered and profuse that the student has to collect a small library of books and periodicals. The present work gives an account of the more important results obtained, and describes methods of experiment, with practical directions for the student.

APPLIED PHYSIOLOGY.

A Handbook for Students of Medicine.

By ROBERT HUTCHISON, M.D., F.R.C.P., PHYSICIAN TO THE LONDON HOSPITAL, AND ASSISTANT PHYSICIAN TO THE HOSPITAL FOR SICK CHILDREN. AUTHOR OF 'FOOD AND THE PRINCIPLES OF DIETETICS,' ETC.

_Crown 8vo._ =7s. 6d. net.=

The author of a standard work on diet is not likely to err by being too theoretical. The principle of Dr. Hutchison's new book is to bring physiology from the laboratory to the bedside. 'Physiology,' he writes, 'is studied in the laboratory, and clinical medicine in the wards, and too often one finds that the student is incapable of applying his scientific knowledge to his clinical work.'

LONDON: EDWARD ARNOLD, 41 & 43 MADDOX STREET, W.

Transcriber's Note

Apparent printer's errors have been retained, unless stated below.

"_" surrounding text represents italics.

"=" surrounding text represents boldface print.

Punctuation, capitalization, accents and formatting markup have been made consistent.

Illustrations have been moved to be closer to their discussion in the text.

Page vi, "Geheimrathe" changed to "Geheimrath" for consistency. (Geheimrath Gille)

Page 11, "Weiner" changed to "Wiener". ('The serenade, a fine, interesting, and intellectual work, deserved warmer acknowledgment,' wrote Speidel in the _Wiener Zeitung_.)

Page 13, "music alnature" changed to "musical nature". (Though he could not stoop to the attempt to dazzle his public by phenomenal feats of virtuosity, the grace, tenderness, and truth of his musical nature appealed to his southern audience, whilst the significance of his genius dawned on the perception of one or two discerning musicians.)

Page 54, "Weiner" changed to "Wiener". (The musical critic of the _Wiener Zeitung_ writes that Herr Brahms was cordially received by his "party.")

Page 54, "muscial" changed to "musical". (If, however, the audience of the evening is to be described as the "party" of the distinguished artist, it must be said that his party consists of the cultivated experts of musical Vienna.')

Page 55, "give" changed to "gave". (Joachim and I probably gave concerts here before.)

Page 62, "Weiner" changed to "Wiener". (Hirsch did not fail to make use of his opportunity in the _Wiener Zeitung_.)

Page 106, "performe dearly" changed to "performed early". (The Schicksalslied was published by Simrock in December, and was performed early in 1872 in Bremen, Breslau, Frankfurt, and Vienna.)

Page 117, "works" changed to "work". (Both as regards its form and its treatment of masses, this work bears the stamp of a masterpiece.)

Page 119, "Waiden" changed to "Weiden". ('Dort in den Weiden steht ein Haus.')

Page 139, "Solennis" changed to "Solemnis". (On December 6--Beethoven's Missa Solemnis in D major.)

On Pages 143, 185, 280, 282, 288 and 307, the caron over the letter "r" in "Dvorák" has been omitted.

"Wiesemann, I. 203." moved to page 319 to restore the Index's alphabetical order.

Page 277, "in is" changed to "is in". (The fourth prelude, 'Herzlich thut mich erfreuen,' is in a somewhat lighter vein than the others, but is, none the less, absolutely and distinctly Brahms.)