How to get an audience

Johannes Brahms and the violinist Eduard Remenyi had been concertizing to great success in Cello and Lüneberg. 

By this time the two musicians were so elated over their success that they decided to try a concert in the city of Hildesheim entirely on their own.  They had no one there to herald their coming, write advance notices, and prepare the way.  Since they were unknown, the concert hall was almost empty.  When the program was ended, Remenyi packed up his violin and turned ruefully to his companion.  "Let's go to the tavern and celebrate."

"Celebrate?" repeated Hannes ironically.

"Yes – celebrate the big audience we'll have next time!"

When they opened the tavern door they heard a gay chorus of singing.  That was the place where the young blades of Hildesheim spent most of their evenings, draining endless steins of beer and making merry.  The merrier they grew, the louder they sang.

"Hail, hail! Here comes a musician" they cried when they saw the violin under Remenyi's arm.  "Join our group, gentlemen, and give us a tune on your fiddle."

Johann and his companion soon found themselves the center of an animated circle.  Remenyi played some dazzling gypsy melodies that swept the young Hildesheimers so far off their feet that they responded in a burst of choric song.

"Why – you are first-class musicians!" cried the leader of the company.

Hannes and Remenyi exchanged glances.  "You have probably heard my name, gentlemen," said the Hungarian importantly.  "I am the violinist Remenyi, and this is my accompanist, Herr Brahms.  We just gave a concert here this evening."

"Pity we weren't there to hear you," said one of the young men, draining his stein of beer.

"Yes, it was a pity," answered Remenyi.  "We didn't have much of an audience…"

"Tell you what," exclaimed another; "why don't you repeat the program tomorrow evening? We'll tell all our friends about it.  I know!" He banged his stein down on the table. "Let's go serenade the Baroness.  She's the wealthiest person in Hildesheim, and a great music-lover."

Everyone was enthusiastic about the idea.  With one accord the merry crowd left the tavern, and presently found itself under the window of a large house on the outskirts of Hildesheim.  Remenyi played a czardas and a furiant; then the young men cleared their throats, and Hannes gave the signal for a choral explosion.

The scheme worked perfectly.  Not only was the Baroness enchanted, but all Hildeshiem heard about the serenade.  Next evening, the two musicians appeared before a packed hall.


Source: Goss, Madeleine & Schauffler, Robert (1943) Brahms The Master. New York: Henry Holt and Company, pp.105-107.
 


Posted

in

by

Tags:


Featured Content

Abstraction X
Title: Abstraction XComposer: Greg SmithPerformer: Greg Smith (7 August 2010)Instrumentation: PianoProduct medium: MP3Related products:– Abstraction X (PDF score)
Ravel and food
Ravel was touring America, in 1928, but was having some interesting experiences with food. One on occasion: The Mason & Hamlin Company not only provided a piano for Ravel’s use at his hotel, and another for his tour, but also sent him a piano-tuner capable of acting as a courier, interpreter, and general assistant.  This […]
Haunted Spooks
Title: Haunted Spooks (silent film soundtrack) Composer: Greg Smith Instrumentation: Piano Product medium: PDF score (47 pages) Background:     Written by: H. M. Walker     Starring: Harold Lloyd, Mildred Davis, Wallace Howe, Sammy Brooks, William Gillespie, Mark Jones, Gaylord Lloy, Sam Lufkin, Ernest Morrison, Dee Lampton          Directed by: Alfred J. Goulding & Hal Roach     Film released: […]
Debussy on impressionism
What I am trying to do is something ‘different’ – an effect of reality, but what some fools call Impressionism, a term that is utterly misapplied, especially by critics who do not hesitate to apply it to Turner, the greatest creator of mysterious effect in the world of art. — Claude Debussy B. James, Ravel: […]
Franz Schubert: Six Moments Musicaux (Musical Moments), op.94
(i) Moderato (C major) (ii) Andantino (A-flat major) (iii) Allegro moderato (f minor) (iv) Moderato (c-sharp minor)/ (v) Allegro vivace (f minor) (vi) Allegretto (A-flat major) In 1929, Oscar Bie reflected on Schubert: That face! . . . It is the face of a teacher, but not of a strict one. The hair curls about […]
People must hear me
“I cannot tell you how much I love to play for people. Would you believe it – sometimes when I sit down to practice and there is no one else in the room, I have to stifle an impulse to ring for the elevator man and offer him money to come in and hear me.” […]
Tchaikovsky’s compositional process
“You ask if in composing this symphony I had a special programme in view. To such questions regarding my symphonic works I generally answer: nothing of the kind. In reality it is very difficult to answer this question. How interpret those vague feelings which pass through one during the composition of an instrumental work, without […]
The framework of a symphony
The framework of a symphony must be so strong that it forces you to follow it regardless of the environment and circumstances: [it is] an “ethical necessity”. Jean Sibelius, to Jussi Jalas, 1 October 1939 Cited at: www.sibelius.fi [accessed 31 Mar 2010].
Capturing the pulse of the time
"I try to put the pulse of my times into my music and do it in a lasting way." – George Gerswhin Cited in: Greenberg, Rodney (2008) George Gerswhin.  New York: Phaidon Press, p.216.   '
Dress regulations for Handel’s Messiah
In the eighteenth century, hooped skirts were a popular choice of ladies dress attire as they enabled a dramatic entrance, and also flattered the figure when pregnant. They did take up considerable space though. For the performance of the Messiah Handel instructed the ladies to come without hooped skirts, and gentlemen without their swords. The […]