rg, Lischen got her
father to secure places and take them. The opera was the "Marriage
of Figaro." Hannes was almost beside himself with delight. "Lischen,
listen to the music! there was never anything like it," he cried over
and over again. The father, seeing it gave so much pleasure, took the
children again to hear another opera, to their great delight.

But the happy summer came to an end and sadness fell, to think
Johannes must leave them, for he had found many kind friends in
Winsen. He was over fifteen now and well knew he must make his way as
a musician, help support the family, and pay for the education of his
brother Fritz, who was to become a pianist and teacher. There was a
farewell party made for him in Winsen, at which there was much music,
speech making and good wishes for his future success and for his
return to Winsen whenever he could.

Johannes made his new start by giving a concert of his own on
September 21, 1848. The tickets for this concert were one mark; he
had the assistance of some Hamburg musicians. In April next, 1849, he
announced a second concert, for which the tickets were two marks. At
this he played the Beethoven "Waldstein Sonata," and the brilliant
"Don Juan Fantaisie." These two works were considered about the top
of piano virtuosity. Meanwhile the boy was always composing and still
with his teacher Marxsen.

The political revolution of 1848, was the cause of many refugees
crowding into Hamburg on their way to America. One of these was the
violinist, Edward Remenyi, a German Hungarian Jew, whose real name
was Hofmann. But it seemed Remenyi was really in no haste to leave
Hamburg. Johannes, engaged as accompanist at the house of a wealthy
patron, met the violinist and was fascinated by his rendering of
national Hungarian music. Remenyi, on his side, saw the advantage of
having such an accompanist for his own use. So it happened the two
played together frequently for a time, until the violinist disappeared
from Germany, for several years. He reappeared in Hamburg at the close
of the year 1852. He was then twenty-two, while Brahms was nineteen.
It was suggested that the two musicians should do a little concert
work together. They began to plan out the trip which became quite
a tour by the time they had included all the places they wished to
visit.

The tour began at Winsen, then came Cella. Here a curious thing
happened. The piano proved to be a half tone below pitch, but Brahms
was