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 267 CHRONOLOGICAL CATALOGUE OF WORKS 293 WORKS EDITED BY BRAHMS 299 ARRANGED CATALOGUE OF WORKS 300 INDEX 303 LIST OF ILLUSTRATIONS BRAHMS AT ISCHL _Frontispiece_ BRAHMS AT THE AGE OF FORTY _To face page_ 122 BRAHMS' LODGINGS AT ISCHL " 202 BRAHMS' LODGINGS NEAR THUN " 230 SILHOUETTE BY DR. BÖHLER " 260 BRAHMS AT DR. FELLINGER'S " 276 THE LIFE OF JOHANNES BRAHMS CHAPTER XII 1862-1864 Vienna--Musical societies--Leading musicians--The Prater--Brahms' appearance at a Hellmesberger Quartet concert--Brahms' first concert in Vienna--Conductorship of the Hamburg Philharmonic--First Serenade at Gesellschaft concert--Brahms' second concert--Richard Wagner--Second Serenade at Vienna Philharmonic concert--Return to Hamburg--Brahms elected conductor of the Vienna Singakademie--Return to Vienna--Singakademie concerts under Brahms. It would be interesting, on accompanying Johannes Brahms in imagination on his first visit to Vienna--a visit that was to lead to results scarcely less important to his career than those of the first concert-journey through the provincial towns of Hanover undertaken nine years and a half previously--to describe the gradual change which had taken place in the musical life of the imperial city since the times when it had counted Haydn, Mozart, and Beethoven in turn among its inhabitants. It would, however, lead too far from the purpose of this narrative to follow the course by which the art of music, from being a luxury to be enjoyed chiefly by the rich--and in Vienna, perhaps, especially amongst the great capitals of Europe--had been opened to the cultivation of the masses of citizens. Suffice it to say that in the autumn of 1862 the conditions of musical activity in the Austrian capital were essentially the same as we know them in 1905.