Hannes began to be known as a musician among the best families of Winsen, and often played in their homes.  He also had the chance to conduct a small chorus of women’s voices, called the Choral Society of Winsen.  He was expected to turn his theoretical studies to account by composing something for this choir.  It was for them he produced his “A B C” song for four parts, using the letters of the alphabet.  The composition ended with the words “Winsen, eighteen-hundred seven and forty,” sung slowly and fortissimo.  The little piece was tuneful and was a great favorite with the teachers, from that day to this.

The boy had never heard an opera.  During the summer, when Carl Formes, then of Vienna, was making a sensation in Hamburg, 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.