At Hanover they called upon Joachim, who arranged for them to play before the court.  After this they proceeded to the Altenberg to see Liszt, who received them warmly, and offered them a home.  During all this time Brahms received little or no recognition, in spite of Remenyi’s enthusiasm in his cause, neither did he find very much favour with Liszt, although the latter recognised his talent.  He therefore returned to Hanover, where Joachim gave him a letter to Schumann, and it was Schumann’s enthusiastic welcome and declaration that a new genius had arisen that established Brahms’s reputation in musical circles.

Remenyi said that Brahms, shortly after his arrival at the Altenberg, offended Liszt and his pupils by comfortably sleeping during one of the famous lessons, which were in the nature of a general class.  This breach of manners Brahms justified on the score of being exhausted by his previous journey.

The death of Remenyi, which occurred on May 15, 1898, created a sensation throughout the country.  He had, after many misgivings, consented to appear in “vaudeville.”  The financial inducement was large, and he soothed his artistic conscience with the argument that his music would tend to elevate the vaudeville rather than that the vaudeville would tend to degrade him.  It was at the Orpheus Theatre in San Francisco, and it was his first appearance.  He played one or two selections, and being tremendously applauded, and correspondingly gratified, he returned and answered the encore with the well-known “Old Glory.”  He was in his best vein, and played as one inspired.  The audience literally rose with him, leaving their seats in their excitement, and the applause lasted several minutes.  He came forward, and in response to another burst of applause commenced to play Delibes’s “Fizzicati.”  He had played but a few measures when he leaned over as if to speak to one of the musicians in the orchestra.  He paused a moment, and then fell slowly forward on his face.  One of the musicians caught him before he touched the stage, and thus prevented his rolling off.  All was over.

Remenyi left a widow, a son, and a daughter, who lived in New York.  His health had been failing for some time, for in 1896, for the first time in thirty years, he had, while in Davenport, Iowa, been compelled to cancel all his engagements and rest.  It is said that Remenyi’s real name was Hoffmann.

The name of Miska Hauser is seldom mentioned in these days, and yet it was once known all over the world.  No virtuoso of his time travelled more extensively, and few created more enthusiasm than did Hauser.  He was born in Pressburg, Hungary, in 1822, and became a pupil of Boehm and of Mayseder at Vienna, also of Kreutzer and Sechter.  He is said to have acquired more of Mayseder’s elegant style and incisive tone than of the characteristics of his other teachers, but his talent was devoted to the acquisition of virtuoso effects, which appeal to the majority rather than to the most cultivated.