Eduard Remenyi was looking for an accompanist.
The Hungarian violinist was staying at the Le Soleil hotel in Hamburg during January of 1853. He was due to perform for a Mr. Helmrich, one of the great merchant princes of the region, when his accompanist called in sick. On the hunt for a replacement, he had little idea just who he was about to engage as a substitute.
But who was Remenyi? The details are sparse. We know that his real name was Eduard Hoffman and that he was born in Miskolc, Hungary. He was a contemporary of the great violinist Joseph Joachim and had studied at the Vienna Conservatory at around the same time.
Remenyi was exiled from his homeland for revolutionary activities. But most infamously, he claimed to be a victim of the theft of one of the world’s most recognizable tunes.
Remenyi and Brahms
Music dealer Auguste Böhm recommended an accompanist to Remenyi. The violinist inquired about the pianist. Böhm responded: “He is a poor piano-teacher, whose name is Johannes Brahms. He is a worthy young man, a good musician, and very devoted to his family.”
They ended up missing the party at Helmrich’s, playing together into the early hours of the morning. The guests were furious, and Remenyi became a laughingstock in Hamburg. He couldn’t have cared less; instead, he took Brahms on a tour of Germany, proclaiming him to be a genius wherever they performed.
Remenyi wished to continue his studies with Liszt, but felt it was no longer appropriate for Brahms to stay. He sent Brahms back to Joachim, to visit Robert Schumann. They would fall out of touch.
The ‘Hungarian Dances’
Brahms (1833–1897) went on to become one of the pillars of Romantic era. He composed four symphonies, four concertos, a requiem, and numerous folk song arrangements.
A series of folk song arrangements became his most popular works. The “Hungarian Dances” were composed over the course of two decades for piano four hands, being orchestrated by Brahms and other composers over the years.
All seemed well, until on Jan. 18, 1879, the New York Herald released an article titled: “A Twenty‑Five Years Secret. Revelations That Will Stir the Musical World. Remenyi and Johannes Brahms. Who Composed Brahms’ Celebrated Hungarian Dances?”
The facts become more complicated. Out of 21 “Hungarian Dances,” Brahms only entirely composed Nos. 11, 14, and 16, with the others being “arranged.” In particular, the famous No. 5 was based on the csardas “Bartfai emlek” (“Memories of Bartfa”) by Hungarian composer Bela Keler, which Keler also claimed was plagiarized from him.
Remenyi alleged that Brahms arranged his melodies without giving credit, while Brahms claimed that they were folk tunes he heard in his travels.
Did Brahms steal the melodies from Remenyi? Brahms was most definitely influenced and introduced to Hungarian music by the violinist, but the great popularity of the works is in large part due to the brilliant arrangement and orchestration. We may never know the true origin of some of these memorable melodies, but we can thank Brahms for bringing the vibrant colors of Hungarian culture into the mainstream with his masterful compositions.
Stomping brass and lively strings bring to life gypsy dance figures. The clashing and shimmering of cymbals punctuate climactic moments, while the rapid swelling and fading of the strings impart a mischievous character.
