of a rather delicate slim-looking figure, with a beardless face of ideal expression. Since then he has changed in appearance, until now he looks the very image of health, being stout and muscular, the noble, manly face surrounded by a full gray beard. The writer well remembers singing under his direction, watching him conduct orchestra rehearsals, hearing him play alone or with orchestra, listening to an after-dinner speech or private conversation, observing him when attentively listening to other works, and seeing the modest smile with which he accepted, or rather declined, expressions of admiration. The Alpine summits and glaciers had great attractions for Brahms, but also the welcome which he was always sure to find in Basel and Zürich. For his permanent home he selected Vienna, in 1862, where he was surrounded by the spirits of the classic masters. He was received most favorably. His interpretation of Bach, Beethoven, Schubert and Schumann was particularly praised. He was appointed chorus master of the Sing-Academie for a season, and prepared a memorable performance of Bach’s Passion Music. Yet his genius would not allow him to devote much time to such services, and once only in later years he accepted a similar appointment, directing from 1872–1875 the concerts of the “Society of the Friends of Music.” Aside from this all his time was devoted to composing, interrupted only by frequent journeys to performances of his works, and by giving valuable assistance in the revision of the works of Couperin, Mozart and Chopin. During the first years of his residence in Vienna he finished many important chamber works, variations, waltzes and Hungarian dances for the pianoforte, and vocal compositions of every kind. The first great success was won by the “German Requiem,” begun after the death of his mother in 1866, and completed, for the greater part, in Switzerland, in the two following years. After the first famous performance in the Bremen Cathedral in the spring of 1868, it was soon heard in other cities and was greatly admired, although certain features were severely criticised. Other works of high importance followed: the “Song of Destiny,” “Rinaldo,” the “Rhapsody,” Op. 53, the “Song of Triumph” for the celebration of the happy ending of the Franco-German war, besides many songs, chamber works, and the charming Love-Song Waltzes. By all these works Brahms rose gradually higher and higher in the general estimation both at home and abroad. But he steadfastly avoided the one field in the reform of which all musical interest seemed to centre,—the opera. Perhaps the time will come when we may be fully informed as to his relation to dramatic music and the reasons which kept him away from the stage. Much might be guessed. But it is needless to pay attention to mere rumors and suppositions. There were other fields in which he was called upon to achieve great things. Nothing shows better the greatness of Brahms’