stretches, especially abound in the two seldom-played concertos. Yet, without the highest appreciation and sympathetic devotion, the greatest virtuosity would never be able to make their inner life clear. Like a giant appears the early written D minor concerto. Quick modulations, syncopations, chains of trills and a Beethovenish importance of themes and development impress us mightily in the passionate first movement, divine sweetness in the long adagio, while the finale, with its fantasia-like cadenza, rises from a simple mood to the acme of enthusiasm. The B flat concerto Op. 83 has even four movements, the long and romantic opening allegro being followed by an allegro appassionato of a superior scherzo character, the delightful andante by a highly effective allegro grazioso as finale. In spite of the elaborate development and the variety of contrasting moods, the whole work retains a bright and inspiring character. In both concertos the important and richly scored symphonic accompaniment only raises the solo part to greater prominence. A fugue and a choral prelude with fugue are Brahms’ only but significant compositions for the organ. The chamber works secure our master a place of honor beside the greatest representatives of this high branch of composition; they comprise three sonatas for violin and two for violoncello and pianoforte, five pianoforte trios (one with horn and one with clarinet), three string quartets, three pianoforte quartets, three string quintets (one with clarinet), one pianoforte quintet and two string sextets. In the older works one feels often the struggle of a great soul with strong passions, longings, hopes and anxieties, joys and pains, yet not lacking in sunshine and humor, while in the more recent compositions a quieter, more contemplative spirit prevails. The classic arrangement of four movements forms the rule, most of them being very elaborate and extensive, rich in themes of importance and beauty, the working out and coda showing Brahms’ genius in the finest light, the treatment of the different instruments being throughout masterly. The complicated development often prevents an immediate enjoyment, but increases our desire for a closer acquaintance; for this counterpoint goes always hand in hand with true feeling. In the opening movements the first part is not always repeated, and other novel features are introduced; the slow movements in the form of variations or of a long developed cantilena often lift us into high and unwonted regions; the scherzos are so full of genius that one wonders why Brahms has not used this form in his symphonies. The finales are of the highest order, seldom reached by other modern composers. In the works with horn and clarinets these much neglected instruments have received a wonderful treatment in music of great beauty. Unusual and complicated rhythms appear frequently, but treated in a surprisingly easy way. The details are throughout deeply