Partly on account of the untoward Weimar incident, and partly for the sake of his own individuality, I took a peculiar interest in Brahms. His work is wonderfully condensed, his constructive power masterly. By his scholarly development of themes through augmentation, diminution, inversion, imitation, and other devices, he seems to be introducing new thematic material, while the fact is, as will be seen on close investigation, that he is presenting the original theme in varied form and shape, and gradually unfolding and expanding its possibilities to the uttermost. In other words, his treatment is exhaustive and complete. In his later piano compositions this is readily apparent, and as these pieces are short, and at the same time complete in form, they furnish excellent opportunities to the student for analytical studies. In all that relates to the intellectual faculty Brahms is indisputably a master. I find this to be the consensus of opinion among intelligent musicians. But there are differences of opinion as regards his emotional susceptibilities, and it is just this fact that prevents many from fully accepting him. The emotional and intellectual should be in equipoise in order to attain the highest results, but in the music of Brahms the latter seems to predominate. In sympathetic and affectionate treatment, so far as relates to his piano composition, he does not compare with Chopin. A HISTORICAL ERROR CORRECTED I have read in a recent number of a musical magazine the following sentence: "We have seen with what ardor the first compositions of this serious young man [Brahms] were greeted by Schumann and Liszt." I have already mentioned the fact that all of the published accounts of the first meeting of Liszt and Brahms were far from accurate, and in fact convey an impression directly opposite to the truth; and the foregoing statement, according to my belief, is just as far from being in accordance with the facts. I am quite sure that Liszt was not enthusiastic about Brahms at the time of the first interview in Weimar heretofore described, and the letter received from my friend Karl Klindworth, in Berlin, sustains me in this belief. Liszt was of too kindly a disposition to treasure up animosity against Brahms on account of the mishap on that occasion; but the fact that Brahms was put forward by the anti-Wagnerites as their champion may possibly have influenced him somewhat. A coolness also sprang up between Joachim and Liszt, although during my stay in Weimar the violinist had been welcomed so frequently at the Altenburg. During the entire career of Brahms he and Joachim were close friends. MORE ABOUT LISZT'S WONDERFUL SIGHT-READING Liszt's playing of the Brahms scherzo was a remarkable feat, but he was constantly doing almost incredible things in the way of reading at sight. Another instance of his skill in this direction occurs to me and is well worthy of mention.