These sets are opus 76, Nos. 1 and 2; the two Rhapsodies, opus 79, and the last works for the instrument, opus 117, opus 118, and opus 119. There are few pieces among them which are unworthy of the highest genius matched with consummate mastery of the science of music. The two earlier collections, opus 76 and 79, differ from the later in something the same way that Beethoven’s opus 57 differs from his opus 110. They are impassioned, fully scored, dramatic, and warm. The two Capriccios, Nos. 1 and 5 in opus 76, are distinguished from his other pieces by a fiery agitation. The keys of F-sharp minor and C-sharp minor on the pianoforte lend themselves to intense and restless expression. In the former of these two pieces more is suggested than fully revealed. The introduction, beginning in deep and ominous gloom, mounts up like waves tossed high in a storm. But the rush of the great C-sharps up from the depths is broken, as it were, upon the sharpest dissonance; the storm dies away suddenly, and over the wild confusion, now suppressed, a voice sings out a sad yet impassioned melody. This melody dominates the piece. The wild introduction returns in the middle part, but only to be suppressed once more. The second of these Capriccios, No. 5, is more varied, more agitated, yet perhaps less intense. There is an almost constant complexity of rhythm, uniquely typical of Brahms, the combination of two with three beats; and at the end most complicated syncopations, the left hand, by reason of definite phrasing, seeming to play nearly four measures in 5/8 time. The Capriccio No. 8 and the Intermezzo No. 6 are similarly involved. The scoring of both is rich and full; and, though neither is agitated in mood, both have a quality of intensity. The Capriccio in B minor in the first set is justly a favorite with pianist and concert-goer alike. The two intermezzi which follow it are rather in the later style, and the former is conspicuous in Brahms’ music by a light grace. Even here, however, the composer cannot give himself over utterly to airy fancy. There are measures of involved workmanship and profound meaning. The two ‘Rhapsodies,’ opus 79, are among the best known of Brahms’ pianoforte works. Both are involved and difficult; but the form and the ideas are broad and consequently more easily grasped than in the shorter pieces. Moreover, they are frankly vigorous and passionate; and the B major section of the former, with its bell-like effects, and the broad middle section of the latter, like the gallop of a regiment across the steppes, are relatively conventional.