This selection hardly invited an enthusiastic demonstration from a mixed audience, but the performances were well received, and the occasion resulted in a substantial artistic success for Brahms, and in the removal of the doubt which had been entertained, even in some friendly quarters, as to his fitness for his new duties. The inclusion of the so-called symphony by Schubert was mentioned with disapproval by some of the papers, though the masterly instrumentation of Joachim's arrangement--made, we may add, at Schumann's suggestion--was duly acknowledged. The second concert, the first 'extra' of the season, was in every respect brilliant. It included the second performance of the complete Triumphlied, published shortly before by Simrock with Brahms' dedication to His Majesty the Emperor William I. The original title inscribed on the manuscript of the work--'Song of Triumph on the Victory of German Arms'--was shortened on publication to the simple 'Song of Triumph.' The programme of December 6 was as follows: 1. Handel: Concerto for Organ and Orchestra. 2. Mozart: Offertorium for double Chorus, Orchestra, and Organ. 3. Gluck: Aria from the opera 'Alcestis' (Frau Joachim). 4. J. S. Bach: Prelude and Fugue in E flat for Organ. 5. J. Brahms: Song of Triumph for Solo, eight-part Chorus, Orchestra, and Organ (solo, Dr. Krauss). The performances of the great organ-player S. de Lange, invited from Rotterdam for the occasion, on the society's new instrument, which had been inaugurated at the previous concert by Bibl; the singing of Gluck's aria by Frau Joachim; the rendering of two choral works, both new to the audience, the productions of two masters each representative of his day, with the art history of a century lying between them, combined to make a programme of peculiar and varied interest. The Offertorium, an unpublished work composed by Mozart in his twenty-first year, was written for double chorus and organ, to which the composer afterwards added two violins. Brahms now availed himself for the support of his voices of the entire string band, and the performance of the beautiful and unfamiliar work made a great impression. It was published almost immediately by J. P. Gotthard of Vienna. The most important event of the concert was, of course, the first performance in Vienna of the performer's Song of Triumph. 'A truly magnificent work, which produced a profound and enduring impression,' says Schelle; 'the German victories have been the occasion of its composition.... Both as regards its form and its treatment of masses, this work bears the stamp of a masterpiece. The performances were excellent. The society's concerts could certainly be in no better hands.'