This was followed, at the next 'regular' concert on March 23, by a varied programme: 1. Bach: Easter Cantata, 'Christ lag in Todesbanden.' 2. Haydn: Symphony in C major. 3. German Folk-songs for unaccompanied mixed Chorus: (_a_) 'In stiller Nacht.' (_b_) 'Dort in den Weiden steht ein Haus.' 4. Schubert: 'Ellen's zweites Gesang' (arranged for Soprano solo, women's Chorus, and Instruments by Brahms). 5. Beethoven: Chorus from 'Die Weihe des Hauses,' for Soprano solo, Chorus, and Orchestra. The attitude of the audience during the early part of this concert was somewhat doubtful, the opening cantata being followed with earnestness, but with scanty demonstrations of approval. At the entry of the chorale at the close of the work, however, an electric feeling passed through the packed hall as at the release from strained attention, and the applause which followed was loud and resounding. 'It is hardly possible to bestow enough praise upon the performance of the cantata,' says Schelle (the _Presse_); 'the choral society and their conductor Brahms acquitted themselves most splendidly of their task, and warm acknowledgment is also due to Herr Organist Bibl.' Similar praise is given to the performance of the other numbers of the programme, special mention being made of the folk-songs, one of which had to be repeated. 'In a word,' concludes the critic, 'the satisfaction caused us by the beautifully arranged concert must, we think, have been equalled by that felt by Brahms at its success.' Billroth gives an interesting account, in a letter dated March 29, of the energy and success of Brahms' work in this new field of labour. 'Brahms is extremely active as a conductor; he has achieved incomparably fine performances, and receives the fullest recognition from all who take art earnestly. His "Triumphlied," given with organ and an immense chorus, produced a marvellous effect here; great masses are required for its performance, it is monumental music....