The composer was plunged in his own special work, and would allow neither private nor public calls to occupy his attention, though he made an exception in favour of Bernhard Scholz's invitation to pay an artistic visit to Breslau at the close of the year. His doings during the next few months afford but little material to chronicle, and we have to record only the last four Gesellschaft programmes given under his direction, and to lay special stress upon the extraordinary scene of enthusiasm that followed the performance of the German Requiem on February 28, 1875. The rendering of the work on this occasion was one of those, rarely occurring, which seem to hold the audience spellbound by a magnetic sympathy with the music. It brought with it in some mysterious way the sudden flash of revelation. The whole audience, as it were, knew Brahms that day, and most of what was left to be conquered, that was worth conquering, in the musical opinion of Vienna was finally captured. The phenomenal demonstration, joined in by musicians of all schools, Wagnerians not excepted, that occurred on the termination of the great work, noteworthy from its contrast with that earlier one of 1867 which followed the performance of the first three choruses, was the more striking since Wagner had conducted some excerpts from the 'Ring' in the same hall a few days previously, and had been the recipient of a similar ovation. _January 10, 1875_: 1. Mendelssohn: Overture to the Opera 'Camacho's Marriage.' 2. Joachim: Hungarian Concerto. (Violin, Herr Joachim.) 3. Brahms: Rhapsody. (Solo, Frau Joachim.) 4. Schumann: Fantasia for Violin and Orchestra. (Herr Joachim.) 5. J. S. Bach: Whitsuntide Cantata, 'O ewiges Feuer,' for Soli, Chorus, Orchestra, and Organ. _February 28_: 1. J. S. Bach: Prelude for Organ in E flat, arranged for Orchestra by Bernhard Scholz. 2. Mozart: Aria from 'Davidde penitente.' 3. Brahms: A German Requiem. _Good Friday, March 23_: J. S. Bach: Passion Music (St. Matthew). _April 18_: Max Bruch: Odysseus.