'It is fresh and rich in themes of which nearly every one is pervaded by a rare grace, and a brightness of tone becoming every day more unusual. The score convincingly exhibits, moreover, one of the most prominent sides of Brahms' musical individuality. I would call this a power of refashioning, in the best spirit of the present day, the contrapuntal forms of canon and fugue and of their degenerate and inferior representatives. Brahms succeeds in this, as in the majority of his works, in reconsecrating and carrying on the spiritual treasure inherited from Bach, Beethoven and Schumann, in the light of modernity. This fundamental characteristic is still more striking in a second great work of the composer, for the hearing of which opportunity is promised. I will therefore go on to remark on the orchestral colouring of the serenade, which, without being exaggerated, is, throughout, fresh and significant of youthful power. I should find it very difficult to express a preference for either of the six movements, whilst to speak of either of the several parts of this, in its way, masterly whole as inferior in excellence to others, appears to me utterly impossible. The _vox populi_, however, with which the principal journals here coincide on this occasion, has pronounced in favour of the first minuet and scherzo and the certainly wonderfully tender slow movement.' Brahms appeared on December 20 at Frau Passy-Cornet's concert in the Vereinsaal, playing Beethoven's E flat Sonata for pianoforte and violin with Hellmesberger, and some Schumann solos (Romance and Novelette), and, in spite of his frequently avowed distaste for public appearances, gave a second concert on January 6, 1863, in order to bring forward some of his songs. On this occasion he played Bach's Chromatic Fantasia, Beethoven's C minor Variations, his own Sonata in F minor Op. 5, and Schumann's Sonata in the same key Op. 14, with omission of the scherzo. 'Brahms' playing,' wrote the Vienna correspondent of the _Signale_, 'is always attractive and convincing. His rendering of Bach's Chromatic Fantasia and of Beethoven's Variations was of the highest interest.... After repeated recalls Brahms treated his audience to another piece, a four-hand march by Schubert arranged for two hands. The delightful freshness of this composition gave no little pleasure.' Frau Wilt, one of the first resident singers, performed several of the concert-giver's songs, amongst them being 'Treue Liebe' (Op. 7, No. 1), 'Parole' (Op. 7, No. 2), and 'Liebestreue' ('O versenk,' Op. 3, No. 1). 'This new experience was most agreeable and welcome to the whole public. All these songs breathe a fine sensibility, and are full of truth to life and nature.'