A noteworthy addition was made in the course of the year 1877 to the ranks of Brahms' most stanch and influential supporters in the person of Hans von Bülow. Remark has already been made on the change observable in the early seventies in the attitude of this gifted, witty, whimsical, uncompromising, true-hearted musician towards Brahms' art. The publication of the first symphony completed his conversion, and he soon afterwards began an active propaganda on the master's behalf, to which, carried on as it was with characteristic vehemence and eccentricity, and started at the very moment when the great composer was achieving the highest summit of fame, an entirely fictitious importance has sometimes been ascribed in regard to its effect upon the outward development of Brahms' career. That von Bülow during the last ten or twelve years of his public activity partially devoted his energies to the task of forcing the master's works upon certain more or less indifferent audiences, whom he harangued and lectured concerning their lack of interest, had no bearing on the facts that Brahms' place amongst the immortals had been assured, by practically general consent, with the first few performances of the German Requiem, and that by the beginning of the eighties acceptance of his art had become world-wide. Bülow's new partisanship, destined to bring in its train distinguished friendships that were truly prized and reciprocated by the master, was touching from its sincerity, but is not of essential importance to Brahms' biographer. It is, however, pleasant to be able to add to the extracts already quoted from Bülow's writings three which, dated October and November, 1877, mark the beginning of a new epoch in his own career, and in that of Brahms the commencement of an agreeable and valued personal intimacy. The paragraphs are to be taken merely as illustrations of Bülow's changed sentiments, and not as necessarily expressing the personal views of the present writer. 'Only since my acquaintance with the "_tenth_" symphony, alias the _first_ symphony of Johannes Brahms, that is since six weeks, have I become so inaccessible and hard towards Bruch pieces and the like. I do not call it the "_tenth_" in the sense of its relation to the "_ninth_"....' 'I believe it is not without the intelligence of chance that Bach, Beethoven, and Brahms are in alliteration.' 'The imagination of Bach seems, in his clavier works, to be dominated by the organ, that of Beethoven by the orchestra, that of Brahms by both.' [51] Schumann's essay, 'New Paths.' [52] The variations for orchestra on Haydn's theme and six of Brahms' songs, sung by Henschel, were included in the programme of the concert. [53] Goethe's song, 'Unüberwindlich,' set by Brahms and published in 1877 as No. 6 of Op. 72: 'Though a thousand vows I've taken.' [54] Article in the _New York Outlook_, July 25, 1903. [55] See Vol. I., Appendix No. 1.