It may be added here, for the sake of completeness, that some time later, on von Bernuth's contemplated resignation, a representative of the Philharmonic Society called on Groth to ask his opinion as to the probability of Brahms' acceptance of an offer of the conductorship. He pointed out that the then committee could not justly be blamed for the mistakes of their predecessors, which they were anxious to repair as far as might now be possible, and Groth, after discussing the matter in detail, consented to lay it informally before Brahms. We cannot wonder that no answer was received to his communication; it must seem obvious to most minds that the master could neither accept nor decline an offer which had not been made. Had the committee decided to risk the slight mortification of a refusal from Brahms by writing a definite proposal to him, it is certain that he would have replied to it, though it seems unlikely that he would have uprooted himself from the city where he had formed intimate friendships now that one of the principal attractions which Hamburg had possessed for him--the presence of his parents--had ceased to exist. The publications of the year include, besides the Symphony in D major, a set of 'Ballads and Romances' for two voices, dedicated to Julius Allgeyer, the first of which has the Scotch ballad 'Edward' for its text. Of other early performances of the second symphony we may mention those of October 22 in Breslau, under the composer, and of November 23 in Münster, under Grimm. Such a furore was created in Münster that the work was repeated by general desire at the concert of December 21. At the Vienna Gesellschaft concert of December 8, No. 1 of the two Motets, Op. 74, for unaccompanied chorus was sung, under the direction of Edward Kremser, from the manuscript parts. All four movements, the first and last in four, the second and third in six, parts, made a deep impression, and in spite of the serious character of the work it was followed by long-continued applause. The texts have the characteristics usually preferred by Brahms for his sacred compositions, and, taken together, are expressive of courageous, trustful resignation in the face of mystery. The music, exquisitely suited to the words, furnishes another example of deeply serious feeling clothed in the beautiful forms of early contrapuntal art.