'The first movement is broad, with sharply defined contrasts through which, however, the serious-soft mood is preserved; the second is short, very thoughtful and fervent; the last, very spirited and attractive. There is, however, a quite unusual handling of the instrument, and again, a breath in the orchestra, which make us look forward with delight to the study of the score; we have seldom been so enthralled by the composer's genius. But Joachim played, also, with a love and devotion which brought home to us in every bar the direct or indirect share he has had in the work. As to the reception, the first movement was too new to be distinctly appreciated by the audience, the second made considerable way, the last aroused great enthusiasm.' Bernsdorf was less unsympathetic than usual. He considered the concerto 'one of the clearest and most spontaneous of the composer's works.' Both Joachim and Brahms, who conducted the orchestra, had to respond to numerous recalls. Joachim, to whom the concerto is dedicated, brought the manuscript with him to England, and performed it at the Crystal Palace Saturday concert of February 22 (August Manns), at the Philharmonic concerts of March 6 and 20 (W. G. Cusins), at some of his appearances in the north of Britain, and, a little later, at a concert of the Royal Academy of Arts, Berlin, when the accompaniment was played by his school orchestra. Published in the course of the year, it has ever since held a conspicuous place in his répertoire. The violinists Brodsky and, a little later, Frau Roeger-Soldat were amongst those who associated their names in a special manner with the early life of the work, which has recently been frequently performed with immense success by Fritz Kreisler. If the mood of this great concerto has, as Dr. Deiters remarks, something in common with that of the second symphony, the sentiment is maintained at a loftier height than that of the earlier composition, the limpid grace of which has an immediate fascination for a general audience. The concerto requires time for full appreciation, and though, by general consent of the initiated, it undoubtedly occupies a position on the plane assigned to it by Dörffel, it would be too much to assert that it has as yet entirely conquered the heart of the great public. It is gradually making its way, however, to what will probably become unreserved popularity.