Brahms' first appearance at Crefeld on January 20 must be particularly recorded for two reasons: in the first place because it introduces us to a group of friends, his pleasant associations with whom are commemorated in the dedication of one of his later works. A considerable amount of music was performed during this first visit, and more on subsequent ones, in the informal, sociable way Brahms liked, at the houses of Herr and Frau Rudolph von der Leyen, with whom he always stayed, and of their relatives, Herr and Frau Alwyn von Beckerath. Herr von Beckerath, a good amateur performer, played viola in the resident string quartet led by Professor Richard Barth, a former pupil of Joachim, an old acquaintance of Brahms, and well known later on as von Bernuth's successor at Hamburg, who was always present with his colleagues at these private gatherings; and the enjoyment of the circle was enhanced during Brahms' later visits to Crefeld by the singing, to the master's accompaniment, of Fräulein Antonia Kufferath. This lady (now Mrs. Edward Speyer) has interesting recollections connected with the Crefeld visits. Amongst them is that of Brahms, who when once a composition was published allowed it to pass from his mind, sometimes almost completely, coming unawares upon a difficult passage in the accompaniment of one of his songs, and having an instant's struggle with it. At the end he turned to Fräulein Kufferath, saying, 'That is really difficult to read at sight!' The musical event which gives particular distinction to the Crefeld concert of 1880, the programme of which included Brahms' second Symphony, 'Harzreise' Rhapsody and Triumphlied, was the performance by the composer of two new solos for the pianoforte, the Rhapsodies in B minor and G minor, generally accepted as the finest of Brahms' shorter works for the instrument. The second one especially, marked 'molto passionato ma non troppo allegro,' is an inspiration from beginning to end, and though not long, its length is sufficient to balance its grandeur of idea and to give the effect of completeness to its performance. Billroth, to whom Brahms, always needing sympathy, confided the manuscripts on their completion in the early summer of 1879, returned them with the words: 'The second piece has quite fascinated me. In both pieces there is more of the young, heaven-storming Johannes than in the other late works of the mature man.' The Sonata in G, Op. 78, the Rhapsodies, Op. 79, and the third and fourth books of Hungarian Dances for Pianoforte Duet, without opus number, were the publications of 1880.