The singing of the fine old chorale, 'Was Gott thut das ist wohlgethan' was the prelude to the address in which Geheimrath Schaafhausen gave the monument over to the city of Bonn. Whilst he was speaking the covering fell, and as he concluded many beautiful wreaths were laid on the grave to the accompaniment of a second chorale. An address of thanks was delivered on behalf of the city by Oberbürgermeister Doetsch, and the singing of a third chorale, with the placing of more wreaths, brought the formalities to a close. The following telegram was handed to the mayor in the course of the proceedings: 'The Society of Music-lovers and the Conservatoire of Vienna congratulate Bonn on the honour of having to-day erected the first memorial to Schumann as previously that to Beethoven.' The programme of the orchestral concert which took place in the evening of May 2, beginning at six o'clock, included Schumann's E flat Symphony and Requiem for Mignon, conducted by Brahms; a poetic 'Prologue,' composed and recited by Herr Emil Ritterhaus of Barmen; the Manfred music conducted by Joachim, with Ernst von Possart, director of the court theatre of Munich, in the chief declamatory part; and as single exception in the list of Schumann's works, Brahms' Violin Concerto, conducted by the composer, and played by Joachim in so perfect and ideal a manner as to be, 'not merely interpretative, but absolutely creative.' A rain of bouquets followed its conclusion. Three works were given at the chamber music concert of the following morning: Schumann's String Quartet in A minor, led by Joachim; Spanisches Liederspiel; and Quartet for pianoforte and strings, of which Brahms and Joachim played the pianoforte and violin parts respectively. To this year is to be referred the composition of the only two overtures published by Brahms. The 'Tragic,' the grave character of which may be inferred from its title, was performed for the first time in December at the fourth concert of the Vienna Philharmonic season. Dr. Deiters says of it: 'In this work we see a strong hero battling with an iron and relentless fate; passing hopes of victory cannot alter an impending destiny. We do not care to inquire whether the composer had a special tragedy in his mind, or if so, which one; those who remain musically unconvinced by the unsurpassably powerful theme, would not be assisted by a particular suggestion.'