Dr. Carl Neumann describes a visit paid by him to Frau Feuerbach when she was seventy-five years of age, at her house in Ansbach. He went through two rooms. 'In the first was a grand piano on which lay Brahms' "Nänie"; in the second, one might say, dwelt the departed. Tall green plants stood in the window recesses obscuring the light. What the mother had of her son's works hung on the walls. The coloured sketch of a "Descent of the Cross," a flower study belonging to the time when the frame of "Plato's Feast" was painted, a drawing of the standing Iphigenia looking towards the land of Greece--here was her altar.... 'We left this room. She sat down to the piano, at first as if to rest; then asked if I knew Brahms' "Nänie," which, as an admirer of her son's art, he had dedicated to her. She gave me the music to follow and began to play it by heart.... 'Suddenly I looked up.... The woman at the piano in the black dress, a black veil on her white hair, seemed changed. The tall figure, bent forward and lost in tones and memories; was it not the tragic muse herself and was she not sounding a song of fate? 'In the spring of 1886 she once again met Brahms and heard "Nänie" under Joachim.'[67] The want of appreciation of the new concerto shown by the audience of the Leipzig Gewandhaus did not escape the notice of Hans von Bülow in his capacity as Brahms' champion, and he carried his band to Leipzig in the middle of March to give a series of three concerts, two of them respectively devoted to Beethoven and Brahms, and the other divided between Mendelssohn and Schumann. The Brahms programme included the C minor Symphony, Haydn Variations, and the D minor Concerto played by Bülow, the orchestra accompanying without a conductor. The applause which followed the movements of the symphony as the work proceeded was not hearty enough to satisfy the excitable capellmeister, who at the end of the third movement desired his orchestra to repeat it, and on the conclusion of the work turned round and addressed his audience. He had, he said, arranged the Brahms programme by express command of his Duke, who had desired that the Leipzig public should know how the symphony ought to be performed; and also to obtain satisfaction for the coldness manifested towards the composer on his appearance with the new concerto at the Gewandhaus on January 1. It need hardly be said that eccentric efforts such as this on the part of a musician for many years conspicuously identified with the New-German school could have no result one way or the other in directing the artistic leanings of the city.