Brahms' concerto are as easy to follow as the second. The andante is fervent and melodious, and the finale offers to the ear a dainty feast of sound sparkling from beginning to end with graceful vivacity. This concerto has, like its predecessor, sometimes been described as a symphony with pianoforte obligato. The comparison is in each case misleading. Both works are essentially based on the modern concerto form as established by Mozart. The Concerto in B flat, published in 1882, was dedicated by Brahms to 'his dear friend and teacher Edward Marxsen.' It was performed--probably for the first time in England--by Charles Hallé at one of the famous Manchester concerts, and by Heinrich Barth at a Crystal Palace Saturday concert of November, 1884. The present author played it in London December 13, 1888, at her matinée at Messrs. Broadwood's, and on February 14, 1891, at her private concert at the Royal Academy of Music, kindly accompanied in the composer's arrangement of the orchestral part for two pianofortes, on the first occasion by Mr. Otto Goldschmidt and Mr. Stephen Kemp, and on the second by Messrs. Stephen Kemp and Septimus Webbe. Frederic Lamond introduced it to the audience of the Philharmonic Society, St. James's Hall, on May 14, 1891. Since these dates the concerto has been frequently played in Great Britain by Leonard Borwick. Fräulein Marie Baumeyer of Vienna was the first lady to perform the immensely difficult work. She played it in Graz in 1883, and later, in the composer's presence, at one of her concerts in Vienna. The other publications of 1882 were a book of Romances and Songs for one or for two voices, and two books of Songs for one voice. The two Overtures and 'Nänie' were issued in 1881. Brahms passed a considerable part of the first quarter of 1882 in Hamburg, to the joy of his friends there. He had written in good time to Frau Caroline to bespeak his favourite 'corner room,' and made his headquarters from the beginning of January with his stepmother. He had accepted an invitation to conduct his Requiem at the annual Good Friday concert of sacred music at the Stadt Theater, and was occupied several weeks beforehand with preliminary study and rehearsals. The choir of 200 consisted of the members of the Bach Society and opera chorus combined. The performance, which took place on April 7, partook of the character of a solemn memorial service, and the audience properly abstained from applause, though the sixth number created an impression that would make itself audible. At the close of the concert the composer received a vote of cordial thanks tendered in the name of all present. [Illustration: BRAHMS' LODGINGS AT ISCHL. _By permission of Frau Maria Fellinger._] The master stayed, for the second time, at Ischl during the summer months. Billroth, who was in the neighbourhood, writes of him in August: