congratulations to her bridegroom-elect may be read in the second volume of the 'Letters.' The talent for art which had come to her as a family inheritance was transmitted to her daughter, though with a difference. Frau Dr. Fellinger's gifts have associated themselves especially with the plastic arts; in the first place with that of painting, but they have become well known in the musical world also by her busts and statuettes of Brahms, Billroth, and others belonging to their circle. Her photographs of our master are now familiar to most music-lovers. When it is added that Brahms found he could command in Dr. Fellinger's hospitable house, not only congenial intellectual sympathy, but the unceremonious intercourse with a simple, affectionate family circle in which he had through life found a pre-eminent source of happiness, it will easily be understood that he became a more and more frequent guest there, until, during the closing years of his life, it became for him almost a second home. The master introduced two of his new works in the course of a few weeks' journey undertaken in the winter of 1882-83. According to Simrock's Thematic Catalogue, the Pianoforte Trio in C major, the String Quintet in F major, and the 'Parzenlied' constitute the publications of 1883. Early copies of the trio and quintet were sent out, however, and the works were publicly performed from them in December, 1882. An interesting entry in Frau Schumann's diary says: 'I had invited Koning and Müller to come and try Brahms' new trio with me on Thursday 21st [December]. Who should surprise us as we were playing it--he himself! He came from Strassburg and means to stay with us for Christmas. I played the trio first and he repeated it.' Both works were performed on December 29 at a Museum chamber music concert--the Quintet by the Heermann-Müller party, the Trio by Brahms, Heermann, and Müller. Amongst the early performances of the Trio were those on January 17 and 22 respectively in Berlin (Trio Concerts: Barth, de Ahna, Hausmann) and London (Monday Popular Concerts: Hallé, Madame Néruda, Piatti), and at Hellmesberger's in Vienna on March 15. The work has not become one of the most generally familiar of the master's compositions, though it is not easy to say why. It contains no trace of the 'heaven-storming Johannes,' but, like many of the later compositions, it breathes, and especially the first movement, with a rich, mellow warmth suggestive of one to whom the experiences of life have brought a solution of their own to its problems, which has quieted, if it has not altogether satisfied, the aspirations and impulses of youth.