Nothing of the quiescent autumn mood which we have observed in the master's chamber music of this period is to be traced in either of his symphonies, and the third, like its companions, represents him in the zenith of his energies, working happily in the consciousness of his absolute command over the resources of his art. Whether it be judged by its effect as an entire work or studied movement by movement, whether each movement be listened to as a whole or analyzed into its component parts, all is found to be without halt of inspiration or flaw in workmanship. Each theme is striking and pregnant, and, though contrasting with what precedes it, seems to belong inevitably to the movement and place in which it occurs, whilst the development of the thematic material is so masterly that to speak of admiring it seems almost ridiculous. The last movement closes with a very beautiful and distinctive Brahms coda. The third symphony is more immediately easy to follow than the first, and of broader atmosphere than the second. It is of an essentially objective character, and belongs absolutely to the domain of pure music. The supreme and glorious pre-eminence which the great master had by this time attained in contemporary estimation naturally made it an object of competition with concert-givers and directors to announce the earliest performances of his works, and this was especially the case in the rare event of a new symphony which succeeded its immediate predecessor after an interval of six years. Brahms, however, had his own ideas on this matter, as on every other that he thought important, and after the first performance of the work in Vienna he sent the manuscript to Joachim in Berlin, and begged him to conduct the second performance when and where he liked. This proceeding would hardly have been noteworthy under the circumstances of intimate friendship which had so long united the two musicians, had it not been that the old relation between Brahms and Joachim had been clouded during the past year or two, during which there had been a cessation of their former affectionate intercourse. When, therefore, it became known that Joachim, acting on the composer's wish, proposed to conduct the symphony at one of the subscription concerts of the Royal Academy of Arts, Berlin, so much disappointment and heart-burning were felt and expressed that Joachim, although he had already replied in the affirmative to Brahms' request, consented to write again and ask what his wishes really were. The answer came without delay, and was clear enough to set the matter quite at rest. Brahms desired that the performance should be committed unreservedly to the care of his old friend. The symphony was heard for the second time, therefore, on January 4 under Joachim at Berlin, and was enthusiastically received by all sections of the public and press. It was given again three times during the same month in the German imperial capital under the composer's bâton.