In the early part of the year 1891 he paid a visit to Meiningen. His enjoyment was the greater since the Duke, to whom the master had often spoken of Widmann, had invited this gentleman to meet his friend. Several delightful details of the time are related by Widmann. For us, however, the fact of particular interest is that it was now that Brahms' admiration of the performances of the clarinettist Mühlfeld, of the Meiningen orchestra, culminated in the determination to write for his instrument. Mühlfeld had gained particular reputation as a soloist by his performances of Weber, whose Concertino for clarinet and orchestra had been introduced by him at Meiningen on December 25, 1886, the hundredth anniversary of the composer's birth. Our master, who since that date had had many opportunities of listening to Mühlfeld's wonderful tone and execution, now asked for a private recital with only himself as audience, in the course of which the clarinettist played to him one piece after another from his répertoire, and discussed his instrument with him. The sequel was the composition by Brahms, during his annual residence at Ischl, of a trio for pianoforte, clarinet, and violoncello and a quintet for clarinet and strings. These works were performed from the manuscripts before the ducal circle at Meiningen Castle on November 24 of the same year, the Trio by Brahms, Mühlfeld, and Hausmann, the Quintet by the same musicians, Joachim, and two members of the Meiningen orchestra. Brahms remained on as the Duke's guest for some little time after the performance, and then followed his friends to Berlin in order to take part in the Joachim Quartet concert of December 12, when his new works were heard for the first time in public. This occasion was, and has remained, unique in the history of the famous party of artists. The Joachim Quartet concerts in Berlin, occupying a position in the forefront of the musical life of the city, have now taken place annually for nearly forty years; but into no other programme than that of December 12, 1891, has a work not written exclusively for strings been admitted. That Brahms was much gratified by the compliment paid him is evident from a letter written by him on December 1 to Hanslick, in which he says: '... I shall not be able to tell you about it [a performance of Strauss' opera, 'Ritter Paynim'] for another fortnight. This is because Joachim has sacrificed the virginity of his Quartet to my newest things. Hitherto he has carefully protected the chaste sanctuary but now, in spite of all my protestations, he insists that I invade it with clarinet and piano, with trio and quintet. This will take place on the 12th of December, and with the Meiningen clarinettist. Tell Mandyczewski (or let him read) that the quintet "adagio con sordini" was played as long and often as the clarinettist could hold out.'[77]