Brahms always expected his stepmother to be present at his public appearances in Hamburg, and continued to stay with her, when visiting the city, until she went to live at Pinneberg. On an occasion of his coming, after her retirement, to conduct a symphony at one of Bülow's Hamburg concerts, he took a room for her next his own at the Hôtel Moser, that they might be as much as possible together during the few days of his stay, and led her on his arm to her seat at rehearsals and concert. Frau Caroline did not, perhaps, entirely fathom the depths and intricacies of her stepson's fourth symphony, but she loved the work, and shared in the joy of it with her whole heart. Fritz, too, came over from Pinneberg, and greeted his stepbrother in the artist's room before the concert began. The master's sister, Elise Grund, died in 1892, and his visit to Hamburg after her death seems to have been the last known by his friends to have been paid by him to his native city. He was at Pinneberg, however, after this date. Some of Brahms' time at Ischl this summer was given to the editing of the supplementary volume of Frau Schumann's complete edition of her husband's works. One cannot but read in this deeply-interesting book our master's desire to associate his name once more with those of Schumann and his wife, especially as he has taken the, for him, altogether exceptional course of writing and signing the introductory sentences of its first page. It contains, to quote Brahms' words, 'a few things found amongst Robert Schumann's papers which, on account of their value, or of some special interest, ought not to be omitted from this collection.... The theme with which the volume concludes is, in a quite peculiar sense, Schumann's last musical thought. He wrote it on the 7th of February, 1854, and afterwards added five variations which are withheld here. It speaks to us as a kindly greeting spirit [genius] about to depart and we think with reverence and emotion of the glorious man and artist. 'JOHANNES BRAHMS. ISCHL, _July 1893_.'[80] Of the composer's original work of the season Billroth writes a few months later to a friend: 'Brahms has, so far as I know, composed a dozen pianoforte pieces during the summer. I do not know the cause of this sudden passion. I like him least of all in this style, the G minor Rhapsody excepted. He does not sufficiently diversify his form in these little works.... He ought to keep to the great style.' The pieces in question were published in the autumn in two books--Op. 118 and 119. The other publications of the year, issued without opus number, were the two books of Technical Exercises for Pianoforte.