At the entrance to the Friedhof the coffin was surrounded by personal friends of the deceased composer, carrying lighted wind-torches, and was accompanied by them to the grave. They were Ignaz Brüll, Anton Dvorák, Arthur Faber, Dr. Fellinger, Robert Fuchs, Richard Heuberger, Max Kalbeck, Ludwig Koch, Eusebius Mandyczewski, Dr. von Miller-Aichholz, Richard von Perger. At the grave-side Dr. von Perger spoke a few words of last farewell: 'This sacred place is now to receive the mortal remains of our great contemporary. He who has so enriched and blessed the whole world, what has he been to us musicians! In the light which streamed from his creative genius, his penetrating art-comprehension, we were able to look up confidently to his incomparable mastership, to his lofty, unbending artistic intelligence. Amid the countless paths and by-paths which to-day intersect the domain of musical art, we were guided by the torch held high and secure by the hand of her first priest. He has met his worthy spiritual brothers, indeed, for the first time to-day in this resting-place, but he was always a simple, sympathetic friend to his living colleagues in art, in spite of the great distance which raised him above them; always a helper of uprising talent, a sure and faithful friend in adversity and suffering.... Here thou restest now, thou blessed of heaven, in this vast, awful world-solitude; clouds of light float above thee and that of thee which is immortal floats with them through eternal spaces. Ade Meister Johannes, fahr'wohl, fahr'wohl.' Joachim was in England at the time of Brahms' death, fulfilling long-contracted engagements. Stockhausen, now a man of seventy-three, and not in strong health, was at this period unequal to a hurried and distressing journey from Frankfurt to Vienna. Memorial performances were given by the Cecilia Verein, Hamburg, on April 5, the day preceding the funeral; by the Vienna Gesellschaft on the 11th; by the Beethoven-Haus Verein, Bonn, in May; by the Royal High School for Music, Berlin, in the summer; and by innumerable musical societies of Europe and America during the season 1897-98. In nearly all instances the German Requiem formed part of such concerts as were orchestral. A clause in Brahms' will provided that any of his unpublished works found in his rooms after death should be the property of Simrock. There was one opus only--the eleven Organ Preludes. With them were the arrangements, as pianoforte duets, of Joachim's two overtures referred to in an earlier chapter. All three works were published in 1902, a delay of five years having been caused by difficulties that arose in connection with the will. Apart from detail, these may be generally stated as follows: