On the 6th of the month two new 'Magelone Romances' were sung for the first time in public by Krause, at a concert given in the same hall by Frau Schumann and Joachim; and before Brahms left Carlsruhe the first private performance took place of the newly-completed Trio in E flat for pianoforte, violin, and horn, a composition which has now long occupied a peculiar place in the affection of genuine lovers of his music on account of the tone of pure beauty that pervades it--beauty of sound, of mood, and idea. The noble simplicity of its themes and the spontaneous character which distinguishes their development hold the attention even of the unfamiliar listener from beginning to end of this inspired work, and the great musicianship of the composer has wrought it to a flawless example of its kind, in which no weak spot can be detected by deliberate examination. The adagio has the character of a lament, and can hardly be matched as an expression of profound sadness excepting by a few others of Brahms' and some of Beethoven's slow movements. The work was a favourite with the composer, and it is of interest to know from his own lips that its inception was due to an inspiration that came to him in the course of one of his walks near Lichtenthal. A year or two later than our present date, as he was ascending one of his beloved pine-clad hills in Dietrich's company, he showed his friend the exact spot where the opening theme of the first movement had occurred to him, saying: 'I was walking along one morning, and as I came to this spot the sun shone out and the subject immediately suggested itself.'[12] From Carlsruhe Brahms proceeded to Switzerland, where he appeared at Basle, Zürich, and Winterthur. At Zürich he conducted his D major Serenade, given there two years previously under Fichtelberger, and performed the solo of Schumann's Pianoforte Concerto, and Bach's Chromatic Fantasia; and at Winterthur he gave a chamber music soirée in combination with his friend Theodor Kirchner and the young violinist F. Hegar. Of this Widmann, who saw and heard Brahms for the first time on the occasion, has given some account in his 'Recollections.' 'There was,' he writes, 'a something in his countenance which suggested the certainty of victory, the beaming cheerfulness of a poet happy in the exercise of his art.'