The Sonata in E minor for pianoforte and violoncello, the earliest of Brahms' seven published duet sonatas for pianoforte and another instrument, all of which are characteristic examples of certain sides of his genius, is a valuable number in the comparatively short list of works of its class for the violoncello. The first movement is of graceful, expressive, delicately melodious character, rising at one point of the development section towards passion, but returning immediately to the dainty, dreaming mood by which the composer so often subdues his hearers to the spell of his imagination. The 'allegretto quasi menuetto' which follows is an exquisite example of a species of movement in the making of which Brahms stands unrivalled. It fascinates with irresistible certainty by its ethereal, playful, poetic fancy, to which the touch of seriousness in the trio offers just sufficient, not too pronounced, contrast. The finale is written _con amore_ in the form of a free fugue, which, full of spirit and energy throughout its course, rattles to its close in a lively coda. Care should be taken not to exaggerate the pace of this movement in performance. If taken too quickly, the violoncello passages lose their due effect. On his return to Carlsruhe, Brahms settled down to the actual writing of the German Requiem, with which he was occupied during the succeeding months, and it was one of Allgeyer's favourite recollections in later years that a portion of the inspired work had been put on paper under his roof.