There is a trace of nervous anxiety in this letter which leaves little doubt that Brahms had within him the consciousness that in the German Requiem he had transcended all his previous achievements, and that he was even unusually anxious to ensure a favourable opportunity for the hearing of his new work. Until now it had been submitted to none of his companions, save, perhaps, Joachim, and it is evident that he did not easily bring himself to the resolution of sending it away even for Dietrich's sympathetic inspection, and that, whilst he hoped, he somewhat dreaded to hear the result of a communication with Reinthaler. We must postpone for awhile our account of the fortunes of the manuscript in order to follow our musician on his holiday journey, on which he no doubt started with a mind sufficiently relieved by the mere fact of his decision to be able to await with composure the next issues of fate. Herr königlich Musikdirektor Carl Martin Reinthaler (born 1822), municipal music-director of Bremen and organist of the cathedral, to whom the manuscript is meanwhile to be submitted, was a distinguished musician and the composer of numerous works in very varied forms, vocal and instrumental. His oratorio 'Jepthah' was performed in London in 1856 under John Hullah's direction; several of his operas--'Käthchen von Heilbronn,' 'Edda,' etc.--composed later in his career, were given with success in Bremen, Hanover, and other towns; and his 'Bismarck Hymn' won the prize in a competition adjudged at Dortmund. By his talent and earnestness in his position as conductor of the orchestral concerts at Bremen, he did much to raise the standard of musical taste in the city. [11] 'Josef lieber, Josef mein, hilf mir wieg'n mein Kindlein fein. Gott der wird dein Lohner sein in Himmelreich der Jungfrau Sohn, Maria.' (Joseph dearest, Joseph mine, Help me rock the babe divine. Heaven's blessing shall be thine In th' kingdom of the Virgin's Son, Mariè.) [12] Personally communicated to the author by Herr Hofcapellmeister Dietrich. [13] From a letter published by Richard Heuberger (_Beilage zur Allg. Musikzeitung_, 1899, No. 260). [14] Brahms, by giving to the variations the second title of Studies for the Pianoforte, has sufficiently indicated the intention with which he placed them before the world. [15] The date of the publication of the Horn Trio is given in Simrock's Thematic Catalogue as 1868. [16] See p. 167, vol. i. [17] 'Briefe von Theodor Billroth' (sixth enlarged edition). [18] 'Neujahrsblatt der Allgemeinen Musikgesellschaft in Zürich,' 1898. [19] The author is indebted for this and a few other extracts from Frau Schumann's diary to the kindness of Fräulein Marie Schumann.