The composer Carl Goldmark, who has since attained European reputation with his opera 'The Queen of Sheba,' had been almost entirely resident in Vienna since his sixteenth year, and now at thirty was rising to fame. Peter Cornelius, composer of the comic opera 'The Barber of Bagdad,' and already mentioned in our narrative as a disciple of Weimar, was living at this time in the Austrian capital. Anton Brückner was favourably esteemed by some of the first resident musicians, though he had not yet been called there. Carl Tausig, one of the greatest of pianoforte virtuosi, whose sympathies were much with the New-Germans, settled in Vienna for a few years from 1861, and gave occasional concerts there which were but partially successful. Of writers and critics, Edward Hanslick, Carl Ferdinand Pohl, and Selmar Bagge, all believers in the art of tradition and in its modern development as represented by the name of Schumann, were in the flower of their activity. Bagge's name is interesting in the history of Brahms' career on account of the sympathetic and detailed reviews of the composer's works which appeared from time to time in the _Deutsche Musikzeitung_, a paper founded by him in 1860. It became defunct at the close of 1863, when Bagge left Vienna to take up the editorship of the _Allgemeine Musikzeitung_, which he retained for two years. Very able articles were published in this periodical of Brahms' works as they appeared, some of them written by Bagge himself, and others by Hermann Deiters, a musical scholar and critic of exceptional insight and power of happy expression. Bagge remained just long enough in Vienna to witness the interest aroused by Brahms' first appearances there, to which, very likely, the remembrance of the articles of the _Deutsche Musikzeitung_ gave additional stimulus. Of publishers, the name of C. A. Spina should be gratefully remembered as that of the man to whom the world is indebted for the publication of many great and long-neglected works of Schubert. A large number of the master's half-forgotten manuscripts--those of the Octet, the C major Quartet, the B flat and B minor Symphonies amongst them--were found by Spina when he took over the business of his predecessors, the firm of Diabelli, and were gradually placed by him in the possession of the world.