Brahms made several public appearances in Hamburg during the second half of February. He performed, at the Philharmonic concert of the 14th, Beethoven's G major Concerto and Schumann's Etudes Symphoniques, adding to the published version of the latter several variations contained in Schumann's original manuscript. On the same occasion Stockhausen sang Schubert's songs 'Memnon' and 'Geheimniss' to orchestral accompaniments arranged by Brahms, at his request, a year or two previously. The composer was able to spare a few days for Bremen, in order to make Reinthaler's personal acquaintance, though his numerous engagements for March obliged him to leave the work of preparation and rehearsal in the experienced hands of his new friend. He played at the Oldenburg subscription concert of the 4th,[26] and gave concerts with Stockhausen during the same week in Dresden and Berlin, appearing for the first time before the public of either capital. At the second concert in Berlin (March 7) Nos. 3 and 5 of the 'Magelone Romances' were included in the programme. On the 11th the two artists gave a soirée in Hamburg, when Stockhausen introduced Brahms' 'Mailied' and 'Von ewiger Liebe' from the manuscripts, and gave several folk-songs as an encore. At Kiel, where they appeared on the 13th, they made the acquaintance of Löwe, the famous ballad composer, now a man of seventy-two, with whose music Brahms proved to be thoroughly familiar. Their next destination was Copenhagen, where they had arranged to give four concerts. Stockhausen's selection on the first of these occasions included songs by Stradella, Schubert, and Boieldieu, all accompanied by Brahms, who performed as his solos a Toccata and Fugue by Sebastian Bach Andante by Friedemann Bach, two Scarlatti movements, Beethoven's Sonata in E flat, Op. 27, and, of his own compositions, Variations on an original theme and the early Scherzo in E flat minor. Both artists awakened a furore. Stockhausen 'electrified the house'; Brahms was 'enormously applauded,' especially after the performance of his own compositions. The second concert, given within the next few days, was equally successful. The concert-room was crowded, the audience extraordinarily enthusiastic, and the financial result brilliant beyond expectation. Then Brahms committed a _faux pas_, which put an end, so far as he was concerned, to further result of the triumph.