Brahms spent the remainder of the year in Germany and Switzerland. After attending the Rhine Festival held the last week of May in Cologne, he settled down for some months at 6, Kessenicherweg, Bonn, in order to be near Dr. Deiters, whom he met daily and admitted to his confidence on the subject of his work. He was occupied with the final preparation of the manuscript of the Requiem for the engraver, and played it through to his friend, who had already studied it from the manuscript, saying, in the course of the just-completed fifth number, '... _I will comfort you as a mother comforts_,' that here he had thought of his mother.[28] He was engaged again, also, with the C minor Pianoforte Quartet, which, as we have seen,[29] has associations with a very much earlier period, and played the sketches to Dr. Deiters, though the work was not finally completed until after the further lapse of several years. The music to Goethe's cantata 'Rinaldo' was in progress, and was finished shortly before he quitted Bonn. Deiters was fortunate enough to have the opportunity of listening, at his own house or in Brahms' rooms, to the composer's interpretation of some of his published works, and to hear his own opinion of many of his songs, which he estimated very variously. Amongst those of which he thought most highly at this time was the 'Von ewiger Liebe,' published later in the year as No. 1 of Op. 43. Brahms was in happy summer mood throughout the time of his sojourn on the Rhine. The fondness for dumb pets that always characterized him, though he kept none of his own, was gratified by the confidence of some pigeons that used to fly into his room and come to him to be fed. He invited his father to join him during the last ten days of his stay, and pleased himself by showing him the Rhine country and introducing him to his friend. It was the only year of his life during which there was intimate personal intercourse between himself and Deiters, but the two men remained in correspondence, and the composer frequently sent copies of his new works as they appeared, with an autograph inscription, to the critic whose early appreciation through a period when their personal acquaintance had been of the slightest had awakened in him a strong feeling of regard and esteem. 'I feel under a great debt of obligation to friend Deiters,' he says in the course of a letter to Dietrich written in 1867.