Cusins, when the soloists were Mlle. Sophie Ferrari and Santley. The work was performed for the first time in Berlin, Munich and St. Petersburg in the spring, and in Utrecht in June, of the year 1872, and in Paris in 1874.[34] Probably it was due to the impression created by the German Requiem that the Serenade in D, Op. 11, was performed for the first time in Berlin in November, 1869, at one of the concerts of the Symphony Orchestra under Capellmeister Stern. 'The reception showed that the public is beginning to understand and value the composer Brahms, one of the few living creative artists who are genuine and sincere,' wrote a Berlin critic. In the earlier part of the same year Louis Brassin played the Handel Variations and Fugue in Munich with very great success. Brassin was one of the first artists to perform the work in public, and that he introduced it to a Munich audience is the more interesting since the musicians of the Bavarian capital had in 1869 shown scant, if any, recognition of our composer's art, which was too progressive for Franz Lachner, and too conservative for von Bülow, the successive leaders, up to that date, of the musical life of the city. The work was played by Bülow in November, 1872, in Carlsruhe, and from that time was heard at his concerts with increasing frequency. [22] Dietrich. [23] A pedal point is a sound sustained, according to conditions prescribed by the rules of art, during a succession of varying harmonies of which it need not form an essential part. [24] Matt. v. 4; Ps. cxxvi. 5, 6; 1 Pet. i. 24; James v. 7; 1 Pet. i. 25; Isa. xxxv. 10; Ps. xxxix. 4-7; Wisd. iii. 1; Ps. lxxxiv. 1, 2, 4; John xvi. 22; Ecclus. li. 27; Isa. lxvi. 13; Heb. xiii. 14; 1 Cor. xv 51-55; Rev. iv. 11; Rev. xiv. 13. [25] The cadences of music are somewhat analogous to the punctuation of literature. A 'final cadence' has the effect of closing a musical period. [26] Dated April 4 in Dietrich's 'Recollections.' [27] Schumann. [28] Communicated in a letter to the author by Dr. Deiters. [29] See Vol. I., p. 207. [30] _Cf._ Dietrich, p. 54 _et seq_. The dates in the text are given on the authority of Frau Schumann's diary. [31] The strict strophic form is that in which voice-melody and accompaniment are the same in each verse. It admits, however, of several kinds of modification, as by varied accompaniment, slight variation of voice-melody, and so forth. The 'durchcomponirtes' Lied, for which there is no technical English term, is that of which the text is set throughout to fresh musical thoughts and developments. [32] Those who wish to study Brahms' treatment of folk-music in detail are referred to Hohenemser's articles, 'Brahms und die Volksmusik,' in _Die Musik_, Nos. 15 and 18, 1903. [33] Dated 1866 in the Thematic Catalogue.