It was about this time that our composer's art began to make perceptible progress in London. No immediate result was perceptible from the performance of the B flat Sextet led by Joachim at a Monday Popular concert of 1867, but from the beginning of the seventies we find Brahms' name appearing with some regularity in London programmes. No opportunity was lost by Frau Schumann, Joachim, or Stockhausen for making propaganda for their friend's music in private artistic circles. The performance of the Requiem at Sir Henry Thompson's house in the summer of 1871, under Stockhausen, has already been noted. Of minor incidents of the time in this connection, the singing of two duets from Op. 28 by Madame Viardot-Garcia and Stockhausen at a party given by the lady in London on June 10 may be selected for mention.[42] In the same year the call of Bernhard Scholz to Breslau added another to the list of towns, now to increase rapidly, year by year, in which Brahms' art came to be cultivated with particular vigour. Scholz, who had held successive appointments in Hanover and Berlin, had been on terms of familiar acquaintance with the composer from an early period of both their careers. He now found himself in a position, as conductor of the Breslau orchestral subscription concerts, freely to gratify his admiration of the master's art. From this time not only were Brahms' new orchestral works given, with few exceptions as they appeared, at the Breslau subscription concerts, but any existing deficiencies in the Brahms education of the musical public were supplied by performances of the two Serenades and the Pianoforte Concerto. The composer himself played the last-named work at Breslau in 1874 and 1876, when the orchestra was of course conducted by Scholz. No less attention was devoted to the chamber music. At the concerts of the resident string quartet-party arranged by Concertmeister Richard Himmelstoss, at which Scholz or Julius Buths often assisted as pianist, the two Sextets, the Quartets and Quintet, and later works in their turn, were frequently heard, and to the successful results of these efforts, to the warm response they elicited from the musical circles of Breslau, we owe the composition of a genial and now favourite work of our master, the Academic Festival Overture, the appearance of which will be noted in its place. Amongst the friends who visited Lichtenthal during the summer of 1871 were Allgeyer, Levi, and Stockhausen, and on September 8 the 'Song of Destiny,' completed in May, was rehearsed at Carlsruhe. 'Hyperion's Schicksalslied,' by Friedrich Hölderlin (1770-1834), sets forth the serene, passionless, unchanging existence of the celestials, surrounded by the clear light of eternity; and its contrast, the ever-shifting, suffering life of humanity, wrapped in the darkness of inscrutable mystery. The poem is entirely fatalistic, containing no comment on what it depicts.