As regards the general audience, the concert was an unmistakable success. The room was fairly filled, and enough money taken to cover expenses. This, however, by the way. The circumstance most worthy of record is that artist and public found themselves _en rapport_. The performer had the infallible instinct of having with him the sympathy of his hearers, and played his best, giving out what was really in him as he had probably never been able to do before his indifferent or sceptical audiences in Germany. A friendly reception was accorded to the quartet, which was followed with close attention. Enthusiasm could scarcely have been looked for on a first hearing of so original a work. The variations and fugue, however, called forth a storm of applause that was renewed after the performance of Schumann's fantasia, the divine last movement of which was given with ideal insight and noble inspiration. The press notices, though respectful, were disappointing in regard to Brahms the composer. 'The quartet by no means pleased us, and we are glad that the unfavourable impression it created was obliterated by the variations which followed....' Hanslick wrote (_die Presse_). 'Brahms' talent has hitherto been displayed at its best in variation form, which requires, above all, facility in inventing figures, and unity of mood.... The unsatisfactory features of his creative style are more apparent in the quartet. The first subject has not enough significance. The composer chooses themes rather with a view to their capacity for contrapuntal treatment than on account of their intrinsic merit, and those of the quartet sound dry and flat.... The quartet and others of the composer's works remind us of Schumann's last period; the early works of his first period; but none of Brahms' yet known compositions can take their place beside those of Schumann's ripe middle period.' As a pianist, Brahms was mentioned in the papers in more decided terms of appreciation. Bagge says: 'We have to bestow high praise not only on the enormous technical acquirement, but also on a performance instinct with musical genius, on a treatment of the instrument as fascinating as it was original.' The playing of Bach's organ toccata is especially mentioned in terms of high admiration; the touch employed for the passages written for the pedals 'gave the pianoforte the effect of an organ.' The performance of each number was musical through and through, and although 'he has not the unfailing certainty nor the outward brilliancy of the virtuoso, he reaches and fascinates his audience by other means.' The delightful natural letter to his parents, published by Reimann, written after the concert, shows the pleasure derived by Brahms from feeling his audience in sympathy with him: 'DEAR PARENTS, 'I was very happy yesterday, my concert went quite excellently, much better than I had hoped.