The personal note is added by Mr. Hadow[31] when he recites the story of Brahms taking up his residence in Vienna, the city of high musical activity, in 1862. “As yet his compositions were little known, but there was no musician in Vienna who had not heard his name or felt some expectation at his arrival. Before long, introduction had ripened into acquaintance, and acquaintance into a many-sided friendship. Men were glad to welcome a new genius of conspicuous power and encyclopædic knowledge, who never spoke of himself, who never wrote a line in his own defence, who never attacked an opponent, or depreciated a rival. Add to this the quiet voice, the undemonstrative manner, the kindly disposition that expended itself in a thousand services, the upright honesty that would never stoop even to conquer, and it is not hard to explain a personal popularity which has lasted unimpaired to the present day. The artist is too often to be described in Mr. Stevenson’s phrase, as ‘a man who sows hurry and reaps indigestion.’... It is not a little refreshing to contemplate a genius who, with all the astonishing amount that he accomplished, yet found time to enjoy his dinner, to bear his part in the company of his friends, and to become the sworn ally of all the children in the neighbourhood.” [Footnote 31: _Studies in Modern Music_, p. 251.] An examination of the list of Brahms’s works shows that he found a congenial field for his labours in the department of chamber music. His works for Piano Solo number 23, amongst them being the remarkable Sonatas op. 1 and 2, which were probably among the compositions that drew from Schumann his highly appreciative notices of Brahms. There are seven Duet Sonatas, viz.: three for piano and violin (truly great works), two for piano and ’cello, and two for piano and clarinet. The last-named, op. 120, are almost his final compositions, and contain some admirable music, especially that in E♭, No. 2. The andante of No. 1 is also a beautiful and characteristic movement, by which is meant that its beauty is no mere prettiness, but rather a noble expression of the composer’s best thought. [Illustration: P. Tschaïkovsky [signature]] [Sidenote: =Piano Trio, op. 8: Two Versions=]