close of the subscription season by the arrangement of an extra concert devoted to Brahms' compositions. The instrumental numbers on this occasion were the B flat Sextet, played by the Hellmesberger party, and a Sonata for two pianofortes—in reality the arrangement in this form of the manuscript string quintet with two violoncelli, to which reference has already been made. Tausig, a great admirer of Brahms' genius, who took the Paganini Variations under his especial care later on, was the composer's colleague in the performance, for which, therefore, every advantage was secured; but Brahms had not yet, as it seemed, found the right medium for the expression of his thoughts. The sonata fell flat, making no impression on the audience. There were several vocal numbers, and amongst them was the charming 'Wechsellied zum Tanze,' No. 1 of the three Quartets for solo voices, Op. 31, which stand in an anticipatory relation to the 'Liebeslieder.' They show Brahms in his graceful, playful, genial mood. The 'Wechsellied' is in dance measure, and has two alternative melodies severally adapted to the character of Goethe's verses—the first in E flat, allotted to the contralto and bass, the 'indifferent' pair; the second in A flat, to the soprano and tenor, the 'tender' pair. Brahms has delightfully expressed the difference of mood animating the two couples, and, by the simple device of writing the first of the two little duets in imitation, the bass following the contralto at a bar's distance, has suggested a tone of bright enjoyment which contrasts effectively with the romantic spirit of the lovers' song. The four voices combine towards the close of the composition, which comes to an end in the key of the lover's melody.