he criticisms thereon were, however, such
as now excite mirth. In the later years of his life he played in
Leipsic again, conducted several of his works, and was greeted with the
reverence and enthusiasm due the greatest living representative of the
art of music. In 1862 Brahms located in Vienna, where he lived until
his death. Mr. Louis Kestelborn, in "Famous Composers and their
Works," says: "About thirty years ago the writer first saw Brahms in
his Swiss home; at that time he was of a rather delicate, slim-looking
figure, with a beardless face of ideal expression. Since then he has
changed in appearance, until now he looks the very image of health,
being stout and muscular, the noble, manly face surrounded by a full
gray beard. The writer well remembers singing under his direction,
watching him conduct orchestra rehearsals, hearing him play alone or
with orchestra, listening to an after-dinner speech or private
conversation, observing him when attentively listening to other works,
and seeing the modest smile with which he accepted, or rather declined,
expressions of admiration."

The Serenade, Opus 11, in D major, was written before 1859. It
consists of six pieces, in form analogous to a suite. The first is
marked allegro molto. It is in the key of D, the melody opening for
horn. This is followed by a counter-theme of clarinets, after which
all the instruments take part. Much is made of a pleasing motive in
thirds by the clarinets. There is a charming elaboration containing
bold and free modulations, touching such keys as D-flat, B-flat, D
minor, etc.

The second movement, scherzo, allegro non troppo, is in the key of D
minor and in the style of a Beethoven scherzo, which, again, is a
legitimate outgrowth of certain movements of Bach. It opens with an
idea for violins and bassoons, and goes on in a very buoyant and
vigorous manner, with abundant syncopations, modulations, and
unexpected incidents. It is beautifully developed. Then it gives
place to a trio in B-flat, in which the violins start with a syncopated
rhythm, and later all the orchestral persons take their turn in the
development. After this is finished the scherzo is recapitulated.

The adagio opens with a melody for bassoons and basses, which later
leads to a very legato and lovely melody for violins, treated at times
with very elaborate figuration, especially at the return of the
principal theme.

The first menuetto begins with a melo