ult of clumsiness or carelessness. Such instances as the introduction
to the finale of the first symphony, the close of the first movement of
the second, what may be called the epilogue of the third, or the whole
of the variations on a theme of Haydn, are not only marvels of delicate
workmanship in regard to structure, but are instinct with the sense of
the peculiar beauty and characteristics of each instrument. The
"Academic Festival" overture proves Brahms a master of musical humour,
in his treatment of the student songs which serve as its themes; and the
companion piece, the "Tragic" overture, reaches a height of sublimity
which is in no way lessened because no particular tragedy has ever been
named in conjunction with the work.

As with all creative artists of supreme rank, the work of Brahms took a
considerable time before it was very generally appreciated. The change
in public opinion is strikingly illustrated in regard to the songs,
which, once voted ineffective and unvocal, have now taken a place in
every eminent singer's repertory. The outline in his greater works must
be grasped with some definiteness before the separate ideas can be
properly understood in their true relation to each other; and while it
is his wonderful power of handling the recognized classical forms, so as
to make them seem absolutely new, which stamps him as the greatest
musical architect since Beethoven, the necessity for realizing in some
degree what musical form signifies has undoubtedly been a bar to the
rapid acceptance of his greater works by the uneducated lovers of music.
These are of course far more easily moved by effects of colour than by
the subtler beauties of organic structure, and Brahms's attitude towards
tone-colour was scarcely such as would endear him to the large number of
musicians in whose view tone-colour is pre-eminent. His mastery of form,
again, has been attacked as formalism by superficial critics, blind to
the real inspiration and distinction of his ideas, and to their
perfection in regard to style and the appropriateness of every theme to
the exact emotional state to be expressed. In his larger vocal works
there are some which treat of emotional conditions far removed from the
usual stock of subjects taken by the average composer; to compare the
ideas in the "German Requiem" with those of the "Schicksalslied" or
"Nanie" is to learn a lesson in artistic style which can never be
forgotten. In the songs, too, it is