Dietrich's personal library that Brahms discovered "Hyperions Schicksalslied", from Hölderlin's novel Hyperion, in a book of Hölderlin's poetry. Dietrich recalls in his writing that Brahms first received the inspiration for the piece while watching the sea: In the summer Brahms again came [to Wilhelmshaven], to make a few excursions in the neighbourhood with us and the Reinthalers. One morning we went together to Wilhelmshaven, for Brahms was interested in seeing the magnificent naval port. On the way there, our friend, who was usually so lively, was quiet and grave. He described how early that morning (he was always an early riser), he had found Hölderlin's poems in the bookcase and had been deeply impressed by the Schicksalslied. Later on, after spending a long time walking round and visiting all the points of interest, we were sitting resting by the sea, when we discovered Brahms a long way off sitting by himself on the shore writing. It was the first sketch for the Schicksalslied, which appeared fairly soon afterwards. A lovely excursion which we had arranged to the Urwald was never carried out. He hurried back to Hamburg, in order to give himself up to his work. Brahms completed an initial setting of Hölderlin's two verses in ternary form with the third movement being a complete restatement of the first. However, Brahms was dissatisfied with this full restatement of the first movement to close the piece, as he felt that it would nullify the grim reality depicted in the second movement. This conflict remained unresolved, and Schicksalslied unpublished, while Brahms turned his attention to the "Alto Rhapsody" from 1869–70. The piece was not realized in its final form until a solution was suggested to Brahms in 1871 by Hermann Levi (who conducted the premiere of Schicksalslied later that year). Levi proposed that in lieu of a full return of the first movement, a reintroduction of only the orchestral prelude should be used to conclude the piece. Convinced by Levi, Brahms composed the third movement as a copy of the orchestral prelude in the first movement with a richer instrumentation and transposed into C major. While Brahms was hesitant to break the desperation and ultimate futility of the second movement by bringing a blissful return to the first, some see Brahms's return to the orchestral prelude as "a desire on the part of the composer to relieve the gloom of the concluding