The Triumphlied was given a week later, December 14, in Munich, under Franz Wüllner, and was again reviewed at length in the _Allgemeine Zeitung_ of the 25th in a highly interesting article by Franz Pyllemann. 'The orchestra develops truly royal splendour.... What wealth of tone-combination, what intoxicating charm of colouring, strike the ear of the listener! The knowledge shown in the use and application of the most appropriate and noble means of expression, as offered by the various instruments, must be noted with deep admiration. Brahms' mastery in the handling of chorus has long been common knowledge. He makes great demands on his singers, and does not readily restrict the development of an artistic idea on account either of their convenience or their uncertainty. But, how his choral movements sound! In this respect, the master stands nearer to the heroes of choral composition, and especially Handel, than any other modern musician. He has studied their works; he has most intimately fused their, for our time, almost enigmatical technique with the many resources of modern art; so that we might often suppose ourselves to be listening, as regards his thematic work, the polyphonic construction of his parts, to a masterpiece of the eighteenth century, whilst the character of the themes, the quality of the harmonies, the condition of the form, on the whole and in detail, are entirely modern, are quite specifically "Brahms."' The work was given at the Gewandhaus Concerts, Leipzig, on February 27, 1873. The effect of the second 'regular' Gesellschaft concert of the season, on January 5, 1873, was marred by a series of misfortunes. Three works were announced for performance: 1. Hiller: Concert Overture in D major. 2. Schumann: 'Des Sängers Fluch.' 3. Mendelssohn: 'Die Walpurgis Nacht.' Hiller, who happened to be staying in Vienna, had promised to conduct his overture to 'Demetrius,' the most successful of his four works in this form, but, owing to an accident to the music, it was necessary to substitute another, which proved ineffective. The drummer was attacked by sudden illness on the day of the concert, and the substitute provided proved unequal to the emergency; Hiller was obliged to rap for silence immediately after beginning the performance of his work, and to recommence. A similar mishap attended the course of the 'Sängers Fluch,' under Brahms' direction, in consequence of a misunderstanding between the solo vocalists and the harpists. Mendelssohn's work alone went without a blemish. A very great success was obtained at the next concert, on February 28, the second 'extra' of the season, with Handel's oratorio 'Saul,' given for the first time in Vienna. The great work was received with enthusiasm, and the performance pronounced perfect both by public and press.