Meanwhile Johannes in Vienna may still, in the beginning of November, 1862, have clung to hope in view of the forthcoming performance of his serenade at the Gesellschaft concert of the 14th under Herbeck. The reception of the work proved, in fact, as favourable as might reasonably have been expected. It was listened to with respect by public and critics, and some of its parts, notably the first minuet, were greeted with manifestations of decided approval. 'The serenade, a fine, interesting, and intellectual work, deserved warmer acknowledgment,' wrote Speidel in the _Wiener Zeitung_. Hanslick, in the _Presse_, pronounced it one of the most charming of modern orchestral compositions, but took exception to the first subject of the opening movement, as he had objected to that of the A major Quartet, as being workable rather than original or significant. 'The first minuet seems to us the pearl of the work and perhaps the prettiest movement as yet written by Brahms. The instrumental colouring and the grace of the melody give it the characteristic of night music, and it is full of moonlight and the scent of lilac.' A remarkable review--remarkable from its admirable appreciation of Brahms' creative personality--was despatched to Leipzig by the Vienna correspondent of the _Neue Zeitschrift_, who signs himself 'S.,' and appeared in the Vienna résumé contained in the paper's issue of March 23: 'As regards Brahms' serenade which has been favourably received, albeit in my opinion too severely criticised, only thus much; it is one of the most charming examples, not only of the class of composition from which it has sprung, but of all that has followed Beethoven up to the comprehensive conquests, as to contents and form, of the rising New Germany.