The publication of Brahms' first Symphony in C minor was almost immediately followed by the appearance of a second one in D major, completed during the summer months of 1877 at the beloved Lichtenthal. It was, like the earlier work, played by Brahms and Brüll before an invited circle at Ehrbar's as a pianoforte duet (composer's arrangement) a few days before the date, December 11, first announced for its performance at a Vienna Philharmonic concert. Cause arose at the last moment for the postponement of this event, and the work was given for the first time in public at the succeeding Philharmonic concert of December 30, under Hans Richter's direction. The second performance, conducted by Brahms, took place at the Leipzig Gewandhaus on January 10, 1878. The early fortunes of this second symphony were singularly various, and contrasted strangely with those of its predecessor. In Vienna, where the first had been received with reserve, the second achieved an instant, almost popular, success. It was warmly received by the audience, and was discussed by nearly all sections of the press in terms of cordial approval. It was of a 'more attractive character,' more 'understandable' than its predecessor. It was to be preferred, too, inasmuch as the composer had not this time 'entered the lists with Beethoven.' The third movement was especially praised for its 'original melody and rhythms.' The work might be appropriately termed the 'Vienna Symphony,' reflecting as it did 'the fresh, healthy life only to be found in beautiful Vienna.' In Leipzig, on the other hand, the work was little better than a failure. The impression of the preceding year was felt in the general applause, emphasized by a thrice-repeated flourish of trumpets and drums, which greeted the composer's entrance, and the audience maintained an attitude of polite cordiality throughout the performance of the symphony, courteously applauding between the movements and recalling the master at the end; but the enthusiasm of personal friends was not this time able to kindle any corresponding warmth in the bulk of the audience, or even to cover the general consciousness of the fact. The most favourable of the press notices damned the work with faint praise, and Dörffel, whom we quote here and elsewhere because he alone of the professional Leipzig critics of the seventies seems to have been imbued with a sense of Brahms' artistic greatness, showed himself quite angry from disappointment.