The work was repeated under Bülow's direction at the following Meiningen concert of November 1, and was conducted by the composer throughout a three weeks' tour on which he started with Bülow and his orchestra immediately afterwards, and which included the towns Siegen, Dortmund, Essen, Elberfeld, Düsseldorf, Rotterdam, Utrecht, Amsterdam, the Hague, Arnheim, Crefeld, Bonn, and Cologne. A performance at Wiesbaden followed, and the work was heard for the first time in Vienna at the Philharmonic concert of January 17, 1886, under Richter. This occasion was celebrated by a dinner given by Billroth at the Hôtel Sacher, the guests invited to meet the composer being Richter, Hanslick, Goldmark, Faber, Door, Epstein, Ehrbar, Fuchs, Kalbeck, and Dömpke. A new and important work by Brahms could hardly fail to obtain a warm reception in Vienna at a period when the composer could look back to thirty years' residence in the imperial city with which his name had become as closely associated as those of Haydn, Mozart, Beethoven, and Schubert; but though the symphony was applauded by the public and praised by all but the inveterately hostile section of the press, it did not reach the hearts of the Vienna audience in the same unmistakable manner as its two immediate predecessors, both of which had, as we have seen, made a more striking impression on a first hearing in Austria than the first Symphony in C minor. Strangely enough, the fourth symphony at once obtained some measure of real appreciation in Leipzig, where the first had been far more successful than the second and third. It was performed under the composer at the Gewandhaus concert of February 18. The account given of the occasion by the _Leipziger Nachrichten_ is, perhaps, the more satisfactory since our old friend Dörffel, who might possibly have been suspected of partiality, had long since retired from the staff of the journal. Bernhard Vögl, his second successor, says: '... The reception must, we think, have made amends to Brahms for former ones, which, in Bülow's opinion, were too cool. After each movement the hall resounded with tumultuous and long-continued applause, and, at the conclusion of the work, the composer was repeatedly called forward.... The finale is certainly the most original of the movements, and furnishes more complete argument than has before been brought forward for the opinion of those who see in Brahms the modern Sebastian Bach. The movement is not only constructed on the form displayed in Bach's Chaconne for violin, but is filled with Bach's spirit. It is built up with astounding mastery upon the eight notes, [Music: Excerpt from the fourth movement of Brahms's Symphony No. 4 in E minor, Op. 98.]