a large audience." Between the first and second of this book's nine editions, the first six of Liszt's symphonic poems were published and the Faust Symphony premiered under Liszt's baton. Hanslick revised his text to mention Liszt and those works specifically. The conservatives' manifesto One significant event out of many was the signing of a Manifesto against the perceived bias of the Neue Zeitschrift für Musik. This effort, whose author was almost certainly Brahms, received at first four signatures, among them those of Brahms and Joachim, though more were canvassed and eventually more were obtained. Before the later signatories could put their names to the document, however, it found its way into the editorial offices of the Berliner Musik-Zeitung Echo, and from there was leaked to the Neue Zeitschrift itself, which parodied it on May 4, 1860. Two days later it made its official appearance also in the Berliner Musik-Zeitung Echo with more than twenty signatures, including Woldemar Bargiel, Albert Dietrich, Carl Reinecke, and Ferdinand Hiller. The manifesto read: The undersigned have long followed with regret the pursuits of a certain party, whose organ is Brendel's "Zeitschrift für Musik". The above journal continually spreads the view that musicians of more serious endeavour are fundamentally in accord with the tendencies it represents, that they recognize in the compositions of the leaders of this group works of artistic value, and that altogether, and especially in northern Germany, the contentions for and against the so-called Music of the Future are concluded, and the dispute settled in its favour. To protest against such misinterpretation of facts is regarded as their duty by the undersigned, and they declare that, so far at least as they are concerned, the principles stated by Brendel's journal are not recognized, and that they regard the productions of the leaders and pupils of the so-called New German School, which in part simply reinforce these principles in practice and in part again enforce new and unheard-of theories, as contrary to the innermost spirit of music, strongly to be deplored and condemned. Signing the manifesto might have caused Joachim some heartache. While he did not care for Liszt's music or his promotion of the New German School, he had limited his comments to his friends and musical associates. He did not share them with Liszt until 1857, four years after he had left Weimar. The manifesto became a catalyst for spreading the