"The Tenth," after Beethoven's nine. Pohl, brought by Liszt to serve as Weimar's unofficial critic-in-residence, championed Liszt, Berlioz and Wagner in print. He also took Eduard Hanslick to task for claiming music could not be programmatic. There were several attempts, with Liszt at the centre, to create a lasting and formal society. The Neu-Weimar-Verein was one attempt to form a club. It lasted a few years and published minutes of their meetings. The Tonkünstler-Versammlung (Congress of Musical Artists), which first met in Leipzig in June 1859, was a more successful attempt at forming an organization. (See New German School.) It eventually led to the founding in 1861 of the Allgemeine Deutsche Musikverein (ADMV), the 'United German Musical Union', which espoused Liszt's musical enthusiasms. Though Austrian composer Anton Bruckner took no part in the debate between conservatives and progressives, his symphonies were seen as part of the latter due to their advanced harmony, massive orchestration and extended time-scale. His adulation for Wagner, which included the dedication of his Third Symphony and the quotes from Wagner's operas incorporated into that work, helped cement this impression. Main disagreements A central point of disagreement between these two groups of musicians was between traditional and new musical forms. This was an outgrowth of the debate on the viability of the symphony genre, which had grown in the hands of Ludwig van Beethoven from one intended for entertainment to a form that included social, moral and cultural ideals. Liszt and his circle favored new styles in writing and forms that would blend music with narrative and pictorial ideas. Toward this end, and with the motto "New wine required new bottles" in mind, Liszt developed the symphonic poem. The Leipzig/Berlin school championed the forms used by the classic masters, forms codified by musicologists such as Adolf Bernhard Marx of the early 19th century. The validity of program music was also a point of contention. In his 1854 book, Vom Musikalisch-Schönen, Hanslick stated that music did not and could not represent anything specific other than itself. It could suggest realistic impressions in the manner of Hector Berlioz, as well as impressions and feelings, such as those represented by the movement headings in the score of Beethoven's Sixth Symphony. This view was not considered novel in itself. "What was new," according to musicologist and Liszt biographer Alan Walker, "was that [Hanslick] was a musician addressing musicians, and he found