The fatal flaw is the fugue, which Tchaikovsky wrote to convey the reaction of the hordes of the evil spirit Arimanes to Manfred's appearance amongst them. A fugue, Brown argues, is by nature undramatic in both its fixation on one thematic idea and its measured progress; therefore, it cannot help but sound stodgy, resulting in a misstep from which the music never fully recovers. Musicologist Ralph Wood, in contrast, stated that while the finale may have its faults, there is still much about the music that is quite good. Critical views Critics were divided on Manfred from the work's outset. César Cui, the member of the Russian nationalistic music group known as The Five whose reviews of Tchaikovsky's compositions were mostly negative, praised Manfred. Cui commented especially on the "masterly description of Manfred's gloomy, noble image" in the opening movement and the "ravishing refinement" of the scherzo, concluding that "we can only thank [Tchaikovsky] for his new contribution to the treasure-store of our nation's symphonic music." The composer's friend, critic Herman Laroche, was less positive, calling Manfred "among the most raw and unfinished of [Tchaikovsky's] compositions." While admitting the work was "full of melodic warmth and sincerity", Laroche criticized its programmatic aspects, which left "an impression of mystery and uncertainty cribbed from Liszt, though cribbed not in a mechanical fashion but with the addition of some of the technical sequins which cost our deft and resourceful composer so little effort." Some regard Manfred as one of Tchaikovsky's most brilliant and inspired works; conductor Arturo Toscanini considered it the composer's greatest composition and was one of only two Tchaikovsky symphonies (the other being the Pathetique) that he ever programmed. (His admiration did not stop him from making changes in the score when he performed and recorded it, including a number of cuts). However, others despise it. According to music critic David Hurwitz, composer-conductor Leonard Bernstein referred to it as "trash" and never recorded it. Some critics have commented that, for all Tchaikovsky's distrust of program music and Manfreds kinship to a Berlioz work he did not wish to repeat, the symphony proves its composer's capacity to infuse another composer's example with his own personality, provided the emotional nature of the work found a response in him. These critics have called Manfred one of the great program symphonies of the 19th century. The Manfred Symphony was voted number 75 in the ABC