manifesto for the "Serious Music" side on 4 May 1861, signed by Clara Schumann, Joachim, Albert Dietrich, Woldemar Bargiel, and twenty others, which decried the purveyors of the "Music of the Future" as "contrary to the innermost spirit of music, strongly to be deplored and condemned". The New Weimar Club, a formal society with Liszt at its center, held an anniversary celebration of the Neue Zeitschrift für Musik, the magazine Robert Schumann had founded, in his birthplace Zwickau, and conspicuously neglected to invite members of the opposing party, including his widow, Clara. Clara Schumann ceased to perform any of Liszt's works, and she suppressed her husband's dedication to Liszt of his Fantasie in C major when she published his complete works. When she heard that Liszt and Richard Wagner would be participating in a Beethoven centenary festival in Vienna in 1870, she refused to attend. In describing the works of the opposing school, Clara Schumann was particularly scathing of Wagner, writing of his Tannhäuser, that he "wears himself out in atrocities", describing Lohengrin as "horrible", and referring to Tristan und Isolde as "the most repugnant thing I have ever seen or heard in all my life". She also complained that Wagner had spoken of her husband, Mendelssohn, and Brahms in a "scornful" way. Wagner had poked fun at the musical conservatives in an essay, portraying them as "a musical temperance society" awaiting a Messiah. She held Anton Bruckner's Seventh Symphony in very low esteem and wrote to Brahms, describing it as "a horrible piece". Bruckner's symphonies were seen as representative of the New Music due to their advanced harmony, massive orchestration and extended time-scale. Schumann was more impressed, however, with the early First Symphony in F minor by Richard Strauss; this was before Strauss began composing the highly programmatic music for which he later became famous. Brahms secretly held Wagner's music in high esteem, and eventually publicly praised Liszt's works as well. Several of the proponents and signers of the manifesto, including Joachim, relented and joined the "other side". The controversy eventually died down, but Clara Schumann remained steadfast in her disapproval of the New German School's music during her lifetime. Legacy Impact during her lifetime Although Schumann was not widely recognized as a composer for many years after her death, she had a lasting effect as a pianist. Trained by her father to play by ear and memorize, she