Wagner's views. An example to which Berlioz agreed is: "The composer has to search the inner uniformity of drama and music, has to transpose the emotion of the words, thereby has to have regard to the character of the presented person as well as to the accents of spoken language." In several cases, however, Berlioz' critical points were aimed not at Wagner's own claims but at Brendel's claims in the Neue Zeitschrift für Musik. In his essay F. Liszt's symphonische Dichtungen and his speech Zur Anbahnung einer Verständigung, Brendel had explained that there was a difference between the beautiful and the characteristic. Strict rules being appropriate for the beautiful were only partly valid for the characteristic. Berlioz characterised this as saying that the composer had in principle to offend against the rules, had to avoid consonant harmonies as well as natural modulations, and had to take care that his music was by no means pleasing. Instead, listeners had to become acquainted with richness of dissonances, horrible modulations and a rhythmical chaos of the middle voices. (Of course, neither Liszt nor Wagner had in their writings claimed anything of the kind) To calm down the debate, Wagner, in the Journal des Débats of 22 February 1860, published an open letter to Berlioz. He explained, he had written his essay The Artwork of the Future under the impression of the failed revolution of 1848. From the present perspective of 1860, he regretted that publication. Nevertheless, Berlioz remained hostile towards Wagner and also towards Liszt. In his Mémoirs, Liszt is only present as famous virtuoso. Of his works, not a single one is mentioned. The same is to be said regarding the volumes of Berlioz' "Literary works", collections of republished reviews and essays. While in the 1830s and early 1840s there had been reviews in which Berlioz had praised some of Liszt's compositions, especially the Rondeau fantastique El contrabandista and the Fantasies on melodies from the operas La Juive, I Puritani and Robert le diable, every single one of those reviews was excluded from the "Literary works." Further development of the traditions of the New German School in the period following 1859 is covered in the article Allgemeine Deutsche Musikverein (q.v.) Further reading Altenburg, Detlef (ed.): Liszt und die Neudeutsche Schule, Weimarer Liszt-Studien, im Auftrag der Franz-Liszt-Gesellschaft e. V. Weimar herausgegeben von Detlef Altenburg, Band 3, Laaber-Verlag, Laaber 2006. Berlioz, Hector, Mémoirs, Garnier-Flammerion