to the ranks of my enemies. But Uhlig clung to me all the more
closely on this account. He strengthened Brendel's weaker will to
endurance, and kept helping him with contributions for his paper,
some of them profound and others witty and very much to the
point. He fixed his eye more particularly on one of my chief
antagonists, a man named Bischoff, whom Hiller had discovered in
Cologne, and who first invented for me and my friends the title
of Zukunftsmusiker ('Musicians of the Future'). With him he
entered into a prolonged and somewhat diverting controversy. The
foundation had now been laid for the problem of the so-called
Zukunftsmusik ('Music of the Future'), which was to become a
European scandal, in spite of the fact that Liszt quickly adopted
the title himself with good-humoured pride. It is true that I had
to some extent suggested this name in the title of my book,
Kunstwerk der Zukunft; but it only developed into a battle-cry
when 'Judaism in Music' unbarred the sluices of wrath upon me
and my friends.

My book, Oper und Drama, was published in the second half of this
year, and, so far as it was noticed at all by the leading
musicians of the day, naturally only helped to add fuel to the
wrath which blazed against me. This fury, however, assumed more
the character of slander and malice, for our movement had
meantime been reduced by a great connoisseur in such things,
Meyerbeer, to a clearly defined system, which he maintained and
practised with a sure hand until his lamented death.

Uhlig had come across my book, Oper und Drama, during the early
stages of the furious uproar against me. I had presented him with
the original manuscript, and as it was nicely bound in red, I hit