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In the eyes of the critics and the public alike, Musgrave concludes, Brahms' standing "changed imperceptibly from the context of `modern' to that of `classic.'"
Perhaps the greatest reevaluation of the and indeed all of Brahms' oeuvre came with the 1950 publication of Schoenberg's essay "Brahms the Progressive." Here, refuting the Wagnerian image of Brahms as an unfruitful conservative, as "the classicist, the academician," Schoenberg acclaimed Brahms' more progressive musical moments and praised his innovative qualities.
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(The historical moment of the conception, shortly before German unity in 1871, surely played a role in this view as well.) Wagner's contempt for the piece extended to sarcastic comments in letters and essays; in one, he scornfully remarks that when the present generation (his own) dies, "we will want no to be played to our ashes." The importance of Wagner's stance toward Brahms cannot be overemphasized: many critics echoed Wagner's sentiments, and while some devoted serious attention to an analysis of what they considered to be the work's particular flaws, others continued with vague polemicisms and attacks against the composer, his beliefs and religion, and above all his `academic' attitude toward music.