Wagner and Brahms, that is.
“In German-speaking lands, the dispute polarized around Brahms and Wagner and around the dichotomies between absolute and program music, between tradition and innovation, and between classical genres and forms and news ones. What is clear in retrospect is that partisans on both sides shared the common goals of linking themselves to Beethoven, appealing to audiences familiar with the classical masterworks, and securing a place for their own music in the increasingly crowded permanent repertoire. All such music became known as classical music because it was written for similar performing forces as works represented in the classical repertoire and was intended to be performed alongside them.” (Burkholder, Grout, and Palisca, A History of Western Music)
Fascinating that Brahms looks at Beethoven and sees pure, “absolute” music, music for its own sake. Wagner looks at Beethoven and sees drama, Gesamtkunstwerk, music (as Tom Wolfe might say) with a text at its center. Ralph Vaughan Williams expresses that whole period’s expectancy for a new Beethoven to unite the two schools here.