The academic style of musical composition which resulted from this attitude, typified best in the works of Glazunov and Rimsky-Korsakov, became the preferred method of this group. If a composer wanted to be accepted into the Belyayev circle or receive Belyayev's patronage, he had to conform by writing musical works in this vein. This bias would continue to some point after Rimsky-Korsakov's departure with his son-in-law Maximilian Steinberg in charge of composition classes at the Conservatory through the 1920s, and Shostakovich would complain about Steinberg's conservatism, typified by such phrases as "the inviolable foundations of the "kuchka"" and the "sacred traditions of Nikolai Andreyevich [Rimsky-Korsakov]." Despite Rimsky-Korsakov's denial of the Belyayev circle being similar to The Five under Mily Balakirev, the two factions did share one trait. Like The Five, the Belyayev group viewed with suspicion those compositions that did not follow its canon.