In 1854 he published his influential book "On the Beautiful in Music". By this time his interest in Wagner had begun to cool; he had written a disparaging review of the first Vienna production of "Lohengrin". From this point on, Hanslick found his sympathies moving away from the so-called 'music of the Future' associated with Wagner and Franz Liszt, and more towards music he conceived as directly descending from the traditions of Mozart, Beethoven and Schumann — in particular the music of Johannes Brahms (who dedicated to him his set of waltzes opus 39 for piano duet). In 1869, in a revised edition of his essay "Jewishness in Music", Wagner attacked Hanslick as 'of gracefully concealed Jewish origin', and asserted that his supposedly Jewish style of criticism was anti-German. It is sometimes claimed that Wagner caricatured Hanslick in his opera "Die Meistersinger von Nürnberg" as the carping critic Beckmesser (whose name was originally to be Veit Hanslich).