This dual relationship reacted in two different ways. Tchaikovsky never hesitated to express quite openly his antipathy to the tendencies of these innovators, while he refused to recognise the dilettante extravagances of Moussorgsky as masterpieces, and always made it evident that it would be distasteful to him to win the praise of Stassov and Cui, and with it the title of “genius,” by seeking originality at the expense of artistic beauty. At the same time he acted as the propagandist of “The Band” in Moscow, was their intermediary with the Moscow section of the Musical Society, and busied himself with the performance or publication of their works. When in 1869 the Grand Duchess Helena Paulovna desired to carry out a change in the management of the symphony concerts, and Balakirev retired from the conductorship, Tchaikovsky appeared for the second time as the champion of “The Band,” and protested against the proceedings of the Grand Duchess in an energetic article, in which he displayed also his sympathy with the leader of the New Russian School. During the period when he was engaged in musical criticism, he lost no opportunity of giving public expression to his respect and enthusiasm for the works of Balakirev and Rimsky-Korsakov. But the most obvious sign of his sympathy with “The Band” is the fact that he dedicated three of his best works to individual members--_Fatum_ and _Romeo and Juliet_ to Balakirev and _The Tempest_ to Vladimir Stassov. Here undoubtedly we may see the indirect influence which the New School exercised upon Tchaikovsky. He would not amalgamate with them; nor would he adopt their principles. But to win their sympathy, without actually having recourse to a compromise; to accept their advice (_Romeo and Juliet_ was suggested by Balakirev and _The Tempest_ by Stassov); to triumph over the tasks they set him and to show his solidarity with “The Band,” only in so far as they both aimed at being earnest in matters of art--all this seemed to him not only interesting, but worthy of his vocation. “The Invincible Band” repaid Tchaikovsky in his own coin. They criticised some of his works as pedantic, “behind the times,” and _routinier_, but at the outset of his career they took the greatest interest in him, respected him as a worthy rival, strove to win him over to their views, and continued to consider him “among the elect,” even after the failure of their efforts at conversion. The relations between Tchaikovsky and “The Band” may be compared to those existing between two friendly neighbouring states, each leading its independent existence, meeting on common grounds, but keeping their individual interests strictly apart.