In addition to the influence of Dante, this colossal work is also shadowed by Richard Wagner, to whom the composition is dedicated. By sending him a copy of the complete score, on Easter day, Liszt wrote to Wagner: «As Virgil did for Dante, in the same way you taught me the way through the mysterious contradas of the sublime worlds of sounds. From the deepest heart I cry to you “You are my teacher and my author!” and consecrate this work with immutable faithful love». It always amazes the humility with which Liszt, although older and decidedly more famous (and rich) than Wagner, recognized the superiority of his future son-in-law. That he never reciprocated with esteem or gratitude; on the contrary, in the case of the Symphony on the Divine Comedy he suggested not to dare to attempt to represent Paradise. It is thus that the first two parts (Hell and Purgatory) are not followed by a third, but the symphony ends with a Magnificat entrusted to a female choir.