Eduard Hanslick


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Hanslick, Eduard

 

Born Sept. 11, 1825, in Prague; died Aug. 6, 1904, in Baden, near Vienna. Austrian music critic.

A student of the Czech composer V. J. Tomašek, Hanslick graduated from the law faculty of the University of Vienna. In 1856 he became an assistant docent at the University of Vienna in history and the aesthetics of music, and in 1861 he became a professor. In the treatise On the Musically Beautiful (1854), Hanslick took the position of a theoretician of formalism, declaring that “the content of music is moving sound forms” and that music may depict only the dynamic side of feelings divorced from their content. Following the philosopher I. Kant, he affirmed that “the beautiful does not have a goal, for it is pure form.” Influenced by criticism Hanslick recognized that the argument given in his book was inadequate, and subsequently he concerned himself with the history of music. A formalistic approach was expressed also in the critical articles that Hanslick published beginning in 1846. In them he came out against Wagner and Liszt, failed to appreciate the creativity of outstanding composers of the 19th century (including Chopin, Berlioz, and Verdi), and attacked many of the most important developments in Russian music.

WORKS

Geschichte des Concertwesens in Wien, vols. 1-2. Vienna, 1869-70.
Aus dem Concertsaal, 2nd ed. Munich-Berlin, 1886.
Die moderne Open Kritiken und Studien, vols. 1-9. Berlin, 1875-1900.
Aus meinem Leben, vols. 1-2, 4th ed. Berlin, 1911.
In Russian translation:
O muzykal’no-prekrasnom. Moscow, 1895. [With an introduction by G. Larosh.]

REFERENCES

Markus, S. “Voinstvuiushchii formalist E. Ganslik.” Sovetskaia muzyka, 1949, no. 8.
Markus, S. Istoriia musykal’noi estetiki, vol. 2. Moscow, 1968.
References in periodicals archive ?
And there is no doubt they have done so wittingly, since the ensemble render Smetana's quartets neither as absolute chamber music, as defined by Eduard Hanslick, nor even programme chamber music, but rather instrumental music dramas.
Auch Friedrich Nietzsches Verhaltnis zu Eduard Hanslick wird in einem Kapitel ausfuhrlich dargelegt.
Commentators have equated his hostility with that of the great Viennese music critic Eduard Hanslick, one of Wagner's most vociferous opponents, who preferred instead the chaste sublimity of Beethoven and Brahms; and some have chosen to see a Wagnerian anti-semitism here in Beckmesser's characterisation, a caricature of wheedling, cajoling and self-seeking, rather like the dwarf Mime in the Ring's Siegfried.
Beckmesser, the foolish town clerk in Die Meistersinger, is sometimes thought to be a caricature of Eduard Hanslick, leader of the anti-Wagner faction in Vienna and music critic of the Neue Freie Presse.
An extraordinary group of manuscripts connecting Brahms at the very end of his life with three important and admiring musical figures of the late nineteenth century, Eduard Hanslick and Josef Hofmann ($20.
Generally speaking," wrote Eduard Hanslick, the most vehemently literate of Wagner's contemporary critics, "one can be certain that with the appearance of so much as the point of Wotan's spear, a half hour of emphatic boredom is in store.
Following its performance in Vienna, Eduard Hanslick wrote of Fibich's Symphony No.
Critic Eduard Hanslick savaged the composition, saying it "stinks to the ear.
Alperson discusses this question in his introductory essay giving a historical introduction primarily through the views of Eduard Hanslick, who denies that the arousal of emotion in the listener or the expression of emotion in the music is the purpose of music.
Rethinking Hanslick: Music, Formalism, and Expression is a significant reassessment of the work of nineteenth-century aesthetician and music critic Eduard Hanslick.
According to Eduard Hanslick, the experience of music is a passionless contemplation of the purely musical features of the work; it has nothing to do with emotion.
Music critic and historian Eduard Hanslick (1825-1904) was elected president.