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 ?
Ultimately, Hanslick recognizes that this parallel offers "a means by which to give music context without content" (p.
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.
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.
7) Johannes Brahms, Clara Schumann, Richard Strauss, Gustav Mahler, Arnold Schoenberg, Pablo Casals, Eduard Hanslick, and Max Kalbeck were amongst a whole host of luminaries that frequented the Palais Wittgenstein.
Plato, Schopenhauer, Nietzsche, Hanslick, Adorno) comprised the remaining material, a more coherent text would have been accomplished.
She made extensive tours as a performer meeting up with Brahms, Liszt and Hanslick.
What Higgins specifies clearly, however, is the enemy: the structuralist approach to musical form epitomized by Hanslick.
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.
GILLESPIE has translated the work of Adorno, Hanslick, Heine, Kraus, and Muller and is the founding director of The Institute of.
Hampshire, Melvin Rader, Eduard Hanslick, and Jose Ortega y Gassett.
Hanslick, 62, of 174 Providence Road, Grafton, charged with defrauding an innkeeper over $100, continued without a finding for six months on probation, ordered to pay restitution of $1,975.
Thus Hanslick pares down the dynamics of Kantian affect (Gefuhl) to a purely reflexive formalism that construes music as a total homology between the quantitative notations of a musical score and the 'attentiveness' of a listening intelligence: it is a paradigm at once irrefutable, incommunicable, and (almost defiantly) irrelevant.