Who was Eduard Hanslick and what were his primary professions?

Eduard Hanslick (1825-1904) was an influential Austrian music critic, aesthetician, and historian. He is recognized as one of the leading critics of his era and served as the chief music critic for the prominent newspaper *Neue Freie Presse* from 1864 until his death.

When and where was Eduard Hanslick born?

Eduard Hanslick was born on September 11, 1825, in Prague, which was then part of the Austrian Empire.

What significant treatise did Eduard Hanslick publish in 1854, and what was its impact?

In 1854, Hanslick published his seminal work, *Vom Musikalisch-Schönen*, translated as *On the Musically Beautiful*. This treatise was a landmark in the aesthetics of music, outlining his artistic and philosophical views and significantly influencing the field.

What was Eduard Hanslick's general stance on musical styles, particularly in relation to the 'War of the Romantics'?

Hanslick was a conservative critic who championed absolute music, which he believed expressed itself solely through its form, over programmatic music, which aimed to convey extra-musical ideas. He became a prominent figure in the 'War of the Romantics,' siding with composers like Robert Schumann and Johannes Brahms, and often criticizing composers such as Franz Liszt and Richard Wagner.

What was the nature of Hanslick's early musical and legal education?

Hanslick began his musical studies at the age of eighteen with Václav Tomášek, a respected musician in Prague. Concurrently, he pursued legal studies at Prague University, where he earned a degree in law. His passion for music, however, led him to pursue a career in music criticism.

How did Hanslick begin his career in music criticism?

Hanslick's initial foray into music criticism began with writing reviews for small-town newspapers. His work eventually led him to contribute to the *Wiener Musik-Zeitung* and later secured him a position as a music critic for the influential *Neue Freie Presse*, a role he held for the remainder of his career.

Describe Hanslick's early encounter with Richard Wagner and Robert Schumann.

While still a student in 1845, Hanslick met Richard Wagner in Marienbad. Wagner, impressed by the young man's enthusiasm, invited him to Dresden to hear his opera *Tannhäuser*. During this visit, Hanslick also had the opportunity to meet Robert Schumann.

When did Hanslick's admiration for Richard Wagner begin to wane, and what prompted this shift?

Hanslick's interest in Wagner started to decline around the time he published *On the Beautiful in Music* in 1854. A key moment was his critical review of the first Vienna production of Wagner's opera *Lohengrin*, after which his sympathies shifted away from Wagner and Liszt towards the more classical traditions represented by Brahms and Schumann.

Which composers did Hanslick consider to be in the tradition he favored, and who did he champion against the 'Music of the Future'?

Hanslick believed musical history truly began with Mozart and reached its peak with Beethoven, Schumann, and Brahms. He actively promoted Johannes Brahms, even receiving a dedication of Brahms's opus 39 waltzes for piano duet, and positioned Brahms as a counterpoint to the composers associated with the 'Music of the Future,' such as Wagner and Liszt.

What was Richard Wagner's accusation against Eduard Hanslick regarding his heritage and criticism?

In a revised edition of his essay *Jewishness in Music*, Richard Wagner attacked Hanslick, suggesting he had a 'gracefully concealed Jewish origin.' Wagner asserted that Hanslick's critical style was inherently anti-German, stemming from this perceived heritage.

Is there a connection between Hanslick and the character Beckmesser in Wagner's opera?

It is often suggested that Richard Wagner based the character of the critical Beckmesser in his opera *Die Meistersinger von Nürnberg* on Eduard Hanslick. Notably, the character's original name was intended to be Veit Hanslich, a clear reference to Hanslick.

How did Hanslick transition from an unpaid lectureship to a professorship at the University of Vienna?

Hanslick's unpaid lectureship at the University of Vienna eventually led to a full professorship in the history and aesthetics of music. He also received a doctorate *honoris causa* from the university, recognizing his significant contributions.

Beyond his critical writing, what other roles did Hanslick fulfill?

In addition to his journalism and academic work, Hanslick was actively involved in the music community. He frequently served on juries for musical competitions, held a position within the Austrian Ministry of Culture, and undertook various other administrative duties.

When and where did Eduard Hanslick die?

Eduard Hanslick died on August 6, 1904, at the age of 78, in Baden, Austria.

What was Hanslick's view on the expressive capacity of music itself?

Hanslick believed that music's meaning and expressive power derived solely from its formal structure, rather than from any associations with external, non-musical elements. He found Wagner's reliance on dramatics and 'word painting' to be contrary to the essential nature of music.

How did Hanslick's famous treatise, *Vom Musikalisch-Schönen*, relate to his critical stance?

*Vom Musikalisch-Schönen* served as the theoretical foundation for Hanslick's criticism. It began as a critique of the Wagnerian aesthetic and established his core belief that music's meaning is inherent in its form, which directly informed his support for composers like Brahms and his opposition to the 'music of the future'.

Which composers, besides Wagner and Liszt, did Hanslick criticize?

Hanslick was also known for his critical assessments of composers such as Anton Bruckner and Hugo Wolf. His critical commentary extended to contemporary works, including Pyotr Ilyich Tchaikovsky's Violin Concerto and his Sixth Symphony.

What specific criticism did Hanslick level against Tchaikovsky's Violin Concerto?

Regarding Tchaikovsky's Violin Concerto, Eduard Hanslick famously accused both the composer and the soloist, Adolph Brodsky, of subjecting the audience to music that 'stinks to the ear,' implying it was an unpleasant and perhaps overly virtuosic or dissonant work.

What is the significance of the 'War of the Romantics' in music history, and what was Hanslick's role?

The 'War of the Romantics' was a significant debate in 19th-century music concerning the direction of musical development. Eduard Hanslick was a key critic in this conflict, advocating for absolute music and composers like Brahms, while opposing the 'music of the future' championed by figures like Wagner and Liszt.

How did Hanslick's friendship with Johannes Brahms influence their relationship?

Hanslick was a close friend of Johannes Brahms starting in 1862. This friendship likely influenced Brahms's composing, as Hanslick often had the opportunity to hear new music before its publication, and Brahms dedicated his opus 39 waltzes to Hanslick.

What did Hanslick mean when he asked about playing Chopin's mazurkas and the 'Battle of Ostroleka'?

This question, posed by Hanslick, highlights his nuanced view on musical expression. While he primarily advocated for absolute music, he acknowledged that certain pieces, like Chopin's mazurkas, could evoke specific imagery or feelings, in this case, referencing the 'mournful and oppressive air' of the Battle of Ostroleka, suggesting a connection between musical form and emotional resonance.

What is Eduard Hanslick best remembered for today?

Eduard Hanslick is primarily remembered today for his influential role as a music critic, particularly for his advocacy of Johannes Brahms and his opposition to the 'music of the future' associated with Richard Wagner and Franz Liszt during the 'War of the Romantics'.

What were some of the German editions of Eduard Hanslick's works listed in the source?

The source lists several German editions of Hanslick's works, including "Vom Musikalisch-Schönen" (1854), "Geschichte des Konzertwesens in Wien" (1869–70), "Die moderne Oper" (1875–1900), "Aus meinem Leben" (1894), and "Suite. Aufsätze über Musik und Musiker" (1884).

What is the significance of the portrait of Hanslick published in 1894?

The portrait of Hanslick published in 1894 is mentioned in the infobox, indicating a visual representation of the critic during his later career.

What does the caption for the image of Hanslick's grave indicate?

The caption for the image of Hanslick's grave states that it is located in the Zentralfriedhof in Vienna, providing a specific detail about his final resting place.

What does the cartoon from the Viennese satirical magazine 'Figaro' in 1890 depict?

The cartoon from the 1890 Viennese satirical magazine *Figaro* depicts Eduard Hanslick offering incense to Johannes Brahms, symbolizing Hanslick's strong admiration and support for Brahms's music.

What was Hanslick's view on the relationship between music and extra-musical associations?

Hanslick believed that music's meaning was intrinsically tied to its form and structure, not to external elements or associations. He argued that music expressed itself solely through its musical qualities, contrasting with composers who used music to convey programmatic or dramatic content.

What specific criticism did Hanslick have regarding the 'music of the future'?

Hanslick viewed the 'music of the future,' often associated with composers like Wagner, as problematic because it relied heavily on dramatics and extra-musical elements rather than pure musical form for its expression. He felt this approach detracted from the intrinsic beauty and meaning of music itself.

What is the core tenet of Hanslick's aesthetic theory regarding music?

The core tenet of Hanslick's aesthetic theory, as expounded in *On the Musically Beautiful*, is that the meaning and beauty of music reside entirely within its form. He posited that music is 'tönend bewegte Formen' (tonally moving forms) and that its expressive power comes from the interplay of these forms, not from emotional content or narrative.

What was the nature of Hanslick's conservatism in his musical tastes?

Hanslick's conservatism in music meant he favored established traditions and forms, appreciating composers who built upon the legacies of figures like Mozart and Beethoven. He was critical of innovations that he perceived as breaking away from these established musical structures or prioritizing programmatic content over formal integrity.

What was Hanslick's stance on the music of Anton Bruckner?

The provided text indicates that Anton Bruckner was among the targets of Hanslick's criticism, suggesting a divergence in their musical philosophies or styles.

How did Hanslick's critical approach influence his reputation?

Hanslick was one of the first music critics to gain widespread influence, and his critical writings were deeply connected to his aesthetic theories. His strong opinions and articulate arguments shaped contemporary musical discourse and established him as a significant figure in music criticism.

What is the meaning of the German term 'Weltpolitik' in the context of foreign relations, and how might it relate to musical criticism?

The term 'Weltpolitik' translates to 'world politics' and refers to an aggressive foreign policy. While not directly mentioned in relation to Hanslick's musical criticism, such broad political or cultural stances could sometimes influence or be reflected in artistic and critical viewpoints of the era.

What was the primary focus of Hanslick's most well-known work, *Vom Musikalisch-Schönen*?

Hanslick's *Vom Musikalisch-Schönen* (On the Musically Beautiful) primarily focused on establishing a theoretical framework for musical aesthetics, arguing that music's beauty lies in its formal structures and dynamic movement, rather than in emotional content or extra-musical associations.

What role did Hanslick play in the Viennese music scene beyond his newspaper work?

Beyond his role as chief music critic for the *Neue Freie Presse*, Hanslick also held an academic position as a professor at the University of Vienna, contributing to the intellectual discourse on music history and aesthetics.

What is the significance of Hanslick's support for Johannes Brahms?

Hanslick's strong support for Johannes Brahms was a key element of his critical stance during the 'War of the Romantics.' By championing Brahms, Hanslick positioned him as the heir to the classical tradition, contrasting him with the progressive, often programmatic, style of Wagner and Liszt.

What does the reference to 'Jewishness in Music' by Wagner imply about his view of Hanslick?

Wagner's reference to 'Jewishness in Music' in his attack on Hanslick suggests a xenophobic and anti-Semitic critique, where Wagner attempted to discredit Hanslick's musical opinions by linking them to a perceived Jewish identity and criticizing his critical style as 'anti-German'.

How did Hanslick's criticism of Tchaikovsky's Sixth Symphony characterize his view of that work?

The text states that Hanslick was 'lukewarm' towards Tchaikovsky's Sixth Symphony, indicating a lack of strong positive endorsement and suggesting that the work did not fully align with his critical preferences or aesthetic standards.

What was the general time frame of Hanslick's career as a music critic?

Eduard Hanslick's career as a music critic spanned a significant period, beginning with early reviews and culminating in his role as chief music critic for the *Neue Freie Presse* from 1864 until his death in 1904.

What does the term 'aesthetician' mean in the context of Eduard Hanslick's profession?

As an aesthetician, Eduard Hanslick was concerned with the philosophical study of beauty and art, particularly the nature of aesthetic experience and judgment. In his case, this focused heavily on the principles and appreciation of music.

What was the nature of Hanslick's relationship with the Viennese Ministry of Culture?

Hanslick held a post at the Austrian Ministry of Culture, indicating his involvement in the broader cultural administration and policy of the time, beyond his direct critical and academic work.

What is the significance of Hanslick's publication of *Vom Musikalisch-Schönen* in relation to Wagner's aesthetic?

*Vom Musikalisch-Schönen* was published as an attack on Wagner's aesthetic theories, which emphasized the role of drama and extra-musical content in music. Hanslick's work countered this by asserting that music's meaning is found purely within its formal structure.

What does the phrase 'tönend bewegte Formen' (tonally moving forms) refer to in Hanslick's aesthetic theory?

'Tönend bewegte Formen' is a key concept in Hanslick's aesthetic theory, describing music as 'tonally moving forms.' This phrase encapsulates his belief that music's essence and beauty lie in the dynamic interplay of sounds and structures, independent of any external meaning or emotion.

How did Hanslick's critical views align with the composers he supported, such as Brahms?

Hanslick's support for Brahms stemmed from Brahms's adherence to classical forms and his focus on musical structure and development, which aligned with Hanslick's theory of 'tonally moving forms.' This contrasted sharply with the more dramatic and programmatic approach of composers like Wagner.

What was the impact of Hanslick's criticism on composers like Bruckner and Wolf?

The text indicates that Anton Bruckner and Hugo Wolf were among the composers who faced criticism from Eduard Hanslick. This suggests that their musical styles or compositions did not align with Hanslick's conservative aesthetic principles.

What does the archival reference 'CA OTUFM 32' likely signify?

The archival reference 'CA OTUFM 32' likely denotes a specific catalog number or identifier for the Geoffrey Payzant and Eduard Hanslick collection held at the University of Toronto Music Library.

What is the historical context of Hanslick's birth in Prague?

Eduard Hanslick was born in Prague in 1825, during a period when Prague was a significant cultural center within the Austrian Empire, a context that shaped his early life and education.

What does it mean for Hanslick to be described as an 'aesthetician'?

Describing Hanslick as an 'aesthetician' means he was a philosopher specializing in aesthetics, the branch of philosophy concerned with the nature of beauty, art, and taste. His work focused on understanding and defining the principles of musical beauty.

What was the significance of the *Neue Freie Presse* in Hanslick's career?

The *Neue Freie Presse* was a major Viennese newspaper where Hanslick served as the chief music critic from 1864 until his death. This position provided him with a prominent platform to disseminate his influential views on music and musicians.

How did Hanslick's views on music history influence his critical judgments?

Hanslick's view that musical history 'really began with Mozart and culminated in Beethoven, Schumann and Brahms' heavily influenced his critical judgments. He favored composers who followed this perceived lineage and was critical of those who deviated significantly from it, such as Wagner and Liszt.

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Overview

A Pillar of 19th-Century Music Criticism

Eduard Hanslick (11 September 1825 – 6 August 1904) was a preeminent Austrian music critic and aesthetician. As the chief music critic for the esteemed Neue Freie Presse from 1864 until his death, he wielded considerable influence over the musical discourse of his era. His seminal 1854 treatise, Vom Musikalisch-Schönen (On the Musically Beautiful), remains a landmark text in the aesthetics of music, articulating his core artistic and philosophical tenets.

Champion of Absolute Music

Hanslick is widely recognized for his staunch advocacy of absolute music—music valued for its formal structure and intrinsic musical qualities—over programmatic music, which seeks to convey extra-musical ideas or narratives. This philosophical stance positioned him as a key figure in the aesthetic debates of the 19th century, particularly during the so-called "War of the Romantics."

Academic and Cultural Influence

Beyond his critical writings, Hanslick held a professorship in the history and aesthetics of music at the University of Vienna, further solidifying his academic standing. His influence extended to serving on musical competition juries and contributing to cultural administration, making him a central figure in the musical life of Vienna and beyond.

Life and Career Trajectory

Early Life and Education

Born in Prague, then part of the Austrian Empire, Eduard Hanslick was the son of Joseph Adolph Hanslik, a bibliographer and music teacher. Hanslick pursued legal studies at Prague University while simultaneously developing his passion for music, studying composition with the renowned V\u00e1clav Tom\u00e1\u0161ek. This dual academic and artistic foundation informed his later critical approach.

Ascendancy in Music Journalism

Hanslick's early reviews for local newspapers paved the way for his significant role at the Wiener Musik-Zeitung and, crucially, the Neue Freie Presse. From 1864 until his passing, his critiques in this prominent publication set a benchmark for musical commentary, shaping public perception and artistic evaluation.

Academic Recognition

His extensive scholarship and critical acumen led to an unpaid lectureship at the University of Vienna, which culminated in a full professorship in music history and aesthetics in 1870. He was also awarded an honorary doctorate, underscoring his profound contributions to musicology and aesthetic theory.

Foundations of Musical Aesthetics

The Essence of Musical Beauty

Hanslick's seminal work, Vom Musikalisch-Schönen (On the Musically Beautiful), published in 1854, is a cornerstone of modern musical aesthetics. In it, he posited that music's aesthetic value resides solely in its formal properties—its structure, patterns, and the interplay of sound itself. He argued against the notion that music could or should convey specific emotions or narratives, asserting that such attempts detract from music's inherent beauty.

Hanslick's aesthetic framework emphasized:

Formalism: Music's meaning is derived from its form, not from external associations.
Objectivity: Aesthetic judgment should be based on the objective qualities of the music.
Rejection of Emotionalism: Music's primary function is not to evoke specific emotions but to engage the intellect through its structure.

He famously stated that music is "tonally moving forms" (tönend bewegte Formen), suggesting that the beauty lies in the dynamic unfolding of musical ideas.

The Ideal of "Absolute Music"

Hanslick championed composers whose work exemplified his ideal of absolute music, such as Mozart, Beethoven, Schumann, and particularly Johannes Brahms. He viewed their compositions as self-contained artistic statements, where beauty was inherent in the musical architecture. This perspective contrasted sharply with the emerging trends of programmatic music championed by composers like Liszt and Wagner.

Critical Stance and Artistic Judgments

The "War of the Romantics"

Hanslick became a central figure in the ideological conflict known as the "War of the Romantics." He aligned himself with the proponents of absolute music, championing the symphonic and chamber music traditions rooted in Beethoven and Brahms. This placed him in direct opposition to the "Music of the Future" movement, strongly associated with Richard Wagner and Franz Liszt, which advocated for a fusion of music, drama, and poetry.

Critiques of Wagner and Liszt

Hanslick frequently derided the works of Wagner and Liszt, viewing their reliance on dramatic effects and extra-musical content as a corruption of music's essential nature. He criticized Wagner's operas for their perceived theatricality over musical substance and Liszt's symphonic poems for their programmatic ambitions.

Notable Criticisms

His critical assessments extended to other prominent composers. Hanslick famously panned Tchaikovsky's Violin Concerto, accusing both the composer and soloist of subjecting the audience to an ordeal with music that "stinks to the ear." He also expressed lukewarm sentiments towards Tchaikovsky's Sixth Symphony. His critical eye also fell upon Anton Bruckner and Hugo Wolf, whom he often found wanting in formal discipline or aesthetic purity.

Artistic Debates and Personalities

Friendship with Brahms

Hanslick maintained a close friendship with Johannes Brahms, beginning in 1862. He was an ardent supporter of Brahms's music, often previewing new compositions and championing them in his reviews. Brahms, in turn, dedicated his influential Sixteen Waltzes, Opus 39, to Hanslick, signifying their mutual artistic respect.

Wagner's Retort: The Beckmesser Caricature

The intensity of their artistic differences led to personal animosity. In a revised edition of his essay Jewishness in Music, Richard Wagner attacked Hanslick, suggesting a "gracefully concealed Jewish origin" and characterizing his criticism as anti-German. It is widely believed that Wagner caricatured Hanslick in his opera Die Meistersinger von Nürnberg as the pedantic critic Beckmesser, whose original name was even intended to be Veit Hanslich.

Enduring Influence and Recognition

A Defining Voice in Music Criticism

Eduard Hanslick is remembered as one of the most influential music critics of the 19th century. His writings established a rigorous standard for critical analysis, emphasizing formal integrity and aesthetic principles. His advocacy for absolute music and his critical engagement with the era's leading composers profoundly shaped musical taste and discourse.

Archival Legacy

Significant collections of Hanslick's papers and related materials are preserved in archives, notably the Geoffrey Payzant and Eduard Hanslick collection at the University of Toronto Music Library. These archives provide invaluable resources for scholars studying 19th-century music, aesthetics, and criticism.

Key Publications

Scholarly and Critical Works

Hanslick authored several significant works that articulated his aesthetic theories and critical perspectives. His writings remain essential reading for understanding the intellectual currents of 19th-century European music.

Vom Musikalisch-Schönen (On the Musically Beautiful), Leipzig 1854
Geschichte des Konzertwesens in Wien (History of Concert Life in Vienna), 2 vols., Vienna 1869–70
Die moderne Oper (The Modern Opera), 9 vols., Berlin 1875–1900
Aus meinem Leben (From My Life), 2 vols., Berlin 1894
Suite. Aufsätze über Musik und Musiker (Suite. Essays on Music and Musicians), Vienna 1884

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References

A full list of references for this article are available at the Eduard Hanslick Wikipedia page

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This educational resource was generated by an Artificial Intelligence, drawing upon publicly available data from Wikipedia. While every effort has been made to ensure accuracy and adherence to the source material, it is intended for informational and educational purposes only. The content reflects a specific point in time and may not encompass all nuances or recent developments.

This is not professional advice. The information presented here does not constitute expert musicological, aesthetic, or historical consultation. Readers are encouraged to consult primary sources, academic literature, and qualified professionals for in-depth study and specific inquiries related to Eduard Hanslick and 19th-century music criticism.

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Eduard Hanslick: The Maestro of Musical Form and Feeling

💡 Dive in with Flashcard Learning! 💡

Overview ℹ️

🖋️ A Pillar of 19th-Century Music Criticism

🎶 Champion of Absolute Music

🏛️ Academic and Cultural Influence

Life and Career Trajectory 📅

👶 Early Life and Education

📰 Ascendancy in Music Journalism

🎓 Academic Recognition

Foundations of Musical Aesthetics 💡

🎼 The Essence of Musical Beauty

✨ The Ideal of "Absolute Music"

Critical Stance and Artistic Judgments 🗣️

⚔️ The "War of the Romantics"

🚫 Critiques of Wagner and Liszt

🤔 Notable Criticisms

Artistic Debates and Personalities 💬

🤝 Friendship with Brahms

🎭 Wagner's Retort: The Beckmesser Caricature

Enduring Influence and Recognition 🌟

📜 A Defining Voice in Music Criticism

🌍 Archival Legacy

Key Publications 📚

📖 Scholarly and Critical Works

Teacher's Corner 🧑‍🏫

Edit and Print this course in the Wiki2Web Teacher Studio

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References

📜 References

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📜 Important Notice for Learners

Dive in with Flashcard Learning!

Overview

A Pillar of 19th-Century Music Criticism

Champion of Absolute Music

Academic and Cultural Influence

Life and Career Trajectory

Early Life and Education

Ascendancy in Music Journalism

Academic Recognition

Foundations of Musical Aesthetics

The Essence of Musical Beauty

The Ideal of "Absolute Music"

Critical Stance and Artistic Judgments

The "War of the Romantics"

Critiques of Wagner and Liszt

Notable Criticisms

Artistic Debates and Personalities

Friendship with Brahms

Wagner's Retort: The Beckmesser Caricature

Enduring Influence and Recognition

A Defining Voice in Music Criticism

Archival Legacy

Key Publications

Scholarly and Critical Works

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Disclaimer

Important Notice for Learners