Top 11 Quotes & Sayings by Eduard Hanslick

Explore popular quotes and sayings by a German writer Eduard Hanslick.
Last updated on December 20, 2024.
Eduard Hanslick

Eduard Hanslick was an Austrian music critic, aesthetician and historian. Among the leading critics of his time, he was the chief music critic of the Neue Freie Presse from 1864 until the end of his life. He was a conservative critic and championed absolute music over programmatic music for much of his career. As such, he sided with and promoted the faction of Robert Schumann and Johannes Brahms in the so-called "War of the Romantics", often deriding the works of composers such as Franz Liszt and Richard Wagner. His best known work, the 1854 treatise Vom Musikalisch-Schönen, was a landmark in the aesthetics of music and outlines much of his artistic and philosophical beliefs on music.

Music has no subject beyond the combinations of notes we hear, for music speaks not only by means of sounds, it speaks nothing but sound.
The course hitherto pursued in musical aesthetics has nearly always been hampered by the false assumption that the object was not so much to inquire into what is beautiful in music as to describe the feelings which music awakens.
Grant that the true organ with which the beautiful is apprehended is the imagination, and it follows that all arts are likely to affect the feelings indirectly. — © Eduard Hanslick
Grant that the true organ with which the beautiful is apprehended is the imagination, and it follows that all arts are likely to affect the feelings indirectly.
An art aims, above all, at producing something beautiful which affects not our feelings but the organ of pure contemplation, our imagination.
That the sweetly intoxicating three-four rhythm which took hold of hand & foot, necessarily eclipsed great & serious music & made the audience unfit for any intellectual effort goes without saying.
Tchaikovsky’s Violin Concerto gives us for the first time the hideous notion that there can be music that stinks to the ear.
The Prelude to Tristan and Isolde reminds me of the old Italian painting of a martyr whose intestines are slowly unwound from his body on a reel.
The beautiful is and remains beautiful though it arouse no emotion whatever, and though there be no one to look at it. In other words, although the beautiful exists for the gratification of an observer, it is independent of him. In this sense music, too, has no aim (object), and the mere fact that this particular art is so closely bound up with our feelings by no means justifies the assumption that its aesthetic principles depend on this union.
You cannot imagine the wild enthusiasm that these two men created in Vienna. Newspapers went into raptures over each new waltz, and innumerable articles appeared about Lanner and Strauss.
On the one hand it is said that the aim and object of music is to excite emotions, i.e., pleasurable emotions; on the other hand, the emotions are said to be the subject matter which musical works are intended to illustrate. Both propositions are alike in this, that one is as false as the other.
So long as we refuse to include lottery tickets among the symphonies, or medical bulletins among the overtures, we must refrain from treating the emotions as an aesthetic monopoly of music in general or a certain piece of music in particular.
This site uses cookies to ensure you get the best experience. More info...
Got it!