| Uniform title | Works. Selections. English. 1988 |
| Series |
Dover books on music, music history
Dover books on music, music history. ^A291064
|
| Contents |
Eduard Hanslick (1825-1904) -- Tannhäuser (1846) -- Vieuxtemps (1854) -- Clara Schumann (1856) -- Liszt's Symphonic poems (1857) -- Lohengrin (1858) -- Ole Bull (1858) -- Beethoven's Missa Solemnis (1861) -- Joseph Joachim (1861) -- Brahms (1862) -- Messiah (1862) -- Tausig (1862) -- The St Matthew Passion (1862) -- Schubert's "Unfinished" symphony (1865) -- Richard Wagner's Concert (1872) -- Franz Liszt (1874) -- Die Meistersinger (1874) -- Joseffy (1874) -- Brahms's Symphony no. 1 (1876) -- Richard Wagner's Stage festival in Bayreuth (1876) -- Brahms's Symphony no. 2 (1878) -- Verdi's Requiem (1879) -- Adelina Patti (1879) -- Bülow (1881) -- Parsifal (Letters form Bayreuth, July 1882) -- Brahms's Symphony no. 3 (1883) -- Tristan and Isolde (1883) -- Rubinstein (1884) -- The Meinigen Court Orchestra (1884) -- Rosenthal (1884) -- Lilli Lehmann (1885) -- Brahms's Symphony no. 4 (1886) -- Letter from London (1886) -- Verdi's Otello (1887) -- Bruckner's Eighth symphony (1892) -- Richard Strauss's Don Juan (1892) -- Richard Strauss's Tod und Verklärung (1893) -- Hansel and Gretel (1894) -- Tchaikovsky's Symphonie Pathétique (1895) -- Johann Strauss (1899). |
| Abstract |
The author, the first great professional music critic, came to prominence with the exploding popularity of newspapers in mid-19th-century Europe. He sharpened his musical perceptions and judgments on the emerging works of a pantheon of great composers from Brahms and Wagner to Richard Strauss and Verdi. So rich was his musical background, so shrewd were his judgements, and so lively and disarming his prose style, that Hanslick's critical works remain today, over a century later, a matchless treasure of musical enlightenment. This superb selection of the best of Hanslick's critical writings reveals the full range and depth of his interests, perceptions and theories. The 39 subjects have only heightened in their appeal to the modern reader: Beethoven's Missa Solemnis; Wagner's Tristan und Isolde and Bayreuth Festival; Liszt's symphonic poems; Schubert's "Unfinished" symphony; all of Brahms's symphonies; Verdi's Requiem and Otello; Richard Strauss's Don Juan; Tchaikovsky's Symphonie Pathetique and many, many more. Hanslick's extraordinary career as a music critic and pioneering lecturer in musical appreciation lasted fifty years, fully embracing the second half of the 19th century. IN the course of it he became one of the most influential musical figures of all time. His anti-Wagnerian stand embroiled him in continuing controversy (he is the model for Wagner's pedantic villain in Die Meistersinger), but his remarkable musical insight clearly shaped - and continues to shape - both the nature and the direction of musical criticism. |
| General note | Reprint. Originally published: Baltimore : Penguin Books, 1963. |
| Bibliography note | Includes bibliographical references and index. |
| Other title | Music criticisms. |
| LCCN | 88010932 |
| ISBN | 0486257398 : |
