Evening star., 1951-01-14
News of Music
Book on HonsIick's Criticisms
Covers Half Century of Pren7ieres
By Alice Eversmon

ny NuSS
Henry Peasants III, former
music critic of the Philadelphia
Evening Bulletin, has done rea
service tc music by collecting
translating and editing the re.
views of one of the most pow.
erful figures in musical history
Eduard Hanslick, music critic o.
Vienna from 1850 to 1900. Under
the title, "Vienna's Golden Year;
of Music" the book brings to the
music lover of 1851 an appraisal
of the great artists of that era as
well as f1rst-hand accounts OF
premieres of famous works as seen
through the eyes of the most cru
dite, sometimes caustic, always
honest. yet greatly feared critic of
that day.
Hanslick's name is almost as
famous as that of Wagner. Liszt,
Brahms, Strauss and the noted
artists OF those so years. He is
quoted in all their biographies
either because of his mistakes IN
judgment or because his estimates
of their talent has been proven
correct by the passing OF time.
His greatest mistake has been con-
sidered the antagonism he showed
to Wagner and his operas, al
though it may yet be discovered
as time passes, that he was more
far-seeing than most. OF MN
he wrote: II know very well that
he is the greatest living opera
composer and, in historical
sense, the only one worth taking
about. But when an art enters a
period of utmost luxury, 1t is al
ready on the decline. Wagner S
operatic style recognizes only su-
perlatives, and superlative mas
no future-he broke a new pain,
dangerous to life and limb. This
path is for him alone"
Skillful as a Critic.
Mr. Pleasants has done an ex-
cellent job in his translation re-
solving the involved German
form into every day English yet
preserving the literary style.
Hanslick wrote very beautifully
with apt illusions that conveyed
the idea most expertly. When
he had something adverse to say.
and that was often enough, he
said it skillfully and without
malice. What must strike home
regretfully to every critic OF to-
day is the amount of space he
was given and the time he could
take in formulating his opinions.
Because of illness, his review OF
the first performance of "Lohen-
grin" appeared three months
later. Naturally, this was a de-
tailed analysis made after a
thorough study of the score and
quite independent of the effect of
the actual performance.
The core Of the book, as OF the
musical life of Hanslick, Is his
battle against Wagner and his
frenzied admirers. It is all the
more interesting since the critic
takes pains to admit constantly
Wagner's genius and to praise
him when he can, according to
his conscience. But he can de-
bunk most of Wagner's preten-
tions and catch him up for contra
dictal statements in his writings.
The detailed description in the
long articles under the title
Richard Wagner's Stage Festival
IN Bayreuth" is the most enter
tanning and enlightening reading
of the entire collection. His
opinion might be summed up in
the prophesy: "The style of
Wagner's Ring will not be the
music Of the future; it will be at
best one style among many, pos
sibly only a yeast for the fermen-
tation of new developments hark-
ing back to the old And again:
"He can be called, at best, and in
the higher sense of the term, a
decorative genius"
Insight on the Artists.
In reviews of other artists,
Hanslick always finds a means of
reference. mostly derogatory, to
Wagner. Although he calls Liszt
darling of the gods" in telling
of his recital, he has no admira-
tion for his compositions. He
shows his own limitations when,
In speaking Of the definite in
structions" Liszt printed in his
scores and the remark that "even
the most essential ideas, cannot be
put down on paper" Hanslick adds
that. Conductors and players,
therefore, have to be gifted with a
special divine insight-and audi
ences, too." But he is clearsighted
when he says. IAN intelligent man
endowed with fantasy, who has
completely mastered the outward
forms Of musical technique, is not
necessarily a creative composer" /"