Biography
Hanslick was born in Prague, the son of Joseph Adolph Hanslick, a bibliographer and music teacher from a German-speaking family, and one of his piano pupils, the daughter of a Jewish merchant from Vienna. At the age of 18 Hanslick went to study music with Václav Tomášek, one of Prague's renowned musicians. He also studied law at Prague University and obtained a degree in that field, but his amateur study of music eventually led to writing music reviews for small town newspapers, then the Wiener Musik-Zeitung and eventually the Neue Freie Presse, where he was music critic until retirement. Whilst still a student, in 1845, he met with Richard Wagner in Marienbad; the composer, noting the young man's enthusiasm, invited him to Dresden to hear his opera Tannhäuser; here Hanslick also met with Robert Schumann.
In 1854 he published his influential book On the Beautiful in Music. By this time his interest in Wagner had begun to cool; he had written a disparaging review of the first Vienna production of Lohengrin. From this point on, Hanslick found his sympathies moving away from the so-called 'music of the Future' associated with Wagner and Liszt, and more towards music he conceived as directly descending from the traditions of Mozart, Beethoven and Schumann — in particular the music of Johannes Brahms (who dedicated to him his set of waltzes opus 39 for piano duet). In 1869, in a revised edition of his essay Jewishness in Music, Wagner attacked Hanslick as 'of gracefully concealed Jewish origin', and asserted that his Jewish style of criticism was anti-German. It is sometimes claimed that Wagner caricatured Hanslick in his opera Die Meistersinger von Nürnberg as the carping critic Beckmesser.
Hanslick's unpaid lectureship at the University of Vienna led in 1870 to a full professorship for history and aesthetic of music and later to a doctorate in honoris causa. Hanslick often served on juries for musical competitions and held a post at the Austrian Ministry of Culture and fulfilled other administrative roles. He retired after writing his memoirs, but still wrote articles on the most important premières of the day, up to his death in 1904 in Baden.
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