Chapter Eight. German Humanism, Liberalism, and Elegy in Hanslick’s Writings on Brahms

Chapters in this book

1. Frontmatter i
2. Contents v
3. Foreword vii
4. Acknowledgments xi
5. Abbreviations xii
6. Chronology xiii
7. Introduction 1
8. Part One. Rules of Engagement
9. Chapter One. Negotiating the “Absolute” Hanslick’s Path through Musical History 15
10. Chapter Two. Hanslick’s Composers 38
11. Chapter Three. Hanslick, Legal Processes, and Scientifi c Methodologies: How Not to Construct an Ontology of Music 52
12. Chapter Four. Otakar Hostinský, the Musically Beautiful, and the Gesamtkunstwerk 70
13. Part Two. Liberalism and Societal Order
14. Chapter Five. Hanslick on Johann Strauss Jr.: Genre, Social Class, and Liberalism in Vienna 91
15. Chapter Six. Waltzing around t he Musically Beautiful: Listening and Dancing in Hanslick’s Hierarchy of Musical Perception 108
16. Chapter Seven “Poison-Flaming Flowers from the Orient and Nightingales from Bayreuth” On Hanslick’s Reception of the Music of Goldmark 132
17. Chapter Eight. German Humanism, Liberalism, and Elegy in Hanslick’s Writings on Brahms 160
18. Part Three. Memoirs and Meaning in Social Contexts
19. Chapter Nine. The Critic as Subject: Hanslick’s Aus meinem Leben as a Refl ection on Culture and Identity 187
20. Chapter Ten “Faust und Hamlet in Einer Person” The Musical Writings of Eduard Hanslick as Part of the Gender Discourse in the Late Nineteenth Century 212
21. Chapter Eleven. Body and Soul, Content and Form: On Hanslick’s Use of the Organism Metaphor 236
22. Part Four. Critical Battlefields
23. Chapter Twelve. Hanslick and Hugo Wolf 261
24. Chapter Thirteen. Battle Rejoined: Hanslick and the Symphonic Poem in the 1890s 289
25. Chapter Fourteen. On “Jewishness” and Genre: Hanslick’s Reception of Gustav Mahler 311
26. Selected Bibliography 339
27. Contributors 345
28. Index 351