As críticas de Eduard Hanslick publicadas na obra Vienna’s golden years of music (1850-1900): uma abordagem histórica e analítica
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Data
2022-10-31
Autores
Moraes, Thais Araujo de
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Universidade Estadual Paulista (Unesp)
Resumo
Nestes vastos anos da história da música ocidental, o influente crítico musical vienense do século XIX, Eduard Hanslick, trivialmente foi, e ainda é denominado como um tradicionalista intransigente aos defensores da “Música do Futuro”, sobretudo a Wagner. Em vista disso, suas críticas foram causadoras de inúmeras controvérsias e discussões, e por esta razão, sua figura não foi tão bem recebida nessa esfera musical. O presente projeto constitui um trabalho de pesquisa que tem como objeto de estudo as críticas de Eduard Hanslick escritas entre 1850 – 1900. A realização deste estudo propicia não só resgatar a relevância de Hanslick no cenário musical de sua época, mas, principalmente, desmistificar a sua figura como crítico através de seus escritos, sua autobiografia, estudos acadêmicos realizados sobre o crítico e relatos musicais da época. Com este referencial teórico em mãos, fez-se possível a análise da seleção de críticas organizada e traduzida pelo crítico musical Henry Pleasants em seu livro Vienna’s Golden Years of Music 1850-1900 (1950). Nestas análises, podemos perceber como e quais foram os principais aspectos abordados em suas críticas centradas em compositores, intérpretes da época em um variado e rico repertório canônico. Desta forma pôde-se obter uma impressão corrigida de Hanslick. O leitor pode descobrir que Hanslick está longe de ser um reacionário, estava muito à frente de seu tempo; suas opiniões e análises, em sua maioria, são tão válidas e excitantes hoje como sempre foram; e que não há crítica musical mais agradável de ler por seu aprendizado, inteligência e autoridade.
In these vast years of Western music history, the influential 19th-century Viennese music critic Eduard Hanslick was, and still is, called an uncompromising traditionalist for advocates of “Music of the Future”, especially Wagner. In view of this, his criticisms were the reason for numerous controversies and discussions, and therefore, his figure was not so well received in this musical sphere. The present project is a research work that has as its object of study the criticisms of Eduard Hanslick written between 1850 - 1900. The accomplishment of this study provides not only to rescue Hanslick's relevance in the musical scene of his time, but, mainly, to demystify his figures as a critic through his writings, his autobiography, academic studies carried out on criticism and musical accounts of the time. With this theoretical framework in hand, it was possible to analyze the selection of reviews organized and translated by the music critic Henry Pleasants in his book Vienna’s Golden Years of Music 1850-1900 (1950). In these analyses, we can see how and what were the main aspects addressed in his criticisms centered on composers, interpreters of the time in a varied and rich canonical repertoire. In this way a corrected Hanslick impression can be obtained. The reader may find that Hanslick is far from a reactionary, he was far ahead of his time; their opinions and analyses, for the most part, are as valid and exciting today as they ever were; and that there is no music review more pleasant to read for its learning, intelligence, and authority.
In these vast years of Western music history, the influential 19th-century Viennese music critic Eduard Hanslick was, and still is, called an uncompromising traditionalist for advocates of “Music of the Future”, especially Wagner. In view of this, his criticisms were the reason for numerous controversies and discussions, and therefore, his figure was not so well received in this musical sphere. The present project is a research work that has as its object of study the criticisms of Eduard Hanslick written between 1850 - 1900. The accomplishment of this study provides not only to rescue Hanslick's relevance in the musical scene of his time, but, mainly, to demystify his figures as a critic through his writings, his autobiography, academic studies carried out on criticism and musical accounts of the time. With this theoretical framework in hand, it was possible to analyze the selection of reviews organized and translated by the music critic Henry Pleasants in his book Vienna’s Golden Years of Music 1850-1900 (1950). In these analyses, we can see how and what were the main aspects addressed in his criticisms centered on composers, interpreters of the time in a varied and rich canonical repertoire. In this way a corrected Hanslick impression can be obtained. The reader may find that Hanslick is far from a reactionary, he was far ahead of his time; their opinions and analyses, for the most part, are as valid and exciting today as they ever were; and that there is no music review more pleasant to read for its learning, intelligence, and authority.
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Música - História e crítica, Crítica musical, Críticos, Music - History and criticism