Lecture III

I do not know whether the majority of you are aware that for a long, long time Richard Wagner has had the bitterest, most rabid critics and opponents. These critics and opponents have had a certain guidance from the extremely ingenious work an music produced in Vienna by Eduard Hanslick, the author of the interesting little volume, Vom Musikalisch-Schönen (“On the Beautiful in Music.”).[^2] I do not know whether you realise that with the publication of this book the old was set up in opposition, as it were, to the rising of a new dawn in history. Hanslick's book may become an historic memorial of recent times. For what was his aim? He says: One cannot make music in the way Richard Wagner makes it; that is not music at all, for music there sets out with the intention of pointing to something that lies outside music, to something super-sensible. Music is an “arabesque in tones”—this was one of Hanslick's favourite expressions. In other words, music is an arabesque-like interweaving of tones, and the musical-aesthetic enjoyment of it may consist in purely human delight in the way in which the tones resound in and after one another. Hanslick says that Richard Wagner is no musician, that he simply does not understand the essence of the musical, that the essence of music lies simply in the architecture of the tone-material.—What can one say about such a phenomenon? One can only say that Hanslick was pre-eminently a reactionary, a straggler from the fourth culture-epoch. Then—in that epoch—he would have been right; but what is right for one epoch is not valid for the next. From Hanslick's standpoint one can say: Richard Wagner is no musician. But then one would have to add: that epoch is now over; we must accept what springs from it, reconciling ourselves through the fact that music, as Hanslick understands it, is expanding into something altogether new.