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・ Eduard Gufeld
・ Eduard Gurk
・ Eduard Gurwits
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・ Eduard Gushchin
・ Eduard Gutknecht
・ Eduard Haas
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Eduard Hanslick
・ Eduard Hartmann (ice hockey)
・ Eduard Hau
・ Eduard Hauser
・ Eduard Hauser (cross-country skier)
・ Eduard Hauser (soldier)
・ Eduard Havlicek
・ Eduard Hayrapetyan
・ Eduard Hašek
・ Eduard Hedvicek
・ Eduard Heine
・ Eduard Heinl
・ Eduard Heinrich Graeffe
・ Eduard Heinrich Henoch
・ Eduard Heinrich von Flottwell


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Eduard Hanslick : ウィキペディア英語版
Eduard Hanslick

Eduard Hanslick (11 September 18256 August 1904) was a German Bohemian music critic.
==Biography==
Hanslick was born in Prague (then in the Austrian Empire), the son of Joseph Adolph Hanslik, 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 eighteen 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.〔Hanslick (1963), p. 11〕
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 Franz Liszt, and more towards music he conceived as directly descending from the traditions of Mozart, Beethoven and Schumann〔Hanslick (1963), p. 13〕 — 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 supposedly Jewish style of criticism was anti-German.〔Hanslick disingenuously replied to this attack that 'my father and all his ancestors were of Catholic peasant stock and came, moreover, from a region where Jews were known only as pedlars.' Hanslick (1963, p. 12)〕 It is sometimes claimed that Wagner caricatured Hanslick in his opera ''Die Meistersinger von Nürnberg'' as the carping critic Beckmesser (whose name was originally to be Veit Hanslich).
Hanslick's unpaid lectureship at the University of Vienna led in 1870 to a full professorship in history and aesthetic of music and later to a doctorate ''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 premieres of the day, up to his death in 1904 in Baden.

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