Iconoclasts of Music: The Harsh Reviews of Eminent Composers

Eduard Hanslick and Tchaikovsky’s Violin Concerto

Eduard Hanslick, a renowned figure in the 19th-century music world, was known for his razor-sharp critique of composers whose work he found lacking. One of his most severe targets was the Russian composer, Pyotr Ilyich Tchaikovsky, whose Violin Concerto he found abhorrent. When Tchaikovsky’s Violin Concerto received its first performance in Vienna under the baton of Adolf Brodsky in 1881, Hanslick’s review was unequivocally scathing. In his critique, Hanslick wrote:

The Russian composer Tchaikovsky is an inflated [talent] without discrimination or taste. Such is also his long and pretentious Violin Concerto. For a while it moves musically and not without spirit. But soon vulgarity gains the upper hand. The violin is no longer played it is pulled, torn, shredded. The Adagio is on its best behavior. But it breaks off to make way for a finale that transfers us to the brutal and wretched jollity of a Russian holiday. We see plainly the savage vulgar faces we hear curses we smell vodka. Friedrich Vischer once observed speaking of obscene pictures that they stink to the eye. Tchaikovsky’s Violin Concerto gives us for the first time the hideous notion that there can be music that stinks to the ear.

This review encapsulates the harshness and vitriol Hanslick had for Tchaikovsky, which became a hallmark of his critiques and subsequent career.

Hector Berlioz and His Spectacular but Divisive Opera

While Tchaikovsky’s fate at the hands of Hanslick was unfortunate, it was not isolation. In 1829, the French composer Hector Berlioz premiered his groundbreaking work, La damnation de Faust. This piece straddled the line between opera, musical theatre, and oratorio, presenting a challenging and unconventional audiovisual experience for the audience.

Berlioz was already known for his eclectic style, but La damnation de Faust pushed boundaries even further. The work featured a bombastic finale where Faust is dragged into Hell, and the demonic voices spoke a language Berlioz made up for the occasion. Berlioz deliberately shortened the love duets, seeing no value in pandering to his audience’s taste for “nice tunes.”

However, his radical approach met with mixed reactions. His colleague Mendelssohn famously said that after handling the sheet music of La damnation de Faust, one must wash their hands, hinting at the controversial nature of the piece. The experience of holding the score, he declared, must be treated with caution.

Another well-known composer, Carl-Friedrich Zelter, a friend of Goethe, offered an even more outrageous critique. He described the work as 'sneezing croaking vomiting. The work is an excrescence, the remains of a miscarriage from a hideous incest.'

Zelter's statement was a direct insult to the composer, Berlioz, as well as the audience who might seek something more conventional and pleasing. This level of harshness underscores the intensity and originality of Berlioz's work.

These reviews illustrate the rapid changes and high standards that composers like Hanslick and Berlioz were subjected to, and how even the most innovative and progressive works can elicit fierce criticism from critics and peers alike.

Impact on Composers and Creators

Critical reviews have always played a crucial role in shaping the perception and reception of musical works. For composers like Tchaikovsky and Berlioz, the harsh words from critics such as Hanslick and Zelter were not only personal but had a lasting impact on their careers and legacy.

In the case of Tchaikovsky, his controversial performances and music could often provoke strong reactions from critics, leading to a volatile public image. Despite this, his talent and innovative works eventually earned him widespread recognition and admiration.

Similarly, Berlioz's controversial and experimental work, while initially met with resistance, helped pave the way for future generations of composers to push boundaries and explore new realms of musical expression. Despite the criticism, his innovations continue to influence the world of classical music.

Both Tchaikovsky and Berlioz taught us that originality and boldness in musical creation can come with a price, but the rewards often outweigh the challenges.

Conclusion

The reviews from Hanslick and Zelter on Tchaikovsky and Berlioz, respectively, serve as a testament to the challenges and controversies faced by innovative and daring composers. Their works, while at times controversial, continue to shape the classical music landscape, enriching and expanding the boundaries of what is considered acceptable and innovative in the realm of classical music.

These critiques not only highlight the intense scrutiny and personal challenges faced by composers but also underscore the importance of artistic freedom and the pursuit of innovation, even when met with harsh opposition. The legacy of these controversial works continues to inspire new generations of musicians and composers, ensuring that the spirit of critical exploration in music endures.