Arbeit am Kanon: Zu Hugo Wolfs Musikkritiken
Abstract
Cultivation of the musical canon and canonisation of truly original work can be identified as guiding principles of both Hugo Wolf’s artistic and his critical practice. The latter is shaped by classicist tropes; they may
serve strategic functions as well, yet cannot be reduced to them. While he rejects the merely old-fashioned, Wolf also leads a striking attack on what he terms “modern music”. His endorsed aesthetics intertwine the old and the new.