Krüger, Eduard Page 1 of 2 Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for personal use (for details see Privacy Policy). Subscriber: University of Oklahoma; date: 11 February 2023 Krüger, Eduard Sanna Pederson https://doi.org/10.1093/gmo/9781561592630.article.15585 Published in print: 20 January 2001 Published online: 2001 (b Lüneburg, Dec 9, 1807; d Göttingen, Nov 8, 1885). German writer on music. After attending the University of Berlin, where he heard Hegel lecture on aesthetics, he studied at the University of Göttingen, graduating in 1830 with a dissertation on Greek music in Pindar's time. From 1833 until 1851 he taught at the Gymnasium in Emden, where he conducted the local choral society in works by Haydn and, especially, Handel. After beginning an enthusiastic correspondence with Schumann in 1838, Krüger quickly became a respected contributor to the Neue Zeitschrift für Musik with essays on early music, sacred music, music criticism and aesthetics. He dedicated his Piano Quartet of 1847 to Schumann and reviewed several of Schumann's works, but the friendship ended after Krüger's unfavourable review of Genoveva in 1851. Unsympathetic to the aims of the New German School, he stopped contributing to the journal after 1853. In 1851 Krüger was appointed chief school inspector for East Friesland and moved to Aurich; during his time there he published his Evangelisches Choralbuch für Kirche, Schule und Haus. In 1859 he moved to Göttingen, where he worked at the university as a librarian and choir director before becoming associate professor in the faculty of philosophy, where he lectured on music history, in 1862. He contributed to the Allgemeine musikalische Zeitung during its revival, 1866–82. Krüger remained alert to new developments throughout his life: in Musikalische Briefe aus der neuesten Zeit (1870) Brahms's German Requiem is discussed in the form of letters between ‘Florestan’ and ‘Eusebius’. In 1873 he sponsored, with the philosopher Hermann Lotze, his colleague at Göttingen, Hugo Riemann's dissertation Über das musikalische Hören, which had been rejected at the University of Leipzig. Three years later he founded with Herold and Schöberlein, also at Göttingen, the liturgical music journal Siona. Krüger was an iconoclast who, during an era defined by partisan debates on music, never aligned himself with any single viewpoint. He disputed Hegel's views on music; occasionally judged the music of Mendelssohn and Schumann severely; had no sympathy with Wagnerian music aesthetics, and rejected Hanslick's formalist arguments (Hanslick had attacked Krüger in Vom Musikalisch-Schönen, 1854). He considered himself part of a ‘critical-historical’, rather than an artistically creative, era. Writings De musicis graecorum organis circa Pindari tempora florentibus (diss., U. of Göttingen, 1830) Grundriss der Metrik antiker und moderner Sprachen (Emden, 1838) ‘Laien, Dilettanten, Künstler’, , 11 (1839), 33ff ‘Betrachtungen über Kritik u. Philosophie der Kunst’, , 14 (1841), 131ff ‘Hegel's Philosophie der Musik’, , 17 (1842), 25ff NZM NZM NZM