The article provides a description of the Hildesheimer’s attitude toward music across the boundary of literary works and essays. Three main issues emerge here: the representation of music as a symptom of the end and a prefiguration of death; the critical stance against the ideology of authenticity in music and the historically informed performance practice; and the reflection on musical listening as a subjective experience, which is unable to reach objective knowledge about music. Making explicit the premises of the Hildesheimer’s position, his essays prove to be both an integration and a consistent continuation of the intermedial references to music in literary works.