For centuries, the peace issue—understood here as the problems of war and peace—has inspired visual artists to create a rich world of images known as ‘peace iconography’. Even richer and more manifold are the literary works in which the substance of these problems has been treated in an easily conveyed manner: novels, novellas, poems and plays. But how does political peace figure in music? After all, it is precisely the music considered to be of lasting substance, ‘classical’ music, that is viewed as the most unworldly art, whose content is ‘forms moving in sound’, as Eduard Hanslick wrote in 1854 in his famous and influential music-aesthetic treatise On the Musically Beautiful. ‘The composer poetizes and thinks. However, he poetizes and thinks in tones, removed from all concrete reality’, in an ‘untranslatable primordial language’, Hanslick emphasized. ‘The lack of content in music follows from the fact that the composer is forced to think in tones’. So, following the logic of such argumentation, is it entirely impossible to set fixed conceptual ideas of peace issues, and peace in particular, to notes?