Notes to pp. 96–99 509into a ‘mental abstraction’. See Alfred Sohn-Rethel, Warenform und
Denkform, and also Adorno and Sohn-Rethel, Briefwechsel 1936–1969.
5 See the worklist in Heinz Klaus Metzger and Rainer Riehn, ‘Theodor
W. Adorno: Der Komponist’, p. 144.
6 See Martin Hufner, Adorno und die Zwölftontechnik, p. 71.
7 See Siegfried Mauser, ‘Adornos Klavierlieder’, p. 46ff. We can place
Adorno’s compositions at this period somewhere between Schoenberg, Berg
and Webern. ‘We are reminded of Schoenberg by their explosive express-
iveness, of Berg by their tone values and of Webern by his work with
minuscule motifs.’ See Dieter Schnebel, ‘Einführung in Adornos Musik’.
8 Adorno and Berg, Briefwechsel 1925–1935, p. 134.
9 Hans Heinz Stuckenschmidt, Adorno’s rival as a music critic, quotes
Schoenberg as saying, ‘He [i.e., Adorno] knows all about twelve-tone
music, but has absolutely no idea about the creative process’ (H. H.
Stuckenschmidt, Schönberg: Leben – Umwelt – Werk, p. 462).
10 Adorno and Berg, Briefwechsel 1925–1935, p. 131.
11 Soma Morgenstern, Alban Berg und seine Idole, p. 171.
12 Adorno and Berg, Briefwechsel 1925–1935, p. 130.
13 Soma Morgenstern, Alban Berg und seine Idole, p. 171.
14 Adorno and Berg, Briefwechsel 1925–1935, p. 57.
15 Ibid., p. 65.
16 Ibid., p. 66.
17 Ibid., p. 47.
18 Ibid, p. 102f.
19 Ibid., p. 130.
20 Elisabeth Lenk notes in her edition of her correspondence with Adorno
that this pseudonym emphasizes the dual authorship: ‘“Castor” refers
to Pollux, from whom he is inseparable, while “Zwieback” [biscuit or rusk]
alludes to the “twice-baked” origin of these texts’ (Adorno and Lenk,
Briefwechsel 1962–1969, p. 44).
21 Adorno and Dreyfus, ‘Lesestücke’, GS, vol. 20.2, p. 591. At the time, only
four of the eighteen pieces appeared in the Frankfurter Zeitung.
22 Not until thirty years later could the majority of these texts appear in full.
They were published in the literary magazine Akzente, once again under
a pseudonym. The occasion may have been provided by Dreyfus’s return
from exile in Argentina. Despite the fact that these pieces were over thirty
years old and Adorno had meanwhile become critical of surrealism, it was
important to him to see the majority of them in print. They were examples
of literary experimentation that were new territory for him, comparable
to his writings on music. See Akzente, vol. 10, 1963. Adorno wrote about
them to the editor, Walter Höllerer, on 10 April 1963: ‘These pieces amount
to what may be a not uninteresting experiment which I do not want
to disown even though I did not pursue it further subsequently; certain
developments over the last thirty years have shown that my intention here
was not outlandish, or rather that what is outlandish is not as outlandish
as all that....I would ask you to understand why I want to see these pieces
published. I feel particularly attached to things that crystallize a possible
development in me that never came to fruition.... This is connected
with my distrust of the concept of maturity and the so-called logic of
development.’