Adorno

Notes to pp. 106–113 511

Adorno, GS, vol. 1, p. 381f.). Against this, it could be argued that in fact
the epistemological interpretation of Freud was its truly innovative aspect.
This question was not pursued until it was taken up again later by Jürgen
Habermas in Knowledge and Human Interests (1968). See Stefan Müller-
Doohm, Das Interesse der Vernunft: Rückblicke auf das Werk von Jürgen
Habermas seit ‘Erkenntnis und Interesse’.
42 Adorno, ‘Berliner Memorial’, GS, vol. 19, p. 265.
43 Adorno and Berg, Briefwechsel 1925–1935, p. 169.
44 Ibid., p. 170.
45 Ibid., p. 171.
46 Adorno, ‘Motifs’, in Quasi una fantasia, p. 13.
47 Ibid., p. 16.
48 See, e.g., ibid., p. 14f. At around this time, Adorno described Chopin’s
method of developing his themes in a style bordering on the lyrical: ‘With
eyes averted, like a bride, the objective theme is safely guided through
the dark forest of the self, through the torrential river of the passions’
(ibid., p. 17). Referring to the task of the music critic, he notes that he must
decode it from within as well as observe and describe it from a distance.
‘To think about twelve-tone technique at the same time as remembering
that childhood experience of Madame Butterfly on the gramophone – that
is the task facing every serious attempt to understand music today’ (ibid.,
p. 20).
49 See Heinz Steinert, Adorno in Wien, p. 136ff.
50 Adorno, ‘Zum “Anbruch”’, GS, vol. 19, p. 602.
51 See Notker Hammerstein, Die Johann Wolfgang Goethe-Universität, p. 114f.

Chapter 8 Music Criticism and Compositional Practice

1 See Erwin Stein, ‘Neue Formprinzipien’, p. 286ff. In addition to free
atonality, Stein discusses the elimination of keynote dependency, the
intensivized use of counterpoint and the importance of dissonance.
2 Adorno, ‘Schoenberg: Suite’, GS, vol. 18, p. 362.
3 Later on, Adorno made the criticism that in Schoenberg’s twelve-tone
works there was a tautologous relation between twelve-tone technique and
formal shape. See Giselher Schubert, ‘Adornos Auseinandersetzung mit
der Zwölftontechnik Schoenbergs’, p. 238ff.
4 Adorno, ‘Nachtmusik’, GS, vol. 17, p. 55ff.
5 Adorno, ‘Zur Zwölftontechnik’, GS, vol. 18, p. 367.
6 See Reinhard Kager, ‘Einheit in der Zersplitterung: Überlegungen zu
Adornos Begriff des “musikalischen Materials”’, p. 94ff.; see also Max
Paddison, Adorno’s Aesthetics of Music, p. 65ff.
7 Adorno, ‘Reaktion und Fortschritt’, GS, vol. 17, p. 134f.
8 Ibid., p. 135.
9 Ibid., p. 138.
10 Adorno, ‘Kontroverse über die Heiterkeit’, GS, vol. 19, p. 452.
11 Adorno, ‘Die stabilisierte Musik’, GS, vol. 18, p. 721ff.
12 See the following accounts: Wolfgang Fink, ‘“... in jener richtigen, höheren
Art einfach”: Anmerkungen zu Adornos kurzen Orchesterstücken, op. 4’,
p. 100ff.; Martin Hufner, Adorno und die Zwölftontechnik, p. 34ff.