Notes to pp. 315–319 563200 ‘Late Style in Beethoven’, Essays on Music, p. 564.
201 Adorno and Mann, Briefwechsel, pp. 9 and 20.
202 Ibid., p. 9.
203 Ibid., p. 21.
204 Adorno, ‘Toward a Portrait of Thomas Mann’, Notes to Literature, vol. 2,
p. 17. Cf. Tiedemann, ‘Mitdichtende Einfühlung’, Frankfurter Adorno
Blätter, I, 1992, p. 9ff.
205 Adorno to Erika Mann, 19 April 1962, Erika Mann, Briefe und Antworten,
p. 109ff.
206 Thomas Mann, Die Entstehung des Doktor Faustus, p. 105.
207 Ibid., p. 106.
208 Thomas Mann, Tagebücher 1946–1948, p. 950.
209 Adorno and Mann, Briefwechsel, p. 158ff.
210 Rolf Tiedemann, ‘Mitdichtende Einfühlung’, Frankfurter Adorno Blätter,
I, 1992, p. 23.
211 See Ibid., p. 26; Lieselotte Voss, Die Entstehung von Thomas Manns
Roman ‘Doktor Faustus’, p. 184ff.
212 See Donald Prater, Thomas Mann, Deutscher und Weltbürger, p. 551ff.
213 Thomas Mann, Doctor Faustus, p. 319ff.
214 Adorno and Mann, Briefwechsel, p. 76.
215 Michael Maar, ‘Der kalte Schatten großer Männer’. Maar argues
persuasively that the portrait of the Devil in Faustus has a very strong
resemblance to Gustav von Aschenbach in Death in Venice, whose
character was based on Gustav Mahler.
216 Hermann Kurzke, Thomas Mann, p. 503.
217 The accusation had been made by a film distribution company, who claimed
that Thomas Mann had been guilty of plagiarism in Doktor Faustus and
Felix Krull. The plaintiff had referred in his statement of claim to Adorno
as both a victim and a witness. The content of the statutory declaration
had essentially been formulated by Katia Mann, and Adorno felt duty
bound to back her up. All the more incomprehensible, therefore, is the
verbal invective directed against Adorno by both Katia and Erika Mann.
(The present author owes this information to Christoph Gödde of the
Theodor W. Adorno Archive, Frankfurt am Main.)
218 This statutary declaration has been preserved in both the Thomas Mann
Archive in Zurich and the Theodor W. Adorno Archive in Frankfurt am
Main.
219 Adorno, ‘Toward a Portrait of Thomas Mann’, Notes to Literature, vol. 2,
p. 12ff.
220 Adorno to Bräutigam, 18 March 1968, Frankfurter Adorno Blätter, I, 1992,
p. 31.
221 Thomas Mann, Briefe, vol. 3, p. 266f.
222 In Katia Mann’s memoirs we can read the following: ‘It is a great error
for Adorno to imagine with hindsight that it was essentially he who had
written the book on the grounds that music plays a significant role in it.
He was at times quite beside himself with arrogance and complacency.
That was highly amusing and there were a few curious anecdotes about
“his” Faustus’ (Katia Mann, Meine ungeschriebenen Memoiren, p. 146f.).
And Erika Mann, having written two letters to Adorno in 1963 which
struck the wrong note and contained unjust accusations, wrote about her