Schubert (1928)

Nineteenth Century Music

Volumn 29, Issue 1, 2005, Pages 3-14

  Adorno, Theodor W ^a  

^a NONE

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EID: 60949908331     PISSN: 01482076     EISSN: None     Source Type: Journal    
DOI: 10.1525/ncm.2005.29.1.3     Document Type: Review

References (15)

1. "Als erste umfangreichere Arbeit des Autors zur Deutung von Musik," Moments musicaux, in Gesammelte Werke (Frankfurt: Suhrkamp, 1964), p. 8.
2. Even though a small number of mainly German-speaking scholars have, over five generations, occasionally pointed to the essay as a profound influence on the development of modern musicology, neither comprehensive handbooks such as The Cambridge Companion to Schubert (Cambridge: Cambridge University Press, 1996)
3. and the Schubert Handbuch (Kassel: Bärenreiter, 1997), nor any of the major reference works such as the New Grove Dictionary of Music (including the most recent edition) or Musik in Geschichte und Gegenwart have so much as included it in their bibliographies of either the philosopher or the composer.
4. One collection of articles chose one of Adorno's key phrases for its title but refrained from engaging with the essay in detail: see "Dialekt ohne Erde," Franz Schubert und das 20. Jahrhundert, ed. Otto Kolleritsch, Studien zur Wertungsforschung 34 (Vienna: Universal Edition, 1998).
5. Adorno replaced "mythischen" with "autoritären" [19]; "echt" with "genuin" [21]; "echt" with "wahr"; "echte ontologische" with "wahrhaft legitime" [all 25]; "ontologisch" with "ansichseiende" [26]; "ontologische" with "konstitutive" [27]; "seinsgewaltigen" with "nachdrücklichen" [30]; "Behagen" with "Wohlsein" [31]; "rebellisch" with "unbotmäßig"; "ungehaltene" with "empirische"; "echten" with "nochmaligen," "im Folklore, wie es Schubert wesentlich inaugurierte" with "in Schuberts Folklore"; "so nahe wie Ungarn" with "vor dem Tor wie Ungarn" [all 32]; and "nah" with "heranrü ckend" [33]. These variants were identified by Esteban Buch and Beate Perrey in preparation for the joint AMS/SMT meeting in 2002.
6. Edited by Rolf Tiedemann (Frankfurt: Suhrkamp, 1997), pp. 350-64; Can One Live after Auschwitz? A Philosophical Reader, trans. Rodney Livingstone (Stanford: Stanford University Press, 2003), pp. 299-313.
7. There exists one further special edition, printed in 225 numbered exemplars, including original etchings by Rolf Escher, Adorno, Theodor W. (1903-1969), Schubert (Neu-Isenburg: Tiessen, 1984). Thanks go to Christopher Gibbs for sharing this information.
8. Georg Lukács, The Theory of the Novel: A Historico-Philosophical Essay on the Forms of Great Epic Literature, trans. Anna Bostock (London: Merlin Press, 1971);
9. Ernst Bloch, The Spirit of Utopia, trans. Anthony A. Nassar (Stanford: Stanford University Press, 2000);
10. Walter Benjamin, The Origin of German Tragic Drama, trans. John Osborne (London: Verso, 1977).
11. For an informative and subtle conceptualization, see Martin Kaltenecker, "Ground: La Forme, l'Interprétation et le Progrès dans les Moments musicaux d'Adorno," in Theodor W. Adorno, Moments musicaux, trans. Martin Kaltenecker (Geneva: Contrechamps, 2003), pp. 147-211 (esp. pp. 154-58).
12. All footnotes to the Adorno text have been added by the translators. The extract is from Louis Aragon, Le Paysan de Paris (Paris: Gallimard, 1926, rpt. 1956), p. 230. Adorno quotes this phrase from the work by the surrealist poet and writer Louis Aragon (1897-1982) in the original French. The translators prefer to preserve the effect and significance that this presentational manoeuvre has within Adorno's essay and to confine an approximate rendering to this note: "The whole futile body was suffused by transparency. Little by little the body turned into light. Its blood into a beam. Its limbs froze in an unintelligible movement. And the man was no more than a sign among the constellations."
13. See Rudolf Hans Bartsch, Schwammerl: Ein Schubert-Roman (Leipzig: Staackmann, 1912).
14. English title for the once popular operetta Dreimäderlhaus by Heinrich Berté (1857-1924), adapted from Bartsch's popular novel Schwammerl with music by Franz Schubert. This operetta was premiered in the Raimundtheater in Vienna on 15 January 1916 and, as "Lilac Time," in the Lyric Theatre, London, on 22 December 1922.
15. "I will kiss the ground, my hot tears piercing the ice and snow, until I see the earth," Winterreise, Song No. 4, "Erstarrung," verse 2: text and translation given in Susan Youens, Retracing a Winter's Journey: Schubert's Winterreise (Ithaca: Cornell University Press, 1991), p. 145.