The First Four Notes: Beethoven's Fifth and the Human Imagination (45 page)

 92
. Adorno, “On the Fetish-Character in Music and the Regression of Listening,” Maurice
Goldbloom, trans., in Theodor W. Adorno,
Essays on Music
, Richard D. Leppert, ed. (University of California Press, 2002), p. 303.

 93
. Adorno,
Beethoven: The Philosophy of Music
, Rolf Tiedemann, ed.; Edmund Jephcott, trans. (Cambridge: Polity Press, 2002), .p.
31.

 94
. For the history of “Little Annie,” see Susan J. Douglas,
Listening In: Radio and the American Imagination
(University of Minnesota Press, 2004), pp. 137–39.

 95
. Quoted in Detlev Clausen,
Theodor W. Adorno: One Last Genius
, Rodney Livingstone, trans., vol. 2 (Harvard University Press, 2008), p. 10.

 96
. Max Paddison,
Adorno’s Aesthetics of Music
(Cambridge University Press, 1997), p. 8.

 97
. Theodor W. Adorno, “The Curious Realist: On Siegfried Kracauer,” in Theodor W. Adorno,
Notes to Literature
, vol. 2, Shierry Weber Nicholson, trans., vol. 2, (Columbia University Press, 1992),
p. 59.

 98
. Leo Löwenthal, as quoted in Stefan Müller-Doohm,
Adorno: A Biography
(Cambridge: Polity Press, 2005), p. 30.

 99
. Ibid., pp. 97, 91.

100
. Quoted in ibid., p. 163.

101
. Theodor W. Adorno,
Negative Dialectics
, E. B. Ashton, trans. (New York: The Seabury Press, 1973), p. 157.

102
. Robert Hullot-Kentor,
Things Beyond Resemblance: Collected Essays on Theodor W. Adorno
(Columbia University Press, 2006), p. 15.

103
. Ibid.

104
. Adorno, “On Jazz,” translated by J. Owen Daniel,
Discourse
12, no. 1 (Fall-Winter 1989–90): 66.

105
. Ibid., pp. 67–68.

106
. Harry Cooper, “On
Über Jazz:
Replaying Adorno with the Grain,”
October
75 (Winter 1996): 133.

107
. Theodor W. Adorno and Hanns Eisler,
Composing for the Films
(Oxford University Press, 1947), p. 16.

108
. Theodor W. Adorno and Max Horkheimer.
Dialectic of Enlightenment
, John Cumming, trans. (New York: Herder and Herder, 1972), p. 136.

109
. Ibid., p. 134. See also Esther Leslie,
Hollywood Flatlands: Animation, Critical Theory, and the Avant-Garde
(London and New York: Verso, 2004), pp. 158–99.

110
. Ralph Ellison,
Invisible Man
, p. 8. For possible correspondences between Ellison’s and Adorno’s critiques of jazz,
see James M. Harding, “Adorno, Ellison, and the Critique of Jazz,”
Cultural Critique
31 (Autumn 1995): 129–58.

111
. As late as 1969, Adorno still included the Beethoven book on a list of works-in-progress
that he intended to complete. See Theodor W. Adorno,
Beethoven: The Philosophy of Music
, p. viii.

112
. June Bundy, “Book-of-Mo. Starts Classic Disk Club.”
Billboard
(Sept. 4, 1954), p. 11. For a typical advertisement, see
Life
(Nov. 15, 1954), p. 9.

113
. Theodor W. Adorno, “Analytical Study of the NBC ‘Music Appreciation Hour.’ ”
The Musical Quarterly
78, no. 2 (Summer 1994): 358.

114
. Ibid., p. 355.

115
. Quoted in Robert Hullot-Kentor,
Things Beyond Resemblance
, p. 175.

116
. Theodor W. Adorno,
Beethoven: The Philosophy of Music
, p. 26.

117
. Ibid., p. 121.

118
. Ibid., p. 46.

119
. G. W. F. Hegel,
Lectures on Logic
, Clark Butler, trans. (Indiana University Press, 2008), pp. 92, 95.

120
. Theodor W. Adorno,
Beethoven: The Philosophy of Music
, p. 34.

121
. Daniel P. K. Chua, “The Promise of Nothing: The Dialectic of Freedom in Adorno’s
Beethoven,”
Beethoven Forum
12, no. 1 (Spring 2006): 20. Much of my discussion is indebted to Chua’s argument.

122
. Friedrich Hölderlin, “Oldest Programme for a System of German Idealism” (1796).
Stefan Bird-Pollan, trans., in
Classic and Romantic German Aesthetics
, edited by J. M. Bernstein (Cambridge University Press, 2003), pp. 185–86.

123
. Thomas Mann,
Doctor Faustus
, H. T. Lowe-Porter, trans. (New York: Alfred A. Knopf, 1948), p. 237.

124
. Theodor W. Adorno,
Beethoven: The Philosophy of Music
, p. 46.

125
. Ibid., p. 122.

126
. Ibid., p. 121. (Emphasis added.)

127
. Reproduced in Adorno,
Beethoven: The Philosophy of Music
, p. 48.

128
. Quoted in Robert Hullot-Kantor,
Things Beyond Resemblance
, p. 30.

129
. Theodor W. Adorno,
Beethoven: The Philosophy of Music
, p. 47.

130
. Ibid., p. 32. Adorno added a note: “real humanism”—the term is from Marx and Engels,
referring not to the intellectualized humanism of the German Idealists, but the practical
humanism of socialist reformers.

131
. Ibid., p. 121.

  1
. See John F. Fetzer,
Romantic Orpheus: Profiles of Clemens Brentano
(University of California Press, 1974), pp. 22–23.

  2
. Quoted in Thayer-Forbes,
Thayer’s Life of Beethoven
, p. 448.

  3
. Ibid.

  4
. Quoted in Alexander Wheelock Thayer,
Ludwig van Beethoven’s Leben
, Dritter Band (Berlin: W. Weber, 1879), p. 58.

  5
. Thayer-Forbes, p. 448.

  6
. Beethoven to Heinrich Joseph von Collin, Feb. (?) 1808, in Emily Anderson, ed.,
The Letters of Beethoven, Collected, Translated and Edited with an Introduction, Appendixes,
Notes and Indexes
(New York: St. Martin’s Press, 1961), p. 186.

  7
. Beethoven to Breitkopf und Härtel, January 7, 1809, in Anderson,
Letters
, vol. 1, p. 212.

  8
. Thayer-Forbes, pp. 433–34.

  9
. Beethoven to Breitkopf und Härtel, June 8, 1808; July 8, 1808; and July 16, 1808,
in Anderson,
Letters
, vol. 2, pp. 188–93.

 10
. Beethoven to Breitkopf und Härtel, Jan. 7, 1809, in Anderson,
Letters
, vol. 1, p. 212.

 11
. “News. Leipzig,” in Wayne M. Senner et al.,
The Critical Reception of Beethoven’s Compositions by His German Contemporaries
, vol. 2 (originally published in
Allgemeine musikalische Zeitung
11, Feb. 1, 1809), p. 92.

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