By Theodor W. Adorno
In December 1945 Thomas Mann wrote a well-known letter to Adorno within which he formulated the main of montage followed in his novel medical professional Faustus. the author expressly invited the thinker to 'consider, with me, how the sort of paintings - and that i suggest Leverkuhn's paintings - may possibly kind of be virtually realized'. Their shut collaboration on questions in regards to the personality of the fictitious composer's putatively overdue works (Adorno produced particular sketches that are integrated as an appendix to the current quantity) successfully laid the root for one more alternate of letters.
The resulting correspondence among the 2 males records a unprecedented come upon of inventive stress among literary culture and aesthetic modernism which might be sustained correct up until eventually the novelist's loss of life in 1955. within the letters, Thomas Mann brazenly said his 'fascinated interpreting' of Adorno's Minima Moralia and commented intimately at the 'Essay on Wagner', which he was once as wanting to learn as 'the one within the publication of Revelation consumes a ebook which tastes "as candy as honey"'. Adorno in flip provided unique observations upon and regularly enthusiastic commendations of Mann's later writings, comparable to The Holy Sinner, The Betrayed One and The Confessions of Felix Krull. Their correspondence additionally touches upon problems with nice own value, particularly the delicate dialogue of the issues of arriving from exile to postwar Germany.
The letters are broadly annotated and provide the reader specified notes in regards to the writings, occasions and personalities referred or alluded to within the correspondence.
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Extra info for Correspondence 1925-1935
Dear master and teacher, when I heard on Saturday last week that the follow-up performance of Wozzeck1 had been postponed, I decided to wait for it nonetheless. It took place on Tuesday; I arrived here Wednesday night, then the turbulent days of Christmas followed, and so I am only now finding the peace to report to you. So: the performance went ahead without without disturbance, to increasing acclaim, and at the end the applause seemed as if it would never end. The audience – subscription audience!
7 The text of this brochure could not be traced. ’ (cited from ‘Alban Bergs “Wozzeck” und die Musikkritik’, Pult und Taktstock 3 , pp. 17–48; the quotation is from p. 21). Schmidt’s alleged evidence is the rhythmicized E flat in the cellos that begins in act I, scene 4; in fact, the E flat in question is simply the first note of the twelve-tone passacaglia theme. 9 Josef Schmid (1890–1969), one of Berg’s first students, was Erich Kleiber’s conducting deputy at the time. 10 This is probably the same friend mentioned in letter no.
At least the reporters will then have something decent to copy from. Nonetheless, I shall do my best for you in this respect. I should naturally be most pleased to see Grab, to whom I also took a considerable liking,3 in my house. He should call me on the telephone whenever he is in Vienna. Perhaps he will come to Berlin for the premiere! Please write to him! Your reports of Italy were most agreeable. Those of Frankfurt less so, but interesting. Are you still there? Do you ever see Sekles? ) in Vienna or Prague.