Fiktívne hudobné kompozície Th. W. Adorna v románe Thomasa Manna „Doktor Faustus“

Vladimír Fulka


Thomas Mann's novel Doktor Faustus. Das Leben des deutschen Tonsetzers Adrian Leverkühn erzählt von seinem Freunde (1947) arose from a cooperation between Th. Mann and and Th.W.Adorno. Adorno was not only a tutor in issues of the history of music, the theory of music and the aesthetics of music: he was in a sense, too, co-author of the novel: he was a „spiritus movens“ of the novel, who wrote analysis of music attributed to fictious musicians in the novel, to Leverkühn, Kretzschmar, and, of course, to Mefisto. We find a specific phenomenon of „fictious music“ in this novel. Adorno's task was to give a final version to Mann's notions and literary phantasies on music, to „compose“ and to depict non-existing compositions of a fictious composer Leverkühn. Adorno's „composition“ were devised in accordance to the real compositions of A.Schönberg and I. Stravinsky. Mann's/Adorno's fictious compositions are in the focus of many analysis of the novel and also the fucus of this study. 


fictious poetics; spoken music; atonality; fugue; dodecaphony; serialism; avant-garde in music; rationality; demonism; mysticism; esoterism; hermeneutics; harmony; counterpoint; polyphony oratory; cantata

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ESPES. The Slovak Journal of Aesthetics (ISSN 1339-1119) is published biannually by Faculty of Arts, University of Presov, Slovakia and the Society for Aesthetics in Slovakia

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