Synopsis
Die Adorno-Sonate (in German only)The self-consciousness of nothingness
The 25th anniversary of Theodor W. Adorno's death was on 6 August 1994. It was an occasion, on the one hand, to question the thinking and work of this philosopher from today's perspective and world experience historically, and on the other hand - and this is the case in the Adorno Sonata - a productive approach would be called for. In his search for new, hitherto unpublished texts, which at the same time encourage a self-creative approach, the Berlin author Uli Aumüller came across Adorno's fragments and notes on Ludwig van Beethoven, which were only published in 1994 in the Adorno Complete Edition of the Suhrkamp Verlag. For Aumüller, these texts were like material that, as editor Rolf Tiedemann puts it in the preface to the edition, virtually urges and provokes him to complete a form of mediation. Aumüller - an experimental radio playwright - read all these thoughts, notations and splinters as scenes, he rearranged some of them, composed them quasi in the Beethovenian sense, and set them in today's acoustic realities.
Adorno himself, his editor, his widow, a young student and, as a doubting commentator, the author himself have their say. In an acoustic scenery working its way deeper round by round, which traces both the philosopher and the musician, and both their claim to humanity, in a startling way. The audio piece, which is very compressed in the introductory section, is conceived in many layers. Its rough sections refer to the parts of a Beethoven symphony; at times the gesture of speaking is more important than the sounding word content. People listen in the pauses. To the silence in the park at night. To the steps of the speakers, to the S-Bahn, which sounds like music at Berlin's Hackischer Markt and is used.
Manuskript
Vorwort
Kritik Süddeutsche Zeitung
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