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Comment by Drew Milne on September 10, 2012 at 14:02

Yes, I was aware of these connections, own the cds of his compositions, but I was more interested in his personal praxis as a performer and the extent of his awareness of performance arts beyond the Vienna school / Darmstadt models.

Comment by Darla Crispin on September 10, 2012 at 13:34

Adorno's principal art-practice was composition, in which he was taught by Alban Berg, amongst others.  His work with Berg also precipitated encounters with Arnold Schoenberg, which were not always easy; I suspect that neither Berg nor Schoenberg had the highest estimation of Adorno's compositions - but you can make your own estimation of these, since some (string quartets and orchestral pieces) are available online for listening and purchase.  

Repeated study of Towards a Theory of Musical Reproduction leads me to believe that Adorno held performers in low esteem, but the fragmentary quality of that work gives us some room for 'practice-based rebuttals', which, in my view, are sorely needed.

Comment by Drew Milne on September 10, 2012 at 13:11

I don't usually read biographies of critical theorists, but is it known whether Adorno did any performance on stage rather than on a lecture podium or on radio etc himself? I recall the Italian opera connection through his mother, but don't remember anything about him appearing as a performer.... Which raises the question, too, as to what sorts of performance art he knew about. My sense is that he followed developments in music performance keenly, but not 60s happenings, Fluxus, Beuys etc.... Anyone know?

Comment by Drew Milne on September 5, 2012 at 9:48

I'm interested in finding out what has already been published on Adorno on performance. I've published an exploratory essay myself, some time ago now, but I imagine there's interesting stuff out there I just haven't seen...

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