Page "Theodor W. Adorno" Paragraph 29
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At the invitation of Wolfgang Steinecke, Adorno took part in the Darmstadt Summer Courses for New Music in Kranichstein from 1951 to 1958.
Yet conflicts between the so-called Darmstadt school, which included composers like Pierre Boulez, Karlheinz Stockhausen, Karel Goeyvaerts, Luciano Berio and Gottfried Michael Koenig, soon arose, receiving explicit expression in Adorno's 1954 lecture, " The Aging of the New Music ", where he argued that atonality's freedom was being restricted to serialism in much the same way as it was once restricted by twelve-tone technique.
With his friend Eduard Steuermann, Adorno feared that music was being sacrificed to stubborn rationalization.
During this time Adorno not only produced a significant series of notes on Beethoven ( which was never completed and only published posthumously ), but also published Mahler: A Musical Physiognomy in 1960.
which would possess the ability " really and truly to be what it is, without the ideological pretense of being something else.
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