Tilbake til det neumiske: Fortolkning og dialektikk hos Adorno og Harnoncourt
My aim in this article is to develop a possible understanding of Adorno’s thoughts on musical interpretation as they appear in a collection of fragments posthumously published in 2001 under the title of Zu einer Theorie der musikalischen Reproduktion [Towards a Theory of Musical Reproduction]. I do this by using an actual sounding example, with emphasis on the dialectical relationship between the written text and the sounding realization. On the one hand, I use a passage by Beethoven (Symphony No. 1, First Movement) that is characterized by some philological uncertainties regarding articulation, explained in slightly different ways in three so-called Urtext-editions of the score. On the other hand, I use a recorded interpretation of the Vienna Philharmonic Orchestra conducted by Austrian Nikolaus Harnoncourt. I will argue that, in this performance, Harnoncourt’s articulation of the actual passage provides a useful illustration of the tension between text and sound. Moreover, as the interpretation is also musically intriguing, it seems to function as a thought-provoking example of the dialectical relationship which for Adorno characterizes a successful musical interpretation. Thus, the article aims to shed light on both Adorno’s somewhat intricate speculations and Harnoncourt’s personal practice of interpretation.