54. Apollo 100’s version of “Jesu, Joy of Man’s Desiring” was, in fact, nearly identical to one recorded by the group Jigsaw two years earlier.
55. Patrice Eyries et al, “Private Stock Album Discography,” http://bsnpubs.com/nyc/privatestock/privatestock.html.
56. Fred Bronson, The Billboard Book of Number 1 Hits (New York: Billboard Books, 2003), p. 444.
57. Quoted in Ken McLeod, “ ‘A Fifth of Beethoven’: Disco, Classical Music, and the Politics of Inclusion,” American Music 24, no. 3 (Autumn 2006): 352.
58. Robert Christgau, Rock Albums of the ’70s: A Critical Guide (New York: Da Capo Press, 1990), p. 271.
59. For a further take on this idea, see McLeod, “ ‘A Fifth of Beethoven.’ ”
60. Richard Dyer, Only Entertainment (London: Routledge, 2002), p. 156.
61. See Editha and Richard Sterba, Beethoven and His Nephew: A Psychoanalytical Study of Their Relationship (New York: Schocken Books, 1971), particularly pp. 97–111.
62. Philip Brett and Elizabeth Wood, “Lesbian and Gay Music,” in Brett et al., Queering the Pitch: The New Gay and Lesbian Musicology (New York and Abingdon: Routledge, 2006), p. 371.
63. See the cover of Rolling Stone, Feb. 9, 2006.
64. Maria Aspan, “BET Says Cartoon Was Just a Satire,” The New York Times, August 27, 2007, http://www.nytimes.com/2007/08/27/business/media/27bet.html.
65. “Man Behind BET’s ‘Read a Book’ Responds to Critics,” Tell Me More, National Public Radio, Sept. 17, 2007, http://www.npr.org/templates/story/story.php?storyId=14466377.
66. A House, “Endless Art,” I Am the Greatest (recording), songs by A House, produced by Edwyn Collins. Setanta Records SETLP3 (1992).
67. Peter Ustinov, Beethoven’s Tenth: A Comedy in Two Acts (New York: Samuel French, Inc., 1985), pp. 7, 49.
68. James H. Collins, “Beethoven Gets a Public Relations Job,” Public Utilities Fortnightly 41, no. 9 (April 22, 1948): 546.
69. Ibid., p. 548.
70. A similar ad made reference to Stradivarius violins. During the recording session, Welles balked: “Come on, gentlemen, now really! You have a nice, pleasant little cheap wine here. You haven’t got the presumption to compare it to a Stradivarius violin. It’s odious.” See Barbara Leaming, Orson Welles (New York: Penguin Books, 1985), p. 490.
71. Al DiOrio, Bobby Darin: The Incredible Story of an Amazing Life (Philadelphia: Running Press, 2004), p. 42.
72. Jean Halliday, “Hyundai Push Not for Classical-Music Purists,” Advertising Age, July 19, 2007. http://adage.com/article?article_id=119412.
73. “Hyundai’s ‘Big Duh’ Campaign Snares Top Spots in Consumer Recall Study,” press release, March 31, 2008. http://www.hyundainews.com/Corporate_News/Corporate/03_31_2008_2774.asp.
74. As noted by Jeffrey Rowe, who portrayed Beethoven in the commercial: “Yamadai Sugomen TVCM,” Jetset, June 20, 2008, http://jeff.jetsets.jp/?p=75.
75. General Instrument, Microelectronics Data Catalog (1982): 5–26.
76. See, for example, Steve Ciarcia, “Ciarcia’s Circuit Cellar: A Musical Telephone Bell,” Byte 9, no. 7 (July 1984), pp. 125–33.
77. Dan Briody, “Thou shalt learn and abide by the Ten Commandments of cell-phone etiquette,” InfoWorld (June 12, 2000): 59B.
78. Christopher Reich, The First Billion (New York: Random House, 2003), p. 385.
79. Beth Harbison, Shoe Addicts Anonymous (New York: Macmillan, 2008), p. 151.
80. Caroline B. Cooney, Hit the Road (New York: Random House, 2005), p. 16.
81. E. R. Webb, Gemini’s Cross (Tate Publishing, 2007), p. 276.
82. Jonathan Kellerman, Rage (New York: Ballantine Books, 2005), p. 127.
83. Linda Ladd, Die Smiling (Pinnacle Books, 2008), p. 13.
84. Christine McGuire, Until Judgment Day (New York: Simon and Schuster, 2003), pp. 255–56.
85. Peggy Gifford, Moxy Maxwell Does Not Love Writing Thank-You Notes (New York: Random House, 2008), p. 51.
86. A Clockwork Orange. Dir. Stanley Kubrick. Warner Bros. Pictures, 1971.
87. Bara no Soretsu. Dir. Toshio Matsumoto. Art Theatre Guild, 1969.
88. The Goddess of 1967. Dir. Clara Law. New South Wales Film & Television Office, 2000.
89. Jon Nelson, “Stock, Hausen & Walkman,” Some Assembly Required, Oct. 31, 2009, http://www.blog.some-assembly-required.net/2009/10/stock-hausen-walkman.html.
90. Bill Odenkirk, writer; Matthew Nastuk, director, “The Seven-Beer Snitch,” The Simpsons, season 16, episode no. 349 (first aired April 3, 2005).
91. Theodor W. Adorno, “A Social Critique of Radio Music,” Kenyon Review 7, no. 2 (Spring 1945): 214.
92. Adorno, “On the Fetish-Character in Music and the Regression of Listening,” Maurice Goldbloom, trans., in Theodor W. Adorno, Essays on Music, Richard D. Leppert, ed. (University of California Press, 2002), p. 303.
93. Adorno, Beethoven: The Philosophy of Music, Rolf Tiedemann, ed.; Edmund Jephcott, trans. (Cambridge: Polity Press, 2002), .p. 31.
94. For the history of “Little Annie,” see Susan J. Douglas, Listening In: Radio and the American Imagination (University of Minnesota Press, 2004), pp. 137–39.
95. Quoted in Detlev Clausen, Theodor W. Adorno: One Last Genius, Rodney Livingstone, trans., vol. 2 (Harvard University Press, 2008), p. 10.
96. Max Paddison, Adorno’s Aesthetics of Music (Cambridge University Press, 1997), p. 8.
97. Theodor W. Adorno, “The Curious Realist: On Siegfried Kracauer,” in Theodor W. Adorno, Notes to Literature, vol. 2, Shierry Weber Nicholson, trans., vol. 2, (Columbia University Press, 1992), p. 59.
98. Leo Löwenthal, as quoted in Stefan Müller-Doohm, Adorno: A Biography (Cambridge: Polity Press, 2005), p. 30.
99. Ibid., pp. 97, 91.
100. Quoted in ibid., p. 163.
101. Theodor W. Adorno, Negative Dialectics, E. B. Ashton, trans. (New York: The Seabury Press, 1973), p. 157.
102. Robert Hullot-Kentor, Things Beyond Resemblance: Collected Essays on Theodor W. Adorno (Columbia University Press, 2006), p. 15.
103. Ibid.
104. Adorno, “On Jazz,” translated by J. Owen Daniel, Discourse 12, no. 1 (Fall-Winter 1989–90): 66.
105. Ibid., pp. 67–68.
106. Harry Cooper, “On Über Jazz: Replaying Adorno with the Grain,” October 75 (Winter 1996): 133.
107. Theodor W. Adorno and Hanns Eisler, Composing for the Films (Oxford University Press, 1947), p. 16.
108. Theodor W. Adorno and Max Horkheimer. Dialectic of Enlightenment, John Cumming, trans. (New York: Herder and Herder, 1972), p. 136.
109. Ibid., p. 134. See also Esther Leslie, Hollywood Flatlands: Animation, Critical Theory, and the Avant-Garde (London and New York: Verso, 2004), pp. 158–99.
110. Ralph Ellison, Invisible Man, p. 8. For possible correspondences between Ellison’s and Adorno’s critiques of jazz, see James M. Harding, “Adorno, Ellison, and the Critique of Jazz,” Cultural Critique 31 (Autumn 1995): 129–58.
111. As late as 1969, Adorno still included the Beethoven book on a list of works-in-progress that he intended to complete. See Theodor W. Adorno, Beethoven: The Philosophy of Music, p. viii.
112. June Bundy, “Book-of-Mo. Starts Classic Disk Club.” Billboard (Sept. 4, 1954), p. 11. For a typical advertisement, see Life (Nov. 15, 1954), p. 9.
113. Theodor W. Adorno, “Analytical Study of the NBC ‘Music Appreciation Hour.’ ” The Musical Quarterly 78, no. 2 (Summer 1994): 358.
114. Ibid., p. 355.
115. Quoted in Robert Hullot-Kentor, Things Beyond Resemblance, p. 175.
116. Theodor W. Adorno, Beethoven: The Philosophy of Music, p. 26.
117. Ibid., p. 121.
118. Ibid., p. 46.
119. G. W. F. Hegel, Lectures on Logic, Clark Butler, trans. (Indiana University Pres
s, 2008), pp. 92, 95.
120. Theodor W. Adorno, Beethoven: The Philosophy of Music, p. 34.
121. Daniel P. K. Chua, “The Promise of Nothing: The Dialectic of Freedom in Adorno’s Beethoven,” Beethoven Forum 12, no. 1 (Spring 2006): 20. Much of my discussion is indebted to Chua’s argument.
122. Friedrich Hölderlin, “Oldest Programme for a System of German Idealism” (1796). Stefan Bird-Pollan, trans., in Classic and Romantic German Aesthetics, edited by J. M. Bernstein (Cambridge University Press, 2003), pp. 185–86.
123. Thomas Mann, Doctor Faustus, H. T. Lowe-Porter, trans. (New York: Alfred A. Knopf, 1948), p. 237.
124. Theodor W. Adorno, Beethoven: The Philosophy of Music, p. 46.
125. Ibid., p. 122.
126. Ibid., p. 121. (Emphasis added.)
127. Reproduced in Adorno, Beethoven: The Philosophy of Music, p. 48.
128. Quoted in Robert Hullot-Kantor, Things Beyond Resemblance, p. 30.
129. Theodor W. Adorno, Beethoven: The Philosophy of Music, p. 47.
130. Ibid., p. 32. Adorno added a note: “real humanism”—the term is from Marx and Engels, referring not to the intellectualized humanism of the German Idealists, but the practical humanism of socialist reformers.
131. Ibid., p. 121.
EPILOGUE
1. See John F. Fetzer, Romantic Orpheus: Profiles of Clemens Brentano (University of California Press, 1974), pp. 22–23.
2. Quoted in Thayer-Forbes, Thayer’s Life of Beethoven, p. 448.
3. Ibid.
4. Quoted in Alexander Wheelock Thayer, Ludwig van Beethoven’s Leben, Dritter Band (Berlin: W. Weber, 1879), p. 58.
5. Thayer-Forbes, p. 448.
6. Beethoven to Heinrich Joseph von Collin, Feb. (?) 1808, in Emily Anderson, ed., The Letters of Beethoven, Collected, Translated and Edited with an Introduction, Appendixes, Notes and Indexes (New York: St. Martin’s Press, 1961), p. 186.
7. Beethoven to Breitkopf und Härtel, January 7, 1809, in Anderson, Letters, vol. 1, p. 212.
8. Thayer-Forbes, pp. 433–34.
9. Beethoven to Breitkopf und Härtel, June 8, 1808; July 8, 1808; and July 16, 1808, in Anderson, Letters, vol. 2, pp. 188–93.
10. Beethoven to Breitkopf und Härtel, Jan. 7, 1809, in Anderson, Letters, vol. 1, p. 212.
11. “News. Leipzig,” in Wayne M. Senner et al., The Critical Reception of Beethoven’s Compositions by His German Contemporaries, vol. 2 (originally published in Allgemeine musikalische Zeitung 11, Feb. 1, 1809), p. 92.
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