Abstract

Theodor Adorno’s “Late Style in Beethoven” is the first philosophically sophisticated attempt to chronicle, if not fully characterize, movements of the mature artwork. With direct reference to Beethoven’s third and final phase, Adorno offers a complex formulation of aging and artistry. He attempts to capture, ambitiously, the content and internal structure of the late artwork, the forms to which that internal structure is responsible, the artistic conventions governing that structure, the sociohistorical conditions in which the work was produced and, finally, the personality of the late artist. Foremost among these formulations is the idea of late style as putatively strange and difficult. Works of the...