Adorno e Beethoven. La non compiuta Filosofia della musica nella curvatura dell’estetico

This article aims to present to the reader Adorno’s ‘Beethovenian’ philosophy of music and to analyze, through it, the different stages through which it is possible to retrace the dialectical arc of the aesthetic phenomenon, from the ancestral shudder and the expressiveness of the inexpressible to the forms of compositional rationalization from which the character of authenticity emerges. Behind the intellectual and existential interest that led the philosopher to conceive Beethoven. Philosophie der Musik a complex network of constellations is at work. This framework would have allowed Adorno to formulate a more structured philosophy of music, if the author’s death had not intruded into the work and if certain insoluble theoretical problems had not arisen. Bearing in mind several terminological clues, such as the notions of “surplus”,“homeostasis”, and “tour de force”, the aim is to provide alternative and transversal coordinates for a re-reading of Adorno’s fragments on Beethoven.