„Dem folgt deutscher Gesang“

Theodor W. Adorno's miniature of Weber's Freischütz resembles a coy declaration of love. It has a feel for the aesthetic qualities of the piece, in which musical-aesthetic perspicacity and an almost childlike fascination are combined. But behind the surface of the appreciation, there is always an undisclosed fear for the beloved piece. Adorno's homage thus becomes a manipulative eulogy in places, making us curious about its background. Its illumination reveals an inner conflict in Adorno that goes far beyond his relationship to Freischütz. His short article on the opera is one of his key texts.

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