Fiktívne hudobné kompozície Th. W. Adorna v románe Thomasa Manna „Doktor Faustus

Thomas Mann ́s novel Doktor Faustus. Das Leben des deutschen Tonsetzers Adrian Leverkühn erzählt von seinem Freunde (1947) arose from a cooperation between Th. Mann and and Th.W.Adorno. Adorno was not only a tutor in issues of the history of music, the theory of music and the aesthetics of music: he was in a sense, too, co-author of the novel: he was a „spiritus movens“ of the novel, who wrote analysis of music attributed to fictious musicians in the novel, to Leverkühn, Kretzschmar, and, of course, to Mefisto. We find a specific phenomenon of „fictious music“ in this novel. Adorno ́s task was to give a final version to Mann ́s notions and literary phantasies on music, to „compose“ and to depict non-existing compositions of a fictious composer Leverkühn. Adorno ́s „composition“ were devised in accordance to the real compositions of A.Schönberg and I. Stravinsky. Mann ́s/Adorno ́s fictious compositions are in the focus of many analysis of the novel and also the fucus of this study.