In a radio address of 1957, Theodor Adorno praised what he called Eichendorff’s ‘unreliable [unzuverlässig]’ conservatism: a collection of qualities that allowed him to draw dynamically on a musical flow of conventional poetic elements while simultaneously affirming the promise of a shimmering utopian future beyond bourgeois trappings. This article considers these same qualities as valued by another writer Adorno admired, Thomas Mann, and his circle in the aftermath of the First World War. It argues, first, for Mann’s identification (in the Betrachtungen eines Unpolitischen, 1918) of an exemplary national-conservative attitude in Eichendorff’s Taugenichts, himself a musician wandering beyond the bourgeoisie; second, it observes the political potential of this attitude in Hans Pfitzner’s setting of Eichendorff’s poem ‘Klage’. Finally, the article turns to three musical acts c.1918–1921 — a performance, a composition, and the expounding of music theory — in order to demonstrate the close relationship of Mann and Pfitzner at this time, and to position their combined thought as inspirational for a new national conservatism in music in the early post-war period.

中文翻译：

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不可靠的保守主义和音乐政治：第一次世界大战结束时的艾肯多夫、托马斯·曼和汉斯·普菲茨纳

在 1957 年的广播讲话中，西奥多·阿多诺称赞了他所谓的艾兴多夫“不可靠的 [unzuverlässig]”保守主义：一系列品质使他能够动态地利用传统诗歌元素的音乐流动，同时肯定了一个闪闪发光的乌托邦未来的承诺超越资产阶级的服饰。本文认为这些品质与阿多诺钦佩的另一位作家托马斯·曼 (Thomas Mann) 及其圈子在第一次世界大战之后所重视的品质相同。首先，它论证了曼恩（在 Betrachtungen eines Unpolitischen，1918 年）在 Eichendorff 的 Taugenichts 中模范的民族保守态度，他本人是一位游荡在资产阶级之外的音乐家；其次，它在汉斯·普菲茨纳 (Hans Pfitzner) 对艾兴多夫 (Eichendorff) 的诗歌《克拉格 (Klage)》的设置中观察到这种态度的政治潜力。最后，