66. A classic, if characteristically difficult, statement is Theodor W. Adorno, “Spätstil Beethovens,” reprinted, with “Verfremdetes Hauptwerk: Zur Missa Solemnis,” the essay on the Bagatelles, Opus 126, and various notebook entries under the rubrics Spätstil (I), Spätwerk ohne Spätstil, and Spätstil (II) in Beethoven: Philosophie der Musik, ed. Rolf Tiedemann (Frankfurt am Main: Suhrkamp Verlag, 2nd ed. 1994), 180–233; English as Beethoven: the Philosophy of Music, tr. Edmund Jephcott (Stanford: Stanford University Press, 1998), 123–161. For a fine elaboration on the topic, see Anthony Barone, “Richard Wagner’s Parsifal and the Theory of Late Style,” in Cambridge Opera Journal, 7 (1995): 37–54.