86 Part II: A Change of Scene
them in their proper light. From the outset he rejected the idea of a
Schoenberg school whose writ was binding on its members.
Adorno’s recollections of his first impressions show Berg to have
been a man of exceptional charm. Berg’s shyness helped him ‘overcome
the trepidation I would otherwise have felt at the sight of a man I so
greatly admired. If I try to recall the impulse that drew me spontane-
ously to him I am sure it was exceedingly naive, but it was related to
something very essential about Berg: the Wozzeck Fragments, above all
the introduction to the March and then the March itself, struck me as
a combination of Schoenberg and Mahler, and at the time, that was my
ideal of genuine, new music.’^13
Adorno was encountering problems in his own attempts at composi-
tion. His efforts to break out of the confines of his training with Bernhard
Sekles left him increasingly dissatisfied and he found himself facing
difficulties he could not resolve on his own. Even so, he had quite a
number of compositions to his credit, including string quartets, string
trios, and piano pieces. To a degree, then, despite his youth he was
familiar with compositional practice by the time he wrote to Berg
asking to be allowed to become his student.
Independently of tuition [i.e., with Sekles], I went on composing
for myself. 6 Studies for String Quartet (1920) were performed
privately by the Rebner-Hindemith Quartet in 1921, my First
Quartet (1921) was performed by Hans Lange in 1923. In addition,
I have written 2 string trios and songs for various performers. In
recent years I have concentrated on scholarly and technical work,
and on the piano. The only pieces I have written are 3 four-part
choruses for a cappella women’s voices (1923) and three piano
pieces. I am dissatisfied with all this and in order to carry out my
new plans I should like to entrust myself to your guidance and
control. My interest is in finding the solution to quite specific tech-
nical problems which I feel are beyond my powers. I believe that
I shall be in a position to tell you precisely where I am wanting.... With sincere admiration, Dr. Th. Wiesengrund-Adorno.^14
In March 1925, by which time Adorno’s letterhead had been proudly
sporting the doctoral title for three months, he finally made the journey
to Vienna, where he took a room in a boarding house with the daunt-
ingly old-fashioned name of Luisenheim. However, this boarding house,
which was situated in the ninth district, was anything but conventional.
It was an imposing building dating back to the boom years of the late
nineteenth century, complete with portal, marble interiors, art nouveau
stained-glass windows and a lift built of solid wood with mirrors typical
of the Vienna of the day. To reach Berg, who lived in Hietzing, a long
tram ride was necessary.^15 The boarding house was also home to a
number of curious and interesting people. Among them were the actress