Notes to pp. 210–213 535Berg’s feelings for a married woman, feelings he attempted to conceal
from his wife.
113 Adorno, Berg: Master of the Smallest Link, p. 124.
114 We are speaking here of two texts, Erinnerung an den Lebenden and
‘The Lulu Symphony’, which was first published in 23: Eine Wiener
Musikzeitschrift, nos. 24–5, 1936. This issue bore the subtitle ‘In Memory
of Alban Berg’. See Adorno, Berg: Master of the Smallest Link, pp. 9–34
and 120–5.
115 Adorno and Krenek, Briefwechsel, p. 108f.
116 Adorno, Berg: The Master of the Smallest Link, p. 130.
117 As early as February 1925, a few weeks after meeting Hanna Fuchs,
Berg wrote to her: ‘Will I be allowed to find the peace of mind to express
in music what I have experienced in and since those days in Prague-
Bubenid?... What I would like best, would be to compose songs. But
how can I? The words of the text would betray me. So it will have to be
songs without words which only the person in the know – only you – will
be able to read. Perhaps it will turn out to be a string quartet! These four
movements will contain everything I have felt from the moment I entered
your house. From (1) the first hours, and days and evenings spent among
you in the faint, noble gleam of contemplation, (2) through the silently
and ever more sweetly burgeoning love I have felt for you, (3) through
the bliss of that half hour and the entire eternity of that morning, (4) to
the torpid, icy night of separation, of being alone, of utter hopelessness,
renunciation and desolation.’ Constantin Floros, Alban Berg und Hanna
Fuchs, p. 32.
118 Adorno, Berg: Master of the Smallest Link, p. 104.
119 Ibid., p. 109f.
120 Constantin Floros, Alban Berg und Hanna Fuchs, p. 45; see also
p. 126f.
121 Adorno and Berg, Briefwechsel 1925–1935, p. 332. Elsewhere Adorno
wrote that Berg’s love affairs ‘were a part of his “production apparatus”
from the very outset’ (Adorno, ‘Im Gedächtnis an Alban Berg’, GS,
vol. 18, p. 490).
122 Adorno and Berg, Briefwechsel, p. 333.
123 Ibid., p. 334.
124 Adorno and Krenek, Briefwechsel, p. 112.
125 Ibid.
126 Adorno and Horkheimer, Briefwechsel, vol. 1, p. 280f.
127 Adorno thought highly of Willi Reich as Berg’s secretary and former
pupil. He was ‘a delightful man’, as he wrote to Benjamin, ‘like a sort of
travel junction’ with a great many contacts in Vienna. See Benjamin and
Adorno, The Complete Correspondence 1928–1940, p. 160.
128 These were his analyses of the Piano Sonata, op. 1, the Four Songs, op. 2,
the Seven Early Songs, the String Quartet, op. 3, the Four Pieces for
Clarinet and Piano, op. 5, the Lyric Suite arranged for string quartet, and
the concert aria ‘Der Wein’. See Willi Reich, Alban Berg.
129 Adorno and Krenek, Briefwechsel, p. 111f.
130 Adorno and Horkheimer, Briefwechsel, vol. 1, p. 132.
131 Benjamin and Adorno, The Complete Correspondence 1928–1940,
p. 122.