Meaning: This quote is attributed to Alban Berg, a prominent Austrian composer associated with the Second Viennese School, which also included Arnold Schoenberg and Anton Webern. The quote sheds light on Berg's approach to composing music, particularly the idea of incorporating personal and emotional elements into his work. It also touches upon the contrast between programmatic and abstract music, a debate that was prevalent during Berg's time and continues to be relevant in contemporary musical discourse.

Berg's reference to "adherents of programme music" alludes to the division between composers who embraced programmatic music, which aimed to convey specific narratives or images, and those who favored absolute music, which was more concerned with purely musical form and structure. The quote suggests that Berg's compositions contained a wealth of personal and emotional content that might not be immediately apparent to listeners or critics who were focused on programmatic aspects of music.

Berg's use of the term "smuggled" implies that he concealed or embedded these personal and emotional elements within his compositions, possibly as a response to the prevailing attitudes toward programmatic versus absolute music. This notion of "smuggling" suggests a sense of subversion or defiance, as if Berg was challenging the expectations of the musical establishment and deliberately incorporating elements that might have been disregarded or overlooked by critics and audiences.

The phrase "friendship, love and a world of human and spiritual references" provides insight into the thematic content of Berg's music. It suggests that his compositions were imbued with profound emotional and relational themes, encompassing the complexities of human connections, as well as spiritual and existential concerns. This aligns with the broader tendencies of the Romantic era, during which composers often sought to express profound emotional and philosophical concepts through their music.

Berg's assertion that the revelation of these hidden elements would cause the adherents of program music to "go mad with joy" is both playful and provocative. It implies that the depth of emotional and spiritual content in his music would be so profound that it would challenge the prevailing conventions of programmatic music, potentially leading to a reevaluation of the significance and impact of his compositions.

In interpreting this quote, it is important to consider the historical context in which Berg was working. The early 20th century was a time of significant upheaval and transformation in the world of classical music, with the dissolution of traditional tonality, the rise of atonal and twelve-tone techniques, and the exploration of new forms of expression. Berg, along with his colleagues in the Second Viennese School, played a pivotal role in these developments, pushing the boundaries of musical language and challenging established norms.

Berg's most famous works, such as the opera "Wozzeck" and the Violin Concerto, are renowned for their emotional depth and innovative use of harmonies and structures. These compositions exemplify Berg's commitment to incorporating personal and spiritual dimensions into his music, transcending the limitations of programmatic or absolute categorizations.

In conclusion, Alban Berg's quote offers a glimpse into his artistic philosophy, highlighting his approach to infusing his compositions with profound emotional, spiritual, and human elements. It reflects the ongoing tension between programmatic and absolute music, while also underscoring Berg's willingness to challenge conventions and embed deeper layers of meaning within his works. This quote serves as a testament to Berg's enduring legacy as a composer who deftly navigated the complexities of musical expression and left an indelible mark on the evolution of 20th-century music.