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an integral part of the program (this passage will be discussed further below). On the other hand, although he separates the program from the analysis, Perle also notes that our knowledge of the song in the last movement changes our perception âso decisively as to reduce the version that has been known until now to the status of an âarrangement,â with no more title to acceptance as an ultimately authentic representation than has the familiar orchestral version of the Liebestod from Tristan und Isoldeâ (56). But, what then did Berg leave in his second quartet? An unfinished work similar to the two-act version of Lulu and one that similarly needs to be âcompletedâ (by realizing the hidden song in the last movement)? Perle writes that, in his opinion, although the music of the final movement was âconceived and composed around and on a text,â Berg âknew that this text [in the sixth movement] would not form part of the final version of the workâ and that âhe intended even the role of the text in the compositional process to remain a secretâ (49). But if that was Bergâs intention, then in what sense is the instrumental version incomplete?
Journal of Music Theory – Duke University Press
Published: Jan 1, 1999
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