Introduction |
3 |
|
|
Part One
On Messages and Codes, Shared and Private |
|
Balzacian Mysticism, Palindromic Design, and Heavenly
Time in Berg’s Music
(John Covach) |
9 |
Alban Berg and the History of the Commentary
(Wolfgang Gratzer) |
37 |
|
|
Part Two
Encoding in Berg’s Instrumental Compositions |
|
More on Secret Programs in Berg’s Instrumental
Music
(Gottfried Scholz) |
51 |
Berg’s Kammerkonzert and Franz Werfel’s
Spiegelmensch: Mirror Images in Music and Literature
(David Schroeder) |
71 |
Two Reigen: Berg, Schnitzler and Cyclic Form
(Robert Falck) |
95 |
|
|
Part Three
Sleep and the Inner Journey: Berg’s Song Cycles |
|
The Representation of Sleep and Death in Berg’s
Piano Songs op.2
(Magnar Breivik) |
111 |
Berg’s Other Altenberg Song Cycle as a Document of
Viennese Fin-de-Siècle Aesthetics
(Christoph Khittl) |
139 |
Symbolism and Self-Quotation in Berg’s Picture
Postcard Songs
(Siglind Bruhn) |
159 |
Toward a Phenomenology of Postcard and Song: The
Altenberg-Lieder
(Arved Ashby) |
193 |
|
|
Part Four
Subtext and Subliminal Characterization in Berg’s
Operas |
|
Tonality and Unreality in Berg’s Wozzeck
(Erika Reiman) |
229 |
The Death Leitmotif in Wozzeck and Lulu
(Mark DeVoto) |
243 |
Femme Fatale and Lesbian Representation in Alban
Berg’s Lulu
(Karen Pegley) |
249 |
‘Richte mich zugrunde!’: A Jungian Analysis of
Berg’s Alwa
(Heather Platt) |
279 |
|
|
The contributors |
305 |
