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