Alban Berg: Music as Autobiography. Translated by Ernest Bernhardt-Kabisch

Content: Cover
 Table of Contents
 Foreword
 1 Part One: Personality Aspects
 1.1 Principles
 1.2 Creativity
 1.3 Asthma
 1.4 The "Godforsaken" City
 1.5 Composing in the Country
 1.6 The Insidiousness of Success
 1.7 Humanity
 1.8 Longing for Happiness or Deliverance through Art
 1.9 Fidelity
 1.10 From Goethe to Wedekind
 1.11 Irony and Skepticism
 1.12 Image of Woman
 1.13 Love of Nature
 1.14 Religiosity
 1.15 Faith, Love and Hope
 1.16 Commitment to Radical Modernism and German Music
 2 Part Two: Theoretical Presuppositions
 2.1 Questions Regarding the Psychology of Creation. 2.1.1 Inspiration as Gift from On High2.1.2 Experience as Condition of Creation
 2.2 Inward and Outward Nature
 2.3 From Overt to Covert Program Music
 2.3.1 Schönberg and Program Music
 2.3.2 Berg and Program Music
 2.4 Fate and Superstition
 2.5 Numerology
 2.5.1 Preliminaries
 2.5.2 Schönberg's Number: The Ominous 13
 2.5.3 Berg's Number: The Fateful 23
 2.5.4 Berg and Numbers
 2.6 Tone Ciphers
 2.7 Magic Music
 2.7.1 Doctor Faustus as Point of Departure
 2.7.2 Mirror Magic
 2.7.3 Magic Squares
 2.8 Symmetry and Palindrome
 2.8.1 The Idea of the Retrograde in Schönberg. 2.8.2 Parallelisms and Mirror-Symmetric Structures in Berg2.9 Tonality, Atonality and Dodecaphony: Transvaluation of All Values
 2.9.1 The Atonal Cosmos as Counter-Universe
 2.9.2 Embracing Complexity
 2.9.3 Berg's Specialty: Tonal Elements in Dodecaphony
 2.9.4 Transvaluation of the Tritone
 2.9.5 The Tonal as Symbolizing the Abnormal and Trivial
 3 Part Three: Life and Work
 3.1 Helene and Alban: "The Story of a Great Love"
 3.2 The String Quartet for Helene
 3.2.1 The Autobiographical Background
 3.2.2 Genesis of the Work: From Tonality to Free Atonality
 3.2.3 Tectonics. 3.2.4 Semantics: Echoes of Schönberg's George Lieder and Wagnerian Motifs3.3 March of an Asthmatic: The Third of the Orchesterstücke op. 6
 3.3.1 Genesis and Autobiographic Occasion
 3.3.2 Musico-Semantic Hints
 3.4 Wozzeck as a Message for Humanity
 3.4.1 An "Opera of Social Compassion"?
 3.4.2 The Characterization of Three Figures in the Opera: the Captain, the Doctor, and Wozzeck
 3.4.3 The "Epilogue" to the Opera as "Author's Confession"
 3.4.4 Excursus: The Epilogue as "Invention on a Key"
 3.4.5 Wozzeck as a Parable
 3.4.6 Some Thoughts about Music between the Two World Wars. 3.5 Berg, Schönberg and Webern: Profiles of a Friendship3.6 The Chamber Concerto: Homage to Schönberg, Mathilde and the Schönberg Circle
 3.6.1 Genesis of the Work
 3.6.2 Three's a Charm
 3.6.3 Tectonics and Number Symbolism:The Numbers Three and Five
 3.6.4 Thema scherzoso con variationi: "Freundschaft." --
The Schönberg Circle
 3.6.5 Adagio --
Mathilde
 3.6.6 Introduzione: "Thunderstorm" --
Grief at Mathilde's Death
 3.6.7 Rondo Ritmico: the World as a Kaleidoscope
 3.7 From Helene to Hanna: The Two Versionsof the Storm Lied Schließe mir die Augen beide
 3.7.1 Genesis.