Berg Quotes
More Berg Quotes
By the time of his Fourth String Quartet, inversional symmetry had become as fundamental a premise of Bartók's harmonic language as it is of the twelve-tone music of SchoenBerg, Berg, and Webern. Neither he nor they ever realized that this connection establishes a profound affinity between them in spite of the stylistic features that so obviously distinguish his music from theirs...Nowhere does he [Bartók] recognize the communality of his harmonic language with that of the twelve-tone composers that is implied in their shared premise of the harmonic equivalence of inversionally symmetrical pitch-class relations.
george perle— Pages 46-47
If...[Alban] Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partionings of the major/minor system, he departs just as radically from the twelve-tone tradition that is represented in the music of SchoenBerg and Webern, for whom the twelve-tone series was always an integral structure that could be transposed only as a unit, and for whom twelve-tone music always implied a constant and equivalent circulation of the totality of pitch classes.
george perle— Page 98See: Common practice period, Twelve-tone technique
Every bit of theorizing I’ve ever done, including my interest in Berg, has come as a consequence of discoveries I made as a composer and interests that I developed as a composer. I never thought of my theory as being a kind of irrelevant activity to my composing.
george perle— Kozinn, Allan (January 24, 2009). "George Perle, a Composer and Theorist, Dies at 93", New York Times.See: Alban Berg
