¹ One need only consider those Bach chorale-harmonizations whose melodies derive from a Phrygian original, in which Bach pays his dues both to the modal (Phrygian) finalis and to the tonal (quasi-Aeolian) interpretations of the melody by beginning and ending on what a superficial ‘minor key’ analysis would describe as a (major) dominant triad, and using a plagal instead of an authentic cadence; an A minor triad, for example, thus functioning as dominant to an E major tonic.

² The claimed equality of all 12 notes is in any case compromised as soon as one is longer or lower than another, or – however quietly it is played – falls on a metrically stronger beat.

³ Translated by Bernard Grun, St. Martin's Press.

⁴ Perhaps one may be forgiven, in the context of an account of such scholarly exactitude as well as musical and human sympathy, for pointing out that in the footnote on p.84 the translation Berg's ‘dedication’ of the second movement should refer to ‘closing [i.e. completing] the charming circle’, not ‘enclosing the charming circle’.