BERG VIOLIN CONCERTO

[...]I am not well emotionally either, which won't surprise you at all in someone who suddenly discovers that he isn't considered a native in his fatherland and is thus completely homeless, all the more since such things cannot be experienced without effects of profound and lasting human disillusionment" (The Berg- Schoenberg Correspondence, ed. (See George Perle, The Operas of Alban Berg, vol. 2, Lulu [Berkeley: University of California Press, 1985], 243- 52, on the twelve-tone elements in the concerto; and Perle, "Berg's Style of Freedom," Musical Times 139, no. 1863 [Summer 1998]: 12-31, for a discussion of Berg's mixing of tonal and twelve-tone structures.) The corrections offered in the Bretikopf edition, for the most part, make sense, except for these three: (1) Rhythm in the solo violin, m. 5 beginning of mvt. 2: