motif" is developed "by strict adherence to the 12-note series". I. Allegretto giovale According to René Leibowitz, the first movement is "entirely written in the twelve-tone technique, [it] is a sonata movement without the development. Thus the recapitulation follows directly upon the exposition; but, because of the highly advanced twelve-tone technique of variation, everything in this movement is developmental". The tone row of the first movement is Pople adds a bar line to group the first and the last six pitches. He also depicts it as: Whenever a given row-form is immediately repeated, a reversed coupling of the hexachords is employed to produce a secondary set. Berg had used the row previously, in 1925, in his first twelve-tone work, his second setting of "Schliesse mir die Augen beide". III. Allegro misterioso – Trio estatico In the third movement, the outer sections of the Allegro misterioso present the same music forwards and then backwards, while the Trio estatico, the B section of the ABA, is through-composed. Berg generates a characteristic rhythmic cell through partitioning the series into a seven-note chromatic segment and a complementary five-note motive from the remaining notes. According to Wolfgang Martin Stroh, the tone row of the third movement is which can be partitioned into a rising chromatic segment and remaining pitches: George Perle, gives Despite assertions by Berg and others, George Perle, however, "had not yet been informed, as Leibowitz and Redlich were by the time they came to write their respective books, that everything in the 'strictly' dodecaphonic first movement had to be derived from a single serial ordering of the twelve notes of the chromatic scale." Rather, he, "recognized that the first three chords unfold tetrachordal segments of a single statement of the cycle of fifths (C7), and that at the bottom of the same page, in bars 7–9, the cello presents a linear statement of the same cycle." The second violin unfolds "the initial tetrachordal segmentation of the perfect-5th cycle," again at the beginning of the recapitulation. He asks: "How could one [think] of the initial bar as 'disordered'? If anything is to be designated as an Urform here, surely it is this perfect-5th cycle, given its background role in relation to the tone row and other components of the movement." VI. Largo desolato In the sixth movement, tone row 1 is while tone row 2, derived from tone row 1, is Version for