Berg's Violin Concerto ``To the Memory of an Angel," Movement I

Here is a spectrogram of the opening of this piece.  Within the rectangles are palindromes played by a harp and clarinet.  Each palindrome is a transposition of the first one.  Following each of these harp-clarinet palindromes are three palindromes of violin tones.   You can listen to this opening passage on Spotify:  

The tone row that governs this concerto is

G    B-flat    D    F-sharp     A    C    E    G-sharp    B    D-flat    E-flat    F.

Leonard Bernstein said the following about this tone row:

Berg chose for this concerto a tone row which is filled with tonal [diatonic] implications.  Notice that the first nine notes of that row all proceed in intervals of the third--- mellifluous thirds, major and minor ones.  Moreover, these thirds are symmetrically arranged in ``chiasmus'' fashion, if you recall, according to a pattern of AB:BA---that is, minor-major : major-minor, etc.  And what's more, the triads that are formed by these thirds automatically alternate minor, major, minor, major, thus insuring all mellifluous possibilities. And what's even more tonality-making, every other note of these first nine combine into perfect fifths, of which the first four happen to correspond to the four open strings of the violin, a very handy tool to have around in a violin concerto.  (L. Bernstein, The Unanswered Question, Lecture 5, pp. 301--302.)

You can buy this recording from Amazon, or iTunes, or Spotify.