Editing Lulu (opera) (section)

====Structure====
[[File:Berg lulu palindrome mirror point.png|thumb|300px|Centre-point of the palindrome in act 2]]
Berg was obsessed with symmetry in his works and ''Lulu'' is no exception, the whole being perceived as a palindrome or mirror. Lulu's popularity in the first act is mirrored by the squalor she lives in during act 3, and this is emphasised by Lulu's husbands in act 1 being played by the same singers as her clients in act 3. The motifs associated with each are repeated.{{sfn|Boulez|1979|loc=pp.&nbsp;28–29}}

This mirrorlike structure is further emphasised by the film interlude at act 2 at the very centre of the work. The events shown in the film are a miniature version of the mirror structure of the opera as a whole (Lulu enters prison and then leaves again) and the music accompanying the film is an exact [[palindrome]] – it reads the same forwards as backwards. The centre of this palindrome is indicated by an arpeggio played on the piano, first rising, then falling (shown here on the top staff).{{sfn|Boulez|1979|loc=pp.&nbsp;28–29}}

Berg assigns specific vocal styles to each character with descriptive orchestral representation, recapitulative episodes to emphasise psychological significance and [[Pitch class|pitch-sets]]. Recapitulation includes having single singers performing multiple roles. The use of pitch includes the use of twelve-[[tone row]]s.{{sfn|Boulez|1979|loc=pp.&nbsp;28–29}}{{sfn|Elliott|2014|loc=[https://books.google.com/books?id=qrkTAwAAQBAJ&pg=PA56 p.&nbsp;56]}}{{sfn|Blades|2005|loc=[https://books.google.com/books?id=a8V3Z6j2ExEC&pg=PA409 p.&nbsp;409]}}