…That evolutive progression started from the post-Wagnerian vocabulary and reached “suspension” of the tonal language. One can detect very well defined tendencies even in Verkläte Nacht； the First Quartet opus 7； and the Kammersymphonie； but it is only in certain passages in the scherzo and the finale of the Second Quartet, opus 10, that one can watch a true attempt at revolution. …
…Perhaps we can say that the series is a logically historical consequence, or-depending upon what one wishes-a historical logical one. Perhaps, like that certain Webern, one could pursue the sound-Evidence by trying to derive the structure from the material. Perhaps one could enlarge the serial domain with the interval other than the half-tone: microdistances, irregular intervals, complex sounds. Perhaps one could generalize the serial principle to the four sound-constituents: pitch, duration, intensity, and attack, timber. …
 …We must keep ourselves from considering____甲 ___ as a sort of Moses who died in view of Promised Land after having brought down the Tables of the Law from a Sinai that some people obstinately want to confuse with Walhalla. We certainly owe him Pierrot lunaire…, and some other enviable works. This will not give offense to the environing mediocrity that wants, very speciously, to limit the ravages to “Central Europe.”
 …Therefore, I do not hesitate to write, not out of any desire to provoke a stupid scandal, but equally without bashful hypocrisy and pointless melancholy: ______甲______IS DEAD.