While there is an almost universal resignation to not listening for tone rows in Schoenberg's music, it is in fact verymuch the reverse of his own goal. What other reason to open a work with a recitation of the rows, as we find in the Piano Concerto? He thought the the method of 12 tones was like the contrapunctal - read imitative - rules of compositon, and that in fact the unity of the row would be the means by which listeners would follow the works. That this, among many other ideas, has been abandoned points to the philosophical failure of his project: he wanted music which was the old raised to a new level, but wound up being embraced by those who wanted a musical sound world utterly different. Stirling Newberry