Three Pieces from the Lyric Suite (3 Stücke aus der Lyrischen suite) Cover Image

Three Pieces from the Lyric Suite (3 Stücke aus der Lyrischen suite): String Orchestra, Conductor Score & Parts

$125.00 USD
$125.00 USD
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Three Pieces from the Lyric Suite (3 Stücke aus der Lyrischen suite) Cover Image
Three Pieces from the Lyric Suite (3 Stücke aus der Lyrischen suite): String Orchestra, Conductor Score & Parts

Three Pieces from the Lyric Suite (3 Stücke aus der Lyrischen suite): String Orchestra, Conductor Score & Parts

By Alban Berg

Item: 36-A940790
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Description
The six-movement LYRIC SUITE (IAB 6) for string quartet is among the first of Alban Berg's (1885-1935) works to utilize the 12-tone system developed by his mentor Arnold Schoenberg. Written between 1925 and 1926, the work is dedicated to conductor and composer Alexander Zemlinsky, who composed a work titled LYRIC SYMPHONY, which Berg quotes. And the work gained great popularity for two generations with only that program to reference until a chance discovery in 1977 revealed a much deeper intention. During Berg's trip to see Zemlinsky in 1925, he stayed at the home of a Herbert Fuchs-Robettin and his wife Hanna. Berg developed an intense infatuation and love affair with Hanna, and his LYRIC SUITE is a documentation of that relationship, evident in the mood of each movement, his spelling of both of their initials together in the music, and the inclusion of Wagner's Tristan chord in the final movement as a clear reference to an illicit love. In 1928 Berg arranged the "romantic" movements, Nos. 2-4 for string orchestra under the title 3 STÜCKE AUS DER LYRISCHEN SUITE (THREE PIECES FROM THE LYRIC SUITE). Instrumentation: String Orchestra (8-8-5-5-5 in set). Reprint edition.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 612735898014
SKU: 36-A940790
Instrumentation: String Orchestra (8-8-5-5-5 in set)

More about this title

About the Composer: Alban Berg

Alban Berg (1885, 1935) was one of the Second Viennese School's most lyrical voices, a student of Arnold Schoenberg who mastered twelve-tone composition while maintaining a deeply expressive, almost Romantic sensibility. His works grapple with psychological intensity and hidden narratives; the Lyric Suite stands as perhaps his most personal score, a coded love letter woven into rigorous serial technique.

Why we love this

Berg's orchestration of these three middle movements gives conductors access to one of modernism's most emotionally direct works without the technical demands of managing a full six-movement cycle. The string writing sings with genuine lyricism even within the twelve-tone system, making this an ideal entry point for orchestras encountering Berg's music or early twentieth-century chromaticism with substance behind it.

What to expect

These three movements sweep through tenderness, yearning urgency, and twilight melancholy. The harmonic language feels knotted and unresolved, yet the melodic voice remains hauntingly human; Berg never lets twelve-tone abstraction swallow the emotional core of what he is saying.

Who it's for

String orchestras with secure fundamentals in intonation and ensemble blend, and conductors ready to unlock modernist repertoire that rewards careful study. High school orchestras at strong programs and college ensembles will find this accessible yet artistically substantial.

How to get the most out of it

  • Shape each movement's arc with its own rhetorical weight. These three pieces trace a dramatic journey from tender introspection through passionate intensity to dissolution; resist playing them as equal-weight episodes.
  • Balance transparency in the voice-leading against the cumulative weight of the harmonic language. Light bowings and clear articulation will let the twelve-tone structure breathe rather than blur into chromatic soup.
  • The second and fourth movements contain Berg's quotation of Zemlinsky's Lyric Symphony and Wagner's Tristan chord respectively. These moments deserve their own sonic clarity; they're structural anchors, not atmospheric details.

How to use it

Pair this with a contemporary work by Berg's circle or a late Romantic piece like Zemlinsky's own orchestral writing to frame the harmonic language in historical context. It also works powerfully as a centerpiece for a concert exploring twentieth-century approaches to string orchestration, especially alongside Schoenberg's Verklärte Nacht.

Skills your students will build

  • Twelve-tone pitch organization and harmonic navigation without functional tonality
  • Balancing individual voice independence within dense chromatic textures
  • Sustaining pitch stability and intonation across wide intervallic leaps and chromatic voice-leading
  • Interpreting modernist scores with lyrical sensitivity and expressive nuance

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