24-399: Lyric Suite may refer to: Lyric Suite (Berg) , a six-movement work for string quartet by Alban Berg (1925–26) Lyric Suite (Grieg) , an orchestration of four of the six piano pieces from Book V of Edvard Grieg's Lyric Pieces , Op. 54 Lyric Suite , Op. 30, a four-movement work for string trio by Bernard Stevens (1958) Lyric Suite ,
48-475: A dance by Anna Sokolow (1953) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Lyric Suite . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Lyric_Suite&oldid=945614173 " Category : Disambiguation pages Hidden categories: Short description
72-430: A four-movement work for euphonium and wind ensemble by Donald H. White (1978) Lyric Suite , a work for bassoon and piano by Thomas Dunhill Lyric Suite , a work by Ferenc Szabó Lyric Suite , a five-movement work by Robert Morris (composer) Lyric Suite , a four-movement work by Walter Hartley Lyric Suite , Op. 51, a four-movement work for cello and piano by Leevi Madetoja (1922) Lyric Suite ,
96-400: A hierarchy among the notes of the chromatic scale so that they are all referentially related to one or two pitches which then function as a tonic note or chord in tonality . The system similarly creates a hierarchy among intervals and finally, among larger collections of notes, 'chords.' The main debt of this system to the 12-tone system lies in its use of an ordered linear succession in
120-549: A secret program dedicated to Berg's love-affair. After retiring from Queens College in 1985, he became a professor emeritus at the Aaron Copland School of Music . In 1986, Perle was awarded a Pulitzer Prize for Music for his Wind Quintet No. 4 and also a MacArthur Fellowship . In about 1989 Perle became composer-in-residence for the San Francisco Symphony, a three-year appointment. It
144-417: A seven-movement work for piano trio by Gloria Coates (1993/96) Lyric Suite No. 2, a work for flute, cello and piano by Gloria Coates (2002) Lyric Suite for Sextet , an album for piano, vibraphone and string quartet by Chick Corea and Gary Burton (1983) Lyric Suite , a series of ink-on-rice-paper drawings by Robert Motherwell (1965) Lyric Suite , a play by Frank Corsaro Lyric Suite ,
168-420: A single serial ordering of the twelve notes of the chromatic scale." Rather, he, "recognized that the first three chords unfold tetrachordal segments of a single statement of the cycle of fifths ( C7 ), and that at the bottom of the same page, in bars 7–9, the cello presents a linear statement of the same cycle." The second violin unfolds "the initial tetrachordal segmentation of the perfect-5th cycle," again at
192-458: A standard text for 20th-century classical music theory. Among Perle's awards was the 1986 Pulitzer Prize for Music for his Wind Quintet No. 4 . Perle was born in Bayonne, New Jersey , to Russian Jewish parents. He graduated from DePaul University , where he studied with Wesley LaViolette and received private lessons from Ernst Krenek . Later, he served as a technician fifth grade in
216-424: Is developmental". The tone row of the first movement is Pople adds a bar line to group the first and the last six pitches. He also depicts it as: Whenever a given row-form is immediately repeated, a reversed coupling of the hexachords is employed to produce a secondary set . Berg had used the row previously, in 1925, in his first twelve-tone work, his second setting of " Schliesse mir die Augen beide ". In
240-413: Is different from Wikidata All article disambiguation pages All disambiguation pages Lyric Suite (Berg) The Lyric Suite is a six- movement work for string quartet written by Alban Berg between 1925 and 1926 using methods derived from Arnold Schoenberg 's twelve-tone technique . Though publicly dedicated to Alexander von Zemlinsky (from whose Lyric Symphony it quotes),
264-483: The Lyric Suite " despite having no knowledge of the setting of Baudelaire 's De profundis clamavi in the finale movement, deciphered by Douglass M. Green from what Perle calls "Berg's cryptic notations". Perle discovered a complete copy of the first edition annotated by Berg for his dedicatee, Hanna Fuchs-Robettin ( Franz Werfel 's sister, with whom Berg had an affair in the 1920s), later that year. Berg used
SECTION 10
#1732776349703288-655: The United States Army during World War II . He earned his doctorate at New York University in 1956. Perle composed with a technique of his own devising called "twelve-tone tonality". This technique was different from, but related to, the twelve-tone technique of the Second Viennese School , of which he was an "early admirer" and whose techniques he used aspects of but never fully adopted. Perle's former student Paul Lansky described Perle's twelve-tone tonality thus: Basically this creates
312-463: The signature motif , A - B - H - F (in German notation, B means B ♭ , while H means B ♮ ), to combine Alban Berg (A. B.) and Hanna Fuchs-Robettin (H. F.). This is most prominent in the third movement. Berg also quotes a melody from Zemlinsky's Lyric Symphony in movement four which originally set the words "You are mine own". In the last movement, according to Berg's self-analysis,
336-521: The "entire material, the tonal element too... as well as the Tristan motif " is developed "by strict adherence to the 12-note series". According to René Leibowitz , the first movement is "entirely written in the twelve-tone technique , [it] is a sonata movement without the development . Thus the recapitulation follows directly upon the exposition ; but, because of the highly advanced twelve-tone technique of variation , everything in this movement
360-420: The ' Composition with 12 inwardly related tones ." A set of 12 different tones gives the rough material of the composition, and the portions which have been treated more freely still adhere more or less to the technique". George Perle points out that the first movement is not strictly twelve-tone, with the opening four chords being derived not from the series but from the interval-7 cycle . The first analysis
384-402: The beginning of the recapitulation. He asks: "How could one [think] of the initial bar as 'disordered'? If anything is to be designated as an Urform here, surely it is this perfect-5th cycle, given its background role in relation to the tone row and other components of the movement." In the sixth movement, tone row 1 is while tone row 2, derived from tone row 1, is In 1928, Berg arranged
408-538: The same way that a 12-tone set does". In 1968, Perle cofounded the Alban Berg Society with Igor Stravinsky , and Hans F. Redlich , who had the idea (according to Perle in his letter to Glen Flax of 4/1/89 ). Perle's important work on Berg includes documenting that the third act of Lulu , rather than being an unfinished sketch, was actually three-fifths complete and that the Lyric Suite contains
432-605: The second, third and fourth movements of the Lyric Suite for string orchestra. According to Adorno: If the lyrical nature of the Suite is best fostered in the quartet, its dramatic nature is best fostered in the string tutti; only here are its contours dissolved as completely and enigmatically as the accompanimental concept of the sound demands; and only here does the paroxysm attain its full catastrophic force. The piece has been recorded by and released on: Sources George Perle George Perle (6 May 1915 – 23 January 2009)
456-625: The third movement, the outer sections of the Allegro misterioso present the same music forwards and then backwards , while the Trio estatico , the B section of the ABA , is through-composed . Berg generates a characteristic rhythmic cell through partitioning the series into a seven-note chromatic segment and a complementary five-note motive from the remaining notes. According to Wolfgang Martin Stroh ,
480-406: The tone row of the third movement is which can be partitioned into a rising chromatic segment and remaining pitches: George Perle, gives Despite assertions by Berg and others, George Perle, however, "had not yet been informed, as Leibowitz and Redlich were by the time they came to write their respective books, that everything in the 'strictly' dodecaphonic first movement had to be derived from
504-637: The work has been shown to possess a "secret dedication" and to outline a "secret programme". Berg arranged three of the "pieces" (movements) for string orchestra in 1928. The string quartet has six movements: As Berg's friend and fellow Schoenberg pupil Erwin Stein wrote in the preface to the score, "[t]he work (Ist and VIth part, the main part of the IIIrd and the middle section of the Vth) has been mostly written strictly in accordance with Schoenberg's technique of
SECTION 20
#1732776349703528-617: Was also around this time that he had published his fourth book entitled The Listening Composer . He died aged 93 in his home in New York City in January 2009. He was buried in Calverton National Cemetery . A growing number of younger artists have come to express their appreciation for Perle. In the run-up to his 100th birthday celebrations the composer-pianist Michael Brown released a well received CD of
552-456: Was an American composer and music theorist . As a composer, his music was largely atonal , using methods similar to the twelve-tone technique of the Second Viennese School . This serialist style, and atonality in general, was the subject of much of his theoretical writings. His 1962 book, Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern remains
576-496: Was undertaken by H. F. Redlich , who notices that "the first movement of the Lyric Suite develops out of the disorder of intervals in its first bar, the notes of which, strung out horizontally, present the complete chromatic scale , and from this in the second and following bars, grows the Basic Set in its thematic shape". Theodor W. Adorno called the quartet "a latent opera". Redlich described "the concealed vocality of
#702297