|
This impressive and dramatic work for string quartet can be viewed as a culmination of Berg's instrumental works, of his experimentation with both atonality and serialism, and of his flair for programmatic composition. The six movements are each given a very specific tempo indication that also denotes character. For instance, the second movement's tempo marking is "Andante amoroso" (amoroso means loving or affectionate), while the sixth and final movement is labeled "Largo desolato" (desolato means desolate). The mood progression of these tempo markings goes from a sort of carefree stroll to a slow and debilitated trudge.
The first, third, and sixth movements clearly follow the practices of serialism. And while the other three movements use some elements of the 12-tone system, these elements are used quite liberally. By departing from the formality of serialism, Berg is distinct from other composers of the Second Viennese School. There can be found in this work several different ways in which Berg strays from serialist practice. Perhaps most evident is his use of 12-tone rows in conjunction with non-row material within the same movement. In addition, he uses multiple rows as opposed to permutations of a single row. Lastly, he employs specific contour associations with certain rows and uses them consistently. For example, one row may move upwards in pitch for half of its length and then move downwards; this contour would then be used for that row every time it would occur.
At its premiere in July 1927, this work was received so well that it was played twice. A very demanding composition for musicians to play, the Lyric Suite is often used to display the virtuosity of a specific quartet. And although the pitch material is demanding for the average listener, the programmatic nature of the work enhances its accessibility.
Click to buy
|
