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Universal Edition - Alban Berg – 3 Stücke (Nr. 1, 5, 6)
Critical complete edition of Berg’s Lulu, particell Act 3
Wozzeck at the English National Opera
A new production of Alban Berg’s Wozzeck will take place from 11 to 25 May at the English National [...]
New production of Lulu
The première of David Pountney’s new production of Lulu takes place on 8 February in Cardiff. [...]
Lulu – reduced version for chamber orchestra
Eberhard Kloke has created a reduced version of Alban Berg’s Lulu for chamber orchestra. The world [...]
New Wozzeck at the Salzburg Theatre
From 11 May the Salzburg Theatre is staging a new production of Alban Berg’s opera Wozzeck in the [...]
Salzburg Festival 2011
Gustav Mahler, whose anniversaries have been the centre of attention all this year, is also the high [...]
BBC Proms 2011
The BBC Proms started last week and once again include a wealth of UE works in the many concerts. [...]
Berg Violin Concerto for ensemble
On 9 July the reduced version of Alban Berg’s Violin Concerto will be given its French première a [...]
Lulu in Erfurt
The German première of Eberhard Kloke's new version of Lulu will be given at Erfurt Theatre on 13 J [...]
UE at the GRAMMYS 2011
The 53rd Annual GRAMMY Awards will take place in Los Angeles on Sunday, 13 Feb, 2011. Among the nomi [...]
Lulu at the Salzburg Festival
Vera Nemirova's new production of Lulu opens at the Salzburg Festival on 1 August, with Patrici [...]
3 Stücke (Nr. 1, 5, 6)
||Stadsgehoorzaal Leiden / Netherlands|
||Renate Arends, Sopran|
Alban Berg arranged Three Pieces (I, III and IV) from the Lyric Suite (originally for string quartet) for string orchestra in 1927. My arrangement of the three remaining movements (I, V and VI) means it is now possible to perform the complete Lyric Suite for string orchestra as part of a larger concert programme. In orchestrating it, I have kept as close as possible to Berg’s style.
From previous experience (my adaptation of the Sonate op 1 for piano  for orchestra of 1984), I know that the enormous intensity of the music asks for a great diversity of ideas regarding texture and individual part writing. On a more basic, technical level this means that the double stops in the quartet version are usually replaced by solo/tutti-divisi or ordinary divisions. The adding of the double bass line often has consequences for the other parts.
These “six rather short movements of a lyrical rather than symphonic character” (as Berg called it) are easier to perform with larger groups than with a string quartet. The piece is enhanced by the richness of sound and clarification of structure.
5 Ensembles that have played this work: