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), 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. Composition and analysis 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 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 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 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 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, the "entire material, the tonal element too... as well as the Tristan