Editing Lulu (opera) (section)

=== Musical ===

====Instrumentation====

=====Pit orchestra=====
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;Woodwinds:
: 3 [[Western concert flute|flutes]] (all doubling [[piccolo]]s)
: 3 [[oboe]]s (3rd doubling [[cor anglais|English horn]])
: 3 [[clarinet]]s in [[soprano clarinet|B{{music|flat}}]] (1st and 2nd doubling [[E-flat clarinet|E{{music|flat}} clarinet]]s) 
: [[bass clarinet]] in B{{music|flat}}
: [[alto saxophone]] in E{{music|flat}}
: 3 [[bassoon]]s (3rd doubling [[contrabassoon]])
;Brass:
: 4 [[French horn|horns]] in F
: 3 [[trumpet]]s in C
: 3 [[trombone]]s
: [[tuba]]
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;[[Percussion instrument|Percussion]] 
: [[timpani]]
: [[Triangle (musical instrument)|triangle]]
: [[tambourine]]
: [[snare drum]]
: jazz drum
: [[bass drum]]
: [[cymbal]]s
: [[Rute (music)|switch]]
: 2 [[tam-tam]]s (high and low)
: [[xylophone]]
: [[vibraphone]]
;Keyboard:
: [[piano]]
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;Strings:
: [[harp]]
: [[violin]]s I
: violins II
: [[viola]]s
: [[cello]]s
: [[double bass]]es
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=====Special groups=====
The onstage jazz band in act 1, scene 3 (instrumentalists can be drawn from the pit players) consists of:{{sfn|UE|2015}}

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: 2 [[clarinet]]s in B{{music|flat}}
: [[alto saxophone]] in E{{music|flat}}
: [[tenor saxophone]] in B{{music|flat}}
: 2 Jazz [[trumpets]] in C
: 2 Jazz [[trombones]]
: [[sousaphone]]
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: Jazz [[drum set]] (3 players)
: [[banjo]]
: [[piano]]
: 3 [[violins]] with [[Stroh violin|jazz horns]]
: [[contrabass]]
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In act 3, scene 2, Cerha's edition uses a small onstage ensemble that requires:

: [[piccolo]]
: [[Western concert flute|flute]]
: 3 [[clarinet]]s in B{{music|flat}}
: [[bass clarinet]] in B{{music|flat}}
: [[contrabassoon]]

''Lulu'' is arguably the first seminal work of western art music that used the vibraphone, an instrument that had previously been associated with jazz.{{sfn|Blades|2005|loc=[https://books.google.com/books?id=a8V3Z6j2ExEC&pg=PA409 p.&nbsp;409]}} However, it has been used in smaller works by major composers prior to ''Lulu'', such as [[Maurice Ravel]]'s orchestrations of ''[[Don Quichotte à Dulcinée]]'' and ''[[:fr:Ronsard_à_son_âme|Ronsard à son âme <sup>[fr]</sup>]]'' (1933 and 1935 respectively), as well as [[Darius Milhaud]]'s incidental music to ''L'annonce faite à Marie'' (1932).<ref>{{Cite web |title=L'annonce faite à Marie, Darius Milhaud |url=https://brahms.ircam.fr/en/works/work/45400/ |access-date=2024-06-09 |website=brahms.ircam.fr}}</ref>

====Structure====
[[File:Berg lulu palindrome mirror point.png|thumb|300px|Centre-point of the palindrome in act 2]]
Berg was obsessed with symmetry in his works and ''Lulu'' is no exception, the whole being perceived as a palindrome or mirror. Lulu's popularity in the first act is mirrored by the squalor she lives in during act 3, and this is emphasised by Lulu's husbands in act 1 being played by the same singers as her clients in act 3. The motifs associated with each are repeated.{{sfn|Boulez|1979|loc=pp.&nbsp;28–29}}

This mirrorlike structure is further emphasised by the film interlude at act 2 at the very centre of the work. The events shown in the film are a miniature version of the mirror structure of the opera as a whole (Lulu enters prison and then leaves again) and the music accompanying the film is an exact [[palindrome]] – it reads the same forwards as backwards. The centre of this palindrome is indicated by an arpeggio played on the piano, first rising, then falling (shown here on the top staff).{{sfn|Boulez|1979|loc=pp.&nbsp;28–29}}

Berg assigns specific vocal styles to each character with descriptive orchestral representation, recapitulative episodes to emphasise psychological significance and [[Pitch class|pitch-sets]]. Recapitulation includes having single singers performing multiple roles. The use of pitch includes the use of twelve-[[tone row]]s.{{sfn|Boulez|1979|loc=pp.&nbsp;28–29}}{{sfn|Elliott|2014|loc=[https://books.google.com/books?id=qrkTAwAAQBAJ&pg=PA56 p.&nbsp;56]}}{{sfn|Blades|2005|loc=[https://books.google.com/books?id=a8V3Z6j2ExEC&pg=PA409 p.&nbsp;409]}}

====Serialism====
[[Tetrachord|Cell z]] (also one of the basic cells in Bartók's [[String Quartet No. 4 (Bartók)|String Quartet No. 4]]) is the basic cell of ''Lulu'' and generates [[trope (music)#20th-century music|trope]] I:{{sfn|Perle|1977|loc=[https://books.google.com/books?id=Vw3IeMkt8KAC&pg=PA12 p.&nbsp;12]}}

[[File:Berg's Lulu trope I.png|thumb|center|400px|The two non-identical forms of trope I, each generated from all even or odd forms of cell z]]

Although some of ''Lulu'' is freely composed, Berg also makes use of Schoenberg's [[twelve-tone technique]]. Rather than using one [[tone row]] for the entire work, however, he gives each character his or her own tone row, meaning that the tone rows act rather like the [[leitmotif]]s in [[Richard Wagner]]'s operas.

[[File:Berg - Lulu basic tone row.png|thumb|center|400px|Berg's ''Lulu'' basic tone row{{sfn|Whittall|2008|loc=p.&nbsp;81}} on C]]

From this one tone row, Berg derives tone rows for many of the characters. For example, the tone row associated with Lulu herself is: F, G, A{{music|flat}}, B{{music|flat}}, C, D, F{{music|sharp}}, D{{music|sharp}}, E, A, B, C{{music|sharp}}. This row is constructed by extracting one note (F) from the basic row's first trichord, then taking the next note (G) from the basic row's second trichord, then taking the third note (A{{music|flat}}) from the basic row's third trichord, and so on, cycling through the basic row three times.

[[File:Berg - Lulu Alwa tone row.png|thumb|center|400px|Berg's ''Lulu'' Alwa tone row{{sfn|Whittall|2008|loc=p.&nbsp;81}} on C]]

The tone row associated with Alwa is arrived at by repeating the basic tone row over and over and taking every seventh note;
[[File:Berg - Lulu, derivation of Alwa from basic series.png|thumb|400px|center|Derivation of Alwa series from basic series by taking every seventh note from repetitions of the basic series.{{sfn|Pople|1991|loc=p.&nbsp;22}}]]
this results in the following tone row: B{{music|flat}}, F{{music|sharp}}, E{{music|flat}}, G{{music|sharp}}, F, B, E, D, A, C, C{{music|sharp}}, G

[[File:Berg - Lulu Dr Schön tone row.png|thumb|center|400px|Berg's ''Lulu'' Dr. Schön tone row{{sfn|Whittall|2008|loc=p.&nbsp;81}} on C]]

Similarly, the tone row associated with Dr. Schön is arrived at by repeating the basic tone row (as in the previous example) and taking the first note, missing one note, taking the next, missing two, taking the next, missing three, taking the next, missing three, taking the next, missing two, taking the next, missing one, taking the next, missing one, taking the next, missing two, taking the next, and so on; this results in the following tone row: B{{music|flat}}, E{{music|flat}}, G, G{{music|sharp}}, D, F, E, A, B, C, F{{music|sharp}}, C{{music|sharp}}

[[File:Berg - Lulu Schoolboy tone row.png|thumb|center|400px|Berg's ''Lulu'' Schoolboy tone row{{sfn|Whittall|2008|loc=p.&nbsp;81}} on C]]<!-- Any analysis for the tone row of Der Gymnasiast? -->