Question: Which member of the LaSalle Quartet had a compsoitional style that combined Romantic lyricism with twelve-tone technique?

Context articles: Twelve-tone technique
Combinatoriality
Alban Berg
String Quartet (Lutosławski)
Serialism
Retrograde inversion
Walter Levin
LaSalle Quartet
Symphony No. 3 (Garayev)
Lyric Suite (Berg)

Twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition devised by Austrian composer Arnold Schoenberg (1874–1951) and associated with the "Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence.
 The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note through the use of tone rows, orderings of the 12 pitch classes.
 All 12 notes are thus given more or less equal importance, and the music avoids being in a key.
 Over time, the technique increased greatly in popularity and eventually became widely influential on 20th century composers.
 Many important composers who had originally not subscribed to or even actively opposed the technique, such as Aaron Copland and Igor Stravinsky, eventually adopted it in their music.
In music using the twelve tone technique, combinatoriality is a quality shared by twelve-tone tone rows whereby each section of a row and a proportionate number of its transformations combine to form aggregates (all twelve tones).
 Much as the pitches of an aggregate created by a tone row do not need to occur simultaneously, the pitches of a combinatorially created aggregate need not occur simultaneously.
 Arnold Schoenberg, creator of the twelve-tone technique, often combined P-0/I-5 to create "two aggregates, between the first hexachords of each, and the second hexachords of each, respectively."
 Combinatoriality is a side effect of derived rows, where the initial segment or set may be combined with its transformations (T,R,I,RI) to create an entire row.
 "Derivation refers to a process whereby, for instance, the initial trichord of a row can be used to arrive at a new, 'derived' row by employing the standard twelve-tone operations of transposition, inversion, retrograde, and retrograde-inversion."
 Combinatorial properties are not dependent on the order of the notes within a set, but only on the content of the set, and combinatoriality may exist between three tetrachordal and between four trichordal sets, as well as between pairs of hexachords, and six dyads.
 A complement in this context is half of a combinatorial pitch class set and most generally it is the "other half" of any pair including pitch class sets, textures, or pitch range.
Alban Maria Johannes Berg ( ; ] ; February 9, 1885 – December 24, 1935) was an Austrian composer of the Second Viennese School.
 His compositional style combined Romantic lyricism with twelve-tone technique.
Witold Lutosławski's String Quartet was commissioned by Sveriges Radio for the tenth anniversary of its new music program "Nutida Musik."
 It was completed in 1964 and its world premiere was performed by the LaSalle Quartet in Stockholm on March 12, 1965.
In music, serialism is a method or technique of composition that uses a series of values to manipulate different musical elements.
 Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking.
 Twelve-tone technique orders the twelve notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations.
 Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called "parameters"), such as duration, dynamics, and timbre.
 The idea of serialism is also applied in various ways in the visual arts, design, and architecture (; ), and the musical concept has also been adopted in literature (; ; ).
Retrograde inversion is a musical term that literally means "backwards and upside down": "The inverse of the series is sounded in reverse order."
 Retrograde reverses the order of the motive's pitches: what was the first pitch becomes the last, and vice versa.
 This is a technique used in music, specifically in twelve-tone technique, where the inversion and retrograde techniques are performed on the same tone row successively, "[t]he inversion of the prime series in reverse order from last pitch to first."
Walter Levin (December 6, 1924 – August 4, 2017) was the founder, first violinist, and guiding spirit of the LaSalle Quartet (active 1947–1987), which was known for its championing of contemporary composers, for its recordings of the Second Viennese School (Arnold Schoenberg, Alban Berg, and Anton Webern), as well as for its intellectually penetrating interpretations of the classical and romantic quartet repertory, in particular the late quartets of Beethoven.
 Levin was also an important pedagogue, having taught many of the world’s leading string quartets, among them the Alban Berg Quartet and the Arditti Quartet; other prominent students include the conductor James Levine, the violinist Christian Tetzlaff and the pianist Stefan Litwin.
The LaSalle Quartet was a string quartet active from 1946 to 1987.
 It was founded by first violinist Walter Levin.
 The LaSalle's name is attributed to an apartment on LaSalle Street in Manhattan, where some of its members lived during the quartet's inception.
 The quartet played on a donated set of Amati instruments.
Gara Garayev's Symphony No. 3 was composed in 1964.
 It was the last of the composer's three numbered symphonies and it marks a development from his two previous contributions to the genre, composed in the mid-1940s during his studies in the Leningrad Conservatory under Dmitri Shostakovich.
 It was one of the first serial symphonies composed in the Soviet Union, fusing the twelve-tone technique with Azerbaijani folk music influences in the ashug tradition in the frame of a classical structure, attempting "to find to new ways of artistic expression, new principles of form and construction, and, most notably, new means of expressive musical language" and wanting to prove that "strictly following the twelve-tone technique it is possible to write nationalistic music, and not simply nationalistic, but specifically ashug" according to the composer.
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.