Pierrot Lunaire [SEP] based on
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Pierrot Lunaire


Dreimal sieben Gedichte aus Albert Girauds "Pierrot lunaire" ("Three times Seven Poems from Albert Giraud's 'Pierrot lunaire), commonly known simply as Pierrot Lunaire, Op. 21 ("Moonstruck Pierrot" or "Pierrot in the Moonlight"), is a melodrama by Arnold Schoenberg. It is a setting of 21 selected poems from Albert Giraud's cycle of the same name as translated to German by Otto Erich Hartleben. The work is written for reciter (voice-type unspecified in the score, but traditionally performed
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Pierrot Lunaire


diversity, castration scenes and dildos, as well as a female to male transgender Pierrot. LaBruce subsequently filmed this adaptation as the 2014 theatrical film "Pierrot Lunaire". The quintet of instruments used in "Pierrot Lunaire" became the core ensemble for The Fires of London, who formed in 1965 as "The Pierrot Players" to perform "Pierrot Lunaire", and continued to concertize with a varied classical and contemporary repertory. This group performed works arranged for these instruments and commissioned new works especially to take advantage of this ensemble
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of the Schoenberg cycle, in 2014. Pierrot Lunaire is also a familiar figure in postmodern popular art: like the American experimental/drone music artist John DeNizio, Brazilian, Italian, and Russian rock groups have called themselves Pierrot Lunaire. The Soft Machine, a British group, included the song "Thank You Pierrot Lunaire" in its 1969 album "Volume Two"; the Scottish musician Momus included the track "Pierrot Lunaire" in his 2003 album Oskar Tennis Champion; and the avant-pop star Björk, known for
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Pierrot Lunaire (film)


Pierrot Lunaire is a Canadian/German film, which premiered at the 2014 Berlin Film Festival. Written and directed by Bruce LaBruce as an adaptation of Arnold Schoenberg's "Pierrot Lunaire", the film adds a transgender interpretation to the work, starring Susanne Sachsse as a trans man Pierrot. The film originated as a theatrical production of "Pierrot Lunaire", which LaBruce directed for Berlin's Hebbel am Ufer theatre in 2011. The costumes were designed by Zaldy. The film won a Jury Award from the 2014 Teddy Award jury
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Pierrot lunaire (book)


her interest in avant-garde music, performed Schoenberg's "Pierrot Lunaire" at the 1996 Verbier Festival with Kent Nagano conducting. In 2011, the French graphic novelist published the first volume of his projected trilogy, "Pierrot Lunaire", and in issue #676 of DC Comics, "Batman R.I.P.: Midnight in the House of Hurt" (2008), Batman acquired a new nemesis, who shadowed him—and plotted against Robin, the Boy Wonder—for ten more issues: his name was Pierrot Lunaire.
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and Diana Vreeland. The painters Paul Klee, Federico García Lorca, Theodor Werner, Marc Chagall, Markus Lüpertz, and Fernando Botero have all produced a "Pierrot Lunaire" (in 1924, 1928, 1942, 1969, 1984, and 2007, respectively). The British writer Helen Stevenson published a Chinese-box-like, postmodern set of variations on Giraud's poems in her 1995 novel "Pierrot Lunaire", and Bruce LaBruce released his Canadian/German film "Pierrot Lunaire", a gender-bending interpretation
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Pierrot lunaire (book)


"Thrice-Seven Poems from Albert Giraud's "Pierrot lunaire"", scored for what is now known as the Pierrot ensemble and a "Sprechstimme" voice. "For all the rough critical ride Schoenberg's compositions have received in general," writes the musicologist Jonathan Dunsby, ""Pierrot lunaire" has come to be regarded since its first performance in 1912 as a masterpiece." And he continues: Wherever we look in the history of its reception, whether in general histories of the modern period, in more
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Pierrot lunaire (book)


that same year, when the music group Dr. K Sextet, which had been born at London's Royal College of Music in 2009, performed extracts from "Pierrot lunaire", accompanied by an exhibition of artworks responding to each of its three sections (October 2014); mounted a "Pierrot-Kabarett" featuring new settings of Schoenberg's Brettl-Lieder (January 2015); and offered original interpretive responses to the central "dark" section of "Pierrot lunaire" (April 2015). Subsequently, the Project commissioned
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Pierrot lunaire (book)


theater" of the mind (1: "Theater"). "Pierrot lunaire" offers a performance, not an expression, of the self—a fact in which much of its "modernity" resides. In 1892, the poet and dramatist Otto Erich Hartleben published a German translation of "Pierrot lunaire"; he retained the rondel form of the poems, but he attempted no rhymes, altered line lengths, and made other substantive changes. Some commentators see his versions as improvements on the originals, although recent criticism
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Pierrot Lunaire


jazz singer Cleo Laine recorded "Pierrot Lunaire" in 1974. Her version was nominated for a classical Grammy Award. Another jazz singer who has performed the piece is Sofia Jernberg, who sang it with Norrbotten NEO. The avant-pop star Björk, known for her interest in avant-garde music, performed "Pierrot Lunaire" at the 1996 Verbier Festival with Kent Nagano conducting. According to the singer in a 2004 interview, "Kent Nagano wanted to make a recording of it, but I really felt that I would
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Pierrot


-novelists, such as Antoine Dodé. A passionately sinister Pierrot Lunaire has even shadowed DC Comics' Batman. The inextinguishable vibrancy of Giraud's creation is aptly honored in the title of a song by the British rock-group The Soft Machine: "Thank You Pierrot Lunaire" (1969). Pierrot, usually in the company of Pierrette or Columbine, appears among the revelers at many carnivals of the world, most notably at the festivities of Uruguay. His name suggests kinship with the Pierrot Grenade of Trinidad and Tobago Carnival
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Pierrot Lunaire (band)


Pierrot Lunaire was an Avant-prog/Progressive folk band from Italy. The band formed in 1974 and was originally named Primtemps. Two albums were released: a self-titled one in 1974 and "Gudrun" in 1976. They are quite different in style, the first being more based upon normal song structure though still being quite experimental, and the second being more free-form and experimental than the first. "Gudrun" is regarded as a classic by many fans of progressive rock. The band appears on the
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Pierrot lunaire (book)


Pierrot lunaire: rondels bergamasques ("Moonstruck Pierrot: bergamask rondels") is a cycle of fifty poems published in 1884 by the Belgian poet Albert Giraud (born Emile Albert Kayenburgh), who is usually associated with the Symbolist Movement. The protagonist of the cycle is Pierrot, the comic servant of the French Commedia dell'Arte and, later, of Parisian boulevard pantomime. The early 19th-century Romantics, Théophile Gautier most notably, had been drawn to the figure by his Chaplinesque pluckiness and pathos, and by the end of
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Pierrot ensemble


A Pierrot ensemble is a musical ensemble comprising flute, clarinet, violin, cello and piano, frequently augmented by the addition of a singer or percussionist, and/or by the performers doubling on other woodwind/stringed/keyboard instruments. This ensemble is named after 20th-century composer Arnold Schoenberg’s seminal work "Pierrot Lunaire", which includes the quintet of instruments above with a narrator (usually performed by a soprano). The quintet of instruments used in "Pierrot Lunaire" became the core ensemble for many contemporary-music ensembles
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Arab-American composer Mohammed Fairouz set the poet Wayne Koestenbaum's ten "Pierrot Lunaire" poems (2006)—all original in content, though retaining titles from the Giraud/Schoenberg cycles—to a theatrical score for tenor and the Pierrot ensemble. In these new settings, Pierrot, "erotomane, cinéaste, clown, troubadour, analysand, synaesthete", goes wandering "through circles of a moonlit inferno, where he confronts shadows of charmed, histrionic luminaries", including Susan Sontag, Virginia Woolf, Patty Duke, Mae West,
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homage to Schoenberg, the English composers Peter Maxwell Davies and Harrison Birtwistle founded The Pierrot Players in 1967; they performed under that name until 1970. The similarly inspired Pierrot Lunaire Ensemble Wien, founded in Vienna by flautist Silvia Gelos and pianist Gustavo Balanesco, is still performing internationally. In 1987, the Arnold Schoenberg Institute in Los Angeles commissioned the settings of the remaining twenty-nine poems that Schoenberg had neglected, utilizing the Pierrot ensemble ("Sprechstimme" optional), by sixteen American composers—Milton Babbitt, Leslie Bassett,
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Pierrot Lunaire


the end "it was an unqualified success". There was some criticism of blasphemy in the texts, to which Schoenberg responded, "If they were musical, not a single one would give a damn about the words. Instead, they would go away whistling the tunes". "Pierrot Lunaire" consists of three groups of seven poems. In the first group, Pierrot sings of love, sex and religion; in the second, of violence, crime, and blasphemy; and in the third of his return home
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Pierrot lunaire (book)


singing texts by Christian Morgenstern, parodies the musical lines of "Pierrot" to the accompaniment of flute (or piccolo), clarinet, violin (or viola), and violincello. Beginning in the early 1980s, scholars and musicians began to take a fresh look at Giraud's original texts, thereby initiating an implicit interrogation of the superiority of the Hartleben translations. Two works are especially illustrative of this development. The first, the volume "Pierrot Lunaire", of 1982, is a retranslation of the Hartleben versions back into
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studio, furnished with "re-imaginings of Schönberg's 'miusical' sketches and painted self portraits." The programs included an abstract light-and-sound "rendering of Schönberg's moonscape in Pierrot Lunaire" and "a series of masks and musical motives" conjuring up "the various archetypal Pierrot characters." Schoenberg has attracted at least one prominent parodist: in 1924, Hans Eisler, a student of Schoenberg, published "Palmström (Studies on 12-tone Rows)", in which a "Sprechstimme" vocalist,
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, which staged a version of "Pierrot lunaire" (with singer Christine Schadeberg) at the New School for Social Research in 1995 and, more recently, the internationally acclaimed contemporary music sextet eighth blackbird, which premiered a "cabaret opera" dramatizing the Schoenberg cycle in 2009. Its percussionist, Matthew Duvall, played Pierrot, and, in addition to the remaining five musicians and a singer/speaker, Lucy Shelton, the production included a dancer, Elyssa Dole. The work, which was toured in 2012 to mark the
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Pierrot lunaire (book)


centennial of Schoenberg's composition of "Pierrot lunaire", was conceived, directed, and choreographed by Mark DeChiazza. In the summer of 2014, the freelance curator Niamh White, composer Ewan Campbell, and pianist Alex Wilson founded the British arts collective The Pierrot Project in an attempt "to create events that combined both music and art, and to establish opportunities for talented young artists and musicians to work together in unique, informal settings for large cross-arts audiences." The first of its events unfolded in the fall of
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them to music, especially after they were translated, somewhat freely, into German (1892) by the poet and dramatist Otto Erich Hartleben. The best known and most important of these settings is the atonal song-cycle derived from twenty-one of the poems (in Hartleben's translation) by Arnold Schoenberg in 1912, i.e., his Opus 21: "Dreimal sieben Gedichte aus Albert Girauds" Pierrot lunaire ("Thrice-Seven Poems from Albert Giraud's" Pierrot lunaire—Schoenberg was numerologically superstitious). The impact
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Bruce LaBruce


Australian censors, it would have been refused classification. However, the film was subsequently able to screen at , a New Zealand lesbian and gay international film festival, in May 2011. In March 2011, LaBruce directed a performance of Arnold Schoenberg's opera "Pierrot Lunaire" at the Hebbel am Ufer Theatre in Berlin. This iteration of the opera included gender diversity, castration scenes and dildos, as well as portraying Pierrot as a transgender man. He subsequently also filmed this adaptation as the 2014 theatrical film "Pierrot Lunaire"
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) The frozen gestures ("their forks in their fists"), the air of blank incomprehension (shared as much by the reader as by the guests), the finicking nicety of the language ("elytra" [pl. of "elytron" = "wing-case"]) all contribute to the ambiguous black comedy of the poem. In a familiar dichotomy of the Symbolists, "Pierrot lunaire" occupies a divided space: a public realm, over which the sun presides, and a private realm,
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Pierrot lunaire (book)


19: "Black Butterflies"]); at times it suspends all laws of materiality (a moonbeam penetrates the "varnished case" of a violin to caress its "soul" with its "irony"—"like a luminous white bow" [32: "Lunar Violin"]). The result is Dalí-esque: a series of sharply etched transcriptions of proto-Surreal visions. "With its Baroque intensity of detail and its fin de siècle aura", as Giraud's American translator writes, ""Pierrot Lunaire"
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Pierrot Lunaire


by a soprano) who delivers the poems in the "sprechstimme" style accompanied by a small instrumental ensemble. Schoenberg had previously used a combination of spoken text with instrumental accompaniment, called "melodrama", in the summer-wind narrative of the "Gurre-Lieder", which was a fashionable musical style popular at the end of the nineteenth century. Though the music is atonal, it does not use Schoenberg's twelve-tone technique, which he did not first use until 1921. "Pierrot lunaire" is among
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Pierrot


Pierrots (and other masks) obsessively, sometimes rendering them prostrate in the ghastly light of dawn ("The Strange Masks" [1892]), sometimes isolating Pierrot in their midst, his head drooping in despondency ("Pierrot's Despair" [1892]), sometimes augmenting his company with a smiling, stein-hefting skeleton ("Pierrot and Skeleton in Yellow" [1893]). Their countryman the poet Albert Giraud also identified intensely with the "zanni": the fifty rondels of his "Pierrot lunaire
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Jane Manning


". She is also widely considered to be one of the world's finest performers of Schoenberg's Pierrot Lunaire. In his preface to Manning's 65th birthday concert at Wigmore Hall in 2003, the British critic Bayan Northcott wrote: It was an inspired choice to present Jane Manning as Miss Donnithorne, not only because she is an artist of astonishing gift but because she is also one of the greatest performers of Schoenberg's Pierrot Lunaire, and in her performance of the Maxwell Davies, the two pieces are palpably linked... Her
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Pierrot lunaire (book)


composers but also among choreographers and singer-performers. Dancers who have staged "Pierrot lunaire" include the Russian-born American Adolph Bolm (1926), the American Glen Tetley (1962), the German (2010) and the French (2011). Also, the avant-garde "Triadic Ballet" (1923) by Oskar Schlemmer and Paul Hindemith was inspired by Schoenberg's song-cycle. The theatrical/operatic possibilities of Schoenberg's score have been realized by at least two major ensembles: the Opera Quotannis
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Pierrot Lunaire


occurs three times (being repeated as lines seven and 13). Though written in a freely atonal style, "Pierrot Lunaire" uses a variety of classical forms and techniques, including canon, fugue, rondo, passacaglia, and free counterpoint. The instrumental combinations (including doublings) vary between most movements. The entire ensemble is used only in Nos. 6, 11, 14, 15 (end), 16, 18, 19 (end), 20, and 21. Musicologist Alan Lessem states about the work
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Pierrot


" ("Moonstruck Pierrot" [1884]) would inspire several generations of composers (see Pierrot lunaire below), and his verse-play "Pierrot-Narcissus" (1887) offered a definitive portrait of the solipsistic poet-dreamer. The title of choreographer Joseph Hansen's 1884 ballet, "Macabre Pierrot", created in collaboration with the poet Théo Hannon, summed up one of the chief strands of the character's persona for many artists of the era. In the England of the Aesthetic Movement, Pierrot figured
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Lunatics at Large


artists in upcoming seasons. Formed in 2007 at Mannes College The New School for Music, Lunatics at Large spent the first year of its existence exploring Arnold Schoenberg’s masterpiece "Pierrot lunaire, op. 21", which the group performed 6 times in concerts. With a first series of thematic concerts, "Pierrot lunaire, et al.", Lunatics at Large sought to broaden its look at how the previously unprecedented chamber combination of strings, winds and piano has changed the timbral possibilities open to composers throughout the 20th and
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Pierrot


for his opera "Lulu" (unfinished; first perf. 1937), he retained the scene of Lulu's meretricious pierroting. In a similarly (and paradoxically) revealing spirit, the painter Paul Hoecker put cheeky young men into Pierrot costumes to ape their complacent burgher elders, smoking their pipes ("Pierrots with Pipes" [c. 1900]) and swilling their champagne ("Waiting Woman" [c. 1895]). (See also Pierrot lunaire below.) Canio's Pagliaccio in the famous opera (1892)
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Pierrot Lunaire


be invading the territory of people who sing this for a lifetime ." Only small recorded excerpts (possibly bootlegs) of her performance have become available. The American mezzo-soprano Mary Nessinger has performed "Pierrot Lunaire" extensively with organizations such as the Chamber Music Society of Lincoln Center, Chamber Music Northwest, and Sequitur at venues including Alice Tully Hall and Weill Recital Hall at Carnegie Hall. In March 2011, Bruce LaBruce directed a performance at the Hebbel am Ufer Theatre in Berlin. This interpretation of the work included gender
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Lunatics at Large


Lunatics at Large is a New Music chamber ensemble based in New York City. It was formed in 2007 to explore the repertoire for mixed chamber combinations beginning with Arnold Schoenberg's "Pierrot lunaire, op. 21". Lunatics at Large is a Pierrot ensemble augmented with soprano and viola. A large mixed ensemble combining voice, strings, winds and piano, Lunatics at Large was formed to explore the timbral possibilities of chamber music repertoire from the beginning of the 20th century until now. In thematic concerts, the group’s programs
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Pierrot lunaire (book)


Pierrot appears, he is the possessor of a "bright and joyous lantern" (44: "The Lantern"), marking a turn from the dark Symbolist world to the light. Giraud's imagined identification of himself with his protagonist is complete; it is, in fact, often difficult to determine whether the subject of a given poem is Pierrot or Giraud. (To distinguish a "narrator" here is probably to make too nice a distinction.) The "I" that makes occasional appearances claims relation to Pierrot
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Pierrot lunaire (book)


"through the Moon"; he lives, like Pierrot, "by sticking out. . ./[His] bleeding tongue at the Law" (13: "To my Bergamask Cousin"). Also like Pierrot, he "discovers drunken landscapes" in absinthe (22: "Absinthe") and savors the "morbid and mournful charm"—"Like a bloody drop of spittle/From a consumptive's mouth"—of melancholy music (26: "Chopin Waltz"). Both are nostalgic for Pierrot's past, that "adorable snow" of
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Pierrot lunaire (book)


Pierrot in disguise" (9: "Polar Pierrot") and seeking, "all along the Lethe", not Columbine the fickle woman but her ethereal floral namesakes—"pale flowers of moonbeams/Like roses of light" (10: "To Columbine"). The moon is, aptly, a "pale washerwoman" (5: "Moon over the Wash-House") whose ablutions minister chiefly to the mind. For Pierrot has lost the happy enchantments of the past: the moribund pantomimic world seems "absurd and
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Pierrot ensemble


of the twentieth century, such as The Fires of London, who formed in 1965 as "The Pierrot Players" to perform Pierrot Lunaire, and continued to concertize with a varied classical and contemporary repertory. This group (and others like it) began to perform works arranged for these instruments and commission new works especially to take advantage of this ensemble's instrumental colors. While many professional chamber ensembles (such as string quartets and piano trios) continued to focus on musical literature of the 18th and 19th centuries, the Pierrot ensemble
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Pierrot ensemble


became one of the most prominent chamber ensembles in classical music of the 20th century, and continues to be popular with composers and performers today. Doublings are often called for in music written for Pierrot ensemble. For example, in Schoenberg's "Pierrot Lunaire", the flutist is asked to play piccolo, the clarinetist is asked to play bass clarinet (as in Earle Brown's "Tracking Pierrot"), or saxophone, and (much more unusually) the violinist is asked to play viola. Other common doublings might include
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Pierrot lunaire (book)


is about Pierrot's making up his face with moonlight; the poem that follows it, 5: "Moon over the Wash-House", identifies the moon as a washerwoman. Nowhere else in the cycle is this party revisited; it is impossible, therefore, to understand the import of the gathering or the identity of the guests. (Are the "Gilles" among the guests? or are they part of the entertainment? Is it Pierrot who has whimsically stolen away the viands? or is it stingy Cassander?
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Pierrot lunaire (book)


sweet, like a lie" (37: "Pantomime"), and the "soul" of its old comedies, to which he sometimes mentally propels himself, with an imaginary oar of moonlight (36: "Pierrot's Departure"), is "like a soft crystal sigh" bemoaning its own extinction (34: "Nostalgia"). Now, at the end of the century, Pierrot resides in a "sad mental desert" (34: "Nostalgia"). He is bored and splenetic:
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Pierrot lunaire (book)


imagines himself as Harlequin, not Pierrot, the poet recalls dreaming, as a child, of "a multicolored alphabet,/In which each letter was a mask", a dream that agitates his "foolish heart" today. It is a revealing confession: an admission that the agents of his creations as an artist, the alphabet, are ideally not agents of self-expression but of self-fabrication under the mask of an Other. And this Other—Pierrot—is himself a fabrication, a mercurial puppet in a "chamber
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Pierrot lunaire (book)


is a work not to be forgotten." Because the rondel is such a tightly "closed" form, each poem seems to stand as an independent unit, isolated from the other poems around it. Giraud heightens this sense of disconnection by eschewing sustained narrative, presenting Pierrot's situation as a series of stark vignettes. Sometimes these vignettes are clustered rather coherently (as in those dealing with Pierrot-as-modern-Christ—27: "The Church", 28: "Evocation", 29: "Red Mass",
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Pierrot lunaire (book)


that we drink with our eyes" (16: "Moon-Drunk")—he takes pleasure in tormenting his enemies: he makes music by drawing a bow across Cassander's pot-belly (6: "Pierrot's Serenade"); he bores a hole in his skull as a bowl for his pipe (45: "Cruel Pierrot"). (Cassander is a target because he is an "academician" [37: "Pantomime"], a dry-as-dust guardian of the Law.) Madness seems
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Pierrot lunaire (book)


to be lurking at Pierrot's elbow, as when he makes up his face with moonlight (3: "Pierrot-Dandy"), then spends an evening trying to brush a spot of it from his black jacket (38: "Moon-Brusher"). At his most despairing, he is visited by thoughts of his "last mistress"—the gallows (17: "The Song of the Gallows"), at the end of whose rope he dangles in "his white Moon robe" (18: "Suicide
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Pierrot lunaire (book)


the century, especially in the hands of the Symbolists and Decadents, Pierrot had evolved into an alter-ego of the artist, particularly of the so-called poète maudit. He became the subject of numerous compositions, theatrical, literary, musical, and graphic. Giraud's collection is remarkable in several respects. It is among the most dense and imaginatively sustained works in the Pierrot canon, eclipsing by the sheer number of its poems Jules Laforgue's celebrated "Imitation of Our Lady the Moon" (1886). Its
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Fires of London


The Fires of London, founded as the Pierrot Players, was a British chamber music ensemble which was active from 1965 to 1987. The Pierrot Players was founded by Harrison Birtwistle, Alan Ray Hacker, and Stephen Pruslin. From 1967 it was under the joint direction of Birtwistle and Peter Maxwell Davies. The ensemble was formed to play Schoenberg's "Pierrot Lunaire" and new works, often with a theatrical element, for a similar scoring (usually with the addition of percussion). Maxwell Davies described the basic instrumentation as flute
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Pierrot


and the verses of his "Vision in Spring" (1921), works that were an early and revealing declaration of the novelist's "fragmented state". (Some critics have argued that Pierrot stands behind the semi-autobiographical Nick Adams of Faulkner's fellow-Nobel laureate Ernest Hemingway, and another contends that James Joyce's Stephen Dedalus, again an avatar of his own creator, also shares the same parentage.) In music, historians of Modernism generally place Arnold Schoenberg's 1912 song-cycle "Pierrot lunaire"
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and 30: "The Crosses"), but, more often than not, they seem random in their placement (and thus may be explained, at least in part, Schoenberg's not scrupling to change their order in his song-cycle). The effect of all these structural and stylistic techniques is both comic and unsettling, as the poem "Disappointment" (4: "Déconvenue") suggests: The scene is completely without context: the poem that precedes it, 3: "Pierrot-Dandy",
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blood into "filthy sewers" (20: "Sunset"). It is a "great sun of despair" (33: "The Storks"). Pierrot is of the dreaming, moonlit world. His is an enchanted interior space, in which sequestered violins are caressed by moonbeams, thereby setting their souls, "full of silence and harmony", thrumming (32: "Lunar Violin"). He lives there as an aloof "isolato," encountering in a "sparkling polar icicle" a "
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yesteryear, when the "zanni" of the old comedies was a "lyre-bearer,/Healer of wounded spirits" (31: "Plea"). And both are staunch in their commitment to an anti-materialistic idealism, Giraud seeing in the whiteness of Pierrot—and of snow, swans, and lilies—a "scorn of unworthy things" and a "disgust for weak hearts" (40: "Sacred Whitenesses"). Art they hold in worshipful regard: Giraud's book, his "poem",
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poetry, but at a cost—and with a difference. What is summoned to "the altar of [these] verses" is not the gentle Mary but the "Madonna of Hysteria", who holds out "to the incredulous universe/[Her] Son, with his limbs already green,/His flesh sagging and decayed" (28: "Evocation"). To the assembled faithful, Pierrot offers his heart: "Like a red and horrible Host/For the cruel Eucharist" (29: "Red Mass"). The
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Pierrot lunaire (book)


is lyrically tender (clouds are "like splendid fins/Of chameleonic fish of the sky" [12: "The Clouds"]); sometimes it is shockingly brutal (Pierrot's thought of his "last mistress", the gallows, "is like a nail/That drunkenness drives into his head" [17: "The Gallows' Song"]). At its most dreamlike, it has a disturbing obscurity of reference ("sinister"—and unexplained—"black butterflies" swarm in the sky and blot out the sun [
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Pierrot


scientist, a musician, a duke, a polo player. However, he is not above picking up cigarette butts or robbing a baby of its candy. And, of course, if the occasion warrants it, he will kick a lady in the rear—but only in extreme anger! In this section, with the exception of productions by the Ballets Russes (which will be listed alphabetically by title) and of musical settings of Pierrot lunaire (which will be discussed under a separate heading), all works are identified
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Pierrot lunaire (book)


capital letters represent the refrains, or repeated lines. Within this austere structure, however, the language is—to use Vilain's words—"suggestive" and the imaginative penetration beneath the "here-and-now" daring and provocative. Like Laforgue after him, Giraud uses neologisms ("Bourrèle!" ["Executioner!" or "Torturer!"]), unusual word choices ("patte" [which usually means "paw"] for Pierrot's foot), and ambiguities ("Arlequin porte un arc-
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Pierrot lunaire (book)


dominated by the moon. The waking, sunlit world, populated by Pierrot's Commedia dell'Arte companions, is marked by deformity, degeneracy, avarice, and lust. Its Crispins are "ugly", and its Columbine "arches her back", apparently in expectation of sexual pleasure (1: "Theater"). The meretriciously multicolored Harlequin—"shining like a solar spectrum" (11: "Harlequin")—is an "artificial serpent" whose "essential goal" is "falsehood and deceit" (8: "Harlequinade"). An
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"). That the moon, indeed, seems to connive in his extinction is suggested by its sometime appearance as "a white saber/On a somber cushion of watered silk" that threatens to come whistling down on Pierrot's neck (24: "Decapitation"). His consolation is that the art in which he resides will have eternal life: "Beautiful verses are great crosses/On which red Poets bleed" (30: "The Crosses"). The old succor of religion is replaced by that of
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Pierrot lunaire (book)


new Lamb of God is a consumptive, his Word a confession of both self-sacrifice and impotence. And yet, for all the harshness of this portrait, the tone of the poems lightens considerably towards the end of the cycle. The dance of a "fine pink dust" on the horizon announces the sunrise in poem 41 ("Pink Dust"); Pierrot joins Harlequin and Columbine for a sumptuous repast in poem 48 ("Supper on the Water"); and in one of the last vignettes in which
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Anton Webern


Pierrot lunaire" (1912), op. 21, with, e.g., intricately interrelated canons in "Der Mondfleck", clear waltz rhythms in "Serenade", a barcarolle ("Heimfahrt"), triadic harmony throughout "O alter Duft". "Pierrot" was received by Webern as a direction for the composition of his own opp. 14–16, most of all with respect to contrapuntal procedures (and to a lesser degree with respect to the diverse and innovative textural treatment among instruments in increasingly smaller ensembles).
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Pierrot Lunaire


Schoenberg's most celebrated and frequently performed works. Its instrumentation – flute, clarinet, violin, cello, and piano with standard doublings and in this case with the addition of a vocalist – is an important ensemble in 20th- and 21st-century classical music and is referred to as a "Pierrot ensemble". The piece was premiered at the Berlin Choralion-Saal on October 16, 1912, with Albertine Zehme as the vocalist. A typical performance lasts about 35 to 40 minutes. The work originated in a commission by Albertine
19805404
Pierrot


's vampire novels, or the S&M lyrics of the English rock group Placebo). The format of the lists that follow is the same as that of the previous section, except for the Western pop-music singers and groups. These are listed alphabetically by first name, not last (e.g., "Stevie Wonder", not "Wonder, Stevie"). The fifty poems that were published by Albert Giraud (born Emile Albert Kayenbergh) as "Pierrot lunaire: Rondels bergamasques" in 1884 quickly attracted composers to set
5847136
Fires of London


was one of many ensembles created to play "Pierrot Lunaire", and the presence of these ensembles led to many new works being written for the same instrumentation. This in turn led to the formation of yet more groups, leading to the establishment of the Pierrot ensemble (flute, clarinet, violin, cello, and piano) as a standard instrumentation in contemporary music. Principal players in the formative years included Judith Pearce (flute), Alan Hacker (clarinet), Duncan Druce (violin), Jennifer Ward Clarke (
15143822
Pierrot lunaire (book)


"His strange, mad gaiety/Has flown away, like a white bird" (15: "Spleen"). Too often the moon seems like a "nocturnal consumptive" tossing about on the "black pillow of the skies", deceiving the "carefree lover passing by" into mistaking for "graceful rays/[Its] white and melancholy blood" (21: "Sick Moon"). When Pierrot cannot find relief in her customary magic—in the "strange absinthe" of her beams, this "wine
16744255
Song cycles (Waterhouse)


with translation, the year of composition, the text source and its language(s), voice type (soprano, mezzo-soprano, tenor) and instrument or ensemble, and the number of movements. When ensemble is mentioned, it is always the Pierrot ensemble which Arnold Schönberg introduced in his "Pierrot Lunaire" of 1912: flute, clarinet, violin, cello, piano and percussion. The cycle, composed in 2003, sets six of the late poems by Hölderlin for mezzo-soprano voice and cello in seven movements,
20957168
Masques et bergamasques


number of musical works, including Schoenberg's melodrama "Pierrot lunaire" (1912) and Stravinsky's ballet "Pulcinella" (1920). Fauchois' story has a "commedia dell'arte" troupe spying on the amorous encounters of aristocrats in its audience. The scenery for the production was based on Watteau's "L'Escarpolette". The Monte Carlo production was such a success that Albert Carré put the work on at the Opéra-Comique in Paris in March 1920, where it was performed more than 100 times over the next thirty
10898767
Thomas Albert


the producing artistic director of the Shenandoah Summer Music Theatre. Albert’s music is stylistically postmodern, exhibiting influences of Ives, Copland, Crumb, minimalism and 20th-century American popular music. Since the mid-1990s his works have been mostly composed for the combination of instruments known as the "Pierrot sextet" (after Arnold Schoenberg's "Pierrot Lunaire": flute, clarinet, violin, cello, piano, with percussion instead of Schoenberg's singer), and have explored the application of the Fibonacci series (a numerical series in
16308070
Pierrot lunaire (book)


French by the poets Michel Butor and Michel Launay, who conclude their work with poems of their own inspired by Giraud. The second, "Variations: Beyond Pierrot" (1995), is a work by the American composer Larry Austin. Each of its three ten-minute sections features a "Sprechstimme" soprano who sings fragments of Schoenberg's 21 selections accompanied by flute, clarinet, violin, cello, and piano. She sometimes renders those fragments in Giraud's original French, sometimes in Hartleben's German, at other
16744279
Pierrot lunaire (book)


into the music; sometimes they sing in both French and English; sometimes they speak the poems in both languages (in various combinations). The few songs entirely in French are intended to be glossed by action in performance. Instruments occasionally brought in, usually solo, are violin, cello, piano, organ, chimes, and beatbox. The English texts were derived from literal translations of Giraud's poems by Kay Bourlier. Giraud's original texts (and apparently one of Hartleben's) also stand behind the "Seven Pierrot
16744281
Bethany Beardslee


the "spreschstimme" medium. You have made a permanent document." It was also the recording used by Glen Tetley when he choreographed "Pierrot Lunaire". In 1977-78, Rudolf Nureyev, dancing Tetley's choreography to Beardslee's live performances, appeared together in New York, Los Angeles, and Paris. Beardslee went on to perform "Pierrot" over fifty times in the US and abroad. In 1961, Beardslee sang for Martha Graham's premiere of Clytemnestra. She premiered new works by Babbitt, Schoenberg,
18193397
Jean-Gaspard Deburau


bull/Peeps behind the scenes/At its friend Jean Gaspard Deburau.” And as the century progressed, the association—rendered inevitable by the universal familiarity of “Au clair de la lune”—became ever more strong. With the advent of the Symbolist poets, and their intoxication with everything white (and pure: swans, lilies, snow, moons, Pierrots), the legendary star of the Funambules and what Jules Laforgue called Our Lady the Moon became inseparable. Albert Giraud's "Pierrot lunaire" (1884) marked a
2506691
WERGO


WERGO is a German record label focusing on contemporary classical music. It was founded in 1962 by German-Argentinian art historian, jurist and professor (1903–1975) and the musicologist Helmut Kirchmeyer. Their first release, filed under "WER 60001", was Schoenberg's "Pierrot lunaire", conducted by Pierre Boulez. The record company is owned by Schott Music, both based in Mainz, Germany. A great number of contemporary composers have been recorded by the label. These include Louis Andriessen, George Antheil, Béla Bartók,
1435719
Pierrot Lunaire


Zehme, a former actress, for a cycle for voice and piano, setting a series of poems by the Belgian writer Albert Giraud. The verses had been first published in 1884 and later translated into German by Otto Erich Hartleben. Zehme had previously performed a 'melodrama' by composer Otto Vrieslander based on the translated poems. But, according to Eduard Steuermann, student of Schoenberg and pianist of the premiere, "the music was not strong enough, and someone advised her to approach Schoenberg..." Schoenberg began work on March
19805405
Pierrot lunaire (book)


ephemeral press response, in the comments of musical leaders like Stravinsky or Boulez, in pedagogical sources or in specialized research studies, the overwhelming reaction to "Pierrot" has been an awestruck veneration of its originality.The most obvious manifestation of that originality is the "Sprechstimme" required of its vocalist, and among those who have met its challenges should be mentioned Albertine Zehme (who commissioned the work and performed, dressed as Columbine, in its first productions), Bethany Beardslee, Jan DeGaetani, and Christine Schäfer. As an
16744269
Pierrot lunaire (book)


Susan Morton Blaustein, Paul Cooper, Miriam Gideon, John Harbison, Donald Harris, Richard Hoffmann, Karl Kohn, William Kraft, Ursula Mamlok, Stephen L. Mosko, Marc Neikrug, Mel Powell, Roger Reynolds, and Leonard Rosenman. The settings were given their premieres between 1988 and 1990 in four concerts sponsored by the Institute. (The director of the Institute, Leonard Stein, added a setting of his own to the final concert of the project.) Schoenberg's "Pierrot" has kindled inspiration not only among fellow
16744271
Pierrot lunaire (book)


artists Tim A. Shaw, Jörg Obergfell, and Sara Naim to work with composers Ewan Campbell, Stef Conner, and Chris Roe to create "collaborative works that explore Schönberg's life, mind and work, for an exclusive 2 week showing at Display Gallery in London: 5th-17th February 2016," preceded by a February 4th concert by the Dr. K Sextet, which performed among the resulting installations. Known as The Pierrot Studio, this new project was staged in a "psychic, virtual or imagined" recreation of Schoenberg's own
16744276
Psappha New Music Ensemble


seven CDs of music by British composers, including John Casken, Piers Hellawell and Gordon McPherson. Their Patron until his death in March 2016 was Sir Peter Maxwell Davies. Davies was earlier associated with the Fires of London, a group which disbanded in 1987. The "Fires" formed in the 1960s to play Arnold Schoenberg's "Pierrot Lunaire" (1912) and new works with a similar scoring. Psappha has performed Davies' works for Pierrot ensemble, such as "Missa super l'homme armé" (1968, rev.
20924706
Duncan Druce


His widow, daughters, four grandchildren and a great-grandson, and his sister Cathy all survive him. When working as a music producer for the BBC in the late 1960s, Duncan Druce became a notable and much in demand violin and viola player of contemporary music. He was an original member of Harrison Birtwistle's Pierrot Players, noted for his rendition of the violin/viola part in Schoenberg's "Pierrot Lunaire". Druce also performed with the ensembles Music Theatre Ensemble and the Fires of London during this period.
7819132
Symbolism (arts)


Debussy was profoundly influenced by symbolist themes and tastes. His best known work, the "Prélude à l'après-midi d'un faune", was inspired by Mallarmé's poem, "L'après-midi d'un faune". The symbolist aesthetic also influenced Aleksandr Scriabin's compositions. Arnold Schoenberg's "Pierrot Lunaire" takes its text from German translations of the symbolist poems by Albert Giraud, showing an association between German expressionism and symbolism. Richard Strauss's 1905 opera "Salomé", based on the play by Oscar Wilde, uses a
10837851
Le Marteau sans maître


, "Pierrot Lunaire" , one of which is that each movement chooses a different subset of the available instruments: The opening of the third movement in the flute is typical of the difficulties required of performers including wide range, large leaps, and complex rhythms: Boulez uses many serial composition techniques, including pitch multiplication and pitch-class association. According to Koblyakov, Movements I, III, and VII, are based on multiplying together various sets derived from the following tone row: 3 5 2 1 10 11 9 0
8949628
Glen Tetley


Tetley stand out among other choreographers was his ability to seamlessly mix ballet and modern dance. Tetley choreographed over 50 ballets for some of the world's most famous dance companies. Tetley made his choreographic premier in 1962 with "Pierrot Lunaire" which he choreographed for his newly formed chamber company. Tetley based this piece on music of the same name by composer Arnold Schoenberg. Though this piece was one of his first choreographic ventures, it is heralded by many as one of his best and most iconic. It is also here where
12495308
Pierrot lunaire (book)


is "a ray of moonlight stoppered up/In a beautiful flagon of Bohemian glass" (50: "Bohemian Crystal"). But, paradoxically, both, as artists, are self-estranged: ironically, the interior quest for "sacred whitenesses", for a purity of soul, is synonymous with the assumption of a falsehood, a mask—one of theatrically clownish extravagance that borders on madness and fatal excess. In 39: "The Alphabet", an apparent anomaly in the cycle, in which Giraud
16744264
Pierrot lunaire (book)


Miniatures" (2010) by the Scottish composer Helen Grime, though hers cannot be called "settings", since voice and words are absent. The seven poems she selected—12: "The Clouds", 2: "Decor", 22: "Absinthe", 18: "Suicide", 27: "The Church", 20: "Sunset", and "The Harp", none used by Schoenberg—were merely "points of departure" for her suite for mixed ensemble. In 2013, the
16744282
Nina (singer)


of the academy in the eight season of "Operación Triunfo", on Telecinco. She has also worked in stage musicals like "Las cuatro cartas" (1990), "Cabaret" (1992), "Casem-nos una mica" (1993), "Te odio mi amor" (1995), "Company" (1997) "Pierrot Lunaire" (1998), "Corre, corre Diva" (1998), "Espai pel somni" (1999), "Programa Sondheim" (2000
19919089
Pierrot lunaire (book)


en-ciel", meaning "Harlequin bears [or "carries" or "wears"] a rainbow") to enrich the fantastic atmosphere of the poems. His syntax is sometimes elliptical or fractured, as in the first line of the cycle: "Je rêve un théâtre de chambre" ("I dream a chamber theater"), instead of the usual "Je rêve "d'un" théâtre de chambre". And the imagery, especially in the similes, traffics often in the jarringly unexpected. Sometimes it
16744243
Pierrot Lunaire


repeated (13) to close the third stanza and the poem. The first poem is shown below. The atonal, expressionistic settings of the text, with their echoes of German cabaret, bring the poems vividly to life. "Sprechstimme", literally "speech-singing" in German, is a style in which the vocalist uses the specified rhythms and pitches but does not sustain the pitches, allowing them to drop or rise, in the manner of speech. Schoenberg describes the technique in a foreword to the score:
19805411
Sprechgesang


adopted the technique and asked for it in parts of his operas "Wozzeck" and "Lulu". In the foreword to "Pierrot Lunaire" (1912), Schoenberg explains how his "Sprechstimme" should be achieved. He explains that the indicated rhythms should be adhered to, but that whereas in ordinary singing a constant pitch is maintained through a note, here the singer "immediately abandons it by falling or rising. The goal is certainly not at all a realistic, natural speech. On the contrary, the difference
8423294
Atonality


a relation of colors aspectral or acomplementary. There is no such antithesis" . Composer and theorist Milton Babbitt also disparaged the term, saying "The works that followed, many of them now familiar, include the Five Pieces for Orchestra, Erwartung, Pierrot Lunaire, and they and a few yet to follow soon were termed 'atonal,' by I know not whom, and I prefer not to know, for in no sense does the term make sense. Not only does the music employ 'tones,' but it
1832358
Candyland (album)


metal/rock of [his] younger days". However, he also stated that "[he] didn't find Scarlet's vocal approach to be to [his] taste in most songs" ("Pierrot Lunaire" excepted, which he thought of as "one of the disc's main standouts"), and commented on the lack of "occult-/Lilith-/Lucifer-style lyrics" as being "a kind of a drag". Matt Coe of "Eternal Terror" webzine rated the album with a 4 out of
18548327
Anja Silja


, "Pierrot lunaire", Judith in "Bluebeard's Castle", Countess Geschwitz in "Lulu", Madame de Croissy in "Dialogues des Carmélites" (her Teatro alla Scala debut, under Riccardo Muti, 2004; three years later she sang in "Jenůfa" there), "La voix humaine", Míla's Mother in "Osud", the Comtesse in "Pique-dame", and the Witch in "Hänsel und Gretel". She was first heard in Cleveland, Boston, Madrid, Leipzig
18984802
Nightwing


is ambushed by the International Club of Villains. He is later seen in Arkham Asylum, frothing at the mouth and presumably drugged, believed by the staff to be Pierrot Lunaire, a member of the Club. Scheduled for an experimental lobotomy by Arkham himself, he's spared by the ICoV taking hold of the Asylum, wanting to use him and Jezebel Jet, Bruce's fiancée at the time, as bait. As Jezebel's capture is revealed to be a red herring, due to her being a part of the Black
19367421
Pierrot Lunaire


that "on the whole instrumental textures tend to become fuller as the work progresses" and that, in general, "the piano is the leading [instrumental] protagonist of the melodramas." The poetry is a German version of a rondeau of the old French type with a double refrain. Each poem consists of three stanzas of 4 + 4 + 5 lines, with the first two lines of the first stanza (1,2) repeated as the last two lines of the second stanza (7,8), and line 1 additionally
19805410
Recital I (for Cathy)


years, "Avendo gran disio" and "Epifanie". As the recital progresses the singer's descent into madness is emphasized by quotations from "Hamlet", "Pierrot Lunaire" and the mad scenes from Gaetano Donizetti's "Lucia di Lammermoor" and Giacomo Meyerbeer's "Dinorah" . She ends the piece with a prayer for liberation ("libera nos"), her vocal range reduced to a semitone. In "Quotation and Cultural Meaning in Twentieth-Century Music" by David Metzer, the sources of the
3315964
Steve Reich


Sinfonietta and "Daniel Variations" (2006). in 2002 Reich was invited by Walter Fink to the annual Komponistenporträt of the Rheingau Musik Festival, as the 12th composer featured. In an interview with "The Guardian", Reich stated that he continued to follow this direction with his piece "Double Sextet" (2007), which was commissioned by eighth blackbird, an American ensemble consisting of the instrumental quintet (flute, clarinet, violin or viola, cello and piano) of Schoenberg's piece "Pierrot Lunaire" (
7030045
Sprechgesang


, where it may have been intended to imitate a style already in use by singers of lieder and popular song, but it is more closely associated with the composers of the Second Viennese School. Arnold Schoenberg asks for the technique in a number of pieces: the part of the Speaker in "Gurre-Lieder" (1911) is written in his notation for "sprechstimme", but it was "Pierrot Lunaire" (1912) where he used it throughout and left a note attempting to explain the technique. Alban Berg
8423293
Kindertotenlieder


example Schoenberg in "Pierrot Lunaire". Concerning the performance of the work, the composer wrote "these five songs are intended as one inseparate unit, and in performing them their continuity should not be interfered with". The work takes about 25 minutes to perform. At the time he wrote the work, Mahler was no stranger to the deaths of children. Hefling writes: "Such tragedy was familiar to Mahler, eight of his siblings died during their childhood. Among all of them, the death of his closest younger
11212877
Mette Hønningen


Thomas Grimm whom she married. In 1967, she became a soloist and in 1976, principal at the Royal Ballet. She demonstrated her abilities as a Bournonville dancer in "Napoli" (1963) and "Sylfiden" (1976) but she is remembered above all for her performances in modern ballet, frequently dancing barefoot. From the late 1960s, she starred in works by the American choreographer Glen Tetley, including "Pierrot Lunaire" (1968), "Greening" and "Voluntaires" (1978), and "
12088007
Rudolf Kolisch


Schoenberg's "Chamber Symphony No. 1". During this time he prepared the ensemble and participated in the recording of Schoenberg's "Pierrot lunaire", conducted by the composer. He researched and wrote an article, "Tempo and Character in Beethoven's Music" which was presented to the New York chapter of the American Musicological Society and later published in two installments in the magazine "Musical Quarterly". In 1944 Kolisch was invited to the University of Wisconsin–Madison to become the new leader of the Pro Arte String
17844811
Bethany Beardslee


Foundation Award in 1964 gave Beardslee the possibility to commission Milton Babbitt to write "Philomel". Beardslee's recording with Robert Craft of Schoenberg's "Pierrot Lunaire" (Columbia Records, 1961) was a milestone in 20th-century music. It was the first recording of the piece that used the "sprechstimme" in the way that Schoenberg had conceived the piece. Craft, who conducted it, said to Beardslee that "your performance is the first that anyone can listen to beginning to end with total pleasure and belief in
18193396
Pierrot Lunaire


12 and completed the piece on July 9, 1912, having expanded the forces to an ensemble consisting of flute (doubling on piccolo), clarinet in A (doubling on bass clarinet and clarinet in B), violin (doubling on viola), cello, and piano. After forty rehearsals, Schoenberg and Zehme (in Columbine dress) gave the premiere at the Berlin Choralion-Saal on October 16, 1912. Reaction was mixed. According to Anton Webern, some in the audience were whistling and laughing, but in
19805406