Rhythmic Processes in Schoenberg's Pierrot lunaire

2021 ◽  
Author(s):  
John Muniz
Keyword(s):  
Pierrot Lunaire

scholarly journals Symbolism and theatre of masques: The deathly carnival of la belle époque

Muzikologija ◽  
2005 ◽  
pp. 85-99
Author(s):  
Nadezda Mosusova
Keyword(s):  
Italian Renaissance ◽  
Commedia Dell'arte ◽  
Belle Epoque ◽  
Incidental Music ◽  
The Balkans ◽  
Remote Areas ◽  
Nineteenth And Twentieth Centuries ◽  
Pierrot Lunaire ◽  
Belle Époque

The junction of the nineteenth and twentieth centuries in Europe sharpened the clash of artistic novelties in the Western and Slavonic worlds, caused by developed Symbolism and Expressionism. As an output of the former reappeared in the "Jahrhundertwende" the transformed characters of the Commedia dell'arte, flourished in art, literature and music in Italy France, Austria and Russia. Exponents of Italian Renaissance theatre Stravinsky's Petrushka (1911) and Sch?nberg's Pierrot lunaire (1912) turned soon to be main works of the Russian and Austrian expressionistic music style, inaugurated by Strauss's Salome, which won opera stages from the 1905 on. Influences of the latter were widespread and unexpected, reaching later the "remote" areas of the Austro-Hungarian Empire, as well as the Balkans (in 1907 the Canadian dancer Maud Allan performed The Vision of Salome in Belgrade - music Marcel Remy - making her debut in Vienna 1903). Compositions of Strauss and Sch?nberg (Erwartung included) reflected also the strong cult of death present in Vienna's Finde-si?cle Symbolism concerning among other works plays by Wedekind and Schnitzler (Veil of Pierrette was staged successfully in Russia, too), with prototypes in Schumann's Carnival and Masquerade by Lermontov (both works written in 1834!). It was not by chance that Schumann's piano suite became one of the first ballets of Diaghilev's Saisons Russes (1910) and Masquerade, performed with the incidental music by Alexander Glazunov, the last pre-revolutionary piece of Vsevolod Meyerhold (1917).

scholarly journals Nacht, from Arnold Schoenberg’s Pierrot Lunaire: a perspective from the ArtSong Theory on the text-music relationships and its unfoldings

2021 ◽  
Vol 21 (2) ◽  
pp. 333-346
Author(s):  
Achille Picchi
Keyword(s):  
Twentieth Century ◽  
Vocal Music ◽  
Twentieth Century Music ◽  
Pierrot Lunaire ◽  
And Performance ◽  
Factor Of Influence

The cycle of melodramas Pierrot Lunaire op. 21 was written and premiered in 1912 and is one of the capital works of Schoenberg’s output as well as of the vocal music in the twentieth-century music. In this article we examine Nacht, the eighth melodrama, first of the second part, due to its relationships on text-music as a factor of influence in the perception and performance of the work. And we also examine the numerical relations that were so dear to the composer.

TIM EWERS (b. 1958)Moondrunk (2000)

2021 ◽  
pp. 67-68
Author(s):  
Jane Manning
Keyword(s):  
English Translation ◽  
Direct Reference ◽  
Time Span ◽  
Female Voice ◽  
The Moon ◽  
Second Viennese School ◽  
Seminal Work ◽  
Frequent Use ◽  
Short Piece ◽  
Pierrot Lunaire

This chapter discusses English composer Tim Ewers’s Moondrunk (2000). This short piece is a confident and clearly imagined setting of an English translation of the first poem of Arnold Schoenberg’s 1912 masterpiece for voice and ensemble, Pierrot Lunaire, Op. 21. Though brief, it should prove a useful and characterful item for a recital programme, especially one containing lengthier pieces, perhaps based around other works from the Second Viennese School or, alternatively, a collection of songs about the moon. The tessitura is wide-ranging, but within the reach of most voices, although a female voice was originally envisaged, in direct reference to Schoenberg’s seminal work. The musical idiom is pleasingly logical in its chromaticism, with frequent use of tritones. As always, when singing unaccompanied, the vocalist will need to be scrupulous about tuning intervals, avoiding microtonal slippage. Despite moments of freedom and rubato, rhythmic discipline is an important factor, and a sense of pulse needs to be preserved. Within this modest time span, the singer has to create and sustain a welter of shifting nocturnal moods, both threatening and intoxicating.

PIERROT LUNAIRE

1952 ◽  
Vol XXXIII (4) ◽  
pp. 376-b-376
Author(s):  
R. A. WHEELER
Keyword(s):  
Pierrot Lunaire

Pierrot L.

2011 ◽  
Vol 64 (3) ◽  
pp. 601-645 ◽  
Author(s):  
Julie Pedneault-Deslauriers
Keyword(s):  
Visual Arts ◽  
Performance Practice ◽  
Pierrot Lunaire ◽  
And Performance ◽  
Definition Of

Abstract During Arnold Schoenberg's 1912–13 Pierrot lunaire tours, critics frequently described the work's Sprechstimme delivery as “hysterical” and “neurasthenic.” The essay expounds this important strand of Pierrot lunaire's reception by positioning the character of Pierrot in Paul Margueritte's pantomime Pierrot assassin de sa femme (1888) and Schoenberg's Opus 21 against Parisian and Viennese discourses on hysteria. Engaging aspects of pantomime, travesty, visual arts, medical iconography, and performance practice, I explicate how, as the medical definition of hysteria underwent important changes in etiology, symptomatology, and treatment in Freud's revisions of Jean-Martin Charcot's theories, so too did Pierrot's performance of the illness.

scholarly journals Tensions, parallèles et interférences entre texte et musique. Le cas de Pierrot lunaire d’Arnold Schoenberg.

Protée ◽  
2005 ◽  
Vol 29 (2) ◽  
pp. 115-123
Author(s):  
Lieven Tack ◽  
Stephan Weytjens
Keyword(s):  
Pierrot Lunaire

Cet article vise un double objectif. Il propose d’abord un examen détaillé des interférences entre le texte (forme et sémantique) et les structures musicales dans Pierrot lunaire d’Arnold Schoenberg. Les résultats de cette analyse suggèrent que le rapport texte-musique de cette oeuvre ne se conçoit que sur un mode hétérogène et extrêmement ambigu. Le deuxième objectif est de montrer que l’examen des exemples doit être étayé par une réflexion théorique sur les conditions de possibilité des interférences musico-textuelles, et sur les outils de description dont l’analyste dispose pour les mettre à jour.

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