Brano: [...]re translated into German by thè poet and dramatist Otto Erich Hartleben, 18641905. The score calls for flute (intcrchangeablc at times with piccolo), clarìnet (bass
Originally Schònberg, and stili sospelled in Germanspeaking countries. The composer himself sanctioned thè spelling “Schoenberg” after he carne to thè United States in 1933.
Side I — 23:15 Min.
Arnold Schoenberg: Pierrot Lunaire, Op. 21 (Beginning)
Part I (12:10 Min.)
Part II (11:00 Min.)
Side 2 — 11:22 Min.
Arnold Schoenberg: Pierrot Lunaire, Op. 21 (Conclusioni
Part III
clarìnet), violin (viola), ’cello, and piano, but many of thè settings demand no more than three or four of these, while only a single instrument is demanded in No. 7 and only two in No. 9. The instruments often are heard alone as well as with thè Sprechstimme, and even in thè latter case they supply no mere àccompaniment in thè usuai sense of thè term — rather a quasiautonomous mosaic of a myriad minute, abstract, tonai details.
Al though thè work gives thè impression (as noted by Cecil Gray) that thè settings were composed “with lightning rapidity and absolute sureness of touch in a [...]
[...]rs; flute, darinet/bass clarìnet, and piano. The charm of a Chopin Waltz compared with thè palest of bloodcolorìng on an invalid's lips.
No. 6. Madonna: Màssig langsam; 24 bars; flute, bass clarìnet, violin, ’cello, and — in thè last bars only — piano. The poet's prayer, cairn at first, then agitated, to thè Sommine Mother.
No. 7. Der kranke Mond (The Sick Moon): Sehr langsam; 27 bara; flute only. An apostrophe to a fatally “sick” moon.
Part II, No. 8. Nacht (Night): Gehende: 26 bara; bass clarìnet, ’cello, and piano. A passacaglia, confined largely to thè lower registers, in which night is symbolized as a gigantic black butterfly.
No. 9. Gebet an Pierrot (Prayer to Pierrot): Màssige; 20 bara; clarìnet and piano. The poet's prayer that Pierrot brìng back his forgotten laughter.
No. 10. Raub (Theft): Màssige: 20 bara; flute, clarìnet, violin, and ’cello. Robbery of a princely ruby by Pierrot and his rascally pals.
No. 11. Rote Messe (Red Mass): Màssig rasch: 29 bara: piccolo, bass clarìnet, viola, ’cello, and piano. Pierrot [...]
[...]tress rather than by die hangman's rape.
No. 13. Enthauptung (Decapitation): Ziemllch bewegte: 36 bare; bass clarìnet, viola, cello, and piano. Pierrot’s horrid fears of being beheaded by thè shining, scimitarlike crescent moon.
No. 14. Die Kreuze (The Crosses): Langsamer 22 bara: piano and voice alone at first, later with flute, clarìnet, violin, and ’cello. The crucifixions of thè poet on thè crosses of his own verses.
(Record Side 2) Part III, No. 15. Heimweh (Homesickness): In ahwechslungsreicher Bewegung: 31 bare: clarìnet, violin, piano, later with piccolo and 'cello. Pierrot plaintively bemoans his pangs of homesickness.
No. 16. Gemeinheit (Outrage): Ziemlich rasch: 27 bare; piccolo, clarìnet, violin, cello, and piano. The “outrage” is Pierrot’s callously drilling into Cassander’s bald head so that it will serve as a pipe for smoking Turkish tobacco.
No. 17. Parodie (Parody): (metronomic tempo snecification only): 32 bare; piccolo, clarìnet. viola, and piano. Moonbeams mockingly imitate thè gleaming pins in thè gray hai[...]