767:(April 2015). Subsequently, the Project commissioned 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 4 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 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."
483:; 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 has shifted somewhat in Giraud's favor. However their respective merits will eventually be judged, it was Hartleben's versions that first drew composers to the poems and that provide the texts for almost all of the early settings we have. The bullet-point that follows lists early 20th-century musical settings chronologically and notes the number of poems that were set by each composer (all, except Prohaska's, are in the Hartleben translations) and for which instruments.
420:—"shining like a solar spectrum" (11: "Harlequin")—is an "artificial serpent" whose "essential goal" is "falsehood and deceit" (8: "Harlequinade"). An old serving-woman connives in his scheming by accepting a bribe to procure Columbine's favors (11: "Harlequin"). These puppets live under a sky swarming with "sinister black butterflies" that "seek blood to drink", having "extinguished the sun's glory" with their wings (19: "Black Butterflies"). The sun itself is nearing the end of that glory: at its setting it seems like a Roman reveler, "full of disgust", who slits his wrists and empties his blood into "filthy sewers" (20: "Sunset"). It is a "great sun of despair" (33: "The Storks").
437:" , a dry-as-dust guardian of the Law.) Madness seems 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"). 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").
295:, traffics often in the jarringly unexpected. Sometimes it is lyrically tender (clouds are "like splendid fins/Of chameleonic fish of the sky" ); sometimes it is shockingly brutal (Pierrot's thought of his "last mistress", the gallows, "is like a nail/That drunkenness drives into his head" ). 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 ); 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" ). The result is
256:(The Monks), "What I disapprove of with horror, what angers and irritates me is your improvising disdain for verse form, your profound and vertiginous ignorance of prosody and language." Such an attitude leads the critic Robert Vilain to conclude that, while Giraud shared "the Symbolists' concern for the careful, suggestive use of language and the power of the imagination to penetrate beyond the surface tension of the here-and-now", he was equally committed to a Parnassian aesthetic. He adheres to the sparer of the rondel forms, concluding each poem with a
433:
deceiving the "carefree lover passing by" into mistaking for "graceful rays/ 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 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 "
315:. Sometimes these vignettes are clustered rather coherently (as in those dealing with Pierrot-as-modern-Christ—27: "The Church", 28: "Evocation", 29: "Red Mass", 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:
1200:(1887), Pierrot explains to Eliane that "there are two races" of men—"one enamored of activity and reality" and "entranced/By the splendid banality of life"; the other a "race of dreamers, of visionaries" who are "born under Saturn's sign". He concludes: "The one comes from the sun, the other from the moon;/And you would be doing better to unite the antelope with the shark/Than the sons of Pierrot with the daughters of Harlequin": in Giraud (1898), p. 223; tr. Storey (1978), p. 137, n. 17.
454:
appearances claims relation to
Pierrot "through the Moon"; he lives, like Pierrot, "by sticking out. . ./ 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 yesteryear, when the
459:"Sacred Whitenesses"). Art they hold in worshipful regard: Giraud's book, his "poem", 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.
429:(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 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").
441:
not the gentle Mary but the "Madonna of
Hysteria", who holds out "to the incredulous universe/ 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 new Lamb of God is a consumptive, his Word a confession of both self-sacrifice and impotence.
287:("Bourrèle!" ), unusual word choices ("patte" for Pierrot's foot), and ambiguities ("Arlequin porte un arc-en-ciel", meaning "Harlequin bears 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
19:
395:" 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?) 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" ) all contribute to the ambiguous
743:, 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 centennial of Schoenberg's composition of
845:, 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.
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Pierrot's relationship with the gallows, like his relationship with the moon, has its origin in folk verse. In a newspaper review of 1847, Gautier noted that French schoolboys have long inscribed their books with "a mysterious hieroglyphic representing a
Pierrot hanged on a gibbet, beneath which one
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Pierrot appears with companions (not counting the moon) in only two poems—with brigand tipplers in 14 ("Pierrot the Thief") and with
Harlequin and Columbine in 48 ("Supper on the Water"). Cassander also puts in an appearance with Pierrot, but as a victim only, not a companion: Pierrot dreamily draws
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The composer Roger Marsh (2007b) writes that, "Reading poems about heads being drilled with cranium drillers and omelettes being thrown into the night sky , one could be forgiven for assuming that Giraud was associated with the
Dadaists or Surrealists, but they were not to emerge for another thirty
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group of singers. Sometimes they sing in French accompanied by a narrator, whose
English translations are woven 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
819:
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 times in English and Japanese. Drawing upon live computer-processed sound
462:
In 39: "The
Alphabet", an apparent anomaly in the cycle, in which Giraud 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
444:
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
432:
Now, at the end of the century, Pierrot resides in a "sad mental desert" (34: "Nostalgia"). He is bored and splenetic: "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",
440:
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 poetry, but at a cost—and with a difference. What is summoned to "the altar of verses" is
428:
encountering in a "sparkling polar icicle" a "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"
754:
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
1247:
Palacio notes that, "t the moment when the poet Albert Giraud ... puts distance between himself and Pierrot, he assimilates himself to him all the more strongly by stealing his origins, his costume, and the essence of his poetry" (p. 28). This view is in sharp contrast with that of Vilain, who
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But he is not said to be doing so in readiness "to meet his guests", as Marsh has it (2007a), p. 110; he is not given any motive for painting his face. This is one example of many that could be cited of Marsh's tendency to generate narrative where Giraud provides none—and even may be said to be
458:
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:
390:
The scene is completely without context: the poem that precedes it, 3: "Pierrot-Dandy", 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
453:
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
798:
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
463:
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 theater" of the mind (1: "Theater").
411:
occupies a divided space: a public realm, over which the sun presides, and a private realm, 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
763:, 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
310:
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
1163:
As Marsh (2007a) puts it, "There is no single narrative, but rather...a number of mini-narratives..." (p. 110). But to go on to say, as he does, that the poems within these "mini-narratives" form "a logical sequence" (p. 110) seems to strain the meaning of
423:
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
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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.
490:: 5 poems ("Moon-rondels, fantastic scenes from 'Pierrot Lunaire'") for voice and piano (1891); Marschalk, Max: 5 poems for voice and piano (1901); Vrieslander, Otto: 50 poems for voice and piano (46 in 1905, the remainder in 1911);
873:. 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
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on the poems ("pallid pastels", providing a mere "draft" for Hartleben's "finished work"), then rejoins with some heat: "This is grossly unfair and demonstrably wrong" (p. 9). For a full assessment, see the Delaere and Herman
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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.
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reads, as a kind of admonition, this meaningful legend in macaronic Latin": "Aspice Pierrot pendu/Quod librum n'a pas rendu;/Si Pierrot librum reddidisset/Pierrot pendu non fuisset ": tr. Storey (1985), pp. 113–114.
445:
on the Water"); and in one of the last vignettes in which 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.
1108:
Not found with this spelling in any dictionary, the word is apparently, as Kreuiter notes (p. 100), a fusion of the verb "bourreler" (to torment or torture) and the noun "bourreau" (executioner or torturer).
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and computer-processed prerecorded tape, the composition attempts (in Austin's words) to go "beyond Schoenberg's musical melodrama" to create a "multi-lingual dream of the essences of the poems".
1456:
Not in Giraud's cycle, "Die Harfe" is probably an original poem by Hartleben; see Richter's commentary, p. xxiii, and Marsh's note in (2007a), p. 107, n. 30. It is translated in Richter, p. 102.
280:, 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.
1177:
has more coherence and narrative structure than most" (p. 110). But the narrative structure that he proceeds to trace (pp. 110–116) seems often to be imposed on the poems (see note 18 below).
920:(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
91:
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
1690:
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a bow over his belly, like a viola, in 6 ("Pierrot's Serenade"); he knocks him out with a rope in 37 ("Pantomime") and bores a smoking-hole in his skull in 45 ("Cruel Pierrot").
553:
Wherever we look in the history of its reception, whether in general histories of the modern period, in more ephemeral press response, in the comments of musical leaders like
199:
and yet finally: an undermining of the whole enterprise by self-mockery and irony, calling the high creative project (and the motives of the artist indulging in it) in doubt.
1284:"Appendix: Musical Pierrots around 1900" in Brinkmann, pp. 163ff. All of Schoenberg's settings and several by Vrieslander and Kowalski are gathered in the Musicaphon CD
1275:
Although Hartleben's translations did not appear in print until 1892, they were familiar earlier to the literary community through his readings: Marsh (2007a), p. 107.
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Jean de Palacio writes that, "While Pierrot is not confused with the writing 'I,' he shares with him a privileged rapport and is most often the 'I's' double" (p. 27).
1514:
somewhere, of which they were making more and more perfect copies all the time" (p. 203). The student of postmodernism will rightly be suspicious of that "perfect".
1135:
Henceforth all titles in parentheses (or, as here, brackets) refer to the poems in Giraud (1884); numbers that precede them indicate their placement in the cycle.
244:, worked comfortably within strict forms), Giraud was committed to traditional techniques and structures as opposed to the comparatively amorphous constraints of
1077:
As Giraud himself does, throughout the poems: see "To my Bergamask Cousin" (#13), "Spleen" (#15), "Perfumes of Bergamo" (#35), and "Pierrot's Departure" (#36).
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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
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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
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934:, a gender-bending interpretation of the Schoenberg cycle, in 2014. Pierrot Lunaire is also a familiar figure in postmodern popular art: like the American
1810:
1622:
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the quest of that artist for a purity and untrammeled freedom of the soul, often through a derangement of the senses (advocated most famously by
1897:
682:. The settings were given their premieres between 1988 and 1990 in four concerts sponsored by the Institute. (The director of the Institute,
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in Los Angeles commissioned the settings of the remaining twenty-nine poems that Schoenberg had neglected, utilizing the Pierrot ensemble (
869:
poems (2006)—all original in content, though retaining titles from the Giraud/Schoenberg cycles—to a theatrical score for tenor and the
502:: 21 poems for speaking voice, piano, flute (also piccolo), clarinet (also bass clarinet), violin (also viola), and violoncello (1912);
196:, and engaged with the dissonant incongruities of modern life: Giraud's poems are non-linear fragments shored against Pierrot's ruins;
111:, who derived from it one of the landmark masterpieces of the 20th century. Finally, it is noteworthy for the number of themes of the
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has kindled inspiration not only among fellow composers but also among choreographers and singer-performers. Dancers who have staged
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and working within rather strictly observed eight-syllable lines. As is customary, each poem is restricted to two rhymes alone, one
224:, but also because 19th-century admirers of the Commedia dell'Arte characters often associated them with the Italian town of
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Pierrot lunaire: Albert Giraud, Otto Erich Hartleben, Arnold Schoenberg: une collection d'études musico-littéraires . .
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voice. "For all the rough critical ride Schoenberg's compositions have received in general," writes the musicologist
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498:: 4 poems for voice and piano (1909; 1 of 4, "Valse de Chopin", reset for voice, piano, and string quartet in 1917);
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visions. "With its Baroque intensity of detail and its fin de siècle aura", as Giraud's American translator writes, "
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Morphing moonlight: gender, masks and carnival mayhem. The figure of Pierrot in Giraud, Ensor, Dowson and Beardsley.
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argues that Giraud ends his cycle with an air of "solidly founded self-possession" (in Delaere and Herman, p. 131).
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416:"arches her back", apparently in expectation of sexual pleasure (1: "Theater"). The meretriciously multicolored
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the growing materialism and vulgarity of late-19th-century life, and the artist's flight into an interior world;
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He does so apparently because Harlequin, in his multicolored costume, is traditionally regarded as chameleonic.
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228:, from which Harlequin is said to have hailed.) Unlike many of the Symbolist poets (though certainly not all:
220:. (It is a "bergamask" rondel, not only because the jagged progress of the poems recalls the eponymous rustic
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unfolded in the fall of that same year, when the music group Dr. K Sextet, which had been born at London's
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impossible, therefore, to understand the import of the gathering or the identity of the guests. (Are the "
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the assumption of a religious burden by the modern artist, and his or her consequent ascension as prophet;
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offers a performance, not an expression, of the self—a fact in which much of its "modernity" resides.
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See Marsh (2007b), "The Translations", p. 18, as well as the notes on the individual tracks, pp. 3–5.
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and Michel Launay, who conclude their work with poems of their own inspired by Giraud. The second,
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The would-be artist of that novel, Talbot Hardy, muses at one point that there must be "an original
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pluckiness and pathos, and by the end of the century, especially in the hands of the Symbolists and
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Pierrots on the stage of desire: nineteenth-century French literary artists and the comic pantomime
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has come to be regarded since its first performance in 1912 as a masterpiece." And he continues:
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In the summer of 2014, the freelance curator Niamh White, composer Ewan Campbell, and pianist
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Marsh (2007a) is in complete disagreement on this point. "As poetic cycles go," he writes, "
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506:: 12 poems for voice and piano (1913); Prohaska, Carl: 6 poems for voice and piano (1920);
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to the accompaniment of flute (or piccolo), clarinet, violin (or viola), and violoncello.
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Pierrot: Ein Clown hinter den Masken der Musik/Pierrot: A Clown behind the Masks of Music
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101:(1886). Its poems have been set to music by an unusually high number of composers (see
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in 1995 and, more recently, the internationally acclaimed contemporary music sextet
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Giraud's original texts (and apparently one of Hartleben's) also stand behind the
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Marsh, Roger (2007a). "'A multicoloured alphabet': rediscovering Albert Giraud's
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1729:. With The Hilliard Ensemble, Red Byrd, Juice, Ebor Singers & Paul Gameson
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192:) through which it can be enriched with sacred value, spared the gaze of the
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1099:: Cyclic Coherence in Giraud and Schoenberg", in Delaere and Herman, p. 130.
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1008:, the Boy Wonder—for ten more issues: his name was Pierrot Lunaire.
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the deconstruction of romantic love, inspired in part by a skepticism
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These last two examples are also discussed by Kreuiter, pp. 104, 76.
25:: A drunken Pierrot dances beneath the Moon. Detail of cartoon from
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acquired a new nemesis, who shadowed him—and plotted against
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Schoenberg has attracted at least one prominent parodist: in 1924,
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48:(born Emile Albert Kayenbergh), who is usually associated with the
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The Harris and Kraft cycles have been recorded and released on CD.
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44:) is a cycle of fifty poems published in 1884 by the Belgian poet
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The most famous and important of these settings is Schoenberg's
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276:
of ABba abAB abbaA, in which the capital letters represent the
261:
1763:
793:
1650:
1050:
On Laforgue, see Lehmann; Palacio; Storey (1978), pp. 139–55.
299:-esque: a series of sharply etched transcriptions of proto-
61:
827:
set all fifty of the original French poems for a (mostly)
569:
The most obvious manifestation of that originality is the
528:
Thrice-Seven Poems from Albert Giraud's "Pierrot lunaire"
291:
théâtre de chambre". And the imagery, especially in the
115:—which is to say, of Symbolism, the Decadence, and early
1784:
1745:
Pierrot fin-de-siècle, ou, Les Métamorphoses d'un masque
1059:
For a full discussion of these themes, see Jean Pierrot.
514:
1789:. Kirksville, Missouri: Truman State University Press.
1707:, ed. Ian Fletcher. London: Routledge & Kegan Paul.
1633:
Schoenberg: Pierrot Lunaire (Cambridge Music Handbooks)
960:
included the track "Pierrot Lunaire" in his 2003 album
1535:
The Russian group is always referred to in English as
140:
and a growing scientific candor (which will result in
1543:) is translated more accurately as "Pierrot Lunaire".
988:
published the first volume of his projected trilogy,
1288:(M 56837, 2001). (The collection also includes five
815:. Each of its three ten-minute sections features a
565:
has been an awestruck veneration of its originality.
1350:"Nine premieres in third 'Pierrot Project' concert"
203:
153:the dogging of young genius by disease, especially
1742:
984:conducting. In 2011, the French graphic novelist
594:As an homage to Schoenberg, the English composers
72:most notably, had been drawn to the figure by his
1836:
1023:For Pierrot's general history, see Storey (1978).
130:) via the ecstasy of music or drugs like alcohol;
1879:
1817:
1740:
1721:Marsh, Roger (2007b). Booklet accompanying CDs:
1695:Unpub. doc. diss., University of the Free State.
1629:
1862:. Princeton, N.J.: Princeton University Press.
1843:. Princeton, N.J.: Princeton University Press.
1657:Comprising pp. 73–176 of following entry,
1567:Schoenberg and Kandinsky: an historic encounter
1564:
1491:Wayne Koestenbaum, quoted in Mohammed Fairouz,
1857:
103:
88:, theatrical, literary, musical, and graphic.
1671:
1358:"Final installment of Pierrot Project at USC"
1041:Lehmann; Palacio; Storey (1985), pp. 297–304.
173:the transmutation of art into a hermeticism (
1809:: CS1 maint: multiple names: authors list (
1584:Delaere, Mark, and Jan Herman, eds. (2004).
1559:(1997). "The fool as paradigm: Schoenberg's
1342:"'Pierrot' sequels via Schoenberg Institute"
1334:"First eight premieres of 'Pierrot Project'"
1261:on Giraud the poet ("justly forgotten") and
998:Batman R.I.P.: Midnight in the House of Hurt
470:
378:Come beating against the rose-colored panes,
811:(1995), is a work by the American composer
794:Re-enter Giraud: the French poems renascent
407:In a familiar dichotomy of the Symbolists,
1569:. Amsterdam: Harwood Academic Publishers.
735:(with singer Christine Schadeberg) at the
1636:. Cambridge: Cambridge University Press.
1621:CS1 maint: multiple names: authors list (
618:optional), by sixteen American composers—
494:: 3 poems for voice and piano (c. 1908);
1770:. Chicago: University of Chicago Press.
382:The guests, their forks in their fists.
17:
1764:Pierrot, Jean (tr. D. Boltman) (1984).
1588:. Louvain and Paris: Editions Peeters.
1340:, February 5, 1988; Martin Bernheimer,
823:In 2001 and 2002, the British composer
448:
369:The guests, their forks in their fists,
356:The guests, their forks in their fists,
212:, a form he admired in the work of the
1880:
531:, scored for what is now known as the
1840:Pierrot: a critical history of a mask
1676:. Woodbridge, UK: The Boydell Press.
1653:Pierrot lunaire: rondels bergamasques
1482:(New York: Turtle Point Press, 2006).
774:, a student of Schoenberg, published
283:Like Laforgue after him, Giraud uses
42:Moonstruck Pierrot: bergamask rondels
37:Pierrot lunaire: rondels bergamasques
1737:. NMC Recordings: Cat. No. NMC D127.
1356:, January 27, 1989; Timothy Mangan,
857:In 2013, the Arab-American composer
510:: 1 poem for voice and piano (1921).
327:Les rôtis, les tourtes, les huîtres,
317:
1767:The decadent imagination, 1880–1900
1699:Lehmann, A.G. (1967). "Pierrot and
1674:Music Theatre in Britain, 1960-1975
776:Palmström (Studies on 12-tone Rows)
349:Les convives, fourchette au poing.
56:, the comic servant of the Italian
13:
1898:Commedia dell'arte male characters
1691:Kreuiter, Allison Dorothy (2007).
928:released his Canadian/German film
849:Beyond both Giraud and Hartleben:
697:include the Russian-born American
479:published a German translation of
360:The roasts, the pies, the oysters,
336:Les convives, fourchette au poing,
323:Les convives, fourchette au poing,
60:and, later, of Parisian boulevard
52:. The protagonist of the cycle is
14:
1909:
1787:Albert Giraud's "Pierrot lunaire"
1785:Richter, Gregory C., tr. (2001).
1348:, November 9, 1988; Gregg Wager,
1296:, set to poems by Arthur Kahane.)
759:in 2009, performed extracts from
374:To underscore the disappointment,
365:A few Gilles, hidden in a corner,
345:Viennent cogner les roses vitres,
1086:Cited in Kreuiter, p. 61, n. 34.
942:artist John DeNizio, Brazilian,
841:(2010) by the Scottish composer
786:, parodies the musical lines of
475:In 1892, the poet and dramatist
380:And their distant buzzing taunts
371:Have seen the bottles disappear.
358:Have seen the bottles disappear,
332:Des Gilles, cachés dans un coin,
307:is a work not to be forgotten."
204:Verse form, style, and structure
167:) of modern art with degeneracy;
1668:. Paris: Librairie Fischbacher.
1529:
1517:
1504:
1485:
1472:
1459:
1450:
1441:
1432:
1420:
1408:
1396:
1379:
1367:
1326:
1317:
1308:
1299:
1278:
1269:
1251:
1241:
1232:
1223:
1213:
1203:
1190:
1180:
1167:
1157:
1148:
1138:
1129:
1120:
1111:
1102:
713:(2011). Also, the avant-garde
343:Des insectes aux bleus élytres,
1480:Best-Selling Jewish Porn Films
1478:From Koestenbaum's collection
1089:
1080:
1071:
1062:
1053:
1044:
1035:
1026:
1017:
737:New School for Social Research
347:Et leur bourdon nargue de loin
334:Tirent des grimaces de pitres.
98:Imitation of Our Lady the Moon
1:
1565:Boehmer, Konrad, ed. (1997).
1549:
579:, in its first productions),
376:Some insects with blue elytra
341:Pour souligner le désappoint,
338:Ont vu subtiliser les litres.
325:Ont vu subtiliser les litres,
252:, after reading the latter's
248:. He exclaimed to his friend
731:, which staged a version of
208:Each of Giraud's poems is a
84:. He became the subject of
7:
1723:Roger Marsh—Albert Giraud's
1563:and the modern artist". In
1438:Quoted in Richter, p. xxix.
782:vocalist, singing texts by
612:Arnold Schoenberg Institute
402:
329:Et les confitures de coing.
10:
1914:
1837:Storey, Robert F. (1978).
1727:fifty rondels bergamasques
1387:"After Arnold|Dr K Sextet"
1032:Storey (1978), pp. 93–110.
809:Variations: Beyond Pierrot
64:. The early 19th-century
1818:Stevenson, Helen (1995).
1741:Palacio, Jean de (1990).
1733:, Linda Hirst, Joe Marsh
1630:Dunsby, Jonathan (1992).
1126:Noted by Kreuiter, p. 69.
471:Settings in various media
104:Settings in various media
1539:, but the Russian name (
1187:actively suppressing it.
1011:
956:; the Scottish musician
839:Seven Pierrot Miniatures
321:
1858:Storey, Robert (1985).
1716:Twentieth-Century Music
1664:Giraud, Albert (1898).
1651:Giraud, Albert (1884).
992:, and in issue #676 of
107:below), including one,
1718:, 4:1 (March): 97–121.
1672:Hall, Michael (2015).
1524:Pierrot Lunaire Albums
1154:Richter, pp. xxix–xxx.
757:Royal College of Music
709:(2010) and the French
628:Susan Morton Blaustein
567:
515:Arnold Schoenberg and
354:
32:
1257:Marsh (2007b) quotes
962:Oskar Tennis Champion
902:Federico García Lorca
784:Christian Morgenstern
701:(1926), the American
551:
147:Psychopathia Sexualis
86:numerous compositions
21:
1705:Romantic mythologies
1427:"The Pierrot Studio"
1415:"The Pierrot Studio"
1403:"The Pierrot Studio"
1374:"The Pierrot Studio"
1196:In Giraud's playlet
916:have all produced a
596:Peter Maxwell Davies
477:Otto Erich Hartleben
449:The poet and Pierrot
218:Théodore de Banville
1822:. London: Sceptre.
1557:Brinkmann, Reinhold
1364:, January 27, 1990.
705:(1962), the German
604:The Pierrot Players
600:Harrison Birtwistle
362:And the quince jam.
150:of 1886) about sex;
138:Arthur Schopenhauer
31:, January 17, 1885.
1749:. Paris: Séguier.
1614:has generic name (
904:, Theodor Werner,
500:Schoenberg, Arnold
190:Rainer Maria Rilke
58:Commedia dell'Arte
50:Symbolist Movement
33:
1725:Pierrot lunaire,
1666:Héros et Pierrots
1659:Héros et Pierrots
1385:Antonia Couling,
1362:Los Angeles Times
1354:Los Angeles Times
1346:Los Angeles Times
1338:Los Angeles Times
863:Wayne Koestenbaum
589:Christine Schäfer
581:Bethany Beardslee
388:
387:
367:Pull clown faces.
272:, resulting in a
236:, even the early
178:Stéphane Mallarmé
109:Arnold Schoenberg
70:Théophile Gautier
1905:
1873:
1854:
1833:
1814:
1808:
1800:
1781:
1760:
1748:
1687:
1647:
1626:
1619:
1613:
1609:
1607:
1599:
1580:
1544:
1537:The Moon Pierrot
1533:
1527:
1521:
1515:
1508:
1502:
1501:, July 24, 2013.
1489:
1483:
1476:
1470:
1463:
1457:
1454:
1448:
1445:
1439:
1436:
1430:
1424:
1418:
1412:
1406:
1400:
1394:
1393:, April 2, 2015.
1383:
1377:
1371:
1365:
1332:Daniel Cariaga,
1330:
1324:
1321:
1315:
1314:Hall, pp. 72-77.
1312:
1306:
1303:
1297:
1290:Songs of Pierrot
1282:
1276:
1273:
1267:
1255:
1249:
1245:
1239:
1236:
1230:
1227:
1221:
1217:
1211:
1207:
1201:
1198:Pierrot Narcisse
1194:
1188:
1184:
1178:
1171:
1165:
1161:
1155:
1152:
1146:
1142:
1136:
1133:
1127:
1124:
1118:
1115:
1109:
1106:
1100:
1093:
1087:
1084:
1078:
1075:
1069:
1068:Kreuiter, p. 59.
1066:
1060:
1057:
1051:
1048:
1042:
1039:
1033:
1030:
1024:
1021:
978:Verbier Festival
871:Pierrot ensemble
859:Mohammed Fairouz
741:eighth blackbird
680:Leonard Rosenman
664:Stephen L. Mosko
648:Richard Hoffmann
533:Pierrot ensemble
488:Pfohl, Ferdinand
318:
216:, especially of
23:Adolphe Willette
1913:
1912:
1908:
1907:
1906:
1904:
1903:
1902:
1878:
1877:
1876:
1870:
1851:
1830:
1820:Pierrot Lunaire
1802:
1801:
1797:
1778:
1757:
1712:Pierrot Lunaire
1684:
1644:
1620:
1611:
1610:
1601:
1600:
1596:
1577:
1561:Pierrot Lunaire
1552:
1547:
1534:
1530:
1522:
1518:
1512:Pierrot Lunaire
1509:
1505:
1499:Huffington Post
1494:Pierrot Lunaire
1490:
1486:
1477:
1473:
1464:
1460:
1455:
1451:
1446:
1442:
1437:
1433:
1425:
1421:
1413:
1409:
1401:
1397:
1391:Classical Music
1384:
1380:
1372:
1368:
1331:
1327:
1322:
1318:
1313:
1309:
1304:
1300:
1283:
1279:
1274:
1270:
1256:
1252:
1246:
1242:
1237:
1233:
1228:
1224:
1218:
1214:
1208:
1204:
1195:
1191:
1185:
1181:
1175:Pierrot Lunaire
1172:
1168:
1162:
1158:
1153:
1149:
1143:
1139:
1134:
1130:
1125:
1121:
1116:
1112:
1107:
1103:
1097:Pierrot lunaire
1094:
1090:
1085:
1081:
1076:
1072:
1067:
1063:
1058:
1054:
1049:
1045:
1040:
1036:
1031:
1027:
1022:
1018:
1014:
990:Pierrot Lunaire
974:Pierrot Lunaire
931:Pierrot Lunaire
922:Pierrot Lunaire
918:Pierrot Lunaire
914:Fernando Botero
867:Pierrot Lunaire
855:
851:Pierrot lunaire
801:Pierrot Lunaire
796:
765:Pierrot lunaire
761:Pierrot lunaire
745:Pierrot lunaire
733:Pierrot lunaire
729:Opera Quotannis
721:Oskar Schlemmer
695:Pierrot lunaire
547:Pierrot lunaire
543:Jonathan Dunsby
520:
517:Pierrot lunaire
481:Pierrot lunaire
473:
465:Pierrot lunaire
451:
409:Pierrot lunaire
405:
384:
381:
379:
377:
375:
373:
372:
370:
368:
366:
364:
363:
361:
359:
357:
351:
348:
346:
344:
342:
340:
339:
337:
335:
333:
331:
330:
328:
326:
324:
305:Pierrot Lunaire
250:Emile Verhaeren
206:
12:
11:
5:
1911:
1901:
1900:
1895:
1890:
1875:
1874:
1868:
1855:
1849:
1834:
1828:
1815:
1795:
1782:
1776:
1761:
1755:
1738:
1719:
1708:
1697:
1688:
1683:978-1783270125
1682:
1669:
1662:
1648:
1642:
1627:
1594:
1581:
1575:
1553:
1551:
1548:
1546:
1545:
1528:
1516:
1503:
1484:
1471:
1467:Programme Note
1458:
1449:
1440:
1431:
1419:
1407:
1395:
1378:
1366:
1325:
1316:
1307:
1298:
1294:Eduard Künneke
1277:
1268:
1250:
1240:
1231:
1222:
1212:
1202:
1189:
1179:
1166:
1156:
1147:
1145:years" (p. 6).
1137:
1128:
1119:
1110:
1101:
1088:
1079:
1070:
1061:
1052:
1043:
1034:
1025:
1015:
1013:
1010:
910:Markus Lüpertz
891:Diana Vreeland
879:Virginia Woolf
854:
847:
795:
792:
725:Paul Hindemith
716:Triadic Ballet
676:Roger Reynolds
624:Leslie Bassett
620:Milton Babbitt
519:
513:
512:
511:
472:
469:
450:
447:
404:
401:
386:
385:
352:
260:rather than a
205:
202:
201:
200:
197:
171:
168:
151:
131:
128:Arthur Rimbaud
124:
95:'s celebrated
93:Jules Laforgue
9:
6:
4:
3:
2:
1910:
1899:
1896:
1894:
1891:
1889:
1886:
1885:
1883:
1871:
1869:0-691-06628-0
1865:
1861:
1856:
1852:
1850:0-691-06374-5
1846:
1842:
1841:
1835:
1831:
1829:0-340-61823-X
1825:
1821:
1816:
1812:
1806:
1798:
1796:1-931112-02-9
1792:
1788:
1783:
1779:
1777:0-226-66822-3
1773:
1769:
1768:
1762:
1758:
1756:2-87736-089-X
1752:
1747:
1746:
1739:
1736:
1732:
1728:
1724:
1720:
1717:
1713:
1709:
1706:
1702:
1701:fin de siècle
1698:
1696:
1694:
1689:
1685:
1679:
1675:
1670:
1667:
1663:
1660:
1656:
1654:
1649:
1645:
1639:
1635:
1634:
1628:
1624:
1617:
1612:|author=
1605:
1597:
1595:90-429-1455-6
1591:
1587:
1582:
1578:
1576:90-5702-046-7
1572:
1568:
1562:
1558:
1555:
1554:
1542:
1538:
1532:
1525:
1520:
1513:
1507:
1500:
1496:
1495:
1488:
1481:
1475:
1468:
1465:Helen Grime,
1462:
1453:
1444:
1435:
1428:
1423:
1416:
1411:
1404:
1399:
1392:
1388:
1382:
1375:
1370:
1363:
1359:
1355:
1351:
1347:
1343:
1339:
1335:
1329:
1320:
1311:
1305:Dunsby, p. 1.
1302:
1295:
1291:
1287:
1281:
1272:
1264:
1260:
1259:Charles Rosen
1254:
1244:
1235:
1226:
1216:
1206:
1199:
1193:
1183:
1176:
1170:
1160:
1151:
1141:
1132:
1123:
1114:
1105:
1098:
1092:
1083:
1074:
1065:
1056:
1047:
1038:
1029:
1020:
1016:
1009:
1007:
1003:
999:
995:
991:
987:
983:
979:
975:
971:
967:
963:
959:
955:
954:
949:
945:
941:
937:
933:
932:
927:
926:Bruce LaBruce
923:
919:
915:
911:
907:
903:
899:
896:The painters
894:
892:
888:
884:
880:
876:
872:
868:
864:
861:set the poet
860:
852:
846:
844:
840:
835:
832:
831:
826:
821:
818:
814:
810:
806:
802:
791:
789:
785:
781:
778:, in which a
777:
773:
768:
766:
762:
758:
753:
748:
746:
742:
738:
734:
730:
726:
722:
718:
717:
712:
711:Kader Belarbi
708:
704:
700:
696:
692:
689:Schoenberg's
687:
685:
684:Leonard Stein
681:
677:
673:
669:
665:
661:
660:Ursula Mamlok
657:
656:William Kraft
653:
649:
645:
644:Donald Harris
641:
640:John Harbison
637:
636:Miriam Gideon
633:
629:
625:
621:
617:
613:
610:In 1987, the
608:
605:
601:
597:
592:
590:
586:
585:Jan DeGaetani
582:
578:
574:
573:
566:
564:
560:
556:
550:
548:
544:
540:
539:
534:
530:
529:
525:
518:
509:
505:
504:Kowalski, Max
501:
497:
493:
492:Graener, Paul
489:
486:
485:
484:
482:
478:
468:
466:
460:
457:
446:
442:
438:
436:
430:
427:
421:
419:
415:
410:
400:
399:of the poem.
398:
394:
383:
353:
350:
320:
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308:
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156:
152:
149:
148:
143:
139:
136:
132:
129:
125:
122:
121:
120:
118:
114:
113:fin-de-siècle
110:
106:
105:
100:
99:
94:
89:
87:
83:
79:
75:
71:
67:
63:
59:
55:
51:
47:
46:Albert Giraud
43:
39:
38:
30:
29:
24:
20:
16:
1893:French poems
1859:
1839:
1819:
1786:
1766:
1744:
1734:
1730:
1726:
1722:
1715:
1711:
1704:
1700:
1692:
1673:
1665:
1658:
1652:
1632:
1585:
1566:
1560:
1541:Лунный Пъеро
1540:
1531:
1519:
1511:
1506:
1498:
1493:
1487:
1479:
1474:
1461:
1452:
1443:
1434:
1422:
1410:
1398:
1390:
1381:
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155:consumption
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1882:Categories
1643:0521387159
1550:References
1164:"logical".
964:; and the
953:Volume Two
883:Patty Duke
853:reimagined
830:a cappella
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555:Stravinsky
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246:free verse
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966:avant-pop
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1735:narrator
1731:director
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456:zanni
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