Arnold Schoenberg Pierrot lunaire, melodrama for voice & chamber ensemble, Op. 21 AMG Description by Blair Johnston [-] After the wrenching revolution Schoenberg brought to his music during the final years of the twentieth centurys first decade (crystallized in such works as the Three Pieces for piano, Op. 11 and the Five Orchestral Pieces, Op. 16) the composer quickly drew back from the anguished Expressionism of these years to produce the much lighter Dreimal sieben Gedichte aus Albert Girauds Pierrot Lunaire (Three-times-seven Songs from Albert Girauds Pierrot Lunaire, or, as it is known the world round, simply Pierrot Lunaire), Op. 21, of 1912 -- a cycle of 21 songs for voice and chamber group that, in the composers own words, voices sentiments that are Light, ironic, [and] satirical. Pierrot Lunaire takes the shape of a single large melodrama in which the female voice gives the text a treatment that is midway between speech and song (the technique, called Sprechstimme, goes all the way back to Humperdinck, though it found its best use at the pens of the Second Viennese School composers). Three sections, comprised of seven songs each, showcase the five instrumentalists in all sorts of wonderfully colorful combinations as the narrator tells of the wandering Pierrots experiences -- indeed, the contrasts offered by just the piano, violin, cello, flute, and clarinet are not enough for Schoenberg, who makes the violinist, flutist, and clarinetist double on viola, piccolo, and bass clarinet, respectively. Each of the 13-line poems is a rondel, the opening lines being repeated during the middle of the poem as a kind of refrain. Structural and motivic connections abound throughout the work, and we find such devices as the recurrence of the queasy solo flute melody of No. 7, The Sick Moon, in the 13th song, Decapitation (part of Pierrot Lunaires admittedly darker second section, in which the demons of Expressionism come out to play once more), and the use of a passacaglia form in Night, the first song of Part 2. By the time of The Moonspot in Part 3, Schoenberg has worked up to the level of a full double-canon (for the pair of woodwinds and the pair of strings). No. 19, Serenade, is almost a virtuoso piece for cello and piano, while the final song of the melodrama, O Ancient Charm of Fairy Days, is of the ten
Posted on: Thu, 20 Nov 2014 04:04:58 +0000
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