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8/18/2019 Schoenberg and Pierrot Lunaire
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ABOUT " PIERROT LUNAIRE"
The Impressionsmade
on various udiencesby
Novel
Work
ON of the difficulties-attractions,
erhaps-of
a virtuoso's
ife
is
the perpetual hangeof audience. Each difference
f
hall
or
town
or latitude bliges
im
to acclimatise
imself
hysically
nd
morally.
Vocal
cords
nd
violin
trings
re
alike
affectedn a dozendifferent
waysby
a
change f climate;
nd
then gain, ust
as
the player,
t
eachtownhe cometo,musttakethe local A, so before heactual
dayhe has to get theA of the audience. If yesterday
e roused n
industrialentre o enthusiasm,is receptiono-morrow
n some own
whose business s administrationr diplomacy
may be something
quite
different.
nly
an
artist
who
has
made
a
long
tour,
n
a
countryhat
s
new to him, knows heseperpetual
ears and this
never-ceasingervous train. And, after ll,
without hem,
his
life
would e too easy andquitedull.
There s less risk,ofcourse,when he musician lays thingshe
knows uite well,and has chosenfor he express
urpose f getting
the
maximum ffect
ut of
the
minimum
f effort.
But if it falls
to his lot
to
have
to
champion
new
work,
o new as to give a rude
shock o the tastes nd
traditions
f thegreatmajority
fhis hearers,
his couragewillbe severelyested, nd he willneed
a cool head and
nerves f steel.
So
true
s
this,
hat mostartists o not take the
risk; theyplay,beyond
heprivacy f their tudy, nly uch works
as
they re perfectly
ure ofthemselvesver. Hence most f their
concerts-andhere shallcarrywithme theunfortunate embers
of
the
musical ress-are
flat nd
unprofitable.
Fate decided that I
should
be called upon
to take part,
during the last two years,
in
one of those
contemporary
works which have raised controversy, ven storms,
all
throughEurope: Arnold
Schonberg's
"
PierrotLunaire,"
the
amazing thing that was played three times ast
November
n
LondonMusic
Clubs, fter
arious erformancesy
thesame
artists
in Paris. To come n contactwiththesevarious udienceswas to
receivevery vivid impressions;
nd lately it has
been
my good
fortune
o round
ff hese
mpressionsy certain thers
btained
ur-
ing
a
tour n
Italy under
he direction f the composer.Oppor-
tuniitiesf
observinghe
audienceweregreater here, ince
we went
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348 MUSIC
AND
LETTERS
all through
he country,
from Naples,
through Rome,
Florence,
Venice,
Padua
and
Milan, to
Turin.
I am able to take a detachedview of it all. I need not reel off
the list of our
successes,
for
t would be an exaggeration
o pretend
that these
eveningswere
a
series
of triumphs
n any ordinary
ense;
indeed, during
these performances
he mercury
wavered between
it
rain
"
and
"
stormy."
When
we wereapplauded
t was with
ome
diffidence,nd
when we were hissed there was
always an emphatic
opposition
amp. Press anld
public alike
could indulge the
most
diverse opinions;
the only thing
that no one thought
f
"
Pierrot
Lunaire " was that it was insignificant. But, before speaking of
what
the listeners
made
of
it,
I
should
like to say what
the inter-
preters
hought
f
it.
To make a criticalanalysis
of
this ntricatework s
not
my
object,
nor would
t lie within
my power;
besides,
it would
be waste oftime.
"
Pierrot Lunaire
"
which opened
the
floodgates
f invective,
as
between
those
who admire or dislike
Schdnberg,
has
also
caused
tor-
rentsof
nk to
flow. I
advise
the reader
who is notfamiliarwith
the
work
to
study the
pocket-scorend read
the various
daily papers and
periodicals. They fill a fat quarto. I will say quite simplywhat
effect
t
produced
n
us
at
the
first
ehearsals.
One
of the
commonplaces
hat one
always
hears at the end of
the
performance
f
a
work
of this kind is-" You can
play what notes
you please
and
it
would sound
just as well." That
is a
complete
mistake.
At
the first
rehearsals there
will
obviously
be
a
goodly crop
of
wrongnotes,
and
neither
conductor
nor
players
will
notice
them
at
first. They agreemutually okeeptothemain linesand notstopover
details.
But for
practised
musicians
two
facts
at
once emerge-
1.
Technical
problems
re
soluble
or insoluble.
2.
The
thing
sounds,
or
doesn't.
It
had been
my
business
to
collect
his
ittle
band
of
nstrumneitalists,
and
my
first
are had been to choose
only
sound
technicians.
That
is
not
the
usual
course;
what
those
who are
in
the van of
progress
ook
for
s
youth
nd
enthusiassm
nd a
passionate
ove of
adventure.
But
to my mind entlhusiasmnd devotion are here of small account as
compared
with
practised
fingers
nd
eyes,
and so the music
with
which my colleagues
were
familiar
belonged
certainly to the
day
before
yesterday
atherthan
to
the
day
after
to-morrow.
How was
it
that
from the very
firstrehearsal
they
took
the
thing
seriously?
In
the first
lace
becauise,
hoke-full
Is
it was of awkward
assages
and
techniical ifficulties,ile
\ork
conitainied
olne of those
clumsi-
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ABOUT
"
PIERROT
LUNAIRE "
349
nesses
t which
he
players
hrug
heir houlders
nd which
end
the
work
back
for
revision.
And
secondly,
because from
the
very
firstreadingwe felt that the author'sconceptionndrealisatioi
of
his
thought as
clear
and
deliberate,
nd that heeffect
roduieed
was
the
effectntended. There
re,
and
there
lways
will
be,
secret
affinities
etweenhe
expert
ftheinstrument
nd
the
expert
f
the
pen; whetherhe
composer's
hought
s
commonplace
r
extravagant,
he will
always
have the
respect
f his
interpreters
f he
can
prove
o
them
hathe
uniderstandsis
business.
That
Schonberg
nderstands
usic and
has learned
t in
a
good
school here an benosort fdoubt. He has beencalled romantic,
obviously
ecause
he
has been an
ultra-romantic
n
the
way
he
has
handled
Pierrot
unaire,"
thatbitter
arody
f
theromantic
chool.
But
actually
e derives
rom he
classics
classical,
lmost
cholastic,
in
his
tastefor
contrapuntal
pisodes
and
for
the
musical
puns
which
are
sown
broadcast n
his
work,
specially
n
No.
18,
the
baffling Mondflecht."
hese
ontrapuntal
ubtleties,
rowned
n
the
apparent
haosof an
aggressive
olyphony,
ay
escape
the
hearer f
a
single
vening,
ut
hey
annot
scape
onscientious
nterpretersho
willinglyndertake series of rehearsals. The moment heysee
there
s
a
logic
behind
hese
deeds of
daring
hey
will
not
be
nig-
gardlywith
heir
fforts.
erhaps t
is
only
the
comfortable
eeling
of
having
onquered
ifficulties,
ut
at
any rate the
fact
remains
that
Schonberg
as
won
devoted
nterpreters
ho,
even f
they re
opposed
o
his
system,
re
determined
hat
his
work
hall
be a
success.
And
now
as to
its
"
sounding; I
have
won
various
mpressions.
Peoplehaveoftenaidthat his ombinationf nstrumentsasugly;
theyhave
never
aid
that t
sounded
hollow.
There
s
no
question
that
Schonberg's
hought
as
been
realised
n
performance.
he
majority
f
his
hearers
may
have
regarded
his
ittle
rchestra
f
five
as an
instrument
f
torture,
ut
they
may
be
sure
at
any
rate
that
the
instrument
s
solidly
onstructed
nd
that
there
s
in
it
nota
wheel
oo
many r too
few.
It
wouldbe
difficult
o
write
with
more
slender
means: a
flute
lternating
ith
piccolo,
clarinet
ith
bass
clarinet, violin
with
viola,
a
'cello
and
a
piano.
And
they
areseldomused all together;ometimeshere re four f
them,
hree,
two,
or
even
only
one.
With
these
restricted
esources
he
author
manages
o
give,
when
required,
he
effect
fa
whole
orchestra.
felt
that
vividly
every
time
we
reached
Les
Croix."
However
hostile
he
udience,
nthe
midst
venof
aughter
r
ively
emonstra-
tions,
he
end of
this
piece
was
always
received
with
he
respect
f
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350
MUSIC
AND
LETTERS
silence:
its evident
trength
lways
quells
the
rioters.
Asceticism
likethis
has
its dangers,
with
an orchestra
omposed
f
the
bare
essentials oucannot fford istakesromissions.With ll respect
to
the
"
you-can-play-what-notes-you-please
contingent,
nyone
who
knows
he
work
an
detect
wrong
ote
or
a
missing
art
s
easily
as
in a
Haydn
quartet.
I
realised
hat
one
day
at a rehearsal
f
another
xtremist
ork.
We
were
going
hrough
orthe
first
ime
Darius
Milhaud's
ymphony
or
ten
wind nstruments.
y
one
of
those
fatalities
hich
re
for
composers
nd orchestral
eaders
the
bane
of existence
he
cor
anglaiswas
late, so
late
that
we
had
to
beginwithout im. Thiswork fMilhaud s onewhichs peppered
over
more
iberally
han
usual
with
aring
armonies
nd rough
one-
qualities,
nd
I
confess
with
humility
hat at
a first
earing
he
second
movement
ppeared
o
me to
be merecacophony-a
purview
which
subsequently
bandoned;
moreover-a
hing
which
erformers
think
more
of-the
orchestration
ounded
poor
and
hollow.
I
was
beginning
owonder
whether
e
should
ver
get anything
ut
of t,
when
our
cor
anglais
rrived,
uffing
nd
panting.
If
the
work
had
really
been
cacophonous
is
contribution
ould
dnly
have
made
the
muddleworse. But,on the contrary,t cleared hewhole hingup
wonderfully,
nd
I wasastonished
o
find
hat
t sounded
xcellently,
even
f that
was
its only
merit.
If
I
apply
the
word
"
excellently
to
"
Pierrot
Lunaire,"
no
doubt
I shall
shock
more
han
a
few
of
our
audience.
We
will
say,
then,
that
t sounds
s
it
ought
o sound,
nd
pass
on
now
to
the
reception
it
had.
Performed
or
the
first
time
in
Germany,
n 1912,
"
Pierrot
Lunaire didnotreachParis till1922. Meantimeherehad been
the
war
nd
the
ban
on
modern
erman
music,
nd,
still
worse,
here
were
he
material
ifficulties-the
xpense,
ndthe enormous
umber
of
rehearsals-which
o
one
quite
saw how
to get
over.
At
this
point,
nd
at his
own
risks,
there tepped
n
M.
Jean
Wiener,
young
musician,
clever
pianist
nd
a
bold
organiser.
He
has
a
natural
turn
for
the
daring
onceptions
nd outrageous
ancies
of
modernism,
nd s
more
t his ease
in Schonberg
nd Stravinsky
han
manyamateursre in Clementi.
Besides,
his
weakness
or
azz*
and
his
skilful
laying
f
his own
transcriptions
f theAmerican
"
Blues
"
give
him special
position
n the
musical
world.
His
well
attended
oncerts
raw
peculiar
ublic,
ather
osmopolitan,
eady
for ny
eccentricities
nd
greedy
or
new
sensations.
It was
his
own
*The influence
f
the
jazz-band
on Stravinsky
nd
his
followers
xplaint
much that
would
otherwise
e
unintelligible,
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ABOUT
" PIERROT
LUNAIRE
351
quaint dea
to
combinen
a
single
programme
f
chamber-music
n
item
for
azz-band
excellent,
y
the
by),
the Sacre
du
Printemps
n
the piano-playernd Milhaud's onataforwind nstruments. he
fact
hat
this
outrageous
ssortment
ad
calledforth
o
protests
ed
one to
suppose
hat"
Pierrot unaire
would
be
received
y
the
samepublicwith
cclamation.
That
the
art of
Schonberg
as
little
appeal
to
the
disciples
f
Stravinsky
as
clear from his
first
xperiment,
hich
xcited
ively
curiosity
ut
nded n
tumult.
In a
hall
without
n
empty
eat
n
it
and
an
atmosphere
harged
with
electricity,
e
played,
under
the
directionfDariusMilhaud,hefirstart nly fthiswork. Madame
Marya
reund
ook he
vocal
part.
The
very
irst
ars of this
ung
speech
or
spoken
ong-whichever
e are
to
call
it)
took
veryone
by
surprise,
nd
the
weird
armonies id
the
rest;
and
there
we
were
n
the
middle
f a
Homeric attle.
The Parisian
publicremains
alm,
as
a
rule,
so
long
as
it is
pre-
sentedwith
nothing
bnormal; ut
the
momentt is
given
novelty
with
challenge
n
it,
the
old
combative
nstincts
f
the
race are
aroused. In
thefirst lacetheres always fractionf theaudiencewhich
egards
music,
rightly
r
wrongly-for
here
is
something,
after
ll,
to
be
said
for
the
view-as an
after-dinner
istraction,
digestive.
This
opinion
revails n
the
higher
ranks
of
society.
Then,
the
Frenchman,
chatterbox
y
nature,
islikes
keeping
is
opinions
o
himself; s
soon
as
he
is
bored
he
lets
his
neighbours
know.
I
noticed
he
other
evening,
uring
he
performance
f
a
similar
work,
gentleman
f
some
social
position
idgeting
nder
t
a
good
deal.
He
was
sitting
n
a
comfortable
hair
lose
to
the
door;
and he couldeitherhave goneto sleepat peace with ll men,or
three
teps
would
have
taken
him
to
the
restaurantn
the
passage
outside.
But
he
preferredo
punctuate
he
performance
ith
yawns
and
witty
jaculations,
nd to
prevent
is
neighbours
ppreciating
he
music
hey
ame
to
hear.
This
displeased
hem,
f
course,
nd
they
protested.
Such
electioneering
anners
ave
always
een
fashionable
in
society
atherings
t
Paris,
and
the
occupants
f
the
Jockey
lub
box,
who
put an
end
to
the
representations
f
TannhYuserat
the
Opera
under heEmpire,have eft numerousrogeny.But it isnotonly
mart
ociety
hat
does
not
get
on
with
chonberg.
In
France
we
have
as
many
chools
f
music
s
we
have
parties
in
politics,
hich
s
saying
more
han
little;
nd
the
uave
amenities
of
debate
which
revail
n
the
Chamber
f
Deputies
re
reproduced
in
musical
atherings
s
soon
as
the
concert
eaves
the
beaten
rack.
There
s the
group
f
"
La
Nationale
(d'Indystes-Franckistes),
he
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352
MUSIC
AND LETTERS
S.M.I.
(Faureens-Debussystes),
he
"
Six
"
(inwhose
ute little
ift
is visible),
he
Prixde Rome,
heSatistes,
tc.,etc.
Convinced,
ot-
headed ndpugnacious,hey reall ofthemntheroom ndripefor
a fight
he
moment
pportunity
ffers.
Here
he opportunity
as
toogood
o be
missed,
ndthe
econd
hearing
complete,
his ime)
f
"PierrotLunaire
brought
ogether
neof
the-
most epresentative
audiences
hat Paris
has
seen
for longtime.
I
hope
Messieurs
Ravel
and
Florent-Schmitt
ill
not
mind
my
revealing
hefact
hat
they
were
mong
hewarmest
fSchonberg's
dmirers;
utthey
were
hard
put
to it to
defend
heir
pinion
withmusicians
ftheir
wn
mettle. Each number,asting romwo ofourminutes, asgreeted
with cheers
and
hisses.
When
the
hisses
had
it,Milhaud
began
again
and
finished
n a
regular
proar.
I sawone
man
n the
third
row
of the stalls
ivid
with
agewhen
n
encore
was announced:
he
stamped
iolently,
houting
ut:
"
No,no
Not
gain
Not
gainl
There
s one very
goodpoint
bout
this collaboration
f the
audi-
ence.
If
he takes
hisses,
nsulting
emarks
nd
encores
nto
con-
siderationi,
he concert-giver
an count
on
his programme
eing
prolonged
eyond
he
moment
here
t becomes
ecessary
o tack
on
another ieee. A performanceo full fincidentasilyfills whole
evening,
ndnever
has so short
programme
inished
o
late.
I will
dd that he
Press,
high nd
ow,
was
favourable
o the
work,
and
that
ritics,
venwhen
hey
did
not
ike t,
showed
o
animosity
to thecomposer.
Never
have
the divergent
haracteristics
f
the
two
friendly
nd
alliednationshone utto memore learlyhan astNovember,hen
"
Pierrot
unaire
was
given
n London.
Ourthree
erformances,
at
the
Kensington
usic
Club,
the Music Society,
nd the
Chelsea
Music
Club,
xactlyeproduced
hose
t Paris. There
were he
same
players
nd the
same conductor;
ven
the
text,
which
t would
have
been
child's
play
to
Madame
Marya
Freund
o
sing
n theoriginal,
was given
n
the
French
ranslation,
hough
ome
ofthecritics
ound
fault
with
this
arrangement.
We had, therefore,
veryright
o
expect
he same
"
incidents,"
nd
I felt little
nxious bout
our
reception.
We
began
at
Kensington.
"
Pierrot Lunaire
" at
Kensington
has
always
eemed
o me
an
amazing
aradox.
I am fond
f
Kensington
from
aving
ivedthere
ften.
Except
or he bustle
f
High
Street
at
the
shopping
our
here
s
an air
of
quiet
and
respectability
hat
reminds
me
of
Oxford.
Moreover,
eighton
ouse
s notfar
off,
nd
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ABOUT
"
PIERROT LUNAIRE
"
363
the Palace
where o
many
of the
Royal
family ilved
s close
by.
And
there s a faint
ragrancef
the
Victorian
ra
about
t.
No
part
ofLondon s less morbid r morerestful.If in summer walk
through
ts
green,
deserted
ways,
nd hear
the sound
of a
piano, t
will
probably e
a
fugue
f
Bach.
My
old
friendshere ll
belong
o
theBach
Choir,
nd a
photograph
f
Joachims in
everymusic-room
in
the
parish.
That the
members
f
the
Kensington
lub
shouldhave
consented
to
hear
this diabolical
music,
s a
magnificent
roof
f their
clectic
philosophy.
But
thatthey
houldhave
istenedwith
uch patience
and fortitudes no lessmagnificentn instance f that enseoffair
play which s
one
of
the most
endearingharacteristics
f
Britons.
What n
impressive
alm
How
unexpected
his
nward
eace
after
our
tormy
eetingst Paris At
the most
aring laces
n
the
core
I
watched
he
audienceout of the
corner f
my eye.
They
never
blenched.
They sat
there, alm
as
a boxer
whotakes punishment
with
smile. I
thought f
the
bright
moonlight
ights f 1918 and
the
Zeppelins.
Whatever
he
aliens
of
Soho
and
Whitechapel
ight
think it odo,for he nhabitantsfKensingtonndBelgravia ood
taste
demandedhat,
whatever
hey
might eel,
the hand of
bridge
should e
played
uietly
o
an
end.
In
1923,
as in
1918,
my
British
friends
gave
me an
admirable
llustration f
self-control,
nd
I
wondered
whether he
"
moonstruck ierrot
was not
even
moredis-
tastefulo
them
han he
moonlightaidsof
the
German
irmen.
After etting
urselves
istened o at
Kensingtonown
Hall, we
felt
ure we
should n
that
urious
ittle
hall
in
Tufton
treet, he
ideal
setting
or
thing f
this
kind. The
dimly
ighted
rypt,made
dimmer tillby theblue spirals f cigarettemoke nd by theall-
pervading
hames
og, xactly
uits
hemorbid
ubtletiesnd
sudden
clashes
of
Sch6nberg's
core;
and
the
cultivated
udience
ying
ack
in
their
eck-chairs,f
whomwewere
nly
vaguely
ware,
eemed o
take
pleasure
f
a
kind n
our
concert.
It was the
same
with he
Chelsea
audience.
If
there
s
one
quarter f
London
rather
han
another
n
which ne
dare
risk
bold
gesture,t is
this
ant-heap f
artists nd
literary
en, lways
eady
osee the
fun-n an
interesting
novelty.On thewhole, hen,our reception as goodeverywhere.
It
may
have
been
he
presence
f
several
rofessional
usicians,
ho
put
themselves
n
our place
and,
realising
the
numberof
our
rehearsals,
lapped ur
efforts
ikegood
sportsmen.
Whattouched
me
mostwas
not so
much he
sympathyfthose
who
iked he
work
as the
courtesynd
patience fthose
who n
their
earts
wished s to
the
devil. That
was
most
mpressive,
nd
I cannot
roperlyxpress
my
admirationf t.
V&O.
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354
MUSIC AND
LETTERS
I may add
that, in contrastwith what
happened on the Continent,
we had a
frightfullyad Press. Well, well; it is the duty of a critic
to saywhat he thinks,withoutmincingmatters, nd nobodyneed take
umbrage
t
it.
I
thought
had
finished
my experiences
with
"
Pierrot
Lunaire,"
when
a
proposal
came from he
distinguished
talian
composer,
Alfred
Casella, which
sent
me to school
again.
We were to
give
the
work
in
Italy under the composer's direction. Who could resist
a
tour
in
Italy and the prospect
f
giving such gloriousbattle?
I
set out
with
enthusiasm, nd my unceasingthirst ornoveltywas soon quenched,
for saw
Naples without
uIn
and
played
"
Pierrot Lunaire
"
in its
original form.
I
ought to say here that the
"
PierrotLunaire
"
which London
heard was not
exactly
as
the
authorconceived t.
In
the first lace,
the French translation
makes an
appreciabledifference
n
its
general
swing
and
go;
and
in
the
second,
Madame
Marya Freund, excellent
singer
that she
is, cannot
quite
forget hat
she
is a
singer,
and
sings
consequentlywitha reciter's nflexions,whereas Schdnberg ntended
it to
be recited with musical
inflexions.
And I should add that this
most conscientious
rtist has
submiiitteder interpretationo Sch6n-
berghimself,
nd he was
delighted
nd
surprised,
nd
greatly
dmired
her
art
in thisnew version.
In
Italy the vocal
part was assigned to the
handsome
and
intelligent
Erika
Wagner,
a
star of the
Viennese Schauspielhaus.
She is
equally
remarkable s a
dramatic rtist and as
a
concert
inger.
The
piano
was
in
the
hands
of Mr.
Steurmann,
aln
interpreter
f
Schonberg's
own
choice,
and
the strings
were
supplied by the Brussels
quartet,
Pro Arte.
Of
course
t
was
Schonberg's
own
personality
hat I most
wished
to
become
acquainted
with,
and
I
was not
disappointed. In that small,
active
man,
always
in
motion,
with
a
piercing
and
roving eye
and
mobile
ips, simple
n
dress and
in
manner,
and
without semblance
of
pose,
there is
nothing
that
suggests
the
hunter
after sensational
success
or the
upstart pining
for
advertisement. If his name has
made a stir it is certainlyn spite of himself. All that I had heard
of
him,
of
his
solitariness and inaccessibility, f his life far from
distractions nd
wrappedup in his work,was
fullyconfirmed y such
relations s
I
had
with him. One thingmay be
confidentlysserted,
and that
is his
absolute sincerity. By-what paths and in the train
of what
circumstances his
technically earnedmusician, broughtup
in
the
strict
lassical
method,reached his present point of
view,
I
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ABOUT
"
PIERROT
LUNAIRE"
355
cannot
ay. Abnormal
rain-power,
erhaps,
wearying
tself
nces-
santly
o find
ombinations
f ounds
ver
tranger
nd more
omplex;
but at any rateno mere tch fornotorietyr strivingfter ffect.
Neither s he an
iconoclast.
in
the
course
f
this
talian
tour, ne
rainy
Sunday,we
made a littlemusic
together-Bach,
Mozart
nd
Haydn.
It
gave
him
the
greatest
leasure,
nd he confessed
o
us
that
quartet-playing-he
lays
the viola-is his
Sundayamusement
at
Moendling.
The
excitement e threw
nto our
visits
o
the
treasures
f
art
in
which
taly
abounds,
was evidence
f his
open
mind nd
catholic aste.
He is nogreat onductor,o virtuosofthebaton, uthis leading
is
exactand
autocratic,
e
knows
what
he
wants nd how
to
get
t.
It
is
trueto
say that
at
the last
rehearsalwe
were
conscious
f
havinggot
readyas
faithful
performance
s is
possible
with o
exacting
work,nd I
felt
weight ffmy
mind.
For
indeed
had
started
or
talyfeeling
ure
thatwe
should
never
get
throughn
evening;
nd from
what knew
f
the
rascible atin
public
was
afraidwe
should
be
pelted
with
omatoes
nd
oranges.
Perhaps
it
was in consequence f the high standardof life,
but
at
any rate we
were
pared
his
supreme
umiliation.Not
only
did
we
escape
from
he
adventure
afe
and
sound,
but
wewere
ble
to
playthe
work o
an
endevery
ime,which
was
more han
weever
hoped;
though
etween
hat
and
any
assertion
hatwe
were
gar-
landedwith
loral
ributes
here s a
certain
nfilled
lank.
Everything
ombinedo
make
his
enture
difficult
ne.
Italy sthe
land of bel
canto,
nd
the
measured
nd
inflected
iction
which
he
composerad
magined
as, n
tself,
othingn
common ith
inging.
TheGermananguage s unintelligibleoalmost ll Italians, ndthe
rough
gutturals,
eing
meaningless,
ounded
o them
funny. Our
audiences
lmost
verywhere
ontained
irlsready
to
giggle t
the
smallest
ncident r
the
mildest
rchestral
urprise;
nd n
every own
therewas a
small
body
of
young
musicians,
hiefly
tudentsn
the
full
wing
f
their
lassical
tudies,
who
were
quite
determined
ot
to
allow
note
f
this
nfernalmusic
o be
played.
Well,as I
said,
we
were
istenedo
everywhereill
the
very
nd.
At
Rome,
ctually,
a concertnder heauspices ftheCorporationeer a nuovamusica
was a
real
success.
But
elsewhere e
madeheavy
weather
with
ur
performances.
he
senseof
fun-of
course, nthe
bestpossible
pirit
-took
complete
ossession
f
thiseasily
swayed
public,
nd found
vent
n
laughter,
itticisms
nd
discussion.
Happily,
Erika
Wagner
is
very
andsome-a
matter
fno
small
mportance
nthe
and of
the
Beauitiful-and
chonberg,
n spite of
his
small
stature, as a
pre-
sence;
so
peoplehad to
listen
willy
illy.
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356
MUSIC
AND
LETTERS
One
of
themost
nteresting
pisodes f our
tourwas
theneeting
of
Puccini
nd
Schonbergt
a concert
t Florence.
The illustrious
conmposerfToscaand La Boh"emead done the threehoursbyrail
from ucca
for
heexpress
urpose f
hearingmusic o
different
rom
hisown. If
anybody ad an
excuse or
going ut and
slamming
he
door behind
hinm,t
was he. But
no; he
set a goodexample
of
patience
nd self-commando
many
a hot-headed oungster.
He
listened
ight
hrough ith he
greatest
ttentionnd
interest,
nd
congratulated
he author fterwards
n
the artists' oom,
wherehe
discussed
echnical
etails
withhim.
Perhapswe shall
have-who
knows?some little ch6nbergianeminiscencen his next opera.
Nobody
would
e more uirprised
han
Sebh8nberg.
And now
wonder
nder
what skywe shall
next
play
"
Pierrot
Lunaire,"
and what
reception
new
country
ill give
us. Will
it
be
French
frenzy
r British eticence
r Italian merriment?
All
I
can wish
for s whatthe
Gallic
soldier
sked of the
Roman captain
whowas
going
o
condemn
imunheard
-" Strike,
ut
isten
L. FLEURY.
[Trans.,
A. H.
F.
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Concerning "Sprechgesang"Author(s): Ralph W. WoodReviewed work(s):Source: Tempo, New Series, No. 2 (Dec., 1946), pp. 3-6Published by: Cambridge University PressStable URL: http://www.jstor.org/stable/943969 .
Accessed: 22/09/2012 04:28
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp
.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
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http://www.jstor.org
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CONCERNING SPRECHGESANG
oncerning
Sprechgesang
y
a l p h
W
W o o d
IN
PART
III of
Sch6nberg's
Gurrelieder here is
a
section,
Des
Sommerwindes
wilde
Jagd,
that
is
described
as
a
melodrama and that constitutes
the
only appearance
in
the
work
of
the character
listed
among
the
soloists as
The
Speaker.
The
words
of
this
number
are
written
under
what
would
appear
to
be a
normal
vocal
line
(though perhaps
of
rather
unusually
simple nature), except
that
crosses
are used
instead of
note-heads:
There
are no
directions
in
the
score as
to
how
the
part
is to be
rendered.
More
than
ten
years
after
the
composition,
but
barely
one after the
completion
of the scoring, of the GurreliederSch6nberg wrote his Op.
21,
Three-times seven poems
from
Albert
Giraud's
Pierrot
Lunaire
(translated
into German
by
Otto
Erich
Hartleben)
-for a
speaking-voice
[
Sprechstimme
]
piano,
flute
(also piccolo),
clarinet
(also
bass
clarinet),
violin
(also
viola)
and
'cello-(Melodramas).
Later still
he
said
in a
letter:
Here
(in
the
Gurrelieder)
the
pitch
notation
is
not
at all to be taken so
seriously
as
in the
Pierrot-Melodramas.
In
no
way
is
a
song-like
speech-melody
to be
created,
but the
rhythm
has to be
adhered
to and the
volume of
tone
regulated
with
the
accompaniment.
In several
places
in which
it
is
almost melodic
one could
speak
a little more
musically.
The
pitches
are more
to be
regarded
as dif-
ferences
of
level;
that is to
say,
the
respective
passages
(not
the
separate
notes)
are to
be
spoken
higher
or lower.
In
the
score
of Pierrot
Lunaire one does
find an
explanatory
foreword.
Here
it is:
The
melody
given
for the
speaking
voice in notes
is
(apart
from
a
few
specially
indicated
exceptions)
not
meant
to be
sung.
The
reciter
has
the
task of
trans-
forming
it,
with
a
thorough
regard
for the
prescribed
intervals,
into a
speech-
melody.
He
accomplishes
that
by (I) keeping
the
rhythm
absolutely
strict,
as
if
he were
singing;
i.e.
with no more
freedom
than
he
would
allow
himself
for
a
song
melody;
(ii) fully realizing
the difference between
singing-tone
and
speaking-tone:
the
singing-tone
holds
fast to the
pitch
from
beginning
to
end
of a
note,
whereas
the
speaking-tone
does
give
it
at
first,
but then at once
departs
from it
by
either
rising
or
falling.
The
performer
must, however,
watch care-
fully
not
to
fall into
a
'
singing'
way
of
speaking.
That is not at
all
what
is
meant.
In
no
way,
it is
true,
must
a realistic-natural
speech
be
striven for.
On the
contrary,
the
difference
between
ordinary
speech
and a
speech
that
co-operates
in
a musical
form
is
to
be
distinct.
But it
must
never
remind
one
of
singing.
Further
there
is
to be said
regarding
the
performance:
the
performer
never
has the
task
of
bringing
out the mood
and
character of the
sense
of the
words,
but
only
of the
music.
So
far
as
the
composer
considered
tone-painting
of
the
events
and
feelings given
in the
text to be
called
for,
it
will be
found
in the
3
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TEMPO
music.
Where
the
performer
does not
find
it,
he must
beware
of
adding
some-
thing
that
the
composer
did
not
intend.
For that would
be
not an
addition
but
a
subtraction.
The vocal line
to which the
performer
s thus
tutored
to
address
himself
(as
a matter
of
fact,
herself)
is
an
extremely
intricate
one,
full
of the
awkward
intervals and
of
the
conflicts
with the
accompaniment
that are
typical
of
all
Sch6nberg's
mature
writing.
The
notes
are
written
in the
usual
way,
but
(except
when
actual
singing
is intended-see
the
parenthesis
at
the
beginning
of the
Foreword
)
with crosses
through
their
stems.
The
compass
is:
(with,
during
one of
the
brief
sung
passages,
a
low
E
flat thrown
in,
for
which
however
an
octave-higher
alternative
s
offered).
Some
notes
are marked
toneless,
and
one
group
is
to
be
whispered
tonelessly
and
is
notated
without note-heads
(i.e.
pitch
indications)
at all.
There
are
such
things
as
acciaccaturas
(e.g. jumping up
an
augmented
fourth)
and
glissandos
(e.g.
dropping
an
augmented
eleventh).
A certain
five
detached
notes
all have shakes
marked over
them.
It
is
worth
noting
that the
composer
uses
the
voice-part,
for
contrapuntal
purposes, just
as
if it were
an
authentic
melodic
line
(i.e.
sometimes
giving
repetitions,
imitations,
etc.,
of it
in various of
the
instrumental
parts).
PierrotLunaire has been mentioned on the heels of the Gurrelieder,ecause of
Schonberg's
comparison
in the
letter
cited;
but
in fact Die
glickliche
Hand,
which
was
begun
just
after
Erwartung,
nd
thus well
before PierrotLunaire
(though
the
latter
was
finished
first,
being
written with characteristic
speed,
whereas
Die
glckliche
Hand
was
only
composed
by
fits
and
starts
over a
long
period),
contains
among
its
many
extraordinary ngredients
a
chorus whose
lines,
delivered
through
holes
in a
velvet
back-curtain
ust large enough
to
frame their
faces
and
in
a memorable
lighting
and
colour-scheme,
are
largely
spoken.
All
the
notes
in their
parts, except
those
to
be
sung,
are
notated
as
in
Pierrot
Lunaire
nd
markedeither
whispered
or
spoken.
Those
who
have heard
this
very rarely-performed
work
say
that the
effect
of
these
passages
for
the
chorus
is
extremely
beautiful,
above
all
the
transitions
rom
speech
to
song.
That the appearanceof difficultyin the vocal line of PierrotLunaire s no layman's
illusion is
proved
by
the
references
o
it
made
by
some of its
interpreters.
Erica
Wagner-
who toured
widely
performing
the
work,
and
likewise made a
gramophone
recording
of
it,
under
the
composer's
baton-admits
being
brought
to tears
during
the rehearsal
period.
Gutheil-Schoder,
who
performed
t in
Copenhagen,
speaks
of
having
sworn
at
his
too
many,
far
too
many,
note-heads and
says
that
his
never-heard-of
ntervals
have
given
her
a
nightmare.
But
they
were,
of
course,
devoted
admirers
of the
thing
that
had
brought
them so
much travail and tribulation.
Both
Marya
Freund
(with
whose
interpretation
English
and French
listeners
are
more
familiar)
and
Gutheil-Schoder made
their
justly
vast
reputations
as
singers.
Erica
Wagner,
though
she
had
indeed
studied
music,
is
famous
as
an
actress
pure
and
simple. This brings us to a crucialambiguityof the whole Sprechgesang situation.
Sprechgesang
is
not
a term
employed by Sch6nberg
himself;
but
it
has
been
freely
used
by
many
of
his
critics,
apologists
and
biographers,
almost
as
if
it
were
synonymous
with his
own
Sprechstimme.
Percy
Scholes,
for
one,
has
done
well
to
point
out
that,
on
the
contrary,
there
is
a
difference
between
the
two
words
almost
amounting
to an
antithesis;
Sprechgesang
means
a
'
parlando
manner
of
singing,
and
indeed
is
translated
in
standard
dictionaries
as
recitative,
whereas
Sprechstimme
in
itself
simply
means
speaking
voice.
4
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CONCERNING
SPRECHGESANG
Louis
Fleury,
the
flautist,
writing
of
his
experiences
as
a
performer
in
a
number
of
presentations
of Pierrot
Lunaire,
llustrates the
point
clearly
when
he
mentions
that,
for
instance,
the
London
performances
of
1923
were
not
exactly
as
the
author
conceived
it... MaryaFreund,excellentsingerthat she is, cannot quite forget that she is a singer,
and
sings
consequently
with
a
reciter's
nflexions,
whereas
Sch6nberg
intended
it
to be
recited
with
musical
inflexions
.
.
.
this
most
conscientious
artist
submitted
her
interpretation
o
Schbnberg
himself,
and he
was
delighted
and
surprised,
and
greatly
admired
her
art in this
new version. *
Pierrot
Lunaire
was,
as
a
matter
of
fact,
composed
upon
the
initial
suggestion
(as
to
both the
vocal
method
and
the
text
employed)
of
an
actress,
Albertine
Zehme,
to
whom
it is
dedicated
and
who
was
its
first
interpreter.
Of
the
Freund
performances
mentioned
by Fleury
a
London critic
wrote
that
she
was
wonderful
. . .
She
used
more of a
singing
tone
than
one
expected.
She
maintained
pitch
in
spite
of
every
imaginable provocation
...
In
Erica
Wagner's
rendering,
which
can be
studied
on
the
gramophone,
there
is
certainly
a
very
great
deal
more Sprech than Gesang. But thereis also only a very loose observanceof the
pitch
indications,
which are
once
or
twice
even
contradicted
(e.g.
n
the
phrase
prunkend
in
des
Blutes
Scharlach,
n
Die
Kreute)-contradicted,
that
is to
say,
as to
direction
of
intervals,
leave
alone their exact
dimensions
(which
seem
hardly
to
enter
even into
the
province
of
discussion).
All the
same,
both
kinds
of
interpretation
are,
on
their
own
merits,
quite
effective.
When
Hedli
Anderson
gave
her
interpretation,
n
England
in
1942,
under
Erwin
Stein's
baton,
the latter-who
is
probably
as
familiar
with
the
work
and
its
problems
as
any
man
alive,
apart
rom
the
composer
himself-found
that
she
achieved
Sch6nberg's
intentions
quite
marvellously,
more
fully
and
exactly
than
ever
had
been
done before.
Sch6nberg did not use the Sprechstimme again until, twenty odd years later,
he
composed
the
setting
for
reciter,
strings
and
piano
of
Byron's
Ode
to
Napoleon
Buonaparte.
Here
the vocal
part
is
notated in
the
score on
or
around
a
single
line
(such
as is
sometimes
found
in use
for a
percussion
instrument),
to
which
is
given
at
the
beginning
the
normal
bass-clef
sign.
On or
around
means
that
the
note-heads lie
sometimes
on
the
line
and
sometimes
at
varying
distances
above or
below it.
The
notes
have
accidentals
sprinkled
among
them,
just
as
if
they
were
forming
a
melody
on
a
stave
of which
only
the
one line
is
actually
visible. The
effect in
performance
s
a
declamation
similar
to that in
Pierrot
Lunaire,
or
all that
the
vast
intervals
often
prescribed
n the latter are absent
here
. .
.
But meanwhile
Sch6nberg's disciple,
Alban
Berg,
had
incorporated
speaking-voice
effectson a considerablescalein his operas, Wozeeck ndLulu. He uses there ordinary
speech,
ordinary
speech
harnessed
into
rhythm
with the
accompanying
music,
what
he
describes
as
rhythmic
declamation
(notated
just
as the
vocal
line
of
Pierrot
Lunaire
s,
and
for which
he
gives
prefatory
instructions that are
a
practically
verbatim
re-issue
of
Schonberg's, though
with
one or
two
significant
added
refinements of
definition),
half
singing
(sometimes
called half
speaking,
according
to
the
con-
text),
and
parlando
singing.
He
employs
for
this
elaborate
range
of
values
a
correspondingly
elaborate
range
of
notations.
Apart
from
the
inescapable
dubieties
of
the
passages
of
declamation
a
la
Pierrot
Lunaire,
i.e.
the
bordering-on-fictitious
character
of
the
wide-compassed
and
infinitely
chromatic
vocal
line
written
out
for
such
passages,
Berg's
use of the
non-singing
voice
is
extremely
effective.
Thereis not much doubt aboutwhy he hadrecourse o suchdevices. He obviously
had
qualms,
as it
may
well
come
to
any
sensitive artist to
have,
about
one of
the
funda-
mentals
of
the
operatic
medium,
the
singing
f
dramatic
dialogue,
etc.
Not
the
only,
but
certainly
the
foremost,
problem
raised in that
connection
is the
matter
of
tempo
;
and
it
is
interesting
to note
the
fairly
realistic
speed
of
delivery
of
the
words
even in
Berg's
Sprechstimme passages
(more
so
still,
of
course,
in the
absolutely
spoken
ones).
His
achievement
is
seen
clearly
if
one
compares
the
extraordinarily
aithful
mixture
of
*Transl.
A.
H.
Fox
Strangways.
5
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TEMPO
tenderness
and
sadness
in the
music
to
which Marie
sings
the
snatches of her
half
nonsense-words
ullaby
with the
equally
extraordinary,
eart-breaking oignancy
of her
rhythmic
declamation
of
the
quotations
she reads
out from her Bible
(
Es war
einmalein armesKind und hatt' keinenVater und keine Mutter, andthe restof them),
and with
her
sung
wailings
of
anguish
that
interrupt
the
latter.
It
may
be observed
that
Berg's
vocal
lines,
of whatever
category,
are
difficult,
but
considerably
ess so than those
of
Sch6nberg (and
than
those
that
Webern, too,
gives
singers).
He
offers
more
aid,
too,
in the
accompaniment.
And
he'll even be
found
showing
an
enharmonic
change
on
a
note
so as to
help
the
vocalist
to
cope
with
an
interval.
...
Finally
we
must come
to
Benjamin
Britten's The
Rape
of
Lucretia.
Can
anyone
who
has
once
heard t ever
forget
the
remarkable
ntensity
created
by
the
Male Chorus's
spoken
commentary
during
the minute
or
so
before the
commission
of the
actual
rape
?
The
printed
notes to which
his
words
are
set
are
given
exact
rhythm
and
pitch
values
(even including
?
glissando indicationat one point) but have crosses instead of heads.
So
far
from
its
being
like
a
normal,
sung
melody, only
five notes are
used:
C) *4
and
clearly
no
more than the
rough
idea of various levels of the voice is
intended to
be
conveyed
by
this
pitch-notation.
In
performance
(on
the
stage
and
as
privately
recorded
for
gramophone)
the intonation seems
very
loose,
in relation to
the
printed
stave. There
is
a
tendency
to
sing
some of the
highest
notes;
and,
on
the
other
hand,
most of the other notes are ratherwhisperedthanspoken. Apart,incidentally, rom the
word
(spoken)
at
the
beginning
of the
section,
the
score contains no
explanation
of
how
it
is
to
be rendered. The
accompaniment
a
further
strong
contrast to
the
Sch6n-
berg-Berg
specimens)
is
for
indefinite-pitched
percussion only
-
bass
drum,
tenor
drum,
side
drum,
cymbal-nothing
else.
These two
simple-looking
pages
constitute
something
like a stroke
of
genius.
6
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Society for Music Theory
Interacting Pulse Streams in Schoenberg's Atonal PolyphonyAuthor(s): John RoederReviewed work(s):Source: Music Theory Spectrum, Vol. 16, No. 2 (Autumn, 1994), pp. 231-249Published by: University of California Press on behalf of the Society for Music TheoryStable URL: http://www.jstor.org/stable/746035 .
Accessed: 22/09/2012 04:31
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236 Music
Theory
Spectrum
Example
2.
Schoenberg,
Pierrot
lunaire,
Op.
21
No.
1,
"Mondestrunken,"
mm.
1-11
236 Music
Theory
Spectrum
Example
2.
Schoenberg,
Pierrot
lunaire,
Op.
21
No.
1,
"Mondestrunken,"
mm.
1-11
236 Music
Theory
Spectrum
Example
2.
Schoenberg,
Pierrot
lunaire,
Op.
21
No.
1,
"Mondestrunken,"
mm.
1-11
236 Music
Theory
Spectrum
Example
2.
Schoenberg,
Pierrot
lunaire,
Op.
21
No.
1,
"Mondestrunken,"
mm.
1-11
236 Music
Theory
Spectrum
Example
2.
Schoenberg,
Pierrot
lunaire,
Op.
21
No.
1,
"Mondestrunken,"
mm.
1-11
236 Music
Theory
Spectrum
Example
2.
Schoenberg,
Pierrot
lunaire,
Op.
21
No.
1,
"Mondestrunken,"
mm.
1-11
236 Music
Theory
Spectrum
Example
2.
Schoenberg,
Pierrot
lunaire,
Op.
21
No.
1,
"Mondestrunken,"
mm.
1-11
236 Music
Theory
Spectrum
Example
2.
Schoenberg,
Pierrot
lunaire,
Op.
21
No.
1,
"Mondestrunken,"
mm.
1-11
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8/18/2019 Schoenberg and Pierrot Lunaire
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248 Music
Theory Spectrum
Example
5.
Schoenberg,
Op.
19 No.
1,
mm. 1-4:
rythmic
form
248 Music
Theory Spectrum
Example
5.
Schoenberg,
Op.
19 No.
1,
mm. 1-4:
rythmic
form
248 Music
Theory Spectrum
Example
5.
Schoenberg,
Op.
19 No.
1,
mm. 1-4:
rythmic
form
248 Music
Theory Spectrum
Example
5.
Schoenberg,
Op.
19 No.
1,
mm. 1-4:
rythmic
form
248 Music
Theory Spectrum
Example
5.
Schoenberg,
Op.
19 No.
1,
mm. 1-4:
rythmic
form
248 Music
Theory Spectrum
Example
5.
Schoenberg,
Op.
19 No.
1,
mm. 1-4:
rythmic
form
248 Music
Theory Spectrum
Example
5.
Schoenberg,
Op.
19 No.
1,
mm. 1-4:
rythmic
form
248 Music
Theory Spectrum
Example
5.
Schoenberg,
Op.
19 No.
1,
mm. 1-4:
rythmic
form
A
J.
Pulses:
A
J.
Pulses:
A
J.
Pulses:
A
J.
Pulses:
A
J.
Pulses:
A
J.
Pulses:
A
J.
Pulses:
A
J.
Pulses:
P
A
J
r
P
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A
J
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P
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A
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(J,)
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Commentary:
0
ommentary:
0
ommentary:
0
ommentary:
0
ommentary:
0
ommentary:
0
ommentary:
0
ommentary:
0
0(?(?(?(?(?(?(?(? 0
Key:
i
P
Contour
accents, high
and low
p
Key:
i
P
Contour
accents, high
and low
p
Key:
i
P
Contour
accents, high
and low
p
Key:
i
P
Contour
accents, high
and low
p
Key:
i
P
Contour
accents, high
and low
p
Key:
i
P
Contour
accents, high
and low
p
Key:
i
P
Contour
accents, high
and low
p
Key:
i
P
Contour
accents, high
and low
p
D
r
Dynamic
accent
D
r
Dynamic
accent
D
r
Dynamic
accent
D
r
Dynamic
accent
D
r
Dynamic
accent
D
r
Dynamic
accent
D
r
Dynamic
accent
D
r
Dynamic
accent
A
<y
"Agogic"
accent
A
<y
"Agogic"
accent
A
<y
"Agogic"
accent
A
<y
"Agogic"
accent
A
<y
"Agogic"
accent
A
<y
"Agogic"
accent
A
<y
"Agogic"
accent
A
<y
"Agogic"
accent
of
Schoenberg's rhythmic style.
These works
begin similarly,
by
using
accents in different
polyphonic
voices both to create
and
to
synchronize
with two or more
pulses, although
"Col-
umbine"
presents
a
more
complex
ensemble than
does
"Mondestrunken." Each
point
at which
pulse
streams
coin-
cide articulates
a
syntactial
division in the
text,
or
highlights
of
Schoenberg's rhythmic style.
These works
begin similarly,
by
using
accents in different
polyphonic
voices both to create
and
to
synchronize
with two or more
pulses, although
"Col-
umbine"
presents
a
more
complex
ensemble than
does
"Mondestrunken." Each
point
at which
pulse
streams
coin-
cide articulates
a
syntactial
division in the
text,
or
highlights
of
Schoenberg's rhythmic style.
These works
begin similarly,
by
using
accents in different
polyphonic
voices both to create
and
to
synchronize
with two or more
pulses, although
"Col-
umbine"
presents
a
more
complex
ensemble than
does
"Mondestrunken." Each
point
at which
pulse
streams
coin-
cide articulates
a
syntactial
division in the
text,
or
highlights
of
Schoenberg's rhythmic style.
These works
begin similarly,
by
using
accents in different
polyphonic
voices both to create
and
to
synchronize
with two or more
pulses, although
"Col-
umbine"
presents
a
more
complex
ensemble than
does
"Mondestrunken." Each
point
at which
pulse
streams
coin-
cide articulates
a
syntactial
division in the
text,
or
highlights
of
Schoenberg's rhythmic style.
These works
begin similarly,
by
using
accents in different
polyphonic
voices both to create
and
to
synchronize
with two or more
pulses, although
"Col-
umbine"
presents
a
more
complex
ensemble than
does
"Mondestrunken." Each
point
at which
pulse
streams
coin-
cide articulates
a
syntactial
division in the
text,
or
highlights
of
Schoenberg's rhythmic style.
These works
begin similarly,
by
using
accents in different
polyphonic
voices both to create
and
to
synchronize
with two or more
pulses, although
"Col-
umbine"
presents
a
more
complex
ensemble than
does
"Mondestrunken." Each
point
at which
pulse
streams
coin-
cide articulates
a
syntactial
division in the
text,
or
highlights
of
Schoenberg's rhythmic style.
These works
begin similarly,
by
using
accents in different
polyphonic
voices both to create
and
to
synchronize
with two or more
pulses, although
"Col-
umbine"
presents
a
more
complex
ensemble than
does
"Mondestrunken." Each
point
at which
pulse
streams
coin-
cide articulates
a
syntactial
division in the
text,
or
highlights
of
Schoenberg's rhythmic style.
These works
begin similarly,
by
using
accents in different
polyphonic
voices both to create
and
to
synchronize
with two or more
pulses, although
"Col-
umbine"
presents
a
more
complex
ensemble than
does
"Mondestrunken." Each
point
at which
pulse
streams
coin-
cide articulates
a
syntactial
division in the
text,
or
highlights
an
important
word.24 In
both
pieces,
the
alignment
of
rhyth-
mic
patterns
with the
pulse
streams is
significant.
Both
pieces
241n
"Der
Dandy,"
Op.
21
No.
3,
a whole-note
pulse
and
a
five-eighth-note
pulse
that are not
synchronized
at the start of
the
piece
coincide
at
the attack
of the first
noun,
"Lichtstrahl."
an
important
word.24 In
both
pieces,
the
alignment
of
rhyth-
mic
patterns
with the
pulse
streams is
significant.
Both
pieces
241n
"Der
Dandy,"
Op.
21
No.
3,
a whole-note
pulse
and
a
five-eighth-note
pulse
that are not
synchronized
at the start of
the
piece
coincide
at
the attack
of the first
noun,
"Lichtstrahl."
an
important
word.24 In
both
pieces,
the
alignment
of
rhyth-
mic
patterns
with the
pulse
streams is
significant.
Both
pieces
241n
"Der
Dandy,"
Op.
21
No.
3,
a whole-note
pulse
and
a
five-eighth-note
pulse
that are not
synchronized
at the start of
the
piece
coincide
at
the attack
of the first
noun,
"Lichtstrahl."
an
important
word.24 In
both
pieces,
the
alignment
of
rhyth-
mic
patterns
with the
pulse
streams is
significant.
Both
pieces
241n
"Der
Dandy,"
Op.
21
No.
3,
a whole-note
pulse
and
a
five-eighth-note
pulse
that are not
synchronized
at the start of
the
piece
coincide
at
the attack
of the first
noun,
"Lichtstrahl."
an
important
word.24 In
both
pieces,
the
alignment
of
rhyth-
mic
patterns
with the
pulse
streams is
significant.
Both
pieces
241n
"Der
Dandy,"
Op.
21
No.
3,
a whole-note
pulse
and
a
five-eighth-note
pulse
that are not
synchronized
at the start of
the
piece
coincide
at
the attack
of the first
noun,
"Lichtstrahl."
an
important
word.24 In
both
pieces,
the
alignment
of
rhyth-
mic
patterns
with the
pulse
streams is
significant.
Both
pieces
241n
"Der
Dandy,"
Op.
21
No.
3,
a whole-note
pulse
and
a
five-eighth-note
pulse
that are not
synchronized
at the start of
the
piece
coincide
at
the attack
of the first
noun,
"Lichtstrahl."
an
important
word.24 In
both
pieces,
the
alignment
of
rhyth-
mic
patterns
with the
pulse
streams is
significant.
Both
pieces
241n
"Der
Dandy,"
Op.
21
No.
3,
a whole-note
pulse
and
a
five-eighth-note
pulse
that are not
synchronized
at the start of
the
piece
coincide
at
the attack
of the first
noun,
"Lichtstrahl."
an
important
word.24 In
both
pieces,
the
alignment
of
rhyth-
mic
patterns
with the
pulse
streams is
significant.
Both
pieces
241n
"Der
Dandy,"
Op.
21
No.
3,
a whole-note
pulse
and
a
five-eighth-note
pulse
that are not
synchronized
at the start of
the
piece
coincide
at
the attack
of the first
noun,
"Lichtstrahl."
?7
A
r_r7
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r N
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'Pierrot lunaire' and the Resistance to TheoryAuthor(s): Jonathan DunsbyReviewed work(s):Source: The Musical Times, Vol. 130, No. 1762 (Dec., 1989), pp. 732-736Published by: Musical Times Publications Ltd.Stable URL: http://www.jstor.org/stable/966750 .
Accessed: 22/09/2012 04:28
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the
Pandora'sBox he was
opening
n
1908 and
the next
decade
or
so,
well
ware
f
he
restraintse had
to
mpose
upon
himself
n
Pierrot
y ccepting
he
refrain
orm
f
he
poems,
y dopting
he
plot
f
non-recurrence
f
nsemble
timbre,
nd so on.All of his s
evident
n
what
e himself
wrote
bout he
work,
nd muchmore
n the
same ines
can be
inferred
rom
he score.To return
o,
nd
answer,
my
first
uestion,
he
preoccupation
ith
ontrapuntal
forms fcontinuitynPierrot as been a diversion hich
conveniently
efers
ther
ssues;
tsbest
xcuse s
contem-
plative
onder t the
vident
manipulative
kill f few f
the
melodramas;
tsworst xcuses re
thedutiful usico-
logical
earch or
genetic
rigin
f
welve-noteusic nd
the
equally
dutiful
ttempt
o
note
reassuringly
hat
Schoenberg
was
extremely
lever
n
traditional
usical
ways.
Why,
econdly,
n
perceptions
f
he
music,
re there o
many
ogged
nvestigations
f
itch-structure,
f,
s
Charles
Rosenwas
bold
enough
o
write,
pitch
an no
longer
e
given
he
entral
osition
here]
n
he
hierarchy
f
musical
elements'3
as
Schoenberg
new
ery
wellwhen
he
ago-
nised
n
hisBerlin
iary
verhowhe had
managed
o con-
duct Pierrot ehearsalwithout
oticing
hat
he clarinet
was at thewrong itch? nyone ill e excused or eading
Pierrots
a
pitch
tructure.
travinsky
as not een
lone
n
wanting
o
value t as a
'brilliantnstrumental
asterpiece'.
Nor can t
escape
the
ttention
f
ny inger
hat
many
f
the
pitches,
hich
choenberg
sked o
be
clarifiedefore
the
glissando
fthe
speaking
oice
cuts
n,
re in
a
clear
musical
elationship
o the
nstrumental
aterial and his
preface
o the core eems o
take his or
ranted,
ith
ts
comment hat in
singing
he
pitches
re
maintained;
n
speech-songhey
re of
ourse
resented,
ut
mmediately
abandoned ia a riseor fall
in
pitch]'.
he
problem
s,
one
may uspect,
he
ime-honouredistinction
etween
heory
and
perception.
n
theory,
here re
any
number
f
fascinat-
ingpitch elationshipsobe studiednPierrot hich, er-
ceptually,
ne
only
wishes
ouldbe
seizedfrom
he
act of
listening,
ut
many
imply
annot
e,
even
f
we
assume
somekind f
nscrutablyomplex
material
eterminationf
perception.
f hese orlorn
onflictsre n
play
ven
t the
touchstone
evel f
pitch,
o wonder
heorising
bout
ther
aspects
f ierrotnd he
epertory
f
whicht s
a
consum-
mation as
been
esistedo
thoroughly.
Third,
nd
briefly:
rom
he
compositional
oint
f
view,
what as
the
light,
atirical
one' f
Pierrot,
s
emphasised
by
Schoenberg
imself,
o
do with he
heavy,
ommitted
readings
f ext
ndmusic obe
found
hroughout
he
iter-
ature?Here
again
t s worth
istening
o
Stravinsky,
ho
deprecated
n Pierrot
he
dated estheticismf
Beardsley.
One
mustwonder ow
many
modern
musicians ave
much
ideawhat travinskystalkingbout,et lone ppreciating
what
he,
who
had lived
hrough personal,
omposer's
reaction
o
passing
ultural
aves,
ctually
idn'tike
bout
Pierrot
n
ts
aestheticism'.t s
n
henature f
heory,
ow-
ever
broadly onceived,
o
be
serious,
nd t
must e in
ts
nature ot
o be able
to
assimilate hatever
urns tsface
against
he
erious
hrough
atire.
These are
examples
f
what understand
y
resistance
to
theory'.
am
nothere
ssentially
oncerned ith
musi-
cal rhetoric'
ut am
indeed
oncerned
with he
subtext
and
probable
eadline f
hat
matter,
he
nterdisciplinary
afterglow
f
he
deconstructive
pproach.
nd do
notmind
leaning
little
n
Paul de
Man's
observation,
hich
rec-
ommendothose
American usic
esearchers
ho re
dis-
playing
belated
astefor
Barthesian
emiology:
n
de
Man'smemorablehrase,Uptill ery ecently,renchrit-
ics never
othered
o read at all
...
all
of
them
reat an-
guage,
n
tsfunction
s carrier f
ubjectivexperience,
s
if
t
were
transparent'.4
hile
cannot ee the
study
f
'rhetoric's a
paradigm
or
musical
hought
owadays,
he
hermeneutical
mpulse
ehind
his
uzz-words
welcome s
an antidoteo
the elativism
hich
t
can
nform,
ndto
the
positivism
hich
oth an
hope
o
transcend.
I
noted arlier hat twould e
important
o ook or
ome
historical
epth
n
these
deliberations,
or
raditional
vi-
dence
hat
eople
ave,
o to
peak,
ot
bothered
oread t
all'. The evidence
o
be
presented
s
necessarily
ean,
but
selected
ecause t s
both cute nd
representative.
have
also
chosen o avoid
he
mainstreamf
Schoenberg
om-
mentary
for
nstance,
eller,
r
Maegaard,
r Lessem
which xudescontemporaryesonances hat, orme at
least,
nhibit he
particular
indof
commentary
eeded
here. First s a
quotation
rom ouis
Fleury's
rticle f
October
924 ntitledAbout
Pierrotunaire"':
3
Charles
osen,
rnold
choenberg
New
ork,
975),
8
Dear
Sir
advertisement
I
think thisadvert
breaks
some
rules
Advertisements
re
xpected
o
onform
o
rules
and
standardsaiddown
by
the
Advertising
Standards
Authority.
ost do.
The
few
that
don't
we'd like
you
towrite n
about.
Andf ou'dike copy f hese ules or ress,
poster
nd cinema
dvertisements,
lease
send
for
urbooklet.
t's
ree.
The
Advertising
tandards
Authority.
We're here to
put
t
right.V
ASA
Ltd.,
ept.
Y,
Brook
House,
orrington
lace,
ondon
WC E
7H
N.
This-space
s
donated
n
he nterests
f
high
tandards
f
dvertising
4
Paul
de
Man,
heResistanceo
Theory
Manchester,
986),
3
733
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Of ourset
was
Schtinberg's
wn
ersonality
hatmost ished
tobecome
cquainted
ith,
nd wasnot
isappointed.
n
that
small,
ctive
an,
lways
n
motion,
ith
piercing
nd
oving
eye
ndmobile
ips,imple
ndress
nd
n
manner,
ndwithout
semblancef
pose,
here
s
nothing
hat
uggests
hehunter
afterensationaluccess r he
pstartining
or
dvertisement.
If
hisname asmade
stir
t
s
certainly
n
pite
f imself.ll
that
hadheard
f
im,
f is olitarinessnd
naccessibility,
f
his ife ar rom istractionsnd
wrappedp
nhis
work,
as
fully
onfirmed
y
uch elations
s
I
had
with im. ne
hingmayeconfidentlysserted,nd hatshis bsoluteincerity.5
The
mythicmagery
ere deserves
ittle omment:he
eye
s not ull nd
disinterested,
ut
piercing
nd
roving'
s
onewould
xpect
f
superman;
choenberg
s
solitary
nd
inaccessible,
ike
president;
e s
wrappedp
nhis
work',
just
ike
hat
nsanitary
dealist
eethoven;
nd above
ll,
placed
s an
epiphany,choenberg
s
endowedwithabso-
lute
incerity'presumably
ot
isibly.
hatmerits
reater
comment
s
the xtent o which ll of his
s
figural,
ather
than redible.
What,
fter
ll,
s
necessarily rong
with
being
'hunter fter ensationaluccess'?Even
f
t
were
wrong
n some
anthropologically
eterminable
way,
Schoenberg
ook bvious
leasure,
ot
nly
n the
rtistic
achievementf ierrot,ut lso nthe imple act f ts uc-
cess atwhat
leury
ould oubtlessall
hemost
nworthy
level;
he
omposer
ven entured
o
pologise
or hefact.6
Andhowwas
Schoenberg
wrapped p
in his
work',
his
model-buildernd
bookbinder,
lanner
f
ubway ystems,
addicted
o
tennis,
nduringly
ransatlanticn his
itigious
approach
o
daily
ife?As
for
incerity,
doubt hat
he
satirist,
s
Schoenberg
vowedly
as n
Pierrot,
hould
ver
be accused f uch
lofty
entiment:
erhaps luery
ould
have
voided
he
piphany
ad
he been
writing
few
ears
later nd
known
f
choenberg's
ubious
ttempt
o
pillory
Stravinsky
n the
op.28
no.2
Satire'.Musical
hagiography
may lways eveal uchcontradictions.he question s
whether uch
contraditions
re ofthe
essence
of
musical
hagiography,
earing
n mind lso
thatmusic
nalysis
s a
species
f
extual
agiography
edicated
o
revealing,
s
I
have ommented
lsewhere,
ow
music
works
ndnot ow
itfails owork.
Here
is
a different
xample
rom he halo of
comment
which as encircled
ierrot,
gain
rom he
arly
ays.
aul
Bekkerwrote
newspaper
olumn
n
1921whichwas a
recantation,
early
decade
on,
of
his initial enial of
Pierrot's
alue.He now
egards
hework s
excellent,
ot-
ing
hat,
ven
f
pacepermitted,erbally
e
could otmake
the actual
ualities
fthismusic menable
o the
under-
standing:
Schoenbergs not nly ew, olshevistndnihilist,e snotonlympotent,ut ndeedhemedicsavenvestigatedimnd
5
Frangois
esure,
ossiere
presse
e
Pierrot
unaire
Geneva, 985),
84-5
6
Arnold
choenberg,
tein,
d.,
Style
nd dea
(London, 975),
51. His
somewhat
nnerving
dmissions
of
trying
o ct n
his]
wn
ehalf
s an
historian'.
UNIVERSITY
OF
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Special
Classes
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istory
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For
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provedcientifically
hat e suffersromnfantilism.hat's ll
well nd
good,
ut
t
hasno further
onsequences.
he
force
which ocksll
hese
hings
ies
n he
rue
ork
f
rt.7
There
follows
n ecstatic
escription
f
he
ulturally
so-
lated
world f
Pierrot,
hich
an
be
heard
nly
with
open
ears',
erceived nly
n
a
'free
lay'
f he enses.
And
how
doesthis ome bout?
Today,nlyne hingstobe desired: hereverheresspiritual
life,
et erious
eople apable
f
eeling
ome
ogether
ithout
preconceptions.8
For all that his
ppears
o be
commendablyrogressive,
it
uses a textural
evice
owhich ekker
as
fallen
is
own
victim;
or hedeath f he uthor as
already
een
guaran-
teed
n the
ssertion
hat
hework
f rtmust
e
accepted
purely
n
ts
own
erms,
o
that
he
mbarrassingly
ewish,
bolshevist,ihilist,
nfantile
omposer,learly
ot erious
n
himself
r
capable
of
feeling,
as
already
een excluded
from he charmed ircleofthose
worthy
o imbibe his
remarkableewmusic.
In both he
foregoing
ases
we
have
been
dealing,
ot
with
eportage,
ut
with arrative
esign
hat,
heoretically,
thewriters ould urelyenys literal.his s ust urmise;but t s hard o believe hat ither
leury
r Bekkerwould
stick o theirevidence' nder
ross-examination,
nd
their
plea
of
narrativeicence could
hardly
e disallowed n
precedent
r n
the
ight
f
ubsequent
iscourse.
erhaps
none
of
thiswouldmatter
much,
f t were restrictedo
hagiography
nd
vilification,
nd
hus f
ittle
nteresto
the
music heorist. et uch
explicit
arrative
anipulation
n
biography
nd criticism inds ts
mplicit ounterpart
n
what
might
e
called,
omewhat
ronicallyerhaps,
echni-
cal
commentary
n themusic.
hus
Ernst
ychnovsky
rit-
ing
n 1913 nDie Musik:
This
musical
mele
of ll the
nstruments,
hedissolutionf
tonality,
he
tifling
f
hythmic
eeling,
he nnaturalnessf he
reciting
oice,
hichs childish
hen
t eeks o
be
childlike,
this snothingut defamationf he onceptfmusic nd
would
ike o earn romhe
rave
hetherhe
evelopment
f
music
will
eally
ave
gone
he
way
n which
choenberg
embarkedn hePierrotunaire'
ongs.9
There
s
much f nterest ere. he musical
m
lee
of ll
the nstruments'id
become,
fter
ll,
technical
yword
n
accounts
f
Pierrot
s
one
generation
fternotherdmired
the onic esources
choenberg
rew rom ive
layers
nd
eight
nstruments,
ever nce
used n the same combina-
tion
hrough
wenty-one
elodramas.
he
stifling
f
rhyth-
mic
feeling'
erhaps
efers o the
variety
f rticulation
n
Pierrot,
o the istener's
ifficulty
n most fthemusic f
determining
ts
metre: nother
ommentator
oted
he
'rhythms
hat re so
persistently
aried as to become
monotonous'.'0 ver the unnaturalness'fthereciting
voice
Rychnovsky
arns littleess credence ut lso a lit-
tlemore: n the ne
hand,
e
betrays
is ackof
familiarity
with
ontemporaneous
ashion,
ithViennese
heatrical
declamation,
ith
har,
Humperdinck
nd
Gerlach,
ith
the Berlin
abaret,
withKarl
Kraus's
recitations;
n the
other
hand,
the
nterpretation
f
Schoenberg's
prech-
stimme as to
become
permanent
bstacle
o the ssimi-
lation f
Pierrot,
nd
Rychnovsky
ouldhavehad the
grim
satisfaction
f
knowing
hat his
spect
f he
composition
never
id
ome
o
be
seen s natural'
Sprechstimme
ay
have
been
a
stimuluso the
development
f xtended ocal
technique,
ut
t
didnot tself
ecome universalechnical
precedentecause t snot particularlyuccessful ay f
writing
or
he oice.
As for he defamationf he
concept
f
music',
his s a
classic
selected ecause t s
archetypal
of he
esistance
to
theory.
f
heory
s
a consensus n the
principles
f
how
to
proceed,
hen
n
this
very
iberal ense of the term
Pierrotwas a
concept
of
music
already
written efore
Schoenberg
atdown o doit n 1912.His
contemporaries
might
ave been
forgiven
f
hey
ad
pointed
ut ome of
the
following
nevitabilities:hat t
was
high
ime
hemae-
stro
id commedia'
ork,
ince
veryone
lse ofnotehad
either
one
so
or was
about
o;
that
Wagner,
s
Humper-
dinck nd
many
thers
elieved,
ad for he
momentirtu-
ally
xhaustedhe
possibilities
f he
onventionallyitched
humanoice ndother eightenedinds f ocal xpressiv-
ity
were obe
tried;
hat restricted edium
as,
s
many
composers
ere
howing,
n
antidote,
ong
before he
prac-
tical
xigencies
f heGreat
Warwere ven
hought
f,
o
the
upermedium
f
he
ymphony
f
thousand,
specially
when ndividual
layers
were
becoming
o
proficient
nd
instrumentso
reliable
s a
result fthe
ndustry,
oth
technological
nd
human,
f
the nineteenth
entury;
hat
theconventionsf
onality
ere
o
very bviously
n
1912
not o
be
expected
f
Europe's
est
omposers,
elf-evident-
ly
f
choenberg,
hohadbeen
ploughing
new urrowor
four
ears,
ut ven f
Stravinsky,
hose etrushkaf1911
gave
ome
ndicationndwhoseRite
f
pring
onfirmedn
grand
tyle;
hat
what
has
recently
ome to
be calledthe
'multi-piece'
as
therefore
highly-valued
orm
fwhich
Pierrot,nterms f tsmotivic ecurrencesndstructural
paraphrases,
s an
unexceptional
xample.
Most
ontemporaries
idn't,
s
it
were,
ead hehistorical
text. n our current
erms,
hey erhaps
didn't ave the
means o
read he
ext.
ychnowsky's
concept'
fmusic
s
enshrinedn his
german
word
Begriff',omething
hat
s
'seized',
ndno wonder e feels hat t s
being
efamed
y
Pierrot,
incehe doubtlessookmuch
roubleo bsorb
he
musical
eritage
hich
ad become
his value
ystem,
nd
since
he
regarded
t
as
a
'language'.
uman
eings
end o
be
merciless
n
defending
heir ctual
anguage,
hat
rinci-
pal
agent
n
maintaining
heir
dentity.
nd
they
end o
interpret
ther ctivitiess if
hey
unctionedn the
way
n
which
anguage
unctions.
his
tendency
s nowheremore
apparent
han n
Schoenberg's
wn iew fmusic s a disci-
pline,which erfectlyatcheshe inguistic odel fthe
trivium:
grammar'
s
pursued
throughout
he Harmo-
nielehrend n the ater
edagogical
orks;
rhetoric's the
basic
paradigm
or
choenberg's
dea of
Darstellung',
f
understanding
usic s a
system
f
presentation';
logic',
and
the nature f a
strictly
musical'
ogic,preoccupied
7
Lesure,
p.
it.,
3
8
ibid.,
4
9
bid.,
1
10
James
uneker
n
Lesure,
p.cit,
1
735
8/18/2019 Schoenberg and Pierrot Lunaire
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.
,,,
E
URE ONDROITDR
Patron:
HER
MAJESTY
THE
QUEEN
President:
HER
MAJESTY
UEEN
ELIZABETH
HE
QUEEN
MOTHER
OFTH
ROAL
SCHOS
OMSI
Introducing
he
Preparatory
est
The
Associated
Board s
introducing
he
Preparatory
est
for ll instruments
here
Grade
1 examination
s
already
offered. ests
for
piano,
violin and cellowill
begin
n
1990;
other
instruments
ill
follow n
1991.
Purpose
The
purpose
of this est
s
to
provide
an assessment
or
pupils
after
pproximately
ix
to nine
months
uition,
nd to
encourage
the
laying
of
good
technical
nd
musical foundations
before
upils
enter
or
raded
examinations.
Music :
The
testwill nclude basic
exercises,
set
piece,
a
piece
of the
candidate's
own choice and
some simpleaural tests.
Assessment
A written
eport
will be
given
by
the
examiner,
roviding
positive
omments
under the
following
eadings:
Note
accuracy,
Rhythm,
one,
Posture,
Aural
response,
nd
General
mpression.
No marks
will be awarded.
Certificate
A
certificate
ill be
given
to each
candidate
by
the examiner
t the
end of
the
assessment,
which
will nclude
the examiner's
report.
Entry
A
special
entry
orm
must
be
used,
copies
are available
from edford
quare.
The
entry
ee
for he
Preparatory
estwill be ?9.50
per
candidate.Assessments
will be
held
outside
the
normal xamination
eriod,
he
closing
dates
for
1990
being:
Session
1
30th
March 1990
for
assessment n 1st, ndand 3rdMay.Session2
28th
eptember
990 for ssessment
n
29th,
0th
and 31st
October.
Teachers
will be notified f
the
date and
time
of the assessments
s
soon as
possible
after he
closing
date.
Preparatory
est
assessments
may
also be
takenon the same
day
as
Special
Visitswhich re
outside the
normal
examination
eriods.
Closing
Date for
A'
period
The
next
losing
datefor
ntry
o the
graded
examinations
s:
Friday
19th
January
990
for
March-April
Enquiries
nd
requests
for urthernformation
hould
be addressed
to:
RonaldSmith
Chief
Executive
nd Director f Examinations
The Associated Board
of the
Royal
Schools
of Music
14 Bedford
quare
London
WC1B
3JG
Telephone
01-636
400/4478
Fax 01-436
520
Schoenberg
n
the
now-famous
Gedanke'
manuscripts.
nd
no
wonder
herewas
no
finality
n
all
this
ndeavour.
s
de
Man
puts
t
n
his
notorious
ssay,
he
elements
f
gram-
mar,
hetoricnd
ogic
mount
o a set of
unresolveden-
sions
powerful
nough
o have
generated
n
infinitely
ro-
longed
iscourse
f
ndless
rustration'.11
I referred t the
beginning
f this
essay
to whatwas
called
the
underlying
ssue'
n this
kind
f
enquiry.
he
enquiryver, offeromeclosing emarks n thatssue,
which
s,
s
noted
lready,
n
epistemological
atter.
The
human
ciences,
hich mbrace
o much hat
hey
must
lways
e
suspected
f
revealing
hecontradictions
and
mponderables
f
n
underlyinghilosophical
readmill,
breed lienation
n
the nterested
ayperson.
field f
earn-
ing
s
comprehensive
s music
imilarly
reeds lienation
among
hose
iewing
ts
ubdisciplines.
etover
nd
above
this
ndless
mbedding
f
misunderstanding,
hich
s in
musicology
ften wilfulnd
hereforet east rivial isun-
derstanding,
e must
ling
o
the
possibility
f
hinking
n
credible ew
ways.
f,
s some
iterary
ritics
ay,
not
nly
do
we
seem o dislike
heorising,
ut
art
f he
ery
ower
of
heory
s
that
t
ntails
ts wn
bnegation,
can't hink
f
a
good
reasonnot o isten nd earn rom
hem,
ince his
mechanism eems so characteristicfdiscourse bout
music.
Evenmore
ncouragingly,hy
hould t not
lso
be that
musical
iscourse as itsown
mode
f
development
hich
is
relatively
ndependent?
his
s
highlyikely,
fwe know o
however
imited
n extent
what
we're
doing,
iven
hat
music tselfs thenearest
xperience
e
have o an alterna-
tive
ative
language'.
mberto co
pointed
ut hat
in
my
exaggerated
words musical discourse
was centuries
aheadofmodern
iteraryheory.
erhaps
his
meant,
more
explicitly,
nd
assuming
co knew
whathe was
talking
about,
hat tructuralismas
always
n
the
foreground
f
musical
iscourse,
ut urfaced
verywhere
lse as a cul-
tural
reoccupationnly
n hemid-twentieth
entury.
f
hat
is
so,
t
needs obe driven
ome n
non-language
isciplines
likeours hateverywherelse' structuralismas nowdrift-
ed
by.
f we as musicianshave resisted new theories
because
we
were
already
sed
to the
conflict
nherent
n
theory,
hat
s no
excuse
or
ailing
o ask nowwhetherhe
eras of
unacknowledgedeading
re
gone,
whether
he
momentf
meeting
idnot
ass
a
decade
or
two
go
when
'structure'
ecame
fashionable,
ndwhether
n the
future,
as
in the
past,
we
should
ot
gain xpect
o become solat-
ed,
perhaps
n a
new
ge
when,
o be
specific,
here re no
independent
heories
f
music,
ut
only
heories f
how o
compose
t.
This rticlewas
first
iven
s
a
paper
t
the
989 Annual
Meeting
f
he
oyal
Musical
ssociation,
hich asdedicat-
ed to
opics
n
Music
ndRhetoric.
Jonathan unsby
s
Professor
f
Music t the
University
f
Reading
11
e
Man,
op.
cit.,
3
736
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Pierrot LunaireAuthor(s): R. A. WheelerReviewed work(s):Source: Music & Letters, Vol. 33, No. 4 (Oct., 1952), p. 376Published by: Oxford University PressStable URL: http://www.jstor.org/stable/729783 .
Accessed: 22/09/2012 04:23
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp
.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected].
.
Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Music &
Letters.
http://www.jstor.org
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MUSIC
AND LETTERS
USIC
AND LETTERS
TOVEY AND
THE
GRAMOPHONE
Sir,
In the interests of absolute
accuracy
it
may
be
as well to
correct
the
statement
made
in Dr. Grierson's book
on
Tovey
and
repeated
in Dr.
Dickson's
review of
it in
Music &
LETTERS,
hat
no
gramophone
record
of
Tovey's piano playing
exists. There is
on the last
side
of
the ten records
of
the
Roth
Quartet's
performance
of' The
Art
of
Fugue'
a
recording
of
Tovey's playing
of
his
conjectural ending
of
that work
(Columbia
Record Ref. No.
ROX
145).
It is
true
that
this record is
in rather
a
special
category,
but
I think it
gives
a
fair
impression
of
Tovey's
Bach
playing generally,
and
it at least
deserves to be
regarded
as
an historical
document
of some
interest.
I
confess
I
have listened to it oftener
than
I
have to
the rest
of the set to
which it
belongs.
But
that,
I
tell
myself,
has nothing to do with Bach, although it may have something to do with
the fact that
Tovey always
maintained
that 'The Art of
Fugue'
was
keyboard
music. It
certainly
is
not
string quartet
music.
STEWART
DEAS.
University
of Sheffield.
PIERROT
LUNAIRE
Sir,
In
your
review
of 'Bel Canto
in the Golden
Age'
you
state
that
with
the
exception
of such
eccentric
productions
as
Schonberg's
'Pierrot', all vocal music requires beautiful
rather
than
ugly singing
.
I should
like to
point
out
that
'
Pierrot'
is a work for
reciter,
not
singer,
and that
your
two
references
to it are
therefore
not
relevant.
R. A. WHEELER.
West
Wickham.
REVIEWERS
B. W. G. R. . . . Bernard Rose
E.
J.
.
.
Evan
John
P. A.
T.
. .
.
.
Peter
Tranchell
R.
C.
.
.
. .
Editor
T.
D .
. .
.
Thurston
Dart
TOVEY AND
THE
GRAMOPHONE
Sir,
In the interests of absolute
accuracy
it
may
be
as well to
correct
the
statement
made
in Dr. Grierson's book
on
Tovey
and
repeated
in Dr.
Dickson's
review of
it in
Music &
LETTERS,
hat
no
gramophone
record
of
Tovey's piano playing
exists. There is
on the last
side
of
the ten records
of
the
Roth
Quartet's
performance
of' The
Art
of
Fugue'
a
recording
of
Tovey's playing
of
his
conjectural ending
of
that work
(Columbia
Record Ref. No.
ROX
145).
It is
true
that
this record is
in rather
a
special
category,
but
I think it
gives
a
fair
impression
of
Tovey's
Bach
playing generally,
and
it at least
deserves to be
regarded
as
an historical
document
of some
interest.
I
confess
I
have listened to it oftener
than
I
have to
the rest
of the set to
which it
belongs.
But
that,
I
tell
myself,
has nothing to do with Bach, although it may have something to do with
the fact that
Tovey always
maintained
that 'The Art of
Fugue'
was
keyboard
music. It
certainly
is
not
string quartet
music.
STEWART
DEAS.
University
of Sheffield.
PIERROT
LUNAIRE
Sir,
In
your
review
of 'Bel Canto
in the Golden
Age'
you
state
that
with
the
exception
of such
eccentric
productions
as
Schonberg's
'Pierrot', all vocal music requires beautiful
rather
than
ugly singing
.
I should
like to
point
out
that
'
Pierrot'
is a work for
reciter,
not
singer,
and that
your
two
references
to it are
therefore
not
relevant.
R. A. WHEELER.
West
Wickham.
REVIEWERS
B. W. G. R. . . . Bernard Rose
E.
J.
.
.
Evan
John
P. A.
T.
. .
.
.
Peter
Tranchell
R.
C.
.
.
. .
Editor
T.
D .
. .
.
Thurston
Dart
37676
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Pythagoras and Pierrot: An Approach to Schoenberg's Use of Numerology in the Constructionof 'Pierrot lunaire'Author(s): Colin C. SterneReviewed work(s):Source: Perspectives of New Music, Vol. 21, No. 1/2 (Autumn, 1982 - Summer, 1983), pp. 506-534Published by: Perspectives of New Music
Stable URL: http://www.jstor.org/stable/832890 .Accessed: 22/09/2012 04:28
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp
.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected].
.
Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives
of New Music.
http://www.jstor.org
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PYTHAGORAS AND
PIERROT
an
approach
to
Schoenberg's
use of
numerology
in
the
construction f
Pierrot
unaire'
Colin
C.
Sterne
"It
s not
uperstition,
t
s
belief."'
hus did Arnold
choenberg
defend
he
mportance
e
attached
othe
power
f
numerology
nd to ts
influencen his ife.
isfear
f
he
number
hirteenscommon
nowledge.
So, too,
s the
way
n
which hat umber
arked
isbirth
September
3,
1874)
anddeath
Friday,
uly
3, 1951,
t
ge
76).
Schoenberg
s
said o
have bservedhe
lagging
f
his reative
nergyuring
he
ompositional
process
t
measures
whose
numbers
ere
thirteenr
its
multiples,
circumstancehat eportedlyedto hisnumberingfmeasuresnhis
manuscripts
s
12, 12a,
14. We
are
told
hat
ven he
hoice f
name
forhis
son,
Lawrence
dam,
was made
only
fter
oland,
he
name
originally
ntended
orhim
and
an
anagram
f
hisfather'sirst
ame),
wasfoundobe
numerologically
nfavorable.
choenberg's
lmost
atho-
logical
ear
fthenumber hirteen
roduced
orebodings
f his
death,
and,
ne
suspects,
ay
venhave
ontributed
o
bringing
t
bout.
Nor has the number
ymbolism
f
Schoenberg's
ierrot
unaire
beencompletelyverlooked.thas beennoted hat orhisOpus 21
Schoenberg
hose
21 ofAlbert
iraud's
ifty
oems
s texts
translated
from renchnto
German
y
Otto
rich
Hartleben),iving
he
work
he
complete
itle
reimal ieben
Gedichteus ALBERT
GIRAUDs
ierrot
lunaire,
nd
beginning
o
compose
it in the
thirdmonth f
a
year
containing
he
ymbolic
igits
1 in
reverse
rder,
912.
In
spite
f ll
this,
urprisingly
ittlettentionas been
focused
n the
part
hat he
8/18/2019 Schoenberg and Pierrot Lunaire
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507
numbers
and
7
play
s structural
eterminantsithin he
work-
something
choenberg's
itle
bviouslyuggests.2
Pierrotunaire
s indeed
governed
y
numbers,
ot
by
the
crisp,
bright
umbers
f
mathematics,
ut
by
the
more
shadowy,
moonlit
numbers
f
numerology.
ome
knowledge
f basic
numerological
procedure
s
essential,
hen,
efore
pproaching
he
music.3
The
numerologist
s convinced
hat umbers
nd
number elation-
ships overnhe niversendthat hewell-beingf n individualepends
upon
his
being
n
ccord
with
osmic
ibrations.e traces isbelief
ack
to
ntiquity-to
he
gyptians,
ebrews,haldeans, hoenicians,hinese,
and
Hindus--but
t
s
Pythagoras
owhom e
gives
redit or
stablishing
the
system
n theWest.As to the
power
f numbers
n
individuals,
person's
name nd birthdatere
the
two
reas
where he
nfluence
f
numbers
s
most
trongly
elt. o determinehe everal
umber
ibrations
in
person's
ame,
he
etters
f
he
lphabet
re
numbered
onsecutively
from
through
6. In all
aspects
f
numerology,
owever,
ouble-digit
numbersrereduced osingle-digitumbersy dding hedigits. he
tenthetter
f he
lphabet,
,
or
xample,
s not
numbered
0,
but . The
following
hart
ill
emonstratehe
procedure.
1
2
3
4 5 6
7
8 9
A B
C
D E F
G H
I
J
(K)
L
M N
O
P
Q
R
S T U (V) W X Y Z
Note hat wo
etters,
and
V,
are
parenthesized.
hey
re
the11th
and
22nd
letters
f he
lphabet
espectively,
nd
they
etain
hose
alues.
Exceptions
othe
eneral
ule,
1
and
22
are
never
educedn
raditional
numerology
nd
are
referred
oas
master
umbers.
The
application
f
the
chart
may
be
demonstrated
y
using
Schoenberg's
ame:
ARNOLD
SCHOENBERG
195634
1386552597
(=28
=
10=)1 +(=
51=)6
=
7
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508
The
process
s that f
ssigning
ach letternthe
name tsnumber
value,
rriving
t
two
ums,
ne
for
he
first ame
nd one for he
ast,
reducing
hose
ums
by
dding
igits,
nd
arriving
t the
inal
um,
-
the
basicnumber
alue
or
choenberg's
ame.
Expression
umber"s
the
numerological
erm.
ut
here re
additional
umberso be
derived
from
person's
name.
Here
is
a
list
of
those
pertaining
o
Arnold
Schoenberg:4
First
ame LastName Total
Basic
number
expression)
1
+
6
=
7
Consonants
quiescent
elf)
3
+
8
=
11
Vowels
soul
urge)
7
+
7
=
5
Firstnitial
cornerstone)
1
=
1
Total
numberf
etters
name ycle)
6
+
1
=
7
The
procedure
or
rriving
t thebirth atenumbers not
ertinent
to thematter
mmediately
t
hand.
Nor re thenumbers
ssociated
ith
the
planets,
ith
olors,
with
ems,
tc.Butnumbersre also associated
with
he
notes
f he
cale.
The
traditional
rocedure,
ne
geared
o the
diatonic
cale,
was
obviously
f ittlese to
Schoenberg.
is
modification,
to
be
substantiated
resently
romts
pplication
n
Pierrot,
esultsn
the
following
etof
number
alues
or
he
hromaticcale:
C
C#
D
D#
E F
F#
G
G#
A A
B
1 2 3
7
5
6
7
8
9
1 11
3
Itwillbe seen that
choenberg's
rocedure
f
assigning
umber
values o caledegreesssimilarothat sedfor he lphabet. ,the enth
note
n the
hromatic
cale,
s
reduced
o
become
1,
and
B,
the
welfth
note,
ecomes
.
A#.
s
expected,
s not
educed,
ut etainstsmaster
number,
1.
Totally
nexpected,
owever,
s the
ssigning
f7 to
D4,
the ourth
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509
note.
choenberg's
erivation
f7 for hat ote
s not ifficulto
discover:
D#
s not
only
he
fourth
ote n a chromaticcale
built n
C,
but
he
sixteenths well.And
16=6+1=
7.
But
hat
an
Schoenberg's
eason
be?
The most
ogical
xplanation
as
to
do withhatateful
umber,
3.
In
reduction,
3=4.
And
Schoenberg
eems
determined
o
avoid
13,
even
in
ts eduction.
n
additionalactor
ay
e that
#
s
E
b
has
particular
significance
or he
omposer:
s Es
in
German
t
s his
ignature
ote,
representing
he
nitialf his astname.
To
give
his
mportant
ote 4
valuewouldbe unthinkable.
There
willbe occasion o returnoD*-Eb
and
Schoenberg's
usical
ignatureater.)
wo dditionalonuses
esult
from
he
banishmentf
4 from hecanon:
1)
the
scale is
thusmade
consistent
ith he
lphabet,
oth
having
total umber
alue f
9,
and
(2)
the
calecontains
double
ortion
f
choenberg's
avorite
umbers,
1,
3,
and 7.
In
the
title
f
Pierrot
choenberg
ndicateshe
mportance
n
the
work f
wo
numbers,
and
7.
The
importance
f heir
roduct,
1,
is
also implied,ndalthough1 does indeed ssume ome mportancen
Pierrot,
t
must e
rememberedhat
umerologically
1
=3.
It
has been
pointed
ut,
or
xample,
hat he
pus
number f
Pierrot,
1,
is
reversed
in
he ast
wo
igits
f he
year
f
ts
omposition,
912. But his
s
not
he
point.
heterm
retrograde"
s not
part
f he
numerologist's
ocabulary.
Ratherre 12
and 21
related ecause
both re
3 values.
On the
other
hand,
he
umof
and
7
is
important
n
Pierrot.
he
additionf
numbers
is,
fter
ll,
n
essential
art
f
numerology:
+3= 10=
1.
Numerologists
often oint ut, hough,hat numberrrived t byreduction ever
completely
oses its
original
mprint.
1
arrived t
through
0,
for
example,
till
etainshe
vibrationsf
10. This factwill
igure
o
some
extentn
the
nalysis
f
Pierrot.
There
re,
hen,
hree
umbershat
ssume
primary
mportance
n
Pierrot:
, 7,
and
1.
Numbers
1
and 10
lurk
n
he
background,
aking
their
resence
elt,
utnot
eing
ut
o use
except
s 3
and 1.
Two
other umbers
igure
n
Pierrot
hat re
not
ingled
ut
n
the
title
f the
work:
he
master
umbers,
1
and 22.
There re
several
reasonsfor heir ppearance. he firstfthesehas to do with heir
numerological
ignificance.
t
must e
kept
n
mind hat
, 7,
and
1
are
not
merely
umberso
numerologists.
hey
re
not
ven
lucky"
umbers.
Rather
re
they owerful
orces or
ood
or
evil,
xerting
heir
nfluence
on the niverse
nd
profoundly
ffecting
he ives
f
ndividuals.r
at east
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510
they
ere hat
or
Arnold
choenberg.
ere re
meanings
or
,
7,
and
1
that
re
generallygreed
pon
bynumerologists:
3
-
artist,
he ealm
f
rtistic
xpression
7 -
priest,
he ealm f
pirituality
1
-
creator,
nnovator,
ioneer,
he
ealm
f
invention,
f nnovation
The
three umbers
ay
e seen as
appropriate
o Arnold choen-
berg.
But more
mportant,hey
re
particularlyppropriate
o
Pierrot
lunaire,
here
he rt-artist
elationship
nd the
piritualspect
ofthat
relationship
s
a
primary
heme.
11
and
22 have hese
meanings:
11
-
idealist,
isionary,
reamer,
he ealm
f
rtistic
inspiration
22
-
practical
dealist,
ne
whouses his
power
o benefit
mankind
Again,
he
ppropriateness
f
hese
umbers
o
the
ubject
matterf
Pierrotsapparent.hestronglavorf11 and22 throughouthefinal
section
f
Mondestrunken,"
hefirst
ong
n
Pierrot,
uggests
choen-
berg's
iew f
he
Poet-Pierrot-Schoenberg
igure
escribed
here.5
Number
1
is
also
important
ecause
t
figuresmong
Schoen-
berg's
wn
namenumbers.
nd
inally,
t
s of ome
nterestonote
hatt
is associated
with omeone
else who
figures
n
Schoenberg's
work:
Pierrot
imself,
hose
otal
amenumber
s
11,
whose
nitial
umber
s
7,
andwhose
name
ontains
letters.
The 3X7 poemsofAlbert iraudwhich hoenbergelected or
Pierrot
re each
thirteen
ines
ong.
However,
he
poetic
orm,
hat
f
he
rondeau,
aves
he
omposer
rom
ver
having
o come
to
grips
with
3,
since ines
ne and
two
of
each
poem
are
repeated
s
lines
even nd
eight,
nd
ine ne s
repeatedgain
s
line
hirteen.heresult
s
only
0
(= 1)
different
ines
n
each
poem.
choenberg's
omposition,
is
Opus
21
(=3),
was
composed
n
1912
=3),
when
he
omposer
as
37
years
old
=
10=
1).
He commenced
ork n
the
omposition
n
Tuesdayday
3
of he
week),
March
month
)
12
(=3),
and
he had
completed
0 of
the 1 songsbyMay 0. Hedelayedompletinghework, owever,ntil
he
could
omplete
he
emaining
ong
n
Tuesdayday
),
Julymonth
)
9--the
numbers
f
he wo
ates,
2 and
9,
adding
p
to
21
(=3).6
In
his
otherwise
erman
itle,
choenberg
etains
he rench
Pierrot
unaire"--
with letters
neach
word.
ive
nstrumentalists
nd
a reciter
re called
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511
for o
perform
he
work,
nd
they,
lus
conductor,
orm
group
f7.
With he hree
pecified
lternate
nstruments
piccolo,
ass
clarinet,
nd
viola),
his umber
ecomes
7+3=-10=1.
A
most
mpressiveisplay
f
Pierrot
umberss
presented
n
the
1914
edition's
itle
age,
theformatfwhichmust
ertainly
avebeen
overseen
y
he
omposer.
he numberf ettersnd ofwords n ach of
its ines
s
used
to
produce
he
ignificant
umbersf he
omposition:
words
letters
per
ine
per
ine
3
DER
ERSTEN
NTERPRETIN 20=2
3
FRAU
LBERTINE
EHME 18=9
3
INHERZLICHERREUNDSCHAFT
24=6
17=8-
=22
3 DREIMALIEBEN EDICHTE 21=3
3
AUSALBERT
IRAUDS
16=7
2
PIERROT
UNAIRE 14=5
5
(DEUTSCH
ON
OTTO ERICH
ARTLEBEN)
28=1 =16=
7
16=7
-
31
FOr
ine
prechstimme
19=1
7
=
16=
Klavier,
l6te
auch
Piccolo),
larinette
auch
Bass- 41
=5
6
7
Klarinette),eige auchBratsche)
nd
Violoncell
40=4
10=1
-
=11
1
(MELODRAMEN)
10=1
1
=
4von
3
2
ARNOLD
CHONBERG
15=6
10=1
Op.
21
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512
Even he
ndividual
oems
f
Pierrot
hare,
or
hemost
art,
n
this
number
lay
withwords
nd
letters,
nd one factorn the
composer's
choices from
Hartleben's
ifty
ranslations
ould seem to have been
whetherr
not heir
umbersittedisown
cheme. he text f Monde-
strunken,"
he irst
f
he
ongs,
its
xtremely
ell:
words
letters
per ine per ine
7
Den
Wein,
en
manmit
ugen
rinkt,
27=9
7
GiesstNachts er
Mond
n
Wogen
nieder,
32=5
4]7
Und ineSpringflutberschwemmt 29=11
3J
Den stillen orizont. 18=9
16=
34=7
7
4] Geloste,chauerlichnd Oss, 25=7
5 Durchschwimmen
hne
Zahl
die Fluten
31= 4
7 Den
Wein,
en
man
mit
ugen
rinkt,
27=9
7 GiesstNachts erMond n
Wogen
nieder.
32=5
25= 7
61
Der
Dichter,
endie Andacht
reibt,
29=1
1
6
257
Berauscht
ich n dem
heilgen
ranke,
31=
4
5 Gen Himmel endetrverzCckt 25=7
8
Das
Haupt
nd aumelnd
augt
nd
schlorft
r
37=
1
7 Den
Wein,
en
manmit
ugen
rinkt.
27=9
32=5
19=10=1
"Mondestrunken"ill lso serve o demonstratehemusical
ro-
cedure of
Arnold
choenberg.
he three tanzasof Giraud's
poem
impose
n
the
piece
ts verall
esign
f
hree
musical
ections,
he lose
of
ach section
eing
marked
y
ritard.
ection
is
14
(=5)
measures
in
ength.
ection
Ialso consists f14
(=5)
measures,
nd Section
II
s
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513
11
(=11)
measures
n
length.
he total
ength
f the
piece
is 39
(=12=3)
measures,
ut ts
numerological
ength
s
5+5+11 =21=3.
The
nfluence
f
he
ive
umbers,,3,
7,
11,
and
22,
is
felt,
owever,
ot
only
n he otal
ength
f
he
piece
nd
n he
engths
f ts
hree
ections,
but
nthe
ength
f
very
ne
of
ts
omponent
hrases
s
well.
he
time
span
of ach
phrase
and
each
rest)
s
measured
n
units
f
ighth
otes,
sixteenth
otes,
r,
ess
frequently,
uarter
otes.
choenberg's
hoice f
the
unit
f
measure
eems o
depend
n the
predominantctivity
ithin
phrase.
At times he
activity
f
the ines
oncurrent
ith
phrase
will
determinets
unit
f
measure.
Within
ach
phrase
ach
note
will
have
pitch
umber
alue,
nd
the
um
f
hese
alues,
n
ppropriate
eduction,
ill e the
itch
umber
value
f
he
phrase
s
opposed
o
ts
ime
pan
value.
Two additional
etsof
number alues re
generated
y
he
music.
The firstf
hese erives
rom
he
measurement
fdistances etweenhe
individual
itches
f
phrase. pplied
o
chords,
he
measurement
s
that
of he istanceetweenachof hepitch omponentsf he hord. hese
intervallic
alues re
normally
easured
n emitones.he
second
et s
a
simplequantitativeumbering
f the
pitches
hat
go
to
make
up
a
particular
egment
f line.
To sum
up,
there
re
four lements
n the
closed
number-system
used
by
choenberg
n
Pierrot:
1. Pitch
values,
derived rom he
numbers
s
assigned
by
Schoenberg
o
the
welve
otes f he
hromaticcale
2. Time panvalues, erived rommeasuringhe engthf
musical
tatement
or
rest)
n
eighth
otes,
ixteenth
otes,
or
quarter
otes
3. Intervallic
alues,
derived
rom
measuring
he
distances
between
itches,
n
either
melodic ine
or
a chord
formation,
he unitof
measurement
ormally
eing
the
semitone
4.
Quantitative
itch
alues,
erived rom
ounting
he
number
of
pitches
hat
o
tomake
p
a
particular
usical tatement
The
process
will e clarified
y ctuallypplying
t o
Schoenberg's
music. score f
Mondestrunken,"
ontaining
numerologicalnalysis,
formsn
integral
art
f he
present
rticle.n
pursuit
f
larity,
nly
lurs
and
phrase
markings
ave een
retained ith he
notes f ach
part,
uch
markings
s those
f
dynamics
nd
tempo
having
een
eliminated.
he
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514
part
or he
reciter as been
beamed n
order o make
phrases
more
apparent,
nd
Schoenberg's
ote
tem
ancellations
n
that
art
have
been
removed.
Number
alues or
he ime
pan
of
each
phrase
ave
been
placed
below
he
staff,
hosefor
pitches
ave
been
placed
above,
with
otals
circled or
mphasis.
n xtended
hrases,
articularly
hose f
he
eciter,
subtotals
f maller
nits
ave een
alculated
here
hey
re
ppropriate.
Each
ubtotal
s
marked
ith
semicircle.
inal otals ave een omputed
fromhem
nd circled.7
"Mondestrunken"
egins
ith
quasi-ostinato
igurelayed y
iolin
and
piano.
he violin
igure
s one of
3
notes.
ach of he wo
pitches
n
the
figure,
#
nd
D#,
has
a
pitch
alue
f
7,
and
3X7=21 =3.
The
3
eighth
otes f he
igure,
ith heir
nitial
ighth
est
= 1),
are
repeated
four
imes,
hereby
ccupying
time
pan
of
16=7
eighth
otes. he
range
f he
igureD#-F#)
s
3 semitones.
Meanwhile,
he
piano
s
playing
figure
f7
notes
preceded
y
singleixteenthest 1).Thepitchalue f hese otes s 9+5+1 +3+
1
1+2+8=39= 12=3. The four
epetitions
f he
igureccupy
time
span
of
16=7
eighth
otes. he
range
f
he
igure,
"#-g"'#,
measured
in
emitones,
s
19=
10=
1.
Alternatively,
he
nterval
#-G#
f
onsidered
withinn
octave,
epresents
distance f
7
semitones.
he
unreduced
sum of
the
pitches
s
39-the
same
figure
s
the
total
number
f
measures
n
"Mondestrunken."
nd
its ntervallic
alue,
measured
n
semitones,
s4+4+2+4+9+6=29= 11. But
n
his
articular
nstance,
an interestinglternativeeasurementanbemadewith heunit f he
whole one:
Go
to E=2 whole
ones,
to C=2 whole
ones,
to
D= 1
whole
one,
nd
D
to
Bb=2
whole ones.
With he
umthus ar
t
7,
a
switch
s then
made o
the
econd f he
wo
vailable
hole one
cales,
and
the final
C#
to
G=3 wholetones.
The
result s 7+3=10=1.
Accepting
his ivision
f
he
notes nto +2 leads
o nother
evelation.
The
pitch
alue f he
irstive otes s 9+5+1+3+11
=29=
11,
and
that f
he
inal wo
notes
s
2+8=
10.
11
+10=21.
Before
he
iolinnd
piano igures
re
concluded,
he lute
akes
n
entry
ollowing
restwith time
pan
of 10
(=1)
eighths.
is line
occupies
time
pan
of
10
(=1) eighths,
nd the
pitch
alue fhisfive
notes s 1+11+1+7+1=21=3.
The intervallicalue of his
phrase
(measured
n
emitones)
s
14=5,
a subtotal
hich,
hen dded othe
value fhis econd
phrase,
esults
n 12= 3.
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515
The reciter
elays
or time
pan
of7
eighths
efore
ntering
ith
phrase
whose ime
pan
s 21
(=3)
eighths.
ts
itch
alue s
11 +4= 15
=6,
but
hat f
he
following
hrase
s
22+6=28=10=1,
the
otal
f
the
wo
hrases
eing
+1
-7.
The intervallicalue
f
he
irst
hrase
s
34=7,
while
hat
f the
econd
phrase
s
49=13=4.
7+4=
11.
The
second
phrase,
ncidentally,
ince
it
begins
with
hree
ixteenth
otes
following
sixteenth
est,
must ave ts ime
pan
measurement
ade
n
sixteenths.
hat alue s
39 12= 3.
The
quantitative
itch
alues
n
Section of
Mondestrunken"re
as
follows;
Flute
5+(13=)4+(14=)5+(16=)7=21
=3
Violin
(12=)3+(28=)1
+
1
+
11
=
16=7
Reciter
(31=)4
Piano
(28=)1 +(19=)1
+9+(34=)7+(12=)3+(14=)5=26=8
The
part
or he
recitern
Section
contains 1
pitches,
figure
which t first
eems
disappointing.
n
measure
,
however,
choenberg
takes
n
unusual ction: e
insertsn
eighth
estbetween
he
yllables
"Spring"
nd
"flut." his
aesura
not
nly
roduces
n
unexpecteditch
value
f
22 at that
oint,
ut
lso divides he
ine
nto 1
pitches
lus
10
pitches. and1 arethus he wo uantitativealues.
The
total
uantitative
alue
or
he
ections 22. The
total or
ection
II
s
also
22,
andthat
or
ection
II
s 11.
22+22+11
=55=10=
1.
Both he
flute nd
the
reciter
egin
nd
end their
hrases
t the
beginning
f
Mondestrunken"
n
the
noteA
(=
1)
and
pivot
round
hat
pitch.
f
more nterest
s the
very
irst
oteof the
piece-the
piano's
opening
#
That
note
marks he
beginning
f
ach of he
hree
ections
of he
ong.
tsnumber
alue s
9,
and t
functions
hus.
G#
s,
however,
not nlyheninthhromaticote, utnote 1 as well-a fittingeynote,
then,
o
the
ong
nd to
the
ntire
omposition.
The
procedure
o be
observedn
"Mondestrunken",
s it
ontinues
to
unfold,
s the
procedure
or
hewhole
of
Arnold
choenberg's
Pierrot
lunaire.
, 3,
7, 11,
and
22
retain heir
ontrol
hroughout
he
omposition.
What s
fascinating,
owever,
s
therich
variety
f
pproaches
to
those
key
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516
numbers.
art
I,
hat
ourney
nto
he
ark
ight
f he
oul,
ummons
p,
as
might
e
expected,
requentppearances
f 13. The malevolence
f
that umber
s
felt
nly
riefly,
owever,
efore
t
s
swiftly
ransformed
into
omething
ess inister.
xamples
rethe
pening
iano
notes fNo.
8
(5+8),
the
first
wo
notes
f
the
recitern
No. 9
(8+5),
thefirst
wo
string
hords
f
No.
10
(8 +5),
the
irst
wo
notes f he ecitern
No. 12
(5+8),
andthe irst
wo
notes
f he eciter
n
No.
13
(6+ 7).
As befitshe oetry,here remore elicitousppearancesfnumber
5
(freedom,
hange,
ccording
o
numerology)
n
Part
ll.
Two of
them
(5+5=10=1)
in the
pianopart
re
the
ast nstrumental
ounds
f he
piece.
They
re
preceded y
ne of
Schoenberg's
usical
ignatures,
n
this nstance
multi-layered
ne
A,
S,
AS,
and
A.
SCHoenBErG)
layed
by
he
piano
nd
occurring
n
measure 8
(=
10=
1)
of
he
inal
ong.
But
ertainlyy
now
he
point
as
been
made:number
ymbolism
plays
crucial
ole
n he
rganization
f
his
xtraordinary
omposition,
role
hat
choenberg
as carefulo
point
ut
n
the
itle,
nd one that
cannot e ignoredn ny horoughtudyf hework's tructure.
Finally,
n
pite
f he act hat
he
itle f
Pierrot
unaires
the
ingle
instancef ts
omposerndicating
isuse
of
numerology
n
he
tructuring
of
work,
he
procedure
s not
t
all
peculiar
o that
omposition.
sed
systematically
t leastas
early
s
the
Chamber
ymphony,
pus
9,
numerology
ontinued
o be used
by
choenberg
s a structuralevice
n
hismusic ntil
he
ery
ndof
his ife.
hroughout
he
eriod choenberg
remained
oyal
o
thenumbers sed
n
Pierrot
unaire:
, 3, 7,
11,
and
22. Butwithstonishingersatilityhismeagerroupessumes nnumer-
able roles
in
constantly
aried
ettings
nd
with
n
ever
changing
supporting
ast.
That
heir
ontribution
o
Schoenberg's
usichas
gone
unnoticed
s
most
nfortunate.
verlooking
he
revailing
umber
uphony
in a
work
uchas
Erwartung,
or
xample,
as led
to frustrationn
the
part
f hose ritics hose
iligent
earch asbeen or
more onventional
system
f
rder.
Perhaps
most
stonishing
f
all,
even
Schoenberg's
welve-tone
musicretains his
ndispensable
econd
ayer
f
numerological
rder.
The row
may ropose
he
equence
nwhich
itches
re to be used na
particular
omposition,
ut
rhythms,hrase
engths,
adence
points,
section
engths,
ote
epetitions,
hord
ormations,
ndrow
ranspositions
are
all
regulated,
ot
y
he
ow,
ut
y
he
numberalues
f
numerology.
Indeed,
n examination
f
choenberg's
ows hemselves
ill
eveal
hem
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517
to
be,
not
rbitraryrrangements
f
welve
otes,
ut he areful
ntegration
ofthe
number
alues
of
those notes.
t
follows, hen,
hat o
emphasize
he
numbers
f the
row
n
this ater
music,
s has been
done,
and to
ignore
the
mystical
igures
f
numerology
s
to
project seriously
istorted
mage
of
the
composer
and
his
work.
NOTES
(1)
Quoted
by
Walter
ubsamen
n
"Schoenberg
n
America,"
he Musical
Quarterly,ol.XXXVII,o.4, October, 951.
(2)
George
Perle,
or
nstance,
in
his rticlePierrot
unaire,"
ublished
n
The
Commonwealth
f
Music,edited
y
Gustave eese
and
Rose
Brandel,
he
Free
Press,
New
York,
965)
makes
he
tatement
hat
Schoenberg's
se
of
magic
numbers
as,
f
ourse,
o musical
ignificance.
ince ach of
he
poems
onsists f
hirteen
ines,
n
unlucky
umber,
erhaps
e
thought
t
well
to
organize
he whole
according
o two
ucky
umbers,
hree
nd
seven."
(3)
Much
ofthe
nformation
n
numerology
s
supplied
rom
our
Days
Are
Numbered
y
Florence
vylinn
ampbell,
M.A.,
The
Gateway,
erndale,
Pennsylvania,
931.
There
are
many
more
modern,
more
systematic
handbooks n
the
ubject,
ut his ather
uaint ublication,
classic
n ts
field,
eflects
umerology
s it
was
practiced
uring
hefirst
uarter
f he
century,
he
eriod
hen
choenberg
must
ave irst
ecome nterestedn t.
(4)
The
composer
sed
the
riginal
pelling
f
his
name,
Schonberg,"
uring
theperiod f he ompositionfPierrot.hechange o"Schoenberg" as
evidently
ade oon after is rrivaln he
Unites tates
n
1933.
The
name
numbers or
he
original pelling
re
presented
elow
for
omparison.
n
computing
he
xpression
umber,
aw
valueshavebeen
used ratherhan
reduced nes
in
order
ot o conceal he
mportant
otal,
1.
Arnold ranz
Walter
chonberg,
is
rarely
sedfull
ame,
as a
consonant
umber alue
of
13.
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518
ARNOLD SCHONBERG
195634 138652597
First
ame
Last
Name Total
Expression
28
(= 10)
+
46
(= 10)
=
74= 11
Quiescent
elf
3
+
8
=
11
Soul
urge
7
+
11
=
18=9
Cornerstone
=1
Name
ycle
6
+
9
=
15=6
(5)
That
choenberg
dentifiesith he
poet
s
stronglyuggested
y
he
music.
First
f
ll,
he
ello,
having
emainedmute
uring
he
first
wo
ections
f
"Mondestrunken,"
nters
ith n
impassioned
ong
at
the
first
ention
f
the
poet. olidly
rounded
y
3-note
pedal
10= 1),
and with heviolin
soaring irily
bove
t,
his
ine
s saturated
ith
1's
until
t
inally
omes
to
rest
with ive
izzicato
hords.
he four-notehord f
hefinal
ar,
played
twice,
onsists f
the
notes
C,
B
(H
in
German),
'
(read
as
Eb,
S in
German), -forming
he
ignature
.
SCH.
Recalling
hat educed umbers
still etainome of heir
riginal
lavor,
he
emptation
s
strong
o
assign
A
the
valueof
10
here,
herebyeading
he hord s
1+3+7+10=21--a
summation,
s it
were,
f
he
numbers
hat
ave
ontrolled
he
piece.
n he
analytical
core,
hat
emptation
as
been
yielded
o
on
the
final
hord,
chord
hat hen
as,
not
nly
pitch
alue
of
21,
but n intervallicalue
of
21 as well.
(6)
The dates
re from
Joseph
Rufer,
he
Works
f
Arnold
choenberg:
Catalogue fHisCompositions, ritings,ndPaintings,. Newlin,r., t.
Martin's
ress,
New
York,
962.
(7)
Neither
he ntervallicor
he
uantitative
umber alues
havebeen
ntered
in
the
nalytical
core.
To
havedone so
would
havebeen to
produce
n
indecipherableumble
fnumbers.
hen
too,
he
procedures
or
ounting
notes nd
measuring
ntervals
re,
fter
ll,
imple
nough
o
as to
hardly
call for
guidance.
This action
s not to
be
interpreted
s
an
attempt
o
minimizehe mportancef itherntervallicrquantitativealues.On the
contrary.
here re instances
n
Pierrot,
or
xample,
here he
ntervallic
value
would
eemto take
precedence
ver
he
pitch
alue. uch
a
situation
exists
n
he
passacaglia
heme fNo.
8,
where hehead
motivef
he
heme,
E-G-Eb,
has
a
pitch
alue
of 5+8+7=20=2.
Two
is not
significant
number
n
Pierrot.
he
intervallicalue of
the
same
motive,
owever,
s
3+4=7.
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Mondestrunken
a
numerological
analysis
SEcroM
ff
1
7
FLUTE
I
,,
=
(
,
>0
=0
7
7
7
-
-4
=
12t
VIOLIN
tI
in6
=
,
CELLO
1
5
11
9
1
1
5
9=
1
t
=
1
DEN
WEIN,
DEN
MAN
MIT
AIU.EN
TRINKT,
GIESST
RECITER
2
4
J
1
0
L
l2
I
12
--
--
x0=
9=
:
=
I
Uptb=
"==
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9 1
3
8
7'=
=
10
f11
7 2
6
3
1
2
11
9
7
7
7
7 2
3 391 i
S3
11
7=
3
2 1
7
3
Cz
UND
EINE
SPRING-
FLUT
USER-
SCHWEMMT
DEN
.7
l
w
I
6
31=110=
9
2 3
3
9
1 i1
8
2 6 5'8=
f
=
13
=
(
98
2339 82
666663
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3
7513112
159
7
=3
11
2
8
74
,
fl=
+
1=
172= 5
1
2
11
1
7
~
3
7
7=
FLAG-.
5 5 9 1 3 I
SIlL
-
LEN Hoi
-
ZONT
12
{-+-+
'---
P
---------------
+
S5 7
2
3
6 7=
=3 9
fog 0=
1
3
1
8
5
3=
1=3
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S=
=
)
1
Z
3
7
10.4
=
9
9
7
7 7
3
1
.19
-&
-
I
8
7
3 2
6
2
1 1
=
31 =
NACHTS
DER
MOND
IN
W0
-
CN
NIE-
DER,
5 7
5
7 = 27 =
,9
- - - --=10=
=
9)
=
=@
L0
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3
2
5 7
7
3
2
5
=
92
SIecT
I =
14,
ArS
5
TIME
PAN=4J
=
10=1
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Sect~oN
1
,i z
8
or
3
7l
1
G
'
7
7 7=
f
f
3
r1
z
7
79
39
=
FLvrE
~~
~F
If
>
lof,
A
(
,
,
@,
,L
5
5
1
&
(
tf
Cf
IOUN
RCITER
I
7 6 9
1
f
7
7
7
I
1
(o
7
"?u:.
f"
'=
. . . .
..OE,
-
.,
f
7
7
7= 9
,
-
9-.
2 3
,,
7
4
tow
I L
W.-
I
A
I,
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f1
f
I2
2
1
f
=
7
9f
7
0=
1
f
577
3 7
7-
9
5
0o=
=
4 , =
iZ
=
(5
9
-
7
5
l
1
if
I
7 1
9
10
0
/
1
11=
3
9
7
1
5
2
1
1
15=-
LU
STE, SCAU ER IC
UND
SUs, DURC
43774.4.
.
.....5
32
I1
,"
".
-.,
?
1
&
7
3
4 7
1=
t
19t
1
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67=
7
7
8
93235
o
9=j197
I SfI 9=
S
?t
I-
=
o;
4
=
=
-
=
6
7
11
1=
9 7
2
(
5
7=
7
7
9
S=
@
7
1O
=
3?
9
7
3
o
3
,
=
5
1
9
8
i
3CHwlMMEN
HNE
AHL
DIE
FLU
TEN DEN
EIN,rJ
AN
iT
ruaN
if
3
i
I
=
39
ft=lo
.o
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f
t if-
9f
1I
9
1
f
oD
39
*1
s
ii
9)
-------
b,
6
-
---
5
7
7
7
5
3
3=
f
3
9
f
= 1 9 6 9 I 8
-
W
9==
=
32
57
TAINKT,
GIESST
NACHTS
DER
MOND IN
OOEN
oiE-
DER.
26
-
io-
]
-k
i
S
=
9
2
8
f
9
11
7
1
7=
1 9
19=lo
J9=
=
3
41
f
I
I
w
~oP
%
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1
9
7
5
=
9q=
1
9
=
9
i
1=
34,
(
l
=(
1s=(. 5s=(9
#
ift=&
f-=ie
-=.ie
S 1
=
7
7
7= 3
3 3
7
1
3
b
so=(lo
52)
=
o=
O
27
28
71
3
5
11
S
1
7 1
7
7
5
&
33
t12
S
54
C7 1T=
95
SCTiN
IAI
='14=
OAKS
TiM
PAN
70
=
7
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SICTIOC
m
9
5
1
2 112
5=
1
( 2
7
1
3 9= 117
3 5
2
7
1=
=
=
C,,
29
=
LA)
-
-50)
(
~5--"-O
?
,
1 I
1 9
ft
lop
1
=
40
s
:?
Vauw
"
9 7
T
1
I
9 I
CEUO
2,
4(
" t
I,
5
7
F
' "=
"
9
7=
1
Rec
rr
DKHTER,
DEN
DIE
AN-
DACIIT
TRI
T, BLr-
RAUSCNT
SC?
AN DEt
HAILGEN
7
9
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?'
="
=0
=
_
,
i/A
i f i
7 7
(75
so
C
27
=
(f
50
=
C
TANKE,
GEN
HIMMEL
WENDET
ER VEA- ZOCKT
DAS
HAUPT
.-.
i
=
-,.25
-
i
9
7
9
I
=
9
21
29
yI
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13 1t1If
5iz
177
7
6
7 7
t6
k,
?L
I
I
S=
12
=
2
3 1 37 5111= 9 5 S.
UND
TAUrIELNO
SAV.T
UND
SCAILRFT
cR
DEN
WElN,
NDN MAN MiT
AUAN
7
3
o
F
h
2
19
0
O
9
1
3if
.
9
=
1,
=
(
9?4
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Z=
9
5
1
3
11
2
S=
70=
?
9
t=
6
101
ci
7
7 7
7
7
a
r
5 9
11 3=
7=
A
53
39
A
=
9
11
5
2
?b
r
=
SICTNO
=
11
ARS
Tnt
SPAN
=
6
=
11
>
")O>
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533
NOTES
ON
THE
ANALYTICAL CORE
Bar Beat
7
1 7
(flute)gainst (violin)
7
1,2
Throughout
he
core,
hord
ormationseceive heir
itch
alues
fromhe
umof
heir
omponents.
he
piano
hord
n
the
econd
beat
f his
ar,
10=
1
chord
with
n intervallic
alue f
11
(and
thus
he
mplication
f
21),
will
ater
erve s
the
22-
pedal
n
Section II.
10
1
"stillen"
eceives
pecial
mphasis
y
being
he
ingle
word
ung
in
Mondestrunken."ts
itch
alue s
5+8=
13, implying,erhaps,that hehorizon s not
only
till,
ut,
acking
he
aving
race
of
moonlight,
terile
nd
lifeless s
well.Such
an
interpretation
s
supported
y
the
phrase
n
the
right
and
of the
piano
part
beginning
n the
ast
ixteenth
ote
f
measure .
Its
itch
alue
s
13
(=4). Dovetailing
ith
he
13 of
"stillen,"
he
piano
13
is
transformed
nto
7,
after
dramatic
reak,
y
the
mysterious
3X
22
chords f
measure
0.
10
2
As
noted
n
he
core,
he
piano
hord
ere
hasa
pitch
alue f
2.
Its intervallicalue is also 22. Andwith henumbers
f its
component
itches,
t
becomes
veritable
ompendium
f
Pierrot
number
alues:
1+3+7+11=
22. In
addition,
his
eries
draws
attention
o the
process
by
which
he
original
wo
numbers f
he
title,
and
7,
generate
he
thersn
the
et:
3+7=
1;
3+7+1
=
11;
3+7+1+11=22.
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534
10
2 The solationf
he
iolin
and
the
act
hatt
s
the
nly
armonic
called for
n
the
ong
both
give
he
note
pecialprominence.
ts
function,oo,
s
significant:
s 8
it
transforms
he
phrase
which
precedes
t
from
pitch
alueof 11 to one of 10. "Power" s the
numerological
eaning
or .
Meanings
or 1 and 10
(1)
have
been
uggested
nthe
body
f
he ext.
As must e
apparent
rom
he everal ommentsmade on
the
activity
n
hismeasure
appropriately,
easure 0 of he
piece),
ts
significance
ould
best
be
explained
yreferring
o
the
numero-
logical
meanings
f
numbers nd to
Schoenberg's
personal
interpretation
nd
use
of
them.
A
thorough
xaminationf
this
subject
would
be
extraordinarily
evealing,
ot
only
for
Pierrot
lunaire,
ut
for
heentire
orpus
of
Schoenberg's ork.
uch a
project
s,
of
ourse,
uite
beyond
he
cope
of
he
present
tudy.
26
2
The
5
value as
the
total
or he
reciter's
itches
n
Section
I
is
equivocal.
Adding
tto
the7
total
f Section
results
n
12=3,
whereas
ombining
t
with he
otal f
ection
II
produces
6=7.
29
1 The number
fnotes
nthe
irst
hrase
f
he
ello ine s
11,
and
that f
he
econd
phrase
s
10.
11
+
10=
21
=3.
With
he
emitone
as theunit
f
measure,
he
ntervallic
aluefor he
first
hrase
s
34= 7. That or he econd
phrase
s 22. 7+22=29=
11.
29
1 The time
pan
for
he
ight
and
f
he
piano
part
romhe
econd
half
f
his
eatuntil he nd
of
bar
34
is
29
=
11.
37 3 11
(flute)
gainst
(piano)
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Rhythmic Structure in Schoenberg's Atonal CompositionsAuthor(s): Philip FriedheimReviewed work(s):Source: Journal of the American Musicological Society, Vol. 19, No. 1 (Spring, 1966), pp. 59-72Published by: University of California Press on behalf of the American Musicological SocietyStable URL: http://www.jstor.org/stable/830871 .
Accessed: 22/09/2012 04:29
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp
.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
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of scholarship. For more information about JSTOR, please contact [email protected].
.
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preserve and extend access to Journal of the American Musicological Society.
http://www.jstor.org
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Rhythmic
Structure
in
Schoenberg's
Atonal
Compositions
BY
PHILIP FRIEDHEIM
PRIOR
TOHIS
FIRST
tonal
ventures,
Schoenberg
had been
actively
com-
posing
for
over ten
years.
Up
to the
time of
the
song
cycle
Op.
15,
begun
in
1908,
his
music
maintained
onalities and structures
based on
i9th-century
models.
After the
Lieder
Op.
22,
completed
in
1916,
he
evolvedthe twelve-tonetechniqueas a method of organizingmusic.Only
the
relatively
few
works
completed
within
this
eight-year
period,
there-
fore,
are
strictly
atonal
in
that
they
were written without
any
previously
articulated
methodsof
procedure.
A
number
of
different
stages
can be
noted within this short
period.
The
first
stage
contains
those
compositions
till
preserving
races
of
tonal
structures:
the
songs Op.
15
(1908-9),
the first
two
of
the
piano
pieces
Op.
i i
(i
909),
and
the
first
four of
the
orchestral
pieces Op.
16
(i 9o9).
Vestiges
of
tonality
reveal
themselves
in:
(i)
octave
doublings
in
the
bass, which strengthenthe overtones; (2) voice leading in half-steps,
which
gives
the
illusion
of
harmonic
movement;
and
(3)
the
recapitula-
tion
of
opening
material
at
the
original
pitch,
which
clearly
delineates
principal
and
subsidiary
areas. The
song cycle
even
contains
scattered
tonal
progressions,
nd a
few
major
triads.
The
second
stage
of
atonality
begins
with
the
'elimination
of
all
thematic
repetition,
the
so-called
athematic
compositions,
where
virtually
no
material
ever
returns.The
first works
written in
this manner
are the
final
movements
of
both
Op.
ix
and
Op.
16
(1909),
and
Erwartung
Op.
17
(i909).
Erwartung is
Schoenberg's
only
lengthy
work in an athematic
style,
incidentally
a
venture
he
never
attempted
again.
The
third
stage
is
represented
by
the
radically
reduced
form,
which
offers
a
temporary
solution to
the
problem
presented
by
the
nonstruc-
tural
elements of
athematic
composition.
These works
are
the unfinished
orchestral
pieces
(19
io),1
the
piano
pieces
Op.
19
(1911
),
Herzgew?ichse
Op.
20
(1911),
and
Pierrot
Lunaire
Op.
21
(I912).
Pierrot
Lunaire
con-
tains
21
separate
numbers,
he
longest
45
bars.
Some
of
these are
athematic,
while
others
return to
recognizable
themes
which
are
developed
and
varied n a traditionalmanner.
This
brings
us
to the
fourth
and
final
stage
of
atonality,
which con-
tains
a
synthesis
between
structured
and
nonstructured
elements,
as ex-
emplified
n
Pierrot
Lunaire
and Die
gliickliche
Hand
Op.
18
(1910-1913)
.
1
See
Josef Rufer,
Das
Werk
Arnold
Schoenbergs (Kassel,
p959),
p.
85.
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6o
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In both
these
works,
an
over-all
balance
s maintained
through
a
juxtaposi-
tion
of sections
coherently
organized
against
others
which
are
nonrepeti-
tive.
Althoughthe first atonalcompositionscontainedmanytonalelements
in one
form
or
another,
he
rhythm
was
quite
different rom
even
Schoen-
berg's
immediately preceding
works. Not
only
did
the
meter
change
frequently,
but the
tempo
often
varied
from
bar
to
bar.
The
third
piano
piece
in
Op.
i
i,
for
example,
contained26 directions
for
tempo
change
within
35
bars.
One
found
a
lack of forwardmotion
in
both the
harmonies
as
well as
the
melodic lines.
Phrasesseemed
to start
and
stop
at
will,
and
were often
separated
rom
each
other
by
rests.
The
time
signature
at
the
beginning
of
a
composition
was not
always
affirmed n
the music.
Of
the
23
bars in the first song of the Op. 15 cycle, for example,only five
begin
with
any
sound in the
piano
that
could
conceivably
be
interpreted
as a
downbeat.
Instead
of the
characteristically
ong,
drawn-outmelodies
of
Schoenberg's
onal
works,
this music
consisted of
fleeting, arabesque-
like
figures
that
had
no
specific
contour
or
shape.
The listener
was
thus
exposed
to what
appeared
o
be an
incomprehensible
tate of
rhythmic
flux.
Schoenberg's
rhythmic
freedom is
in
a
sense more radical
than
Stravinsky's
polyrhythm,
and
totally
unrelated to
it
structurally.
In Le
Sacre du printemps,the
rhythmic
figures
constitute thematic material,
and
can be
treated
analytically
as
if
they
were motives. One is thus able
to
trace
their
variationsand
extensions.The
rhythmic designs
of
Pierrot
Lunaire,
on
the
other
hand,
are
not
necessarily
motivic,
and their
develop-
ment
cannot
be
traced
throughout
a
composition
as
if
they
were
themes.
A
different
approach
eemsto
be
necessary.
One of
the
earliest of
these
compositions
s the
piano
piece
Op.
I
no.
2.
The
entire
first
section
consists
of
a
fifteen-bar unit
comprising
almost
a
quarter
of
the
composition.
It is neither
thematically
nor for-
mally
obscure,
consisting
as it does of a
large
ABA
pattern,
with the
repetition
of
the A
section at
the
original
pitch.
Rhythmically,
however,
the
music
does
not
support
the
18
time
signature.
The
oscillatingpattern
in
the
bass
suggests
a
duple
rather than
a
triple
meter,
and
keeps
starting
and
stopping
at
unpredictable
moments.
The
melody
placed
over
this
pulse
s
so
syncopated
as to be
virtually
nonrhythmic.
Putting
aside
for
a
moment
the
specific
182
notation,
let us
consider
only
what
is
actually
heard.In
order
to
facilitate
his,
the
passage
has
been
recopied below, eliminatingthe bar-linesand syncopations,writing the
notes
only
in
terms
of
their
actual
duration.
In
this
version,
an
overall
rhythmic
direction
is
visually
clarified.The
music
begins
in
a
rhythmically
amorphous
state,
which
gradually
becomes
more
and
more stable
as it
proceeds.
The middle
section
moves
toward a
duple
meter,
which is
most
clearly
affirmed
by
the
pattern
at
(D),
after
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RHYTHMIC
STRUCTURE
IN
SCHOENBERG'S
ATONAL COMPOSITIONS
61
Ex. r
Sehr
Langsam
(A)
4i
ii
(B(C))
ntt..
OIE
A k 7
(c)
v
I WIT
gracious
permission
of Mrs. Getrud
Schoenberg.
(E) (F)
4
1
gracious permission o? Mrs. Gertrud Schoenberg.
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62
JOURNAL
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which it returns
to the unclear
state in which
it
opened.
If one
views
the
passage
as
a
single
curve,
moving
first toward
rhythmic
clarification,
and
then
away
from
it,
the entire fifteen-bar unit becomes
directed.
If
one
views the same passage in terms of the development of a rhythmic motive,
since
there
is
a
rhythmic
motive
here,
then
only
seven
bars,
the
middle
section,
can
be
understood
in
this
way.
A
more
detailed
analysis
will show
how
carefully
this
passage
has
been
planned.
The
opening
ostinato
introduces
only
a
beat
or
a
pulse.
At
that,
it
is
somewhat
unsteady,
since it
continually
slows down
and
stops.
With
the
very
free
melody
placed
over
it
at
(A),
it
established
an
almost
arhythmic
state. The next
section
then
begins
at
(B)
with
the
first
clearly
defined
rhythmic
motive
:
7j.
Even
without
the bar
line,
one
can
hear
the two
eighth
notes as an
upbeat,
and the
widely
spaced
half-note chord
as
a
downbeat.
The
subsequent
repetition
of the
7
J
unit
helps
stabi-
lize
the
passage.
When
the
ostinato
returns,
it is
more
secure
rhythmically,
due
to
the
regular
repetitions
of the
low
F,
and
the
addition
of
the notes
Gb
and
Ab,
which
confirm the
accent at
these
places.
The
ostinato also
proceeds
for a
longer
time
without
stopping.
Over
this
figure,
the
melody
becomes
more
and
more
rhythmically
coherent. The
original
three-note
?*
figure
now
expands
to
f"
J
J
J
at
(C),
which
is first
re-
peated, and finally developed into an even more extended :
J
7
J
7
J
j
at
(D),
the
longest,
most coherent
phrase
in the
entire
section.
This
reaches
up
to
Ab,
the
highest
note
sounded to this
moment,
and
on a
downbeat.
The
bracket
placed
over the
figure
indicates
the
posi-
tion
of
the
eighth
bar
of
the
composition
in
the
original
notation,
the
exact
center
of
the
fifteen
bars
comprising
the entire
passage.
From
this
point
on,
rhythmic
disintegration begins.
The
ostinato
slows
down and
stops,
the
:
:
motive
appears rhythmically
augmented
at
(E),
followed
by
a
series
of half-note
chords
at
(F), constituting
a
point
of minimal
rhythmic
interest.
After
the
fermata,
the
opening
mate-
rial
returns.
The
original
melody
begins
without the
accompaniment
at
(G),
and
at
the
point
where
the
ostinato first
dropped
out,
it
reappears,
only
to
start
a
long
ritard
almost
immediately.
There
is
very
little in
the
music
here which
specifically
supports
a
12s
time
signature. Nevertheless,
a
rhythmic
curve
can be
traced,
by
ex-
amining
not
the motives
themselves
but the
relative
degree
to which
they
clarify
or
negate
metrical
patterns.
In
order to
apply
this
principle
in
general, one must distinguish between three types of rhythmic passages:
one
which
is
completely
inconsistent,
avoiding
all
repetition
units;
a
second
which
establishes an even
pulse
or
beat,
but without
grouping
this
into
a
meter;
and
finally
one in
which a
regular
meter
is
created
through
recurrent
accents
and
repetitions
of
specific
rhythmic
figures.
If one
groups
the
given
elements within
a
composition
into
these
headings,
the
degree
to which
they
determine the
structure will
make itself
apparent.
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RHYTHMIC
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SCHOENBERG'S
ATONAL
COMPOSITIONS
63
Sometimes the
progression
is
exactly
the
opposite
of
the
one
just
noted,
i.e.,
it
may
move
from
a
rhythmically
coherent
beginning
toward
a
gradual
dissolution.
Other
procedural
variants will be
noted
below.
Admittedly,
the
passage
just
examined is
particularly
convincing
in
support
of
this
approach.
To
some
extent,
this
is
because
the texture
re-
mains
comparatively
uncluttered.
As
Schoenberg
continues
to
write
in
an
atonal
medium,
however,
all
compositional
elements
become
more
complex.
The orchestral
pieces
Op.
16 contain
many
more
passages
that
are
rhythmically
chaotic,
although
these
are
invariably
pitted
against
more
stable
rhythmic
units.
For
example,
the first
piece
begins
in
a
fragmentary
and
disjointed
manner.
Ex. z
MoltoAllegro
----------
S
II
-S
-$
••
-
m,
I.
VM
--
"•'•#
..
r."
-.
-
.-
-----------•.
.J,?
I
_
•.
The
first
phrase opens
with a
triple
beat
in
the
bass
against
a
duplebeat in the
treble,
and
lasts
only
three bars. All
the
phrases
are discon-
nected,
and
are
separated
by
rests.
This
makes
it
difficult for the listener
to
gain
his
bearings,
and to
retain in his
mind
the
melodic contour
of
the
various
motives.
This
opening
passage
is
actually
an
extended
introduction.
The
principal
section
begins
at
bar 26
as
a
fugato
in even
eighth
notes.
Although
grouped
into
asymmetrical
two-,
three-,
and
four-beat
units,
the
reiterated
eighth
notes
maintain an
even
pulse
in
direct
contrast with the
fluctuating
rhythms
of
the
opening.
Ex.
3
Exx.
2
and
3
reprinted
with
permission
of C. F. PETERS
CORPORATION,
373
Park
Avenue
South,
New
York,
N.
Y. 10016
During
the
course of the
fugato,
which
remains in
the
strings,
fre-
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quently phrases
from the
introduction
appear
n the
winds,
thus
pitting
short,
fleeting
figures
directly
against
the
even movement
in
the
strings.
At
the
climax,
the
percussion
and
brass
join
in the
fugato
with
even
quarternotes,forcibly establishing very clear beat.
While
the
rhythmic
structure
of this work
is different
from that
of
the
piano
piece
previously
examined,
they
both
exploit
the tension
be-
tween metric
clarity
and
obscurity.
In
the
orchestral
composition,
the
tension
is
considerably
ncreased
by
the simultaneous
se
of
both
types
of
movement.
The
final
orchestral
piece
in this
group
is
the
"Obligatory
Recitative,"
Schoenberg's
irst
totally
athematic
composition.
The
lack of
repetition,
of
course,
produces
a
particularly
lusive
structure.
Upon
examination,
he
movementturnsout to be a singleextendedmelody
I35
barslong. Despite
the
nonstructural
lements
n
the
composition,
he
rhythm,
as
if in direct
contrast,
is
comparatively
simple.
It
remains n
3
time
throughout,
and
there are
no
tempo changes
at all.
Even the
dynamic
climax
s
approached
"without
accelerating."
This
remark
was added
in the
1949
revision of
the
score.)
All
the
melodic lines
consistently
avoid
eccentric
rhythmic
configurations.
The result s at
least in
one
areaa
degree
of
stability
which
must
have been
calculated to
act as
a
counter-balance o
the athematic
structure.
The pianopiece Op. i i no. 3, on the otherhand,while alsoathematic,
is
rhythmically
quite
complex.
Although
the
8
meter
remainsconstant
almost
to the
end,
the
movement
within
the
individual
bars varies to a
considerable
degree.
The
tempo
changes
continually.
A
superficialglance
at
the
score
vividly
confirms
the
generally
unclear
rhythmic
direction.
Even
here,
however,
contrasts n
degree
of coherence
can
be
noted,
and
an
over-all
movement
away
from
rhythmic clarity,
toward
rhythmic
dissolution,
an
be
traced.
The
opening
four bars
are the
only
ones
in the entire
composition
ree
of tempo changes.They begin with even sixteenth-notemotion, which
then
increases
to
thirty-second
notes,
culminating
in the
sharp
chords
which
close
the section.
Ex.
4
Bewegt
Q=132)
-
Conmoto
m
.
W t
m1.
4 1 1 L
at v
t
f ow •
,•
' IDI TIr
I m
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RHYTHMIC
STRUCTURE
IN SCHOENBERG'S ATONAL COMPOSITIONS
65
-1
14 ?
-1
itl~t~`;\_
V ?--It ri'
'C"W1u
t
f f f
The individual ines
develop
their own
rhythmic
motives,
the
bass
moving
?
?.
,
•
6.
F
"7
77,,
andhe
alto
moving
,J
T J1
SJ
•
,
.
Thus,
the first
section,
the end of which
is
clearly
marked,
s
not
unstable
rhythmically.
The
central
section of the
movement
hen alter-
nates
as if
in conflict
between
more and less
coherent
passages,
he
loss
of
coherencebecoming ncreasinglypronouncedasthe compositionproceeds.
Bars
5,
6,
and
7
keep
starting
and
stopping
in an
uncertain
way,
although
within each
phrase
he
rhythmic
movement s
consistent.
The
motive noted
previously
appears
here as
jj
.
Bars
8-9
represent
a
stable
fragment
n a traditional
g
rhythmic
figure
J p J i J
-
J.
Ex.
s
This
igure
hen eturns
moment
ater
s
J.
1
J.
I
IJ J
but
with
a much less
stable
accompaniment.
Again
a few
disjointed
bars,
i4-19,
this
time
longer
than
before
and even
more
incoherent,
herald
an
extremely
varied
recapitulation.
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66
JOURNAL
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Ex.
6
rascher
8va-
it..
L
,
.II..Am
U"
-,L-III
116ilf- NKW-
mo
The
J
J
rhythm
of
the
opening
returns,
followed
by
the
thirty-
second-note
run
and
the
sharp
chord,
but
nothing
is as
rhythmically
secure
or as logical in sequence as it was originally. In a sense, this passage acts
more
as
a
reference back to
the
beginning
than as an actual
recapitulation.
From here
on,
rhythmic discontinuity prevails.
Following
the
propul-
sive
climax,
an
ostinato
figure
seems about to re-establish a
meter,
but
there
is not
enough
energy
left to sustain the effort. After the
third
repetition,
it slows
down and vanishes.
Ex.7
E
Moderato
Miissig
L
in
tempo
- P
~
una orda
61
top
1
The
motivation
for
the
change
to
3
for the
penultimate
bar
is unclear
to
this
writer.
Perhaps
its
function
is
to
place
the
entrance
of the last
note,
the
B1,
on the
downbeat. If
so,
it
is
almost
impossible
to
project
this
in
performance.
On the
other
hand,
if
the
notation
remained
in
6
to the
end,
then
the
final
staccato
cut-off
would
occur
on
the
downbeat,
and
it is
perhaps
this
that
Schoenberg
wanted
to
avoid. In
either
case,
these last
notes
convey
no
feeling
of
rhythmic
stability.
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RHYTHMIC
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SCHOENBERG'S
ATONAL
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67
In
summarizing
the
rhythmic
aspects
of
this
movement,
one notes
even
within
an
almost
completely
unstable
environment a
comparative
contrast
between
relatively
stable
elements.
These still
survive in sufficient
strength
to enable one to trace a
general
direction,
beginning
with a
strong
rhythmic
drive,
culminating
in
a
more
fragmented
texture. To
the
extent
that
they
are
present,
one
also
traces variations of
rhythmic
motives,
par-
ticularly
those which
confirm the
g
meter.
Again,
however,
it
must
be
noted
that an
approach
dealing
exclusively
with
rhythmic
motives
would
lead
to
incomplete
results,
for one
could
only
note a
correspondence
between,
let
us
say,
bar
I
and bar
20o,
or
between bar
8
and
bar
12.
Indi-
vidual
points
of
reference
do not reveal
a
total
architectural
structure,
which
this
broader
approach
does.
At
the
same
time,
one
cannot
pretendfor a
moment that
the
rhythmic
direction
of the
piano
piece,
as
outlined
above,
constitutes a
thorough
analysis
of
this most
radical
composition.
There is
no
secret
key
that
one
brings
to
Schoenberg's
music
which
automatically
unlocks all
mysteries.
As
difficult
as
are
the
rhythmic
problems
of
this
work,
they
pale
in
comparison
to
those
of the
monodrama
Erwartung.
This,
Schoenberg's
longest
athematic
composition,
contains
426
bars
literally
without thematic
repetition.
Since it
is
vocal,
it
tends to be
more
lyrical
than
the
piano
piece,
but
remains
asymmetrical throughout.
The first
scene,
over
30 bars
in
length,
contains
nine
changes
of
meter
and
sixteen
changes
of
tempo.
Thus,
any
attempt
to
analyze
the
general
rhythmic
structure
as
suspended
over
400
bars
is
admittedly
quite
difficult.
The
use
of
a
text
alleviates
at least to
some
extent the
necessity
for
an
absolute
musical
form.
Nevertheless,
since
Schoenberg
did
not con-
tinue
in
this
direction,
but in his
succeeding
works
returned
to
the
use
of
themes
and
repetitions
of
passages,
Erwartung
remains
his most
am-
bitious
gesture
in
the
direction of
nonstructured
music.
Thus,
the
problem
of referential areas, or of musical subdivisions, becomes extremely im-
portant.
In
addition to
the
contrast
obtainable
through
relative
degrees
of
rhythmic
stability,
Schoenberg
also
exploits
the
ostinato
figure
as
a
point
of
identification.
The
ostinato,
already
noted in
the
piano
piece
Op.
ii
no.
2,
plays
a
predominant
part
in
atonal
music
in
general.
It
is
in
a
sense
an ideal
referential
unit.
Because
of its
repetitions,
it
is
easily
recognized
and
isolated
from
its
surroundings.
Since
it
repeats
without
change,
how-
ever,
it
does not
progress
in a
tonal
sense,
but
merely
reiterates.
In
other
words, it does not move through time, as harmonic music does, but re-
mains
suspended
in
space
as a
nontonal
demarcation.
The
rhythmic
struc-
ture of
Erwartung
is
considerably
clarified
through
the
use
of
ostinato
figures.
The
entire
work
consists
of
four
scenes,
the first
three
of
which
are
short
and
introductory
in
character.
They
contain
35,
55,
and
35
bars of
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music
respectively.
A
short
orchestral nterlude
separates
hese
from
the
long
fourth scene
of
300
bars,
where the
entire
"plot"
akes
place.
In
viewing
these
three
introductory
scenes
as
a
single
unit,
one
im-
mediatelynotes a parallelbetweenthe firstandthirdscenes,each 35 bars
long.
The
middle
scene
of
55
bars contains
n
its
central
section
the most
rhythmically
stable
passage
in
this
entire
unit.
Wandering,
lost in the
forest,
the woman
stops
to
recall the
past
times she has
spent
with
her
lover.
This
reminiscencetakes
shape
as a
leisurely
25-bar
episode
in
4
time
throughout,
which
contrasts with the
faster
tempos
and
frequent
metrical
changes
of
the music
surrounding
t.
Thus,
a
large
three-scene
unit
opens
with
45
bars
of
comparative
hythmic instability,
ollowed
by
25
bars
of a more
stable
passage
n
3
time,
returning
then
to
another
45
unstable
bars.
This
brings
us to the end of the
third
scene,
and
the
be-
ginning
of the orchestral
nterludewhich
separates
t from the main
body
of
the
drama.
Let
us now examine
the
two
rhythmically
unstable
passages,
.e.,
the
first and
third scenes.
Throughout
these two
sections,
one
can trace a
gradual
ncrease
n
the
length
of the
ostinato
figures.
In the first
scene,
a
simple
trill
by
the flute
in
bar
5
is
elaborated nto a sixteenth-note
ostinato
figure
in
the bass
register
in
bar
9,
and becomes extended in
bars
i6-18,
where two differentostinatiplayed by the celeste follow each other in
succession.
The
third
scene is
constructed
in a
similar,
but
even
more
extended
manner. It
opens
with a
five-bar
figure
in
bars
91-95,
and
is followed
by
a
six-bar
figure
in bars
Io6-I
I;
finally,
the
eleven-bar
orchestral nter-
lude at
the end
appears
as the
longest
ostinato
in
the
score
up
to
this
time. The
rhythmically
defined character
of this interlude
marks a
clear
division between
the
introductory
scenes
and
the
long
scene
following.
In the final
moments of
the
opera,
the
woman's last
lament
over the
body of herlover,Schoenbergconstructsa long sectionthrougha gradual
clarification
of
rhythmic
movement. The entire
passage
can be
divided
into
separate
sections,
each
with its own
different
rhythmic
character.
The
first,
beginning
with the
words "Mein
Lieber,
mein
einzigerLiebling"
(bar
373),
is
rhythmically
unstable,
written
in
a
declamatory
vocal
style
resembling
a
recitative.
The second
part,
"Liebster,
Liebster,
der
Morgen
kommt"
(bar
389),
has more
continuity
and
lyricism.
Although
the meter
alternates rom
3
to
4
,
individual
phrases
remain
comparatively imple,
moving primarily
n
eighth
and
quarter
notes,
establishing
a
more
even-
flowing pulse. The third section, beginning "Tausend Menschenziehn
voriiber"
(bar
411),
is an
extended
lyric
passage
completely
stabilized
rhythmically.
Beginning
with a
long
line
in
even
eighth
notes,
it
quickly
moves into a
clearly
audible
triple
meter. The vocal
part
becomes
quite
intense,
marking
the
rhythmic
and
melodic culminationof
this
section.
Following
the climax
on the
words
"Wo
bist
du,"
the
rhythm
again
dis-
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RHYTHMIC
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SCHOENBERG'S
ATONAL
COMPOSITIONS
69
integrates
nto
a
free recitative-like
style.
Thus,
a
large
43-bar
unit
can
be understood n
terms of a
single
rhythmic
direction.
Traditionally,
his
type
of
rhythmic
subdivision
n
an
opera
marks
he
distinctionbetween recitativeand aria.In this sense,of course,the con-
trast
here is
not
new. Even
Wagner's "unending"
melodies
can be divided
into
sections
which resemble
recitatives
and
those
which are closer
in
structure
o
arias.
Schoenberg's
next
stage,
containing
he
extremely
abbreviated
composi-
tions,
begins
with the
three short
orchestral
pieces composed
in
19Io.
There is
no need
to examine
any
of
these in
detail,
other
than
to note
that
the
same
rhythmic
balancecan be found. In a numberof
cases,
ike
the
first
of the
piano
pieces Op.
19,
the
rhythmic
contrast
supplies
a
rounded
orm
despite
the absenceof
repeated
motives.The
song
Herzgewdchse
Op.
20,
is
rhythmically
divisible nto two
separate
ections,
he first
free,
the
second
quite
stable.
Thus,
like
the
passage
from
Erwartung
just
examined,
he
vocal
part
resembles
a recitative
and
aria.
Ex.
8
Mei-nermii-denSehn- suchtblau-esGlas decktdenal - ten un-
-lit
-
-
be-stimm-
ten
Kum
-
mer,
des
-
sen
ich
ge
-
nas,
rich-tet
ich
em
por
ui-
ber all
dem
Blatt
ge
-
word'-nen
Leid,
During the time that Schoenbergwrote his piano pieces Op. 19, he
was
already
at
work on Die
gliickliche
Hand,
and
involved
with
the
struc-
tural
problems
of
a
longer
composition.
There
is
evidence
that
this
latter
work
presented
him with
considerable
difficulties,
ince
it
is
the
only
one
among
the entire
group
of atonal
compositions
in
which
the
creative
process
was
spread
out
over a
long
period;
all
the
other
works were
written
rather
quickly,
Erwartung,
or
example,
within the
space
of two
weeks.
Die
gliickliche
Hand, however,
begun
September
1910o,
was
not
completed
until
November
1913.
Here,
Schoenberg
first
attempted
to
synthesizefree, athematicsections with coherent,thematicallyorganized
passages.
Consisting
of
three
scenes
which are
separated
by
interludes,
he
entire
work
is
framed
by
an
opening
and
closing
chorus.The
first
chorussounds
over an
oscillating
figure
in
the
bass,
which
remains
constant
throughout
26
bars,
supplying
a
strong
element
of
rhythmic
stability.
The
same ma-
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70
JOURNAL
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terial
returns at
the end
of
the
work
in the
closing
chorus
as a
definite
recapitulation.
The three
scenesof the
opera
proper,
on the
other
hand,
are
rhythmically
and
thematically
free,
the music
changing
at will
to
ac-
companythe action.The two interludesseparatinghese athematic cenes
are both
thematically
and
rhythmically ntegrated,
he
second
in
particular
basedon
a
three-note
J
motive.
Thus,
in an
overview
of
the entire
com-
position,
the
athematic
passages
are
contained
within a
generally
clear
structure
in
much the
same
manner
as,
in
a classical
opera,
a
secco
recitative,
tonally,
thematically,
and
rhythmically
free,
alternated
with
formally
closed
ariasand
ensembles.
All
of
Schoenberg'scompositional
techniques
culminated
n
Pierrot
Lunaire,
his
most
important
work
to this time. In
combining
21
separatenumbers nto a
single
opus,
Schoenberg
utilized the short form to con-
struct
a
large
composition.
The
specific
division
of
21
into three
groups
of
seven
sections each
affords
an
opportunity
to
juxtapose
passages
hat
are
comparatively
table with
those
that are more
diffused.
Pierrot
Lunaire
s
an
extremely
complex
work,
portions
of
which are
particularly
difficult
to
analyze.
The
over-all
rhythmic
movement
begins
clearly,
gradually disintegrates,
and
then
at
the
end
becomes
clear
once
again.
The
presence
or absence
of thematic
repetition
follows the same
general
outline.
The
analysis
of the
rhythmic
curve sometimes
helpsclarifythe structureof
certain
sectionswhich
are not
thematically
organized.
The
first
group
of
songs,
comprising
the
seven
opening
numbers,
outlines
a
structural
and
rhythmic
breakdown,
which can
be
revealed
through
either
a
thematic or a
rhythmic
analysis.
The
first
number,
Mondestrunken,
s
almost
completely
constructed
from
a
motive
in
even
sixteenth
notes.
While the
meter
changes
continually,
the
steady
move-
ment of the
theme
sustains he
pulse.
The next few
songs
become
less
and
less clear
structurally.
The
sixth in
order,
Madonna,
begins
coherently,
but
breaks down in
the
middle. Since this number is athematic,the
rhythmic
direction
helps
clarify
the
major
formal
divisions.
Miissig
angsam
p i z z
Throughout
the
first
part,
a
profusion
of
eighth
notes
supplies
an
even
movement.
There
are
no
metrical
changes,
and
only
one
tempo
change.
The
opening
bars
are
stabilized
through
scale
passages
n
the
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berg's
style
alters
considerably.
Radical
tempo
changes
and
amorphous
fluctuating igures
tend
to
disappear.
To
be
sure,
the
rhythm
still
remains
complex,
but the time
signatures
unction
more
clearly,
and
tempo changes
appearprimarilyas ritardsat the ends of sections.The titles of some of
the
movementsof
these
early
twelve-tone
compositions
ndicate
a
return
to
rhythmic
periodicity
and
symmetry.
One
may
note,
for
example,
he
waltz from
Op.
23,
the
march and
minuet
from
Op.
24,
and the
gavotte,
musette,
minuet,
and
gigue
from
Op.
25,
all
completed
by
1923.
Melodic
sequences
can be
found
here,
as
well as stabilized
rhythmic
motives.These
can
be
isolated,
and
their
development
raced
throughout
a
composition.
A
surprising,
ut
by
no means
unique,example
of
parallel
phrase
tructure
appears
as
the
principal
heme of the last
movement of
the
string
quartet
Op.
30 (1927).
]Ex.
Ii
.,,a-
f:.~
•
"f
V
V
--.
V
Off '-W
,
..i
IV.....oprfz.PI..
V
,'
-OL *h
It would seemapparenthat,whateverrhythmicproblems o appear
in
these
works,
hey
remain
uite
different
rom
hoseof
the
earlier
tonal
compositions,
nd
n
one
sense
ess
radical.
State
University
f
New York
t
Binghamton
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Structural Imagery: 'Pierrot Lunaire' RevisitedAuthor(s): Kathryn PuffettReviewed work(s):Source: Tempo, Vol. 60, No. 237 (Jul., 2006), pp. 2-22Published by: Cambridge University PressStable URL: http://www.jstor.org/stable/3878705 .
Accessed: 22/09/2012 04:27
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Tempo
0
(237)
2-22
?
2006
Cambridge University
ress
DOI: 10.1017/S0040298206000180 Printed n
the
United
Kingdom
rA
A
0
u i
0\
-C?
STRUCTURAL IMAGERY:
'PIERROT
LUNAIRE'
REVISITED
Kathryn
uffett
In
1977 wrote n article
ntitled
Formal
rganisation
nd
Structural
Imagery
n
Schoenberg's
ierrot
unaire',
hichwas
published
n
vol.
2
of the
fledgling
tudiesnMusic
rom
he
University
f
Western
ntario.
More than quarter f a centuryater, fter 6years f teaching
Schoenberg,
nd
particularly
ierrot
unaire,
o British
tudents,
hree
things
avebecome lear o me.
First,
have ome to realize hat
o
one
outside anada ver eads
MUWO
which
s
a
great
hame),
nd,
second,
have
gained ufficiently
n
self-confidence
ver he
years
o
wish
hat
had tated
my
asewithmore
ssurance.
inally,
ontinued
acquaintance
ith
Pierrot as revealed ven more
subtletieshan
recognized
n
1977.
It s
a
commonplace
or
performer
o re-recordate
n
hisor her
career
works hatwererecorded
arly
n,
and the
public
welcomes
these ater eflections
nd
the
opportunityhey
ive
o
compare
he
youthful
ith he moremature
nterpretations.
he
situation
s of
course ifferentnmy ase:here heresno uggestionhat ragging y
old
piece
ut
or
omparison
ould e an xercisef
ny
alue,
hough
haveno reason o
discourage
t.A few
years go
I
shouldhavebeen
embarrassed
y
the'idea f such
elf-indulgence.
ut
oday
we live
n
very
elf-indulgent
imes,
nd
my
esire owrite bout favourite
ork
a
second ime trikes e
as
no more
utrageous
r
nsupportable
han
most
f the
narrative',
r
socio-,
sycho-,
olitico-
nd
gender-based
New
Agewriting
hat
asses
efore
my yes
hese
ays laiming
o
hed
light
n
the
workings
f music.
n
any
ase heres
some
precedent
or
what am about o do
n
David
Lewin's
evisiting
f the econdmove-
ment f
Webern's
p.
27
n
1993.1
mboldened
y
his,
offer
y
ater
reflectionsn three
ieces
hat ave
ontinuedo
engagemy
nterestn
the earlyhirtyearsince first rote bout hem.
Forme Pierrotunaireemains
mong
hemost
mpressive
nd
original
works f
Schoenberg.
t
comes
nearly
t the ndof
indeed,
t
seems
to be a sort f
anthology
f and
grand
inale o
-
a
period
n
which
Schoenberg
ad
purposefully
nd
nergetically
reed ismusic rom
variety
f constraints
not
only
tonality,
ut classical
tructures,
thematicism,
otivic
evelopment,epetition
f
any
kind);
nd
yet
n
this
et,
houlder-to-shoulder
ith nd
nearly
idden
mongst
ome f
his most
carefullyhrough-composed
ovements,
re three f the
most ightly-structuredieceshe everwrote:Nacht'no.8), Parodie'
(no. 17)
nd
Der
Mondfleck'
no.
18).
The ntense ocus n structure
n
1
'A
metrical
problem
in
Webern's
Op.
27',
Music
Analysis
12/3
(1993), pp.
343-54. Lewin's
ear-
lier
article,
with
the
same
title,
ppeared
inJournal f
Music
Theory
/1
(1962),
pp.
124-32.
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STRUCTURAL IMAGERY: 'PIERROT LUNAIRE' REVISITED 3
these
three
ongs
offers vividcontrast
with other
movements f
the
cycle
that
represent
n
aggressive
reedom
from
ust
the structural
canon
upon
which hese
hree
movements
epend.
ndeed,
forme
one
of
the
most
nteresting
spects
of the
cycle
s the
way
n
which
t
brings
together nd uses sidebyside the mostdisparate tyles ndtechniques
of
organization,
anging
fromthe strict
ontrapuntal
echniques
of
'Der
Mondfleck'
nd the
densely
saturated
organic
thematicism
f
'Nacht'
to the extreme
reedom
f
pieces
such
as 'Der kranke
Mond',
in
which all these
things
re
abnegated.
But
t s not
simply
he seem-
ingly
nomalous
appearance
of these
three
ightly
tructured
ieces
n
this
generally
ree
ycle
hat nterests
me;
what
find
specially
asci-
nating
s that
these
particular
tructures
nd
techniques
were chosen
and
manipulated
s
they
were
n
direct
esponse
o
the
texts,
s
means
of
expression.
he
'passacaglia',
fugue
nd
canons
of nos.
8,
17 and
18
go
far
eyond
he
types
f surface
ctivity
hat re
customarily
ssoci-
ated
with
word-painting',
o
imagery
t a
much
deeper
evel: what
I
havecalled structuralmagery'.
At
an
even
deeper
evel the structures
f
these three
ongs
express
the
central dea of the
cycle
tself.
ierrotunaire
s
parody:
the music
parodies
forms,
tyles
nd
techniques
'Valse
de
Chopin',
Passacaglia',
'Serenade',
Barcarole',
ugue)
ust
as the
text
arodies
rituals
'Prayer',
'Rote
Messe',
Galgenlied'),
haracters
'Madonna',
Der
Dandy',
Eine
blasse
Wascherin')
nd
deals
'Die
Kreuze',
Raub',
Gemeinheit').
he
poems
themselves re
in a form hat nvites
mbiguity:
rondeau
of
three
non-rhyming
uatrains
n
which
the
first wo
lines
of the
first
return
midway hrough
he
econd,
nd
thefirst
ine
reappears gain
as
an
added
line at
the
end of the third.
The
poems
as
written
learly
suggest
ternary
orm,
ut the
return
of
the
first wo
lines
halfway
throughmarks binary ivision s well.And the dded final inemakes
the
threeverses
unequal
while at the
same time
giving
certain
yclic
symmetry
o thewhole.
n
his
ettings
choenberg
makesuse of all the
possibilities
mplicit
n
this fertile tructure.
he three
pieces
to be
consideredhere
all
respond
differently
o the structure
f the
text,
he
three
trophes
f
Nacht'
reinforcing
he
ternary
ivision,
he
amazing
palindrome
f 'Der Mondfleck'
mphasizing
he
binary
mplications,
and
the
aptly
named 'Parodie'
quite
appropriately easing
the ambi-
guity.
Is
it
binary?
s
it
ternary?
es.)
'Nacht'
I can't think f a piece ofmusicfrom nyperiod nwhichthe texthas
wielded a
greater
nfluence
han t
does
in
Nacht',
the
first
ong
of the
second
group
of the
cycle.
This
is
surely
choenberg's
most
striking
example
of the
synthesis
hat
he valued
so
much:
n
this ase
not
only
the
horizontal nd the vertical
spects
of the
piece
but
the
temporal
and
structural imensions
s
well
are
directly
elatable to
a
single
source.
n
the
poem
swarms
f monstrous lackbutterflies
re used as
a
metaphor
or he
falling
f darkness.
he creatures escendthreat-
eningly
rom
heaven,
sinking
with
heavy
wings
upon
the
hearts of
men'
and
killing
he
ight
f the sun'.
Every
spect
and
every
etailof
the
music s directed owards he
expression
f this
metaphor; very-
thing
n
t derives rom
single
butterfly
There areonlytwo motivesn thesong,and one ofthese s already
inherent
n
the other: the second
is the
inescapable
outcome of
multiple
tatements f
the
first.Not
only
do these two
motives hus
replicate
he
cause-effect
elationship
escribed
n
the
text,
n
which
one of the motifs
the
falling
f
darkness)
s the result f the
prolifera-
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4
TEMPO
Example1:
Butterfly
nd
nightfall
otives
tion
of
the other
the
swarm
of
black
butterflies);
ut the motives
re
themselves,
ndividually,
icturesque.
The word
used
in
the
poem
for
the
giant
reatures
Riesenfalter
translates
s
monstrous
utterflies
r
moths
I
have
also seen
it translated
s
bats),
but
the
essential
harac-
teristic fthis reatures ts creased'or folded' hape falten:o
fold r
pleat).
The
first,
nd
seminal,
motive
of the
song
-
hereafter
he
'butterfly
otive'
is a musical
manifestation
f
the
shape
which
has
been
used
by
artists
nd children
like
over he
ages
to
represent
lying
birds
or insects
(see
Example
la).
Schoenberg's
butterfly
s not
symmetrical,
owever;
ts second
wing
hangs
slightly
ower
than
ts
first,
nd it thus contains
within
tself
he seed
of chromatic
escent.
When
one of
these butterflies
s
followed
by
another
whole
tone
lower
this
descent
becomes
a
significant
lement,
a
second
motive
resulting
romthe
proliferation
f
the
first
hereafter
he
'nightfall
motive');
ee the stemmed
notes
n
Example
b.
The entire
material f
the
piece
is
presented
n
a
tightly
omposed
introduction. considerablemountof nformationsgivenushere n
a
very
hort
ime,
hough
n a
register
nd with
density
hat
make
ts
comprehension
nlikely.
he
butterfly
otive
s
presented
n such
a
way
as to make
clear,
f we are
attuned
to
it,
that there s
a
tonic
analogue
n this
piece.
This
piece
is not
n
a
key,
ut t
quite
definitely
returns o
the same
-
tonic
level
at
structurallyignificant
oments.
A
symmetrical
ircle
f
butterfly
otives
n
bars
1-3
begins
and
ends
with tatements
t the tonic
evel,
E-G-Eb.
Five
motives onstitute
his
circle,
ach
taking
he second
note
of the
previous
one as its
starting
point;
thus uccessive
utterflies
rogress
pwards hrough
series
of
minor
hirds
see
Example
Ic).
This
is
exactly nalogous
to the
tradi-
tional
gambit
round
he circle f
fifths,
ut s
accomplished
n a
much
shorter ime and withmanyfewer tatements,incetheminor hirds
one of
the ntervals
hat ubdivides
he octave
ymmetrically.
a)
Tk
buftfly
otiva
b) rlit
of o
motie
duc
llrtiv
b)
Proliferationf
bocbrfly
otives
rducesnigtfal
motive
c)
Tonal
ircle
f
uerfly
otives
NB
Everything
ounds n
octave
ower
than
rittenere
There
is an extra
butterfly
n
these
three
bars,
a sixth
Lepidoptera
which does
not observe
the
same
swarming
nstinct
s the rest.
This
one
begins
on
the third ote
rather
han
he
econd)
of the third
tate-
ment B-DV-A) and thusreads A-C-A (see againExample Ic). Thus
not
only
s the
nightfall
otive
ntroduced,
ut
the
relationship
f
the
two motives
s made
clear:
as a
profusion
f
downward-swooping
butterflies
auses darkness
o
fall,
o
a
descending
eries of
butterfly
motives
nevitably roduces
hromatic
escent.
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STRUCTURAL
IMAGERY:
'PIERROT LUNAIRE REVISITED
5
Nothing
ill ccur
n the
ong
hat
asnotbeen
directlyuggested
in thefirst
hree
ars.
he two
motives irst
resented
ere
revaried
and
ombined
n a
large
umber
f
ngenious ays,
nd
llthe
hords
in the
ong
are verticalizations
f
the
butterfly
otive
minor
hird
plusmajor hird)r nexpandedersionf t major hirdlusperfect
fourth,
erfect
ourth
lus
tritone,
ritone
lus
perfect
ifth;
here s
nothing
lse).2
But the
expression
f
the text
oes not
stop
with
he
choiceof
motives.
nce thebutterflies
ave
een
set
n motion
heir
ctivity
s
carefullyegulated
o
produce,
uring
he ourse
f
the
ong,
steady
decrease
n
definition
hat
s
equivalent
o
the
ncreasing
bscurity
hat
takes
lace
t
dusk.
n
the
first
lace,
f
course,
he
ong
s setfor he
two bass
nstrumentsf
the
group
bass
clarinet
nd
cello)
and the
piano,
laying
n an
extremely
ow
range
t
the
beginning
nd at the
end.
Thusthe
ound
s ndistinct
y
ts
very
ature;
his
murkiness
making
he
pitches
ifficult
o
distinguish
is
ncreased
n
the econd
strophey hemannerfperformance:he elloplays remolot the
bridge,
hebassclarinet
s
flutter-tongued
nd
he
piano
being
poor
country
ousinwhen
tcomes
o exotic
imbres)
s
played
taccato.
Between ntroduction
nd coda
(which
s not
strictly
peaking
coda,
ince hevoice
inishes
nly
alfway
hrough
t)
he
ong
ivides
clearly
nto
hree
trophes,
ollowing
he tanzas
f
the
poem.
These
strophes,
rticulated
y
hanges
f
tempo
toetwas
ascher
ndback
o
the
riginal
empo gain,
n
bars
11 nd
17
respectively
are
even,
ix
and even ars
n
ength
though,
s
we
shall
ee,
the
econd f
these
divisionss not
clearcut),
nd
becauseof
the
change
f
tempo
he
differenceetween
he outer
ections
nd
the horter
iddle
ne is
even
reater
han twould
ppear
obe.
Canon s usedthroughout.he firsttropheonsistsf a single
canon
which
akes ix
bars o unfold.
he
subject
f
this
anon s well
defined
rhythmically
istinctive
nd
melodically
emorable
and
the mitationan be
clearly
istinguished.
t s
a canon
n four
arts,
with ll the nstruments
aking
art,
he
right
nd eft
ands
f the
piano operatingndependently.
he second
trophe
onsists
lso of
one
ong
anon,
ut his ime
n
only
hree
arts,
ndon
a
subject
hat
is
anything
ut
clearly
efined:
ll themotion
s
in
quavers,
nd the
material
s a
sequence
which
ould
begin
and
end
anywhere.
he
uncertainty
ver
he
shape
of
this
ubject
s
complemented
y
the
playing
echniques
sed
by
llvoices
seeabove),
which
minimize
itch
recognition.
furtheroice
drops
way
at
the end
of
the
second
strophe,fter hicheveralrief anons ccurnquickuccession,he
first
oving
n
quavers
nd
the
ubsequent
nes
n
tripletuavers,
ll
sequential,
ith
hecomes
ncreasingly
rowding
he
dux.
These ast
canons re
fragments,
limpses
aught leetingly
utnot
recognized,
impossible
o
perceive,mbiguous
nd bscure.
sthe nd
fthe
hird
strophe pproaches,
he
descendingequence
f
the
final anon s
extended nd the two
canonic oices
thatwere
abandoned arlier
return,
ne at
time,
n
onger
ote alues.
he second
fthese
rings
back he
ubject
rom
hefirst
trophe
n
anticipation
fthe eturnf
the
irstine f text
though
t
s not
uite
s slow
s twas
originally
theminims f bar4 are crotchets
ere or as
clear,
incet s
played
with he remolohat haracterized
he econd
trophe.)
2
This
brings
o mind
comparison
hat
may
eem
unlikely
ut
s, think,
ogent.
hat
s,
he
Liszt
Sonata,
n which ll the basic thematic
materials run
through ery uickly
n the
introduction
nd then
roceeds
o
spin
tself
ut,
hough
n this ase
for
early
alf n hour
-
a Goliath eside
Schoenberg's
avid,
butnonethe ess
n this
espect ery
imilar.
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6
TEMPO
Example
:
Canon
subject,
irst
trophe
Figure
At
the
end,
the
circle of
butterfly
otives
from he introduction
returns,
nd even
this,
whichwas
unclear
the first ime because
of
its
register
nd the dense
overlapping
f
motives,
s less clear
upon
its
return
ecause it s
accompaniedby
a new and
even ower
part
n
the
piano left and andbythevoice,whichhas notyetreachedthe endof
the
text.
And,
as
in
the
return
of the
first-strophe
ubject,
the
momentumbuilt
up
in
the middle
of
the
piece
carries n so
that he
final
ycle
f butterfliesnfurls
t double
the
speed
of the nitial ne.
In
the first
trophe
he two
motives
hat
were introduced
n
inter-
locking
fashion
n
bars 1-3
are
picked
apart
and
presented
n succes-
sion,
with
two-note
scending
motive
dded
at the
end. The
subject
that
results s
by
far he clearest
nd
most
memorable
of the
song
see
Example
2).
The two
motives se
notes of
relativelyong
duration
nd
are
rhythmically
istinct:
he
butterfly
s
in
minims,
he
nightfall
n
crotchets.
4
ci.
-
"-ii
,
- -
-
This
subject
s
nteresting
n another
espect
which
s
quite
unrelated
to
either
nsects
r darkness.
t contains
complete choenberg
ipher,
though
with the notes
in the
wrong
order
see
Figure
1).
There
are
only
wo extra
pitches,
b
and
Gb.
EG S D
[D]
CH
BA
[G]
=AR
N OLD
SCHONBERG
This
canon
subject
has been described
s
the
generative
material f
the
piece.
Charles Rosen
says 'Night"
..
develops ntirely
rom ten-
note
motif:
verything
an be traced
back
easily
o that
kernel.'3
While
it is
certainly
rue that
everything
an
be
traced
back to this
ubject,
what
Rosen seems
not to
recognize
s that
here
s
one
very
mportant
further
tep
on
this
path,
which eads
directly
ack to the
three-note
motive lone.
Alan
Lessem
calls
this
ubject
the
passacaglia
theme',4
which
lso seems
to me to be
in
error,
ince
t occurs
only
once
more,
in a
varied
form,
n
anticipation
f
the return
f
the firstine of
text
t
the end
of the
ong,
nd
n
fact
he
piece
s
not a
passacaglia
t all
n the
normal
understanding
f the
term.
t
is
clearly
strophic
form
n
which
all
three
trophes
re built
from
he
same two short
motives,
combined
n a
wide
variety
f
ways,
ver
changing,
ften
verlapping
and
nesting,
nd
proceeding
t
many
different
peeds
(running
he
gamut
from
emibreves
o
triplet uavers).
The
subject
s first tated
at the
tonic evel
by
the bass clarinet
n
bass-clef
ange
and
imitated
y
cello,
piano
lefthand and
piano right
hand,
n
that
rder,
ll
one
or two
octaves
elow.
Each
entry
ollows
he
previous
one
by
one
fullbar
(three
minims).
The fourth
ntry oes
overthebarline ntobar
9,
where
the
ascending
ailmotive
s
replaced
by
continued hromatic
escent
o the
downbeat
of bar 10.
The first
trophe
nds
with
the two
motives
occurring
imultane-
ously
nbar
10,
over ow notes held
in the
piano.
The cello
plays
the
nightfall
otive
t the
bridge,
ntroducing
hemannerof
playing
hat
3
Charles
Rosen,
choenberg
London:
Marion
Boyars,
976),
.
60.
4
Alan
Philip
Lessem,
Music nd Text n
theWorks
f
Arnold
choenberg
Ann
Arbor:UMI
Research
ress,
1979),
p.
147.
n
spite
of his
slightly
isleading
dentificationf the
ong
first-strophe
anon
subject
s a
'passacaglia
heme',
however,
essem
does
recognise
his
theme as
growing
ut of the
three-note
generative
ell'
that have called the
butterfly
motive,
nd
this as been theview
taken f the
piece
generally.
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STRUCTURAL
IMAGERY:
'PIERROT LUNAIRE
REVISITED 7
it
will
use
in
the second
strophe
nd
much
of
thethird.
he voice
sings
'Verschwiegen'
n
the notes
of
the
tonic
butterfly
otive,
n the
bass
clef. This is
an
important
moment:
not
only
are
the two motives
isolated
n
separate
voices
and
sounded
together
with
no
other
ctivity
to detract rom hem, utthesearetheonlythreenotes that resung
in
the entire
piece,
all the
restof
the
voice
part
being
performed
s
Sprechstimme.
his sudden
clarity
s
surprising
ere.
Verschwiegen
rans-
lates as
'secretly'
r
'silently'
r
'discreetly'
nd
is
the
last
word
in a
phrase comparing
he
horizon
to
a closed
book
of
charms,
n
unfath-
omable book of
secrets.
n a
strange
rony,
his
utterance
eems to
be
attempting
o revealrather
han
to
hide
the secret
f
the
two
motives
and of the
piece.
In
bar
11
the
bass clarinet
lays
nesting igure
n which series
of
butterflies,
moving
in
quavers,
outlines
the
nightfall
n
crotchets
starting
n the afterbeat.
he idea
of
nesting
irst
ppeared
s a
sort
of
countersubject
n bars 8
and
9,
when
both
the
bass clarinet
nd the
piano lefthand,havingfinishedwiththe canon subject,playedthree
butterflies
n
quavers
which
together
utlined
monster
utterfly
n
minims
see
Example
3a).
In bar
11
the
figure
has
changed
signifi-
cantly:
nstead
of
producing
larger
utterfly
he
three
mall
butter-
fliesnow descend to
produce
the
nightfall
see
Example
3b),
and
this
nesting igure
erves s
a transition
o
the
subject
of
the next
canon,
where
t s extended nd
further
mbellished.
Example
:
Nesting utterfly
otives,
s
8,
11
I
JI I
------.-----
I
..
b)
.
CL.
nightftal
roive
In
bars 11-13
a
preliminary
ar
built on
the two-note
scending
motive
hat nded the
first anon
subject
ets
the
pattern
f imitation
to be used
in
the
second-strophe
anon
(only
three
voices now:
cello,
bass
clarinet,
iano right
hand,
each
entering
fter full
bar).
The
canon subjectproperrunsdirectlyn from hisbar,beginningn the
cello
n
bar 12. After
ts
elongated
nitial
tonic)
note,
this
onsists
f
a
regular
descending
hromatic
equence
in
quavers,
whose
apparent
simplicity
omewhat
disguises
he
fact hat
t s
an even more
complex
nestingfigure
using
the
two
basic
motives
of
the
piece.
The back-
ground, long
chromatic
ightfall,
s
accomplished hrough
string
f
butterfliest the
middleground,
hese
being
n
filled
n
chromatically
(i.e.
the
nightfall
otive
n
both
ts
normal
nd
ts nverted
orm)
t the
foreground
see
Example
4).
Though
this
ubject,
ike hat f
the
first
trophe,
ses
both
butterfly
and
nightfall
motives,
his s a
combination
f
a
quite
different
ort:
instead of one
following
he other
as
happened
in
the
first
trophe,
here the two are inextricablyntermingled,ndtheresult s not,as it
was
there,
clear and distinctive
ubject,
but
a
sequence
thatmoves
along
in
notes of
equal
value
and
is
potentially
ndless.
That the
ending
point
s
arbitrary
s shown
by
the fact
hat
both the
answering
voices end short of
the material
n the
cello's
dux. In fact
all three
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8
TEMPO
Example
:
Canon
subject,
econd
trophe
voices
are
interrupted
y
the final
ar of the
strophe,
ar
16,
at what-
ever
point
they
have reached
by
that time. The two dotted
ines in
Example
4
indicate,
respectively,
he
points
at
which the
piano
(the
third
oice)
and the
bass clarinet
the second)
break
off;
he
bass clar-
inetfinishes hree utterfliesomparedwith he cello'sfour; hepiano
only
two. Both
cello
and bass clarinet
nd with
the first alf of a
further
motive,
flutterurrounded
y
rests nd neverfinished.
he
piano
has no
rests;
t s
simply
ut off
halfway hrough
tsthirdmotive.
12
....,.i.'o:
F
]]
[
I1"ji4
.
I
I
-
...
nightfall.:
A(j
80V)
in
r
l.
tthis
oint)
The
second
strophe
s the most dense
of the
three.The
featureless
character
f the canon
subject
hinders ts
perception
s a
canon,
and
the
manner n
which the
nstruments
re
played
makes
pitchrecogni-
tion
difficult.his
difficulty
s exacerbated
y
a
variety
f distractions
in
the
piano.
These
begin
immediately,
n bar
11,
thus
obscuring
he
beginning
f
the
canon.
In bars 11-12
the
right
and
plays
a series
of
three-note
hords
utlining
he
butterfly
otive
moving
n
semibreves
-
a
hemiola
combining
hetwo 3
/2
bars nto a
single
ar of 3 /
1. These
chords re not allexactlyhe ame- thethird s nverted but the outer
notes of
each are eleven
semitones
part.
The
topmost
notes outline
the
motive
beginning
n
Bk,
nd
the lowest
notes outline the
same
motive
nding
n
Bb.
B?
can
be seen
as an
analogue
to the
dominant
n
this
piece,
where tatements
eginning
n
E
are used
as a tonic nd the
'circle
of fifths'
rogresses
hrough
series
of minor hirds:
circle f
this
ort s
bisected
quallyby
the tritone
as
is,
ndeed,
he
truecircle
of
fifths).5
he chords hemselves
the first hords
n
the
piece
not to
have
been the resultof
linear
polyphony
represent
verticalized
expansion
of the
butterfly
otive
n
which five
and six
semitones
replace
the three nd four
emitones
f the
original.6
Beneath this
elongated
dominant'
tatement
he lefthand
plays
a
tonicbutterflyn minimsn bar 11 which srepeatednbar 12,where t
is
embellished
n
the
manner
ntroduced
y
the
bass clarinet
n bar 8.
This bar
sets off chromatic
escent
which continues
o the second
beat of bar
16,
where
t
finally
omes
to rest n
a tremolo hord
bove
the D a
ninth elow thenote on
which
hedescent
tarted.7
wo voices
added n
bars 14 and 15 ncrease
he
motivic
omplications
y
geomet-
rical
proportions
see
Example
5,
where the
motives
n bars 14 and
15
are
separated
nd
written n
three
taves).
5
The latter
act
may
be seen
as
arguing gainst
his
nterpretation,
s,
perhaps,
lso
does the
use of
notes tritone
part
s
interchangeable
onics
n themusic f
Skryabin
nd Bart6k.
Nevertheless ere and elsewhere
n the music
of
Schoenberg,
erg
nd Webern
his ela-
tionships used n a waythat eems tome to imitate he traditionalonic-dominantela-
tionship.
6
If
the
hords reread
s
ntervals
f five nd
six emitones he
first
wo
motives re
nverted
and the hirds
not,
f as six nd seven he
ast hord
epresents
he nversion.
7
What,
wonder,
would
a
Schenkerian
ake
of thefact
hat hefirst
trophe
escends
o and
comes
to rest n ow
C#
and A under he
voice's
E,
and
the econd
trophe
nds
n a similar
way
on
ow D and A?
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STRUCTURAL IMAGERY:
'PIERROT LUNAIRE' REVISITED 9
Example
:
Piano eft
and,
trophe
12
nightfall ~
~~~~
L
.....J
-
-----
--------------
..............--2.-.-------z-
--f---- .......------.
-
,b
?rf- ----------_
bufft
l
-T------
--T-----
-------
- ---
all~
;-----------
,buaterflyi..$ .
bummftp
.m
humanypmu_
n
.,xuFI%
tTTt]_jILd'
btfto.ypmwc
.
As
the second
strophe
s
ending,
n the downbeat
of bar
16,
with
a
ff
tonic
butterfly
n
the
owest
range
of
the
piano,
the other wo
instru-
ments
begin
another
anon.
Now
the
bass clarinet
ollows he cello
after
nly
one
minim.That this
s
a
canon
is
completely
bscured
by
thefact hat hetwo voicesbeginatthe same time, laying hromatic
rising
igures
n
parallel
hirds,
hich
give
no
hint f
mitation.
n
the
second beat of the bar the clarinet
egins
to imitate
he
cello,
and
the
third ote of the
mitated
material
s the first
ote of
a
butterfly.
he
butterfly
s
chromatically
illed
n,
as
it was
in the second
strophe,
nd
is
played by
the cello
in
the
manner that
it used
throughout
hat
strophe,
ut the
manner f
playing epresents
transition,
s
the clar-
inet
givesup flutter-tonguing
nd
plays
normally gain,
as it will
n
the
strophe
o
follow.
or
thefirst ime he
tonicdux
s answered
t
what
n
this
piece passes
for he dominant.
This canon is in
two
segments,
with
the comes
eaping
down after
this nitial
motive o imitate
t
the unison for
he
remaining
ar. The
material fthe econd
segment
sstrikinglyifferent.eginning n the
downbeat
of bar
17
the
familiarmotives
re
given
a
completely
ew
twist.
Here,
n
a
highly
eceptive
motion,
series
f
butterfly
otives
(a
motivewhich
n
theory
escribes
chromatic escent
nd has thus
far
always
had
this
aspect exaggerated)
scends
quickly
over
a
wide
rangeby
virtue f the third ote of each
figure
aving
been
displaced
upwards
by
an
octave
(see
Example
6a).
This
is the
only ascending
passage
n
the entire
ong,
nd
seems to be
either
n
preparation
or he
text Und vom Himmel' at the
beginning
f
the third
trophe
though
this
ext
s
associatedwith
description
f downward
motion),
r
a
late
reaction o
the
textof
bars 11-13
('Aus
dem
Qualm
verlorner
iefen
steigt
in
Duft'),
perhaps uggesting
hat n
the face
of the
nevitable
descent fdarkness
ny
referenceo
upward
motion s
only
n llusion.
This
series of
motives
s
sequential,
ike the
subject
in
the second
strophe,
nd,
also like
that
ubject,
nds
arbitrarily,
iththe comes ne
figure
hort f what occurred
n
the
dux,
both voices
continuing
n
to
complete
bar
18,
each
in
ts own
way.
The cello
s
played
on
the
finger-
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10
TEMPO
Example
:
Third
trophe
board.
Throughout
his canon
the
piano
left
hand holds
a
chord
an
expanded
nd verticalized
nversion
f the
butterfly
otive,
with
nter-
vals
of four
and five
semitones),
beginning
with
a tremolo
on the
second beat of bar 16.
The
right
and
ascends
n
sympathy
ith
the
canon in the othertwo instruments,laying seriesof threedyads
three
imes,
ach
time n octave
higher.
he
upper
voice
of each
group
is a tonic
butterfly,
hile
the ower
voice
s
the
first f the two
permu-
tations f this
motive ntroduced
n bars
14
and 15
see
Example
6b;
cf.
the owervoice and
the ast
system
n
Example
5).
a)
Third-itrophe
anon,
.
17f.
.17
I1
Tempo
...
I-9110i
i i
O
..I...
b)
Butterfly
nd
utterfly
ermutation,
. 17f.
Mi
'_
Bars
16-18 act
as a transition
rom
he second
strophe
o
the
third,
inthewaybars 10-11 oined thefirst nd secondstrophes. he transi-
tion s
given
more
time
on this
ccasion,
s
the
voice
s silent or
nearly
two bars between
second
and third
erses
there
was
no
pause
beyond
afermata
ver
hebarline
etween
first nd
second).
The
tempo change
at bar
17would
mply
hat he
third
trophe
egins
t
this
oint,
ut the
chord
n
the
piano
left and
-
the
goal
towards
which
hebass
part
has
been
moving
nexorably
hroughout
he second
strophe
finishes
nly
at
the end of that
bar,
nd
the motion
n the
upper
parts
n
16
and 17
s
in
quavers,
he
rhythm
hatcharacterizes
he
second
strophe,
ot the
third. n
the first
anon
in these
two
bars the cello
retains
he
manner
of
playing
hat haracterized
ts econd
strophe,
while
this s where
he
clarinet eturns
o the normal
playing
hat
t
will
use
in the third.
he
voice begins tsthird extended)quatrain n bar 18, and, in an exact
parallel
o bar
11,
where
hevoice
began
ts econd
quatrain,
his
s
the
bar
n
which he nstruments
et the
rules' for
he canons
to follow
n
the third
trophe.
In
bar
18,
the
piano right
and
plays
three
hords
n the
shape
of
a
butterfly,8
hile
the efthand
fills he
bar
exactly
with a
meandering
chromatic
melody
whose overall
motion
s
governed
y
permutations
of the
butterfly
otive;
hese
re outlined
y
the
extreme
otes
of
this
melody,
fter ach
of which
t
changes
direction
see
Example
7a).
This
is an
important igure,
s it ntroduces
ot
only
the note-value
hat s
used in
the canons
of the
third
trophe
quaver
triplets,
he ast
step
n
a
progressive
cceleration
f
motion
that
began
with
minims
n the
introduction,ncreased o crotchetsn the firsttrophe ndquavers n
the
second),
but
also the forms
he
butterfly
ill
take
(original
nd
8
Theouter
hords
reverticalized
nversions
f
the
motive;
he
econd s
an
expanded
nver-
sion:
major
hird
nd a
perfect
ourth.
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STRUCTURAL
IMAGERY:
'PIERROT LUNAIRE' REVISITED
11
retrograde
nversion)
nd the
sort
of
convoluted
verlapping
f there
that
s
going
to be used
for
he
rest
f this
trophe
s well.
The
steady
increase
n motion
throughout
he
song
s of course
picturesque,
s
is
the
ncreasing
se of butterflies
hat
have
ost
their
orrect
rientation:
the rate at whichnightfalls eems to acceleratetowards he end of
dusk,
nd confusion
omes
with
darkness.
The
first anon to
use the
new
note
values
s
played
by
the
piano
in
bars 19-21
(see
Example
7b).
From
the
beginning
of
the
piece
the
canons have
been
getting
teadily
more difficult
o
distinguish;
t s
in
bar 19
that his
progression
owards
bscurity
eaches
ts climax.
Here
only
the chromatic
escent
will
be discerned:
he darkness
as
finally
made the
outline f
thebutterflies
hat ause
it nvisible.
o
start
with,
the fact
hatboth voices
are
played
by
the
piano
and
n
the
same
range
greatly
hampers
one's
ability
to
distinguish
he
two voices
or
to
perceive
heir inear
relationship
o
each
other.
The
hands
begin
at the
same
time,
both
playing
chromatically
escending
eries
of broken
thirds,lternately ising ndfalling,lternatelymajorandminor: hus
in
each voice
a dense
series
of
butterflies
verlaps
with
their nverted
retrogrades.
ach hand
s the
mitation
f
the other
t
the distance
f
one
triplet uaver.
The
phrasing
einforces
hisdouble-vision
iew
of
things:
oth voices
are
phrased
n three-note
roups
beginning
with
the
first
ote,
as
if the
parts
were
synchronized.
he left
hand has
a
slight
dge,
perhaps,
s it
begins
with
an
upright
nd
forward-moving
motive t the tonic
evel;
this
s
imitated
irectly
y
the
right
and
at
the dominant.
The canon
lasts for
one
bar
and
one
crotchet,
he hands
ending
together,
s
they
egan,
after
he
first hree
notes
n bar
20,
and for
he
rest f this
bar
the
piano
is treated
ery
much
as
the other
wo
instru-
mentswere towards he endofthe econd-stropheanon nbar 15:the
motion ubsides
pasmodically
s
small
groups
of
notes
alternate
with
rests.
This
fragmentation
erves
wo
purposes.
Most
immediately
t
s
thebreakdown
nd
tailing-off
f
the canon
n
bar
19,
but
n
separating
out thetwo constituents
f that
anon
-
the
butterfly
nd
ts
retrograde
inversion and
stating
hem
one
after
he
other
with
no
overlapping,
t
also ntroduces
he
material f
the
next
anon,
which
s
again
played
y
the
piano
in
two voices
and
is a version
of what
was
heard
n bar 19
without
he
overlapping
f
motives
Example
7c).
The hands
do
not
start
ogether
his ime
the
nterval
etween
entries
s extended
o
a
crotchet and
thedux
begins
once
again
at the
onic evel.
The climax
f
confusion nd
obscurity
as
reached
n bar
19;
now
Schoenberg
egins
to put on the brakes.Nighthas fallen; t remainsonlyforthe sun's
meniscus o slide
silently
rom
he
horizon.
The
material
f
this
final
canon,
ike ll those
ince
he
first
trophe,
s
sequential,
nd
tcarries n
until he end
of bar
23,
where
both
hands
stop
at
the same
time,
ach
having
allen
ome two
and one
half
ctaves.
These two voices
have
been
pushed
into the
background
ong
before
they
come to
their
arbitrary
nd,
however,
by
two
more
dramatic vents.
The
first f
these s
thebass
clarinet's
tatement
n
augmentation
f the
six notes
of this
subject,acting
as
a further
braking
motion.This
statement,
n
crotchets,
egins,
on the
tonic,
t
the
sametime s the
piano right
and's
comes,
nd
t s
striking
ecause
of both
the contrast
n timbre
ndthe
ong
note
values,
durations
hat
havenotbeen heardsincethefirst trophe.An evenmoreimportant
activity
ccurs in the
cello,
which
begins
a
long
process
of
slowing
down
halfway
hrough
bar 20
by
playing
chromatically
escending
figures,
irst
n
triplet
uavers,
then
in
quavers,
reaching
crotchets
halfway hrough
ar
22,
where
t at first
ppears
to be
answering
he
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12
TEMPO
Example
:
Third
trophe
bass
clarinet's
ugmented
ubject
n thebar before.
However,
fter
he
first
hreenotes
-
a tonic
butterfly
the
cello
continues,
ot withthe
retrograde
nversion s
in
the
bass
clarinet,
ut with the
nightfall
motive,
n
a final
tatement
f the
first-strophe
anon
subject
minus
the tailmotive, ndplayedtremolo s in the secondstrophe, hough
not at
the
bridge).
This
prepares
he
way
for he
return f the
poem's
opening
ine.
The bass
clarinet,
aving
pened
the
way
for his
e-entry,
does
not
continue
n
sequence,
as the
piano
is
doing,
but
plays
nstead
two
additional
utterflies,
n
crotchets.
ll this
ctivity
nds at bar
24,
when
thecoda is
heard,
eproducing
he
events
f the ntroduction ut
in
notes
only
half as
long.
Although
he coda
balances the introduc-
tion,
he
two sections
being
of
equal length,
ecause
of
the
rhythmic
discrepancy
he musicof the
ntroduction
ills
nly
he first alfof the
coda.
The remainder
s
given
over
to
a
single
onic
butterfly
n
which
the
second
note
s
displaced
downwards
y
two
octaves.
L inyn retrogradeem inrtatio2
vwrtedetgradeutterfly
b)
p ,,
buter-fly
i
erteyretrogrpad
utterfy
permutati
butterly
inverted
inrd
rc
tr
de
A
-
--------
un BMW
4k
T)-O
..
... .
.. .... ..
m
..
y
inverted.. ....r..et..o....................
A
r: l -i
,
'
I
,
i "
I
I
l J :1
-
_.
i I t
...... ..... . ... .... .. ..
.
The
Sprechstimme
art
of 'Nacht'
is
permeated
with
the same two
motives that
preoccupy
he instruments
hroughout
he
song,
most
often
presenting
utterflieshat
are filled
n
chromatically
r semi-
chromatically.
his
part
never nters
nto
ny
anonic
relationships
nd
in
actual
fact s of
course,
n
spite
of its motivic
origin,
imply eye
music'
whose musical
relationship
ith heother
arts,
with he
excep-
tion of
the
sung
bar
10,
exists n
the
page only.
t
does
have one
impor-
tant
function,
which
if
it is
performed
houghtfully
hould
come
across: t stheonlypart o remember nd mark hebinary ivision f
the
poem.
The inevitable
dentity
f the ast two lines
of the second
strophe
with
the
first
wo
lines of
the
first
'Finstre,
schwarze
Riesenfalter
t6teten
der
Sonne
Glanz')
is remembered
n
the close
similarity
f
the
notated
voice
part
n these wo
places.
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STRUCTURAL
IMAGERY:
'PIERROT
LUNAIRE'
REVISITED
13
As
the
entire
motivic
ontent
f the
song
s
presented
n laconic form
in
the
first
hree
bars,
the
dramatic
form
of
the
whole
is
succinctly
hinted t n bar10, hat niquebar attheendofthefirsttrophewhich
is
sung
rather
han
spoken.
n this
bar
the
two
so-important
motives
are
played
t the
same
time;
these
same
two
shapes
unfold
imultane-
ouslythroughout
he
song.
have
argued
bove
that
handling
f
most
aspects
f
thecanons
the
teady
ecrease
n the
number
f
voices
and
the time between
entries,
he
hastening,
hortening,
onfusing
nd
hiding
are
aimed
at
a
steadily
ncreasing
bscurity,
he
aural
equiva-
lent
of
nightfall.
t the
same
time,
n other
respects,
he dramatic
progress
utlines
butterfly,
contour
hat
erves
s
a sort
of Ursatz
t
all
evels
of
the
piece.
The dramatic
hape
of
the
song
s
ABA,
with
ll
the
climaxes
n the
central ection:
he
dynamic
limax
s
in bar
16,
the
registral
limax
n
bar 18,thegreatestdensitys in bars 14-15, and thecontent s most
obscure
n bar 19.
These
heights
re
ike
the
apex
of
the
butterly
hape
drawn
n
Example
la and
portrayed
n the
butterfly
otive;
fter
his
things
ubside
until
the
end
is like
the
beginning,
hough
n several
ways,
all
of which
have
been
mentioned
bove,
the
end
falls little
short f
being
exactly
ike
the
beginning
note
values
are not
quite
as
long
(though
onger
than
n the
middle
section),
he
cello
plays
n
a
more
agitated
manner
than
t
did
at
the
beginning
but
not
quite
as
strangely
s
it
did
n the
middle
ection).
Thus
the
shape
of the whole
is
the
reverse
f
the
slightly
opsided
nsect
that
s
replicated
n the
motive:
he
structure
f
the
song
s
the
butterfly
n
retrograde.
The
rhythmic
ctivity
nd the
structure
f
the
canons
work
together
o createthis double picture.For themomentdisregarding
the
introduction
nd
coda,
the
notes
themselves
get progressively
shorter or
he whole
of
the
piece,
while
the canonic
partsplayed
n
these
rhythms
rop
from
four
to
three
to
two
and
their ntries
get
progressively
loser
together
n time
up
to
the climax
n bar
19,
after
which the
lost voices
return
ne
at
a
time,
and
the
entries
become
further
part
and
more
eisurely
gain.
n this
way
the
two
shapes
are
interlocked,
s of course
they
have
been
at various
other
evels
-
all
other evels
for
he whole
of the
song.
Why
did
Schoenberg
ubtitle
his
ngenious
iece
Passacaglia'?
The
passacaglia
s one of
the
oldest
of
the
traditional
orms
till
n
use,
and
one
of the
simplest;
he
expectations
aised
by
this
subtitle
re
thus
quite
definitend not
open
to much nterpretation,nd mostarenot
fulfilled
n
Nacht'.
There
should
be
a
ground,
robably
ppearing
irst
in
the
bass and
possibly
moving
round
to
various
other
voices
during
the
progress
of
the
movement,
nd
this
ground
should
be
repeated
continuously,
erhaps
with
diverse
igural
ariations
ut without
ny
alteration
f
ts
ength,
ts
ntervals
r
ts
key.
Historically
he
ground
s
usually
n
a
triple
metre
nd descends
hromatically,
n
ong
and essen-
tially egular
ote
values.
How
many
of
these
things
re
true
of
Schoenberg's
passacaglia?
The
piece
is
in a
triple
metre,
nd
the
first
nd
most
mportant
anon
subject
Lessem's
passacaglia
theme')
descends
chromatically
n
long
and
regular
note values.
It also
recurs
hroughout
he
piece,
n
varia-
tions
usingfiguration,
nd
always
at
the tonic evel. But it does not
recur
continuously.
What
does
recur
continuously
incessantly,
ven
obsessively
is the
three-note
utterfly
otive,
utthese
recurrences
are dense
and varied
at different
evels,
using
a
variety
f
durations,
at alltonal
evels,
ccupying
very
onceivable
position
n the
bar,
nd
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14
TEMPO
Example
:
Sketch
or
Nacht'
very
ften
verlapping
and re
ubject
o
permutation.
his
s not he
sortof
repetition
hat
occurs
n
a
passacaglia.
hesitate
o use
a
Schoenbergian
erm hat
asbeen
verusedothe
oint
f
nausea,
ut
this
s
developing
ariation.
n
many
ways
his
assacaglia
s a
parody,
subvertinghetechniquesf thetraditionalorm nddenyinghe
expectations
aised
y
he
itle.
Yet thinkhat
his s not
he
whole
tory.
hile
enying
he ule
f
the
form,
his
passacaglia ives
ts all
in
conforming
o
its
spirit.
Because
of
its
repetitiveness,
hich
ules ut
both
modulation
nd
metric
rregularity,
he
passacaglia
s
surely
hemost
ppressive
orm
of
Westernraditional
usic.
here s no
escape
fromts
constantly
reiterated
round
rfrom
he
key
nd hemetric
hythm
stablishedt
the
outset,
ust
as in
Giraud/Hartleben's
Nacht'
here
s no
escape
from
he
warm
f
black utterflies
r thefall f
night.
Nacht' s a
supremelyppressive
oem,
nd
Schoenberg
as
provided
t with
supremelyppressive
etting.
here s not moment romts tart o
itsfinish henwe arenotbesiegedythebutterfliesndtheir onse-
quence
n
a
variety
f
ingenious
ombinations,
nd
usually
n all
voices.For
such a
claustrophobic
iece
whatmore
fitting
llusion
couldbe
magined
han
passacaglia'?
For llof
Pierrot
unaire
am
aware
f
only
ne extant
ketch,
or
he
beginning
f
Nacht'.9
t
s
nteresting
nd
puzzling,
s t eems obear
no
relationship
hatevero the
ong
hat
ventually
merged.
offer
transcription
f t s
Example
.
t
?
Ir
IbIL
M
&r&n m
.I
il
,
,
,j.
t,.
.
I?
-
-W
I-
I
A
Il~r
I
......
ox.
'Der
Mondfleck'
'Der
Mondfleck'
no. 18),
the
song
which
amously
urns ound n
itself
halfway hrough
at
the exact moment Pierrot
notices
a white
fleck f
moonlight
n the
backof
his
coat),
ets he ext s a
binary
form.his tructuresas directresponseothemage fthis oem s
the
picturesque
motives
and their
machinations,
nd
the subtitle
passacaglia',
were to Nacht'.
9
This
ketchs held
n
theArnold
ch6nberg
enter,
ienna.
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STRUCTURAL
MAGERY:
PIERROT
LUNAIRE'
REVISITED
15
Example
:
Opening igure
f Der
Mondfleck'
There
are four
ayers
f
activity
n
Der
Mondfleck',
ach
making
ts
own
distinctive
ontribution
o
the
eccentric
ehaviour
f
the
protago-
nist.
The
piano
plays
fugue
hroughout,
nd
the
Sprechstimme
oes
its
own
rather
ngular
way,
remaining
more
aloof
from
he
rest of
the
ensemblethanwas the case in 'Nacht'.
A
pair
of
woodwind
instru-
ments
clarinet
nd
piccolo)
play
in
canon,10
s
do
a
pair
of
strings
(violin
nd
cello);
both
of
these
canons
turn
ound
t the
centre
f
bar
10 and
play
n
retrograde
ntil
they
have
reached
the
point
at which
they
tarted.
But,
ust
as
Pierrot
s
presumably
ot
actually
walking
backwards
or
he second
halfof
the
song,
but
walking
orwards
hile
looking
back
over
his
shoulder,
he
piano
and
singer
arry
n
moving
in the
original
direction
while
the
other
four
nstruments
ook
back,
producing
structure
hich,
ike
he
character
imself,
n ts onfusion
progresses
n both directions
t once.
One
of
the
first
hings
ne
notices
s that
this
song
has
the
same
tonic
as 'Nacht'.
(This
'tonic'
is
not
a feature
hat
runs
through
he
whole cycle.)The motive hatbeginseach new sectionof the wood-
wind canon
and functions
s
the
ubject
f
the
piano's
fugue
begins
on
E and ends
on
E?
see
Example
9a);
it
appears
also
as an
answer,
egin-
ning
on
B
(the
conventional
dominant,
s
opposed
to
the
tritone,
which
played
hat
ole
n
Nacht').
It
s
tempting
o see
the
falling
emi-
tone of
thismotive
nd
the
one
in Nacht'
as
the
nversion/perversion
of
the
eading-note/tonic
elationship
f
tonal
music,
hough
n Der
Mondfleck'
he
two
tritones
f
the
subject
re
n
fact
esolved
n
quite
a
satisfactory
onal
manner
see
Example
9b).
b)
The
piano
plays
fugue
which
s
essentially
n three
voices,
hough
it
expands
to four
on
occasion.
It
is also
in three
ections,
ars
1-8,
8-15
and
15-19,
but,
hough
his
uggests
he
possibility
hat
he
piano
part
follows
he three-verse
tructure
f
the
poem,
this
s not
the case.
The secondstanzaofthe text egins nbar7,thethirdate n bar 12.
This
fugue
opens
in a rather
aring
way,
with
the
subject
tated
n
parallel
ugmented
riads,
ut
calms
down
quickly,
o
that
by
the
third
entry
he
only
remnant
f
this
nitial
udacity
s
the
first
ote,
which
s
doubled,
but now
at
the tritone.
Nevertheless,
ntil
ate
in the
fugue
the
first nd
astnotes
of
the
ubject
re
most
often
xpressed
s chords
or
dyads.
The
fugue
s
given
s
Example
10,
with
he
parts
disentangled
and written
n
separate
taves.
150
am
going
to call
the imitation
between
clarinet
and piccolo
a
canon,
for the sake
of con-
venience,
in
spite
of the fact that the
relationship
of the two instrumentsis very fluid. It
behaves
like
a
canon,
but
a canon
with
considerable
freedom.
On
his own
copy
of the
piece
Schoenberg
wrote
'fugue'
next
to
these
two
parts,
but I find
this
designation
-
a
not
uncom-
mon
situation
with
respect
to
Schoenberg's
remarks
about
his own
music
-
slightly
mislead-
ing.
It occurs
to me
to wonder
whether
this was
meant
to indicate
the
source
of these
two
parts,
which
duplicate
exactly,
t
twice
the
speed,
the first
wo
voices
of the
piano's
fugue.
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16
TEMPO
Example
0:
No.18,
Der
Mondfleck',
iano
ugue
EXPOSITION
L...1..SUBJECTCOUNTERSUBJECTIOUNc ouTERSUBJECT
S CS
cs
2)
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............ ......
s)
.....
csl
, s
_
ErCLL
..P
-k.
d
SDEVELOPMENT
Al
kpL,
in pet-s
1
Cs) j
I;i
~
t~cs
.....i.
n
S,,
......
ubjc-t
-...
)
CS
2 1
I
"
i .
'
to...
.
.
....
..
-
. .-
.
.
40.ri
ms.
- -
.
f;
,*
' " " .. - "
---A
(
iiciiis
I
o ne
=....7-7--
(C
S
1.
2)1
...1....._.2 ..
i"*
<.2lliii.
ii 7
.....,
...i
... .
.
.
.
l
|
l
,g,
...
-
I
W
A-L
A.
.F.
R-
z
1
1-...... .. . . .
. .... .
_
:;-i
.
1''.'
"'
;
l"
,
::::
.......... ::.,d'--I:-
....
F..L,
.::
...
::::::::::::::::::::::
......
i
-bi--
...
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;00
..L
P
~ q
.
.
.sr7
f
i
e
b
e
t
............
.
.
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STRUCTURAL IMAGERY: PIERROT LUNAIRE
REVISITED 17
FINAL
DEVELOPMENT
(S
s
,
(S)
,
,
)
...
~
.r
_,
I
..
.........
illill
i~"
(s)::
.
I.
sl
...
2
lS
S
~i'I
I
3
0#12
lb
A
---------
&A)
#
cuo
The
exposition
s
fairly
nremarkable,
xcept
or
ne
thing:
here
are
wonotes nbar
that
reempt
he
ntry
fthe
ubject
n
he hird
voice.
This s a
curious
xception
o what s
otherwise
ather
trict
fugal ractice.
he
adherenceo
fugal
echniquesoes
far
eyond
he
replication
f the
subject:
here re two
countersubjects,
oth
of
which reheard n allthree oices,nd nadditionheres nthefirst
voice
a
further
egment
in
bars
4-5)
which
s
played gain
by
the
leading
oice
n
the econd
ection
f the
ugue,
n
bars11-12.As
this
is
not
layed
tthe ame
ime s the
ubject,
have
alled his contin-
uation'
ather
han
nother
ountersubject.
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18
TEMPO
The
second
section
begins
as
if t were
going
to
be
another
xposi-
tionbut
slips
n
to
development
with
he stretto
ntry
f
the
subject
n
the third
oice.
The
first
wo
voices
play
the same
music
as
before,
including
he
continuation
rom
ars
4-5,
but
the
third
oice
dispenses
withthecountersubjectsndbegins nstead stringf three ubjects,
all of which
re
elided.
The
second
of
these
s inverted
s well.
In
this
ectionof
the
fugue
the
subject
has
acquired
a second
rest,
between
ts ast
two
notes,
o
balance
that etween
ts
first wo."
In
the
following
ection
both
rests
have
been removed
and
the
first
note
greatly
hortened,
iving
he
subject
n
agitation
hat
t acked
before.
This section
pens
n bar
15 with
stretto
n
four
oices,
wo
of which
-
the
first
nd
third continue
with
the two
countersubjects.
he
fourth
ntry
s embellished
nd
lengthened,
s
is
a fifth
ntry
which
s
heard
n stretto
with
t
played
by
the voice
that
ntered
econd).
One
can see
these
digressions
in
bar
16)
as a
form f
distraction.
he
fugue
ends with
a
flurry
f
rapid
statements
f the
subject
n its new
fretful
form,n whichthe three entralnoteshavenowbecome triplets,hus
matching
hose
played
by
the
woodwind
parts
t
the
beginning
f
the
song.
Thus
the
fugue
becomes
increasingly
gitated
s
it
progresses,
moving
from
Exposition
o
Development,
ach
section
shorter
han
the one
before.
The normal
progress
s
first
uickened
by
stretto
nd
elision,
nd
then
by rhythmic
iminutions,
s
Pierrot
ecomes
more
distracted
nd
his
progress
ess
predictable.
The erratic
ature
f
Pierrot's
rogress
hrough
he
night
s
perhaps
seen most
clearly
n the woodwind
canon,
which
consists
f
the
first
two voices
of
the
piano
fugue
n
diminution,12
hough
he
correspon-
dence to
Pierrot's
agitation
is somewhat
anticipatory,
ince
the
growing
rritation f
clarinet
nd
piccolo
occurs
before
the
halfway
pointofthesong, husprecedinghemoment fPierrot's iscoveryf
the fleck
n
his coat.
Like
the
piano fugue
inevitably
this
ather
ree anon
starts
ver'
three imes:
on
four ccasions
both
voices
state
the
five-note
ubject,
the first hree
imes
at
the tonic
evel
answered
t
the
dominant,
he
fourth ime
with
both
voices
on
the tonic.
These
fresh
tarts
orre-
spond
to
bars
1,
8,
15 and
18
of
the
piano's
fugue:
s
in the
piano,
the
sections
become
progressively
horter
nd,
after
he
second
pair
of
entries,
he
entries
hemselves
et
closer
together
though
n this
ase
all
theseevents
ccur
n the
first
alfof
the
song
and are
subsequently
reversed).
he
fluid
tateof
the
mitation
n these
parts
an be
seen
in
Example
11,
where
mitated
material
s
bracketed,
with
arrows
ndi-
cating he orderof the voices. This irregularity,hichquickensand
becomes
exaggerated
s the
piece
approaches
the
centre,
eems,
in
spite
of
preceding
he
fact,
o
reflect
erfectly
ierrot's
tumbling
ait
as he walks
n
one
direction
while
facing
n the other.
At
the
same
time
the
strings
re
playing
strict
anon
built
from
quite
different
aterial,
n which
the
mitation
s so
exact
that ven
at
the axis
n bar
10,
where
t turns
ound
on
itself,
oth
horizontal
nd
vertical
symmetries
re
maintained
without
a break:
the leader
becomes
the
follower
without
ripple
n
either
he canonic
mitation
or the
palindrome
this
s
not the
case
in the
woodwind;
there
the
piccolo
hasthree
xtra
notes
while
the clarinet
omesnds
the
first
alf
and
carries
on
as the
dux
in the
second
half);
see
Example
12.
The
11
Only
ne
entry,
he econd,
nbars
9-10,
doesnot
ake his
ew
form.
12
This statement
erhaps
ives
confusing
icture
f
the
relationship
etween
he
parts:
t
would
seem obvious
that he woodwind
canon,
which
repeats
n
retrograde,
ust
have
come
first,
nd
the
piano
fugue,
n
augmentation
f
theforward
ortion
f
t,
ater.
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STRUCTURAL
MAGERY:
PIERROT LUNAIRE REVISITED 19
Example
1:
'Der
Mondfleck',
oodwind
anon
strings erfectlyepresent
ierrot's
rritation:
is
enragedrubbing
nd
scrubbing
'Wischt
und wischt
.. er
giftgeschwollen
eiter,
eibtund
reibt')
at the
spot
that
refuses
o
disappear
see
Example
13).
His
continual
gitation
s
portrayed
y
the constant
nervous
repetitions,
butalsobytherhythmf this anon,whichgrates gainst he written
metre.
Since the material s
clearly
n
2/4,
neither
art
fitswithin he
written ars of
three; nd,
since the
mitation
ccurs fter hree
eats,
the
maginary
arlines f the two voices
disagree
with each other
s
well.
Metrically
his
s an unsettled
and
unsettling
canon,
reflecting
the state
of Pierrot's
mind
s he
progresses
hrough
he
night
ubbing
at
the
spot
that
refuses o be eradicated.
0
~3
CSud
~ei
S)
n~
mtttlc
~"~"x`~"~x~"J
9__.
A
.
Ask
m
.
or.
..
..
.
.....
-
_
Nt
61 f 1 3
vg-~_.6
P
t..',
,
'.{,
7,i
7;
a,-,;
53
$
qF?
--olIw
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20
TEMPO
There are
several
discrepancies
n the canons
of
Der
Mondfleck',
n
both
pitch
nd
rhythm,
ostly
n the
retrograde
alf of
the
piece.
As
no
sketch
or he
piece
survives
t
s
impossible
o
check
Schoenberg's
intentions.
owever,
n
1977,
when
the
Schoenberg
Archive
was
still
n
Los Angeles, Leonard Stein wrote to me describing choenberg's
conducting
core,
on which
most
of
the
discrepant
otes
had
been
corrected
n
pencil.
This
score
s not
n thecollection
t the
Schoenberg
Center
n
Vienna.
'Parodie'
Number 17
perhaps
comes
closer
than
any
of
the other
songs
to
expressing
he
very
essence
of
the
cycle.
n
it
two distinct
ypes
of
parody
re used:
canonic
mitation
nd
structural
mbiguity.
he
whole
of Pierrot unaire
s
parody,
and
musically
t
parodies
forms
the
passacaglia
nd
fugue
hatwe
have
ust
examined),
tyles
the
Valse
de
Chopin',the Serenade', hebarcarole) ndtechniques. ut n this ong
the dea
of
mockery
s at
the
surface
nd is
admitted:
ere
the
ntent
implicit
n
the
whole
cycle
becomes
the
avowed
subject
of one
of its
parts,
he
strategy
f one
of
its characters.
he
duenna
of
the
text
s
cruelly
mocked
by
the
moon:
she
s
duped
nto
thinking
hat
he
hears
Pierrot,
ithwhom
she
s
painfully
n
ove,
when
n fact
he
whisper
he
hears s
only
puff
f
wind,
s the
moon
plays
games
with
he
knitting
needles
tuck
ntoher
hair,
making
hem
winkle
ike
moonbeams.
This
mockery,
nd her
onfusion,
etermine
he
tructure
f
the
music.
The
piece
is
a series
of canons.
As
there
s
no
musical
form
more
oppressive
han
the
passacaglia,
o
there
s no
clearer
orm f
musical
mimicry
han anon.
But
the
moon's
mockery
f
the old woman
s
not
simple; t s cruelandtwisted,ndso isthemusical mitation.nall the
canons one
voice
is
moving
t odds
with
the
other(s)
in inversion
and
surely
hemost
brilliant
arody
f all
s that
he
Sprechstimme
akes
part
n
all the canons.
That
this
voice,
whose
pitches
re fixed
nly
on
the
page
but not
n
practice
nd
vary
wildly
rom
ne
performance
o
another,
hould
partake
of
canon,
a
technique
n
which
pitch
s
all-
important,
eems
to me
the
perfect
rony.
As
for he
structure,
his
s articulated
y
changes
n the
canon,
and
these
changes
are
carefully
manipulated
o
express
both the
ternary
and
the
binary
ivision.
t s
perhaps
most
succinct
o
give
the canonic
structure
f the
piece
in
table
form.
bars1-10 bars11-15 bars16-21 bars22-6 bars26-9
lines1-4 lines
-6
lines7-8
lines
-11
lines
12-13
vla,clar., oice;
voice,
vla,clar.;
vla
and
clar.;
vla
and
flute;
vla
and
clar.;
clar. nverted
clar.
nverted
clar.
nverted
flute
nverted
clar.
nverted
voice
and
picc.
voice
and
clar.
pno
rh,
icc.
nd
voice
Itwill e noticed
mmediately
hat
he
ast
ivision
snot
xactly
here
it
hould
e;
t
comes
ne
ine
oo
soon.
So
perhaps
ven
he
arefully
worked-out
arody
f
the
inary/ternary
orms
s tself
arodied.
nd
the
iano
or
hemost
art gnores
he
ounterpoint
ltogether,
learly
markinghe inaryivisionyplayinghe amematerialtthe egin-
ning,
entre
nd nd
ofthe
piece
The other
nstruments
nd he
oice
have canon
nthree oices
or
the
first alf f
the
iece
nd
double
anon
ntwo
pairs
fvoices
or
the econd
alf.
hus
he ame
ype
fcanon
s maintained
hroughout
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STRUCTURAL IMAGERY:
'PIERROT
LUNAIRE REVISITED 21
each half
of the
piece,
but for
he ast two ines of
the first
alf
at
the
beginning
of the second
strophe,
t
bar
11)
the order
of entries s
changed
the
nstruments
re listed
n
the table
above
in the order
n
which
hey
nter),
nd after
hefirst wo inesof the
econdhalf
at
the
endof the secondstrophe,t bar22) the nstrumentsrepaireddiffer-
ently.
Also
at
this
point
the
piccolo
player
akes
up
the
flute
nd
plays
the
nverted oice for he
first nd
only
ime.)
The
three-part
anon
at the end
of
the
piece
(piano right
hand,
piccolo
and
Sprechstimme,
ars
27-9)
is
on
the same
material s the
three-part
anon at the
beginning.
In
'O
alter
Duft',
the
ast
song
in the
cycle,
he
poet
thinks
ondly
f
pleasures
oo
long neglected.
[...]
Ahappy ish or leasureshatlong ave corned,
O
ancient
cent romhe ime
f
fairies,
intoxicating
nce
gainmy
enses
[...]
Perhaps,
ven
n
1912,
nly
hree
years
fter
irst
reathing
he
air
of
other
planets,
this sentiment
truck
chord
with
Schoenberg.
The
unlikely resence
n his
opus
21
of
the
strict
ontrapuntal
tructures f
'Parodie' and Der
Mondfleck'
nd
the
extraordinary
otivic
evelop-
ment
f Nacht'
would
seem to ndicate
hathe was still
much
attached
to
some of
those
pleasures
he had been
recently
o
carefully
nd so
publicly
voiding.
He
was about to embarkon
a
long
silence which was
only partly
attributableo thedisruptionsf war. And althoughhe would never
return
one
might ay
thiswith
ome
regret)
o
writing
n
the
way
we
see in
these
pieces,
t s
very
lear thathe was
unable to
go
on without
some sort
of strict
rganization.
His
eventual
answer
to this
need
would be such a divisive nfluence hatmusic
would not recover rom
the
damage
for
many
decades,
f t
everhas.
In
the
full
knowledge
hat
it is
an
unfashionable nd
unthinkable
uggestion,
nd one that will
horrify
ll
my
friends,
wonder what
masterpieces
choenberg
might
have
given
us
had he foundthe answerto
his
personal
dilemma
n a
stricter se of the
traditional
isciplines
n
which
he had
already roven
himself o
capable
rather
han
devoting
his efforts
o his brand new
and
rather
any
proposition.
Postscript
Schoenberg's
Pierrot unaire was written
n
only
a few
months,
commissioned
n
March
1912 and finished
n
July.
short imebefore
receiving
he commissionhe had set down
his
thoughts
n the rela-
tionship
f
words and
music for
ublication
n
Der blauReiter.
A
few
ears
go
was
deeply
shamed hen discovered
n
severalchubert
songs,
ell-knowno
me,
hat had
bsolutely
o deawhatwas
going
n
n
he
poems
n
which
hey
ere ased. utwhen
hadread he
poems
tbecame
clear o me that
had
gained bsolutelyothing
or he
nderstanding
f the
songs
hereby,
ince
he
oems
id
not
make t
necessary
orme o
changemy
conception
f
the musical
nterpretation
n
the
slightestegree.
On the
contrary,
t
appeared
hat,without
nowing
he
poem,
had
grasped
he
content,
he
eal
ontent,
erhaps
venmore
rofoundly
han
f
had
lung
o
the
urface
f
themere
houghts
xpressed
nwords. or
me,
ven
more eci-
sive han his
xperience
as thefact
hat,
nspiredy
the ound
f the
first
words f the
ext,
had
omposed
any
f
my ongs traighthrough
o the
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22
TEMPO
end without
roublingmyself
n the
slightest
bout
the continuation
f the
poetic
vents,
ithout
ven
grasping
hem
n the
cstasy
f
composing,
nd
that
only
days
ater
thought
f
looking
back
to
see
ust
whatwas
the real
poetic
content f
my
ong.
t then urned
ut,
o
mygreatest
stonishment,
hat had
neverdone
greater
ustice
to
the
poet
than
when,
guided
by
my
first irect
contactwith hesoundof thebeginning, divined verythinghatobviously
had to follow his
irstound
with
nevitability.
3
Did
Schoenberg
ave
n
epiphany
nthe
few
months
etween
riting
this
urious
pologia
nd
composing
is3
x
7
melodramas,
r did
he
really
elieve hat
nculcating
nd
ustaining
he
dea of
hismessianic
statuswas more
mportant
han
dmitting
o
quite
brilliant
usical
interpretations
f
someone
lse's
oetic
exts
'the
urface
fthe
mere
thoughts
xpressed
n
words')?
cannot
elieve
hat he
obviously
picturesque
n
Nacht'
nd
Der
Mondfleck'
epresents
miraculous
coincidencehat ccurred
uring
choenberg's
ecstasy
f
composing'
on
Giraud's
nreadwords.
erhaps
pon
reflection
ven
choenberg
found ispronouncementnwords ndmusicnDerblaue eiter
ratherxtreme
nddecided
o read
more
losely
nthe uture.
Music
Examples
-7 and
9-11
?
Copyright
niversal
dition,
Wien
1914 enewed
1941
y
Arnold
choenberg.
eproduced
y
permission
f Universal
dition
(London)
Ltd.
Music
xample
reproduced
y
ind
ermission
f he
rnold
Sch6nberg
entre,
Vienna
nd Belmont
Music
Publishers,
os
Angeles.
13
Der
blaue ester
Munich
912),
p.
27
f.Written
etween
16 November
911 nd
20
January
1912.Authorised
nglish
ranslation
nd
revised
ersion
irst
ublished
s The
Relationship
to
the
Text',
n
Style
nd
dea,
ed.
Dika
Newlin
New
York:
Philosophical
ibrary,
950),
.
1-6.
Enlarged
dn
of
Style
nd
Idea,
ed. Leonard
Stein
with
translations
y
Leo
Black
(London:
Faber &
Faber,
1975),
pp.
141-5
(here
144).
Manuscript
esides
n
Arnold
Sch6nberg
enter,
ienna
T
14.17).
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The New York Reception of "Pierrot lunaire": The 1923 Premiere and Its AftermathAuthor(s): David MetzerReviewed work(s):Source: The Musical Quarterly, Vol. 78, No. 4 (Winter, 1994), pp. 669-699Published by: Oxford University PressStable URL: http://www.jstor.org/stable/742506 .
Accessed: 22/09/2012 04:31
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Quarterly.
http://www.jstor.org
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The
New
York
eception
f
Pierrot
unaire:
he
1923
Premierend tsAftermath
David
Metzer
During
he
1920s,
New
York
City
witnessed
significant
ncrease
n
the
performance
f
modernist
usic.
One of the most ontroversial
works f
this
period
was Arnold
choenberg's
ierrot
unaire,
hich
received
ts
American
remiere
n
4
February
923.
According
o
the
critic awrence
Gilman,
he
performance
disrupted
amilies,
evered
life-longriendships,
ncited ritics o
unbrotherly
emarks
bout
one
another,
nd filledwhole
pages
n
the
Sunday
music
ections f
the
newspapers. 1
o critics
nd
concertgoers,
ierrot
pitomized
odem-
istcomposition,nd itthereforeerved s a lightningodfor he
growing
nd
vehement
ispute
urrounding
ew music.As a
receptor
in that
debate,
Pierrot as
galvanized y
a
variety
fmusical nd
social
currents.
his
study
f the
1923
and
1925 New
York
perfor-
mances
xamines
ot
only
how critical eactions o
the
work
xposed
contemporarynderstandings
f
music ut
also
how Pierrot
bsorbed
the
anxiety
ver
the
far-reaching
hanges nderway
n
American
society.
UnlikeEdgardVarase'sHyperprismndGeorgeAntheil's allet
mecanique,
wo
works hat lso scandalized ew York udiences ur-
ing
the
1920s,
Pierrot as
received umerous
ubsequent erformances
in the
city, ncluding
ne two
years
ftertsAmerican
remiere.
ur-
prisingly
or work hathas
achieved uch
vitality
n
twentieth-
century
usical
ife,
everal
spects
f t
have
been
neglected,
particularly
ts
reception istory.2
hereas he
reception
f
gor
Stravinsky's
he Rite
fSpring,
ne of the
few
modernist
ompositions
thatrivals ierrotncanoniccentralityndregular erformances,
has been
sketched,
hat f
Schoenberg's
elodramaas
barely
een
traced,
specially
he
response
o the work
n
the United
States.3
The
American eaction ffers
unique
case,
as
Pierrot,
n
landing
n for-
eign
oil,
dramatically
ntered
musical
world
haken
y
the sudden
669
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670
TheMusical
uarterly
increase
n the
performance
fnew
music. he
regular
resentations
of heworkrovideherare pportunityo track hereceptionf n
important
arly
modernist
omposition
ot
nly
n
theunstable usi-
cal world
f1920sNewYork ut lso
through
he
rapidlyhanging
musicalnvironmentf he ast even ecades. chart f hat
mean-
dering ath
hows oth he
riginal
xplosive
ffects
roduced
y
Pierrotndthevariousndoften
ontradictory
eanings
hatwork
has
accruedince tsNewYork
remiere.
New
York udiences
irstncounteredierrot
n
theAmerican
presseviewsf he1912Berlinremiere,hich isseminatedhe
revolutionary
eputation
hat
he
work ad
gained
n
Europe.4 ames
Huneker'seviewntroduced
any
ewYorkerso the
omposition
and
ignificantly
nfluenced
he
ubsequent
iscussionsf
Schoenberg
in
American
usical
ritings.5
e
expressed
ismay
ver he om-
poser's
eparture
romonal
onventions,
abeling
is
music lexicon
of
narchy.
lthough
onfounded
y
he
conoclasmf
he
work,
Huneker
raised
choenberg's
bility
o
express
diversity
fmoods
and
tmospheres:
What
ind fmusics
this,
ithout
elody,
n
he
rdinary
ense;
without
hemes,
et very
cornof a
phrase ontrapuntally
eveloped
by
an
adept,
without
harmony
hatdoes not
smite he
ears, acerate,
figuratively
peaking,
he
ardrums;
eys
orcednto ateful
arriage
that re
miles
sunder,
r
else too
closely
elated or ural
matrimony;
no
form,
hat
s
in
the scholastic ormal
ense,
nd
rhythms
hat re so
persistently
aried s to become
monotonous-what
indof music s
this
repeat
hat an
paint
crystaligh,
he blackness f
prehistoric
night, heabyss f a morbidoul,theman nthemoon, he faint weet
odors f
an
impossible
airyland,
nd the strut
f the
dandy
rom er-
gamo?
heresnomelodic
rharmonic
ine,
nly
seriesf
oints,
dots,
dashes,
r
phrases
hat ob
and
scream,
espair,
xplode,
xalt,
blaspheme.
Despite
uch
raise
f
Schoenberg's
ividmood
ainting,
u-
neker's
oncluding
ssessment
f
Pierrot
as
negative.
e
closed
is
review
ydoubting
is
bility
o
appreciate
hework:
If
uch
music
makings to becomecceptedhen long or eath heReleaser.
More
hocking
tillwould
e the
uspicion
hat
n time
might
e
persuaded
o
ike his
music,
o
embrace
t,
fter
bhorring
t. While
death
did,
in
fact,
release Huneker
before he
New York
performance,
his discussions f
Schoenberg's
music after he
1913 reviewof
Pierrot
show an
increased
appreciation,
lthough
of earlier
and,
by
that
time,
less iconoclastic
works.
Exposure
to such
compositions
s
the First nd
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NewYork
eceptionf
Pierrotunaire
671
Second
tring
uartets,
erklarte
acht,
ndGurrelieder
onvinced
him fthe omposer'significances a reactiongainstormalnd
romantic
eauty.
e even
predicted
hat
choenberg,
ike
trauss
and
Debussy,
ould oonbecome
conventional. 6
Huneker'seviewndother ccountsf
Europeanerformances
of
Schoenberg's
usic
ropagated
he
omposer'seputation
s
a
radical
venbefore is
compositions
ere nown
n
the
ity.
or
instance,
1913Current
pinion
rticle
abeled
im
the irstuturist
in music. 7 he
nitial
erformances
f
Schoenberg's
orks
n
the
ity
confirmed
his
iew,
s criticsften
ecried
is
ttacks
n
established
musical
ractices.
ewYork
oncertgoers'
irstirect
xperience
ith
the
omposer's
usic
as
performance
f
three
arly ongs y
he
Americanaritone
einaldWerrenrathn 23
October 913
op.
1,
no.
1,
and
op.
3,
nos.
1
and
3).
During
he
ubsequent
wo
years,
series f ocal
premieres-the
irst
tring
uartet,
erklarte
acht,
he
First
hamber
ymphony,
elleas nd
Melisande,
hree
iano
ieces
(op.
11),
andSixLittle
iano ieces
op.
19)-scandalized
udiences
andfueled
he
ncipient
ebate
vermodernist
tyles.
ThefollowingewYork remiereftheFiveOrchestralieces,
op.
16,
cemented
choenberg's
eputation.
he
work,
erformed
y
Leopold
tokowskindthe
Philadelphia
rchestrat
Carnegie
all
on
29
November
921,
rovoked
critical
esponse
hat
ot
only
anticipated
ut lmost
ivaledhe
utrage
ver ierrot.
he
conserva-
tive ritic
enry
rehbiel as o
stunnedhat
e
resortedo
quoting
theBible
n
hisdefense
gainst
he
omposition.8
he
equally
eac-
tionary
ichard ldrich
laimed hat
hework
ouldnot
be
regarded
as musicndthat tprovedo be more ereticalhan hemusicf
other
ontemporary
omposers:
But
here ere
oubtless
ew,
f
ny,
n
ast
night's
udienceo
whom
the
pieces
bore
ny
relation o music
t all.
. .
there
s
not
the
slight-
estreason o
believe hat
the
nstruments']
queaks, roans,
nd
ater-
wauling
epresent
n
ny
way
he
musicaldioms
f
oday
r
omorrow
or
any
other uture
ime.Hard
words
ave been
said about
the most
recent
utput
f
Messrs.
asella,
Stravinsky,
rokofieff
nd
others f
the same
kind;but most f what heyhavedone is innocent,ucid, nd
reasonable
ompared
o
Sch6nberg's
chievements.
ossibly
ome ort
of
apology
s due to them.9
NewYork
oncertgoers
aited leven
years
fter he
Berlin
re-
miere
or he first
merican
erformance
f
Pierrot,
delay
aused
partly y
the war nd
the
resultant
ublic
ntipathy
oward
erman
music.1'0
nother
mpediment
as the
difficulty
n
finding
ommitted
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672
The
Musical
uarterly
musicians.he
nternational
omposers'
uild
ICG),
established
y
Varese ndCarlos alzedon1921, cceptedhe hallengefperform-
ing
he
omplex
ork.11
ouis
Gruenberg,
guild
member
ho
had
attendedoth ehearsalsnd
oncertsfPierroted
by choenberg
n
Berlin,
as electeds the
onductor,
long
with
he
oprano
reta
Torpadie
s
the
eciter,
third
hoice
fter va Gauthier
ndMimine
Salzedo addeclined.
Varesewrote o
Schoenberg,nforming
im
f he
oncertnd
asking
im
o
oin
the
guild.
n
hiscurt
esponse,
choenbergues-
tioned hegroup'sbilityoperformheworkndturnedown he
invitation.
2
The
composer's
esentmentas
argely
ueled
y
he
guild's isruption
fhis
plans
o
present
oth
ierrot
ndGurrelieder
during
1923Americanour.He
asked NewYork
eporter
o
warn
audiences ot o
regard
he
performance
s
definitive,
ince
a
stranger
ould
not
xpress
is rtistic
deas.13
he
guild
managed
o
secure
ermission
o
program
he
omposition
nly
rom
he
publisher
and
not
from
choenberg.
4
Despite
choenberg's
bjections,
he
CG
continued
o
prepare
thework. laireReis, he ndefatigablehairpersonf heguild's
executive
ommittee,
versawhe
rrangements
nd
publicity
or he
concert.
n
an efforto nform
oncertgoers,
he
group
eleased
press
statementhat iscussed
choenberg's
areernd
billed
ierrots his
most
ignificant
chievement.15
he
CG
also cheduled lecture
on
Pierrot
y
Carl
Engel,
guild
memberndhead f hemusic ivi-
sion
t
the
Library
f
Congress
7
January
923).
Admitting
hat he
work as
difficulto
grasp,
e nonethelessold he udiencehat t
was heirduty o findthe ightarswithwhicho isteno t. 16
The
musicians,owever,
ere
truggling
o
find
he
rightechnique
withwhich o
play
ierrotnd nsistedn more
ime
o
prepare,
which
orced
eis
o
postpone
he
oncert,
riginally
cheduledor 1
January,
ntil
woweeks
ater.
Gruenberg's
emandsor dditional
rehearsals
gain
hreatenedo
postpone
he
premiere,
utReis on-
vinced
im
o
agree
o
the
newly
cheduled
ate.17
The
guild refaced
he
premiere
ith
n
open
fternoon
rehearsaln
the
day
fthe
performance.
hat
vening'srogram
t
theKlawTheatrelsocontainedorksyCharles oechlinSonata
for wo
Flutes),
rik
atie
Sports
t
divertissements)
nd
DariusMil-
haud
excerpts
romaudadeso
Brasil).
hanks
argely
o Reis's
efforts,
he
concert
was
sold
out, and,
according
o
her,
bout wo
hundred
eople
were urned
way
t thedoor.
8
The success f the
event
helpedbring
he
strugglingroup's
ndeavors o the attention f
the
public
nd
critics.
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York
eceptionf
Pierrotunaire
673
The work
met dividedritical
eception,
argely
plitting
reviewerslong enerationalines.19hestrongestttackgainstier-
rot
wasunleashed
y
he Old Guard
ritics,
venerated
uartet
including
illiam
.
Henderson,
ichard
ldrich,
enry
.
Finck,
and
Henry
.
Krehbiel.
ctive s far ack s the ast ecades f he
nineteenth
entury,
heir
pproaches
nd tandardsere nfluenced
y
the esthetics
f
German omanticism
nd,
for hemost
art, roved
inflexible
n
comprehending
ew rends.20
ldrich,
ink,
ndKreh-
biel,
he
nly
membersf
heOld
Guard
o
review
he
premiere,
focused
heir riticismn
Schoenberg'sisregard
or he stablished
traditionsf
past
music,
mentioning
he
trong
issonances,
heuseof
Sprechstimme,
nd
perceived
ack
f
ontrapuntal
nity
etweenhe
instrumental
arts.
hismusic o affrontedinck hat e left
fterhe
firsteven
ongs
nd
referred
o
Pierrot
nd
the
ther
rogrammed
works
s
dreary
usicalomfooleries. 21
In
contrast
o Fink's
evulsion,
everal
ounger
ritics,
ncluding
Paul
Rosenfeld,
itts
andborn,
ndKatherine
paeth,
raised
he
work,
lbeit o different
egrees.
osenfeldndthe
unsigned
ritic or
the unfoundchoenberg'susicintense nd sensuous, espec-
tively.
paeth
laimed hat
ierrot
as
musics an
interesting
dea ;
however,
hedislikedhemelodic
riting
nd
heard
he nteraction
between
he
reciternd
the
ccompaniment
s
producing
a rather
irritating
ffect.
lthough
enerally
omplimentary
f he
work,
Sandborn
as
onfounded
y
hemusical
anguage,tating
hat e
would
equire
dditional
earings
n
order o
form
definite
pinion.
Nevertheless,
e
concludedhat
he
premiere
epresented
a
painstak-
ingperformancefone of hemostypicalnd ignificantomposi-
tions
f
one of hemost
mportantiving
omposers.
In
contrast
o the
ritical
esponse,
udience eactions
difficult
to assess.
eviews
f he
performance
escribe diverse
udience
consisting
f
urious
oncertgoers,
the
younger
nd
youngestenera-
tions fthe ocalmusical
ntelligentsia,
nd the
ristocratsf
music. 22lso
present
ere he
distinguished
usicians
ho re
striving
o
bring
n themillenniumn
which
acophony
hall
eign,
a
vanguardncluding
ilhaud, tokowski,
lfredo
asella,
Georges
Enesco,ndWillemMengelberg.n a derisivessaynspiredy he
concert,
rehbielescribedhe
various
esponses
f
oncertgoers.
Although
is
negative
iewof the work
learly
rejudiced
is
report,
he offeredhe most xtended ccount f
audience eaction:
I saw
perhaps
score f
persons
who
werebrave
nough
o leave
the
room t the first
pportunity
hich
presented
tself hen
hey
oulddo
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674
TheMusical
uarterly
so
without
eing
ude nd more han nother corewho had the hardi-
hood to smile arcasticallyramusedly henever heperformance
struck hem s
absurd,
nd
yet
at t
out
to the bitter nd. But
no one
indulged
n
catcalls,
r even hisses.That was an
example
f the
good
manners hat
habitually
ule n American oncert-rooms.
I also saw and heard
hundred r more
ersons
tand
up
and
applaud
he
performance
efore
utting
n their
wraps
nd
coats.
scanned heir aces
o see whether r not
they
weremusicians r mem-
bers
f he lass obefound
n
oncert-roomshere
ood,
ound usic
dissociated
romad nd actitious
lap-trap
sheard.
y
earch
as n
vain-musiciansulledmy leeve nd itheroked r wore-generally
the ormer.
Krehbiel,
1
Feb.
923)
Whereas
many oncertgoers
ay
avebeen
dismayed,
hework
proved
o be a
popular
uccess. o recount
riefly
celebratedvent
in American
usical
istory,
his
riumph
onvincedome
uild
mem-
bers,
ncluding
eis,
o offer second
erformance
f he
piece.
That
desire,
owever,
ontradicted
bylaw
n
the
rganization's
harter,
drawn
p
by
Varese,
which tated hat he
CG
only
ffered
irst
er-
formancesnddidnotrepeat orks. heargumenthat nsued ver
this
olicy
ventually
ed
to
a schism. rustrated
y
Varese'sutocratic
leadership,
eis nd everal ther
memberseceded ndformed
heir
own
music
ociety,
he
League
f
Composers.23
n
22
February
925,
the
new
group
ealized
ts ntentions
yfeaturing
ierrot
n
a concert
at the
Times
quare
heatre ith oward arlow
s the onductor
and
Torpadie
gain
s thereciter.
he
program
ypified
he
eague's
ambitiousness
nd,
n
additiono
Pierrot,
ncludedazare
aminsky's
one-actperaGagliardaf MerrylaguendGruenberg'sheDaniel
Jazz.
he concert
as
success,
nd
s the ritic
scar
Thompson
noted,
All the
high
riests
fmusical
modernity
owdomiciled
n
New
York
were elebrantst
Sunday ight's
eremonialt
Times
Square
heatre,
ither
s
composers,nterpreters,
r avid
isteners.
One
of he
high riests
as
George
ershwin.
This
performance
lso
tirredritical
ebate,
lthough
he
dis-
pute
was
not s
heated s
that
rovoked
y
he arlieroncert.
he
controversy
urrounding
oth
erformances
nterwoventricate
trands
ofmusicalnd ocial iews. n one evel, eactionsothepiece
exposed
he
general
usical
xpectations
f
he
period,
hat
s,
the
perceptions
f
music ormulated
rom
onventions
nd isteners'
ast
experiences.24
n
attacking
r
praising
Pierrot,
ritics
relied on con-
temporary
deals of
the nature
and role of
music,
and
throughout
heir
reviews hese
ideals
were educed.
In
particular,
he
work,
as wouldbe
expected,
challenged
traditional
iews
of
tonality
nd
genre;
however,
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York
eceptionf
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unaire
675
it
also
touched
pon
oth
onceptions
egarding
he imitsf
xpres-
sion ndthe xpectationhatmusic ebeautifulndmoral.
The
response
o
Pierrot
as
lso
haped
y
arger
ultural
res-
sures.
s the
historiananiel
ingal
as
described,
he
arly
ecades
of
the wentieth
entury
n theUnited tateswere
period
f
ultural
instability
reated
y
he hiftromhe
waning
ictoriano the
nascent
modernist
ulture.25
ingal's
iew
f
modernisms a cultural
phenomenon,
ne
permeating
ll
areas fAmerican
ife,
eparts
rom
the
raditional
iew
f he
movements
an
autonomous
esthetic
development.
n
this
econceptualization,
e
has
drawn
pon
he
workfPeter
ay,
who
regards
odernism
implicitly,
n hisdiscus-
sions,
ts
European
anifestations)
s a distinctistorical
ulture,
ike
the
Enlightenment
nd.Victorianism.
ccording
o
Gay,
modernism
was
a
pervasive
ultural
evolution,
second enaissance hat
transformed
ulture
n
all itsbranches. 26
To
map
horoughly
culturalhifthe
magnitude
f hat
described
y
ingal
nd
Gay
s
beyond
he
reach f
this
ssay,
hich
can
provide
nly
hemost
eneral
utline.
uch
sketchhould
egin
with henotion fAmericanictorianism,phrasehatmay trike
some eaderss
an
oxymoron;
owever,
s
discussed
n
American
studies,
ictorianismuled n both ides
fthe
Atlantic,
rising
n
theUnited tates
argely
s a resultfAmerica'sultural
ependency
on
Britain.27
he Victorianutlook asbased
n
the
perceived
er-
tainty
fmoral nd
piritual
ruths. s
Walter
.
Houghton
rote,
Politics,
orals,
istory,
conomics,
rt,
ducation-allwere
ov-
erned,
t was
hought,
y
universalaws
r
principles
rue or ll times
andplaces. 28 moral ichotomyetweenhe human ndthe
animal
lso
haped
ictorianeliefs. he former
mbracedhose
elements
hat
istinguished
an rom
east,
uch s
religion,
duca-
tion,
ndthe
rts,
while
he atterontainedorces
hat hreatened
propriety,
otablyexuality.
ictorians
troveo
shield hemselves
from
estructivebestial orcesnd
ttempted
o cultivate
world
f
innocencend
perfection.
he Victorianocial
iew ontained
ther
dichotomies-for
xample,
he
distinctionetween
uperior
nd nfe-
rior lasses s well s between hite
ndnonwhiteaces.
Modernismhallengedictorianismotwith uniformultural
stance ut
with
vast nd
often
ontradictoryrray
f
beliefs,
er-
spectives,
nd aesthetics. s
Singal
points
ut,
one of the
dominant
impulses
f the culturewasto assault he
Victorian
onception
f
inviolable ruths.
n
lieu of such
tenets,
modernismccepted
moral
uncertainty
nd
irrationality
nd
openly
xamined ll
aspects
f
human
behavior,
ncluding
he sexual.Partof this
xploration
as
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676
TheMusical
uarterly
the
fascinationith
sychic
omplexity
nd
rrationality
hat
ueled
manyf he esthetic ovementsf heperiods well sthe xpand-
ing
ield
f
psychoanalysis.
oreover,
ingal
iscussesow
modernism
integrated
he
various
ocial
ivisions
pheld
y
Victorianism,
articu-
larly
hose
overning
he
reas
f
lass, ace,
nd
gender.
In
his
tudy
f
arly-twentieth-century
merican
ulture,
tanley
Coben lso
focusesn
the
dissolutionf
he
Victorian
ustification
f
hierarchiesn
those
reas.
Without
mploying
he
ultural
ubricf
modernism,
oben
views
hat
isintegration
s
a
part
f
sweeping
rebelliongainst
ictorianism. 29
his
revolt,ccordingohim,wasled
by
growing
ntelligentsia,
actionsfwhich
hallenged
he imits
of
knowledge
ndtruth
rescribedy
Victorian
ulture.n
addition,
the
hierarchies
amed bove
were
ssaultedot
nly
y
hose
ntellec-
tuals ut
lso
by
various
olitical
nd ocial
orces,
ncluding
he
activities
f eftist
olitical
nd
abor
roups
nd uch
opulation
hifts
as the
migration
f
African
mericanso
northern
ities
ndthe
increased
resence
fwomenn
the
workplace.lthough
he ttack
launched
y
minority
roups
nd
ntellectuals
elped
obVictorianism
of tshegemony,hat ulture,s Cobenpointsut,hasprovedesil-
ient. or
nstance,
he
present-day
eligious
ight
as
renovatedic-
torian
onceptions
f
home,
amily,
nd
morality
n
ts
ampaign
or
traditional
amily
alues.
Other
estabilizing
orcesnd
developments
hat re ither
ver-
looked r
underemphasized
y
Coben
nd
Singal et
merit
entioning
include,
n
no
particular
rder,
rbanization,
ncreased
echanization,
scientific
hallenges
o
Victorian
erities,
nd
the
disillusionment
broughtbout yWorldWar . What lsodeserveso benotedsthat
modernismasnot
olely socially
dvancedmovement
ut on-
tained
eactionary
mpulses,
s is
evidento thosewho
have on-
fronted
he
litist,acist,
nd
misogynistic
iews hat
nderscoreuch
modernist
rt.
Moreover,
odernismadan
ambivalent
elationship
with
heforcesf
technology
ith
whicht
inked
tself
rwas
on-
nected
y
thers,
contradiction
vident
n
the
ontemporaneity
f
both
rtworks
rawingnergy
rom achines
ndurbanife
ndthose
celebratingprimitivism
ndthe
mysterious
otivesf he
ubcon-
scious.
These ensions
estify
ot o much
o the bundant
nconsisten-
cies
ofmodernism
ut o the
general
ultural
lux
f he
period,
s
conflictsccurred oth
between nd within
ictorianismnd
modernm-
ism.
t is
against
hisbroad
nd
chaotic
backdrop
f culturalonflict
that
Pierrot
merged. iewing
choenberg's
ork s more han
prod-
uct of radical
esthetic
orces,
ritics onnected
t,
most ften
ega-
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eceptionf
Pierrotunaire
677
tively,
ith
he xtensive
hanges
nderway
n American
ociety.
n
particular,heyssociatedhework ith declinenmorality,ental
illness,
he nfluential
heoriesf
Sigmund
reud,mechanization,
radical
olitical
movements,
nd,
hrough
hese
pecific
ssociations,
a
general
ultural
ecay.
Before
xamining
hereactiono
Pierrot,
t s
necessary
o sum-
marizehe
modernist
tyleslready
eard
n
NewYork.At the ime
ofthe1923
recital,
odern
usic as till
utting
nitial
nroadsnto
the
ity's
music orld.
he
composer
nd
pianist
eo
Omstein
made
thefirstignificantttempto ntroduceoncertgoerso new dioms.His 1915recitalsf modemndfuturistusic eaturedot
nly
is
own
hockingompositions
ut lso ocal
premieres
fworks
y
uch
European
odernists
s
Schoenberg,
criabin,
ndRavel.
Throughout
the
rest f he
1910s
nd
the
arly
920s,
rnstein
iligently
ro-
moted
ew
tyles.30
hree
ewly
ormed odemmusic ocieties-the
ICG,
Pro-Musica
New
York
hapter,
920-30),
nd
the
American
MusicGuild
1921-24)
intensified
rnstein's
fforts,
ncreasing
he
variety
fnewmusic eard
n
the
ity.
he most
requentlyerformed
modernistomposerseforehepremierefPierrotere choenberg,
Stravinsky,ebussy,
avel,
Bart6k,
nd
Omstein.
Despite
his
amiliarity
ithmodem
music,
most riticstill
rigidlypheld
he raditions
f
he
common-practice
ra s inviola-
ble. These onventionsssumed
herole f
valuative
tandards,nd,
guided y
hem,
eviewers
trongly
ttacked
choenberg's
hallenge
o
tradition.
s was o be
expected,
he
Old
Guard riticseiterated
their ensurehat uchmusic asvoid
f
proper
onal,melodic,
nd
formalractices.ldrich,orxample,tated:Of ny elationo
harmony, elody,
r
musical
xpression
s heretofore
nderstood,
theres
nothing.
ven he
younger
rankWarren
1923)
claimed
that he trick f
he
omposition
as
sawing
n
two
Mr.
Old
Tonality
ight
n
thefaces f he
udience. ritics'
ismay
ver
Schoenberg's
nnovative usical
anguage
ftenedthem o dismiss
thework s noise.Archie oatesheard
ierrot
s a
rendering
n
musical otationf he
ounds,
ay
f ce
n
a
thin
umbler,
nives
and
forks
n
a brass
ray,
agpipes,
rusty
ump
andle.
Those riticsreoccupiedith onventionere lsocompelled
to
assign
ierrot
o an established
enre.
he
general
usical
xpecta-
tions
provide
riteria
or
istenerso
place
a workwithin
specific
genre;
or
nstance,
elping
hem
udge
n instrumental
omposition
as a
sonata,
r a
symphony,
r
a
concerto.As
is
typical
f
many
mod-
ernist
works,
ierrot
ranscendedraditional
ategories.
he
unique
conception
f
the
work,
prechstimme
ith
tring,
ind,
nd
piano
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678
TheMusical
uarterly
accompaniment,
onfusedewYork ritics
n
their ffortso
compre-
hendtsgenre. hey requentlyddressedhisssue,ndtheir iscus-
sions eveal
ow
hey
urned
gain
o
convention
n
confronting
Pierrot.
Some
ritics
autiously
cceptedchoenberg'sesignation
f
melodrama.
heir hief
bjection
as
o
theuseof
prechstimme.
his
technique,
owever,
asnot
ompletely
nfamiliar
o
NewYork
udi-
ences.
n
1910,
ngelbertumperdinck's
pera
Kinigskinder
eceived
itsworld
remiere
t the
Metropolitanpera.
n
that
work,
umper-
dinck,ike choenberg,ried o createnequilibriumetweenpeechand
ong
y pecifying
he
pproximateitch,
nflection,
ccentua-
tion,
nd
rhythm
fthe
reciting
art.
However,
hereas
umper-
dinck imed or aturalismnd
clarity,
choenberg
sed
prechstimme
to
convey
he
deliriumf
madness.31
he meritsf
Humperdinck's
technique
ere
ebated
y
heNew
York
ritics,
nd
many
f hem
later ited
Kdnigskinder
n
their eviews
f
Pierrot.rehbiel
entioned
the
pera
nd
past xamples
f
melodrama,
ven
going
s far ack s
the
monodists
f he
arly
eventeenth
entury,
uthe saw choen-
berg'sreatmentf heforms grotesquely,orridlyew. andborn
(1923)
cited
xamples
f he
genre
rom
idelio
ndStrauss'snoch
Arden
nd
claimed
hat
ierrotent
a
step
urther
y
using
Sprechstimme.
Several ritics
pproached
ierrots
a
song
ycle.
Vocalrecitals
filled
heNewYork
musical
alendar,
nd
concertgoers
ere amiliar
with he
German
ied
radition,
specially
he
ong ycles
fSchubert
andSchumann.
ierrothareseveralharacteristics
ith
uch
works,
particularlyheuseof voice nd ccompanimentexture,he elec-
tion f
group
f
poems
nited
y
heme rnarrative
tructure,
nd
the
ntegration
f
he ndividual
ieces
hrough
otivicrthematic
connections.32uch
general
onnections
ith he
ong yclemay
have ed
Ernest
ewman,
visiting
ritish
ritic
or
he
Evening
ost,
to view
ierrots a new
wisto an old
commonplace :
heLied.
n
fact,
e
regarded
he
oncluding
iece,
O
alter
uft,
s
nothing
but
platitudinous
erman ied
wrenchedlittle ut
of
hape.
Hendersonlso
claimed hat his
umberame lose o
resembling
a song fmarvelouseautyndeloquence ;owever,eaccused
Schoenberg
f
purposely
iverting
uch n outcome.
or
thers,
he
use of
Sprechstimme,
he
unique
nstrumental
ccompaniment,
ndthe
macabre hemes f
thetextdissociatedhe
composition
rom
he
Lied
tradition.he critic or
he
Sun,
for
nstance,
laimed hat
he
Sprechstimme
ade
t
impossible
oconsider he
work
s
a
collection
of
songs.
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eceptionf
Pierrotunaire
679
Besides
hallenging
raditional
enre
ndtonal
onceptions,
Pierrotrustratedhedominantxpectationhatmusicmust e beauti-
ful. his
ssumption
orms
key
omponent
f he ulturalutlook
that
George
antayana emorably
alled the
genteel
radition,
which,
ithin
he
ulturalcheme
mployed
ere,
an
be
seen s
a
cornerstonef
American
ictorianism.33
hile
voiding
concise
definitionf
he
phrase,
e described
split
n theAmerican ind
between
he
practical
ndthe ntellectualnd
rtistic.34
usic,
ike
the ther
rts,
was
eparated
rom
aily
ife nd
relegated
o an ideal-
istic ealm
n
which twas
regardedrimarily
s a manifestationf
beauty,
obility,
nd
morality
atherhan s an intrinsic
xpression
f
human
xperience.35
his
dichotomy
nfluencedothmusical
roduc-
tion
nd
consumption
s,
from
he
ymphony
allto the rade
eriod-
icals,
musicwas
promoted
s the ssence f
beauty.
he conductor
Walter amrosch
ermonizedn the arefied
eauty
f
music:
Music s an art
n
which
he
onception
f hebeautifuls
n
no sense
based
pon
he
physical
orld hich urrounds
s. ts
power
o evoke
an inner reamfbeautysgreaterndmoremmediatehan hat f
any
f
ts
isters,
nd
n
minds
nd
heartshat avebeen ducated
properly
o
ppreciate
ts
wonders,
usic ill
ive
appiness
eyond
he
possibilities
f
ny
ther
gency
or hat
urpose.36
On
the ther
and,
tude
magazine,
hich
lso
printed
amrosch's
remarks,
ffered
his rude ommercialnticement
n
an advertise-
ment lurb:
Every
iece
f
music
ou
uy
s an
unending
ell
pring
of
beauty
rom hich
ou
nd
your
riends
ay
rink ntil
our
ouls
havebeenrefreshed. 37
To
many
eviewers,
ierrot
logged
hat
spring
ndfailed
o
deliver
he
happiness
hat amrosch
romised.
his
ransgression
f
the
Victorian
enet fmusical
eauty
metwith
riticalensure.uc-
cinctlyxpressing
everal f
his
peers' bjections,
arren
1923)
reproached
he
work or
ivingnothing
f hat ense
f
beauty
e
look or
n
music.
ccording
o those
n
inewith
im,
hemusic
andthe hemesf
he ext
mphasized
gliness.
rehbiel
onsidered
Pierrot
n affronto the
principles
f
beauty
hat he
ages
have
provedo befundamental,ndheregardedhework ssymptomatic
of he rendthat
eauty
may
e
expressed
n
termsf
ugliness,
nd
that
ugliness
f
subject
s fit
bject
for
xpression
11
Feb.
1923).
Chiseling
way
t the
pedestal
f
civilization
pon
which
music
rested,
uch
views,
nhis
opinion,
marked return
o
savagery.
Apparently,
owever,
eauty
s in the ear
of the istener. he Sun
critic
1923),
for
nstance,
laimed hat everalmovements
n
Pierrot
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680 TheMusical
uarterly
rose
to
the
beautiful.
n
general,hough,
upporters
f he
work
eschewedhe onventionalriterionfbeauty,ocusingheirraise
on other
lements,
otably
xpressiveness.
Much f he
debate
urrounding
hework
enteredn
the ssue
of
xpression.
uided
y
he
mphasis
n
beauty,
obility,
nd
moral-
ity
n
the
genteel
radition,
he
general
usical
xpectations
re-
scribedhat ertain
ubjects,ncluding
he
grotesqueries
n
Giraud's
poems,
ere nsuitableormusical
etting.
his
beliefed to accusa-
tions hat
choenberg
ad
transgressed
he
propriety
f
elf-expression
inregardoboth opic ndfervency.rehbiel,ornstance,argely
built
is
ttack n
the
work round
his
ssue.As
noted
bove,
e
decried
choenberg's
resentation
f
ugliness
n
Pierrot,
hich
incited
im
o ask
rhetorically,
Doesnot he
right
f
practitioner
in
art o
express
imself
epend
pon
what s
n
him
hat
s
worthy
f
expression?
11
Feb.
1923).
Krehbiel
ndtheMusical ourier
reviewer
1923)
chargedchoenberg
ith
eing
oo
ntense
n
captur-
ing
he
moods
f he ext. he
atter elieved
hat uch
high-pitched
expression
as
he
unfortunate
egacy
f
Wagner:
When
Wagner
rote
expressive
usic
in
mitation
f
frogs
nd
dragons,
or
nstance)
e
opened
he
door or
alentless,
onscienceless,
musicians
ike
choenberg,
ho
do
not
where
o draw he ine.
...
When
Wagner
acrificedbsolute usic
o
the
xpression
fdramatic
ideas
he
gave
he
mpetus
o such
s
Schoenberg,
ho
acrificell
music o the ame
od
f
xpressiveness.
Despite
he
narrowiews
oncerning
xpression
ustained
n
thegeneral usicalxpectations,anyeviewerserempressedy
Schoenberg's
ramatic
nd
pictorial
deptness,
ven hose
who
dis-
liked he
music. he
Eveningelegram
ritic
1923),
for
nstance,
admitted
hat
Schoenberg
as nventednewmeans
f
xpression
that
s
picturesque
nd
effective.
udged
s
music
t s
hideous. ut
the
poems
re
only
series
f
grotesques
ndthemusic ollowshe
line
f
hought
f
he
poet.
n
particular,
ome
ritics
egarded
he
Sprechstimme
s
dramatically
otent.
rving
Weil
consideredhe ech-
nique
s
part
f the nevitable
xpression,
he nevitable
usical
medium orGiraud's
oems.
orhis
part,
ngel,
nhis
guild-
sponsored
ecture,
efended
ierrot
argely
n the ines f
xpression:
What
may
eem rude nd
ugly
s
evidently
hemost
enuine,
he
most
itting,xpression
hat
Schdnberg
as found o
far orwhat
s in
his mind nd heart.
Moreover,
e
praised
the
dynamicntensity
f
Schoenberg's
usic nd claimed hat
twas
fraught
ith
meaning
and the sincere
esire o
convey
omething
eeply
elt. '3
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NewYork
eceptionf
Pierrotunaire
681
Perhaps
he
most rdentdmirerf hework asRosenfeld.
That
he should ave
occupied
uch
singularosition
n
the
recep-tion fPierrots not
urprising;
osenfeld
igorously
hampioned
ot
only
ewmusic ut lsomodernist
tyles
n
the
ther
rts,
articu-
larly
ainting
nd iterature.39
oreover,
ar rom
eing
detached
admirer,
e
developed
n
imagistic,ragmented
rose
tyle,
fwhich
the
Pierrot
eviews
representative,
hat ccords ith he
riginality
and esthetic
pirit
f he
new
diomshat
e
supported.
Schoenberg's
ivid
etting
f a score f
orturedndbizarre
moods
specially
ntranced
osenfeld.e heard
within
his
music
smotheredesire reakingoose ndregardedhepainfulxpression
of
hat
esire s
representing
umanity's
nguished
ries
n
a
world
increasingly
ontrolled
y
machines.o
Rosenfeld,
he ntense
mo-
tionality
f hemusic
ainfullyxpressed
he
dehumanizing
ffectsf
the ncreased
echanization
n
contemporary
ociety.
ere,
he made
a
unique
xtramusical
ssociation,s,
withinhe
broader
eception
f
modern
usic,
ewworks ere
ften iewed s
symptomatic
f
rather
than reaction
gainst
mechanization.
apturing
he mbivalent
relationshipetween odernistrts nd modernizingechnological
developments,
osenfeldimself
ade heformer
onnection,
on-
tending
n
this
eview
ndelsewherehat hemusic
f
Stravinsky
captured
he
pulse
f
bothmachinesndurban
nvironments.40
or
their
art,
etractors
fmodernist
tyles
rew
pon
hese ame
ssocia-
tions o dismiss
uch
music s mechanistic
nd
cerebral.41
osenfeld,
though,
onsidered
ierrot
primal,hysical
ork,
alling
choen-
berg's
music
thehuman orso f
his]
ime. As he
described,
hat
body
writhednder he
weight
f
machines:
Schoenberg
s the man
without machine.
He is the
creature f a
time
of
dislocation. he
machinery
f
ifeno
longer
ooperates
ith
he
human oul. It moves o
a
rhythm
f ts
own;
and the
mechanical
things augh
down he
poor
human.
.
The
human orso f
this ime
is
in
the music f
Schoenberg.
e is
the
thing
without
rms,
without
legs,
ithout
rgans
f
ommunication,
ithout
phallus.
e sthe
helpless,
uivering
ulp;
lindly
tirring,
roping,
tretching.
n
lmost
immovable
eight
eemso ie
upon
is
oice.
ndwhent
peaks,
t
seems o tear tselfhroughhrouds;ocome outas agony, s hysteria
even.
In
addition to
conveying
tortured
hysicality,
osenfeld's
mag-
inative
interpretation
ocuses
on the
psychic,
tightening
he
linkages
made between
Pierrot
nd mental
illness,
an
association
evoked
by
both
the
extreme
nguish
he
depicts
and his
heated,
impressionistic
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682 TheMusical
uarterly
prose tyle.
ierrot
eceived
ore
sychological
ttentionhan
ny
other ork erformednNewYork uringhe1920s. riticsften
described
t
n
termsf
derangement
nd
nsanity.
n
fact,
ome
reviewers
uestioned
utright
oth
choenberg's
ndGiraud's
anity.
Gilman
laimed
hat
he
omposer
sed he
macabrehemes
n
the
text s a
pretext
or he
release
f
various
sychoses
fhis
own,
nd
Weil
calledGiraud's
oetry
the
half-mad
roduct
f
sickly
rain.
The
Evening
ournal
eviewerontended
hat
ny
istener
ympathetic
to
the
work ould
ave o
be
mentally
nbalanced:
[T]he
mpression
thatPierrot]ade n this isteneras hat e was carcelyufficiently
deranged
o
penetrate
ore han tsmore
uperficial
ysteries.
na
1921 rticle
n
Schoenberg's
usic,
rank
attersonidnot
focus
n
the
anity
f
pecific
ndividualsut atherhe ntire
world.
ierrot,
along
with ther f he
omposer's
orksnd
modernistrts
n
gen-
eral,
ed
him
o
pose
ome nanswerable
uestions:
Is
the
world
going
mad?Has ournormalmental
evelopment
eased,
nd rewe
destinedo become universef diots nd
mbeciles,
eurotics,
nd
hysterics? 42
While resent-dayriticsolongerismisschoenberg,iraud,
or
theworld
s
insane,
he
onnectionetween ierrotndmental
instability
as
become
commonplace
n
current
nderstandings
f
the
work,
s it s situated
n
turn-of-the
entury
ienna,
ome
f
Freud nd
Expressionist
rtists.he association
ith
reud
ppears
n
an indirect
orm
n
the1920s
New
York
eception.
he
evocation
f
Freud
n
these eviewseveals
he
widespreadurrency
hat is deas
had chieved
n
NewYork
uring
he
1920s.43
his
nfluence
argely
dates ack oFreud's 909 ripo theUnited tates, uringhich e
lectured
t Clark
University.
fterhat
isit,
is deas
uickly
ene-
trated merican
ociety,waying
ot
only
hemedical
ommunity
ut
also ntellectual
ircles
nd
popular
ulture.
he
Greenwich
illage
radicals,
group
f
ntellectuals,rtists,
nd
political
evolutionaries
loosely
anded
ogetheruring
he
years
efore orldWar
,
were
among
hefirsto
embracereud.
hey
nlisted is
heories,
articu-
larly
hat
f
repression,
o battle
puritanism,
hat
s,
the utdated
morality
ndconventions
dvocated
y
Victorian
ulture.
n
the
1920s, reud'siews,r,moreccurately,atered-downersionsf
his
deas,
ermeated
merican
opular
ulture.
o
extensive as
he
fascination
ith
sychoanalysis
hat he
ears,
Roebuck
atalogue
offered
uchFreudian-influencedooks
s Ten Thousand reamsnter-
preted
nd
Sex
Problems
olved.
As
the historian
William
Leuchtenburg
has
aptly
oted,
[L]ike
he
automobile,
reudwas
brought
ithin
reachof
everyone. 44
hat the
public
reached orwas new moral
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NewYork
eceptionf
Pierrot
unaire
683
directions,
pecifically
enetso
replace
r
augment
hose
fthe
wan-
ing
Christian
hurch.
ften,
owever,
his
earch
merely
nvolved
distorting
reudianheoryo sanctionexual
ermissiveness
ndother
indiscretions.45
One of hemost isible
igns
fFreud'snfluencen
American
society
as he
prinkling
f
psychoanalytic
argon
n
popular
is-
course.
his
erminology
lsodusts hereviewsf
Pierrot,
n
which
such eferenceso
psychoanalysis
nd
mental
nstability
s
subcon-
scious,
paranoiac,
deranged,
neurotic,
psychoses,
insane,
hysteric,
nd
hyper-eroticppear requently.
ot
surprisingly,
Rosenfeld'seview as hemosttronglyffinedith reudianheory.
During
he
prewar
ears,
he ritic
layed prominent
ole
n
radical
intellectual
nd rtistic
ircles,
otablyontributing
o the even
rts,
a
leading ublication
f
thatmilieu.With
everal f ts
key
writers,
namely
WaldoFrank
nd
Randolph
ourne,
rawing
pon
reud,
hat
journal layed
significant
ole
n
the
disseminationfhis
deas.
Of
note
reAlfred
ooth
Kuttner's
ssays
n
the
reative
rocess,
hich
discuss
he
ignificance
f he
rtist's
nconscious
nd
the
nspiration
releasedyneurosis.46osenfeld'sarticipationnthe even rts nd
his
nterest
n
new
ntellectualnd esthetic
evelopments
ndoubt-
edly
amiliarized
im
with reud's
heoriesnd
encouraged
im,
n
a
less
ystematic
ay
han
Kuttner,
o
explore
he
psychoanalytic
aspects
f
rtistic
reation.47
Such n
approach
merges
n
Rosenfeld'seview
fPierrot.
s
seen
n
the
xcerptresented
bove,
e
gesturesndirectly
oward
Freud,
voking
n
a
general ay
wo
key
sychoanalytic
oncepts:
hysteria
ndcastration.he directink
o
Freud,
hough,
s the
earlier-quotedhrasesmotheredesire, hich sRosenfeld'soetic
variantf heFreudian
atchwords
repressed
r
suppressed
desires. o
widely
sedwere hese
hrases
nd
the
governing
on-
cept
f
repression
hat he
writers
usan
Glaspell
nd
George
ram
Cook
employed
hem
n
their
ne-act
omedy
uppressed
esires
poof-
ing
heGreenwich
illage
ntellectuals.
osenfeld's
eview,
lthough
not omical
n
tone,
ould
ave
provided
aterialor hat
lay.
he
critic hematicizes
epression
n
various
ays
hroughout
he
review,
emphasizing,s Kuttneridwith he nonymousrtist,herelation-
ship
etween ierrotnd
Schoenberg's
eep
ubconscious
ool.
Rosen-
feld
hears
his
pool bubbling
p,
or
attempting
o do
so,
in
boththe
composer
nd the work. or
nstance,
choenberg,
nhis
opinion,
suffersrom he
repression
f sensual
mpulses:
The refined
urning
sensuousnessf
Wagner,
f
Debussy,
nd ofScriabine
eems
odged
n
[Schoenberg];earing
t his flesh
or
gress.
ike that
uppressed
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684
TheMusical
uarterly
carnality,
muted
anguish
tirs
n
Pierrot:The
tones
refull
f
anguish;f nguishlmostuffocated;ut rummingndroaring
underneathheblanketf
ilence.
lthough
hat
nguish
ails
o
rip
through
he
ppressive
lanket, osenfeld,
roviding
briefmoment
ofrelief
rom
is
repression
otif,
laims hat
smothered
esire,
one
related
o
the
ppressiveness
f
mechanization,
anages
o break
loose
n
Pierrot.
Pierrot
as ssociatedot
only
with
reudian
sychoanalysis
nd
general
ental
nstability,
ut
lso
with
ecadence
ndthe
moral
poverty
hat erm
onnotes.
earing
ccusationsf
decadence,
he
reviewsf heworkoined hevigorousebatever alues hat
engaged
merican
ociety
uring
he1920s.
his
ulturaliscords
today
erhaps
ost
losely
dentified
ith
uch
pposing
ovements
as
the
Prohibition
ampaign
f he irelessntivice
ocietiesndthe
new
youth
ulture,
ith ts
female
dol,
he
flapper.48
he
general
conflictetweenraditionnd
change
n
which
hesemovements
participated
lso
raged
round he rts.
t
should
e noted hat he
former
osition
as
partlypheld
y
he
genteel
radition,hich,
s
mentionedbove, romotedhe rts s a moral ealmnddemanded
that hosewho
pursued
hem,
ithers
creatorsras
recipients,
ave
a virtuous
haracter.uchviewswere
widely
eld
n
American
usi-
cal
life,
s
seen
n
the
followingpinions
f wo
eople
who
ccupied
very
ifferent
ositions
n
thatworld.Mrs.
W.
A.
Harper,
n amateur
musiciannd
upporter
f
performance
rganizations,
elievedhat
music
onveyed
truth
nd
goodness,
nd
the
onductorrank am-
rosch ontended
hat thenobler he
rt,
henoblerhould
e
the
interpreter.
49
During
he
1920s,
he
relationship
etweenrt nd
morality,
among
ther
ssues,
ecame
art
f
highlyublic ispute
n
ntellec-
tual
ircles,
itting
heNew
Humanists,
group
f onservativeca-
demics
nd rtistsed
by rving
abbitt
nd
Paul
Elmer
Moore,
gainst
various
rtistsnd
criticslliedwithmodernistrends.50he
former
championed
moral
onception
f
rt,
which
n
their
iscussions
most ften
meant
iterature,
nd
tressedhe
vital ole f
he
values
upheld
y
Victorianism.51
n
addition,
hey
xcoriatedhemodernists
forbandoninguch alues. hat ensure asnotwhollyallacious,
for
hemodernists
id
reject
raditional
alues;
owever,
hey
lso
searchedor
ew nes o
replace
hem. s thewriter alcolm
owley
described,
is
young eneration
elonged
to a
period
f transition
from alues
lready
ixed o values hathad
to be created. 52Walter
Lippmann's
Preface
o Morals
1929)
marked n
importanttep
n
that
reation.He realized he need for
new moral
ystem,
ne
that,
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Pierrot
unaire
685
unlike he
Victorian
odel,
would
e
based n
necessity,
ommon
sense, nd,mostmportantly,xperience. 53
It
is the
voices f
moral
raditionather
han
hose f
hange
that
whisperhrough
he
reception
fPierrot.n
attacking
he
work,
several
ritics
ropagated
he
inkage
f
modernism
ith
mmorality,
or,
s
they
alled
t,
decadence. he
term
decadence
efies
oncise
definitionr
specific
pplication
o a
cultural
eriod.
tretched
n
a
variety
f
directions,
t
hasbecome
polysemous
hrase,
oid f
ny
authentic
eaning.54
owever,n her
tudyf
fin-de-siacle
ulture,
Elaine
howalter
solatesne
broad
sage
f he
erm:
[I]t
was he
pejorativeabel ppliedy hebourgeoisieoeverythinghat eemed
unnatural,
rtificial,
nd
perverse,
rom rt
Nouveau o
homosexual-
ity. 55
rawing
pon
his
sage,
ritics
f
Pierrot
randished
he
word
decadence
o
disparage
he
work;
owever,
onsistent
ith
he
vagueness
f he
erm,
t s
unclear
hat
hey
pecifically
iewed s
decadent.
ather
han
ingling
ut
particular
eature,
hey
ast
broad
spersions
n
both he
moral oundness
fthe
piece
nd
Schoen-
berg's
haracter.56
he
Herald
eviewer
1923)
claimed
hat ierrot
verg[ed]ndecadence, hileWarrentated hat he ext ossessed
a decadent
entiment.
he
Evening
elegram
ritic
1923)
wasmore
condemnatory,
abeling
oth
choenberg
ndthe
moods
n
his
work
diabolical,
close
ompanionhrase
f
decadence.57
ownes
dwelled
articularly
n the ssue
f
morality.
e
called
choenberg
a
highly
ifted
ecadent
hohad
produced
mawkish
iece.
More-
over,
e
regarded
ierrot
s
fundamentally
nhealthy,
ephitic,
nd
in
deplorable
eed ffresh
ir,
ualities
hat
ontrast
ith
full-
blooded,ital ind f rt.
Downes's
iagnosis
f
ll
health
eveals
ow
losely
metaphors
f
deterioration
irculated
round ierrot.
s
described
y
many
ritics,
the
work estered
n
the
oncert
all. t
at once
conveyed
oral
lip-
page, hysicalecay,
ndthe
rosion
f
anity.
hese
disintegrations
served
s
symptoms
f
decadence,
hich,
n
turn,
as
ymptomatic
f
a
larger
ultural
ecay.
As
John
.
Reed
points
ut
n
his
tudy
f
decadence
n
nineteenth-
nd
twentieth-century
rts,
hat
ague
erm
connoted
ultural
egeneration.58
lthough
eviewers
fPierrot
id
not pecificallyelate hework o a broadulturalecay,heireneral
accusations
fdecadence
ndtheir
ndulgence
n
metaphors
f
degen-
eration eveal
how
they
aw
Schoenberg'siece
as
part
f the
deterio-
rating
world
utside f
the
concert
all,
especially
he
weakening
f
such
foundationsf
society
s
health,
mental
tability,
nd
morality.
Critics
lso
pushed
he
debate
ver
Pierrot
nto
thesocial
realm
by
connecting
he
workwith
adical
olitical
deologies,
articularly
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686 The
Musical
uarterly
anarchism.
his
inkage
tems
rom
he
high
rofile
f
narchism
nd
othereftistoliticalmovementsnNewYork eforend fterhe
war.
Key
igures
nd
organizations
n
these
ctivities
ncluded
ohn
Reed,
Emma
Goldman,
he
ndustrial
orkers
f he
World
IWW),
andthe
magazine
he
Masses.59
hat
istinguishes
he
prewar
ove-
ments
romhe
hose
f he
1920s s
the
lose
ollaboration
etween
artistsnd
political
adicals,
bond
hat
roke nder
he
weight
f
the
disillusionment
roducedy
he
onflict.60
his
arlier
oopera-
tive
pirit
an be seen
n
the
wo
roups'
nvolvement
n
both
he
Armoryhow ndthePatersontrikeageanttMadisonquare
Garden
f1913.
Many
f he
ame
igures
ho
publicly
upported
modern
rt,
notably
abel
Dodge,
Reed,
nd
Lippmann,
lso
helped
to
organize
he
pageant
o benefit
triking
ill
workers
n
Paterson.61
These
ulturalebels
elievedhat
he
rts nd
radicalism
hared
liberatingpirit
nd
that ach
had
an
important
ole
n
brushingway
conventions
nd
fostering
ew
personal
reedoms.s
Margaret
nder-
son,
ditor
f heLittle
eview,
oncisely
tated,
[A]narchism
nd
rt
are
n
the
world
or he
ame
easons. 62
Anderson'squation,lthougheconfiguredrom erpersonal
radical
ision,
layed prominent
ole
n
the
reception
f
modernist
styles
n
New
York
uring
he
period
915-29,
s
both
upporters
nd
opponents
f
hose dioms
inked
conoclastic
ompositional
evelop-
ments ith
he
goals
nd
policies
f
eftist
olitical
movements.he
former
iewedmusic
nd
politics
s
surging
long
n
emancipatory
wave hat
would rush he
bulwarkf
radition,
hereashe
atter
believed
hatmodernist
nnovationsnd
radical
olitics
ropelled
he
same isruptivendthreateningorces.63his ntimodernistiew,
which
ominated
hereviews
f
Pierrot,
as
uccinctly
xpressed
y
the ritic
nd
composerenry
olden
Huss
n
a
1917
ssay
hat
attacked
ot
Schoenberg's
elodramautnew
music
n
general:
It
s
withoutoubt rue
hat he
restlessness,
he
avage,
eckless,
narchis-
tic
pirit
hich
as
manifestedtself
n
politics
nd
ulminated
n
the
presentigantic
arhas
also
mightily
ffecteduch
delicate,
ensi-
tive
rt s
Music. 64
Huss's
olitical arallelppears
t the
utset f heNew
York
reception
fPierrot.nhisreviewf 1912Berlin
erformance
f he
work,
uneker
alled
choenberg
n anarchist
ndwent
o far
s to
compare
im
o Max
Stirner,
German
hilosopher
ho
dvocated
individualism
ndthe
breaking
ree
rom hat
he viewed
o
be the
irrationalaws
of
society.
Although
he
1923 and 1925
reviewsmade
no
such
pecific
ssociations,
hey
einforced
he
political
nalogy,
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New
York
eceptionf
Pierrot
unaire
687
labeling
hework
radical,
anarchistic,
nd
revolutionary.
s
seen nHuneker'sndHuss's omments,hese hargedpithetsot
only
eferredo the
disintegration
f
ompositional
onventions
ut
also
lluded
o a
larger
ocial
nrest,
turmoil
pitomized
ypolitical
movements
ike
narchism.
Although
hedebate ver he1923 nd
1925
performances
involved
he ame ssues nddrew imilarultural
onnections,
he
response
o
the atter
eveals
greater
ppreciation
f he
work,
ar-
ticularly
n
the reas fharmonic
anguage
nd
expression.
he invec-
tive
hat
haracterized
any
f he
riginal
eviews as
mostly
bsent
inthose f he econd oncert.his
hange
ntonewas
argely
ue
to the ransition
ithinhe
riticalanks
uring
he
ntervening
wo
years.Many
f he everest
pponents
fmodern
usic,
amely
he
Old Guard
ritics,
adeither ied rretired.
urprisingly,
enderson,
the
nly
ctive
member
f he
Old
Guard,
raised
he
work,
alling
it
tremendouslynteresting.
ierrot,
owever,
till
ad everaldver-
saries. eonard
iebling
alled t
a
phantasmagoria
f
blarings,
shriekings,owlings,
runtings,
ear-bombs
n
tone,
musical
miasmas
andvocal ndorchestraloison ases. ther issentersncluded
NewmanndWarren.
The
work lso eft
many
ritics
umbfoundedndunable
o
formulateclear
pinion.
oth andbornnd
Thompson,
wo
er-
plexed
ritics
n
1923,
till
ound he
work
baffling
nd
puzzling,
respectively.
he latter
egarded
ierrots a
riddle
ot
o
be solved
in
a
day, year,
r a
decade.
wo
of
he
trongest
upporters
ere
Gilman
ndthe
unsigned
usical ourier
eviewer,
ho
laimed
hat
theperfectionf his core efiesriticism.' 65
In
additiono the
passing
f he ritical
uard,
his
wo-year
period
marked
significant
ncrease
n
the
performance
fmodern
music,
trend
ue
argely
o the ctivities
f he
ompeting
ew
music ocieties.
oreover,
everal f he
prominent
erformingrga-
nizations,
ncluding
ymphonic
ndchamber
nsembles,
egan
o
program
oremodern
usic. he
exposure
o a wider
ariety
f on-
temporary
tyles
obbed ierrotf ts
eputation
s
the
pitome
f
modernity.
ownes,
or
nstance,
oncluded,
To us
this
ppears
s
musicfyesterday,elongingo a periodndpose haracteristicf
the
post-romantics
ndof
nflated,
gotistical
endencieshich re
happily alling
way.
His attitude
eflectshe
postwar
ntipathy
toward
omanticism,
n
aversion
articularly
anifestedn
the
clarity
and restraintf
neoclassical
tyles,
hichDownes
frequently
is-
cussed.66
n
fact,
his
wo-year
nterveningeriod
witnessedn
influx
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688
The
Musical
uarterly
ofneoclassical
orks,
any
f
which
eceivederious
riticaltten-
tion, articularlytravinsky'symphoniesfWindnstruments,ctet,
andConcerto or iano ndWinds.
This ncreased
amiliarity
ith
modern
tyles
artly
roded
udi-
ence versiono
new
developments
n
musical
anguage.
significant
difference
etweenhe
receptions
f
he
1923 nd 1925 oncertss
the
ttention
iven
o
Schoenberg's
reak ith
onvention. hereas
many
ritics
f
he arlier
erformance
ecriedhe
omposer's
anar-
chism,
hose
f he
1925
oncertoncentratedn the ffectather
than henaturef hemusicalanguage.o manyeviewers,isso-
nancewasnot
ven n
issue,
et lone source f larm.
ilman's
comments
n
his
econd
earing
f
he
piece
estify
o this
ccep-
tance:
Yet
o
rapidly
oesmusic
ge
andmellowhat he
cerbity
which nce eemed
n essentialrait f
he
tyle
f Pierrotunaire'
wasdifficult
o detect
n
our
hearing
f
he
workast
night.
r
per-
haps
t s
merely
hat he
nfinitelydjustable
uman ar
has,
n
our
case t
least,
made
ts
peace
with hismusic.
Coupled
with
he
cceptance
f
Schoenberg's
tyle
as
growing
skepticismver he estheticotentialfhismusicalanguage.
Thompson,
enderson,
ndDownes
elievedhat
he
omposer
ad
reachedn
impasse
n
Pierrot
ith
is
rejection
f
raditionalonal
andmelodic
ractices.
enderson
laimed,
No
great
rt an be
built
upon
his ndeterminate
oundation
28
Feb.
1925).
Thompson
added
hat he
mastery
f
he
work
put
choenberg
ndhisfollow-
ers
n
a cul-de-sac
atherhan
. .
open[ing]
ny
new
dominionsor
the onal rt.
While 925 eviewersay ave uestionedheviabilityf
Schoenberg's
usic,
hey
enerally
pproved
f
he ntense
xpressive-
ness f
Pierrot.ather han
eproaching
im
or
xceeding
he
proper
bounds f
elf-expression,
s
was
done
n
1923,
many
ritics
raised
his
maginative
etting.
ven
Downes,
n admitted
etractorf
he
composer,
ound
he
work o
be
Schoenberg
t
hisbest-at
his
most
precise
nd
expressive,
dding
hat
it s
mpossible
o
magine
he
music
omposed
n
any
ther
ay.
Gilman
laimed
hat he
vividness
of
he
ompositionrovedust
s
striking
s in the
premiererfor-mance:Yet ne
mpression
emainedor sunchanged:hat f he
mordant
ower
f
his
trange
eb
f
ones,
ts
xtraordinary
xpres-
siveness,
ts wift
onformity
o
theutterancef score f
different
moods.
He also
disputed
he viewthat he
subject
matter fthe text
was not
worthy
f
musical
etting
y
pointing
ut
thatbothSchoen-
berg
nd
Shakespeare
xplored
areas
f the human
onsciousness
remote rom
he nfluencefsweetness
nd
light.
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New
York
eceptionf
Pierrotunaire 689
In
addition
o
being
neof hemost candalous orksf he
1920snNewYork, ierrotasalsoproveno beone of hemost
durable,
or thasbeen
reprised
here ften.
econfirming
ts nitial
goal
o
familiarize
udiencesurtherith he
hallengingiece,
he
League
f
Composers
ffered
he hird ewYork
erformance
n
16
April
933.This
taged
ersion
y
Robert dmond
ones
eatured
Stokowskind
Mina
Hager.
even
years
ater,
choenberg
ulfilledis
desire o
present
ierrot
n
the
ity.
ponsored
y
heNewFriends
f
Music,
e ledErika
tiedry-Wagner
n
a concert
t TownHall
on
17
November
940.
Thereceptionf hesewo erformanceseveals ewpermuta-
tions
n
the
general
musical
xpectations,
s audiences
erceived
ier-
rot
uite
ifferently
han
hey
id
n 1923
nd 1925.
Rather han
incitingtrong
ebuker
praise,
s
it
did
during
he
1920s,
he
mo-
tionality
f hework
asnow
viewed s
cool
andeven
rivial. or
instance,
ownes,
n
admirer
f
he
ntensity
f
he
core
n
1925,
labeled
ierrot
tepid
nd
anemic
n
1933.67
ilman
ikewise
viewed hework
s
sterile nd artificial. 68
fter
he
1940
perfor-
mance, rancis erkinsnterpretedhe motionalontentf hework
in
a
different
ight,
rguing
hat
t
was oorefined
or
ontemporary
audiences:
The
present-dayeriod
s not
onducive
o the
ubtiliza-
tion f motion
hich
ervades
he
ext
ndthe
remarkablecore.
He
added
hat
the motional
imits
f he
music
ere rather
narrow
ompared
o those
f
the
ext.69
The
response
o the1933 nd
1940
oncertslso ncluded
dispute
ver he
modernity
f
Pierrot,
n issue
nitially
aised,
utnot
fullyxplored,n1925.Whereashe nnovative usicalanguagend
expressiveness
ere hemost
ontestedssues
uring
he
1920s,
ritics
nowfocusedn
evaluating
he
imelinessf he
work. eviewsf he
composition
re
argely
ivided etween
hose
onsidering
t a
histori-
cal
piece epresenting
he
pirit
f
past
ime nd
those
egarding
t
as a modern ork ommunicative
o
a
contemporary
udience.
For
many
eviewers,
he ura f
modernity
round ierrotad
completely
issolved.he musical
anguage
o
longer
roved
ovel,
andthework asviewed s
having
ittle
ontemporary
elevance.
Gilman,ornstance,laimed hat twas horriblyld-fashioned
andhad
aged itifully. 70
erkins
awPierrot
s music f he
past,
and recommendedhat t
be
reprisedccasionally only
s
a
period
piece. 71
ikethose wo
critics,
ownes
originally
iewed he work s
dated.
n
his
1933
review,
e
calledthe
composition
a fiftiethcho
of
nineteenth-century
erman
omanticism;owever,
choenberg's
performance
f
Pierrot,
hich
he claimed
revealed
the
work's]
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690 The
Musical
uarterly
secret,
hanged
is
opinion.
ather
han
ismissing
he
melodrama
as a historicalddity,e nowpraisedts provocativeodernity.
Pierrot,
ccording
o
Downes,
ada
genuineness
nd
presentalidity
for
ontemporary
udiences.72
he
criticnd
composer
. Walter
Kramer
greed
ith
ownes's
ater
osition,laiming
hat hework
was s
modern
s at the ime f tsNew
York
remiere.73
his
gen-
eral ritical
ispute
ver he imelessness
fPierrotnd
Downes's acil-
lation eveal ow
harply
iews
f he
omposition
urnedround
perceptions
f
ts
modernity.
Thehistorical/contemporaryichotomylso argelynformshe
present-dayeception
fPierrot.he
contemporaryreoccupation
ith
historical
eriodization
nd esthetic
ategorization
as
provided
n
understanding
f hework s an
example
fmodernism
nd
Expres-
sionism. iven hese
oncerns,ierrot,
o
many oncertgoers,ymbol-
izes he
Zeitgeist
ffin-de-siecleienna.Recent
erformances
f
he
piece,
most
otably
uring
he Vienna 900 oncert
eries t the
MuseumfModern
rt
7
Sept.
1986),
have
presented
he
work
n
such context.
his
ssigned
istoricalole lso nfluencesudience
perception.or xample,istenerseutralizehe ffectf he motion-
ality
ndmacabre
hemes
y
primarily
iewing
hese
ualities
s
repre-
sentativef
Expressionist
rt nsteadf
ppreciating
heir
eparate
aesthetic
erit.
Despite
ts
historical
ssociations,
ierrottill ssertstself
n
present-dayonceptions
fmusical
modernity.
t is
regarded
s a semi-
nal
work f
he wentieth
entury,
view eiterated
n music
history)
survey
oursesnd
ustained
y
oncert
rogramming.
he 1991
Tan-
glewoodestivalfContemporaryusic ffirmedhis ole yhigh-
lighting
ierrot
n
that eason's
pening
oncert. he workmaintains
its
present-day
elevance
argely
ecause f
ts
ignificance
n
the
development
f
modernist
usical
anguagesuring
his
entury.
Schoenberg's
ejection
f
onality
ascreated
troublingegacy.
Rather han
eading
oward
new
generalyntax
r
communal
tyle,
this
reak
nd
the
general
rosion f
common-practice
ra
onven-
tions ave
produced
stylistic
luralism
oid f
ny
musicalonsen-
sus.Pierrotesonates
ithin
resent-dayeneral
usical
xpectationsbecauset
represents
oth he acrificesade ndthebenefits
ained
fromtshard-won
estheticreedoms.
In
this
espect,
mile auer's
923review
s
prophetic.
n
it he
concluded,
[P]erhaps
Pierrot]
s
decadent,
erhaps
t is
not;
but
f
one can listenwithout
he
prejudices
f the
past,
one
may
hearthe
menace f
the future
ith
ll
its
dangers
ndalso all
its
triumphs.
Besides
her
oracular
tatement, auer,
byevoking
ast
nd
future,
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NewYork
eceptionf
Pierrot
unaire 691
alludes o the
hronologicalaradox
f
Pierrot,
work hat
rips
he
ever-shiftingomentfthemodernndbeyondhat ointsothe
future
romised
y
hat
modernity,
et
ver he
ourse f
decades
as
been tomized
nto he
ntoxicating
ancientcent rom
abled
imes
ofwhich ts
protagonist
reams.74
Appendix
1923
Reviews
f
Pierrotunaire
Newspapers
Aldrich,
ichard.Music. NewYork
imes,
Feb.
1923,
.
18.
-
.
Some
Judgements
n New
Music.
NewYork
imes,
1
Feb.
1923,
ec.
7,
p.
5.
Coates,
Archie. Music.
New
York
World,
Feb.
1923,
.
9.
Composers'
uild
GivesConcert
fModern
ovelties.
ewYork
Herald,
Feb.
1923,
p.
7.
Composers'
uildOffersew
Music.
NewYork
vening
elegram,
Feb.
1923,
.
13.
Finck,
enry
.
Dreary
usical
omfooleries.
ewYork
vening
Post, Feb.1923, . 7.
International
omposers
nduct
Pierrot
unaire.'
NewYork
un,
Feb.
1923,
.
10.
Krehbiel,
.
E.
Symphony
ives
Concert
Marred
y
Burlesque.
NewYork
ribune,
Feb.
1923,
.
4.
.
The Curse f
Affectationnd
Modernismn
Music.
New
York ribune,1Feb.1923, ec.5,p. 5.
'Moonstruck
ierrot,'
n
Premiere.
ewYork
vening
ournal,
Feb.
1923,
.
14.
Sandborn,
itts.
Loony
eete'
nd
Sublunary
atters
ome
to the
Klaw.
TheGlobe
nd
Commercial
dvertiser,
Feb.
1923,
.
7.
8/18/2019 Schoenberg and Pierrot Lunaire
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692 TheMusical
uarterly
Spaeth,
atherine.
Concertnd
Opera:
choenberg'sovelty.
ew
Yorkveningail, Feb.1923, . 10.
Tyron,
Winthorp
.
'Pierrot
unaire'nd
OtherMusic
f heNew
YorkWeek.
Christian
cience
onitor,
Feb.
1923,
.
16.
Warren,
rank
.
In
the
Realm fMusic.
NewYork
vening
orld,
5
Feb.
1923,
.
21.
Journals
Bauer,
mile
rancis.New
York
ebates
Merits
f
Pierrotu-
naire.' Musical eader
5
(8
Feb.
1923),
126.
International
omposers'
uild. Musical ourier
6
(8
Feb.
1923),
33.
Peyser,
erbert
.
Schoenberg's
Pierrot
unaire.'
The
Musical
Observer2 (Mar. 1923), 3-54.
Rosenfeld,
aul. Musical hronicle. he
Dial
74
(Apr.
1923),
26-
32.
Thompson,
scar. 'Pierrot
unaire' uzzlest First
merican
ear-
ing.
Musical merica
7
(10
Feb.
1923),
.
1925
Reviews
f
Pierrot unaire
Newspapers
Downes,
lin.
League
f
Composers.
ew
York
imes,
3
Feb.
1925,
.
25.
Gilman,
awrence.
The
League
f
Composers
ranches ut. New
York erald-Tribune,3Feb.1925, . 11.
Henderson,
.
J. Gloomy
ne
Act
Opera
Heard. NewYork
un,
23 Feb.
1925,
.
6.
-- .
Geniuss Needed orNewMusic. NewYork
un,
8
Feb.
1925,
p.
4.
8/18/2019 Schoenberg and Pierrot Lunaire
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NewYork
eception
f
Pierrot
unaire 693
Liebling,
eonard.
The
League
f
Composers.
ewYork
merican,
23 Feb.1925, . 12.
Newman,
rnest.
League
f
Composers'
oncert.
ewYork
vening
Post,
3
Feb.
1925,
.
15.
Sandborn,
itts. Seven
eagues
f
Composers.
ew
York
vening
Telegram,
3
Feb.
1925,
.
6.
Warren,
rank
.
Realm f
Music. NewYork
vening orld,
3
Feb.1925,
.
6.
Weil,
rving.
'Daniel
Jazz'
n Premiert
Concert. ewYork
vening
Journal,
3
Feb.
1925,
.
7.
Journals
League
f
Composers.
usical
ourier0
(5
Mar.
1925),
12.
Thompson,
scar. Modernist's
pera
nd
Daniel
Jazz'
ie
on
Pro-
gram
ith
Pierrotunaire.' Musical
merica
1
(28
Feb.
1925),
30.
Notes
For
their dviceon earlier ersions nd their
ncouragement,
would
ike to thank
Robert
Morgan,
llen
Rosand,
Janet
chmalfeldt,
udith
ick,
Craig
Wright,
nd
Leora
Zimmer.
1. Lawrence
Gilman,
The
League
of
Composers
ranches
ut,
New York
erald-
Tribune,
3
Feb.
1925,
p.
11.
2.
In his studies f
Pierrot,
onathan unsby
ncorporates
oth
press
eviews
f
and
academic
erspectives
n
the
work;
owever,
e
does not
provide
n overview
f
ts
reception:
unsby,
'Pierrot unaire' nd the
Resistance
o
Theory,
Musical imes
130
(1989):
732-36,
and
Schoenberg:
ierrot
unaire
Cambridge:
ambridge
niver-
sity
ress,
992),
2-6.
3.
The
reception
f
the
nitial
erformance
fThe
Rite
f
Spring
s
insightfully
nd
thoroughly
iscussed
n
Truman
ullard,
The First
erformancef
gor travinsky'sThe Rite
f
Spring,
Ph.D.
diss.,
Eastman chool of
Music,
1971).
4.
Arthur
M.
Abell, Berlin,
Musical ourier 5
(6
Nov.
1912): 5,
and Der Wan-
derer,
What s Arnold
choenberg?
usical
America
7
16
Nov.
1912):
21.
Both
reviews
re
reprinted
n
Dossier
e
Presse
e
Pierrot
unaire,
d.
Frangois
esure,
ol. 2
of Dossiers
e
Presse
Geneva: Minkoff,
985),
13-16.
5.
James
uneker,
Schoenberg,
usical
Anarchist,
Who
Has
Upset
Europe,
New
York
imes,
9
Jan.
1913,
sec.
5,
p.
9.
Reprinted
n a
shorter
ersion
n
Huneker,
8/18/2019 Schoenberg and Pierrot Lunaire
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694
TheMusical
uarterly
Ivory,
pes,
nd
Peacocks
1915;
eprint,
ewYork:
agamore
ress,
957),
0-65.
Thisversions ncludedn DossierePresse,8-21.
6.
James
uneker,
Music f
To-day
nd
To-morrow,
n
vory, pes,
nd
Peacocks,
104-20.
7.
The
First uturistn
Music,
urrent
pinion
4
Mar.1913):
08.
8.
H.
E.
Krehbiel,
Schoenberg's
Five-Pieces' Weird
ffort,
ew
York
ribune,
30
Nov.
1921,
.
18.
9.
Richard
ldrich,
The
Philadelphia
rchestra,
ew
York
imes,
0
Nov.
1921
p.
13.
10. Duringhis leven-yeareriod,ierrotasperformednseveraluropeanoun-
tries.
choenberg
mmediately
ollowedheBerlin
remiere
ith tour
hrough
er-
many,
ustria,
nd
Czechoslovakia.
is
Verein
dir
usikalische
Privatauffihrungen
offered
erformances
n
1921
nd
1922,
ncluding
tour f
Germany,
olland,
Czechoslovakia,
nd
Switzerland.
ichel alvocoressintroducedarisianudiences
to
excerpts
layed
y
Paule e
Lestang
nd
E.
Robertchmitzn
a 1912
ectureeries.
Milhaud
nd
Jean
Widner
resented
he irst
ompleteublic erformance
f hework
in France n
16
Jan.
922with
Milhaud
s
conductor
nd
Marya
reunds reciter.
For his
oncert,
he extwas etranslatednto renchromheGerman
ersion,
fter
attempts
o useGiraud's
riginaloetryroved
nsuccessful.
s a
sign
fAmerica's
growingrominencenthe nternationalusic orld, ewYork fferedierrotefore
Great
ritainnd
taly
id.The
first
nglisherformance
as
by
MilhaudndFreund
on
19
Nov.
1923.The
Corporazione
elleNuoveMusiche
ponsored
n Italian our
of
choenberg
nd
ssisting
rtistsn
1924.
Formore
n earlier
erformances
f
Pier-
rot,
ee
Dossiere
Presse,
47-56.
11.
For discussion
f he
history
nd
nfluence
f he
guild,
ee
R.
Allen
ott,
'NewMusic or ew
Ears': he nternational
omposers'
uild,
ournal
f
he
American
usicological
ociety
6
(1983):
266-86,
ndDavid
Metzer,
TheAscen-
dancy
f
MusicalModernism
n
New
York
ity,
915-29
Ph.D.
diss.,
aleUniver-
sity, 993), 72-232.
12. Edward
tein,
d.,
Arnold
choenberg:
etters,
rans. ithneWilkinsndErnst
Kaiser
London:
aber
nd
Faber,
964),
8-79.
13.
Schoenberg
oesn't
Want
His
Pierrotunaire'
layed,
ew
York
erald,
4
Jan.
923,
ec.
7,
p.
4.
14.
Pierrot
gain,
Musical ourier
6
(1
Mar.
1923):
3.
15.
Schoenberg
ndHis MoonMad
Pierrot,
usical
ourier
6
(1
Feb.
1923):
1.
16.
Engel's
ddress,
alled
Sch6nberg
unaire,
s ncluded
n
a later ollectionf
essays,iscordsingledNewYork: lfred. Knopf,931), 4-97.
17.
Claire
Reis,
Composers,
onductors,
nd
Critics
New
York: xford
niversity
Press,
955),
11-13.
18. Claire
eis,
nterview
y
Vivian
erlis,
an.
976-Jan.
977,
ale
Oral
History
Project
n American usic.
19. The
Appendix
ontains
list f
ited
eviews
or
oth he
1923
nd
1925
er-
formances.he
following
eferenceso
reviewsome rom
he
Appendix.
8/18/2019 Schoenberg and Pierrot Lunaire
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New
York
eception
f
Pierrot
unaire 695
20.
For
discussion
f he
areersnd esthetic
iews f he Old
Guard
ritics,
see Barbara ueser,TheCriticismfNewMusic nNewYork: 919-1929 Ph.D.
diss.,
ity
University
fNew
York,
975),
2-103;
Oscar
hompson,
An
American
School
f
Criticism:
he
Legacy
eft
y
W.
J.
Henderson,
ichard
ldrich,
nd
Their
olleagues
f
heOld
Guard,
usical
uarterly
3
(1937):
428-39;
nd
War-
ren
.
Smith,
Four
istinguished
merican
usic ritics: Centennial
ote,
Musical
merica
4,
no.
4
(1954):
6,
130,
134.
21.
Finck lso
ommented
hat
he udience
as mall nd
unappreciative.
n
a
letter
o the
Evening
ost,
eis efuted
is laims.
Finck,
What
Happened
t Futur-
istic
oncert,
ew
York
vening
ost,
7
Feb.
1923,
.
10.)
In his
response,
inck
dismissed
er
iew nd hen
dmonished
andbornor
raising
hework ven
hough
he referredothe
squeaks
ndgroans f he ccompaniment.andbornepliedhat
he
didnot
ntend
hat
escription
o
be
vieweds
negative
nd
repeated
hat
e
needed
nother
earing
o
develop
clearer
pinion
fPierrot
Finck,
Philharmonic
Plays
ew
ymphony,
ew
York
vening
ost,
3 Feb.
1923,
.
8).
22.
Aldrich
5
Feb.
1923)
nd
Spaeth
5
Feb.
1923).
23.
For
ontrasting
irst-hand
ccounts
f his
plit,
ee
Reis,
Composers,
onductors,
and
Critics,
3-15,
nd
Louise
arese,
arese,
Looking
lass
iary:
olume
,
1883-
1928
New
York:
W. W.
Norton, 972),
188-91.
24.
Hans
Robert
auss
oined he
phrase
horizonf
xpectations
o describehe
criteria
mployed
y
eaderso
udge
iterary
orks,
nd thas
been
ppropriated
n
a
very
eneral
ay
n this
tudy. auss,
Literary
istory
s
a
Challenge
o
Literary
Theory,
rans.
imothy
ahti,
n Toward
n Aesthetic
fReception,
ol. 2 of
Theory
and
Historyf
iterature
Minneapolis:
niversity
fMinnesota
ress,
982).
Origi-
nally Literaturgeschichte
ls
Provokation
er
iteraturwissenschaft,
n
Literaturge-
schichte
lsProvokation
Frankfurt
m
Main:
uhrkamp,
970).
25. Daniel
Joseph
ingal,
heWarWithin:ictoriano
Modernist
hought
n
the
South,
919-45
Chapel
Hill:
University
f
North arolina
ress,982),
nd
Towards
Definition
fAmerican
odernism,
merican
uarterly
9
(1987),
7-26.
Singal's
ssay
nd
others
n
this
ssue fAmerican
uarterly
edicated
o Ameri-
can
modernism
avebeen
eprinted
s
Modernist
ulture
n
America,
d. Daniel
Joseph
ingal
Belmont,
alif.:
Wadsworth,
991).
26. Peter
ay,
reud,
ews,
nd
Other
ermans:
astersndVictims
f
Modernist
Culture
New
York:
xford
niversity
ress, 978),
1-22. See also
Gay,
Art nd
Act:On Causes
n
History:
anet,
ropius,
ndMondrian
New
York:
arper
Rowe,
976).
27. ThisdiscussionfVictorianulturen Americas drawn rom anielWalker
Howe,
Americanictorianism
s a
Culture,
merican
uarterly
7
(1975):
507-32,
and
Singal,
Definitionf
American
odernism,
-11.
28. Walter
.
Houghton,
heVictorian
rame
f
Mind,
830-1870
New
Haven:
Yale
University
ress,
957),
145.
29.
Stanley
oben,
TheAssaultn Victorianism
n
theTwentieth
entury,
American
uarterly
7
(1975):604-25,
nd
Coben,
Rebellion
gainst
ictorianism:
8/18/2019 Schoenberg and Pierrot Lunaire
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696
The
Musical
uarterly
The
mpetusor
ultural
hange
n 1920s
America
New
York: xford
niversity
ress,
1991).
30. On
Omstein's
areernd
music,
eeVivian
erlis,
The
Futuristusic fLeo
Omstein,
otes
f
heMusic
ibrary
ssociation
1
(1974-75):
35-50,
nd
Metzer,
Ascendancy
fMusical
Modernism,
5-130.
31.
For discussion
f
Humperdinck's
nnovation,
eeEdward
.
Kravitt,
The
Joining
fWords nd
Music n
LateRomantic
elodrama,
usical
uarterly
2
(1976):
571-90.
The
place
f
Pierrot
n
the
melodrama
radition
s
describedn
Dunsby,
ierrot
unaire,
-6.
32.
Dunsbyrgues
hat the
upportingenericype
f
Pierrot
s
the
ong ycle;
Dunsby,
ierrotunaire,.
33.
Santayana
oined he erm
n his ddressTheGenteel radition
n
American
Philosophy,
iven
t the
University
f
California
t
Berkeley
n
25
Aug.
1911.This
original
ersion
s
presented
n
Douglas
Wilson, d.,
TheGenteelradition:ine
Essays yGeorge
antayanaCambridge:
arvard
niversity
ress,
967),
8-64.
Santayana
evisedhe
peech
n Winds
f
Doctrine:tudies
n
Contemporary
pinion
(New
York: harles cribner's
ons,
913),
186-215.
34.
For ifferent
nterpretations
f he
genteel
radition,
ee
F.
.
Carpenter,
The
Genteelradition: Reinterpretation,ew nglanduarterly5 Sept.1942):
427-43;
William an
O'Connor,
n
Age f
Criticism,
900-1950
Chicago: enry
Regnery,
952),
-18;
Howard umford
ones,
The
Genteel
radition,
n The
Age
of nergy:
arieties
f
American
xperience,
865-1915
New
York:
iking,
971),
216-58;
John
omisch,
Genteelndeavor:
mericanulturendPolitics
n
the
ilded
Age
Stanford:
tanford
niversity
ress,
971);
ndRobert
awidoff,
heGenteel
Tradition
nd acred
age:High
ulture
s.
Democracy
n
Adams,
ames,
nd
antayana
(Chapel
Hill
and
London:
niversity
fNorth arolina
ress,
991),
142-93.
35. On these
dealistic
erceptions
fmusic
n
nineteenth-century
merican usical
life,
ee
Joseph
.
Mussulman,
usicnthe ultured
eneration:Social
istoryfMusicn
America,
870-1900
Evanston,
ll.:Northwestern
niversity
ress, 971),
and
Michael
royles,
Music
f
he
ighest
lass :Elitism
nd
Populism
nAntebellum
Boston
New
Haven: ale
University
ress,
992).
36.
Walter
amrosch,
TheHuman eed
forMusic
n
Daily
ife,
tude
3
(Jan.
1915):
.
37.
Buying
eauty,
tude
3
(June
915):
09.
38.
Engel,
iscords
ingled,
7.
39. Rosenfeldisplayedis riticalreadthnPortfNewYork:ssaysnFourteen
American
oderns
New
York:
arcourt,race,
924).
40.
In thePierrot
eview,
he
inkage
f
travinsky's
usic ithmechanization
s
presented
s a
negative
uality,
hereas
n
other
iscussions
f he
omposer
t s
viewed
ositively.
ere,
Rosenfeld
rops
p
themechanistic
travinskygainst
he
tortured
orporeal
choenberg,
escribing
ow he
ormer
aptures
themechanical
rhythm
hat
houtsts
riumph
ver
he
microscopic
uman
ug.
On Rosenfeld's
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NewYork
eceptionf
Pierrot
unaire
697
linkages
fboth
travinsky's
nd
Omstein's
usic ith
mechanization,
ee
Hugh
M.
Potter,
alse
awn:
aul
Rosenfeld
nd
Art n
America,
916-1946
Ann
Arbor: ni-
versity
icrofilm,980),
9.
41.
These
pinions
re
xpressed
n R. H.
Wollenstein,
Modernism
t theBar f
Public
pinion,
usical
merica
3
(26
Feb.
1927):
.
42.
Frank
atterson,
Arnold
choenberg:
mpressions
f
Modernism,
usical ou-
rier
3
(7
July
921):
.
43.
Thisdiscussion
f he
eception
fFreud
n America
uring
he1910s nd1920s
draws
pon
. H.
Matthews,
TheAmericanizationf
igmund
reud:
daptations
f
Psychoanalysis
efore
917,
ournal
f
Americantudies
(1967):
39-62;
John
Chynowethurnham,TheNewPsychology:rom arcissismo SocialControl, n
Change
nd
Continuity
nTwentieth
entury
merica:he
1920s,
d.
John
raeman,
Robert
.
Bremner,
nd
David
Brody
Columbus:
hioState
University
ress,
1968),
51-98;
Nathan
.
Hale,
Jr.,
reudnd
he mericans:he
Beginningsf
Psy-
choanalysis
nthe nited
tates,
876-1917
New
York: xford
niversity
ress,
1971);
Arthurrank
Wertheim,
heNewYork
ittle
enaissance:
conoclasm,
odemrn-
ism,
nd
Nationalism
nAmerican
ulture,
908-1917
New
York:
ewYork niver-
sity
ress,
976),
9-74;
and
Duane
Vorhees,
Freud's
merica,
ournal
f
American
Culture
2
winter
989):
3-52.
44. William. Leuchtenburg,hePerilsfProsperity,d ed. (1958; eprint,hi-
cago:
University
f
Chicago
ress,
993),
166.
45.
On the buses
fFreudian
heoryuring
he
1920s,
ee
Ralph
on
Trecsckow
Napp,
Freudnd he
Roaring
wenties:
rom heGeneral o the
pecific,
n
Danc-
ing
ools nd
Weary
lues: heGreat
scape f
he
wenties,
d.
Lawrence
.
Broer
and
John
.
Walther
Bowling
reen,
h.:
Bowling
reen
niversity
ress,
990),
172-81.
46.
Alfred ooth
uttner,
The
Artist,
even rts
(Feb. 1917):
06-12,
nd
TheArtist
A
Communication),
even rts
(Mar.
1917):
49-52.
47.
In his
tudy
f
Rosenfeld,
ugh
otter
tates hat he ritic as amiliarith
principal
deas
f
Freud,
ung,
ndGestalt. e alsomentionshe
Freudian
ver-
tones
n
some
fRosenfeld's
eviews;otter,
alse
awn,
3.
Fifteen
ears
fter is
Pierrot
eview,
osenfeld
roten articlehat
oncentratesn
the
heoriesf
Freud
and
Jung:
Psychoanalysis
nd
God,
Nation,
0
Apr.
1938,
85-86.
48.
James
imberlake,
rohibitionnd he
rogressive
ovement,
900-1920
Cam-
bridge:
arvard
niversity
ress,
963),
nd
Paula .
Fass,
he
Damnednd
Beautiful:
Americanouth
n
the 920s
New
York: xford
niversity
ress,
977).
49. Mrs.W.A. Harper,Music: nExpressionfLife ndCharacter, usician1
(Aug.
1926):
26.
Frank
amrosch,
nstitute
f
Musical
rt,
905-1926
New
York:
Juilliard
chool f
Music,
936),
178.
50.
Thisdebate
ulminated
n
two ollectionsf
ssays:
orman
oerster,d.,
HumanismndAmerica:
ssays
nthe
utlook
f
Modem
ivilization
New
York:
arrar
&
Rinehart,
930),
ndC.
Hartley
rattan,d.,
The
Critique
f
Humanism:
Sym-
posium
New
York: rewer
nd
Warren,
930).
8/18/2019 Schoenberg and Pierrot Lunaire
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698 TheMusical
uarterly
51.
On theNew
Humanists,
eeDavid
J.
Hoeveler,
r.,
heNew
Humanism:
CritiquefModernmerica,900-1940Charlottesville:niversityress fVirginia,
1977).
t should e noted hat
heNew
Humanists
eparted
rom
he
enteel
radi-
tion
n
some
eyways, otably
n
their
enouncementf he etachmentf
rt
rom
lifewithinhat radition.
52.
Malcolm
owley,
xile's eturn:
Literarydyssey
f
he 920s
1934;
New
York:
intage,
956),
.
53.
Roderick
ash,
TheNervous eneration:merican
hought,
917-1930
Chi-
cago:
Rand
McNally,
970),
110.
54.
For discussionf he
nstability
f
he
erm,
eeRichard
ilman,
ecadence:
The
trangeife f
n
Epithet
New
York:
aber, traus,
nd
Giroux,
979).
55.
Elaine
howalter,
exual
narchy:
enderndCulture
t
the in e
Siecle
New
York:
iking,
990),
169.
56.
In
her
tudy
f he
eception
f
Pelleas
t
Me'lisande,
ann
assleriscussesow
criticslso
uestioned
he
moral
ualities
f
Debussy
nd
his
opera.
ee
Passler,
Pel-
leas
nd
Power: orces ehind he
Reception
f
Debussy's
pera,
9th
entury
usic
10
1987):
257-59.
57.
John
.
Reed,
Decadent
tyle
Athens:
hio
University
ress,
985),
.
58.
Reed,
Decadent
tyle,
.
59. For
tudies
f hese
movements,
ee
Christopher
asch,
heNewRadicalismn
America
1889-1963):
he ntellectual
s
a Social
ype
New
York: lfred
.
Knopf,
1965),
nd
Leslie
ishbein,
ebels
nBohemia:heRadicals
f
he
Masses,
911-1917
(Chapel
Hill:
University
fNorth arolina
ress,
982).
60. For
fuller
iscussion
f he
ffectf hewar n the ultural
ebels,
ee
Henry
F.
May,
he
End
f
American
nnocence:
Study
f
he
irst
ears
f
Our
OwnTime
(New
York: lfred
.
Knopf,
969),
61-98;
Wertheim,
heNewYork ittle enais-
sance,15-26; ndThomas ender, ewYorkntellect:Historyf ntellectualifen
NewYork
ity rom
750
o he
eginningsf
OurOwn
Time
New
York: lfred
.
Knopf,
987),
49-55.
61. Martin
reen,
ew
York 913:The
Armory
how nd he atersontrike
ageant
(New
York: harles
cribner's
ons,
1988).
62.
Margaret
.
Anderson,
Art nd
Radicalism,
ittle eview
(Mar.
1916):
.
63. See
Metzer,
Ascendancy
f
Musical
Modernism,
08-12.
64.
Henry
olden
uss,
The
Anarchiclement
n Some
Ultra-Modern
uturist
Music, rtWorld (May 917):139-41.
65. For
Gilman's
arlier
iews f
choenberg,articularly
he
First
tring
uartet
and he
Three iano
ieces,
p.
11,
ee
Gilman,
The rrubrical
choenberg
nd
His
Extraordinary
usic,
orth merican
eview
99
Mar.
1914):
52-57.
66. For
nstance,
ownes
poke
bout
eoclassicism
t a
League
f
Composers
lecture-recital
6
Apr.
1930).
n
addition,
e
frequently
iscussed
travinsky's
eo-
classical
orks
n
his
riticism.
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NewYork
eceptionf
Pierrot
unaire 699
67.
Olin
Downes,
Gala
Program
y
Composers,
ew
York
imes,
7
Apr.
1933,
p.16.
68.
Lawrence
ilman,
Music,
ewYork
erald-Tribune,
7
Apr.
1933,
.
13.
69. Francis .
Perkins,
New
riends
rogram
ed
by
choenberg,
ewYork
Herald-Tribune,
8
Nov.
1940,
.
15.
70.
Gilman,
Music,
3.
71.
Perkins,
New
riends
rogram,
5.
72.
Olin
Downes,
'Pierrot
unaire':
choenberg's
onception
f
His
Score
Brings
Out ts
True
Merit,
ewYork
imes,
4
Nov.
1940,
ec.
9,
p.
7.
73. A. Walter ramer,Composers'eague alaListncludes usicndFilm,
Musical
merica
3
(25
Apr.
1933):
13.
74.
This
ine,
O
alter uft us
Marchenzeit,
s
from
he ast
ong
f
Pierrot;
rans-
lation
y
Andreworter
n
Dunsby,
ierrot
unaire,
1.