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Pierrot lunaire op. 21. No. 1 Moondrunk, No. 2 Colombine, No. 3 The Dandy
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Catalog slip
| Title | Pierrot lunaire op. 21. No. 1 Moondrunk, No. 2 Colombine, No. 3 The Dandy |
| Playing time | 00:04:40 |
| Authors |
Schönberg, Arnold [Komponist/in]
[GND]
|
| Contributors |
Stiedry, Erika [Rezitator/in]
[GND]
Kolisch, Rudolf [Violine] [GND] Auber, Stefan [Violoncello] [GND] Steuermann, Eduard [Klavier] [GND] Posella, Leonard [Flöte] [GND] Bloch, Kalman [GND] Columbia [Label] |
| Place |
Kleinmachnow/Berlin, Villa Lepcke, Schönberg’s Wohnhaus/residence [Ortsbezug]
|
| Keywords | Musik ; E-Musik ; Unveröffentlichte Aufnahme |
|
20. Jahrhundert - 10er Jahre
|
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Language |
Englisch |
| Signature | Österreichische Mediathek, e11-00157_b01_k02 |
| Media type | Mp3-Audiodatei |
Villa Lepcke. Arnold Schönberg Center, CC BY-SA 3.0 AT
Information
Content
In late September 1911 Schönberg moved into the former studio apartment of the sculptor Ferdinand Lepcke in Berlin Zehlendorf. He lived there with his family until May 1913. On October 2, 1911 Schönberg wrote to Alban Berg from his new domicile that was located in the heart of an expansive natural landscape: “My dear friend, there are no words to describe the beauty of where I am living. There is even a huge park here!”
Arnold Schönberg’s “Pierrot lunaire” op. 21, a key work of musical modernism, was written in 1912 in Berlin Zehlendorf for the reciter Albertine Zehme. Sprechstimme and five performers were used in changing instrumentation, that is in varying combinations: the flautist also plays piccolo, the clarinetist also bass clarinet, and the violinist also viola; additionally, there is a pianist and a cellist. In solos, duos, trios, quartets, and quintets of varying constellations, the composer created a cosmos of sounding colors around the Sprechstimme.
Side One of the four-record set already shows the huge breadth displayed by Schönberg’s piece. While “Mondestrunken” (Moondrunk) focuses on the ensemble in polyphonic, textural scoring, in “Colombine” the singing voice is only accompanied by the violin and piano, with the exception of just a few bars. Rudolf Kolisch plays a kind of slow waltz, to which Eduard Steuermann adds flowery phrases reminiscent of traditional accompanying patterns, until in the middle of the piece the melody disintegrates into arabesque-like figures.
(Text: Arnold Schönberg Center)
Arnold Schönberg’s “Pierrot lunaire” op. 21, a key work of musical modernism, was written in 1912 in Berlin Zehlendorf for the reciter Albertine Zehme. Sprechstimme and five performers were used in changing instrumentation, that is in varying combinations: the flautist also plays piccolo, the clarinetist also bass clarinet, and the violinist also viola; additionally, there is a pianist and a cellist. In solos, duos, trios, quartets, and quintets of varying constellations, the composer created a cosmos of sounding colors around the Sprechstimme.
Side One of the four-record set already shows the huge breadth displayed by Schönberg’s piece. While “Mondestrunken” (Moondrunk) focuses on the ensemble in polyphonic, textural scoring, in “Colombine” the singing voice is only accompanied by the violin and piano, with the exception of just a few bars. Rudolf Kolisch plays a kind of slow waltz, to which Eduard Steuermann adds flowery phrases reminiscent of traditional accompanying patterns, until in the middle of the piece the melody disintegrates into arabesque-like figures.
(Text: Arnold Schönberg Center)
