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Pierrot lunaire op. 21. No. 7 The Sick Moon. No. 8 Night
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| Title | Pierrot lunaire op. 21. No. 7 The Sick Moon. No. 8 Night |
| Playing time | 00:04:35 |
| Authors |
Schönberg, Arnold [Komponist/in]
[GND]
|
| Contributors |
Schönberg, Arnold [Dirigent]
[GND]
Kolisch, Rudolf [Violine] [GND] Auber, Stefan [Violoncello] [GND] Steuermann, Eduard [Klavier] [GND] Posella, Leonard [Flöte] [GND] Bloch, Kalman [GND] Stiedry, Erika [Gesang] [GND] Columbia [Label] |
| Date |
1940.09.24 [Aufnahmedatum] |
| Place |
Los Angeles, Columbia Recording Studio [Ortsbezug]
|
| Keywords | Musik ; E-Musik ; Unveröffentlichte Aufnahme |
|
20. Jahrhundert - Nullerjahre
|
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Language |
Englisch |
| Signature | Österreichische Mediathek, e11-00159_b01_k02 |
| Media type | Mp3-Audiodatei |
Cover. Arnold Schönberg Center, CC BY-SA 3.0 AT
Information
Content
Arnold Schönberg’s “Pierrot lunaire” op. 21, a key work of musical modernism, was written in 1912 in Berlin for the reciter Albertine Zehme. At the time of its creation, the piece was a unique genre that brought together the characteristics of its ensemble. Sprechstimme and five performers were used in changing instrumentation, that is in varying combinations. In solos, duos, trios, quartets, and quintets of varying constellations, the composer created a cosmos of sounding colors around the Sprechstimme. The specific instrumentation of the texts and their poetic realms follows traditional models – the flute, for instance, is associated with the moon.
Arnold Schönberg’s recording of the work originated in September 1940 as the first and only commercial record project conducted by the composer. It is probable that the recording took place at Columbia Recording Studio in Los Angeles, which opened in 1938. The musicians involved in the project, including the violinist Rudolf Kolisch, pianist Eduard Steuermann and also the singer Erika Stiedry-Wagner, had profound knowledge of his works. One particular challenge for the reciter is balancing a powerful declamation and suitable realization of the pitch – especially when the vocal part communicates with the instruments. This can be clearly heard in “Der kranke Mond” (The Sick Moon) for Sprechstimme and solo flute, and also in “Nacht” (Night), which is written as a Passacaglia.
(Text: Arnold Schönberg Center)
Arnold Schönberg’s recording of the work originated in September 1940 as the first and only commercial record project conducted by the composer. It is probable that the recording took place at Columbia Recording Studio in Los Angeles, which opened in 1938. The musicians involved in the project, including the violinist Rudolf Kolisch, pianist Eduard Steuermann and also the singer Erika Stiedry-Wagner, had profound knowledge of his works. One particular challenge for the reciter is balancing a powerful declamation and suitable realization of the pitch – especially when the vocal part communicates with the instruments. This can be clearly heard in “Der kranke Mond” (The Sick Moon) for Sprechstimme and solo flute, and also in “Nacht” (Night), which is written as a Passacaglia.
(Text: Arnold Schönberg Center)
