Work: Pierrot Lunaire, Op. 21
Part I: No. 4. An Ethereal Washerwoman
Part I: No. 5. Chopin Waltz
Part I: No. 7. The Sick Moon
Part II: No. 9. Prayer to Pierrot
Part II: No. 11. Red Mass
Part II: No. 12. Gallows Song
Part II: No. 13. Beheading
Part II: No. 14. The Crosses
Part III: No. 15. Homesickness
Part III: No. 16. Vulgarity
Part III: No. 18. The Moonspot
Part III: No. 19. Serenade
Part III: No. 20. Homeward Bound
Part III: No. 21. O Ancient Fragrance
About This Work
After the wrenching revolution Schoenberg brought to his music during the final years of the twentieth century's first decade (crystallized in such works as the Three Pieces for piano, Op. 11 and the Five Orchestral Pieces, Op. 16) the composer
quickly drew back from the anguished Expressionism of these years to produce the much lighter Dreimal sieben Gedichte aus Albert Girauds Pierrot Lunaire (Three-times-seven Songs from Albert Giraud's Pierrot Lunaire, or, as it is known the world 'round, simply Pierrot Lunaire), Op. 21, of 1912 -- a cycle of 21 songs for voice and chamber group that, in the composer's own words, voices sentiments that are "Light, ironic, satirical."
Pierrot Lunaire takes the shape of a single large melodrama in which the female voice gives the text a treatment that is midway between speech and song (the technique, called Sprechstimme, goes all the way back to Humperdinck, though it found its best use at the pens of the Second Viennese School composers). Three sections, comprised of seven songs each, showcase the five instrumentalists in all sorts of wonderfully colorful combinations as the narrator tells of the wandering Pierrot's experiences -- indeed, the contrasts offered by just the piano, violin, cello, flute, and clarinet are not enough for Schoenberg, who makes the violinist, flutist, and clarinetist double on viola, piccolo, and bass clarinet, respectively. Each of the 13-line poems is a rondel, the opening lines being repeated during the middle of the poem as a kind of refrain.
Structural and motivic connections abound throughout the work, and we find such devices as the recurrence of the queasy solo flute melody of No. 7, "The Sick Moon," in the 13th song, "Decapitation" (part of Pierrot Lunaire's admittedly darker second section, in which the demons of Expressionism come out to play once more), and the use of a passacaglia form in "Night," the first song of Part 2. By the time of "The Moonspot" in Part 3, Schoenberg has worked up to the level of a full double-canon (for the pair of woodwinds and the pair of strings). No. 19, "Serenade," is almost a virtuoso piece for cello and piano, while the final song of the melodrama, "O Ancient Charm of Fairy Days," is of the tender, epilogue variety.
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