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Dreimal sieben Gedichte aus Albert Girauds "Pierrot lunaire" ("Three times Seven Poems from Albert Giraud's 'Pierrot lunaire'"), commonly known simply as Pierrot Lunaire, Op. 21 ("Moonstruck Pierrot" or "Pierrot in the Moonlight"), is a melodrama by Arnold Schoenberg. It is a setting of 21 selected poems from Albert Giraud's cycle of the same name as translated to German by Otto Erich Hartleben.
The album is filled out with Schoenberg's setting, during his exile from the Nazi horror, of Byron's bitterly ironic "Ode to Napoleon Buonaparte" for a baritone reciter. -Thomas May. Go Unlimited. Exclusive discount for Prime members. Sample this album Artist - Artist (Sample).
The artist for track D8 is omitted on the tracklist presented on the back cover of the album. In place of the performer, it states "Original Sound Track". From front and back album cover: "Hits of the Fabulous 50's On Two Big Records". From record sleeves: "This record you are holding is a dynaflex Record.
The character of Pierrot can be traced back to Molière’s Don Juan, or The Feast with the Statue, first performed in February 1660 at the Palais-Royal theatre in Paris, and with Molière playing the role of Sganarelle. Pierrot is the name of a peasant character who appears in the second act of the play, the fiancé of Charlotte. Born in 1796, he began appearing in Paris at the Théâtre des Funambules some time around 1819, under the stage-name ‘Baptiste’. He is a metaphysical Pierrot, Pierrot Lunaire, and it is of abstract notions, the whole science of the unconscious, that he makes his showman’s patter. Laforgue was a great influence upon a young T. S. Eliot.
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Pierrot lunaire: rondels bergamasques (Moonstruck Pierrot: bergamask rondels) is a collection of fifty poems published in 1884 by the Belgian poet Albert Giraud (born Emile Albert Kayenburgh), who is usually associated with the Symbolist Movement. In a familiar dichotomy of the Symbolists, Pierrot lunaire occupies a divided space: a public realm, over which the sun presides, and a private realm, dominated by the moon. The waking, sunlit world, populated by Pierrot's Commedia dell'Arte companions, is marked by deformity, degeneracy, avarice, and lust. Its Crispins are "ugly", and its Columbine "arches her back", apparently in expectation of sexual pleasure (1: "Theater").
1. Ouverture XV. Pierrot Lunaire.
New OC! I named her Lunaire after Pierrot Lunaire. A lot high concept stuff here, basically he criticizes the decadence of turn-of-the-century Europe, and also in a paradox makes fun of symbolist gestures such as these kinds of poems, and questions whether concept art like this is really valuable. Schoenberg takes 21 of the poems and sets them as a melodrama for voice and chamber ensemble. The voice does not sing, rather the soprano speaks at different pitches and follows the shape of the score. Continuing with his love of numbers, he builds a lot of the songs out of seven-note themes
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