By Phyllis Bryn-Julson & Paul Mathews
Inside Pierrot lunaire: acting the Sprechstimme in Schoenberg's Masterpiece is a guide at the functionality and interpretation of the recitation in Arnold Schoenberg's Pierrot lunaire, op. 21. offering a consultant for the listener and an relief to the interpreter of the 21 melodramas, the ebook presents an unique English translation of every poem, annotated with references to different poems within the cycle, together with a few of the texts Schoenberg passed over. the amount additionally deals an research of the Sprechstimme in each one melodrama within the context of the encompassing texture and directed via the rules of study Schoenberg tested in his essays and lectures.
Inside Pierrot lunaire makes a case for the significance of the notated pitches in an accurate functionality of the Sprechstimme. Acclaimed singer Phyllis Bryn-Julson and song theorist Paul Mathews supply a style for acting the Sprechstimme that considers Schoenberg's appearing instructions, his sometimes-contradictory statements, the recording Schoenberg carried out in 1939, and the burgeoning scholarship on speech-melody. Bryn-Julson and Mathews additionally study the function performed by means of Albertine Zehme, the making a song actress who commissioned Pierrot, whose half in its construction has been minimized in prior experiences. The dialogue of Sprechstimme is trained through a real oral culture working from Eduard Steuermann, the pianist who coached Zehme's greatest of the piece, to Ms. Bryn-Julson's personal interpretation. the amount additionally presents a bibliography of resources and an index.
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Additional resources for Inside Pierrot lunaire: Performing the Sprechstimme in Schoenberg's Masterpiece
1908), 215–41. Schoenberg and the Development of the Sprechstimme Concept 19 36. Peter Jelavich, Berlin Cabaret (Cambridge: Harvard University Press, 1993), 38. Jelavich’s second chapter, “Between Elitism and Entertainment: Wolzogen’s Motley Theatre,” is the principal source for much of this short summary of the Überbrettl. 37. Ernst von Wolzogen, Wie ich mich ums Leben brachte. Erinnerungen und Erfahrungen (Braunschweig: Georg Westermann, 1923), 216; summarized with quotations in Stuckenschmidt 1978, 49.
Scholars are divided about the influence of the Überbrettl on the much later creation of Pierrot in general and on Sprechstimme in particular. Early commentators made a connection between the Sprechstimme and cabaret performance styles. 41 Early German cabaret, performed on a proscenium stage, was a succession of songs, poems, and skits, not unlike a variety show. It sought an elite audience and struggled to elevate itself above more seedy entertainments such as Tingeltangel. ”43 However, Stuckenschmidt and Stadlen have both rejected a French influence on Sprechstimme, noting that early Berlin cabaret 14 Chapter 1 did not have the diseuse performing tradition.
To demonstrate the extent to which Schoenberg departed from such logical organization, consider the op. 20 song “Herzgewächse” (1911), written for “high” soprano, celesta, harmonium, and harp. 21 It is easy to understand why. In what must be one of the first references to “Herzgewächse” in print outside Germany, an anonymous wit described it in the Musical Times by noting, “Anyone can invent the accompaniment by playing any chords at any moment below the vocal line. . ”22 The sarcasm in this statement masks the writer’s frustration in seeking the coherence in the song, and especially the kind of thematic and harmonic coherence that Schoenberg expressly avoided.