-
Complete performance: Schoenberg's Pierrot lunaire
This complete performance of Pierrot lunaire comprised the second half of the CSO's Schoenberg Beyond the Score production. Learn more at www.beyondthescore.org
published: 01 Apr 2014
-
Pierrot Lunaire, I. "Mondestrunken"
Christine Schäfer sings the first movement of Arnold Schoenberg's famous composition, in a film by Oliver Herrmann.
published: 06 May 2015
-
Schoenberg: Pierrot Lunaire with Patricia Kopatchinskaja (excerpt)
The Saint Paul Chamber Orchestra
Patricia Kopatchinskaja, violin and director
Recorded October 2017
published: 07 Jun 2018
-
Arnold Schoenberg - Pierrot Lunaire, Op. 21 (Ensemble Intercontemporain, Pierre Boulez)
From the Theater an den Wien, Vienna, 2004
Pierre Boulez conducts a Triple Bill. Watch it here: https://bit.ly/PierreBoulez-TripleBill-Ensemble-Intercontemporain
Anja Silja - Pierrot
Ensemble Intercontemporain
Pierre Boulez - conductor
Sets and Costumes by Gilles Aillaud
Lighting by Dominique Borrini
Subscribe to wocomoMUSIC: https://goo.gl/ahZRzC
Follow us on Facebook: http://www.facebook.com/wocomo
A vocal melodrama around the Pierrot poems of Albert Giraud, Arnold Schoenberg’s Pierrot Lunaire Op. 21, is a startling work of raw expressionism. Notorious as the most shocking atonal musical work of its time, it is scored for a small ensemble and a soprano employing Sprechgesang. Acclaimed for her acting abilities, the celebrated German singer Anja Silja takes the role of Schoenberg’s ...
published: 02 Jan 2021
-
Arnold Schoenberg: Pierrot Lunaire
Arnold Schoenberg or Schönberg (September 13th 1874 – July 13th 1951) He was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. With the rise of the Nazi Party, by 1938 Schoenberg's works were labelled as degenerate music because he was Jewish (Anon. 1997–2013); he moved to the United States in 1934.
Schoenberg's approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it.
Schoenberg was known early in his career for simultaneously extending the traditionally opposed ...
published: 02 Mar 2015
-
Israeli Chamber Project | Schoenberg: Pierrot Lunaire. Complete
Israelichamberproject.org facebook.com/israeli.chamber.project
Hila Baggio, Soprano; Guy Eshed, Flute; Tibi Cziger, Clarinet; Daniel Bard, Violin/Viola; Michal Korman, Cello; Assaff Weisman, Piano
Shirit Lee Weiss, Director
Live performance at Elma Auditorium, Israel. March, 2016
Yoel & Elisabeth Culiner, video production
Yaron Aldema & Rafi Eshel, sound recording
published: 29 Jun 2016
-
SCHOENBERG — Pierrot Lunaire
ARNOLD SCHOENBERG Pierrot Lunaire
Anna Davidson, soprano
Patrick Williams, flute
Stanislav Chernyshev, clarinet
Zoë Martin-Doike, violin and viola
Arlen Hlusko, cello
Xiaohui Yang, piano
Performed on Monday, May 6, 2013
Gould Rehearsal Hall, Curtis Institute of Music, Philadelphia
It’s not hard to imagine how the public reacted to Arnold Schoenberg’s song cycle Pierrot Lunaire (Moonstruck Pierrot) when it premiered in 1912. To start, there’s the text, full of grotesque, blasphemous, and graphic, lascivious imagery. Then there’s the singer’s declamation technique: a highly stylized, pitched speech that Schoenberg called “sprechstimme” (“spoke-voice”). Then there’s the music itself, from Schoenberg’s early period of abstract “free atonality”—before he discovered the method of serializatio...
published: 16 Apr 2020
-
How did Schoenberg compose Pierrot Lunaire?
Composer Samuel Andreyev discusses the historic and aesthetic background to Austrian composer Arnold Schoenberg's 1912 masterpiece, Pierrot Lunaire, and analyzes 2 of its 21 movements: 'Nacht', and 'der Mondfleck'.
SUPPORT THIS CHANNEL
http://www.samuelandreyev.com/donate
http://www.patreon.com/samuelandreyev
ZOOM LESSONS IN COMPOSITION / ANALYSIS
http://www.samuelandreyev.com/teaching
NEW ALBUM OUT NOW
Order a physical copy: https://www.kairos-music.com/cds/0015025kai
Listen on Spotify: https://open.spotify.com/album/42kfmsjGZyNDo4nrVNHkvP?si=V4imzn9MRQOHvJBvKPjTAA
Listen on iTunes: https://music.apple.com/fr/album/samuel-andreyev-music-with-no-edges/1446778654
LINKS
Website: http://www.samuelandreyev.com
Twitter: http://www.twitter.com/samuelandreyev
THE SAMUEL ANDREYEV PODCAST
On B...
published: 08 Jun 2019
-
Schoenberg Pierrot Lunaire Op. 21. 1. Mondestrunken. Partitura. Interpretación.
Schoenberg Pierrot Lunaire Op. 21. 1. Mondestrunken. Partitura. Interpretación.
Curso de análisis para principiantes https://academiainternacionaldemusica.com/curso-iniciacion-analisis-musical/?fbclid=IwAR0PKg-jgdZhidvIZg07pczwWKREcrHODJgEaDWl4r0A_8UO68EIWeoMPyg
Curso de análisis para opositores https://academy.academiainternacionaldemusica.com/courses/analisis-musical-para-oposiciones
published: 26 Mar 2015
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Arnold Schoenberg: Pierrot Lunaire | Manchester Collective
"Death has struck. The limbs are rigid. In the distance mobs are howling. In the west the sun is sinking."
This is Arnold Schoenberg's extraordinary song cycle, Pierrot Lunaire. We toured this show around the UK in November 2018, in a brand new English translation that we commissioned from British director and librettist David Pountney. It's a powerhouse of a work, performed here at the Royal Northern College of Music in Manchester, and recorded live.
Part One
00:12 Moondrunk (Mondestrunken)
02:02 Columbine (Colombine)
04:03 The Dandy (Der Dandy)
05:40 An anaemic laundrymaid (Eine blasse Wäscherin)
07:22 Valse de Chopin
08:59 Madonna
12:15 The Sick Moon (Der kranke Mond)
Part Two
16:46 Night (Nacht)
19:31 Prayer to Pierrot (Gebet an Pierrot)
20:43 Robbery (Raub)
22:00 Red Mass (Rote ...
published: 11 Mar 2019
38:15
Complete performance: Schoenberg's Pierrot lunaire
This complete performance of Pierrot lunaire comprised the second half of the CSO's Schoenberg Beyond the Score production. Learn more at www.beyondthescore.org...
This complete performance of Pierrot lunaire comprised the second half of the CSO's Schoenberg Beyond the Score production. Learn more at www.beyondthescore.org
https://wn.com/Complete_Performance_Schoenberg's_Pierrot_Lunaire
This complete performance of Pierrot lunaire comprised the second half of the CSO's Schoenberg Beyond the Score production. Learn more at www.beyondthescore.org
- published: 01 Apr 2014
- views: 837737
1:44
Pierrot Lunaire, I. "Mondestrunken"
Christine Schäfer sings the first movement of Arnold Schoenberg's famous composition, in a film by Oliver Herrmann.
Christine Schäfer sings the first movement of Arnold Schoenberg's famous composition, in a film by Oliver Herrmann.
https://wn.com/Pierrot_Lunaire,_I._Mondestrunken
Christine Schäfer sings the first movement of Arnold Schoenberg's famous composition, in a film by Oliver Herrmann.
- published: 06 May 2015
- views: 298819
2:40
Schoenberg: Pierrot Lunaire with Patricia Kopatchinskaja (excerpt)
The Saint Paul Chamber Orchestra
Patricia Kopatchinskaja, violin and director
Recorded October 2017
The Saint Paul Chamber Orchestra
Patricia Kopatchinskaja, violin and director
Recorded October 2017
https://wn.com/Schoenberg_Pierrot_Lunaire_With_Patricia_Kopatchinskaja_(Excerpt)
The Saint Paul Chamber Orchestra
Patricia Kopatchinskaja, violin and director
Recorded October 2017
- published: 07 Jun 2018
- views: 101549
40:33
Arnold Schoenberg - Pierrot Lunaire, Op. 21 (Ensemble Intercontemporain, Pierre Boulez)
From the Theater an den Wien, Vienna, 2004
Pierre Boulez conducts a Triple Bill. Watch it here: https://bit.ly/PierreBoulez-TripleBill-Ensemble-Intercontemporai...
From the Theater an den Wien, Vienna, 2004
Pierre Boulez conducts a Triple Bill. Watch it here: https://bit.ly/PierreBoulez-TripleBill-Ensemble-Intercontemporain
Anja Silja - Pierrot
Ensemble Intercontemporain
Pierre Boulez - conductor
Sets and Costumes by Gilles Aillaud
Lighting by Dominique Borrini
Subscribe to wocomoMUSIC: https://goo.gl/ahZRzC
Follow us on Facebook: http://www.facebook.com/wocomo
A vocal melodrama around the Pierrot poems of Albert Giraud, Arnold Schoenberg’s Pierrot Lunaire Op. 21, is a startling work of raw expressionism. Notorious as the most shocking atonal musical work of its time, it is scored for a small ensemble and a soprano employing Sprechgesang. Acclaimed for her acting abilities, the celebrated German singer Anja Silja takes the role of Schoenberg’s Pierrot: not simply the traditional figure of pathos but a dislocated, splintered personality who rasps out tortured and often violent fantasies.
© Licensed by Digital Classics Distribution
#wocomoMODERNISM
https://wn.com/Arnold_Schoenberg_Pierrot_Lunaire,_Op._21_(Ensemble_Intercontemporain,_Pierre_Boulez)
From the Theater an den Wien, Vienna, 2004
Pierre Boulez conducts a Triple Bill. Watch it here: https://bit.ly/PierreBoulez-TripleBill-Ensemble-Intercontemporain
Anja Silja - Pierrot
Ensemble Intercontemporain
Pierre Boulez - conductor
Sets and Costumes by Gilles Aillaud
Lighting by Dominique Borrini
Subscribe to wocomoMUSIC: https://goo.gl/ahZRzC
Follow us on Facebook: http://www.facebook.com/wocomo
A vocal melodrama around the Pierrot poems of Albert Giraud, Arnold Schoenberg’s Pierrot Lunaire Op. 21, is a startling work of raw expressionism. Notorious as the most shocking atonal musical work of its time, it is scored for a small ensemble and a soprano employing Sprechgesang. Acclaimed for her acting abilities, the celebrated German singer Anja Silja takes the role of Schoenberg’s Pierrot: not simply the traditional figure of pathos but a dislocated, splintered personality who rasps out tortured and often violent fantasies.
© Licensed by Digital Classics Distribution
#wocomoMODERNISM
- published: 02 Jan 2021
- views: 57099
1:41
Arnold Schoenberg: Pierrot Lunaire
Arnold Schoenberg or Schönberg (September 13th 1874 – July 13th 1951) He was an Austrian composer and painter, associated with the expressionist movement in Ge...
Arnold Schoenberg or Schönberg (September 13th 1874 – July 13th 1951) He was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. With the rise of the Nazi Party, by 1938 Schoenberg's works were labelled as degenerate music because he was Jewish (Anon. 1997–2013); he moved to the United States in 1934.
Schoenberg's approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it.
Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify innovations in atonality (although Schoenberg himself detested that term) that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.
Schoenberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, and later John Cage, Lou Harrison, Earl Kim, Leon Kirchner, and other prominent musicians. Many of Schoenberg's practices, including the formalization of compositional method and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century. His often polemical views of music history and aesthetics were crucial to many significant 20th-century musicologists and critics, including Theodor W. Adorno, Charles Rosen and Carl Dahlhaus, as well as the pianists Artur Schnabel, Rudolf Serkin, Eduard Steuermann and Glenn Gould.
https://wn.com/Arnold_Schoenberg_Pierrot_Lunaire
Arnold Schoenberg or Schönberg (September 13th 1874 – July 13th 1951) He was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. With the rise of the Nazi Party, by 1938 Schoenberg's works were labelled as degenerate music because he was Jewish (Anon. 1997–2013); he moved to the United States in 1934.
Schoenberg's approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it.
Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify innovations in atonality (although Schoenberg himself detested that term) that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.
Schoenberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, and later John Cage, Lou Harrison, Earl Kim, Leon Kirchner, and other prominent musicians. Many of Schoenberg's practices, including the formalization of compositional method and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century. His often polemical views of music history and aesthetics were crucial to many significant 20th-century musicologists and critics, including Theodor W. Adorno, Charles Rosen and Carl Dahlhaus, as well as the pianists Artur Schnabel, Rudolf Serkin, Eduard Steuermann and Glenn Gould.
- published: 02 Mar 2015
- views: 291171
41:55
Israeli Chamber Project | Schoenberg: Pierrot Lunaire. Complete
Israelichamberproject.org facebook.com/israeli.chamber.project
Hila Baggio, Soprano; Guy Eshed, Flute; Tibi Cziger, Clarinet; Daniel Bard, Violin/Viola; Michal...
Israelichamberproject.org facebook.com/israeli.chamber.project
Hila Baggio, Soprano; Guy Eshed, Flute; Tibi Cziger, Clarinet; Daniel Bard, Violin/Viola; Michal Korman, Cello; Assaff Weisman, Piano
Shirit Lee Weiss, Director
Live performance at Elma Auditorium, Israel. March, 2016
Yoel & Elisabeth Culiner, video production
Yaron Aldema & Rafi Eshel, sound recording
https://wn.com/Israeli_Chamber_Project_|_Schoenberg_Pierrot_Lunaire._Complete
Israelichamberproject.org facebook.com/israeli.chamber.project
Hila Baggio, Soprano; Guy Eshed, Flute; Tibi Cziger, Clarinet; Daniel Bard, Violin/Viola; Michal Korman, Cello; Assaff Weisman, Piano
Shirit Lee Weiss, Director
Live performance at Elma Auditorium, Israel. March, 2016
Yoel & Elisabeth Culiner, video production
Yaron Aldema & Rafi Eshel, sound recording
- published: 29 Jun 2016
- views: 62856
37:08
SCHOENBERG — Pierrot Lunaire
ARNOLD SCHOENBERG Pierrot Lunaire
Anna Davidson, soprano
Patrick Williams, flute
Stanislav Chernyshev, clarinet
Zoë Martin-Doike, violin and viola
Arlen Hlusko,...
ARNOLD SCHOENBERG Pierrot Lunaire
Anna Davidson, soprano
Patrick Williams, flute
Stanislav Chernyshev, clarinet
Zoë Martin-Doike, violin and viola
Arlen Hlusko, cello
Xiaohui Yang, piano
Performed on Monday, May 6, 2013
Gould Rehearsal Hall, Curtis Institute of Music, Philadelphia
It’s not hard to imagine how the public reacted to Arnold Schoenberg’s song cycle Pierrot Lunaire (Moonstruck Pierrot) when it premiered in 1912. To start, there’s the text, full of grotesque, blasphemous, and graphic, lascivious imagery. Then there’s the singer’s declamation technique: a highly stylized, pitched speech that Schoenberg called “sprechstimme” (“spoke-voice”). Then there’s the music itself, from Schoenberg’s early period of abstract “free atonality”—before he discovered the method of serialization of pitches to destroy all sense of key, but still jarring to traditional ears.
Schoenberg was commissioned to write Pierrot by a well-known cabaret singer. At the time these performers sang, danced, and acted with a deep sense of melodrama, captured well by his use of the “sprechstimme” technique. The composer chose to set 21 poems by Albert Giraud that had been translated into German. They centered on Pierrot Lunaire, a deadly mischievous clown from the “commedia dell’arte” tradition of Italian theatre, encompassing Pierrot’s terrifying interactions with his rival Cassander and ruminating on his dark and strange world.
The narrative throughout the cycle is less a story than a series of macabre impressions, but after all his adventures Pierrot travels home on a lily pad to his native Bergamo. In the first song, the poet compares moonlight to wine, drunk in by the eyes. In another, giant black moths rise up from the horizon to blacken out the sun and cast darkness over the forest. In one particularly disturbing passage, the singer describes Pierrot drilling a hole into Cassander’s head (with an appropriately shrieking flute) and filling that hole with tobacco to smoke out of the skull.
Artistically, Pierrot is a triumph of 20th-century chamber music. The ensemble of flute, clarinet, violin, cello, and piano (some doubling on related instruments) has determined the instrumentation of many contemporary music groups in the century since. The music is both highly traditional (using forms like waltzes and passacaglias) and avant-garde for its time. Schoenberg felt that music of his contemporaries had been pushing toward total abstraction in its overflowing themes and complex harmonies. For him the next logical step was to make music entirely composed of an amalgam of loosely connected motives layered on top of one another. He would choose strands of three to six notes for his motives and vary them throughout the work, in a tapestry of pitch and rhythm.
Over a decade after composing Pierrot, Schoenberg came upon the idea of creating one single uber-theme using all twelve notes of the octave, and thus “serialism” or “twelve-tone” music was born. But he always called himself a “Romantic” composer, and the best performances of this music are not mathematically precise, but instead full of expression, a sense of breath and flexibility, and great dramatic moments.
The audience of 1912 was, of course, scandalized and shocked by Pierrot Lunaire. What is more surprising, perhaps, is that the work continues to shock its listeners today, more than a century after its premiere. Schoenberg may have been a Romantic composer at heart, but his approach to composing was in so many ways wholly new, and it would influence composers who embraced or rejected his techniques for the next century to come.
—David Serkin Ludwig
Tour Performances:
Curtis Institute of Music (Philadelphia)
Mondavi Center for the Performing Arts (Davis, CA)
Seoul Arts Center (Seoul, Korea)
Learn more about this work: https://www.youtube.com/watch?v=_0mSLx4IdZs
Libretto and translations: https://www.curtis.edu/globalassets/media/pierrot-libretto.pdf
#CurtisIsHere
https://wn.com/Schoenberg_—_Pierrot_Lunaire
ARNOLD SCHOENBERG Pierrot Lunaire
Anna Davidson, soprano
Patrick Williams, flute
Stanislav Chernyshev, clarinet
Zoë Martin-Doike, violin and viola
Arlen Hlusko, cello
Xiaohui Yang, piano
Performed on Monday, May 6, 2013
Gould Rehearsal Hall, Curtis Institute of Music, Philadelphia
It’s not hard to imagine how the public reacted to Arnold Schoenberg’s song cycle Pierrot Lunaire (Moonstruck Pierrot) when it premiered in 1912. To start, there’s the text, full of grotesque, blasphemous, and graphic, lascivious imagery. Then there’s the singer’s declamation technique: a highly stylized, pitched speech that Schoenberg called “sprechstimme” (“spoke-voice”). Then there’s the music itself, from Schoenberg’s early period of abstract “free atonality”—before he discovered the method of serialization of pitches to destroy all sense of key, but still jarring to traditional ears.
Schoenberg was commissioned to write Pierrot by a well-known cabaret singer. At the time these performers sang, danced, and acted with a deep sense of melodrama, captured well by his use of the “sprechstimme” technique. The composer chose to set 21 poems by Albert Giraud that had been translated into German. They centered on Pierrot Lunaire, a deadly mischievous clown from the “commedia dell’arte” tradition of Italian theatre, encompassing Pierrot’s terrifying interactions with his rival Cassander and ruminating on his dark and strange world.
The narrative throughout the cycle is less a story than a series of macabre impressions, but after all his adventures Pierrot travels home on a lily pad to his native Bergamo. In the first song, the poet compares moonlight to wine, drunk in by the eyes. In another, giant black moths rise up from the horizon to blacken out the sun and cast darkness over the forest. In one particularly disturbing passage, the singer describes Pierrot drilling a hole into Cassander’s head (with an appropriately shrieking flute) and filling that hole with tobacco to smoke out of the skull.
Artistically, Pierrot is a triumph of 20th-century chamber music. The ensemble of flute, clarinet, violin, cello, and piano (some doubling on related instruments) has determined the instrumentation of many contemporary music groups in the century since. The music is both highly traditional (using forms like waltzes and passacaglias) and avant-garde for its time. Schoenberg felt that music of his contemporaries had been pushing toward total abstraction in its overflowing themes and complex harmonies. For him the next logical step was to make music entirely composed of an amalgam of loosely connected motives layered on top of one another. He would choose strands of three to six notes for his motives and vary them throughout the work, in a tapestry of pitch and rhythm.
Over a decade after composing Pierrot, Schoenberg came upon the idea of creating one single uber-theme using all twelve notes of the octave, and thus “serialism” or “twelve-tone” music was born. But he always called himself a “Romantic” composer, and the best performances of this music are not mathematically precise, but instead full of expression, a sense of breath and flexibility, and great dramatic moments.
The audience of 1912 was, of course, scandalized and shocked by Pierrot Lunaire. What is more surprising, perhaps, is that the work continues to shock its listeners today, more than a century after its premiere. Schoenberg may have been a Romantic composer at heart, but his approach to composing was in so many ways wholly new, and it would influence composers who embraced or rejected his techniques for the next century to come.
—David Serkin Ludwig
Tour Performances:
Curtis Institute of Music (Philadelphia)
Mondavi Center for the Performing Arts (Davis, CA)
Seoul Arts Center (Seoul, Korea)
Learn more about this work: https://www.youtube.com/watch?v=_0mSLx4IdZs
Libretto and translations: https://www.curtis.edu/globalassets/media/pierrot-libretto.pdf
#CurtisIsHere
- published: 16 Apr 2020
- views: 16313
43:40
How did Schoenberg compose Pierrot Lunaire?
Composer Samuel Andreyev discusses the historic and aesthetic background to Austrian composer Arnold Schoenberg's 1912 masterpiece, Pierrot Lunaire, and analyze...
Composer Samuel Andreyev discusses the historic and aesthetic background to Austrian composer Arnold Schoenberg's 1912 masterpiece, Pierrot Lunaire, and analyzes 2 of its 21 movements: 'Nacht', and 'der Mondfleck'.
SUPPORT THIS CHANNEL
http://www.samuelandreyev.com/donate
http://www.patreon.com/samuelandreyev
ZOOM LESSONS IN COMPOSITION / ANALYSIS
http://www.samuelandreyev.com/teaching
NEW ALBUM OUT NOW
Order a physical copy: https://www.kairos-music.com/cds/0015025kai
Listen on Spotify: https://open.spotify.com/album/42kfmsjGZyNDo4nrVNHkvP?si=V4imzn9MRQOHvJBvKPjTAA
Listen on iTunes: https://music.apple.com/fr/album/samuel-andreyev-music-with-no-edges/1446778654
LINKS
Website: http://www.samuelandreyev.com
Twitter: http://www.twitter.com/samuelandreyev
THE SAMUEL ANDREYEV PODCAST
On Buzzsprout: https://www.buzzsprout.com/266909
On Spotify: https://open.spotify.com/show/0MYQHsGXZ71wtde5QoOlZb?si=MSyCWiOfSJGMz0FV8iXymw
On iTunes: https://podcasts.apple.com/fr/podcast/the-samuel-andreyev-podcast/id1455789353
https://wn.com/How_Did_Schoenberg_Compose_Pierrot_Lunaire
Composer Samuel Andreyev discusses the historic and aesthetic background to Austrian composer Arnold Schoenberg's 1912 masterpiece, Pierrot Lunaire, and analyzes 2 of its 21 movements: 'Nacht', and 'der Mondfleck'.
SUPPORT THIS CHANNEL
http://www.samuelandreyev.com/donate
http://www.patreon.com/samuelandreyev
ZOOM LESSONS IN COMPOSITION / ANALYSIS
http://www.samuelandreyev.com/teaching
NEW ALBUM OUT NOW
Order a physical copy: https://www.kairos-music.com/cds/0015025kai
Listen on Spotify: https://open.spotify.com/album/42kfmsjGZyNDo4nrVNHkvP?si=V4imzn9MRQOHvJBvKPjTAA
Listen on iTunes: https://music.apple.com/fr/album/samuel-andreyev-music-with-no-edges/1446778654
LINKS
Website: http://www.samuelandreyev.com
Twitter: http://www.twitter.com/samuelandreyev
THE SAMUEL ANDREYEV PODCAST
On Buzzsprout: https://www.buzzsprout.com/266909
On Spotify: https://open.spotify.com/show/0MYQHsGXZ71wtde5QoOlZb?si=MSyCWiOfSJGMz0FV8iXymw
On iTunes: https://podcasts.apple.com/fr/podcast/the-samuel-andreyev-podcast/id1455789353
- published: 08 Jun 2019
- views: 55789
1:41
Schoenberg Pierrot Lunaire Op. 21. 1. Mondestrunken. Partitura. Interpretación.
Schoenberg Pierrot Lunaire Op. 21. 1. Mondestrunken. Partitura. Interpretación.
Curso de análisis para principiantes https://academiainternacionaldemusica.com/c...
Schoenberg Pierrot Lunaire Op. 21. 1. Mondestrunken. Partitura. Interpretación.
Curso de análisis para principiantes https://academiainternacionaldemusica.com/curso-iniciacion-analisis-musical/?fbclid=IwAR0PKg-jgdZhidvIZg07pczwWKREcrHODJgEaDWl4r0A_8UO68EIWeoMPyg
Curso de análisis para opositores https://academy.academiainternacionaldemusica.com/courses/analisis-musical-para-oposiciones
https://wn.com/Schoenberg_Pierrot_Lunaire_Op._21._1._Mondestrunken._Partitura._Interpretación.
Schoenberg Pierrot Lunaire Op. 21. 1. Mondestrunken. Partitura. Interpretación.
Curso de análisis para principiantes https://academiainternacionaldemusica.com/curso-iniciacion-analisis-musical/?fbclid=IwAR0PKg-jgdZhidvIZg07pczwWKREcrHODJgEaDWl4r0A_8UO68EIWeoMPyg
Curso de análisis para opositores https://academy.academiainternacionaldemusica.com/courses/analisis-musical-para-oposiciones
- published: 26 Mar 2015
- views: 268429
46:16
Arnold Schoenberg: Pierrot Lunaire | Manchester Collective
"Death has struck. The limbs are rigid. In the distance mobs are howling. In the west the sun is sinking."
This is Arnold Schoenberg's extraordinary song cycle...
"Death has struck. The limbs are rigid. In the distance mobs are howling. In the west the sun is sinking."
This is Arnold Schoenberg's extraordinary song cycle, Pierrot Lunaire. We toured this show around the UK in November 2018, in a brand new English translation that we commissioned from British director and librettist David Pountney. It's a powerhouse of a work, performed here at the Royal Northern College of Music in Manchester, and recorded live.
Part One
00:12 Moondrunk (Mondestrunken)
02:02 Columbine (Colombine)
04:03 The Dandy (Der Dandy)
05:40 An anaemic laundrymaid (Eine blasse Wäscherin)
07:22 Valse de Chopin
08:59 Madonna
12:15 The Sick Moon (Der kranke Mond)
Part Two
16:46 Night (Nacht)
19:31 Prayer to Pierrot (Gebet an Pierrot)
20:43 Robbery (Raub)
22:00 Red Mass (Rote Messe)
23:54 Gallows Song (Galgenlied)
24:22 Decapitation (Enthauptung)
27:00 The Cross (Die Kreuze)
Part Three
30:48 Homesickness (Heimweh)
33:20 Cruelty (Gemeinheit!)
34:38 Parody (Parodie)
36:03 The Moon Spot (Der Mondfleck)
37:08 Serenade
40:15 Journey Home (Heimfahrt)
42:20 O Ancient Scent (O Alter Duft)
Artists
Lotte Betts-Dean - Mezzo-soprano
Elizabeth Alker - Presenter
Emma Doherty - Director
David Pountney - Libretto
Timothy Burke - Conductor
Rakhi Singh - Violin/Viola
Jack Bailey - Cello
Helen Wilson - Flute/Piccolo
William White - Clarinets/Bass Clarinet
Chad Vindin - Piano
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https://wn.com/Arnold_Schoenberg_Pierrot_Lunaire_|_Manchester_Collective
"Death has struck. The limbs are rigid. In the distance mobs are howling. In the west the sun is sinking."
This is Arnold Schoenberg's extraordinary song cycle, Pierrot Lunaire. We toured this show around the UK in November 2018, in a brand new English translation that we commissioned from British director and librettist David Pountney. It's a powerhouse of a work, performed here at the Royal Northern College of Music in Manchester, and recorded live.
Part One
00:12 Moondrunk (Mondestrunken)
02:02 Columbine (Colombine)
04:03 The Dandy (Der Dandy)
05:40 An anaemic laundrymaid (Eine blasse Wäscherin)
07:22 Valse de Chopin
08:59 Madonna
12:15 The Sick Moon (Der kranke Mond)
Part Two
16:46 Night (Nacht)
19:31 Prayer to Pierrot (Gebet an Pierrot)
20:43 Robbery (Raub)
22:00 Red Mass (Rote Messe)
23:54 Gallows Song (Galgenlied)
24:22 Decapitation (Enthauptung)
27:00 The Cross (Die Kreuze)
Part Three
30:48 Homesickness (Heimweh)
33:20 Cruelty (Gemeinheit!)
34:38 Parody (Parodie)
36:03 The Moon Spot (Der Mondfleck)
37:08 Serenade
40:15 Journey Home (Heimfahrt)
42:20 O Ancient Scent (O Alter Duft)
Artists
Lotte Betts-Dean - Mezzo-soprano
Elizabeth Alker - Presenter
Emma Doherty - Director
David Pountney - Libretto
Timothy Burke - Conductor
Rakhi Singh - Violin/Viola
Jack Bailey - Cello
Helen Wilson - Flute/Piccolo
William White - Clarinets/Bass Clarinet
Chad Vindin - Piano
---
Subscribe: http://bit.ly/MC-YouTube-Subscribe
Website: http://manchestercollective.co.uk
Instagram: https://www.instagram.com/manchestercollective
Facebook: https://www.facebook.com/manchestercollective
Twitter: https://twitter.com/manc_collective
- published: 11 Mar 2019
- views: 8594