Pierrot Lunaire Auswahl Mediathek
Dreimal sieben Gedichte aus Albert Girauds Pierrot lunaire, op. 21, – allgemein bekannt unter dem Namen Pierrot lunaire – ist ein Melodram von Arnold Schönberg. Dreimal sieben Gedichte aus Albert Girauds Pierrot lunaire, op. 21, – allgemein bekannt unter dem Namen Pierrot lunaire – ist ein Melodram von Arnold. Dreimal sieben Gedichte aus Albert Girauds»Pierrot lunaire«op. 21 (). 1.Mondestrunken Your browser does not support the audio element. Habe Vorwort gelesen, Gedichte angeschaut, bin begeistert. Glänzende Idee, ganz in meinem Sinn.“, notierte Arnold Schönberg in sein Tagebuch, nachdem er. Dreimal sieben Gedichte, op. 21, aus Pierrot lunaire von Albert Girauds. Besetzung: Werkverzeichnisnummer: Satzbezeichnungen. I.
Arnold Schönberg: Pierrot Lunaire. WDR 3 Meisterstücke. Min.. Verfügbar bis WDR 3. Martin Zingsheim über Schönbergs. Zum Inhalt. Schon der Titel gibt zu denken: Wer oder was ist Schönbergs „Pierrot lunaire“? Ein Clown im Mondlicht? Oder doch ein Fantast, ein Mondsüchtiger. Habe Vorwort gelesen, Gedichte angeschaut, bin begeistert. Glänzende Idee, ganz in meinem Sinn.“, notierte Arnold Schönberg in sein Tagebuch, nachdem er. Igor Strawinsky hatte die Zwei Glorreiche Halunken Aufführung besucht und meinte sich zu erinnern, dass ihm das Stück als Rückfall in den überwunden geglaubten Beardsley-Kult vorgekommen sei, gleichwohl hatte er es seinerzeit sofort nach St. Februar im Rudolfinum in Prag endete in einem Konzertskandalder eine der schreckhaft-traumatischen Erfahrungen Schönbergs wurde, die der Komponist zeitlebens in Erinnerung behielt und die ihn zu späteren Garantieforderungen für ein störungsfreies Musizieren bei weiteren Pierrot-Konzerten veranlasste. TEIL 8. Die freie Übertragung der erschienenen französischen Gedichtsammlung Click here lunaire. Heimfahrt Your browser does not support the Got Staffel 6 this web page. Gebet an Pierrot Die Instrumentation ist in der Tat von Stück zu Stück verschieden. Trotz dieser oft sehr komplexen Strukturen in den Instrumenten hat Schönberg den Zyklus als Ausdrucksmusik verstanden. Kammermusik in unkonventioneller Atmosphäre. Violoncello Arthur Hornig. Die Klänge werden hier ein https://schertel.co/serien-stream-free/die-camper-besetzung.php tierisch unmittelbarer Ausdruck sinnlicher und seelischer Bewegungen. Regie Teresa Reiber.
Cependant, toutes les versions disponibles sur disque sont dites par des femmes. Gelüste, schauerlich und süss, Durchschwimmen ohne Zahl die Fluten!
In tönender, bronzener Schale Lacht hell die Fontäne, metallischen Klangs. Mit einem phantastischen Lichtstrahl Erleuchtet der Mond die krystallnen Flacons.
Durch die Lichtung schleichen Winde, Leis bewegen sie den Strom. Eine blasse Wäscherin Wascht zur Nachtzeit bleiche Tücher.
Heiss und jauchzend, süss und schmachtend, Melancholisch düstrer Walzer, Kommst mir nimmer aus den Sinnen! Hastest mir an den Gedanken, Wie ein blasser Tropfen Bluts!
Blut aus deinen magren Brüsten Hat des Schwertes Wut vergossen. The appeal of the mask seems to have been the same that drew Craig to the "Über-Marionette": the sense that Pierrot was a symbolic embodiment of an aspect of the spiritual life—Craig invokes William Blake —and in no way a vehicle of "blunt" materialistic Realism.
Fox"  a short story, "The Last of the Pierrots",  which is a shaming attack upon the modern commercialization of Carnival.
However, his most important contribution to the Pierrot canon was not to appear until after the turn of the century see Plays, playlets, pantomimes, and revues below.
Pierrot and Pierrette was a specimen of early English film from the director Birt Acres. Although he lamented that "the Pierrot figure was inherently alien to the German-speaking world", the playwright Franz Blei introduced him enthusiastically into his playlet The Kissy-Face: A Columbiade , and his fellow-Austrians Richard Specht and Richard Beer-Hofmann made an effort to naturalize Pierrot—in their plays Pierrot-Hunchback and Pierrot-Hypnotist , first pub.
In Germany, Frank Wedekind introduced the femme-fatale of his first "Lulu" play, Earth Spirit , in a Pierrot costume; and when the Austrian composer Alban Berg drew upon the play for his opera Lulu unfinished; first perf.
In a similarly and paradoxically revealing spirit, the painter Paul Hoecker put cheeky young men into Pierrot costumes to ape their complacent burgher elders, smoking their pipes Pierrots with Pipes [c.
See also Pierrot lunaire below. Canio's Pagliaccio in the famous opera by Leoncavallo is close enough to a Pierrot to deserve a mention here.
A Clown's Christmas , its score set to a pantomime by Fernand Beissier, one of the founders of the Cercle Funambulesque.
Thus does he forfeit his union with Columbine the intended beneficiary of his crimes for a frosty marriage with the moon.
Pierrot and his fellow masks were late in coming to the United States, which, unlike England, Russia, and the countries of continental Europe, had had no early exposure to commedia dell'arte.
One of the earliest and most influential of these in America, The Chap-Book —98 , which featured a story about Pierrot by the aesthete Percival Pollard in its second number,  was soon host to Beardsley-inspired Pierrots drawn by E.
Bird and Frank Hazenplug. Of course, writers from the United States living abroad—especially in Paris or London—were aberrantly susceptible to the charms of the Decadence.
Such a figure was Stuart Merrill , who consorted with the French Symbolists and who compiled and translated the pieces in Pastels in Prose.
Another was William Theodore Peters , an acquaintance of Ernest Dowson and other members of the Rhymers' Club and a driving force behind the conception and theatrical realization of Dowson's Pierrot of the Minute ; see England above.
Of the three books that Peters published before his death of starvation  at the age of forty-two, his Posies out of Rings: And Other Conceits is most notable here: in it, four poems and an "Epilogue" for the aforementioned Dowson play are devoted to Pierrot.
Another pocket of North-American sympathy with the Decadence—one manifestation of what the Latin world called modernismo —could be found in the progressive literary scene of Mexico, its parent country, Spain, having been long conversant with the commedia dell'arte.
In , Bernardo Couto Castillo , another Decadent who, at the age of twenty-two, died even more tragically young than Peters, embarked on a series of Pierrot-themed short stories—"Pierrot Enamored of Glory" , "Pierrot and His Cats" , "The Nuptials of Pierrot" , "Pierrot's Gesture" , "The Caprices of Pierrot" —culminating, after the turn of the century and in the year of Couto's death , with "Pierrot-Gravedigger" In the last year of the century, Pierrot appeared in a Russian ballet, Harlequin's Millions a.
Harlequinade , its libretto and choreography by Marius Petipa , its music by Riccardo Drigo , its dancers the members of St.
Petersburg's Imperial Ballet. It would set the stage for the later and greater triumphs of Pierrot in the productions of the Ballets Russes.
The Pierrot bequeathed to the twentieth century had acquired a rich and wide range of personae. Like the earlier masks of commedia dell'arte , Pierrot now knew no national boundaries.
Thanks to the international gregariousness of Modernism, he would soon be found everywhere. Pierrot played a seminal role in the emergence of Modernism in the arts.
He was a key figure in every art-form except architecture. With respect to poetry , T. Eliot 's "breakthrough work",  " The Love Song of J.
Alfred Prufrock " , owed its existence to the poems of Jules Laforgue , whose "ton 'pierrot'"  informed all of Eliot's early poetry.
As for fiction , William Faulkner began his career as a chronicler of Pierrot's amorous disappointments and existential anguish in such little-known works as his play The Marionettes and the verses of his Vision in Spring , works that were an early and revealing declaration of the novelist's "fragmented state".
In music , historians of Modernism generally place Arnold Schoenberg 's song-cycle Pierrot lunaire at the very pinnacle of High-Modernist achievement.
In film , a beloved early comic hero was the Little Tramp of Charlie Chaplin , who conceived the character, in Chaplin's words, as "a sort of Pierrot".
As the diverse incarnations of the nineteenth-century Pierrot would predict, the hallmarks of the Modernist Pierrot are his ambiguity and complexity.
One of his earliest appearances was in Alexander Blok 's The Puppet Show , called by one theater-historian "the greatest example of the harlequinade in Russia".
Everything about him is sharply angular; in a hushed voice he whispers strange words of sadness; somehow he contrives to be caustic, heart-rending, gentle: all these things yet at the same time impudent.
Vincent Millay makes it clear that her Pierrot is not to be played as a cardboard stock type:. Pierrot sees clearly into existing evils and is rendered gaily cynical by them; he is both too indolent and too indifferent to do anything about it.
Yet in several lines of the play his actual unhappiness is seen,—for instance, "Moon's just a word to swear by", in which he expresses his conviction that all beauty and romance are fled from the world.
At the end of the play the line, "Yes, and yet I dare say he is just as dead", must not be said flippantly or cynically, but slowly and with much philosophic concentration on the thought.
Even Chaplin's Little Tramp, conceived broadly as a comic and sentimental type, exhibits a wide range of aspirations and behaviors.
Chaplin alleges to have told Mack Sennett , after first having assumed the character,. You know, this fellow is many-sided, a tramp, a gentleman, a poet, a dreamer, a lonely fellow, always hopeful of romance and adventure.
He would have you believe he is a scientist, a musician, a duke, a polo player. However, he is not above picking up cigarette butts or robbing a baby of its candy.
And, of course, if the occasion warrants it, he will kick a lady in the rear—but only in extreme anger! In this section, with the exception of productions by the Ballets Russes which will be listed alphabetically by title and of musical settings of Pierrot lunaire which will be discussed under a separate heading , all works are identified by artist; all artists are grouped by nationality, then listed alphabetically.
Multiple works by artists are listed chronologically. And when film arrived at a pinnacle of auteurism in the s and '60s, aligning it with the earlier Modernist aesthetic, some of its most celebrated directors— Bergman , Fellini , Godard —turned naturally to Pierrot.
But Pierrot's most prominent place in the late twentieth century, as well as in the early twenty-first, has been in popular, not High Modernist, art.
As the entries below tend to testify, Pierrot is most visible as in the eighteenth century in unapologetically popular genres—in circus acts and street-mime sketches, TV programs and Japanese anime , comic books and graphic novels , children's books and young adult fiction especially fantasy and, in particular, vampire fiction , Hollywood films, and pop and rock music.
The format of the lists that follow is the same as that of the previous section, except for the Western pop-music singers and groups.
These are listed alphabetically by first name, not last e. The fifty poems that were published by Albert Giraud born Emile Albert Kayenbergh as Pierrot lunaire: Rondels bergamasques in quickly attracted composers to set them to music, especially after they were translated, somewhat freely, into German by the poet and dramatist Otto Erich Hartleben.
The best known and most important of these settings is the atonal song-cycle derived from twenty-one of the poems in Hartleben's translation by Arnold Schoenberg in , i.
The impact of this work on the musical world has proven to be virtually immeasurable. It has led, among other things, to ensemble groups' appropriating Pierrot's name, such as the English Pierrot Players —70 ,  and to a number of projects—such as the Schoenberg Institute 's of  and the composer Roger Marsh's of  —that have been devised to pay homage to Schoenberg and, at the same time, to extend his avant-garde reach, thereby bringing both Hartleben's and Giraud's complete cycles to full musical fruition.
But the loony Pierrot behind those cycles has invaded worlds well beyond those of composers, singers, and ensemble-performers. Theatrical groups such as the Opera Quotannis have brought Pierrot's Passion to the dramatic stage; dancers such as Glen Tetley have choreographed it; poets such as Wayne Koestenbaum have derived original inspiration from it.
Pierrot, usually in the company of Pierrette or Columbine, appears among the revelers at many carnivals of the world, most notably at the festivities of Uruguay.
His name suggests kinship with the Pierrot Grenade of Trinidad and Tobago Carnival , but the latter seems to have no connection with the French clown.
Around the mid-twentieth century, he traveled about in pairs or larger groups, contending for supremacy among his companions,  but by the dawn of the twenty-first century, he had become rather solitary, a vestige of his former gregarious self.
From Wikipedia, the free encyclopedia. Stock character of pantomime and Commedia dell'Arte. For other uses, see Pierrot disambiguation.
Main article: Pierrot lunaire book. On the modern artist specifically as a Pierrot, see Storey, Pierrot: a critical history , pp.
Mic claims that an historical connection between Pedrolino and "the celebrated Pierrots of [Adolphe] Willette" is "absolutely evident" p.
Nicoll writes that Pedrolino is the "Italian equivalent" of Pierrot World , p. As late as , Rudlin pp.
In fact, what documentation does exist links Pierrot, not with Pedrolino, but with Pulcinella. In point of fact, the Neapolitan scenarii, in place of Arlecchino and Scapino, admit two Pulcinellas, the one an intriguing rogue and the other a stupid fool.
Nicoll, Masks , p. Adams, Jad Madder music, stronger wine: the life of Ernest Dowson, poet and decadent. London: Tauris Parke Paperbacks.
Lanham, Maryland: The Scarecrow Press. Barberet, Vincent Nancy: P. Bonnassies, Jules Paris: E. Bonnet, Gilles La Pantomime noire: Paris: Hermann.
Bordet, Daniel Les plus belles images de Pierrot. Brinkmann, Reinhold Schoenberg and Kandinsky: an historic encounter.
Amsterdam: Harwood Academic Publishers. CS1 maint: multiple names: authors list link CS1 maint: extra text: authors list link Buttel, Robert Wallace Stevens: the making of Harmonium.
Campardon, Emile Les Spectacles de la Foire Paris: Berger-Levrault et C ie. I at Archive. II at Gallica Books.
I and II at Archive. Carr, Andrew T. March Caribbean Quarterly. Souvenirs des Funambules. Chaplin, Charles My autobiography.
New York: Pocket Books. Douglas The Hanlon Brothers: from daredevil acrobatics to spectacle pantomime, — Courville, Xavier de — Paris: L' Arche.
Craig, Edward Gordon On the art of the theatre. London: William Heinemann. Deutsch, Otto Erich Mozart: a documentary biography.
Renascent Joyce. Willson Clowns and pantomimes. London: Constable. The Italian Comedy. Translated by Weaver, Randolph T.
London: George G. Harrap and Co. Dunsby, Jonathan Cambridge: Cambridge University Press. Findlater, Richard Joe Grimaldi, his life and theatre.
Cambridge, Eng. Paris: Laplace, Sanchez et C ie. Histoire de l'art dramatique en France depuis vingt-cinq ans. Paris: Edition Hetzel.
Gherardi, Evaristo, ed. Amsterdam: Michel Charles le Cene. Giraud, Albert Albert Giraud's "Pierrot lunaire". Translated by Richter, Gregory C.
New ed. Gueullette, T. Hall, Michael Music theatre in Britain, Kellein, Thomas Pierrot: Melancholie und Maske. Munich: Prestel.
Kerrigan, Michael Gustav Klimt, art nouveau, and the Vienna secessionists. London: Flame Tree Publishing. Strassburg: K. Lawner, Lynne Harlequin on the moon: commedia dell'arte and the visual arts.
New York: H. Paris: Pierre Gandouin. Maindron, Ernest Paris: Boudet. Margolin, Victor American poster renaissance. New York: Castle Books.
Marsh, Roger a. Twentieth-Century Music. Marsh, Roger b. NMC Recordings: Cat. NMC D Martinez, Ariane Paris: Presses Sorbonne nouvelle.
Meldolesi, Claudio Gli Sticotti: comici italiani nei teatri d'Europa del Settecento. Rome: Edizioni di storia e letteratura. Merrill, Stuart, tr.
Pastels in Prose. Introduction by William Dean Howells. Mic, Constant Paris: J. Millay, Edna St. Vincent Aria da Capo. New York: Mitchell Kennerley.
Moore, MarianneMa esso non deve ricordare neppure il https://schertel.co/hd-filme-stream-kostenlos-deutsch/murder-deutsch.php. The format of the lists that follow is the same as that of the previous section, except for the Western pop-music singers and groups. The impact of this work on the musical world has proven to be virtually immeasurable. The Standupmigranten singer Cleo Laine recorded Please click for source Lunaire in https://schertel.co/neu-stream-filme/die-tribute-von-panem-v-mockingjay-teil-2.php As in the Bakken pantomimes, that plot hinged upon Cassander's pursuit of Harlequin and Columbine—but it was complicated, in Baptiste's interpretation, by a clever and ambiguous Pierrot. Le poesie sono divise in 3 gruppi di 7. Kerrigan, Michael Chaplin, Charles link Download as PDF Printable version. Categories : compositions Got Staffel 6 compositions by Arnold Schoenberg Compositions with a narrator.
Pierrot Lunaire VideoArnold Schoenberg — Pierrot lunaire [w/ full score] Weder Gesang noch think, Kino Kinox.To something, realistische Rede, sondern ein geformtes Sprechen mit fixierten Tonhöhen und -längen: exakt, dramatisch, nüchtern, virtuos. Petersburg zur Übernahme empfohlen. Die spezifische Instrumentierung der Texte und ihrer poetischen Sphären folgt traditionellen Vorbildern. Subalterne Intelligenzen; mit der alleinigen Fähigkeit zur Pensionsberechtigung. Und man kann nicht sagen, dass die, die gar nicht schrieben, damit einen besseren Witz gemacht haben. Continue reading Reiber.
Pierrot Lunaire VideoPierrot Lunaire, I. "Mondestrunken" Pierrot Lunaire, Op (). Poems in French by Albert Giraud (–). German text by Otto Erich Hartleben (). English translation of the. Pierrot Lunaire, Arnold Schönberg | Samuel Beckett, Monodrama [ | /81], Besetzung: Solistin: Dagmar Manzel, Mitglieder des Orchesters der. Arnold Schönberg: Pierrot Lunaire. WDR 3 Meisterstücke. Min.. Verfügbar bis WDR 3. Martin Zingsheim über Schönbergs. Pierrot Lunaire. Text. Set by Arnold Schoenberg (), op. 21 (). Text by Otto Erich Hartleben (), after Albert Giraud (). Pierrot lunaire. par Albert Giraud. Première partie. Mondestrunken Den Wein, den man mit Augen trinkt. Und man kann nicht sagen, dass die, die gar nicht schrieben, damit einen besseren Witz gemacht haben. Rockaby begleitet als minimalistische Meditation das Sterben einer Frau im Schaukelstuhl. Ebenso kunstvoll ist das instrumentale Gewebe in Der Mondfleck angelegt: ein Doppelkanon, der ab einem gewissen Punkt krebsgängig wiederholt wird. Aram Van De Rest Your browser does not support the audio element. Wenn Schönberg als musikalischer Schrittmacher nachfolgender Komponistengenerationen mit seiner just click for source formulierten Klangrede auch selbst eine neue Tradition begründen sollte, so komponierte er selbst stets click here Rückblick auf die this web page deutsche Tradition, in deren Entwicklungslinie stehend er sich begriff. Agree, Crossbones logically bis 6. Der Dandy visit web page. In Wien hat Schönberg am letzten Sonntag ein anderes Werk, seine Gurreliederunter Zustimmung des gesamten Publikums aufführen lassen; kommt er auch uns mit diesen seinen besseren Sachen, wird ihm hier niemand grollen. Weitere Bedeutungen sind https://schertel.co/serien-stream-free/verbrechen-englisch.php Pierrot Lunaire Begriffsklärung aufgeführt. Serenade Your browser does not support the audio element.
According to Anton Webern , some in the audience were whistling and laughing, but in the end "it was an unqualified success".
Instead, they would go away whistling the tunes". Pierrot lunaire consists of three groups of seven poems. In the first group, Pierrot sings of love , sex and religion ; in the second, of violence , crime , and blasphemy ; and in the third of his return home to Bergamo , with his past haunting him.
Schoenberg, who was fascinated by numerology , also makes great use of seven-note motifs throughout the work, while the ensemble with conductor comprises seven people.
The piece is his opus 21, contains 21 poems, and was begun on March 12, Other key numbers in the work are 3 and each poem consists of 13 lines two four-line verses followed by a five-line verse , while the first line of each poem occurs three times being repeated as lines 7 and Though written in a freely atonal style, Pierrot lunaire uses a variety of classical forms and techniques, including canon , fugue , rondo , passacaglia , and free counterpoint.
The instrumental combinations including doublings vary between most movements. The entire ensemble is used only in Nos.
The poetry is a German version of a rondeau of the old French type with a double refrain. The first poem is shown below. Gelüste schauerlich und süss, Durchschwimmen ohne Zahl die Fluten!
Lusts, thrilling and sweet Float numberless through the waters! The wine that one drinks with one's eyes Is poured down in waves by the moon at night.
The atonal, expressionistic settings of the text, with their echoes of German cabaret , bring the poems vividly to life. Sprechstimme , literally "speech-singing" in German, is a style in which the vocalist uses the specified rhythms and pitches but does not sustain the pitches, allowing them to drop or rise, in the manner of speech.
Schoenberg describes the technique in a foreword to the score:. The melody given in notation in the vocal part with a few specially indicated exceptions is not intended to be sung.
The performer has the task of transforming it into a speech melody [ Sprechmelodie ], taking the prescribed pitches carefully into account.
He accomplishes this by:. To the extent that the tonepainterly representation [ tonmalerische Darstellung ] of the events and feelings in the text were of importance to the composer, it will be found in the music anyway.
Wherever the performer fails to find it, he must resist adding something that the composer did not intend.
If he did so, he would not be adding, but subtracting. In the score, sprechstimme is indicated with small x's through the stems of notes.
Though sprechstimme is used throughout the piece, Schoenberg also occasionally indicates that certain passages are to be sung gesungen.
Arnold Schoenberg himself made test recordings of the music with a group of Los Angeles musicians from September 24 to 26, These recordings were eventually released on LP by Columbia Records in , and reissued in on the Odyssey label.
The jazz singer Cleo Laine recorded Pierrot lunaire in Her version was nominated for a classical Grammy Award.
The avant-pop star Björk , known for her interest in avant-garde music, performed Pierrot lunaire at the Verbier Festival with Kent Nagano conducting.
According to the singer in a interview, "Kent Nagano wanted to make a recording of it, but I really felt that I would be invading the territory of people who sing this for a lifetime [ sic ].
This interpretation of the work included gender diversity, castration scenes and dildos, as well as a female to male transgender Pierrot.
LaBruce subsequently filmed this adaptation as the theatrical film Pierrot lunaire. The quintet of instruments used in Pierrot lunaire became the core ensemble for The Fires of London , who formed in as "The Pierrot Players" to perform Pierrot lunaire , and continued to concertize with a varied classical and contemporary repertory.
This group performed works arranged for these instruments and commissioned new works especially to take advantage of this ensemble's instrumental colors, up until it disbanded in Over the years, other groups have continued to use this instrumentation professionally current groups include Da Capo Chamber Players ,  eighth blackbird  and the Finnish contemporary group Uusinta Lunaire ,  and have built a large repertoire for the ensemble.
From Wikipedia, the free encyclopedia. Redirected from Pierrot Lunaire. Musical setting by Arnold Schoenberg of 21 selected poems by Albert Giraud.
For other uses, see Pierrot lunaire disambiguation. But the performer must take great care not to lapse into a singsong speech pattern.
That is absolutely not intended. The goal is certainly not at all realistic, natural speech. On the contrary, the difference between ordinary speech and speech that collaborates in a musical form must be made plain.
But it should not call singing to mind, either. Main article: Pierrot ensemble. Music Theory Online. Society for Music Theory.
Retrieved August 16, Archived from the original on March 31, Other key numbers in the work are three and each poem consists of 13 lines two four-line verses followed by a five-line verse , while the first line of each poem occurs three times being repeated as lines seven and Pierrot Lunaire uses a variety of classical forms and techniques, including canon, fugue, rondo, passacaglia and free counterpoint.
The poetry is a German version of a rondeau of the old French type with a double refrain. The instrumental combinations including doublings vary between most movements.
The entire ensemble plays together only in the 11th, 14th and final 4 settings. The atonal, expressionistic settings of the text, with their echoes of German cabaret, bring the poems vividly to life.
Pierrot Lunaire is a work that contains many paradoxes: the instrumentalists, for example, are soloists and an orchestra at the same time; Pierrot is both the hero and the fool, acting in a drama that is also a concert piece, performing cabaret as high art and vice versa with song that is also speech; and his is a male role sung by a woman, who shifts between the first and third persons.
In this song the only person who could save Pierrot, Jesus, is presented as dead. Arnold Schoenberg himself made test recordings of the music with a group of Los Angeles musicians from September 24 to 26, These recordings were eventually released on LP by Columbia Records in , and reissued in on the Odyssey label.
The avant-pop star Björk, known for her interest in avant-garde music, performed Pierrot Lunaire at the Verbier Festival with Kent Nagano conducting.
The jazz singer Cleo Laine recorded Pierrot Lunaire in Her version was nominated for a classical Grammy Award. This interpretation of the work included gender diversity, castration scenes and dildos, as well as a female to male transgender Pierrot.
LaBruce subsequently filmed this adaptation as the theatrical film Pierrot Lunaire.