pierrot lunaire op 21 von arnold schoenberg (8 Ergebnisse)

Softcover. Zustand: Gut. Gr.-8°. (2), 78 S. mit Noten, Orig.-Broschur. 24 x 17 cm. - Gering bestoßen, Papier gering gebräunt.

Publisher's printed wrappers. Size: 8vo. [i], 78pp.

Paperback. Miniature pocket score. Small sticker mark to front cover, top RH corner of titlepage, English translation stpaple to inside of rear cover, otherwise good condition (no markings to clean score). UE 5336. 78pp.

Soft cover. Zustand: Very Good. Softcover, 78 pgs. Orig. owner name at top of front cover, light age-toning.

Zustand: Very Good. Small folio. Glossy wrappers. 78 pp. Partially detached. Corrected edition.

Small octavo. Original publisher's printed wrappers. 1f. (title), 78 pp. Printed note to lower right corner of first page of music: "Stich und Druck von Breitkopf & Härtel in Leipzig." Small English antiquarian bookseller's label laid down to verso of upper wrapper. Disbound. Wrappers browned and detached, with slight loss to lower; spine lacking. Small stains to final page of music. First Edition of the study score. Rufer (E), pp. 38-40. GA B/24/1, pp. 35-36. The study score (U.E. 5336) is a photographic reduction of the full-size first edition, first issue score (U.E. 5334). Albertine Zehme (1857-1946), an actress born in Vienna and later active in Berlin, is now exclusively remembered as the person who commissioned and first performed Pierrot Lunaire. "Read the preface, looked at the poems. I am enthusiastic. A brilliant idea, entirely in my spirit. I would do it even without a fee." Website of the Arnold Schoenberg Center, Vienna (Schoenberg's diary). The poems are by the Belgian Albert Giraud (1860-1929) in the German translation by Erich Otto Hartleben (1864-1905).

Folio. Original publisher's textured ivory wrappers with titling gilt to upper. 1f. (recto blank, verso with "No. 22" and Schoenberg's autograph signature), 1f. (recto title, verso blank), [i] ("Vorwort" by Schoenberg), [i] (contents), [ii] (text of the 21 poems), 5-78, [ii] (blank) pp. Music engraved. With printed note to lower left corner of first page of music ("Copyright 1914 by Universal-Edition") and printed note to lower right corner of first page of music ("Stich und Druck von Breitkopf & Härtel in Leipzig"). Printed on fine handmade paper with a crown watermark. Housed in an attractive dark brown calf-backed dark ivory linen archival folding case with raised bands and titling gilt to spine. Signed by Schoenberg and with printed number "22" to verso of first leaf. Edges very slightly worn and browned. In exceptionally good condition overall. First Edition, first (deluxe) issue, limited to 50 signed and numbered copies, this no. 22. Rare. Rufer (Engl.) pp. 38-40. Ringer p. 314. Tetsuo Satoh pp. 13-16. Crawford p. 441. The first issue of the edition, shipped on July 30, 1914, was split: 50 copies were printed on high-quality laid paper, the remaining 200 copies were printed on regular paper. The copies on laid paper carry the printed note "Numerierte Vorzugsausgabe auf Bütten" to title, as in the present copy. Hitherto unrecorded is the fact that all copies of this issue bear the note "Stich und Druck von Breitkopf & Härtel in Leipzig" to the lower right corner of the first page of music. The note "Weag" [Waldheim-Eberle A.G.] to p. 78, mentioned in the Schoenberg Complete Edition (Abteilung VI, Reihe B, Band 24, 1, critical report by Reinhold Brinkmann), is found only in the second issue of 1923. Pierrot Lunaire, Schoenberg's setting of 21 selected poems from Belgian writer Albert Giraud's eponymous cycle, was first performed at the Berlin Choralion-Saal on 16 October 1912 with soprano Albertine Zehme as vocalist. "Schoenberg, who was fascinated by numerology, . 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, 1912. Other key numbers in the work are 3 and 13: 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 13)." Wikipedia "Pierrot Lunaire is one of the most representative works of the twentieth century, as much as Pablo Picasso's Man with the Guitar or James Joyce's Ulysses. As a creative effort in a single consistent style, as an artistic phenomenon, it stands alone among Schoenberg's compositions. The era of 1912, the sunset of a long epoch of peaceful construction in Central Europe, found an unmistakable expression interest in it." Stuckenschmidt pp. 71-2. "This melodrama is numbered among the unique, unrepeatable creative works which, both positively and negatively, point the way for, and mark the destiny of, the art of music. Seen in this lofty historical perspective, it takes its place in the line of works such as Mozart's Don Giovanni, Beethoven's Missa Solemnis or late quartets, Wagner's Tristan, Mahler's Song of the Earth, and Richard Strauss's Elektra. This is not a matter of drawing comparisons; when I place Pierrot Lunaire alongside the works just mentioned, it is only to point out that, like them, it was, in a sense, created at as crucial moment for music." Reich p. 79.

Quarto. Original publisher's printed wrappers. 1f. (title), 67 pp. Texts and Foreword by Schoenberg in German. Printed dedication to head of title: "Der ersten Interpretin Frau Albertine Zehme in herzlicher Freundschaft" Copyright 1923 to upper wrapper and title; copyright 1922 to first page of music. Plate numbers 5334.5336 to pages of text, corresponding to the full and study score editions. Upper wrapper browned, detached, stained at inner margin and frayed with slight loss; lower lacking. Light dampstaining to lower inner corners of first and last leaves. First Edition of the piano-vocal score, either first or second issue. Rufer (E), pp. 38-40. GA B/24/1, p. 39. "Parody assumes a very important role in Pierrot lunaire. This work, composed in 1912, before the framing choral scenes of Die glückliche Hand, consists of 21 poems set for speaker and chamber ensemble. Schoenberg had employed melodrama before in the summer wind narrative of the Gurre-Lieder. His highly stylized use of the speaking voice, for which he notated relative pitches as well as exact rhythms, proved an ideal vehicle for the Pierrot settings, which were conceived in what he described as a light, ironicsatirical tone. The rather modish verses, by turns grotesque, macabre or consciously sentimental, provide the occasion for presenting, with the detachment that the protagonist in Die glückliche Hand failed to achieve, human activity as a shadow play in which menace and absurdity are on a level. The focus shifts at random, as in a dream, between the lunatic activities of the clown, impersonal scenes, the poet in the first person and the self-absorbed artist, who is not spared. Within his new style Schoenberg parodies the characteristics of a great range of genre pieces, very often retaining the ghost of their formal layout as well. In music the lines dividing ironic from direct reference are often hard to detect. The peculiar fascination of Pierrot lunaire lies in this ambiguity. The nightmare imagery of some of the poems might scarcely be admissible without ironic distancing, yet the music often strikes with authentic horror. Mockery constantly shades into good humour, exaggerated pathos into the genuinely touching." O.W. Neighbour in Grove Music Online. Albertine Zehme (1857-1946), an actress born in Vienna and later active in Berlin, is now exclusively remembered as the person who commissioned and first performed Pierrot Lunaire. "Read the preface, looked at the poems. I am enthusiastic. A brilliant idea, entirely in my spirit. I would do it even without a fee." Schoenberg in his diary.