Chapter

New Uses of the Voice: <i>Herzgewächse, Pierrot lunaire</i>, and Four Songs, Op. 22

Bryan R. Simms

in The Atonal Music of Arnold Schoenberg 1908–1923

Published in print November 2000 | ISBN: 9780195128260
Published online October 2011 | e-ISBN: 9780199848843 | DOI: http://dx.doi.org/10.1093/acprof:oso/9780195128260.003.0006
                   New Uses of the Voice: Herzgewächse, Pierrot lunaire, and Four Songs, Op. 22

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On December 1911, Schoenberg composed a song “Herzgewächse”, for soprano, harmonica, celesta, and harp. He chose “Herzgewächse” from Materlcink's early poetic ollection Serres chaudes. Using an elaborately metaphoric language, Marterlinck describes a soul shut off from life, trapped alternately in a hothouse, under glass, in a prison, aquarium, or in the depths of sleep. The practical effect of Schoenberg's theory upon “Herzgewächse” was in its instrumentation—no longer the piano or conventional orchestra. He began a more fundamental application of his theory of musical and poetic sound in Pierrot lunaire. The vocal compositions from 1911 to 1916 reveal Schoenberg's atonal style at middle age: nostalgic for its youth and ready to leap back into its former self but also compelled to face a future where the passions of youth had faded.

Keywords: Herzgewächse; Pierrot lunaire; Op. 22; Kardinsky; Maeterlinck; Op. 21

Chapter.  17806 words.  Illustrated.

Subjects: American Music

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