Matches in DBpedia 2014 for { ?s ?p Dreimal sieben Gedichte aus Albert Girauds "Pierrot lunaire" ("Three times Seven Poems from Albert Giraud's 'Pierrot lunaireTemplate:'"), commonly known simply as Pierrot Lunaire, Op. 21 ("Moonstruck Pierrot" or "Pierrot in the Moonlight"), is a melodrama by Arnold Schoenberg. It is a setting of 21 selected poems from Otto Erich Hartleben's German translation of Albert Giraud's cycle of French poems of the same name. The première of the work, which is between 35 and 40 minutes in length, was at the Berlin Choralion-Saal on October 16, 1912, with Albertine Zehme as the vocalist.The narrator (voice-type unspecified in the score, but traditionally performed by a soprano) delivers the poems in the Sprechstimme style. Schoenberg had previously used a combination of spoken text with instrumental accompaniment, called "melodrama", in the summer-wind narrative of the Gurre-Lieder, and it was a genre much in vogue at the end of the nineteenth century. The work is atonal but does not use the twelve-tone technique that Schoenberg would devise eight years later.. }
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- Pierrot_Lunaire abstract "Dreimal sieben Gedichte aus Albert Girauds "Pierrot lunaire" ("Three times Seven Poems from Albert Giraud's 'Pierrot lunaireTemplate:'"), commonly known simply as Pierrot Lunaire, Op. 21 ("Moonstruck Pierrot" or "Pierrot in the Moonlight"), is a melodrama by Arnold Schoenberg. It is a setting of 21 selected poems from Otto Erich Hartleben's German translation of Albert Giraud's cycle of French poems of the same name. The première of the work, which is between 35 and 40 minutes in length, was at the Berlin Choralion-Saal on October 16, 1912, with Albertine Zehme as the vocalist.The narrator (voice-type unspecified in the score, but traditionally performed by a soprano) delivers the poems in the Sprechstimme style. Schoenberg had previously used a combination of spoken text with instrumental accompaniment, called "melodrama", in the summer-wind narrative of the Gurre-Lieder, and it was a genre much in vogue at the end of the nineteenth century. The work is atonal but does not use the twelve-tone technique that Schoenberg would devise eight years later.".