Pythagoras and Pierrot: An Approach to Schoenberg's Use of Numerology in the Construction

of 'Pierrot lunaire'
Author(s): Colin C. Sterne
Reviewed work(s):
Source: Perspectives of New Music, Vol. 21, No. 1/2 (Autumn, 1982 - Summer, 1983), pp. 506534
Published by: Perspectives of New Music
Stable URL: http://www.jstor.org/stable/832890 .
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PYTHAGORAS AND PIERROT

an approach to Schoenberg's use of numerology
in the constructionof 'Pierrotlunaire'
Colin C. Sterne
"It is notsuperstition,
it is belief."'Thus did ArnoldSchoenberg
he attached
defendtheimportance
tothepowerofnumerology
andtoits
influence
on hislife.Hisfearofthenumber
thirteen
iscommonknowledge.
markedhisbirth
13,
So, too,is thewayinwhichthatnumber
(September
is saidto
13, 1951,atage 76). Schoenberg
1874) anddeath(Friday,
July
haveobserved
theflagging
ofhiscreative
thecompositional
energy
during
at
whose
were
measures
numbers
thirteen
or
a
itsmultiples,
process
circumstance
thatreportedly
led to his numbering
of measuresin his
as 12, 12a, 14. We are toldthateventhechoiceofa name
manuscripts
forhis son, LawrenceAdam,was made onlyafterRoland,the name
forhim(and an anagramof hisfather's
intended
first
originally
name),
wasfound
tobe numerologically
unfavorable.
almost
pathoSchoenberg's
of hisdeath,
producedforebodings
logicalfearofthenumberthirteen
itabout.
tobringing
and,one suspects,
mayevenhavecontributed
Nor has the numbersymbolism
of Schoenberg'sPierrotlunaire
It has been notedthatforhis Opus 21
been completely
overlooked.
poemsas texts(translated
Schoenbergchose21 ofAlbertGiraud'sfifty
fromFrenchintoGermanbyOttoErichHartleben),
givingtheworkthe
Dreimal
sieben
title
Gedichte
aus
ALBERT
complete
GIRAUDsPierrot
to compose it in the thirdmonthof a year
lunaire,and beginning
thesymbolic
containing
digits21 in reverseorder,1912. In spiteofall
littleattention
has been focusedon thepartthatthe
this,surprisingly

507

determinants
withintheworknumbers3 and 7 playas structural
title
Schoenberg's obviously
suggests.2
something
notbythecrisp,
Pierrotlunaireis indeedgovernedby numbers,
but by the more shadowy,moonlit
brightnumbersof mathematics,
Some knowledgeof basic numerological
numbersof numerology.
themusic.3
is
then,before
procedure essential,
approaching
thatnumbers
The numerologist
is convinced
and numberrelationtheuniverse
andthatthewell-being
ofan individual
depends
shipsgovern
He traceshisbeliefback
uponhisbeinginaccordwithcosmicvibrations.
theEgyptians,
toantiquity-to
Hebrews,
Chaldeans,Phoenicians,
Chinese,
itis Pythagoras
towhomhegivescredit
forestablishing
and Hindus--but
a
thesystemin theWest.As to thepowerof numberson individuals,
are thetwoareas wheretheinfluence
of
person'snameand birthdate
is moststrongly
felt.
To determine
theseveralnumber
vibrations
numbers
ina person'sname,theletters
ofthealphabet
arenumbered
consecutively
from1 through
26. Inall aspectsofnumerology,
however,
double-digit
numbers
are reducedto single-digit
numbersbyaddingthedigits.The
ofthealphabet,
tenth
letter
J,forexample,is notnumbered
10, but1. The
chartwilldemonstrate
theprocedure.
following
1

A B C D E F G H I
J (K) L M N O P Q R
S T U (V) W X Y Z
Notethattwoletters,
K andV,are parenthesized.
Theyarethe11th
and22nd letters
ofthealphabetrespectively,
andtheyretain
thosevalues.
to
the
11
22
Exceptions
generalrule, and are neverreducedintraditional
andare referred
toas masternumbers.
numerology
The applicationof the chartmay be demonstrated
by using
name:
Schoenberg's
ARNOLD
195634
(=28 = 10=)1

SCHOENBERG
1386552597
= 7
+(= 51=)6

508

The processis thatofassigning

each letter
inthenameitsnumber
at
one
the
for
first
name
and one forthelast,
value,arriving twosums,
those
sums
and
at
reducing
byaddingdigits, arriving thefinalsum,7thebasicnumber
valueforSchoenberg's
name."Expression
number"
is
term.Butthereare additional
thenumerological
numbers
to be derived
froma person'sname. Here is a listof those pertaining
to Arnold
Schoenberg:4

FirstName LastName Total

= 7
+
Basic number
1
6
(expression)
+
= 11
Consonants
3
8
(quiescent
self)
+
Vowels(soulurge)
7
7
= 5
= 1
Firstinitial
1
(cornerstone)
+
Totalnumber
ofletters
1
= 7
(namecycle) 6

The procedure
forarriving
at thebirth
datenumberis notpertinent
to thematter
at
Nor
are
the
numbers
hand.
associatedwith
immediately
theplanets,
withcolors,withgems,etc.Butnumbers
are also associated
withthenotesofthescale.The traditional
one gearedto the
procedure,
diatonic
oflittle
use toSchoenberg.
Hismodification,
scale,wasobviously
inPierrot,
fromitsapplication
resultsinthe
to be substantiated
presently
the
for
chromatic
scale:
set
of
values
number
following

C C# D D# E
1 2 3 7 5

F F# G G# A A B
6 7 8 9 1 11 3

Itwillbe seen thatSchoenberg'sprocedureof assigningnumber

tothatusedforthealphabet.
valuestoscaledegreesis similar
A,thetenth
thetwelfth
to
and
reduced
become
is
noteinthechromatic
1,
B,
scale,
note,becomes3. A#.as expected,is notreduced,butretainsitsmaster
11.
number,
of7 to D4, thefourth
is theassigning
however,
unexpected,
Totally

509

of7 forthatnoteis notdifficult

todiscover:
note.Schoenberg's
derivation
notein a chromatic
scale builton C, butthe
D#is notonlythefourth
sixteenth
as well.And 16=6+1= 7. Butthatcan Schoenberg'sreason
be? The mostlogicalexplanation
hastodo withthatfateful
13. In
number,
13=4. AndSchoenberg
seemsdetermined
toavoid13, even
reduction,
in itsreduction.
Anadditional
factor
maybe thatD#as E b has particular
forthecomposer:as Es in Germanitis hissignature
note,
significance
the
initial
of
his
last
name.
this
To
note
representing
important a 4
give
will
valuewouldbe unthinkable.
be
occasion
to
return
to D*-Eb
(There
andSchoenberg's
musicalsignature
bonusesresult
later.)Twoadditional
fromthebanishment
of4 fromthecanon:(1) thescale is thusmade
withthealphabet,
consistent
bothhavinga totalnumbervalueof9, and
the
scale
contains
a
ofSchoenberg's
double
favorite
numbers,
portion
(2)
and
7.
1,3,
In thetitleofPierrotSchoenbergindicatestheimportance
in the
workoftwonumbers,
3 and 7. The importance
oftheirproduct,
21, is
also implied,
and although
21 does indeedassumesomeimportance
in
itmustbe remembered
thatnumerologically
21 =3. Ithas been
Pierrot,
ofPierrot,
21, is reversed
pointedout,forexample,thattheopusnumber
inthelasttwodigitsoftheyearofitscomposition,
1912. Butthisis notthe
Theterm"retrograde"
isnota partofthenumerologist's
point.
vocabulary.
Ratherare 12 and 21 relatedbecause bothare 3 values.On theother
inPierrot.
Theaddition
ofnumbers
hand,thesumof3 and7 is important
after
an
essential
of
1.
7+3=
10=
is,
all,
part numerology:
Numerologists
oftenpointout,though,thata numberarrivedat by reduction
never
loses its originalimprint.
A 1 arrivedat through10, for
completely
of 10. Thisfactwillfigureto some
example,stillretainsthevibrations
extent
intheanalysisofPierrot.
Thereare,then,threenumbers
thatassumeprimary
in
importance
1.
and
21
Numbers
and
10
in
lurk
the
3, 7,
Pierrot:
background,
making
theirpresencefelt,
butnotbeingputtouse exceptas 3 and 1.
Two othernumbers
inPierrot
thatare notsingledoutinthe
figure
titleof thework:the masternumbers,11 and 22. Thereare several
reasonsfortheirappearance.The firstof thesehas to do withtheir
Itmustbe keptin mindthat3, 7, and 1 are
numerological
significance.
notmerely
numbers
tonumerologists.
numbers.
Theyarenoteven"lucky"
Rather
are theypowerful
forcesforgood or evil,exerting
theirinfluence
on theuniverse
andprofoundly
thelivesofindividuals.
Oratleast
affecting

510

Herearemeanings
werethatforArnoldSchoenberg.
for3, 7, and 1
they
thataregenerally
upon
bynumerologists:
agreed
therealmofartistic
3 - artist,
expression
7 - priest,
therealmofspirituality
therealmof
1 - creator,
innovator,
pioneer,
ofinnovation
invention,
toArnoldSchoenThe threenumbers
maybe seenas appropriate
to Pierrot
are
But
more
appropriate
important,
they particularly
berg.
and thespiritual
wheretheart-artist
lunaire,
relationship
aspectofthat
theme.
is a primary
relationship
11 and22 havethesemeanings:
therealmofartistic
11 - idealist,
dreamer,
visionary,
inspiration
onewhouses hispowerto benefit
22 - practical
idealist,
mankind
of
tothesubjectmatter
ofthesenumbers
Again,theappropriateness
final
the
22
11
and
flavor
of
The
is
Pierrot apparent. strong
throughout
thefirst
sectionof"Mondestrunken,"
suggestsSchoensong inPierrot,
there.5
described
figure
berg'sviewofthePoet-Pierrot-Schoenberg
because itfiguresamongSchoenNumber11 is also important
itis ofsomeinterest
tonotethatit
And
name
numbers.
own
finally,
berg's
is associatedwithsomeoneelse who figuresin Schoenberg'swork:
is 7,
number
is 11,whoseinitial
whosetotalnamenumber
Pierrot
himself,
7 letters.
andwhosenamecontains
The 3X7 poemsofAlbertGiraudwhichShoenbergselectedfor
thatofthe
thepoeticform,
lineslong.However,
are each thirteen
Pierrot
to
to
come
ever
from
the
saves
gripswith13,
rondeau,
having
composer
sevenand
lines
as
are
each
of
sincelinesone and two
repeated
poem
The resultis only10
and lineone is repeated
againas linethirteen.
eight,
hisOpus
linesineach poem.Schoenberg's
composition,
(= 1) different
21 (=3), wascomposedin1912 (=3), whenthecomposerwas37 years
on Tuesday(day
workonthecomposition
old(= 10= 1). He commenced
20 of
he
had
12
and
March
of
the
3
completed
3)
(=3),
(month
week),
until
the
the21 songsbyMay30. He delayedcompleting work,however,
theremaining
hecouldcomplete
7)
(month
songonTuesday(day3), July
In
his
21
to
12
and
of
the
two
numbers
dates,
9,
(=3).6
up
adding
9--the
theFrench"Pierrot
retains
Germantitle,
otherwise
Schoenberg
lunaire"-are called
and a reciter
ineach word.Fiveinstrumentalists
with7 letters

511

forma groupof7.
forto perform
thework,and they,plusa conductor,
and
instruments
alternate
Withthethreespecified
(piccolo,bass clarinet,
becomes
this
number
viola),
7+3=-10=1.
on the
A mostimpressive
displayofPierrotnumbersis presented
ofwhichmustcertainly
havebeen
1914 edition'stitlepage,theformat
ofletters
and ofwordsineach of
overseenbythecomposer.The number
numbers
ofthecomposition:
itslinesis usedto producethesignificant
words
perline

DERERSTENINTERPRETIN
ZEHME
FRAUALBERTINE
INHERZLICHER
FREUNDSCHAFT

3
3
3

letters
perline

20=2
18=9
24=6

17=8-

=22

DREIMAL
21=3
SIEBENGEDICHTE
AUSALBERTGIRAUDS
16=7
PIERROT
LUNAIRE
14=5
VON
OTTO
ERICH
28=1
(DEUTSCH
HARTLEBEN)

3
3
2
5

=16=

16=7 -

31
7
6

= 16=

eineSprechstimme
FOr

10=1 -

=11

(MELODRAMEN)

ARNOLDSCHONBERG

1 = 4von

19=1

Klavier,
Fl6te(auchPiccolo),Klarinette
(auchBass- 41 =5
undVioloncell 40=4
Klarinette),
Geige(auchBratsche)

10=1
3

15=6

10=1
Op.21

512

Eventheindividual
share,forthemostpart,inthis
poemsofPierrot
numberplaywithwordsand letters,
and one factorin thecomposer's
choices fromHartleben's
wouldseem to have been
translations
fifty
whether
or nottheirnumbers
fitted
hisownscheme.The textof"Mondethefirst
well:
ofthesongs,fitsextremely
strunken,"
words
perline
7
7
4]7
3J

Den Wein,denmanmitAugentrinkt,
GiesstNachtsderMondinWogennieder,
UndeineSpringflut
uberschwemmt
Den stillen
Horizont.

16=
7
4]
5
7
7

letters
perline
27=9
32=5
29=11
18=9
34=7

undsOss,
Geloste,schauerlich
ohneZahldie Fluten!
Durchschwimmen
Den Wein,denmanmitAugentrinkt,
GiesstNachtsderMondinWogennieder.

25=7
31= 4
27=9
32=5
25= 7

61
6 257
5
8
7

Der Dichter,
dendieAndacht
treibt,
sichan demheilgenTranke,
Berauscht
Gen Himmel
wendeterverzCckt
er
Das Hauptundtaumelnd
saugtundschlorft
Den Wein,denmanmitAugentrinkt.

29=1 1
31= 4
25=7
37= 1
27=9

32=5
19=10=1
themusicalprowillalso serveto demonstrate
"Mondestrunken"
cedure of ArnoldSchoenberg.The threestanzasof Giraud'spoem
theclose
imposeon thepieceitsoveralldesignofthreemusicalsections,
ofeach sectionbeingmarkedbya ritard.
SectionI is 14 (=5) measures
and SectionIIIis
in length.
SectionIIalso consistsof14 (=5) measures,

513

11 (=11) measuresin length.The totallengthof the piece is 39

butitsnumerological
is 5+5+11 =21=3.
length
(=12=3) measures,
the
and
not
of fivenumbers,
The influence
however,
1,3, 7, 11,
22, isfelt,
ofitsthreesections,
ofthepieceand inthelengths
onlyinthetotallength
ofeveryone ofitscomponent
butinthelength
phrasesas well.The time
spanofeach phrase(andeach rest)is measuredinunitsofeighthnotes,
choiceof
notes.Schoenberg's
sixteenth
notes,or,lessfrequently,
quarter
within
a
theunitofmeasureseemstodependon thepredominant
activity
witha phrasewill
ofthe linesconcurrent
phrase.Attimestheactivity
determine
itsunitofmeasure.
Within
each phraseeach notewillhavea pitchnumbervalue,and
willbe thepitchnumber
thesumofthesevalues,inappropriate
reduction,
valueofthephraseas opposedtoitstimespanvalue.
setsofnumbervaluesare generated
Two additional
bythemusic.
The first
ofthesederivesfromthemeasurement
ofdistances
between
the
ofa phrase.Appliedtochords,themeasurement
is that
individual
pitches
ofthechord.These
ofthedistancebetween
eachofthepitchcomponents
The secondsetisa
valuesarenormally
measuredinsemitones.
intervallic
of the pitchesthatgo to make up a
simplequantitative
numbering
ofa line.
particular
segment
To sum up,thereare fourelementsin theclosed number-system
inPierrot:
usedbySchoenberg
1. Pitchvalues,derivedfromthe numbersas assignedby
tothetwelve
notesofthechromatic
scale
Schoenberg
2. Timespanvalues,derivedfrommeasuring
thelength
ofa
musicalstatement
in
sixteenth
notes,
notes,
(or rest) eighth
orquarter
notes
3. Intervallic
values,derivedfrommeasuringthe distances
betweenpitches,in eithera melodic line or a chord
the unitof measurement
formation,
normally
beingthe
semitone
4. Quantitative
from
thenumber
pitchvalues,derived
counting
ofpitches
thatgo tomakeupa particular
musicalstatement
The processwillbe clarified
ittoSchoenberg's
byactually
applying
music.A scoreof"Mondestrunken,"
a
containingnumerological
analysis,
forms
an integral
Inpursuit
article.
ofclarity,
partofthepresent
onlyslurs
andphrasemarkings
havebeenretained
withthenotesofeach part,such
as thoseofdynamics
and tempohavingbeeneliminated.
The
markings

514

partforthereciterhas been beamedin orderto makephrasesmore

and Schoenberg'snotestemcancellations
in thatparthave
apparent,
beenremoved.
Numbervaluesforthetimespanofeach phrasehavebeenplaced
belowthe staff,
thoseforpitcheshavebeen placedabove,withtotals
circledforemphasis.Inextended
thoseofthereciter,
phrases,
particularly
ofsmaller
subtotals
unitshavebeencalculated
wheretheyareappropriate.
Eachsubtotal
is marked
with
a semicircle.
Finaltotalshavebeencomputed
from
themandcircled.7
"Mondestrunken"
beginswitha quasi-ostinato
figure
playedbyviolin
and piano.The violinfigure
is one of3 notes.Eachofthetwopitchesin
thefigure,
F#and D#,has a pitchvalueof7, and 3X7=21 =3. The 3
withtheirinitial
rest(= 1), are repeated
eighthnotesofthefigure,
eighth
fourtimes,thereby
a timespan of 16=7 eighthnotes.The
occupying
is 3 semitones.
rangeofthefigure
(D#-F#)
the
is
a figure
of7 notes(precededbya
Meanwhile, piano playing
=
sixteenth
The
of
rest
these
value
notesis9+5+1 +3+
single
pitch
1).
11+2+8=39= 12=3. The fourrepetitions
ofthefigure
occupya time
of
16=7
notes.
The
the
of
span
eighth
range
figure,
c"#-g"'#,measured
insemitones,
is 19= 10= 1. Alternatively,
theinterval
C#-G#ifconsidered
7
within
an octave,represents
a distanceof semitones.
The unreduced
sum of the pitchesis 39-the same figureas the totalnumberof
And its intervallic
measuresin "Mondestrunken."
value,measuredin
is4+4+2+4+9+6=29=
11. Butinthisparticular
semitones,
instance,
measurement
alternative
can be madewiththeunitofthe
an interesting
wholetone:Go to E=2 wholetones,E toC=2 wholetones,C to D= 1
wholetone,and D to Bb=2 wholetones.Withthesumthusfarat 7, a
is thenmadetothesecondofthetwoavailablewholetonescales,
switch
and the finalC# to G=3 wholetones.The resultis 7+3=10=1.
ofthe7 notesinto5+2 leadstoanother
revelation.
thisdivision
Accepting
=29=
first
five
notes
is
9+5+1+3+11
The pitchvalueofthe
11, and
thatofthefinaltwonotesis 2+8= 10. 11+10=21.
theflute
makesan
Beforetheviolinandpianofigures
areconcluded,
with
time
of
10
rest
a
a
span
(=1) eighths.His line
entryfollowing
and thepitchvalueofhisfive
occupiesa timespanof 10 (=1) eighths,
The intervallic
valueof his phrase
notesis 1+11+1+7+1=21=3.
whenaddedtothe7
is 14=5, a subtotal
which,
(measuredinsemitones)
in 12= 3.
valueofhissecondphrase,results

515

before
The reciter
witha
entering
delaysfora timespanof7 eighths
Itspitchvalueis 11 +4= 15
phrasewhosetimespanis 21 (=3) eighths.
thetotalof
=6, butthatofthefollowing
phraseis 22+6=28=10=1,
thetwophrasesbeing6+1 -7. The intervallic
valueofthefirst
phraseis
while
of
the
is
7+4=
11. The
that
second
49=13=4.
34=7,
phrase
second phrase,incidentally,
since it beginswiththreesixteenth
notes
a sixteenth
madein
rest,musthaveitstimespanmeasurement
following
sixteenths.
Thatvalueis 39 12= 3.
The quantitative
areas
pitchvaluesinSectionI of"Mondestrunken"
follows;
Flute
=3
5+(13=)4+(14=)5+(16=)7=21
Violin
(12=)3+(28=)1 + 1+ 11= 16=7
Reciter
(31 =)4
Piano
(28=)1 +(19=)1 +9+(34=)7+(12=)3+(14=)5=26=8
The partforthereciterin SectionI contains31 pitches,
a figure
whichat first
seemsdisappointing.
In measure8, however,
Schoenberg
takesan unusualaction:he inserts
an eighthrestbetweenthesyllables
Thiscaesuranotonlyproducesan unexpected
"Spring"and"flut."
pitch
of
value 22 atthatpoint,butalso dividesthelineinto21 pitchesplus10
3 and 1 arethusthetwoquantitative
values.
pitches.
Thetotalquantitative
valueforthesectionis22. ThetotalforSection
II is also 22, andthatforSectionIIIis 11. 22+22+11 =55=10= 1.
Boththefluteand thereciterbeginand end theirphrasesat the
of"Mondestrunken"
on thenoteA (= 1) and pivotaroundthat
beginning
is theveryfirst
noteof thepiece-the piano's
pitch.Of moreinterest
note
That
marks
the
ofeach ofthethreesections
G#
opening
beginning
ofthesong.Itsnumber
valueis 9, and itfunctions
thus.G#is,however,
notonlytheninth
chromatic
note,butnote21 as well-a fitting
keynote,
then,tothesongandtotheentire
composition.
The procedure
to be observedin"Mondestrunken",
as itcontinues
to unfold,is the procedureforthewhole ofArnoldSchoenberg'sPierrot
lunaire.1, 3, 7, 11, and 22 retaintheircontrolthroughout
thecomposition.
Whatis fascinating,
ofapproachesto thosekey
however,is therichvariety

516

PartII,thatjourney
intothedarknight
ofthesoul,summons
numbers.
up,
as mightbe expected,
of
13.
The
malevolence
of
frequent
appearances
it
before
is
thatnumberis feltonlybriefly,
transformed
however,
swiftly
intosomething
lesssinister.
ExamplesaretheopeningpianonotesofNo.
in No. 9 (8+5), thefirst
8 (5+8), thefirst
twonotesofthereciter
two
inNo. 12
chordsofNo. 10 (8 +5), thefirst
twonotesofthereciter
string
inNo. 13 (6+ 7).
twonotesofthereciter
(5+8), andthefirst
thepoetry,
As befits
therearemorefelicitous
appearancesofnumber
in PartIll.Two ofthem
5 (freedom,
change,accordingto numerology)
soundsofthe
(5+5=10=1) inthepianopartare thelastinstrumental
in
are
one
of
musical
Schoenberg's
signatures,
piece.They precededby
a multi-layered
one (A,S, AS,andA. SCHoenBErG)played
thisinstance
inmeasure28 (= 10= 1) ofthefinalsong.
bythepianoand occurring
Butcertainly
bynowthepointhas beenmade:numbersymbolism
a
ofthisextraordinary
composition,
playsa crucialroleintheorganization
and one that
rolethatSchoenbergwas carefulto pointout in thetitle,
ofthework'sstructure.
cannotbe ignoredinanythorough
study
inspiteofthefactthatthetitleofPierrot
lunaireisthesingle
Finally,
inthestructuring
hisuseofnumerology
instance
ofitscomposerindicating
Used
is notat all peculiarto thatcomposition.
ofa work,theprocedure
the
at
least
as
as
Chamber
Opus 9,
early
Symphony,
systematically
as a structural
devicein
tobe usedbySchoenberg
continued
numerology
theperiodSchoenberg
theveryendofhislife.Throughout
hismusicuntil
remainedloyalto thenumbersused inPierrot
lunaire:1, 3, 7, 11, and
this
22. Butwithastonishing
versatility meagertroupeassumesinnumervariedsettingsand withan ever changing
able roles in constantly
toSchoenberg's
musichas gone
cast.Thattheircontribution
supporting
theprevailing
number
is mostunfortunate.
unnoticed
euphony
Overlooking
forexample,has ledto frustration
in a worksuchas Erwartung,
on the
of
those
critics
whose
search
has
been
for
a
more
conventional
part
diligent
oforder.
system
of all, even Schoenberg'stwelve-tone
Perhapsmostastonishing
musicretainsthisindispensable
second layerof numerological
order.
The rowmayproposethesequenceinwhichpitchesareto be usedina
but rhythms,
cadence points,
composition,
particular
phraselengths,
chordformations,
androwtranspositions
noterepetitions,
sectionlengths,
notbytherow,butbythenumber
valuesofnumerology.
areall regulated,
willrevealthem
rowsthemselves
ofSchoenberg's
Indeed,an examination

517

to be, notarbitrary
oftwelvenotes,butthecarefulintegration
arrangements
ofthenumbervalues ofthosenotes.Itfollows,then,thatto emphasizethe
numbersof the row in thislatermusic,as has been done, and to ignore
themystical
is to projecta seriouslydistortedimage
figuresofnumerology
the
of
composerand hiswork.

NOTES
(1) QuotedbyWalterRubsamenin "Schoenbergin America,"The Musical
vol.XXXVII,
no.4, October,1951.
Quarterly,
in The
"Pierrot
lunaire,"
published
(inhisarticle
(2) GeorgePerle,forinstance,
of Music,edited
Commonwealth
byGustaveReeseand Rose Brandel,The
that"Schoenberg'suse
FreePress,NewYork,1965) makesthestatement
Sinceeachofthe
ofmagicnumbers
has,ofcourse,no musicalsignificance.
it
number,
lines,an unlucky
perhapshe thought
poemsconsistsofthirteen
wellto organizethe wholeaccordingto two luckynumbers,threeand
seven."
is suppliedfromYourDaysAre
on numerology
(3) Muchoftheinformation
NumberedbyFlorenceEvylinn
Campbell,M.A.,The Gateway,Ferndale,
1931. There are manymore modern,more systematic
Pennsylvania,
handbookson thesubject,butthisrather
a classicinits
quaintpublication,
as itwas practiced
field,reflects
quarterofthe
numerology
duringthefirst
theperiodwhenSchoenberg
musthavefirst
becomeinterested
init.
century,
(4) The composerusedtheoriginal
spellingofhisname,"Schonberg,"
during
theperiodofthecomposition
ofPierrot.
The changeto"Schoenberg"was
madesoonafter
hisarrival
intheUnitesStatesin 1933. The name
evidently
numbersfortheoriginalspellingare presented
belowforcomparison.
In
the
raw
values
have
been
used
rather
than
computing expressionnumber,
reducedones inordernotto concealtheimportant
total,11. ArnoldFranz
Walter
hisrarely
usedfullname,has a consonant
number
value
Schonberg,
of13.

518

ARNOLD
195634
Expression
Quiescentself
Soul urge
Cornerstone
Namecycle

SCHONBERG
138652597
FirstName LastName Total
28 (= 10) + 46 (= 10) = 74= 11
11
+
3
8
=
= 18=9
+
7
11
=1
= 15=6
+
9
6

withthepoetis strongly
suggestedbythemusic.
(5) ThatSchoenbergidentifies
Firstofall,thecello,havingremainedmuteduringthefirst
twosectionsof
the
mention
with
an
at
first
of
enters
"Mondestrunken,"
impassioned
song
thepoet.Solidlygroundedbya 3-notepedal(10= 1), and withtheviolin
with11's untilitfinally
comesto
aboveit,thislineis saturated
soaringairily
chordofthefinalbar,played
restwithfivepizzicatochords.The four-note
twice,consistsof the notesC, B (H in German),D' (read as Eb, S in
thatreducednumbers
thesignature
A. SCH. Recalling
A-forming
German),
the
is strongto assignA
stillretainsome oftheiroriginal
flavor, temptation
the
chord
as
thevalueof 10 here,thereby
reading
1+3+7+10=21--a
thepiece.Inthe
thathavecontrolled
as itwere,ofthenumbers
summation,
finalchord,a
to
the
been
on
that
has
score,
temptation
yielded
analytical
valueof
chordthatthenhas,notonlya pitchvalueof21, butan intervallic
21 as well.
(6) The datesare fromJosephRufer,The WorksofArnoldSchoenberg:a
and Paintings,
D. Newlin,
tr.,St.
Writings,
CatalogueofHis Compositions,
New
Martin's
1962.
Press,
York,
number
valueshavebeenentered
theintervallic
northequantitative
(7) Neither
in theanalytical
score.To havedone so wouldhavebeento producean
forcounting
Thentoo,theprocedures
indecipherable
jumbleofnumbers.
so
after
intervals
notesand measuring
all,simpleenough as to hardly
are,
to
as an attempt
call forguidance.This actionis notto be interpreted
values.On the
or quantitative
ofeitherintervallic
minimize
theimportance
forexample,wheretheintervallic
Thereare instancesin Pierrot,
contrary.
valuewouldseemto takeprecedenceoverthepitchvalue.Such a situation
ofthetheme,
existsinthepassacagliathemeofNo.8, wheretheheadmotive
a significant
is
not
Two
a
of
5+8+7=20=2.
has
value
E-G-Eb,
pitch
is
value of thesame motive,
numberin Pierrot.The intervallic
however,
3+4=7.

Mondestrunken
a numerological analysis

SEcroM
I

ff 117

FLUTE

>0 =0

=
7

,,

-4

12t

VIOLIN

6 =

tI

in6

CELLO
1

RECITER
L

IUptb=

12
59
l2= =
:
I

DEN

5
WEIN,

11
DEN

x0=

--

--

! "==

4
J1

it1

MAN MIT

AIU.EN

9=

TRINKT,

GIESST

9 138

f11 7

7'=

= 10-

S3

11

UNDEINE

7=

2
Cz
SPRING-

FLUT

USER-

11 9

.7

31=110=

2 3 3 9

98

2339
6666663

i1 8 2 6

82

7 2 3 391 i

7
SCHWEMMT
9l w I

3
DEN

5'8= f = 13 = (

fl=

7513112

159

1= 172=

74=,

5 1 2 11

112 8

=3

1 7 ~ 3 7 7=

FLAG-.

5
SIlL -

'--{-+-+
fog 0=

5 9 1 3=
LEN

Hoi -

P
----------------

ZONT

12=
+
S5

7
3

2
1

53

7=

3=

=3

1=3

S=

= )

Z 3 7

10.4 =

.19

-&

NACHTS DER

3
MOND

IN

W0 -

2
CN

27

9)

1
31

NIE-

DER,

,9

=@

L0

--=10=

5 7 7 3

2 5 =

92

SIecT I = 14,ArS= 5

TIMESPAN=i4J

=
=10=1

Sect~oN
11

FLvrE
If5>
,i

tor

7lz 8
1

~~

lof,

'

7=

~F
,

VIOUN

79

Cf

f 3

39=Iz=?

,L

@,

&=

r1Iz

tf

RCITER

76
'= .

f"t
"?u:.

7 7 311
1I
9I 153I(of 7 7
.

. . ..OE,

L 4 towIa I L
W
- W.-7
f 7

I,

7=

9-.

.,
2 3

,,

f1f I2

9s5

2 11f

0o=

17
7

9-

9f0=

5
10=

/
G-

43774.4.

11=

if

57
I

3 7 7f
4 ,577
= iZ = (5

1 9

SCAU

ER
UIC

,"

".

32.
-., .....5

?1 1 & 7=3=t4 7
o=1
19t
(=

21

UND SUs,

LU- 15=
STE,

1
DURC

I1

1=

67=

S+?t

93235

I- o;

7 11 1=

97

S= @ 3O
3?

973

if

33 z

OHNE
ZAHL
3CHwlMMEN

II
.o

2 ( 5 77=
7 0

DIEo FLU

=lo
i

9=j197

3 =

SfI

9=

4 =

519

7
79

TEN DEN
MiT
MAN
AruaN
WEIN,
trJ

I=39ft

91
17
7*1
7f

=
f97it to
I1I
II39
if=(D9f
=i =(s

8=F
21=5

=(
32
f=

TAINKT,

GIESST

- io-

b,

77
5=7=
f=3

6 9

NACHTS

DER MOND

IN

- ---

=1=(
57

W
9== - =

OOEN

26

S7=

I 8

l=(3
=
19=lo
J9=
-k

5 393=

ii -------- 9)

oiE-

]
f

=(f
41

11 7

I
Iow~oP

DER.

7=

1 9

7=
/#

7 5

34,= (

1 =

so=(lo

9q=
ift=
(&
l'=(

1 9 =
1s=(.

7=

3 3 3

s-=.ief-=ie

1=
5s=(9

7 1 3

52) = o=

O
28

27

71 3

54 C7= 1T=

11

7 1 7

&

33 t12
95=

SCTiN
IAI

=
OAKS
=7

='14=
= 70
TiMSPAN

SICTIOC9

112 5=

1 (

C,,

LA)
Vauw

-50)

CEUO
1=9I
"

2,

Rec

rr

4(

I 1(! 0409

ft

~5--"-O

7T

"I
DEN

1 3 9=
299=

t
DIE

5
DACIIT

DKHTER,

? =
1
7lop
s

1=

6 =

:?

7
7

T,
TRI

5 2 7

I,

AN-

117

F
BLr-

' "= "

9 I

7= 12

RAUSCNT

AN

DEt

HAILGEN

SC?

1
f i7

i
(75
27

(f

.-. i

="

=0

i/A

=C

TANKE,

?'

so
50 =
GEN

HIMMEL

9-,.25

WENDET

97
-

ER

VEA- ZOCKT

DAS

HAUPT

I=

I
21

=y
-I
29

13 1t1If

t6

?L

k,
II
S=

9=

UND SCAILRFT

5111=
cR

DEN

9
NDN

WElN,

oOF
=10
=Oh
19

73
.

37
SAV.T

177

UND TAUrIELNO

5iz

=(
1,

9?4-

12 =

5
MAN MiT

S.
AUAN

2
1 3if

70= ?

9 5 1 3 11 2

Z=

6=

101 ci

S=

9 t=

11

S?b
11 5

3=

7=
39

A 53

A=

>

")O>

r =

N = 11SARS
SICTNO
= 6 = 11

iSPAN
Tnt

533

NOTES ON THE ANALYTICALSCORE

Bar Beat
7 1
7 (flute)
against3 (violin)
7

1,2

thescore,chordformations
receivetheirpitchvalues
Throughout
fromthesumoftheircomponents.
The pianochordon thesecond
beatofthisbar,a 10= 1 chordwithan intervallic
valueof11 (and
thusthe implication
of 21), willlaterserveas the22- pedal in
SectionIII.

10

"stillen"receivesspecialemphasisbybeingthesinglewordsung
in"Mondestrunken."
Itspitchvalueis5+8= 13, implying,
perhaps,
thatthehorizonis notonlystill,but,lackingthesavinggraceof
sterileand lifelessas well.Such an interpretation
is
moonlight,
supportedby the phrase in the righthand of the piano part
on thelastsixteenth
noteofmeasure7. Itspitchvalueis
beginning
13 (=4). Dovetailing
withthe 13 of "stillen,"the piano 13 is
transformed
intoa 7, aftera dramaticbreak,bythe mysterious
3X 22 chordsofmeasure10.

10

As notedinthescore,thepianochordherehasa pitchvalueof22.
Its intervallic
value is also 22. And withthe numbersof its
itbecomesa veritable
ofPierrot
component
pitches,
compendium
numbervalues:1+3+7+11= 22. In addition,
thisseriesdraws
attention
to theprocessbywhichtheoriginaltwonumbersofthe
3 and 7, generatetheothersintheset:3+7= 1; 3+7+1 =
title,
11; 3+7+1+11=22.

534

10

The isolation
oftheviolinG andthefactthatitistheonlyharmonic
Its
calledforin thesong bothgivethenotespecialprominence.
thephrasewhich
as 8 ittransforms
function,
too, is significant:
precedesitfroma pitchvalueof 11 to one of 10. "Power"is the
meaningfor8. Meaningsfor11 and 10 (1) have
numerological
beensuggestedinthebodyofthetext.
madeon the
As mustbe apparentfromtheseveralcomments
inthismeasure(appropriately,
measure10 ofthepiece),its
activity
to thenumerocould bestbe explainedbyreferring
significance
logical meaningsof numbersand to Schoenberg'spersonal
and use of them.A thoroughexamination
of this
interpretation
not onlyforPierrot
subjectwould be extraordinarily
revealing,
lunaire,butfortheentirecorpusof Schoenberg'swork.Such a
projectis,ofcourse,quitebeyondthescope ofthepresent
study.

26

The 5 valueas thetotalforthereciter's

pitchesin SectionII is
equivocal.Addingitto the7 totalof SectionI resultsin 12=3,
whereascombining
itwiththetotalofSectionIIIproduces16=7.

29

The numberofnotesinthefirst
phraseofthecellolineis 11, and
thatofthesecondphraseis 10. 11+ 10= 21 =3. Withthesemitone
as theunitof measure,theintervallic
valueforthefirst
phraseis
34= 7. Thatforthesecondphraseis 22. 7+22=29= 11.

29

The timespanfortheright
handofthepianopartfrom
thesecond
halfofthisbeatuntiltheend ofbar34 is 29 = 11.

37

11 (flute)
against3 (piano)