About "Pierrot Lunaire": The Impressions Made on Various Audiences by a Novel Work

Author(s): L. Fleury and A. H. F. S.

Reviewed work(s):
Source: Music & Letters, Vol. 5, No. 4 (Oct., 1924), pp. 347-356
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/726925 .
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ABOUT

" PIERROT

LUNAIRE"

The Impressionsmade on variousaudiences bya Novel Work

perhaps-of a virtuoso'slife is
of the difficulties-attractions,
of hall or town
the perpetualchangeof audience. Each difference
and morally.
himselfphysically
or latitudeobligeshimto acclimatise
and
affected
in
a
dozen
different
cords
violin
alike
Vocal
stringsare
waysby a changeof climate;and thenagain, just as the player,at
each townhe come to, musttake the local A, so beforethe actual
he rousedan
day he has to get theA of the audience. If yesterday
in sometown
his reception
to-morrow
industrial
centreto enthusiasm,
or diplomacymay be something
whose businessis administration
quite different.Only an artistwho has made a long tour, in a
countrythat is new to him, knowstheseperpetualfears and this
nervousstrain. And, afterall, withoutthem,his life
never-ceasing
wouldbe tooeasy and quitedull.
Thereis less risk,of course,whenthe musicianplays thingshe
knowsquitewell,and has chosenforthe expresspurposeof getting
the maximumeffect
out of the minimumof effort.But if it falls
to his lot to have to championa new work,so newas to give a rude
ofhis hearers,
ofthegreatmajority
shockto thetastesand traditions
his couragewillbe severelytested,and he willneed a coolhead and
nervesof steel. So trueis this,thatmostartistsdo not take the
risk; theyplay,beyondtheprivacyof theirstudy,onlysuch works
as theyare perfectly
sure of themselves
over. Hence mostof their
concerts-andhere I shall carrywithme the unfortunate
members
ofthemusicalPress-are flatand unprofitable.
Fate decided that I should be called upon to take part,
during the last two years, in one of those contemporary
works which have raised controversy,even storms, all
throughEurope: Arnold Schonberg's " Pierrot Lunaire," the
amazing thing that was played three timeslast Novemberin
LondonMusicClubs,aftervariousperformances
by the same artists
in Paris. To come in contactwiththesevariousaudienceswas to
receivevery vivid impressions;and lately it has been my good
to roundofftheseimpressions
by certainothersobtaineddurfortune
ing a tourin Italy underthe directionof the composer. Opportuniities
of observing
the audienceweregreaterthere,sincewe went
ON!

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MUSIC AND LETTERS

all throughthe country, from Naples, through Rome, Florence,

Venice, Padua and Milan, to Turin.
I am able to take a detached view of it all. I need not reel off
the list of our successes, for it would be an exaggerationto pretend
that these eveningswere a series of triumphsin any ordinarysense;
indeed, during these performancesthe mercurywavered between
it rain " and "
stormy." When we were applauded it was withsome
diffidence,and when we were hissed there was always an emphatic
oppositioncamp. Press anld public alike could indulge the most
diverse opinions; the only thing that no one thoughtof " Pierrot
Lunaire " was that it was insignificant. But, before speaking of
what the listenersmade of it, I should like to say what the interpretersthoughtof it.
To make a criticalanalysis of this intricateworkis not my object,
nor would it lie withinmy power; besides, it would be waste of time.
" Pierrot Lunaire " which opened the floodgatesof invective,as
betweenthose who admire or dislike Schdnberg,has also caused torrentsof ink to flow. I advise the reader who is not familiarwiththe
workto studythe pocket-scoreand read the various daily papers and
periodicals. They fill a fat quarto. I will say quite simply what
effectit producedon us at the firstrehearsals.
One of the commonplacesthat one always hears at the end of the
performanceof a work of this kind is-" You can play what notes
you please and it would sound just as well." That is a complete
mistake.
At the firstrehearsals there will obviously be a goodly crop of
wrong notes, and neither conductornor players will notice them at
first. They agree mutuallyto keep to the main lines and not stop over
details. But forpractisedmusicians two facts at once emerge1. Technical problemsare soluble or insoluble.
2. The thingsounds, or doesn't.
It had been mybusinessto collectthislittleband ofinstrumneitalists,
and my firstcare had been to choose only sound technicians. That is
not the usual course; what those who are in the van of progresslook
and a passionate love of adventure. But
foris youthand enthusiassm
to my mind entlhusiasmand devotionare here of small account as
compared with practised fingersand eyes, and so the music with
which my colleagues were familiar belonged certainly to the day
beforeyesterdayratherthan to the day after to-morrow. How was
it that fromthe very firstrehearsal they took the thing seriously?

In the firstplace becauise,choke-full

aIs it was of awkwardpassages
and techniicaldifficulties,
tile \ork conitainiediolne of those clumsi-

ABOUT " PIERROT LUNAIRE "

349

nessesat whichtheplayersshrugtheirshouldersand whichsend the

work back for revision. And secondly,because from the very
firstreadingwe felt that the author's conception
and realisatioi
ofhis thought
was clearand deliberate,and thatthe effect
produieed
was the effect
intended. Thereare, and therealwayswillbe, secret
affinities
betweenthe expertof the instrument
and the expertof the
pen; whether
thecomposer'sthought
is commonplace
or extravagant,
he willalwayshave the respectofhis interpreters
if he can proveto
themthathe uniderstands
his business.
That Schonbergunderstands
musicand has learnedit in a good
schooltherecan be no sortofdoubt. He has beencalleda romantic,
obviouslybecausehe has been an ultra-romantic
in the way he has
handled" PierrotLunaire,"thatbitterparodyoftheromantic
school.
But actuallyhe derivesfromthe classics: classical,almostscholastic,
in his taste for contrapuntal
episodesand for the musical puns
whichare sown broadcastin his work,especiallyin No. 18, the
" Mondflecht."Thesecontrapuntal
baffling
in the
drowned
subtleties,
apparentchaosof an aggressive
polyphony,
mayescapethe hearerof
a singleevening,buttheycannotescapeconscientious
interpreters
who
willinglyundertakea series of rehearsals. The momentthey see
thereis a logic behindthese deeds of daringtheywill notbe niggardlywiththeirefforts.Perhapsit is onlythe comfortable
feeling
of havingconquereddifficulties,
but at any rate the fact remains
that Schonberghas won devotedinterpreters
who,even if theyare
opposedto his system,are determinedthat his workshall be a
success.
Andnowas to its " sounding"; I have wonvariousimpressions.
Peoplehaveoftensaid thatthiscombination
ofinstruments
was ugly;
theyhave neversaid thatit soundedhollow. Thereis no question
that Schonberg'sthoughthas been realisedin performance.The
majority
ofhis hearersmayhave regardedthislittleorchestra
offive
as an instrument
of torture,
but theymay be sure at any rate that
the instrument
is solidlyconstructed
and that thereis in it not a
wheeltoo manyor toofew. It wouldbe difficult
to writewithmore
slendermeans: a flutealternating
withpiccolo,a clarinetwithbass
clarinet,a violinwithviola, a 'cello and a piano. And they'are
seldomused all together;sometimesthereare fourof them,three,
two,or even onlyone. With theserestricted
resourcesthe author
managesto give,whenrequired,the effectof a wholeorchestra.I
felt that vividlyevery time we reached" Les Croix." However
hostiletheaudience,in themidstevenoflaughter
orlivelydemonstrations,the end of thispiece was alwaysreceivedwiththerespectof

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MUSIC AND LETTERS

silence: its evidentstrengthalwaysquells the rioters. Asceticism

like this has its dangers,withan orchestracomposedof the bare
mistakesor omissions. Withall respect
essentialsyou cannotafford

" contingent,anyonewho
to the " you-can-play-what-notes-you-please

knowsthe workcan detecta wrongnoteor a missingpartas easily

as in a Haydn quartet. I realisedthat one day at a rehearsalof
work. We weregoingthroughforthe firsttime
anotherextremist
forten windinstruments.By one of
symphony
Milhaud's
Darius
thosefatalitieswhichare for composersand orchestralleadersthe
bane of existencethe cor anglais was late, so late that we had to
beginwithouthim. This workof Milhaudis one whichis peppered
and roughtoneovermoreliberallythanusual withdaringharmonies
qualities,and I confesswithhumilitythat at a firsthearingthe
appearedto me to be merecacophony-a purview
secondmovement
abandoned;moreover-athingwhichperformers
whichI subsequently
soundedpoor and hollow. I was
thinkmoreof-the orchestration
out of it,
everget anything
should
we
whether
wonder
to
beginning
had
work
the
If
panting.
and
puffing
arrived,
anglais
cor
whenour
the
made
have
dnly
would
contribution
his
reallybeen cacophonous
up
whole
thing
the
it
cleared
muddleworse. But, on the contrary,
to findthatit soundedexcellently,
and I was astonished
wonderfully,
even if thatwas its onlymerit.
If I apply the word" excellently" to " PierrotLunaire," no doubt

I shallshockmorethana fewof our audience. We will say, then,

thatit soundsas it oughtto sound,and pass on nowto the reception
it had.
Performedfor the firsttime in Germany,in 1912, " Pierrot
Lunaire" did not reachParis till 1922. Meantimetherehad been
thewarand theban on modernGermanmusic,and, stillworse,there
number
expense,and theenormous
werethematerialdifficulties-the
At this
over.
to
get
of rehearsals-whichno one quite saw how
point,and at his own risks,theresteppedin M. Jean Wiener,a
youngmusician,a cleverpianistand a bold organiser. He has a
and outrageousfanciesof
naturalturnfor the daringconceptions
than
and Stravinsky
and is moreat his ease in Schonberg
modernism,
many amateursare in Clementi. Besides, his weaknessforjazz*
of the American
and his skilfulplayingof his own transcriptions
" Blues " givehima specialpositionin themusicalworld. His well
ready
attendedconcertsdrawa peculiarpublic,rathercosmopolitan,
and greedyfornewsensations. It was his own
forany eccentricities
*The influenceof the jazz-band on Stravinskyand his followersexplaint
much that would otherwisebe unintelligible,

ABOUT " PIERROT LUNAIRE"

351

quaintidea to combinein a singleprogramme

of chamber-music
an
itemforjazz-band(excellent,
by theby), the Sacre du Printemps
on
the piano-playerand Milhaud'ssonataforwindinstruments.The
factthatthisoutrageousassortment
had called forthno protestsled
one to supposethat " PierrotLunaire" wouldbe receivedby the
samepublicwithacclamation.
That the art of Schonberghas littleappeal to the disciplesof
was clear fromthisfirstexperiment,
whichexcitedlively
Stravinsky
butendedin tumult. In a hall withoutan emptyseat in it
curiosity
and an atmosphere
chargedwithelectricity,
we played,underthe
direction
ofDariusMilhaud,thefirstpartonlyofthiswork. Madame
MaryaFreundtookthe vocal part. The veryfirstbars of thissung
speech(or spokensong-whichever
we are to call it) tookeveryone
by surprise,and the weirdharmonies
did the rest; and there we
werein themiddleofa Homericbattle.
The Parisianpublicremainscalm, as a rule,so longas it is presentedwithnothingabnormal;but the momentit is givena novelty
witha challengein it, the old combativeinstinctsof the race are
aroused. In thefirstplace thereis alwaysa fraction
ofthe audience
whichregardsmusic,rightlyor wrongly-forthere is something,
afterall, to be said forthe view-as an after-dinner
a
distraction,
digestive. This opinionprevailsin the higher ranks of society.
Then, the Frenchman,a chatterbox
by nature,dislikeskeepinghis
opinionsto himself;as soon as he is boredhe lets his neighbours
know. I noticedthe otherevening,duringthe performance
of a
similarwork,a gentlemanof some social positionfidgeting
underit
a gooddeal. He was sittingin a comfortable
chaircloseto thedoor;
and he could eitherhave gone to sleep at peace withall men, or
threestepswouldhave takenhim to the restaurant
in the passage
outside. But he preferred
to punctuatethe performance
withyawns
and wittyejaculations,
and to prevent
his neighbours
appreciating
the
musictheycameto hear. This displeasedthem,of course,and they
protested.Suchelectioneering
mannershavealwaysbeenfashionable
in societygatherings
at Paris, and theoccupantsof the JockeyClub
box, who put an end to the representations
of TannhYuserat the
Operaunderthe Empire,have lefta numerousprogeny. But it is
notonlysmartsocietythatdoes not get on withSchonberg.
In France we have as manyschoolsof musicas we have parties
in politics,
whichis sayingmorethana little;and thesuaveamenities
of debatewhichprevailin the Chamberof Deputiesare reproduced
in musicalgatherings
as soon as the concertleaves the beatentrack.
Thereis thegroupof " La Nationale" (d'Indystes-Franckistes),
the

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MUSIC AND LETTERS

the " Six " (in whoselutea littlerift

S.M.I. (Faureens-Debussystes),
hotis visible),thePrixde Rome,the Satistes,etc.,etc. Convinced,
theyare all ofthemin theroomand ripefor
headedand pugnacious,
was
offers.IHerethe opportunity
a fightthe momentopportunity
thistime)of
toogoodtobe missed,and thesecondhearing(complete,
one of the-mostrepresentative
"Pierrot Lunaire" broughttogether
audiencesthatParis has seen fora long time. I hope Messieurs
willnot mindmy revealingthe factthat
Ravel and Florent-Schmitt
admirers;buttheywere
ofSchonberg's
warmest
theywereamongthe
with
musiciansof theirown
hard put to it to defendtheiropinion
mettle. Each number,lastingfromtwoto fourminutes,was greeted
with cheers and hisses. When the hisses had it, Milhaudbegan
again and finished
in a regularuproar. I saw one man in the third
rowof the stallslividwithrage whenan encorewas announced:he
out: " No, no! Notagain! Notagainl!
shouting
stampedviolently,
of the audiThereis one verygoodpointaboutthiscollaboration
ence. If he takes hisses, insultingremarksand encoresinto concan count on his programmebeing
the concert-giver
siderationi,
beyondthe momentwhereit becomesnecessaryto tackon
prolonged
so fullof incidenteasilyfillsa whole
anotherpieee. A performance
so late.
finished
evening,and neverhas so shorta programme
to thework,
I willadd thatthePress,highandlow,was favourable
and thatcritics,evenwhentheydid notlikeit, showedno animosity
to the composer.
of the two friendlyand
characteristics
Neverhave the divergent
when
alliednationsshoneoutto me moreclearlythanlast November,
" PierrotLunaire" was givenin London. Our threeperformances,
at the KensingtonMusic Club,the Music Society,and the Chelsea
thoseat Paris. Therewerethe same
MusicClub,exactlyreproduced
even the text,whichit wouldhave
playersand the same conductor;
been child'splay to MadameMaryaFreundto sing in the original,
thoughsomeofthe criticsfound
was givenin theFrenchtranslation,
everyrightto
We
had, therefore,
fault with this arrangement.
aboutour
a
anxious
I
felt
little
"
and
expectthe same incidents,"
reception.
We began at Kensington.

"

PierrotLunaire " at Kensingtonhas

alwaysseemedto me an amazingparadox. I am fondofKensington

fromhavinglivedthereoften. Exceptforthe bustleof High Street
that
at the shoppinghourthereis an air of quietand respectability
LeightonHouseis notfaroff,and
remindsme ofOxford. Moreover,

ABOUT " PIERROT LUNAIRE "

363

the Palace whereso many of the Royal familylilvedis close by.

Andthereis a faintfragrance
oftheVictorianera aboutit. No part
of Londonis less morbidor morerestful. If in summerI walk
throughits green,desertedways,and hearthe soundof a piano,it
willprobably
be a fugueof Bach. My old friends
thereall belongto
theBach Choir,and a photograph
ofJoachimis in everymusic-room
in the parish.
That the membersof the KensingtonClub shouldhave consented
to hear this diabolicalmusic,is a magnificent
proofof theireclectic
philosophy.But that theyshouldhave listenedwithsuch patience
is no less magnificent
and fortitude
an instanceof thatsenseof fair
play whichis one of the mostendearingcharacteristics
of Britons.
Whatan impressive
calm! How unexpected
thisinwardpeaceafter
ourstormy
meetings
at Paris! At themostdaringplacesin thescore
I watchedthe audienceout of the cornerof my eye. Theynever
blenched. They sat there,calm as a boxerwho takes punishment
witha smile. I thoughtofthe brightmoonlight
nightsof 1918 and
the Zeppelins. Whateverthe aliensof Soho and Whitechapel
might
thinkfitto do, forthe inhabitants
ofKensington
and Belgraviagood
tastedemandedthat,whatevertheymightfeel, the hand of bridge
shouldbe playedquietlyto an end. In 1923,as in 1918,myBritish
friendsgave me an admirableillustrationof self-control,
and I
wonderedwhetherthe " moonstruckPierrot" was not even more dis-

tasteful
to themthanthemoonlight
raidsofthe Germanairmen.
Aftergettingourselveslistenedto at KensingtonTown Hall, we
feltsure we shouldin thatcuriouslittlehall in TuftonStreet,the
idealsettingfora thingof thiskind. The dimlylightedcrypt,made
dimmerstill by the blue spiralsof cigarettesmokeand by the allpervading
Thamesfog,exactlysuitsthemorbidsubtleties
and sudden
clashesof Sch6nberg'sscore; and the cultivatedaudiencelyingback
in theirdeck-chairs,
ofwhomwe wereonlyvaguelyaware,seemedto
take pleasureof a kind in our concert. It was the same withthe
Chelsea audience. If thereis one quarterof London ratherthan
anotherin whichone dare riska bold gesture,it is thisant-heapof
artistsand literary
men,alwaysreadyto see thefunin an interesting
novelty. On the whole,then,our receptionwas good everywhere.
It mayhave beenthe presenceofseveralprofessional
musicians,who
put themselvesin our place and, realisingthe numberof our
rehearsals,clappedour efforts
like good sportsmen.What touched
me mostwas notso muchthesympathy
of thosewholikedthe work
as thecourtesy
and patienceofthosewhoin theirheartswishedus to
the devil. That was mostimpressive,
and I cannotproperly
express
myadmiration
of it.
V&O..

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MUSIC AND LETTERS

I may add that, in contrastwith what happened on the Continent,

we had a frightfully
bad Press. Well, well; it is the duty of a critic
to say what he thinks,withoutmincingmatters,and nobodyneed take
umbrageat it.
I thoughtI had finishedmy experienceswith " PierrotLunaire,"
when a proposalcame fromthe distinguishedItalian composer,Alfred
Casella, which sent me to school again. We were to give the work
in Italy under the composer's direction. Who could resist a tour in
Italy and the prospectof giving such gloriousbattle? I set out with
enthusiasm,and my unceasing thirstfor noveltywas soon quenched,
for I saw Naples withoutsuIn and played " Pierrot Lunaire " in its
original form.
I ought to say here that the " Pierrot Lunaire " which London
heard was not exactlyas the authorconceivedit. In the firstplace,
the French translationmakes an appreciable differencein its general
swing and go; and in the second, Madame Marya Freund, excellent
singer that she is, cannotquite forgetthat she is a singer, and sings
consequentlywith a reciter's inflexions,whereas Schdnbergintended
it to be recited with musical inflexions. And I should add that this
most conscientiousartist has submiiitted
her interpretationto Sch6nberghimself,and he was delightedand surprised,and greatlyadmired
her art in thisnew version.
In Italy the vocal part was assigned to the handsomeand intelligent
Erika Wagner,a star of the Viennese Schauspielhaus. She is equally
remarkableas a dramaticartist and as a concertsinger. The piano
was in the hands of Mr. Steurmann, aln interpreterof Schonberg's
own choice, and the stringswere supplied by the Brussels quartet,
Pro Arte.
Of course it was Schonberg'sown personalitythat I most wished to
become acquainted with, and I was not disappointed. In that small,
active man, always in motion, with a piercing and rovingeye and
mobile lips, simple in dress and in manner,and withouta semblance
of pose, there is nothingthat suggests the hunter after sensational
success or the upstart pining for advertisement. If his name has
made a stir it is certainlyin spite of himself. All that I had heard
of him, of his solitariness and inaccessibility,of his life far from
distractionsand wrappedup in his work,was fullyconfirmedby such
relationsas I had withhim. One thingmay be confidently
asserted,
and that is his absolute sincerity. By-what paths and in the train
of what circumstancesthis technicallylearned musician, broughtup
in the strictclassical method,reached his present point of view, I

ABOUT " PIERROT LUNAIRE"

355

cannotsay. Abnormalbrain-power,
perhaps,wearyingitselfincessantlyto findcombinations
ofsoundseverstranger
and morecomplex;
but at any rate no mereitch fornotoriety
or strivingaftereffect.
Neitheris he an iconoclast. in the courseof thisItalian tour,one
rainySunday,we made a littlemusictogether-Bach,Mozartand
Haydn. It gave him the greatestpleasure,and he confessedto us
that quartet-playing-he
playsthe viola-is his Sundayamusement
at Moendling. The excitementhe threw into our visitsto the
treasuresof art in whichItaly abounds,was evidenceof his open
mindand catholictaste.
He is no greatconductor,
no virtuosoofthe baton,but his leading
is exactand autocratic,
he knowswhathe wantsand howto get it.
It is true to say that at the last rehearsalwe were consciousof
havinggot ready as faithfula performance
as is possiblewithso
exactinga work,and I felta weightoffmymind.
For indeedI had startedforItalyfeelingsurethatwe shouldnever
getthrough
an evening;and fromwhatI knewofthe irascibleLatin
publicI was afraidwe shouldbe peltedwithtomatoesand oranges.
Perhaps it was in consequenceof the high standard of life,
but at any ratewe weresparedthissupremehumiliation.Not only
did we escape fromthe adventure
safe and sound,but we wereable
to playtheworkto an end everytime,whichwas morethanwe ever
hoped; thoughbetweenthatand any assertionthat we were garlandedwithfloraltributesthereis a certainunfilledblank.
Everything
combined
tomakethisventurea difficult
one. Italyisthe
land of bel canto,and the measuredand inflected
dictionwhichthe
composer
had imagined
has, in itself,nothing
in common
withsinging.
The Germanlanguageis unintelligible
to almostall Italians,and the
roughgutturals,being meaningless,soundedto themfunny. Our
audiencesalmosteverywhere
containedgirlsreadyto giggleat the
smallestincidentor themildestorchestral
surprise;and in everytown
therewas a small bodyof youngmusicians,chiefly
studentsin the
fullswingof theirclassicalstudies,who werequite determined
not
to allowa noteof thisinfernalmusicto be played. Well, as I said,
we werelistenedto everywhere
tilltheveryend. AtRome,actually,
a concertunderthe auspicesof theCorporatione
perla nuovamusica
was a real success. But elsewhere
we made heavyweatherwithour
performances.The senseoffun-ofcourse,in thebestpossiblespirit
-took completepossessionof this easily swayedpublic,and found
ventin laughter,witticisms
and discussion. Happily,Erika Wagner
is veryhandsome-a matterofno smallimportance
in thelandofthe
Beauitiful-andSchonberg,in spiteof his small stature,has a presence; so peoplehad to listenwillynilly.

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episodesof our tourwas the neeting

One of the mostinteresting
of Pucciniand Schonbergat a concertat Florence. The illustrious
had donethe threehoursbyrail
conmposer
of Tosca and La Boh"eme
from
fromLucca fortheexpresspurposeofhearingmusicso different
his own. If anybodyhad an excuseforgoingout and slammingthe
it was he. But no; he set a good exampleof
doorbehindhinm,
and
to many a hot-headedyoungster.He
self-command
patience
and
listenedrightthroughwiththe greatestattentionand interest,
in the artists'room,wherehe
the authorafterwards
congratulated
discussedtechnicaldetailswithhim. Perhapswe shall have-who
reminiscencein his next opera.
-some littleSch6nbergian
knows?
thanSebh8nberg.
Nobodywouldbe moresuirprised
Andnow I wonderunderwhatsky we shall nextplay " Pierrot
Lunaire," and whatreceptiona new countrywill giveus. Will it
be Frenchfrenzyor Britishreticenceor Italian merriment?All I
can wishforis whatthe Gallic soldierasked of the Romancaptain
whowas goingto condemnhimunheard:-" Strike,butlisten!"
L. FLEURY.
[Trans.,A. H. F.