Skincancer From Masterbateing

"I would not write this music ... I do not like this music. But why do I have the supreme commander ordered me and I am only the loudspeaker of an idea "

Works of Schoenberg (Vienna 0.1874-Los Angeles, 1951) had no favorable reception by the Viennese public, very conservative, who resisted every innovation. It was in Berlin that the Austrian composer, found a more sympathetic and supportive towards him, and here, in 1912 was carried out for the first time his Pierrot Lunaire Op.21 (subtitled "three times seven poems by Albert Giraud) who won the title of "Opera Scandal."

to its expressive, melodrama was appreciated by a group of young Italian composers: the "Generation of '80" (as defined by Mila M. born because all around 1880), composed by Alfano, Respighi, Malipiero, Pizzetti and Casella, who presented the Pierrot on 1 April 1924 in Florence, in the Sala Bianca of Palazzo Pitti: "Every evening, in every town invariably unleashed a violent reaction of the public [ ...]. Schoenberg, a man of nature dreadfully restless and agitated, could not understand why his music could arouse so much opposition and wanted to return to Vienna after each concert. "

On 2 April, in" Box and Schonberg to the Friends of Music "on" nation, "said Copertini: " It was an April Fool's as big as a dirigilbile " this statement .... cost him his place as a critic at the newspaper.

This is a commissioned work by an actress of prose, that Albertine Zehme, who asked Schoenberg to put music in 21 of the 50 poems of the Belgian symbolist poet Albert Giraud.

transaction characteristics is renunciation of tonality, that Schoenberg meant for the emancipation of dissonance, which is the liberation from the obligation to follow an agreement at a consonant dissonant.

In his "Manual of Harmony", 1911 , Arnold Schoenberg created a sort of phenomenology of traditional harmonic language, from its origins to the Wagnerian chromaticism. Here shows interest for the construction of agreements that can be composed by overlapping the fourth speaks of Klangfarben Melodie (melody of tones and colors, a sort of idea experimentally realized in the early works) and atonality, Schoenberg's term for another does not accept, preferring to talk about pantonal mean the free use of all possible relationships within the tonal system of Western music.

But more than writing atonal, the Pierrot Lunaire got a hit-scandal for the new form of vocal expression, substituting the singing voice of the technique Sprechstimme (spoken voice) or Sprechgesang ("song spoken "), located halfway between singing and recitation. In the preface that accompanied the publication of the score, the composer explains that the singer-narrator has just sing the note and leave immediately, usually by switching to the next note with a kind of glissando.

An interesting news about the staff, which sees a significant reduction in the number of performers who sometimes find themselves playing two instruments: piano, violin, viola, clarinet-cl.basso, flute, piccolo, cello, versatility instrumental drift from the world of Cabaret and Café Concerto.

Each of the 3 parts of Pierrot is markedly different:

PART I: The Italian form is presented as the poet of despair and suffering, enchanted by the moonlight that evokes rich images of macabre irony, slightly morbid.

PART II: the tone becomes painful, Pierrot appears in the night in the throes of a desperate madness, the victim of paranoid fantasies, visions of death.

PART III: a Pierrot is allowed to exit from the nightmare to surrender to the farcical antics and nostalgia for happier times in the past.

"This is what you can do to feel free, but musicians who choose Pierrot Lunaire as an example will be capable of self-imposed rules such as that I imposed myself? Freedom is a great thing, but ... grain of salt! "