Review

Arnold Schoenberg’s celebrated 1912 song cycle Pierrot Lunaire is justly regarded as a masterpiece of his mid-period atonal works. Don’t let the bogeyman of atonalism scare you away; this is an extremely compelling work that exudes an atmosphere of exuberance and playfulness. Originally conceived to be performed by an actress and an ensemble of five instruments, the vocal quality that Schoenberg calls for in this multifaceted jewel of a work is unique: not quite sung, not quite spoken, but somewhere in between. The texts consist of 21 poems by the Belgian symbolist Albert Giraud in the German transliteration by Otto Erich Hartleben published in 1892. Many others have set these texts to music, including the persecuted composer and lawyer Max Kowalski (1882-1956), whose cycle of 12 of these poems included here were conceived and published in the same year as Schoenberg’s. Kowalski’s charming and supple settings are cast in a neo-romantic style and are conventionally sung.

Having presented the work some 70 times during her career, it’s fair to say that soprano Ingrid Schmithüsen has become the very embodiment of Pierrot and delivers an admirably nuanced account of Schoenberg’s opus. In most cases this complex work involves a conductor; here however, it is clear that the soloist is calling the shots (and incidentally owns the recording copyright). This emphasis on the voice no doubt explains the frustratingly recessed sound of the ensemble, which left me pining for the vivid instrumental presence in just about every other recording I’m familiar with, notably the outstanding 1971 LP by Jan DeGaetani. By contrast, the Kowalski song cycle with pianist Brigitte Poulin is perfectly balanced.