Memories and Commentaries

urn:iso:std:iso:639:ed-3:eng

227-228

text excerpt

I remember sitting with Schoenberg, his wife Mathilde, and Diaghilev at a performance of Petrushka, and I have a clear memory of Schoenberg in his green room after he had conducted the fourth performance of Pierrot Lunaire in the Choralion-Saal, 4 Bellevuestrasse, Sunday, 8 December 1912, at twelve noon. I still have my cancelled ticket. Albertine Zehme, the Sprechstimme artist, wore a ‘Pierrot’ costume and accompanied her epiglottal sounds with a small amount of pantomime. I remember that the audience was quite and attentive, and that I wanted Frau Zehme to be quite too, so that I could hear the music. Diaghilev and I were greatly impressed with Pierrot, though he classified it as Jugendstil.

I remember sitting with Schoenberg, his wife Mathilde, and Diaghilev at a performance of Petrushka, and I have a clear memory of Schoenberg in his green room after he had conducted the fourth performance of Pierrot Lunaire in the Choralion-Saal, 4 Bellevuestrasse, Sunday, 8 December 1912, at twelve noon. I still have my cancelled ticket. Albertine Zehme, the Sprechstimme artist, wore a ‘Pierrot’ costume and accompanied her epiglottal sounds with a small amount of pantomime. I remember that the audience was quite and attentive, and that I wanted Frau Zehme to be quite too, so that I could hear the music. Diaghilev and I were greatly impressed with Pierrot, though he classified it as Jugendstil.

excerpt from 'Memories and Commentaries' pp. 227-228 (114 words)

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1450361484800