albert giraud's pierrot lunaire - preview

8/15/2019 Albert Giraud's Pierrot Lunaire - Preview

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Copyright © 2001 Gregory C. Richter

Published by Truman State University Press, Kirksville, Missouri.

http://tsup.truman.edu All rights reserved.

Library of Congress Cataloging-in-Publication Data

Giraud, Albert, 1869–1929.

[Pierrot Lunaire. Polyglot]Pierrot Lunaire / Albert Giraud : translated by Gregory C.

Richter.

p. cm. – (New Odyssey series)

Includes bibliographical references and index.

Text in French, English, and German.

ISBN 1–931112-02–9 (pbk. : alk. paper)

I. Title. II. Series

PQ2260.G73 P5412 2000

841'.8–dc21

2001027530

Cover: Teresa Wheeler, Truman State University designer

Printing: Thomson-Shore, Dexter, Mich., U.S.A.

Body text and display type: Minion

No part of this work may be reproduced or transmitted in any format by any means,

electronic or mechanical, including photocopying and recording, or by any informa-

tion storage or retrieval system, without permission in writing from the publisher.

The paper in this publication meets or exceeds the minimum requirements of the

American National Standard—Permanence of Paper for Printed Library Materials, ANSI Z39.48 (1984).


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Translator’s Note. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii

1. Théâtre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21. Eine Bühne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21. Theater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

2. Décor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42. Feerie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42. Decor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

3. Pierrot Dandy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63. Der Dandy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63. Pierrot the Dandy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

4. Déconvenue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84. Schweres Los . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84. Disappointment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

5. Lune au Lavoir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105. Eine blasse Wäscherin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105. The Moon is a Laundress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

6. La Sérénade de Pierrot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126. Serenade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126. Pierrot’s Serenade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

7. Cuisine Lyrique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147. Der Koch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147. Lyric Cuisine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

8. Arlequinade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168. Harlequinade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168. Harlequin’s Tale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17


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9. Pierrot Polaire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189. Nordpolfahrt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189. Polar Pierrot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

10. A Colombine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2010. Colombine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2010. For Columbine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

11. Arlequin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2211. Harlequin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2211. Harlequin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

12. Les Nuages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2412. Die Wolken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2412. The Clouds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

13. A mon Cousin de Bergame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2613. Mein Bruder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2613. To My Cousin from Bergamo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

14. Pierrot Voleur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2814. Raub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2814. Pierrot the Thief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

15. Spleen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3015. Herbst. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3015. Spleen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3115. Spleen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

16. Ivresse de Lune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3216. Mondestrunken. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3216. Moondrunk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

17. La Chanson de la Potence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3417. Galgenlied . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3417. Song of the Gallows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

18. Suicide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3618. Selbstmord. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3618. Suicide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37


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19. Papillons Noirs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3819. Nacht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3819. Black Butterflies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

20. Coucher de Soleil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4020. Sonnen-Ende . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4020. Sunset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

21. Lune Malade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4221. Der kranke Mond. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4221. Sick Moon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

22. Absinthe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4422. Absinth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4422. Absinthe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

23. Mendiante de Têtes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4623. Köpfe! Köpfe! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4623. Begging for Heads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

24. Décollation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4824. Enthauptung. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4824. Decapitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

25. Rouge et Blanc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5025. Rot und Weiß . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5025. Red and White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5125. Rot und Weiß . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

26. Valse de Chopin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5226. Valse de Chopin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5226. Chopin Waltz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

27. L’Eglise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5427. Die Kirche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5427. The Church. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

28. Evocation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5628. Madonna. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5628. Evocation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57


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29. Messe Rouge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5829. Rote Messe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5829. Red Mass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

30. Les Croix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6030. Die Kreuze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6030. Crosses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

31. Supplique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6231. Gebet an Pierrot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6231. Supplication. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

32. Violon de Lune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6432. Die Violine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6432. The Moon’s Violin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

33. Les Cigognes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6633. Abend. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6633. The Storks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

34. Nostalgie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6834. Heimweh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6834. Nostalgia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

35. Parfums de Bergame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7035. O alter Duft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7035. The Perfumes of Bergamo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

36. Départ de Pierrot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7236. Heimfahrt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7236. Pierrot’s Departure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

37. Pantomime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7437. Pantomime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7437. Pantomime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

38. Brosseur de Lune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7638. Der Mondfleck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7638. Brushing Off a Moonbeam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77


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39. L’Alphabet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7839. Das Alphabet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7839. The Alphabet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

40. Blancheurs Sacrées . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8040. Das heilige Weiß. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8040. Sacred Whiteness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81

41. Poussière Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8241. Morgen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8241. Red Dust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83

42. Parodie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8442. Parodie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8442. Parody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85

43. Lune Moqueuse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8643. Moquerie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8643. Mocking Moon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

44. La Lanterne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8844. Die Laterne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8844. The Lantern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

45. Pierrot Cruel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9045. Gemeinheit! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9045. Cruel Pierrot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

46. Décor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9246. Landschaft. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9246. Decor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93

47. Le Miroir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9447. Im Spiegel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9447. The Mirror . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

48. Souper sur l’Eau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9648. Souper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9648. Soirée On the Water. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97


8/26

CONTENTS

xii PIERROT LUNAIRE

49. L’Escalier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9849. Die Estrade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9849. The Staircase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

50. Cristal de Bohême . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10050. Böhmischer Kristall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10050. Bohemian Crystal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

51. Die Harfe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10251. The Harp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

52. Pierrot et l’Ane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10452. Pierrot and the Donkey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

About the Translator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Subject Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Index of Titles and First Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114


9/26

TRANSLATOR ’S NOTE


Portions of Albert Giraud’s greatest work, Pierrot Lunaire , are well known.

Twenty-one poems of the total fifty provide the text for Arnold Schoen-

berg’s 1912 composition Pierrot Lunaire , op. 21, a song cycle that has

proved to be one of the defining compositions of the twentieth century.

Among modern works, its influence is matched only by that of Igor Stravin-sky’s 1913 Le sacre de printemps [The Rite of Spring]. The texts, however,

are sung in German using the translations by Otto Erich Hartleben, some of

which differ widely from the French originals.1 Various English translations

of the German renditions appear on record jackets, and Andrew Porter’s

fine English renderings of the twenty-one Hartleben translations appear in

the volume From Pierrot to Marteau (1987). Never before, however, have

the French poems been translated directly into English, and never before

have Hartleben’s creative renditions appeared alongside their models. This

trilingual edition of the entire work seeks to achieve both of these ends. The

original French versions are presented on the verso pages, and the English

translations appear on the recto pages, opposite the original French. Read-

ers with a knowledge of German will be able to judge and appreciate

Hartleben’s versions as well, which are presented beneath the French origi-

nals.2 Susan Youens notes Hartleben’s own comment that he often did not

“translate” the poems, but instead took up a few motifs to create his ownpoem.3 The current English renderings are closer to the French than are

most of the German versions, but of course no poetic translation can do

more than suggest the original poem. The current volume allows the reader

to view in its entirety, and in order, the source that inspired Hartleben.

This, in turn, sheds light on the importance of the French fin de siècle as a

1Albert Giraud, Pierrot Lunaire, tr. Otto Erich Hartleben (Berlin: Verlag Deutscher Phan-

tasten, 1893).2In two cases—nos. 15 and 25—Hartleben created two versions. One differs widely from

the original, while the other is more similar; both are included in the present edition.3Susan Youens, “The Texts of Pierrot Lunaire , op 21,” Journal of the Arnold Schoenberg

Institute 8, no. 2 (November 1984): 94–115, here 103.


10/26


xiv PIERROT LUNAIRE

model for the German avant-garde, culminating in Schoenberg’s master-

piece. Furthermore, in the current volume Giraud himself is at long last

given his due.Born to Catholic parents in Louvain, Belgium, Emile Albert Kayen-

bergh (1860–1929) was raised by his mother and by her sister, his father

having died in the poet’s early childhood. Young Kayenbergh studied law at

the University of Louvain, and in the period 1894 to 1896 he made three

trips to Italy, which were to inspire him for the rest of his life. Financial

constraints forced him to leave the university, and in order to support his

mother and aunt he took up work as a journalist. He took the pen name

Albert Giraud and in 1884, at the age of twenty-four, published his firstvolume of poetry, Pierrot Lunaire: Rondels bergamasques . Apparently fin-

ding the French name Giraud more suitable than the very Flemish Kayen-

bergh, he retained the French name in all of his subsequent works. He was

active in Jeune Belgique [Young Belgium], a literary movement that initially

sought to develop a specifically Belgian literary consciousness, distinct from

that of France, whose members began holding informal meetings at the

Café Sésino in Brussels in 1885. He published numerous poems and critical

articles in the group’s journal, Jeune Belgique , including essays on Victor

Hugo, Charles-Marie Leconte de Lisle, and the Symbolist poets Paul Ver-

laine (1844–96), Stéphane Mallarmé (1842–98), Maurice Maeterlinck

(1862–1949), and Jean Rimbaud (1854-91). He admired, and later critici-

zed, the Parnassian poets, who emphasized form, technical perfection, and

often exoticism, and whose chief representative was Charles-Marie Leconte

de Lisle (1818–94), but seems always to have admired their predecessors,

Théophile Gautier (1811–72) and Théodore de Banville (1823–91). Ano-

ther primary influence on Giraud was Charles Baudelaire (1821–67), the

monumental precursor of the Symbolists, from whom the later poets took

their interest in individual, irrational, subjective experience. Although

Giraud has sometimes been categorized as an expressionist or surrealist

avant la lettre, his oeuvre does not fit easily into any single preconceived

category;4 like Verlaine, who was proud to bear the label Décadent, Giraud

presumably approved when that term was applied to his Pierrot Lunaire .

4Lucien Christophe, Albert Giraud: Son oeuvre et son temps (Brussels: Palais des Acadé-

mies, 1960), ff


11/26


PIERROT LUNAIRE xv

With some interstices, Giraud continued to produce poetry, plays, and

critical articles for most of his life. His first volume of poetry after Pierrot

Lunaire was Hors du siècle . This work contains poems written between 1885and 1897, including “Lohengrin,” “La mort d’Hunald” [The Death of

Hunald], “Roses d’Enfer” [Roses of Hell], “Les noces de Cana” [The Wed-

ding at Cana], “Le sphinx” [The Sphinx], and “Au tombeau de Baudelaire”

[At the Tomb of Baudelaire]. Titles such as “Lohengrin” evoke the late-

nineteenth-century interest in Richard Wagner (1813–83) and the heroic

past of Germanic legend. “Les noces de Cana” was perhaps inspired by the

1717 painting by Jean-Antoine Watteau (1684–1721) of the same name

(sometimes called Embarkation for Cythera ). Sphinxes, both Egyptian andGreek, were a nineteenth-century fascination. They appear in numerous

poems by Gautier, as in his 1838 collection La comédie de la mort [The

Comedy of Death]. The painting Oedipus and the Sphinx by the French

Symbolist painter Gustave Moreau (1826–98) dates from 1864, and

Giraud’s “Le Sphinx” follows in the tradition.

Giraud’s twentieth-century poetic anthologies include La guirlande des

dieux [The Garland of the Gods], La frise empourprée [The Crimson

Frieze], and Le laurier [The Laurel], in which there appear several poems

inspired by his experiences in the First World War, among them, one

lamenting the destruction wrought in Louvain by the Germans, and one in

memory of his young friend Robert Courouble, killed in battle in 1915. Late

in life Giraud was appointed chief librarian at the Belgian Ministry of the

Interior. In his last volume, Le concert dans le musée [The Concert in the

Museum], published in 1921, one can still see links to Pierrot Lunaire , for

example, in the poem “Bach, Stabat Mater,” which takes up the theme of the

sorrows of the Mother of Christ. At the time of his death in 1929, Giraud

was nearly blind and living alone. He is said always to have longed for his

lost childhood. He adored his mother and his beloved aunt, but never

found love as an adult: in matters of the heart, he was an outsider. In

various senses, Giraud was himself Pierrot.5

5For biographical information on Giraud see Lucien Christophe, Albert Giraud (Brus-sels: Palais des Académies, 1960); Jeanne Polyte, Albert Giraud, Emile Verhaeren, parallèle senti-

mental (Brussels: Office de Publicité, 1930); and especially Henri Liebrecht, Albert Giraud

(Brussels: Office de Publicité, 1946).


12/26


xvi PIERROT LUNAIRE

The German translator of Albert Giraud’s Pierrot Lunaire was Otto

Erich Hartleben (1864–1905), who admired the poems during his days as a

student of law in Leipzig and Berlin. In the years 1886 to 1891 he translatedthe entire work, and the German edition was published by Paul Scheerbart

in 1893, when Hartleben was twenty-nine.6 (Some of Hartleben’s German

renditions had previously appeared in 1891 in the French journal Nord et

Sud .) At the time of publication in Berlin, Hartleben’s translations were

already known in Germany through his performances of the work in caba-

rets. In 1968, in honor of the sev enty-fifth anniversary of Hartleben’s publica-

tion, a facsimile of the 1893 edition was printed by Halkyonische Akademie

für Unangewandte Wissenschaften7 [Halcyon Academy for Unapplied Stud-ies] an avant-garde literary society founded by Hartleben in 1903 amidst fes-

tivities at his villa in Salò on Lago di Garda, Northern Italy—two years before

his untimely death. For several years after its inception, the Akademie flou-

rished among a group of expatriate Germans living in Florence; it functio-

ned until 1968 (with an interstice during the Second World War). The 1968

edition of Pierrot Lunaire , which includes a wordy but rather uninformative

1910 essay on Hartleben by the Austrian writer Franz Blei (1872–1942),

constitutes the swan song of the society. In her 1968 introduction, Hartle-

ben’s sister Annemarie Hartleben Pallat conveys something of the history of

the academy, and in conclusion declares it officially defunct.

Mary Garland writes that Hartleben specialized in “deft erotic come-

dies,” but he also wrote poems, short stories, and novellas.8 An admirer of

Hugo von Hofmannsthal and Stefan George, he produced editions of

Goethe’s poems and of works by Angelus Silesius, a seventeenth-century

Catholic religious poet. Although it is the Schoenberg settings of his Pierrot

Lunaire that are best known, other composers took poems by Hartleben as

their text, including “In Arm der Liebe” [In the Arms of Love] by Max

Reger (1873–1916), “Selige Nacht” [Blessed Night] by Joseph Marx (1882-

1964), “Liebesode” [Love Ode] by Alban Berg (1885–1935), and “In meines

Vaters Garten” [In My Father’s Garden] by Alma Mahler (1879–1964).

6Albert Giraud, Pierrot Lunaire , tr. Otto Erich Hartleben (Berlin: Verlag Deutscher Phan-

tasten, 1893).7Pierrot Lunaire, tr. Hartleben (1893; Reprint, Berlin: Halkyonische Akademie für Unan-

gewandte Wissenschaften zu Salò, 1968).8The Oxford Companion to German Literature . 3d ed., ed. Mary Garland (Oxford: Oxford

University Press, 1997), 336.


13/26


PIERROT LUNAIRE xvii

Hartleben’s most important work was the 1890 drama Rosenmontag: Eine

Offizierstragödie [Rose Monday: an Officer’s Tragedy], a Naturalistic tour de

force.

9

The tragedy depicts the inability of an officer, Hans Rudorff, to“subordinate his individuality to the rigid social code of the officer caste”10

and culminates in the suicide of Rudorff and his lover. It was the success of

this work that enabled Hartleben to spend great amounts of time at his villa

in Salò, which he purchased in 1901 and christened Villa Halkyone. His

drama later provided the inspiration for two German films of the same

name: Rosenmontag (1930), directed by Rudolf Meinert, and Rosenmontag

(1955), directed by Willy Birgel.

Hartleben was a tormented alcoholic and as a consequence sufferedfrom ill health for most of his adult life. In an 1896 letter to his wife he

wrote: “I must drink heavily so as not to go simply mad. When I awaken in

the morning, I have a feeling of anxiety that I cannot describe to you, and

which only subsides after several glasses of vermouth. My nerves are in a

state of tension as I have never experienced it before.”11 He was often pla-

gued by uncontrollable mood swings. He grew to detest his wife, Selma

Hesse Hartleben, because of her complaints about his having taken up resi-

dence with his mistress at Villa Halkyone. In the end, his death was as gro-

tesque as his life. In a gesture reminiscent of Pierrot Lunaire no. 24,

“Enthauptung” [Decapitation], he directed that upon his death his head

should be severed from his body and his skull preserved for posterity. His

physician graciously obliged. Local lore has it that following the procedure,

as the doctor made his way home, the head was dropped on the floor of a

taverna, presumably to the dismay of the onlookers.

All the personalities in Pierrot Lunaire are characters from the comme-

dia dell’arte, a form of theater that arose in mid-sixteenth-century Renais-

sance Italy. The genre featured stock characters with characteristic costumes

and masks; the masks presumably were a trait derived from the Roman

theater. Improvisation was emphasized, although based on a set of standard

plots; performances also included acrobatics and singing. Professional

companies, to which actors belonged for their entire lives, toured Europe,

9See Erich Otto Hartleben, Rosenmontag: Eine Offizierstragödie (Berlin: S. Fischer, 1924).10Oxford Companion to German Literature, 711.11Otto Erich Hartleben, Briefe an seine Frau [Letters to his wife], ed. Franz Ferdinand

Heitmüller (Berlin: Fischer, 1908), 217.


14/26

ABOUT THE TRANSLATOR

Gregory Richter is professor of linguistics and

foreign languages at Truman State University,

where he currently teaches linguistics and Ger-

man. Originally from California, he studied at

the University of California, Santa Cruz, andearned his Ph.D. in linguistics at the University

of California, San Diego. With a strong interest

in translation, he has translated poems by Einar

Bragi, Jóhann Hjálmarsson, and Matthías

Johannessen in Icelandic, published in both

Paintbrush (1986) and Chariton Review (1990),

as well as poems by Larissa Vassilisa in Russian

in Chariton Review (1989), and poems by Hé

Dong in Chinese in Samtiden (1990) and Vinduet (1991). He has also pro-

duced a translation of the Chinese classic Tao Te Ching, entitled The Gate of All

Marvelous Things: A Guide to Reading the Tao Te Ching (Red Mansions Pub-

lishing, 1998). From German, he has translated the volume The Incest Theme

in Literature and Legend by the psychologist Otto Rank, which addresses the

Oedipus and Electra dramas and related literary works through the ages

(Johns Hopkins University Press, 1992). His most recent translation fromGerman (with E. James Lieberman) is Psychology and the Soul by Otto Rank, a

history of belief in the soul in numerous cultures (Johns Hopkins University

Press, 1998). Mr. Richter resides with his wife and son in Kirksville, Missouri.


15/26

INDEX –SUBJECT

SUBJECT INDEX

AAustin, Larry (composer), xxix

BBalke, Maureen (singer), xxviiiBanville, Théodore de, xiv, xix

Bassett, Leslie (composer), xxviii

Die Wolken, 24

Herbst , 30

Baudelaire, Charles, xiv, xv

Berg, Alban, xvi

Bergamo, Italy, xvi

Blaue Reiter Almanac, xxiv

Blei, Franz, xvi, xxiiiBrueghel, Jan, 3n41

Bryant, Dinah (singer), xxviii

Butor, Michel (writer), xxi

Ccabaret melodrama, xxiii–xxiv

Cimarosa, Domenico, 83n50

Columbine (commedia stock charac-

ter), xviii, xix

commedia dell’arte, xvii–xviii

DDeburau, Jean-Gaspard, xviii

Debussy, Claude, xix

Décadent poets, xiv

Derain, André, xix

Dvor ák, Jan Kaspar, xviii

GGautier, Théophile, xix, xiv

Gilkin, Iwan, xix, xxi

Giraud, Albert (pen name)

poetical works of: xxi–xxii, xx WWI poetry, xv

grotesque, in Pierrot Lunaire, xx

HHalkyonische Akademie, xvi

Harlequin (commedia stock character),

xviii

Harris, Donald (composer), xxix

Der Koc h, 14Nordpolfahrt , 18

Selbstmord, 36

Hartleben, Otto Erich, xvi, xiii

Rosenmontag, xvii

Hartleben, Selma Hesse, xvii

Hors du Siècle (Outside the Century), xv

J Jeune Belgique journal, xiv, xxi

Jeune Belgique (Young Belgium) literary

movement, xiv, xxi

KKammer, Salome (singer), xxvii

Kayenbergh, Emile Albert, xiv. See also

Giraud, Albert

Kowalski, Max (composer)Gebet an Pierrot (no. 1), 62

Raub (no.2), 28

Die Estrade (no. 3), 98


16/26

INDEX –SUBJECT

112 PEIRROT LUNAIRE

Kowalski(continued)

Der Dandy (no. 4), 6

Moquerie (no. 5), 86

Sonnen-Ende (no. 6), 40Nordpolfahrt (no. 7), 18

Colombine (no. 8), 20

Der Mondfleck (no. 9), 76

Die Laterne (no. 10), 88

Abend (no. 11), 66

Heimfahrt (no. 12), 66

Pierrot Lunaire song cycle, xxvi

Kraft, William (composer), xxix

Feerie, 4

Harlequinade, 16Mein Bruder, 26

Selbstmord, 36

LLaforgue, Jules, xix

Launay, Michel (writer), xxii

Leconte de Lisle, Charles-Marie, xiv

MMahler, Alma, xvii

Mamlok, Ursula (composer), xxviii

Die Laterne, 88

Marx, Joseph (composer), xvii, xxviii

Colombine, 20

Der Dandy, 6

Valse de Chopin, 52

Milhaud, Darius, xxiiMosko, Stephen (composer), xxviii

Schweres Los, 8

music for Pierrot Lunaire, xxiii–xxx

PPallat, Annemarie (Hartleben), xvi

Picasso, Pablo, xix

Pierrot Lunaire

color terminology in, xx

novel by Stevenson, xxii

rhyme scheme, xxi

Schoenberg’s selections, xxii–xxix

structure of, xx–xxi

themes in, xxi, xxvi

translated from German to French, xxiiwriting of, xii, xix

Pierrot (Pedrolino)

commedia stock character, xviii

in Giraud’s work, xx

Porter, Andrew, xiii

Poulenc, Francis, xix

Pousseur, Marianne (singer), xxvii

Powell, Mel (composer), xxviii

Die Violine, 64

R Reger, Max, xvi

Remaekers, Georges (critic), xxi

Reynolds, Roger (composer) xxviii

Abend, 66

Morgen, 82

rondel rhyme scheme, xxi

Rosenmontag, by Hartleben, xviiRouault, Georges, xix

SSchäfer, Christine (singer), xxvii

Scheerbart, Paul (publisher), xvi

Schoenberg, Arnold

Mondestrunken (no. 1), 32

Colombine (no. 2), 20

Der Dandy (no. 3), 6Eine blasse Wäscherin (no. 4), 10

Valse de Chopin (no. 5), 52

Madonna (no. 6), 56

Der kranke Mond (no. 7), 42

Nacht (no. 8), 38

Gebet an Pierrot (no. 9), 62

Raub (no. 10), 28

Rote Messe (no. 11), 58

Galgenlied (no. 12), 34

Enthauptung (no. 13), 48Die Kreuze (no. 14), 60

Heimweh (no. 15), 68


17/26

INDEX –SUBJECT

PEIRROT LUNAIRE 113

Gemeinheit! (no. 16), 90

Parodie (no. 17), 84

Der Mondfleck (no. 18), 76

Serenade (no. 19), 12Heimfahrt (no. 20), 72

O alter Duft (no. 21), 70

composition of Pierrot Lunaire, xxiii–

xxv

moves from Nazi Germany to U.S.,

xxvi

Shakespeare, William, xx

Sprechstimme technique, xxv

Stevenson, Helen (novelist), xxii

Symbolist poets, xiv

VVerlaine, Paul, xiv, xviii

Vrieslander, Otto (composer), xxiii, xxiv

Rot und Weiß (no. 1), 51

Spleen (no. 2), 31

Landschaft (no. 3), 92

WWagner, Erika (performer), xxvi

Watteau, Jean-Antoine (artist), xv, xviii,3n42

Webern, Anton, xiv

Willette, Adolphe, 77n49

YYouens, Susan, 77n49

ZZehme, Albertine (actress/singer), xxiii–

xxiv


18/26

INDEX –TITLES & FIRST LINES

INDEX OF TITLES AND FIRST LINES

AA basket, red and full of sawdust, ................................................................................. 47

“A Colombine” (no. 10) .................................................................................................. 20

A crescent of laughing Moon ........................................................................................ 95

A cruel, red tongue ........................................................................................................ 51A fantastic Moonbeam .................................................................................................... 7

“A mon Cousin de Bergame” (no. 13) ............................................................................ 26

A Moonbeam in a bottle ............................................................................................. 101

A Moonbeam is his oar, ................................................................................................. 73

A multicolored alphabet ................................................................................................ 79

A polar iceblock, mirrorlike, ......................................................................................... 19

A very pale Moonbeam ................................................................................................. 77

“Abend” (no. 33) .............................................................................................................. 66

“Absinth” (no. 22) ............................................................................................................ 44“Absinthe” (no. 22) .......................................................................................................... 45

Absurd and sweet as a lie, .............................................................................................. 75

Absurde et doux comme un mensonge ........................................................................ 74

“Arlequin” (no. 11) .......................................................................................................... 22

Arlequin porte un arc-en-ciel ....................................................................................... 16

“Arlequinade” (no. 8) ...................................................................................................... 16

At the cruel Eucharist, ................................................................................................... 59

Auf den marmorstufen der Estrade, ............................................................................. 98

Auf einem weißen Hügel, ............................................................................................ 102

BBeautiful verses are great crosses .................................................................................. 61

“Begging for Heads” (no. 23) .......................................................................................... 47

“Black Butterflies” (no. 19) ............................................................................................. 39

Blancheurs de la Neige et des Cygnes, .......................................................................... 80

“Blancheurs Sacrées” (no. 40) ......................................................................................... 80

“Bohemian Crystal” (no. 50) ........................................................................................ 101

“Böhmischer Kristall” (no. 50) ..................................................................................... 100Brillant comme un spectre solaire, ............................................................................... 22

“Brosseur de Lune” (no. 38) ............................................................................................ 76

“Brushing Off a Moonbeam” (no. 38) ............................................................................ 77


19/26


PEIRROT LUNAIRE 115

C“Colombine” (no. 10) ......................................................................................................20

Comme de splendides nageoires, ..................................................................................24Comme un crachat sanguinolent, .................................................................................52

Comme un doux soupir de cristal, ................................................................................68

Comme une pâle lavandière, .........................................................................................10

“Chopin Waltz” (no. 26) ..................................................................................................53

“Coucher de Soleil” (no. 20) ............................................................................................40

“Cristal de Bohême” (no. 50) ........................................................................................100

“Crosses” (no. 30) ............................................................................................................61

“Cruel Pierrot” (no. 45) ...................................................................................................91

“Cuisine Lyrique” (no. 7) .................................................................................................14

DD’un croissant de Lune hilarante ..................................................................................94

Dans le chef poli de Cassandre, .....................................................................................90

Dans l’Eglise odorante et sombre ..................................................................................54

Dans une immense mer d’absinthe, ..............................................................................44

“Das Alphabet” (no. 39)...................................................................................................78

Das Alphabet—ein scheckig Heer .................................................................................78

“Das heilige Weiß” (no. 40) .............................................................................................80

Das Weiß der Schwäne und des Schnees, ......................................................................80

De sinistres papillons noirs............................................................................................38

“Decapitation” (no. 24) ...................................................................................................49

“Décollation” (no. 24) ......................................................................................................48

“Déconvenue” (no. 4) ........................................................................................................8

“Decor”

(no. 2) .............................................................................................................................5

(no. 46) .........................................................................................................................93

“Décor”

(no. 2) .............................................................................................................................4(no. 46) .........................................................................................................................92

Den Wein, den man mit Augen trinkt, ..........................................................................32

“Départ de Pierrot” (no. 36) ............................................................................................72

“Der Dandy” (no. 3) ..........................................................................................................6

“Der Koch” (no. 7) ...........................................................................................................14

“Der kranke Mond” (no. 21) ...........................................................................................42

Der Mond, ein blankes Türkenschwert .........................................................................48

Der Mond gleicht einem blassen Horn .........................................................................86

“Der Mondfleck” (no. 38) ................................................................................................76

Der Mondstrahl ist das Ruder, ......................................................................................72Der Violine zarte Seele, ..................................................................................................64

Des aiguilles à tricoter ....................................................................................................84

Des Mondlichts bleiche Blüten,.....................................................................................20


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116 PEIRROT LUNAIRE

Die dürre Dirne.............................................................................................................. 34

“Die Estrade” (no. 49) .....................................................................................................98

“Die Harfe” (no. 51) ......................................................................................................102

“Die Kirche” (no. 27) .......................................................................................................54

“Die Kreuze” (no. 30) ......................................................................................................60

“Die Laterne” (no. 44) .....................................................................................................88

Die rote Zunge, .............................................................................................................. 51

Die sieche Sonne lässt ihr Blut entströmen .................................................................. 40

Die stumme Mondesgöttin säugt .................................................................................. 26

“Die Violine” (no. 32) ......................................................................................................64

“Die Wolken” (no. 12) .....................................................................................................24

“Disappointment” (no. 4) ................................................................................................. 9

Du nächtig todeskranker Mond .................................................................................... 42D’un grotesque archet dissonant .................................................................................. 12

D’un rayon de Lune fantasque ........................................................................................6

Durch die braunen, trocknen Blätter ............................................................................30

EEin rosig blasser, feiner Staub ........................................................................................82

Ein Strahl des Mondes, wohl verschlossen .................................................................100

Eine blasse Wäscherin.................................................................................................... 10“Eine blasse Wäscherin” (no. 5) ...................................................................................... 10

“Eine Bühne” (no. 1) .........................................................................................................2

Eine Bühne, bunt und heimlich, ..................................................................................... 2

Eine fröhlich leuchtende Laterne, ................................................................................. 88

Eine goldne Omelette ....................................................................................................14

Eine silberklare Mondessichel, ......................................................................................94

Einen Eisblock, schillernd weiß,.................................................................................... 18

Einen seidenen Regenbogen .......................................................................................... 16

Einen weißen Fleck des hellen Mondes ........................................................................76En d’alanguissantes yoles............................................................................................... 96

En sa robe de Lune blanche, ..........................................................................................36

“Enthauptung” (no. 24) ...................................................................................................48

“Evocation” (no. 28) .................................................................................................. 56, 57

FFatigué d’Eliane et las de Lélio, ................................................................................... 104

“Feerie” (no. 2) ...................................................................................................................4Fine red dust...................................................................................................................83

Finstre, schwarze Riesenfalter........................................................................................ 38

“For Columbine” (no. 10) ............................................................................................... 21


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PEIRROT LUNAIRE 117

G“Galgenlied” (no. 17) .......................................................................................................34

“Gebet an Pierrot” (no. 31) .............................................................................................62“Gemeinheit!” (no. 45) ....................................................................................................90

Gewaltge, goldne Purpurvögel, .......................................................................................4

Gleaming like a solar spectrum, ....................................................................................23

Gleich himmlischen Fischen .........................................................................................24

Great birds of purple and gold, .......................................................................................5

H“Harlequin” (no. 11) ..................................................................................................22, 23

Harlequin carries a rainbow ..........................................................................................17“Harlequinade” (no. 8) ....................................................................................................16

“Harlequin’s Tale” (no. 8) ................................................................................................17

Heilge Kreuze sind die Verse, .........................................................................................60

“Heimfahrt” (no. 36) .......................................................................................................72

“Heimweh” (no. 34) .........................................................................................................68

“Herbst” (no. 15)..............................................................................................................30

IIhren schmutzig roten Korb ..........................................................................................46

I’m dreaming of a theater: ...............................................................................................3

Im Ozeane des Absinths.................................................................................................44

“Im Spiegel” (no. 47) .......................................................................................................94

In a boundless sea of absinthe .......................................................................................45

In den blanken Kopf Cassanders, ..................................................................................90

In der dunklen, weihrauchschwülen Kirche, ................................................................54

In des Mondes weißer Robe ..........................................................................................36

In einer müden Gondel .................................................................................................96

In his robe of white Moonlight .....................................................................................37

In languorous yachts ....................................................................................................907

In the censed and somber Church, ...............................................................................55

In the polished pate of Cassander, ................................................................................91

“Ivresse de Lune” (no. 16) ...............................................................................................32

JJe rêve un théâtre de chambre, ........................................................................................2

KKalte, feste, starrende Brüste, .........................................................................................50

Knitting needles gleaming .............................................................................................85


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118 PEIRROT LUNAIRE

“Köpfe! Köpfe!” (no. 23) .................................................................................................46

L“La Chanson de la Potence” (no. 17) ..............................................................................34

La claire et joyeuse lanterne, ..........................................................................................88

“La Lanterne” (no. 44) .....................................................................................................88

La Lune, comme un sabre blanc .................................................................................... 48

La Lune, la jaune omelette, ............................................................................................14

La Lune dessine une corne ............................................................................................86

La maigre amoureuse au long cou ................................................................................ 34

“La Sérénade de Pierrot” (no. 6) .....................................................................................12

“L’Alphabet” (no. 39) .......................................................................................................78L’âme du violon tremblant, ...........................................................................................64

“Landschaft” (no. 46) ......................................................................................................92

“Le Miroir” (no. 47) .........................................................................................................94

Le Soleil, comme un grand œuf rose, ...........................................................................92

Le Soleil s’est ouvert les veines ......................................................................................40

Le vin que l’on boit par les yeux ................................................................................... 32

“L’Eglise” (no. 27) ............................................................................................................ 54

Les beaux vers sont de larges croix ................................................................................ 60

“Les Cigognes” (no. 33) ...................................................................................................66

Les cigognes mélancoliques, ..........................................................................................66Les convives, fourchette au poing, .................................................................................. 8

“Les Croix” (no. 30) .........................................................................................................60

Les fleurs pâles du clair de Lune,...................................................................................20

Les grands oiseaux de pourpre et d’or, ...........................................................................4

“Les Nuages” (no. 12) ......................................................................................................24

Les rouges rubis souverains, ..........................................................................................28

“L’Escalier” (no. 49) .........................................................................................................98

Leuchtend glüht Italiens blauer Himmel,..................................................................... 74

Leuchtend wie ein Sonnenspektrum, ...........................................................................22

Lieblich klagend—ein kristallnes Seufzen .................................................................... 68

Like a gentle crystal sigh, ............................................................................................... 69

Like a pale laundress, .....................................................................................................11

Like coughed-up blood ................................................................................................. 53

Like ever-changing splendid fins................................................................................... 25

“Lune au Lavoir” (no. 5) .................................................................................................. 10

“Lune Malade” (no. 21) ...................................................................................................42

“Lune Moqueuse” (no. 43) .............................................................................................. 86

“Lyric Cuisine” (no. 7) .....................................................................................................15

M“Madonna” (no. 28) .........................................................................................................56


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PEIRROT LUNAIRE 119

Madonna of Hysteria, ....................................................................................................57

“Mein Bruder” (no. 13) ...................................................................................................26

Melancholisch ernste Störche, .......................................................................................66

“Mendiante de Têtes” (no. 23) ........................................................................................46“Messe Rouge” (no. 29) ...................................................................................................58

Mit den Gabeln in den Fäusten .......................................................................................8

Mit einem phantastischen Lichtstrahl ............................................................................6

Mit groteskem Riesenbogen ..........................................................................................12

“Mocking Moon” (no. 43) ...............................................................................................87

“Mondestrunken” (no. 16) ..............................................................................................32

“Moondrunk” (no. 16) ....................................................................................................33

“Moquerie” (no. 43) .........................................................................................................86

“Morgen” (no. 41) ............................................................................................................82

N“Nacht” (no. 19) ...............................................................................................................38

“Nordpolfahrt” (no. 9).....................................................................................................18

“Nostalgia” (no. 34) .........................................................................................................69

“Nostalgie” (no. 34) .........................................................................................................68

Nous sommes parents par la Lune, ...............................................................................26

O“O alter Duft” (no. 35) .....................................................................................................70

O alter Duft—aus Märchenzeit, ...................................................................................70O Lune, nocturne phtisique, .........................................................................................42

O Madone des Hystéries! ...............................................................................................56

O Moon, nocturnal phthistic, .......................................................................................43

O old, ethereal perfume .................................................................................................71

O Pierrot! Le ressort du rire, .........................................................................................62

O vieux parfum vaporisé ...............................................................................................70

On a white hillside .......................................................................................................103

P“Pantomime” (no. 37)................................................................................................74, 75

“Papillons Noirs” (no. 19) ...............................................................................................38

“Parfums de Bergame” (no. 35) ......................................................................................70

“Parodie” (no. 42) ............................................................................................................84

“Parody” (no. 42) .............................................................................................................85

Pierrot, the key of laughter— ........................................................................................63“Pierrot and the Donkey” (no. 52) ................................................................................105

“Pierrot Cruel” (no. 45) ...................................................................................................90

“Pierrot Dandy” (no. 3) .....................................................................................................6


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120 PEIRROT LUNAIRE

Pierrot de Bergame s’ennuie: ........................................................................................30

“Pierrot et l’Ane” (no. 52) ............................................................................................. 104

Pierrot from Bergamo is bored: .................................................................................... 31

Pierrot hat Langeweile, ..................................................................................................31Pierrot! Mein Lachen .....................................................................................................62

“Pierrot Polaire” (no. 9) ...................................................................................................18

“Pierrot the Dandy” (no. 3) ............................................................................................... 7

“Pierrot the Thief” (no. 14) ............................................................................................29

“Pierrot Voleur” (no. 14) ................................................................................................. 28

“Pierrot’s Departure” (no. 36) .........................................................................................73

“Pierrot’s Serenade” (no. 6) ............................................................................................. 13

“Polar Pierrot” (no. 9) .....................................................................................................19

Pour la cruelle Eucharistie, ............................................................................................58

“Poussière Rose” (no. 41) ................................................................................................ 82

R “Raub” (no. 14) ................................................................................................................ 28

“Red and White (no. 25) ................................................................................................. 51

“Red Dust” (no. 41) .........................................................................................................83

“Red Mass” (no. 29) .........................................................................................................59

“Rot und Weiß” (no. 25) ...........................................................................................50, 51

Rote, fürstliche Rubine, ................................................................................................. 28“Rote Messe” (no. 29) ......................................................................................................58

Rotgelb, wie ein großes Ei ..............................................................................................92

“Rouge et Blanc” (no. 25) ................................................................................................ 50

Rubies, red and royal, ....................................................................................................29

S“Sacred Whiteness” (no. 40) ............................................................................................81

“Schweres Los” (no. 4) .......................................................................................................8“Selbstmord” (no. 18) ......................................................................................................36

“Serenade” (no. 6) ............................................................................................................ 12

“Sick Moon” (no. 21) .......................................................................................................43

Sinister black butterflies ................................................................................................ 39

“Soirée On the Water” (no. 48) .......................................................................................97

“Song of the Gallows” (no. 17) .......................................................................................35

“Sonnen-Ende” (no. 20) ..................................................................................................40

“Souper” (no. 48) ............................................................................................................. 96

“Souper sur l’Eau” (no. 48) .............................................................................................96

“Spleen” (no. 15) ........................................................................................................30, 31Steig, o Mutter aller Schmerzen, ................................................................................... 56

Stricknadeln, blank und blinkend,................................................................................ 84

“Suicide” (no. 18) .......................................................................................................36, 37


25/26


PEIRROT LUNAIRE 121

“Sunset” (no. 20) ..............................................................................................................41

“Supplication” (no. 31) ....................................................................................................63

“Supplique” (no. 31) ........................................................................................................62

Sur le marbre de l’escalier, .............................................................................................98

T“The Alphabet” (no. 39) ..................................................................................................79

The bright and joyful lantern ........................................................................................89

“The Church” (no. 27) .....................................................................................................55

“The Clouds” (no. 12) .....................................................................................................15

The guests, with fork in fist, ............................................................................................9

“The Harp (no. 51) ........................................................................................................103“The Lantern” (no. 44) ....................................................................................................89

The melancholy storks, ..................................................................................................67

“The Mirror” (no. 47) ......................................................................................................95

The Moon, a long white saber .......................................................................................49

The Moon, the yellow omelette, ....................................................................................15

“The Moon is a Laundress” (no. 5) .................................................................................11

The Moon has made us brothers,..................................................................................27

The Moon has traced its horn .......................................................................................87

The Moonlight’s pale blossoms, ....................................................................................21

“The Moon’s Violin” (no. 32) ..........................................................................................65“The Perfumes of Bergamo” (no. 35) .............................................................................71

The slender hetaera with lengthy neck..........................................................................35

“The Staircase” (no. 49) ...................................................................................................99

“The Storks” (no. 33) .......................................................................................................67

The Sun, a great rose-colored egg, ................................................................................93

The Sun has slit its veins ................................................................................................41

The spirit of the trembling violin, .................................................................................65

The wine we drink with our eyes ..................................................................................33

“Theater” (no. 1) ................................................................................................................3

“Théâtre” (no. 1) ................................................................................................................2

“To My Cousin from Bergamo” (no. 13) ........................................................................27

Tormenting his viol ........................................................................................................13

UUn alphabet bariolé, .......................................................................................................78

Un miroitant glaçon polaire, .........................................................................................18

Un panier rouge empli de son .......................................................................................46

Un rayon de Lune enfermé ..........................................................................................100Un rayon de Lune est la rame, .......................................................................................72

Un très pâle rayon de Lune ............................................................................................76

Une cruelle et rouge langue, ..........................................................................................50


26/26

Une fine poussière rose, ................................................................................................. 82

Upon the marble staircase, ............................................................................................99

V“Valse de Chopin” (no. 26) .............................................................................................. 52

“Violon de Lune” (no. 32) ............................................................................................... 64

WWeary of Eliane, tired of Lelio, ....................................................................................105

Whiteness of the Snow and Swans, ............................................................................... 81

Wie ein blasser Tropfen Bluts ........................................................................................52

ZZu grausem Abendmahle, ............................................................................................. 58

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