Sprechstimme in Arnold Schoenberg's Pierrot lunaire: a study of vocal performance practice
This study offers a brief history of "Sprechstimme" and "Pierrot lunaire", Schoenberg's recordings of "Pierrot", and the ambiguity inherent in the execution of "Sprechstimme". The author provides a thorough discussion of "Pierrot's" technical vocal requirements and how the sound recordings can assist in the interpretation and performance of the "Sprechstimme".
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accurate actress Adorno alter Duft Archive of Correspondence Arnold Schoenberg Arnold Schoenberg Letters Arnold Schonberg Center Barbara Sukowa Chapter chest voice Columbia recording composer concert conductor cycle declamation DeGaetani delivery effective Erika Stiedry-Wagner Erwin Stein Example execution five recordings follow the contour Frau frequently Freund Fritz Stiedry German gesprochen gesungen pitches Gurre-Lieder Gutheil-Schoder Humperdinck's Ibid interpretation of Pierrot intervallic integrity issues Kdnigskinder Kreuze Leibowitz Lucy Shelton marked melodrama mezzo soprano Nash Ensemble notes Online Archive performance practice performing Pierrot perhaps Peter Stadlen piano piece Pierre Boulez Pierrot lunaire portamento Preface premiere present range Reciter recording of Pierrot rehearsals rendering rhythm ritardando Rosbaud Rote Messe Schoenberg wrote Schoenberg's recording score Shelton's singer singing sliding Soder song sound speech speech-like spoken Sprechstimme Stadlen stereo CD stereo LP Steuermann Stiedry Stiedry-Wagner's straight tone Stuckenschmidt sung tempi tempo tessitura tradition vibrato vocal line vocalist words written Yvonne Minton Zehme Zehme's