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    The New York Reception of Pierrot Lunaire

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    Zacharias Tarpagkos
    The document discusses the 1923 New York premiere of Arnold Schoenberg's Pierrot lunaire and the critical reception that followed. It premiered on February 4, 1923 and was performed by the International Composers' Guild, led by Louis Gruenberg, with soprano Greta Torpadie as the reciter. The performance caused significant controversy among critics and audiences in New York, as Schoenberg's atonal style was still quite radical. It reignited debates around modernist music that had been occurring in New York during the 1910s. While some praised Schoenberg's ability to express moods, many critics were shocked or dismayed by the lack of traditional elements like melody and tonality. The controversial premiere highlighted

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    © All Rights Reserved
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    The New York Reception of Pierrot Lunaire

    Uploaded by

    Zacharias Tarpagkos
    120 views32 pages
    The document discusses the 1923 New York premiere of Arnold Schoenberg's Pierrot lunaire and the critical reception that followed. It premiered on February 4, 1923 and was performed by the International Composers' Guild, led by Louis Gruenberg, with soprano Greta Torpadie as the reciter. The performance caused significant controversy among critics and audiences in New York, as Schoenberg's atonal style was still quite radical. It reignited debates around modernist music that had been occurring in New York during the 1910s. While some praised Schoenberg's ability to express moods, many critics were shocked or dismayed by the lack of traditional elements like melody and tonality. The controversial premiere highlighted

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    The document discusses the 1923 New York premiere of Arnold Schoenberg's Pierrot lunaire and the critical reception that followed. It premiered on February 4, 1923 and was performed by the International Composers' Guild, led by Louis Gruenberg, with soprano Greta Torpadie as the reciter. The performance caused significant controversy among critics and audiences in New York, as Schoenberg's atonal style was still quite radical. It reignited debates around modernist music that had been occurring in New York during the 1910s. While some praised Schoenberg's ability to express moods, many critics were shocked or dismayed by the lack of traditional elements like melody and tonality. The controversial premiere highlighted

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    120 views32 pages

    The New York Reception of Pierrot Lunaire

    Uploaded by

    Zacharias Tarpagkos
    The document discusses the 1923 New York premiere of Arnold Schoenberg's Pierrot lunaire and the critical reception that followed. It premiered on February 4, 1923 and was performed by the International Composers' Guild, led by Louis Gruenberg, with soprano Greta Torpadie as the reciter. The performance caused significant controversy among critics and audiences in New York, as Schoenberg's atonal style was still quite radical. It reignited debates around modernist music that had been occurring in New York during the 1910s. While some praised Schoenberg's ability to express moods, many critics were shocked or dismayed by the lack of traditional elements like melody and tonality. The controversial premiere highlighted

    Copyright:

    © All Rights Reserved
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    of 32

    The New York Reception of "Pierrot lunaire": The 1923 Premiere and Its Aftermath

    Author(s): David Metzer


    Reviewed work(s):
    Source: The Musical Quarterly, Vol. 78, No. 4 (Winter, 1994), pp. 669-699
    Published by: Oxford University Press
    Stable URL: http://www.jstor.org/stable/742506 .
    Accessed: 22/09/2012 04:31
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    Quarterly.

    http://www.jstor.org

    TheNewYork
    of
    Reception

    lunaire:The 1923
    Pierrot
    andItsAftermath
    Premiere

    DavidMetzer

    increasein
    Duringthe 1920s,New YorkCitywitnesseda significant
    music.One of the mostcontroversial
    ofmodernist
    the performance
    Pierrot
    worksof thisperiodwas ArnoldSchoenberg's
    lunaire,which
    1923. Accordingto the
    on 4 February
    receiveditsAmericanpremiere
    criticLawrenceGilman,the performance
    families,severed
    "disrupted
    remarks
    incited
    critics
    to
    aboutone
    unbrotherly
    life-long
    friendships,
    another,and filledwholepagesin the Sundaymusicsectionsof the
    Pierrot
    To criticsand concertgoers,
    epitomized
    modemnewspapers."1
    servedas a lightning
    rodforthe
    and it therefore
    istcomposition,
    new music.As a receptor
    and vehementdisputesurrounding
    growing
    was galvanizedbya varietyof musicaland
    in thatdebate,Pierrot
    This studyof the 1923 and 1925 New Yorkperforsocialcurrents.
    mancesexaminesnot onlyhow criticalreactionsto the workexposed
    ofmusicbutalso how Pierrot
    absorbed
    understandings
    contemporary
    in
    American
    the anxietyoverthe far-reaching
    changesunderway
    society.
    and GeorgeAntheil'sBallet
    UnlikeEdgardVarase'sHyperprism
    works
    that
    also
    scandalized
    New Yorkaudiencesdurtwo
    mecanique,
    Pierrot
    has
    received
    numerous
    the
    1920s,
    subsequentperformances
    ing
    in the city,includingone twoyearsafteritsAmericanpremiere.Surfora workthathas achievedsuchvitalityin twentiethprisingly
    musicallife,severalaspectsof it have been neglected,
    century
    itsreceptionhistory.2
    Whereasthe receptionof Igor
    particularly
    The
    Rite
    one
    Stravinsky's
    ofSpring, of thefewmodernist
    compositions
    in canoniccentrality
    thatrivalsPierrot
    and regularperformances,
    has been sketched,thatof Schoenberg's
    has barelybeen
    melodrama
    traced,especiallythe responseto the workin the UnitedStates.3The
    in landingon forAmericanreactionoffers
    a uniquecase, as Pierrot,
    musical
    shaken
    entered
    a
    world
    bythe sudden
    eignsoil, dramatically

    669

    670 TheMusical
    Quarterly

    in theperformance
    ofnewmusic.The regular
    increase
    presentations
    therareopportunity
    oftheworkprovide
    to trackthereception
    ofan
    in
    modernist
    not
    the
    unstable
    musiearly
    important
    composition only
    therapidly
    cal worldof1920sNewYorkbutalsothrough
    changing
    musical
    environment
    ofthelastsevendecades.A chartofthatmeaneffects
    by
    dering
    pathshowsboththeoriginal
    explosive
    produced
    Pierrot
    andthevarious
    andoftencontradictory
    that
    work
    meanings
    hasaccruedsinceitsNewYorkpremiere.
    in theAmerican
    NewYorkaudiences
    first
    encountered
    Pierrot
    whichdisseminated
    the
    ofthe1912Berlinpremiere,
    pressreviews
    in
    the
    that
    work
    had
    revolutionary
    gained
    Europe.4
    James
    reputation
    to thecomposition
    Huneker's
    reviewintroduced
    manyNewYorkers
    thesubsequent
    discussions
    ofSchoenberg
    influenced
    andsignificantly
    He expressed
    in American
    musical
    overthecomdismay
    writings.5
    hismusica "lexicon
    from
    tonalconventions,
    labeling
    poser'sdeparture
    confounded
    ofthework,
    ofanarchy."
    bytheiconoclasm
    Although
    a
    to
    ofmoods
    Huneker
    ability express diversity
    Schoenberg's
    praised
    andatmospheres:
    intheordinary
    isthis,without
    Whatkindofmusic
    sense;
    melody,

    withoutthemes,yeteveryacornof a phrasecontrapuntally
    developed
    thatdoes not smitethe ears,lacerate,
    byan adept,withouta harmony

    theeardrums;
    forced
    intohateful
    keys
    marriage
    figuratively
    speaking,

    thatare milesasunder,or else too closelyrelatedforauralmatrimony;


    thatare so
    no form,thatis in the scholasticformalsense,and rhythms
    kind
    of
    music
    is
    monotonous-what
    varied
    as
    to
    become
    persistently
    the
    blackness
    of
    thisI repeatthatcan painta "crystal
    sigh,"
    prehistoric
    night,the abyssof a morbidsoul,theman in the moon,thefaintsweet
    and the strutof thedandyfromBerodorsof an impossible
    fairyland,

    ofpoints,
    orharmonic
    Thereisnomelodic
    line,onlya series
    gamo?
    dots,dashes,or phrasesthatsob and scream,despair,explode,exalt,
    blaspheme.

    Huvividmoodpainting,
    DespitesuchpraiseofSchoenberg's
    He closedhis
    ofPierrot
    wasnegative.
    assessment
    neker's
    concluding
    thework:"Ifsuchmusic
    hisability
    to appreciate
    review
    bydoubting
    I
    then
    for
    is
    to
    become
    long DeaththeReleaser.
    accepted
    making
    be
    thatin timeI might
    be
    the
    still
    would
    Moreshocking
    suspicion
    it."While
    to likethismusic,to embrace
    it,after
    abhorring
    persuaded

    death did, in fact, release Huneker beforethe New York performance,


    his discussionsof Schoenberg'smusic afterthe 1913 reviewof Pierrot
    show an increasedappreciation,althoughof earlierand, by that time,
    less iconoclastic works. Exposureto such compositionsas the Firstand

    NewYorkReception
    lunaire 671
    ofPierrot

    SecondString
    convinced
    Nacht,andGurrelieder
    Quartets,
    Verklarte
    himofthecomposer's
    as a "reaction
    formal
    and
    significance
    against
    He evenpredicted
    romantic
    thatSchoenberg,
    likeStrauss
    beauty."
    wouldsoonbecome"conventional."6
    andDebussy,
    Huneker's
    review
    andotheraccounts
    ofEuropean
    performances
    musicpropagated
    thecomposer's
    ofSchoenberg's
    as a
    reputation
    hiscompositions
    radicalevenbefore
    wereknownin thecity.For
    a 1913Current
    articlelabeledhim"thefirst
    futurist
    instance,
    Opinion
    in music."7
    The initialperformances
    ofSchoenberg's
    in thecity
    works
    thisview,as critics
    confirmed
    oftendecried
    hisattacks
    on established
    musical
    NewYorkconcertgoers'
    first
    direct
    with
    practices.
    experience
    thecomposer's
    musicwasa performance
    ofthreeearlysongsbythe
    American
    baritone
    ReinaldWerrenrath
    on 23 October1913(op. 1,
    no. 1, andop. 3, nos. 1 and3). Duringthesubsequent
    twoyears,a
    seriesoflocalpremieres-the
    FirstString
    Nacht,the
    Quartet,
    Verklarte
    FirstChamber
    PelleasundMelisande,
    ThreePianoPieces
    Symphony,
    PianoPieces(op. 19)-scandalized
    audiences
    (op. 11), andSixLittle
    andfueledtheincipient
    debateovermodernist
    styles.
    The following
    NewYorkpremiere
    oftheFiveOrchestral
    Pieces,
    The work,performed
    op. 16,cemented
    Schoenberg's
    reputation.
    by
    andthePhiladelphia
    Orchestra
    at Carnegie
    Hall
    LeopoldStokowski
    on 29 November
    a critical
    thatnotonly
    1921,provoked
    response
    but
    almost
    rivaled
    the
    over
    Pierrot.
    The conservaanticipated
    outrage
    tivecriticHenryKrehbiel
    wasso stunned
    thathe resorted
    to quoting
    theBiblein hisdefense
    thecomposition.8
    The equallyreacagainst
    Richard
    Aldrich
    claimedthattheworkcouldnotbe regarded
    tionary
    as musicandthatitprovedto be moreheretical
    thanthemusicof
    othercontemporary
    composers:
    Butthereweredoubtless
    audiencetowhom
    few,ifany,in lastnight's

    thepiecesboreanyrelationto musicat all. . . . thereis not the slight-

    estreasonto believethat[theinstruments']
    andcatersqueaks,
    groans,

    inanywaythemusical
    idioms
    oftoday
    ortomorrow
    wauling
    represent

    or anyotherfuture
    time.Hardwordshave been said aboutthemost
    recentoutputof Messrs.Casella, Stravinsky,
    Prokofieff
    and othersof
    the samekind;butmostofwhattheyhave done is innocent,lucid,and
    reasonablecomparedto Sch6nberg's
    achievements.
    Possiblysomesort
    of apologyis due to them.9

    New Yorkconcertgoers
    waitedelevenyearsafterthe Berlinpremiereforthe first
    Americanperformance
    ofPierrot,
    a delaycaused
    towardGerman
    partlyby thewarand the resultant
    publicantipathy
    Another
    was
    the
    in
    committed
    music.1'0
    impediment
    difficulty finding

    672 TheMusical
    Quarterly

    musicians.
    The International
    Guild(ICG), established
    Composers'
    by
    VareseandCarlosSalzedoin 1921,accepted
    thechallenge
    ofperformLouisGruenberg,
    a guildmember
    whohad
    ingthecomplex
    work.11
    attended
    bothrehearsals
    andconcerts
    ofPierrot
    ledbySchoenberg
    in
    wasselected
    as theconductor,
    Greta
    Berlin,
    alongwiththesoprano
    a third
    choiceafter
    EvaGauthier
    andMimine
    Torpadieas thereciter,
    Salzedohaddeclined.
    Varesewroteto Schoenberg,
    himoftheconcert
    and
    informing
    him
    In
    asking tojointheguild. hiscurtresponse,
    Schoenberg
    questionedthegroup's
    to perform
    theworkandturned
    downthe
    ability
    12The composer's
    invitation.
    resentment
    waslargely
    fueled
    bythe
    of
    his
    Pierrot
    to
    both
    and
    Gurrelieder
    guild'sdisruption plans present
    a 1923American
    tour.He askeda NewYorkreporter
    towarn
    during
    audiences
    notto regard
    theperformance
    as definitive,
    since"a
    hisartistic
    couldnotexpress
    to
    ideas.13The guildmanaged
    stranger"
    securepermission
    to program
    thecomposition
    the
    from
    only
    publisher
    andnotfrom
    14
    Schoenberg.
    theICG continued
    to prepare
    DespiteSchoenberg's
    objections,
    thework.ClaireReis,theindefatigable
    oftheguild's
    chairperson
    oversaw
    thearrangements
    andpublicity
    executive
    forthe
    committee,
    In an effort
    to inform
    the
    concert.
    released
    a press
    concertgoers, group
    statement
    thatdiscussed
    career
    and
    Pierrot
    as
    his
    billed
    Schoenberg's
    achievement.15
    The ICG alsoscheduled
    a lecture
    "mostsignificant"
    andheadofthemusicdivion Pierrot
    byCarlEngel,a guildmember
    ofCongress
    sionat theLibrary
    thatthe
    (7 January
    1923).Admitting
    to grasp,"
    he nonetheless
    toldtheaudiencethatit
    workwas"difficult
    earswithwhichto listento it."16
    wastheir"duty"
    to find"theright
    to findtheright
    The musicians,
    werestruggling
    however,
    technique
    andinsisted
    on moretimeto prepare,
    withwhichtoplayPierrot
    theconcert,
    scheduled
    for21
    whichforced
    Reisto postpone
    originally
    until
    later.
    demands
    for
    additional
    two
    weeks
    Gruenberg's
    January,
    thepremiere,
    butReisconto postpone
    rehearsals
    againthreatened
    vincedhimto agreeto thenewlyscheduled
    date.17
    thepremiere
    withan openafternoon
    The guildprefaced
    at
    Thatevening's
    rehearsal
    on thedayoftheperformance.
    program
    works
    Charles
    Koechlin
    theKlawTheatrealsocontained
    (Sonata
    by
    etdivertissements)
    andDariusMilforTwoFlutes),ErikSatie(Sports
    to Reis's
    from
    Saudades
    doBrasil).Thankslargely
    haud(excerpts
    the concertwas soldout, and, accordingto her,abouttwo
    efforts,
    hundredpeoplewereturnedawayat thedoor.18The successof the
    eventhelpedbringthe struggling
    group'sendeavorsto theattentionof
    the publicand critics.

    NewYorkReception
    lunaire 673
    ofPierrot

    The workmeta dividedcritical


    largely
    reception,
    splitting
    lines.19
    attackagainst
    The strongest
    reviewers
    Pieralonggenerational
    a venerated
    rotwasunleashed
    bythe"OldGuard"critics,
    quartet
    WilliamJ.Henderson,
    Richard
    Aldrich,
    HenryT. Finck,
    including
    Activeas farbackas thelastdecadesofthe
    andHenryE. Krehbiel.
    andstandards
    wereinfluenced
    theirapproaches
    nineteenth
    century,
    by
    romanticism
    ofGerman
    theaesthetics
    and,forthemostpart,proved
    in comprehending
    newtrends.20
    inflexible
    Fink,andKrehAldrich,
    the
    Old
    to
    the
    the
    members
    of
    Guard
    review
    biel, only
    premiere,
    theircriticism
    on Schoenberg's
    fortheestablished
    focused
    disregard
    thestrong
    theuseof
    traditions
    ofpastmusic,mentioning
    dissonances,
    lackofcontrapuntal
    the
    anda perceived
    unitybetween
    Sprechstimme,
    This
    music
    so
    affronted
    Finck
    that
    he
    left
    instrumental
    after
    the
    parts.
    first
    sevensongsandreferred
    to Pierrot
    andtheotherprogrammed
    as "dreary
    musicaltomfooleries."21
    works
    In contrast
    to Fink'srevulsion,
    several
    critics,
    younger
    including
    PittsSandborn,
    PaulRosenfeld,
    andKatherine
    the
    Spaeth,praised
    Rosenfeld
    and
    the
    critic
    work,albeitto different
    degrees.
    unsigned for
    music"intense"
    theSunfoundSchoenberg's
    and"sensuous,"
    respec"as musicis an interesting
    idea";
    tively.SpaethclaimedthatPierrot
    shedisliked
    themelodicwriting
    andheardtheinteraction
    however,
    thereciter
    between
    andtheaccompaniment
    as producing
    "a rather
    effect."
    of
    the
    irritating
    generally
    Although
    complimentary work,
    wasconfounded
    Sandborn
    thathe
    bythemusical
    language,
    stating
    in orderto form
    wouldrequire
    additional
    a definite
    hearings
    opinion.
    he concluded
    thatthepremiere
    "a painstakNevertheless,
    represented
    ofoneofthemosttypical
    andsignificant
    ingperformance
    compositionsofoneofthemostimportant
    livingcomposers."
    In contrast
    to thecritical
    audiencereaction
    is difficult
    response,
    to assess.Reviews
    oftheperformance
    a diverse
    describe
    audience
    ofcurious
    "theyounger
    andyoungest
    consisting
    concertgoers,
    generationsofthelocalmusicalintelligentsia,"
    and"thearistocrats
    of
    music."22
    Alsopresent
    werethe"distinguished
    musicians
    whoare
    to bring
    on themillennium
    in whichcacophony
    shallreign,"
    striving
    a vanguard
    Alfredo
    Milhaud,Stokowski,
    Casella,Georges
    including
    In a derisive
    Enesco,andWillemMengelberg.
    essayinspired
    bythe
    Krehbiel
    described
    the
    various
    of
    concert,
    responses concertgoers.
    Althoughhis negativeviewof the workclearlyprejudicedhis report,
    he offered
    the mostextendedaccountof audiencereaction:
    I saw perhapsa scoreofpersonswho werebraveenoughto leave the
    roomat the first
    whichpresenteditselfwhentheycoulddo
    opportunity

    674 TheMusical
    Quarterly
    so withoutbeingrudeand morethananotherscorewho had thehardior amusedly
    whenevertheperformance
    hood to smilesarcastically
    struckthemas absurd,and yetsat it out to the bitterend. But no one
    indulgedin catcalls,or even hisses.That was an exampleof thegood
    rulein Americanconcert-rooms.
    mannersthathabitually
    I also saw and hearda hundredor morepersonsstandup and
    beforeputtingon theirwrapsand coats. I
    applaudtheperformance
    scannedtheirfacesto see whetheror not theyweremusiciansor mem-

    inconcert-rooms
    where
    music
    bersoftheclasstobefound
    good,sound
    was
    in
    from
    fadandfactitious
    is
    heard.
    search
    dissociated
    My
    clap-trap

    vain-musicians
    jokedorswore-generally
    pulledmysleeveandeither

    11Feb.1923)
    theformer.
    (Krehbiel,

    thework
    Whereas
    mayhavebeendismayed,
    manyconcertgoers
    a
    celebrated
    event
    success.
    To
    recount
    to
    be
    a
    briefly
    popular
    proved
    convinced
    someguildmemmusical
    thistriumph
    in American
    history,
    ofthepiece.That
    a secondperformance
    Reis,tooffer
    bers,including
    a bylawin theorganization's
    contradicted
    charter,
    however,
    desire,
    first
    drawnupbyVarese,whichstatedthattheICG onlyoffered
    perThe argument
    thatensuedover
    formances
    anddidnotrepeatworks.
    ledto a schism.
    Frustrated
    thispolicyeventually
    byVarese'sautocratic
    their
    secededandformed
    Reisandseveral
    othermembers
    leadership,
    theLeagueofComposers.23
    On 22 February
    ownmusicsociety,
    1925,
    in
    Pierrot
    a
    concert
    itsintentions
    thenewgrouprealized
    byfeaturing
    at theTimesSquareTheatrewithHowardBarlowas theconductor
    The program
    theleague's
    andTorpadieagainas thereciter.
    typified
    included
    LazareSaminsky's
    toPierrot,
    ambitiousness
    and,in addition
    TheDaniel
    one-actoperaGagliarda
    PlagueandGruenberg's
    ofa Merry
    Oscar
    as
    the
    critic
    and
    was
    a
    The
    concert
    success,
    Jazz.
    Thompson
    in
    nowdomiciled
    ofmusical
    noted,"All thehighpriests
    modernity
    ceremonial
    at Times
    at Sundaynight's
    NewYorkwerecelebrants
    oravidlisteners."
    eitheras composers,
    interpreters,
    SquareTheatre,
    wasGeorgeGershwin.
    One ofthe"highpriests"
    thediscritical
    alsostirred
    Thisperformance
    debate,although
    The
    concert.
    bytheearlier
    putewasnotas heatedas thatprovoked
    strands
    interwove
    intricate
    bothperformances
    surrounding
    controversy
    to thepiece
    andsocialviews.On one level,reactions
    ofmusical
    the
    of
    musical
    the
    expectations period,thatis,the
    exposed general
    andlisteners'
    conventions
    from
    music
    formulated
    of
    past
    perceptions
    experiences.24In attackingor praisingPierrot,criticsrelied on contemporaryideals of the nature and role of music, and throughouttheir
    reviewsthese ideals were educed. In particular,the work,as would be
    expected, challenged traditionalviews of tonalityand genre; however,

    lunaire 675
    NewYorkReception
    ofPierrot

    thelimits
    ofexpresitalsotouched
    regarding
    uponbothconceptions
    thatmusicbe beautiful
    andmoral.
    sionandtheexpectation
    cultural
    wasalsoshapedbylarger
    to Pierrot
    The response
    prestheearlydecades
    DanielSingalhasdescribed,
    sures.As thehistorian
    in theUnitedStateswerea periodofcultural
    ofthetwentieth
    century
    Victorian
    to the
    the
    from
    thewaning
    created
    by shift
    instability
    as a cultural
    nascentmodernist
    culture.25
    Singal'sviewofmodernism
    from
    all areasofAmerican
    onepermeating
    life,departs
    phenomenon,
    aesthetic
    viewofthemovement
    as an autonomous
    thetraditional
    In thisreconceptualization,
    he hasdrawnuponthe
    development.
    in hisdiscusworkofPeterGay,whoregards
    modernism
    (implicitly,
    like
    as a distinct
    historical
    culture,
    sions,itsEuropean
    manifestations)
    to Gay,modernism
    theEnlightenment
    and.Victorianism.
    According
    cultural
    a secondRenaissance"
    that
    was"a pervasive
    revolution,
    in all itsbranches."26
    culture
    "transformed
    shift
    themagnitude
    a cultural
    ofthat
    To mapthoroughly
    thereachofthisessay,which
    described
    bySingalandGayis beyond
    outline.Sucha sketch
    shouldbegin
    canprovide
    onlythemostgeneral
    a
    that
    withthenotionofAmerican
    Victorianism,
    phrase maystrike
    as
    in American
    an
    discussed
    somereaders
    as oxymoron;
    however,
    in
    Victorianism
    ruledon bothsidesoftheAtlantic,
    studies,
    arising
    as a result
    ofAmerica's
    cultural
    theUnitedStateslargely
    dependency
    on Britain.27
    The Victorian
    outlookwasbasedon theperceived
    certruths.
    As
    E.
    of
    moral
    and
    Walter
    wrote,
    tainty
    Houghton
    spiritual
    morals,
    art,education-allweregov"Politics,
    economics,
    history,
    lawsorprinciples
    trueforall times
    erned,itwasthought,
    byuniversal
    A moraldichotomy
    between
    the"human"
    andplaces."28
    andthe
    beliefs.
    The former
    embraced
    those
    "animal"alsoshapedVictorian
    thatdistinguished
    manfrom
    such
    as
    elements
    educabeast,
    religion,
    contained
    forces
    thatthreatened
    tion,andthearts,whilethelatter
    Victorians
    strove
    to shieldthemselves
    notably
    sexuality.
    propriety,
    destructive
    "bestial"
    forces
    andattempted
    from
    to cultivate
    a worldof
    innocence
    andperfection.
    The Victorian
    socialviewcontained
    other
    dichotomies-for
    thedistinction
    between
    andinfeexample,
    superior
    riorclassesas wellas between
    whiteandnonwhite
    races.
    Victorianism
    Modernism
    notwitha uniform
    cultural
    challenged
    stancebutwitha vastandoftencontradictory
    of
    array beliefs,
    perspectives,and aesthetics.As Singalpointsout,one ofthe dominant
    impulsesof the culturewas to assaulttheVictorianconceptionof
    inviolabletruths.In lieu ofsuchtenets,modernism
    acceptedmoral
    and irrationality
    and openlyexaminedall aspectsof
    uncertainty
    humanbehavior,includingthe sexual.Partofthisexploration
    was

    676 TheMusical
    Quarterly

    thefascination
    withpsychic
    andirrationality
    thatfueled
    complexity
    movements
    oftheperiodas wellas theexpandmanyoftheaesthetic
    howmodernism
    ingfieldofpsychoanalysis.
    Moreover,
    Singaldiscusses
    the
    various
    social
    divisions
    integrated
    upheldbyVictorianism,
    particutheareasofclass,race,andgender.
    larlythosegoverning
    In hisstudy
    ofearly-twentieth-century
    American
    culture,
    Stanley
    Cobenalsofocuses
    on thedissolution
    oftheVictorian
    of
    justification
    hierarchies
    in thoseareas.Without
    the
    cultural
    rubric
    of
    employing
    Cobenviewsthatdisintegration
    as a partofa sweeping
    modernism,
    Victorianism."29
    Thisrevolt,
    to him,was
    "rebellion
    against
    according
    ledbya growing
    factions
    ofwhichchallenged
    thelimits
    intelligentsia,
    ofknowledge
    andtruth
    culture.
    In addition,
    prescribed
    byVictorian
    thehierarchies
    namedabovewereassaulted
    notonlybythoseintellectualsbutalsobyvarious
    and
    social
    the
    forces,
    political
    including
    activities
    ofleftist
    andlaborgroups
    andsuchpopulation
    shifts
    political
    as themigration
    ofAfrican
    Americans
    tonorthern
    citiesandthe
    increased
    ofwomenin theworkplace.
    theattack
    presence
    Although
    launched
    and
    intellectuals
    rob
    Victorianism
    byminority
    groups
    helped
    ofitshegemony,
    thatculture,
    as Cobenpointsout,hasprovedresilient.Forinstance,
    thepresent-day
    Vicreligious
    Righthasrenovated
    torianconceptions
    ofhome,family,
    in itscampaign
    andmorality
    for
    values."
    "traditional
    family
    Otherdestabilizing
    forces
    anddevelopments
    thatareeitheroverlookedorunderemphasized
    byCobenandSingalyetmerit
    mentioning
    increased
    include,in no particular
    order,
    urbanization,
    mechanization,
    scientific
    toVictorian
    andthedisillusionment
    verities,
    challenges
    about
    World
    War
    What
    also
    deserves
    tobe notedis that
    I.
    by
    brought
    modernism
    wasnotsolelya socially
    advanced
    movement
    butcontainedreactionary
    as is evident
    to thosewhohaveconimpulses,
    theelitist,
    fronted
    viewsthatunderscore
    much
    racist,andmisogynistic
    art.Moreover,
    modernism
    hadan ambivalent
    modernist
    relationship
    withtheforces
    oftechnology
    withwhichit linkeditself
    orwasconnectedbyothers,
    a contradiction
    in thecontemporaneity
    evident
    of
    bothartworks
    from
    machines
    andurbanlifeandthose
    drawing
    energy
    andthemysterious
    motives
    ofthesubconcelebrating
    "primitivism"
    scious.
    Thesetensions
    notso muchto theabundant
    inconsistentestify
    ciesofmodernism
    butto thegeneral
    flux
    cultural oftheperiod,as
    conflicts
    occurredbothbetweenand withinVictorianism
    and modernmism.It is againstthisbroadand chaoticbackdropof culturalconflict
    thatPierrot
    workas morethana prodemerged.ViewingSchoenberg's
    uctof radicalaestheticforces,criticsconnectedit, mostoftennega-

    NewYorkReception
    lunaire 677
    ofPierrot

    withtheextensive
    in American
    In
    underway
    tively,
    changes
    society.
    theworkwitha declineinmorality,
    mental
    theyassociated
    particular,
    theories
    ofSigmund
    Freud,mechanization,
    illness,theinfluential
    these
    radicalpolitical
    movements,
    and,through specific
    associations,
    a general
    cultural
    decay.
    thereaction
    to Pierrot,
    it is necessary
    to sumBefore
    examining
    heardinNewYork.At thetime
    marize
    themodernist
    styles
    already
    musicwasstillcutting
    initialinroads
    ofthe1923recital,
    modern
    into
    andpianistLeo Omsteinmade
    thecity'smusicworld.The composer
    to introduce
    to newidioms.
    thefirst
    concertgoers
    significant
    attempt
    of"modemandfuturist
    music"featured
    notonlyhis
    His 1915recitals
    but
    also
    local
    of
    works
    ownshocking
    bysuch
    premieres
    compositions
    as
    and
    Ravel.
    modernistsSchoenberg,
    Scriabin,
    Throughout
    European
    therestofthe1910sandtheearly1920s,Ornstein
    diligently
    promodemmusicsocieties-the
    Threenewlyformed
    motednewstyles.30
    ICG, Pro-Musica
    (NewYorkchapter,
    1920-30),andtheAmerican
    Ornstein's
    the
    MusicGuild(1921-24)- intensified
    efforts,
    increasing
    in
    The
    most
    of
    new
    music
    heard
    the
    city.
    variety
    frequently
    performed
    thepremiere
    ofPierrot
    before
    wereSchoenberg,
    modernist
    composers
    andOmstein.
    Ravel,Bart6k,
    Stravinsky,
    Debussy,
    withmodemmusic,mostcritics
    still
    Despitethisfamiliarity
    of
    the
    traditions
    the
    era
    as
    rigidly
    upheld
    "common-practice" inviolatheroleofevaluative
    ble.Theseconventions
    assumed
    standards,
    and,
    attacked
    to
    strongly
    challenge
    guidedbythem,reviewers
    Schoenberg's
    As wasto be expected,
    theOld Guardcritics
    reiterated
    tradition.
    theircensure
    thatsuchmusicwasvoidofproper
    and
    tonal,melodic,
    for
    "Of
    formal
    stated:
    relation
    to
    Aldrich, example,
    any
    practices.
    ormusical
    as heretofore
    understood,
    harmony,
    melody,
    expression
    thereis nothing."
    Eventheyounger
    FrankWarren(1923)claimed
    was"sawing
    in twoMr.Old
    thatthe"trick"
    ofthecomposition
    in
    the
    faces
    of
    the
    audience."
    Critics'
    over
    Tonality
    right
    dismay
    innovative
    musical
    often
    led
    them
    to
    dismiss
    Schoenberg's
    language
    theworkas noise.ArchieCoatesheardPierrot
    as "a rendering
    in
    musical
    notation
    ofthesounds,
    knives
    sayofice in a thintumbler,
    in a brasstray,bagpipes,
    andforks
    a rusty
    pumphandle."
    with
    Thosecritics
    convention
    werealsocompelled
    preoccupied
    to assignPierrot
    to an established
    musical
    genre.The general
    expectationsprovidecriteriaforlisteners
    to place a workwithina specific
    genre;forinstance,helpingthemjudgean instrumental
    composition
    or a concerto.As is typicalofmanymodas a sonata,or a symphony,
    transcended
    traditional
    categories.The unique
    ernistworks,Pierrot
    withstring,
    wind,and piano
    conceptionof thework,Sprechstimme

    678 TheMusical
    Quarterly

    in theirefforts
    confused
    NewYorkcritics
    to compreaccompaniment,
    addressed
    thisissue,andtheirdiscushenditsgenre.Theyfrequently
    in confronting
    sionsrevealhowtheyturned
    againto convention
    Pierrot.
    Somecritics
    of
    cautiously
    accepted
    Schoenberg's
    designation
    Theirchiefobjection
    wasto theuseofSprechstimme.
    melodrama.
    This
    was
    not
    unfamiliar
    New
    York
    to
    audihowever,
    technique,
    completely
    ences.In 1910,Engelbert
    received
    Humperdinck's
    operaKinigskinder
    In
    itsworldpremiere
    at theMetropolitan
    that
    work,HumperOpera.
    triedto createan equilibrium
    between
    dinck,likeSchoenberg,
    speech
    theapproximate
    andsongbyspecifying
    accentuapitch,inflection,
    ofthereciting
    whereas
    tion,andrhythm
    part.However,
    Humperdinckaimedfornaturalism
    andclarity,
    usedSprechstimme
    Schoenberg
    ofmadness.31
    The merits
    ofHumperdinck's
    to conveythedelirium
    weredebatedbytheNewYorkcritics,
    andmanyofthem
    technique
    in theirreviews
    Krehbiel
    latercitedKdnigskinder
    ofPierrot.
    mentioned
    theoperaandpastexamples
    ofmelodrama,
    evengoingas farbackas
    themonodists
    oftheearlyseventeenth
    buthe sawSchoencentury,
    oftheform
    as "grotesquely,
    new."Sandborn
    berg'streatment
    horridly
    ofthegenrefrom
    andStrauss's
    Enoch
    Fidelio
    (1923)citedexamples
    Arden
    went"a stepfurther"
    andclaimedthatPierrot
    byusing
    Sprechstimme.
    Pierrot
    as a songcycle.Vocalrecitals
    Severalcritics
    approached
    theNewYorkmusical
    andconcertgoers
    werefamiliar
    filled
    calendar,
    withtheGerman
    Liedtradition,
    thesongcyclesofSchubert
    especially
    withsuchworks,
    Pierrot
    sharesseveralcharacteristics
    andSchumann.
    use
    of
    voice
    theselecthe
    a
    and
    texture,
    accompaniment
    particularly
    and
    tionofa groupofpoemsunitedbythemeornarrative
    structure,
    motivic
    orthematic
    theintegration
    oftheindividual
    piecesthrough
    withthesongcyclemay
    connections
    connections.32
    Suchgeneral
    a visiting
    criticfortheEvening
    haveledErnest
    British
    Post,
    Newman,
    theLied.In
    as a "newtwistto an oldcommonplace":
    to viewPierrot
    theconcluding
    fact,he regarded
    piece,"O alterDuft,"as nothing
    a littleoutofshape."
    German
    Liedwrenched
    "buta platitudinous
    camecloseto resembling
    Henderson
    alsoclaimedthatthisnumber
    he accused
    andeloquence";
    "a songofmarvelous
    however,
    beauty
    For
    the
    such
    an
    outcome.
    of
    others,
    diverting
    Schoenberg purposely
    and the
    the uniqueinstrumental
    use ofSprechstimme,
    accompaniment,
    fromthe Lied
    macabrethemesofthe textdissociatedthecomposition
    The criticfortheSun, forinstance,claimedthatthe
    tradition.
    to considertheworkas a collection
    madeit impossible
    Sprechstimme
    ofsongs.

    NewYorkReception
    lunaire 679
    ofPierrot

    traditional
    Besideschallenging
    genreandtonalconceptions,
    thatmusicmustbe beautifrustrated
    thedominant
    Pierrot
    expectation
    forms
    a keycomponent
    ofthecultural
    outlook
    ful.Thisassumption
    called
    "the
    thatGeorgeSantayana
    tradition,"
    memorably
    genteel
    schemeemployed
    thecultural
    here,canbe seenas a
    which,within
    Whileavoiding
    a concise
    cornerstone
    ofAmerican
    Victorianism.33
    mind
    he described
    a splitin theAmerican
    definition
    ofthephrase,
    andtheintellectual
    andartistic.34
    thepractical
    between
    Music,like
    to an idealfrom
    theotherarts,wasseparated
    dailylifeandrelegated
    as a manifestation
    of
    isticrealmin whichitwasregarded
    primarily
    thanas an intrinsic
    of
    andmorality
    rather
    nobility,
    expression
    beauty,
    Thisdichotomy
    influenced
    bothmusical
    humanexperience.35
    producthesymphony
    hallto thetradeperiodtionandconsumption
    as, from
    as theessenceofbeauty.
    The conductor
    icals,musicwaspromoted
    sermonized
    on therarefied
    ofmusic:
    WalterDamrosch
    beauty
    ofthebeautiful
    is inno sense
    Musicis an artinwhichtheconception
    us. Itspowerto evoke
    worldwhichsurrounds
    baseduponthephysical
    is greater
    andmoreimmediate
    thanthatof
    an innerdreamofbeauty
    thathavebeeneducated
    andin mindsandhearts
    anyofitssisters,

    itswonders,
    music
    willgivehappiness
    the
    toappreciate
    beyond
    properly
    ofanyotheragency
    forthatpurpose.36
    possibilities

    whichalsoprinted
    Damrosch's
    On theotherhand,Etudemagazine,
    in an advertisethiscrudecommercial
    enticement
    offered
    remarks,
    wellspring
    mentblurb:"Every
    pieceofmusicyoubuyis an unending
    drink
    until
    from
    whichyouandyourfriends
    ofbeauty
    may
    yoursouls
    havebeenrefreshed."37
    that"spring"
    andfailedto
    To manyreviewers,
    Pierrot
    clogged
    thatDamrosch
    Thistransgression
    the"happiness"
    of
    deliver
    promised.
    metwithcritical
    theVictorian
    tenetofmusical
    censure.
    Sucbeauty
    severalofhispeers'objections,
    Warren(1923)
    cinctly
    expressing
    the
    of
    that
    sense
    work
    for
    ofbeauty
    we
    giving
    "nothing
    reproached
    to thosein linewithhim,themusic
    lookforin music."According
    andthethemes
    ofthetextemphasized
    Krehbiel
    considered
    ugliness.
    an affront
    to the"principles
    ofbeauty"
    thatthe"ageshave
    Pierrot
    andhe regarded
    theworkas symptomatic
    provedto be fundamental,"
    in terms
    ofthetrend"thatbeauty
    ofugliness,
    and
    maybe expressed
    thatuglinessofsubjectis fitobjectforexpression"
    (11 Feb. 1923).
    Chiselingawayat the pedestalofcivilization
    uponwhichmusic
    rested,suchviews,in his opinion,markeda returnto savagery.
    however,beautyis in the ear of the listener.The Sun
    Apparently,
    critic(1923), forinstance,claimedthatseveralmovements
    in Pierrot

    680 TheMusical
    Quarterly

    In general,
    rose"tothebeautiful."
    ofthework
    though,
    supporters
    eschewed
    theconventional
    ofbeauty,
    criterion
    theirpraise
    focusing
    on otherelements,
    notably
    expressiveness.
    Muchofthedebatesurrounding
    theworkcentered
    on theissue
    ofexpression.
    Guidedbytheemphasis
    on beauty,
    andmoralnobility,
    thegeneral
    musical
    ityin thegenteeltradition,
    expectations
    prein
    scribed
    thatcertain
    the
    Giraud's
    subjects,
    including grotesqueries
    formusical
    Thisbeliefledto accusapoems,wereunsuitable
    setting.
    tionsthatSchoenberg
    hadtransgressed
    thepropriety
    ofself-expression
    in regard
    to bothtopicandfervency.
    forinstance,
    Krehbiel,
    largely
    builthisattackon theworkaroundthisissue.As notedabove,he
    in Pierrot,
    decried
    of"ugliness"
    which
    Schoenberg's
    presentation
    himto askrhetorically,
    incited
    "Doesnottheright
    a
    of practitioner
    in artto express
    himself
    of
    dependuponwhatis in himthatis worthy
    andtheMusical
    Courier
    (11 Feb. 1923).Krehbiel
    expression?"
    in capturwithbeingtoointense
    reviewer
    (1923)charged
    Schoenberg
    the
    of
    the
    text.
    The
    that
    such
    moods
    latter
    believed
    ing
    high-pitched
    wastheunfortunate
    legacyofWagner:
    expression
    wrote"expressive"
    WhenWagner
    music(in imitation
    offrogs
    and
    forinstance)
    he openedthedoorfortalentless,
    conscienceless,
    dragons,
    likeSchoenberg,
    whodo notwhereto drawtheline....
    musicians
    WhenWagner
    sacrificed
    absolute
    musicto theexpression
    ofdramatic
    whosacrifice
    to suchas Schoenberg,
    all
    ideashe gavetheimpetus
    musicto thesamegodofexpressiveness.

    in
    viewsconcerning
    sustained
    expression
    Despitethenarrow
    musical
    wereimpressed
    thegeneral
    manyreviewers
    by
    expectations,
    eventhosewhodisandpictorial
    dramatic
    Schoenberg's
    adeptness,
    critic(1923),forinstance,
    likedthemusic.The Evening
    Telegram
    hasinvented
    a newmeansofexpression
    that"Schoenberg
    admitted
    andeffective.
    as
    thatis picturesque
    Judged musicit is hideous.But
    andthemusicfollows
    the
    thepoemsareonlya seriesofgrotesques
    the
    somecritics
    lineofthought
    ofthepoet."In particular,
    regarded
    considered
    the
    techWeil
    as
    dramatically
    potent.Irving
    Sprechstimme
    musical
    theinevitable
    expression,
    niqueas partof"theinevitable
    his
    in
    For
    his
    forGiraud's
    medium"
    guildpoems.
    part,Engel,
    Pierrot
    on thelinesofexpression:
    defended
    lecture,
    largely
    sponsored
    the
    themostgenuine,
    "Whatmayseemcrudeanduglyis evidently
    thatSchdnberg
    has foundso farforwhatis in
    mostfitting,
    expression
    of
    his mindand heart."Moreover,he praised"thedynamicintensity"
    withmeaning"
    musicand claimedthatit was "fraught
    Schoenberg's
    and "thesinceredesireto conveysomething
    deeplyfelt."'3

    NewYorkReception
    lunaire 681
    ofPierrot

    admirer
    oftheworkwasRosenfeld.
    themostardent
    Perhaps
    in therecepThathe shouldhaveoccupiedsucha singular
    position
    is notsurprising;
    Rosenfeld
    tionofPierrot
    not
    vigorously
    championed
    in theotherarts,particuonlynewmusicbutalsomodernist
    styles
    andliterature.39
    farfrom
    Moreover,
    larlypainting
    beinga detached
    he
    an
    admirer, developed imagistic,
    fragmented
    prosestyle,ofwhich
    reviewis representative,
    thePierrot
    thataccords
    withtheoriginality
    andaesthetic
    ofthenewidiomsthathe supported.
    spirit
    vividsetting
    of"a scoreoftortured
    andbizarre
    Schoenberg's
    Rosenfeld.
    He heardwithin
    moods"especially
    entranced
    thismusica
    desire"
    loose
    and
    the
    "smothered
    breaking
    regarded painful
    expression
    ofthatdesireas representing
    criesin a world
    humanity's
    anguished
    controlled
    To Rosenfeld,
    theintense
    emoincreasingly
    bymachines.
    ofthemusicpainfully
    thedehumanizing
    effects
    of
    tionality
    expressed
    in contemporary
    theincreased
    mechanization
    he
    made
    Here,
    society.
    a uniqueextramusical
    thebroader
    of
    association,
    as, within
    reception
    modern
    wereoftenviewedas symptomatic
    ofrather
    music,newworks
    thana reaction
    mechanization.
    theambivalent
    against
    Capturing
    between
    modernist
    artsand"modernizing"
    relationship
    technological
    Rosenfeld
    himself
    madetheformer
    conconnection,
    developments,
    in
    review
    andelsewhere
    thatthemusicofStravinsky
    tending this
    thepulseofbothmachines
    andurbanenvironments.40
    For
    captured
    theirpart,detractors
    ofmodernist
    drewuponthesesameassociastyles
    suchmusicas mechanistic
    tionsto dismiss
    andcerebral.41
    Rosenfeld,
    considered
    a
    Pierrotprimal,
    work,callingSchoenthough,
    physical
    that
    berg'smusic"thehumantorsoof[his]time."As he described,
    undertheweight
    ofmachines:
    bodywrithed
    Schoenbergis the manwithouta machine.He is the creatureof a time
    ofdislocation.The machinery
    oflifeno longercooperateswiththe
    humansoul. It movesto a rhythm
    of itsown; and themechanical
    thingslaughdownthe poorhuman.. . . The humantorsoof thistime
    is in the musicof Schoenberg.He is the thingwithoutarms,without

    ofcommunication,
    without
    a phallus.
    He isthe
    legs,without
    organs
    Analmost
    quivering
    helpless,
    pulp;blindly
    stirring,
    groping,
    stretching.
    immovable
    seems
    to
    lie
    his
    voice.
    And
    when
    it
    it
    weight
    upon
    speaks,
    seemsto tearitselfthrough
    shrouds;to comeout as agony,as hysteria

    even.

    In addition to conveyinga torturedphysicality,Rosenfeld'simaginative interpretation


    focuseson the psychic,tighteningthe linkages
    made between Pierrotand mental illness, an association evoked by
    both the extremeanguishhe depicts and his heated, impressionistic

    682 TheMusical
    Quarterly

    morepsychological
    received
    attention
    thanany
    prosestyle.Pierrot
    inNewYorkduring
    otherworkperformed
    the1920s.Criticsoften
    it in terms
    described
    ofderangement
    andinsanity.
    In fact,some
    reviewers
    both
    and
    outright Schoenberg's Giraud's
    questioned
    sanity.
    usedthemacabre
    in the
    themes
    Gilmanclaimedthatthecomposer
    textas "a pretext
    forthereleaseofvarious
    ofhisown,"and
    psychoses
    "the
    WeilcalledGiraud's
    half-mad
    of
    brain."
    poetry
    product a sickly
    The Evening
    reviewer
    contended
    thatanylistener
    Journal
    sympathetic
    to theworkwouldhaveto be mentally
    unbalanced:
    "[T]heimpression
    that[Pierrot]
    madeon thislistener
    wasthathe wasscarcely
    sufficiently
    to penetrate
    morethanitsmoresuperficial
    In a
    deranged
    mysteries."
    1921articleon Schoenberg's
    didnotfocuson
    music,FrankPatterson
    ofspecific
    individuals
    butrather
    theentire"world."
    thesanity
    Pierrot,
    works
    andmodernist
    artsin genalongwithotherofthecomposer's
    "Is theworld
    eral,ledhimtoposesomeunanswerable
    questions:
    mad?
    Has
    our
    normal
    mental
    andarewe
    ceased,
    going
    development
    destined
    tobecomea universe
    ofidiotsandimbeciles,
    and
    neurotics,
    hysterics?"42
    Whilepresent-day
    no longer
    critics
    dismiss
    Giraud,
    Schoenberg,
    between
    Pierrot
    andmental
    ortheworldas insane,theconnection
    in current
    hasbecomea commonplace
    of
    instability
    understandings
    in turn-of-the
    home
    thework,as it is situated
    of
    Vienna,
    century
    withFreudappears
    in
    FreudandExpressionist
    artists.
    The association
    in the1920sNewYorkreception.
    form
    The evocation
    of
    an indirect
    Freudin thesereviews
    revealsthewidespread
    thathisideas
    currency
    Thisinfluence
    the1920s.43
    hadachievedinNewYorkduring
    largely
    whichhe
    datesbackto Freud's1909tripto theUnitedStates,during
    After
    thatvisit,hisideasquickly
    at ClarkUniversity.
    lectured
    penenotonlythemedicalcommunity
    but
    trated
    American
    society,
    swaying
    The Greenwich
    culture.
    circlesandpopular
    alsointellectual
    Village
    andpolitical
    revolutionaries
    a groupofintellectuals,
    artists,
    radicals,
    the
    before
    World
    WarI, were
    banded
    loosely
    together
    during years
    histheories,
    Freud.Theyenlisted
    to embrace
    particuamongthefirst
    thatis,theoutdated
    tobattle"puritanism,"
    larlythatofrepression,
    In the
    culture.
    advocated
    andconventions
    byVictorian
    morality
    versions
    of
    watered-down
    Freud's
    more
    views,or,
    1920s,
    accurately,
    the
    culture.
    extensive
    was
    So
    hisideas,permeated
    American
    popular
    thattheSears,Roebuck
    withpsychoanalysis
    fascination
    catalogue

    suchFreudian-influenced
    booksas Ten ThousandDreamsInteroffered
    As
    WilliamLeuchtenburg
    Sex
    Solved.
    the historian
    and
    Problems
    preted
    within
    has aptlynoted,"[L]ikethe automobile,Freudwas brought
    for
    was
    new
    moral
    What thepublicreached
    reachofeveryone."44

    NewYorkReception
    lunaire 683
    ofPierrot

    tenetsto replaceoraugment
    thoseofthewandirections,
    specifically
    this
    church.
    search
    Christian
    involved
    Often,however,
    merely
    ing
    Freudian
    to sanction
    sexualpermissiveness
    andother
    theory
    distorting
    indiscretions.45
    One ofthemostvisiblesignsofFreud's
    influence
    on American
    of
    was
    the
    on
    dissociety
    sprinklingpsychoanalytic
    jargon popular
    in which
    alsoduststhereviews
    ofPierrot,
    course.Thisterminology
    andmentalinstability
    suchreferences
    to psychoanalysis
    as "subconscious,""paranoiac,"
    "neurotic,"
    "insane,"
    "deranged,"
    "psychoses,"
    and"hyper-erotic"
    Notsurprisingly,
    "hysteric,"
    appearfrequently.
    review
    Rosenfeld's
    wasthemoststrongly
    affined
    withFreudian
    theory.
    the
    the
    critic
    a
    rolein radical
    During prewar
    years,
    played prominent
    andartistic
    intellectual
    to theSevenArts,
    circles,
    notably
    contributing
    a leadingpublication
    ofthatmilieu.Withseveralofitskeywriters,
    WaldoFrankandRandolph
    Bourne,
    namely
    drawing
    uponFreud,that
    in
    a
    role
    the
    dissemination
    of
    hisideas.Of
    journalplayed significant
    noteareAlfred
    BoothKuttner's
    which
    essayson thecreative
    process,
    thesignificance
    oftheartist's
    discuss
    andtheinspiration
    unconscious
    released
    Rosenfeld's
    in theSevenArtsand
    byneurosis.46
    participation
    hisinterest
    in newintellectual
    andaesthetic
    undoubtdevelopments
    him
    with
    Freud's
    familiarized
    theories
    and
    him,in a
    edly
    encouraged
    lesssystematic
    to explorethepsychoanalytic
    waythanKuttner,
    creation.47
    aspectsofartistic
    in Rosenfeld's
    Suchan approach
    review
    ofPierrot.
    As
    emerges
    seenin theexcerpt
    he
    toward
    above, gestures
    presented
    indirectly
    in a general
    Freud,evoking
    waytwokeypsychoanalytic
    concepts:
    andcastration.
    The directlinkto Freud,though,
    is the
    hysteria
    whichis Rosenfeld's
    desire,"
    earlier-quoted
    phrase"smothered
    poetic
    variant
    oftheFreudian
    catchwords
    or
    "repressed""suppressed"
    "desires."
    So widely
    usedwerethesephrases
    andthegoverning
    conthat
    the
    writers
    SusanGlaspellandGeorgeCram
    ceptofrepression
    Cookemployed
    themin theirone-actcomedy
    Desires
    Suppressed
    spoofRosenfeld's
    review,
    ingtheGreenwich
    Villageintellectuals.
    although
    notcomicalin tone,couldhaveprovided
    material
    forthatplay.The
    criticthematicizes
    in various
    thereview,
    repression
    waysthroughout
    as Kuttner
    didwiththeanonymous
    therelationartist,
    emphasizing,
    Pierrot
    andSchoenberg's
    shipbetween
    deepsubconscious
    pool.Rosenfeldhearsthispool bubblingup, or attempting
    to do so, in boththe
    and
    the
    work.
    Forinstance,Schoenberg,in his opinion,
    composer
    suffers
    fromthe repression
    of"sensual"impulses:"The refined
    burning
    sensuousness
    ofWagner,of Debussy,and ofScriabineseemslodgedin
    [Schoenberg];
    tearingat his fleshforegress."Like thatsuppressed

    684 TheMusical
    Quarterly

    a muted"anguish"
    stirsin Pierrot:
    "Thetonesarefullof
    carnality,
    of
    almost
    but
    androaring
    suffocated; drumming
    anguish; anguish
    underneath
    theblanket
    ofsilence."Although
    thatanguish
    failsto rip
    theoppressive
    a brief
    moment
    blanket,
    Rosenfeld,
    through
    providing
    ofrelief
    hisrepression
    from
    claimsthata "smothered
    motif,
    desire,"
    onerelated
    ofmechanization,
    to "break
    to theoppressiveness
    manages
    loose"in Pierrot.
    Pierrot
    wasassociated
    notonlywithFreudian
    and
    psychoanalysis
    mentalinstability,
    butalsowithdecadence
    andthemoral
    general
    thattermconnotes.
    accusations
    ofdecadence,
    the
    poverty
    Bearing
    reviews
    oftheworkjoinedthevigorous
    debateovervaluesthat
    American
    the1920s.Thiscultural
    discord
    is
    society
    engaged
    during
    mostcloselyidentified
    withsuchopposing
    movements
    todayperhaps
    as theProhibition
    ofthetireless
    antivice
    societies
    andthe
    campaign
    newyouthculture,
    withitsfemale
    The general
    idol,theflapper.48
    conflict
    between
    tradition
    andchangein whichthesemovements
    alsoragedaroundthearts.It shouldbe notedthatthe
    participated
    waspartly
    former
    which,as
    position
    upheldbythegenteeltradition,
    theartsas a moralrealmanddemanded
    mentioned
    above,promoted
    thatthosewhopursued
    oras recipients,
    have
    them,eitheras creators
    character.
    Suchviewswerewidely
    a virtuous
    heldin American
    musical life,as seenin thefollowing
    oftwopeoplewhooccupied
    opinions
    in thatworld.Mrs.W. A. Harper,
    an amateur
    verydifferent
    positions
    musician
    andsupporter
    ofperformance
    believed
    that
    organizations,
    "truth
    musicconveyed
    andgoodness,"
    andtheconductor
    FrankDamthat"thenoblertheart,thenoblershouldbe the
    roschcontended
    "49
    interpreter.
    between
    artandmorality,
    Duringthe1920s,therelationship
    in intellecof
    a
    other
    became
    issues,
    part highly
    publicdispute
    among
    the
    New
    a
    of
    conservative
    acatualcircles,
    Humanists,group
    pitting
    andPaulElmerMoore,against
    ledbyIrving
    Babbitt
    demicsandartists
    alliedwithmodernist
    trends.50
    The former
    artists
    andcritics
    various
    in
    which
    their
    a
    moral
    of
    discussions
    art,
    conception
    championed
    thevitalroleofthevalues
    andstressed
    mostoftenmeantliterature,
    In
    themodernists
    theyexcoriated
    upheldbyVictorianism.51addition,
    suchvalues.Thatcensure
    wasnotwholly
    forabandoning
    fallacious,
    didrejecttraditional
    forthemodernists
    values;however,
    theyalso
    MalcolmCowley
    searched
    fornewonesto replacethem.As thewriter
    described,his younggeneration
    belonged"to a periodoftransition
    Walter
    fromvaluesalreadyfixedto valuesthathad to be created."52
    toMorals(1929) markedan important
    stepin
    Lippmann'sA Preface
    one that,
    thatcreation.He realizedtheneed fora new moralsystem,

    NewYorkReception
    lunaire 685
    ofPierrot

    unliketheVictorian
    common
    model,wouldbe basedon "necessity,
    most
    sense,and,
    importantly,
    experience."53
    It is thevoicesofmoraltradition
    rather
    thanthoseofchange
    thatwhisper
    thereception
    ofPierrot.
    In attacking
    thework,
    through
    severalcritics
    thelinkage
    ofmodernism
    withimmorality,
    propagated
    The term"decadence"
    defies
    concise
    or,as theycalledit,decadence.
    definition
    orspecific
    to
    a
    cultural
    in a
    application
    period.Stretched
    ofdirections,
    ithasbecomea polysemous
    voidofany
    variety
    phrase,
    authentic
    However,
    in herstudy
    meaning.54
    offin-de-siacle
    culture,
    ElaineShowalter
    isolates
    onebroadusageoftheterm:"[I]twasthe
    labelappliedbythebourgeoisie
    toeverything
    thatseemed
    pejorative
    and
    from
    ArtNouveauto homosexualunnatural,
    artificial, perverse,
    ofPierrot
    brandished
    theword
    ity."55
    Drawing
    uponthisusage,critics
    "decadence"
    to disparage
    thework;however,
    consistent
    withthe
    oftheterm,it is unclearwhattheyspecifically
    viewedas
    vagueness
    decadent.
    Ratherthansingling
    outa particular
    feature,
    theycast
    broadaspersions
    on boththemoralsoundness
    ofthepieceandSchoenThe Heraldreviewer
    berg'scharacter.56
    (1923)claimedthatPierrot
    on decadence,"
    whileWarren
    statedthatthetextpossessed
    "verg[ed]
    a "decadent
    The Evening
    critic(1923)wasmore
    sentiment."
    Telegram
    both
    andthemoodsin hiswork
    condemnatory,
    labeling Schoenberg
    a closecompanion
    Downes
    "diabolical,"
    phraseofdecadence.57
    dwelledparticularly
    on theissueofmorality.
    He calledSchoenberg
    decadent"
    whohadproduced
    a mawkish
    "a highly
    gifted
    piece.Morehe
    Pierrot
    as
    and
    over, regarded
    "fundamentally
    unhealthy,
    mephitic,
    in deplorable
    needoffresh
    thatcontrast
    witha "fullair,"qualities
    blooded,vitalkindofart."
    Downes's
    ofillhealthrevealshowcloselymetaphors
    of
    diagnosis
    deterioration
    circulated
    aroundPierrot.
    As described
    bymanycritics,
    theworkfestered
    in theconcert
    hall.It at onceconveyed
    moralslipofsanity.
    Thesedisintegrations
    page,physical
    decay,andtheerosion
    servedas symptoms
    ofdecadence,
    of
    which,in turn,wassymptomatic
    a larger
    cultural
    As
    R.
    Reed
    in
    out
    his
    of
    decay. John
    points
    study
    in nineteenthdecadence
    andtwentieth-century
    arts,thatvagueterm
    connoted
    cultural
    reviewers
    ofPierrot
    did
    degeneration.58
    Although
    notspecifically
    relatetheworkto a broadcultural
    decay,theirgeneral
    accusations
    ofdecadence
    andtheirindulgence
    in metaphors
    ofdegen-

    erationrevealhow theysaw Schoenberg's


    piece as partof thedeterioratingworldoutsideof the concerthall, especiallytheweakeningof
    suchfoundations
    ofsocietyas health,mentalstability,
    and morality.
    Criticsalso pushedthe debateoverPierrot
    intothesocial realm
    byconnectingtheworkwithradicalpoliticalideologies,particularly

    686 TheMusical
    Quarterly

    anarchism.
    Thislinkage
    stemsfrom
    thehighprofile
    ofanarchism
    and
    otherleftist
    movements
    in
    New
    York
    before
    and
    after
    the
    political
    war.Keyfigures
    andorganizations
    in theseactivities
    included
    John
    theIndustrial
    Workers
    oftheWorld(IWW),
    Reed,EmmaGoldman,
    andthemagazine
    TheMasses.59
    Whatdistinguishes
    theprewar
    movements
    from
    thethoseofthe1920sis theclosecollaboration
    between
    artists
    andpolitical
    a bondthatbrokeundertheweight
    of
    radicals,
    thedisillusionment
    Thisearlier
    produced
    bytheconflict.60
    cooperativespirit
    canbe seenin thetwogroups'
    inboththe
    involvement
    ShowandthePaterson
    StrikePageant
    at MadisonSquare
    Armory
    Gardenof1913.Manyofthesamefigures
    whopublicly
    supported
    modern
    Mabel
    alsohelped
    art,notably
    Dodge,Reed,andLippmann,
    to organize
    thepageant
    to benefit
    millworkers
    in Paterson.61
    striking
    Thesecultural
    rebelsbelievedthattheartsandradicalism
    shareda
    and
    that
    each
    had
    an
    in
    role
    liberating
    spirit
    important
    brushing
    away
    conventions
    andfostering
    newpersonal
    freedoms.
    As Margaret
    Anderandart
    son,editoroftheLittle
    Review,
    stated,"[A]narchism
    concisely
    arein theworldforthesamereasons."62
    Anderson's
    from
    herpersonal
    equation,
    although
    reconfigured
    radicalvision,playeda prominent
    rolein thereception
    ofmodernist
    in
    New
    York
    the
    and
    styles
    during period1915-29,as bothsupporters
    ofthoseidiomslinkediconoclastic
    opponents
    compositional
    developmentswiththegoalsandpoliciesofleftist
    movements.
    The
    political
    former
    viewedmusicandpolitics
    as surging
    an
    along emancipatory
    wavethatwouldcrushthebulwark
    oftradition,
    whereas
    thelatter
    believedthatmodernist
    innovations
    andradicalpolitics
    the
    propelled
    samedisruptive
    andthreatening
    forces.63
    Thisantimodernist
    view,
    whichdominated
    thereviews
    ofPierrot,
    wassuccinctly
    expressed
    by
    thecriticandcomposer
    Holden
    in a 1917essaythat
    Huss
    Henry
    attacked
    notSchoenberg's
    melodrama
    butnewmusicin general:
    "It is
    without
    doubttruethattherestlessness,
    thesavage,reckless,
    anarchisticspirit
    whichhasmanifested
    inpolitics
    itself
    andculminated
    in the
    warhasalsomightily
    affected
    sucha delicate,
    sensipresent
    gigantic
    tiveartas Music."64
    Huss'spolitical
    at theoutsetoftheNewYork
    parallelappears
    In
    ofPierrot. hisreview
    ofa 1912Berlinperformance
    ofthe
    reception
    calledSchoenberg
    an "anarchist"
    andwentso faras to
    work,Huneker
    himto MaxStirner,
    a German
    whoadvocated
    compare
    philosopher

    individualism
    and thebreaking
    freefromwhathe viewedto be the
    irrational
    lawsofsociety.Althoughthe 1923 and 1925 reviewsmade
    no suchspecificassociations,
    thepoliticalanalogy,
    theyreinforced

    NewYorkReception
    lunaire 687
    ofPierrot

    As
    thework"radical,"
    and"revolutionary."
    "anarchistic,"
    labeling
    thesecharged
    seenin Huneker's
    andHuss'scomments,
    not
    epithets
    to thedisintegration
    ofcompositional
    conventions
    but
    onlyreferred
    socialunrest,
    a turmoil
    alsoalludedto a larger
    by
    political
    epitomized
    likeanarchism.
    movements
    thedebateoverthe1923and 1925performances
    Although
    thesameissuesanddrewsimilar
    cultural
    the
    involved
    connections,
    to thelatter
    revealsa greater
    ofthework,parresponse
    appreciation
    in theareasofharmonic
    andexpression.
    The inveclanguage
    ticularly
    tivethatcharacterized
    of
    the
    reviews
    was
    absent
    many
    original
    mostly
    in
    in thoseofthesecondconcert.
    Thischange tonewaslargely
    due
    within
    thecritical
    to thetransition
    ranksduring
    theintervening
    two
    ofmodern
    the
    music,namely
    years.Manyoftheseverest
    opponents
    Old Guardcritics,
    hadeitherdiedorretired.
    Henderson,
    Surprisingly,
    theonlyactivemember
    oftheOld Guard,praised
    thework,calling
    it"tremendously
    stillhadseveraladverPierrot,
    however,
    interesting."
    saries.LeonardLiebling
    calledit"a phantasmagoria
    ofblarings,
    in
    tear-bombs
    musical
    miasmas
    tone,
    shriekings,
    howlings,
    gruntings,
    andvocalandorchestral
    Other
    dissenters
    included
    poisongases."
    NewmanandWarren.
    The workalsoleftmanycritics
    dumbfounded
    andunableto
    formulate
    a clearopinion.BothSandborn
    andThompson,
    twoperin
    critics
    still
    found
    the
    work
    and
    1923,
    plexed
    "baffling" "puzzling,"
    The latter
    Pierrot
    as "a riddlenotto be solved
    respectively.
    regarded
    in a day,a year,ora decade."Twoofthestrongest
    were
    supporters
    Musical
    Courier
    whoclaimedthat
    Gilmanandtheunsigned
    reviewer,
    ofthisscoredefies
    "theperfection
    criticism.'"65
    In addition
    to thepassing
    ofthecritical
    guard,thistwo-year
    in
    marked
    a
    increase
    the
    ofmodern
    period
    significant
    performance
    to theactivities
    ofthecompeting
    new
    music,a trendduelargely
    musicsocieties.
    severaloftheprominent
    Moreover,
    performing
    orgaand
    chamber
    to
    nizations,
    ensembles,
    including
    symphonic
    began
    moremodern
    music.The exposure
    to a widervariety
    ofconprogram
    robbed
    Pierrot
    of
    its
    as
    of
    styles
    temporary
    reputation theepitome
    "To us thisappears
    as
    Downes,forinstance,
    concluded,
    modernity.
    musicofyesterday,
    to a periodandposecharacteristic
    of
    belonging
    thepost-romantics
    andofinflated,
    tendencies
    whichare
    egotistical
    thepostwarantipathy
    happilyfallingaway."His attitudereflects
    an aversionparticularly
    towardromanticism,
    in the clarity
    manifested
    and restraint
    ofneoclassicalstyles,whichDownesfrequently
    discussed.66In fact,thistwo-year
    intervening
    periodwitnessedan influx

    688 TheMusical
    Quarterly

    ofneoclassical
    serious
    critical
    attenworks,
    manyofwhichreceived
    Wind
    tion,particularly
    Instruments,
    Octet,
    Stravinsky's
    Symphonies
    of
    andConcerto
    forPianoandWinds.
    Thisincreased
    withmodern
    erodedaudifamiliarity
    styles
    partly
    in musicallanguage.
    A significant
    enceaversion
    to newdevelopments
    between
    thereceptions
    ofthe1923and 1925concerts
    is
    difference
    theattention
    to
    break
    with
    convention.
    Whereas
    given Schoenberg's
    decried
    thecomposer's
    "anaroftheearlier
    manycritics
    performance
    concentrated
    on theeffect
    rather
    chism,"thoseofthe1925concert
    To manyreviewers,
    dissothanthenature
    ofthemusical
    language.
    nancewasnotevenan issue,letalonea sourceofalarm.Gilman's
    to thisaccepon hissecondhearing
    ofthepiecetestify
    comments
    doesmusicageandmellowthattheacerbity
    tance:"Yetso rapidly
    traitofthestyleof'Pierrot
    Lunaire'
    whichonceseemedan essential
    to detectin ourhearing
    oftheworklastnight.Or perwasdifficult
    thattheinfinitely
    humanearhas,in our
    adjustable
    hapsit is merely
    caseat least,madeitspeacewiththismusic."
    ofSchoenberg's
    stylewasa growing
    Coupledwiththeacceptance
    ofhismusical
    overtheaesthetic
    language.
    potential
    skepticism
    had
    andDownesbelievedthatthecomposer
    Henderson,
    Thompson,
    in Pierrot
    withhisrejection
    tonal
    oftraditional
    reachedan "impasse"
    Henderson
    andmelodicpractices.
    claimed,"No greatartcanbe built
    foundation"
    (28 Feb. 1925).Thompson
    uponthisindeterminate
    andhisfollowofthework"putSchoenberg
    addedthatthe"mastery"
    for
    rather
    than. . . open[ing]
    ersin a cul-de-sac
    anynewdominions
    thetonalart."
    theviability
    of
    While1925reviewers
    mayhavequestioned
    oftheintense
    music,theygenerally
    expressiveapproved
    Schoenberg's
    himforexceeding
    theproper
    Ratherthanreproaching
    nessofPierrot.
    as wasdonein 1923,manycritics
    boundsofself-expression,
    praised
    detractor
    ofthe
    Even
    hisimaginative
    Downes,an admitted
    setting.
    his
    his
    best-at
    most
    at
    the
    be
    found workto "Schoenberg
    composer,
    the
    to imagine
    andexpressive,"
    addingthat"itis impossible
    precise
    in anyotherway."Gilmanclaimedthatthevividness
    musiccomposed
    as in thepremier
    ofthecomposition
    perforjustas striking
    proved
    thatofthe
    remained
    forusunchanged:
    mance:"Yetone impression
    weboftones,itsextraordinary
    mordant
    exprespowerofthisstrange
    ofa scoreofdifferent
    to theutterance
    itsswift
    siveness,
    conformity
    moods."He also disputedthe viewthatthe subjectmatterofthe text
    ofmusicalsettingbypointingout thatbothSchoenwas not worthy
    bergand Shakespeareexplored"areasofthehumanconsciousness
    and light."
    ofsweetness
    remotefromthe influence

    lunaire 689
    NewYorkReception
    ofPierrot

    In addition
    to beingoneofthemostscandalous
    works
    ofthe
    one
    of
    the
    Pierrot
    has
    also
    to
    be
    most
    1920sinNewYork,
    proven
    forithasbeenreprised
    thereoften.Reconfirming
    itsinitial
    durable,
    audiences
    further
    withthechallenging
    piece,the
    goalto familiarize
    thethird
    NewYorkperformance
    on 16
    offered
    LeagueofComposers
    version
    Robert
    Edmond
    featured
    1933.
    This
    by
    Jones
    staged
    April
    fulfilled
    his
    Stokowski
    andMinaHager.Sevenyearslater,Schoenberg
    in thecity.Sponsored
    Pierrot
    of
    desireto present
    bytheNewFriends
    in a concert
    at TownHall on 17
    Music,he ledErikaStiedry-Wagner
    November
    1940.
    ofthesetwoperformances
    reveals
    newpermutaThe reception
    musical
    Pieras audiences
    tionsin thegeneral
    expectations,
    perceived
    thantheydidin 1923and 1925.Ratherthan
    rotquitedifferently
    the1920s,theemorebuke
    orpraise,as itdidduring
    inciting
    strong
    of
    the
    work
    viewed
    as
    and
    eventrivial.
    was
    now
    cool
    For
    tionality
    in
    admirer
    the
    the
    of intensity
    of score 1925,
    Downes,an
    instance,
    labeledPierrot
    "tepid"and"anemic"in 1933.67Gilmanlikewise
    After
    viewedtheworkas "sterile"
    and"artificial."68
    the1940perforPerkins
    the
    emotional
    content
    ofthework
    mance,Francis
    interpreted
    in a different
    it
    that
    was
    too
    refined
    for
    light,arguing
    contemporary
    "Thepresent-day
    to thesubtilizaaudiences:
    periodis notconducive
    whichpervades
    tionofemotion
    thetextandtheremarkable
    score."
    He addedthat"theemotional
    limits"
    ofthemusicwere"rather
    to thoseofthetext.69
    narrow"
    compared
    The response
    to the1933and 1940concerts
    alsoincluded
    a
    overthemodernity
    ofPierrot,
    an issueinitially
    raised,butnot
    dispute
    in 1925.Whereastheinnovative
    musical
    and
    fully
    explored,
    language
    were
    the
    most
    contested
    issues
    the
    critics
    1920s,
    expressiveness
    during
    nowfocused
    on evaluating
    thetimeliness
    ofthework.Reviews
    ofthe
    arelargely
    dividedbetween
    thoseconsidering
    it a historicomposition
    cal piecerepresenting
    thespirit
    ofa pasttimeandthoseregarding
    it
    as a modern
    workcommunicative
    to a contemporary
    audience.
    Formanyreviewers,
    theauraofmodernity
    aroundPierrot
    had
    dissolved.
    The
    musical
    no
    completely
    language longer
    provednovel,
    andtheworkwasviewedas havinglittlecontemporary
    relevance.
    claimedthatitwas"horribly
    old-fashioned"
    Gilman,forinstance,
    andhad"agedpitifully."70
    Perkins
    sawPierrot
    as "musicofthepast,"
    and recommended
    thatit be reprised
    occasionally"onlyas a period
    viewedtheworkas
    piece."71Like thosetwocritics,Downesoriginally
    dated. In his 1933 review,he calledthe composition
    "a fiftieth
    echo"
    ofnineteenth-century
    Germanromanticism;
    however,Schoenberg's
    of Pierrot,
    whichhe claimed"revealed[thework's]
    performance

    690 TheMusical
    Quarterly

    hisopinion.Ratherthandismissing
    themelodrama
    secret,"
    changed
    as a historical
    he
    now
    its
    oddity,
    praised "provocative
    modernity."
    to Downes,hada "genuineness
    andpresent
    Pierrot,
    according
    validity"
    forcontemporary
    audiences.72
    The criticandcomposer
    A. Walter
    Kramer
    thatthework
    agreedwithDownes'slaterposition,
    claiming
    wasas "modern"
    as at thetimeofitsNewYorkpremiere.73
    Thisgeneralcritical
    over
    the
    timelessness
    of
    Pierrot
    and
    Downes's
    vacildispute
    lationrevealhowsharply
    viewsofthecomposition
    turned
    around
    ofitsmodernity.
    perceptions
    The historical/contemporary
    alsolargely
    informs
    the
    dichotomy
    of
    Pierrot.
    The
    with
    present-day
    reception
    contemporary
    preoccupation
    historical
    and
    aesthetic
    hasprovided
    an
    periodization
    categorization
    oftheworkas an example
    ofmodernism
    andExpresunderstanding
    sionism.
    Giventheseconcerns,
    to manyconcertgoers,
    Pierrot,
    symbolizestheZeitgeist
    offin-de-siecle
    Vienna.Recentperformances
    ofthe
    the"Vienna1900"concert
    seriesat the
    piece,mostnotably
    during
    Art
    Museum
    ofModern (7 Sept.1986),havepresented
    theworkin
    Thisassigned
    sucha context.
    historical
    rolealsoinfluences
    audience
    listeners
    neutralize
    theeffect
    Forexample,
    oftheemotionperception.
    themes
    thesequalities
    as reprebyprimarily
    viewing
    alityandmacabre
    theirseparate
    sentative
    ofExpressionist
    artinstead
    ofappreciating
    merit.
    aesthetic
    in
    Pierrot
    stillasserts
    itself
    associations,
    Despiteitshistorical
    It
    is
    of
    musical
    as
    modernity. regarded a semipresent-day
    conceptions
    in music(history)
    a
    nal workofthetwentieth
    century,viewreiterated
    The 1991Tansustained
    concert
    courses
    and
    by
    survey
    programming.
    Musicaffirmed
    thisrolebyhighFestival
    ofContemporary
    glewood
    in thatseason'sopening
    concert.
    The workmaintains
    Pierrot
    lighting
    in the
    relevance
    becauseofitssignificance
    itspresent-day
    largely
    this
    musical
    of
    modernist
    languages
    during century.
    development
    oftonality
    hascreated
    a troubling
    legacy.
    Schoenberg's
    rejection
    a newgeneral
    orcommunal
    Ratherthanleadingtoward
    style,
    syntax
    erosion
    of"common-practice"
    eraconventhisbreakandthegeneral
    consena stylistic
    voidofanymusical
    tionshaveproduced
    pluralism
    within
    musical
    sus.Pierrot
    resonates
    general
    expectations
    present-day
    madeandthebenefits
    boththesacrifices
    becauseitrepresents
    gained
    aesthetic
    freedoms.
    from
    itshard-won
    In itshe
    is prophetic.
    In thisrespect,
    EmileBauer's1923review
    is decadent,perhapsit is not; but if
    concluded,"[P]erhaps[Pierrot]
    the
    one can listenwithout prejudicesof thepast,one mayhearthe
    withall itsdangersand also all itstriumphs."
    menaceof thefuture
    Besidesheroracularstatement,
    Bauer,byevokingpastand future,

    NewYorkReception
    lunaire 691
    ofPierrot

    alludesto thechronological
    ofPierrot,
    a workthatgripsthe
    paradox
    ofthemodern
    moment
    andbeyond
    thatpointsto the
    ever-shifting
    future
    bythatmodernity,
    promised
    yetoverthecourseofdecadeshas
    beenatomized
    intotheintoxicating
    "ancient
    scentfrom
    fabledtimes"
    ofwhichitsprotagonist
    dreams.74
    Appendix
    1923 ReviewsofPierrotlunaire
    Newspapers
    Richard."Music."NewYorkTimes,5 Feb. 1923,p. 18.
    Aldrich,
    on NewMusic."NewYorkTimes,11 Feb.
    . "SomeJudgements
    sec.
    5.
    1923,
    7, p.
    5 Feb. 1923,p. 9.
    Coates,Archie."Music."NewYorkWorld,
    GuildGivesConcertofModern
    Novelties."
    NewYork
    "Composers'
    5 Feb. 1923,p. 7.
    Herald,
    GuildOffers
    NewMusic."NewYorkEvening
    5
    "Composers'
    Telegram,
    Feb. 1923,p. 13.
    MusicalTomfooleries."
    NewYorkEvening
    Finck,HenryT. "Dreary
    Post,5 Feb. 1923,p. 7.
    "International
    Induct'Pierrot
    Lunaire.'" NewYorkSun,5
    Composers
    Feb. 1923,p. 10.
    H. E. "Symphony
    GivesConcertMarred
    Krehbiel,
    byBurlesque."
    NewYorkTribune,
    5 Feb. 1923,p. 4.
    . "TheCurseofAffectation
    andModernism
    in Music."New
    YorkTribune,
    11 Feb. 1923,sec. 5, p. 5.
    " 'Moonstruck
    in Premiere."
    NewYorkEvening
    5
    Pierrot,'
    Journal,
    Feb. 1923,p. 14.
    Pitts." 'LoonyPeete'andSublunary
    Matters
    Cometo the
    Sandborn,
    5 Feb. 1923,p. 7.
    Klaw."TheGlobeandCommercial
    Advertiser,

    692 TheMusical
    Quarterly

    "Concert
    andOpera:Schoenberg's
    New
    Spaeth,Katherine.
    Novelty."
    YorkEvening
    Mail,5 Feb. 1923,p. 10.
    P. " 'Pierrot
    Lunaire'
    andOtherMusicoftheNew
    Tyron,
    Winthorp
    YorkWeek."Christian
    Science
    5 Feb. 1923,p. 16.
    Monitor,
    FrankH. "In theRealmofMusic."NewYorkEvening
    Warren,
    World,
    5 Feb. 1923,p. 21.
    Journals
    "NewYorkDebatesMerits
    of'Pierrot
    LuBauer,EmileFrancis.
    naire.'" Musical
    Leader45 (8 Feb. 1923),126.
    "International
    Guild."Musical
    Courier
    86 (8 Feb. 1923),
    Composers'
    33.
    F. "Schoenberg's
    Herbert
    'Pierrot
    Lunaire.'" TheMusical
    Peyser,
    22 (Mar.1923),53-54.
    Observer
    Paul."MusicalChronicle."
    TheDial 74 (Apr.1923),426Rosenfeld,
    32.
    Oscar." 'Pierrot
    Lunaire'Puzzles
    at FirstAmerican
    HearThompson,
    America
    37 (10 Feb. 1923),6.
    ing."Musical
    1925 Reviews
    ofPierrotLunaire
    Newspapers
    NewYorkTimes,23 Feb.
    Downes,Olin. "LeagueofComposers."
    25.
    1925,p.
    "TheLeagueofComposers
    Branches
    Out."New
    Gilman,Lawrence.
    YorkHerald-Tribune,
    23 Feb. 1925,p. 11.
    W. J."Gloomy
    One ActOperaHeard."NewYorkSun,
    Henderson,
    23 Feb. 1925,p. 6.
    --

    . "GeniusisNeededforNewMusic."NewYorkSun,28 Feb.

    1925, p. 4.

    lunaire 693
    NewYorkReception
    ofPierrot

    NewYorkAmerican,
    Leonard."TheLeagueofComposers."
    Liebling,
    23 Feb. 1925,p. 12.
    NewYorkEvening
    Ernest."LeagueofComposers'
    Concert."
    Newman,
    15.
    23
    Feb.
    Post,
    1925,p.
    Pitts."SevenLeaguesofComposers."
    NewYorkEvening
    Sandborn,
    23 Feb. 1925,p. 6.
    Telegram,
    23
    FrankH. "RealmofMusic."NewYorkEvening
    World,
    Warren,
    Feb. 1925,p. 6.
    " 'DanielJazz'in Premier
    at Concert."
    NewYorkEvening
    Weil,Irving.
    23
    Feb.
    7.
    Journal,
    1925,p.
    Journals
    Courier
    90 (5 Mar.1925),12.
    Musical
    "LeagueofComposers."
    Oscar."Modernist's
    Operaand'DanielJazz'Vie on ProThompson,
    "
    with
    'Pierrot
    Lunaire.'
    Musical
    America
    41 (28 Feb. 1925),30.
    gram
    Notes
    I wouldliketo thank
    Fortheiradviceon earlierversionsand theirencouragement,
    RobertMorgan,EllenRosand,JanetSchmalfeldt,
    Tick, CraigWright,and
    Judith
    LeoraZimmer.
    1. LawrenceGilman,"The LeagueofComposersBranchesOut," New YorkHeraldTribune,23 Feb. 1925, p. 11.
    2. In his studiesof Pierrot,
    bothpressreviewsofand
    JonathanDunsbyincorporates
    on the work;however,he does not providean overviewof its
    academicperspectives
    reception:Dunsby," 'PierrotLunaire'and theResistanceto Theory,"MusicalTimes
    130 (1989): 732-36, and Schoenberg:
    Pierrot
    lunaire(Cambridge:CambridgeUniversityPress,1992), 2-6.
    3. The receptionof the initialperformance
    ofThe RiteofSpring
    is insightfully
    and
    discussedin TrumanBullard,"The FirstPerformance
    of IgorStravinsky's
    thoroughly
    The RiteofSpring,"
    (Ph.D. diss.,EastmanSchool ofMusic, 1971).
    4. ArthurM. Abell, "Berlin,"MusicalCourier65 (6 Nov. 1912): 5, and "Der WanMusicalAmerica17 (16 Nov. 1912): 21. Both
    derer,""What Is ArnoldSchoenberg?"
    in Dossierde Pressede Pierrot
    reviewsare reprinted
    Lunaire,ed. FrangoisLesure,vol. 2
    ofDossiersde Presse(Geneva: Minkoff,
    1985), 13-16.
    5. JamesHuneker,"Schoenberg,MusicalAnarchist,Who Has UpsetEurope,"New
    YorkTimes,19 Jan. 1913, sec. 5, p. 9. Reprintedin a shorter
    versionin Huneker,

    694 TheMusical
    Quarterly
    NewYork:Sagamore
    (1915;reprint,
    Press,1957),60-65.
    Ivory,
    Apes,andPeacocks
    Thisversion
    is included
    inDossier
    dePresse,
    18-21.
    6. James
    "MusicofTo-dayandTo-morrow,"
    inIvory,
    Huneker,
    Apes,andPeacocks,
    104-20.
    Futurist
    inMusic,"Current
    7. "TheFirst
    54 (Mar.1913):208.
    Opinion
    8. H. E. Krehbiel,
    A WeirdEffort,"
    'Five-Pieces'
    NewYork
    Tribune,
    "Schoenberg's
    30 Nov. 1921,p. 18.
    9. Richard
    "ThePhiladelphia
    NewYork
    30 Nov. 1921
    Aldrich,
    Orchestra,"
    Times,
    13.
    p.
    10. During
    thiseleven-year
    wasperformed
    inseveral
    counPierrot
    period,
    European
    tries.Schoenberg
    followed
    theBerlinpremiere
    witha tourthrough
    Gerimmediately
    andCzechoslovakia.
    HisVereinfdir
    musikalische
    Austria,
    many,
    Privatauffihrungen
    offered
    in 1921and1922,including
    a tourofGermany,
    performances
    Holland,
    andSwitzerland.
    MichelCalvocoressi
    introduced
    Parisian
    audiences
    Czechoslovakia,
    andE. Robert
    Schmitz
    ina 1912lecture
    to excerpts
    series.
    byPaulede Lestang
    played
    MilhaudandJeanWidner
    thefirst
    ofthework
    presented
    complete
    publicperformance
    as conductor
    andMaryaFreund
    inFranceon 16Jan.1922withMilhaud
    as reciter.
    Forthisconcert,
    thetextwasretranslated
    intoFrench
    from
    theGerman
    after
    version,
    As a signofAmerica's
    touseGiraud's
    unsuccessful.
    original
    poetry
    proved
    attempts
    in theinternational
    musicworld,
    NewYorkoffered
    before
    Pierrot
    prominence
    growing
    andItalydid.The first
    wasbyMilhaud
    andFreund
    GreatBritain
    English
    performance
    delleNuoveMusiche
    an Italiantour
    on 19Nov. 1923.TheCorporazione
    sponsored
    artists
    in 1924.Formoreon earlier
    ofPierofSchoenberg
    andassisting
    performances
    dePresse,
    247-56.
    rot,seeDossier
    11. Fora discussion
    ofthehistory
    andinfluence
    oftheguild,seeR. AllenLott,
    " 'NewMusicforNewEars':The International
    Guild,"Journal
    Composers'
    ofthe
    36 (1983):266-86,andDavidMetzer,
    "TheAscenAmerican
    Society
    Musicological
    inNewYorkCity,1915-29"(Ph.D. diss.,YaleUniverdancyofMusicalModernism
    172-232.
    sity,1993),
    trans.EithneWilkins
    andErnst
    12. Edward
    Letters,
    Stein,ed.,Arnold
    Schoenberg:
    Kaiser(London:FaberandFaber,1964),78-79.
    NewYork
    Lunaire'
    13. "Schoenberg
    Doesn'tWantHis'Pierrot
    14
    Herald,
    Played,"
    Jan.1923,sec. 7, p. 4.
    86 (1 Mar.1923):23.
    Courier
    14. "Pierrot
    Again,"Musical
    86 (1 Feb.1923):21.
    Musical
    andHisMoonMadPierrot,"
    Courier
    15. "Schoenberg
    ina latercollection
    is included
    of
    called"Sch6nberg
    16. Engel'saddress,
    Lunaire,"
    A. Knopf,
    Discords
    1931),84-97.
    (NewYork:Alfred
    Mingled
    essays,
    andCritics
    17. ClaireReis,Composers,
    Conductors,
    (NewYork:Oxford
    University
    Press,1955),11-13.
    18. ClaireReis,interview
    1977,YaleOralHistory
    Jan.1976-Jan.
    byVivianPerlis,
    Music.
    ProjectinAmerican
    forboththe1923and1925pera listofcitedreviews
    19. The Appendix
    contains
    theAppendix.
    comefrom
    references
    toreviews
    Thefollowing
    formances.

    lunaire 695
    NewYorkReception
    ofPierrot
    viewsofthe"OldGuard"critics,
    andaesthetic
    ofthecareers
    20. Fora discussion
    ofNewMusicinNewYork:1919-1929"(Ph.D.
    "TheCriticism
    seeBarbara
    Mueser,
    "AnAmerican
    ofNewYork,1975),42-103;OscarThompson,
    diss.,CityUniversity
    and
    Richard
    LeftbyW.J.Henderson,
    The Legacy
    SchoolofCriticism:
    Aldrich,
    23 (1937):428-39;andWaroftheOld Guard,"Musical
    TheirColleagues
    Quarterly
    A Centennial
    MusicCritics:
    American
    renS. Smith,"FourDistinguished
    Note,"
    America
    Musical
    74,no. 4 (1954):6, 130,134.
    In a
    wassmallandunappreciative.
    thattheaudience
    21. Finckalsocommented
    at Futurhisclaims.(Finck,"WhatHappened
    to theEvening
    letter
    Post,Reisrefuted
    Finck
    NewYorkEvening
    isticConcert,"
    Post,17Feb.1923,p. 10.) In hisresponse,
    theworkeventhough
    forpraising
    Sandborn
    herviewandthenadmonished
    dismissed
    that
    Sandborn
    oftheaccompaniment.
    andgroans"
    to the"squeaks
    he referred
    replied
    thathe
    andrepeated
    tobe viewedas negative
    thatdescription
    he didnotintend
    ofPierrot
    to developa clearer
    neededanother
    (Finck,"Philharmonic
    opinion
    hearing
    23
    Feb.
    York
    New
    New
    1923,
    Post,
    p. 8).
    Evening
    Plays
    Symphony,"
    22. Aldrich
    (5 Feb. 1923)andSpaeth(5 Feb.1923).
    ofthissplit,seeReis,Composers,
    accounts
    first-hand
    23. Forcontrasting
    Conductors,
    GlassDiary:Volume
    a Looking
    andCritics,
    1, 188313-15,andLouiseVarese,Varese,
    1928(NewYork:W. W. Norton,
    1972),188-91.
    todescribe
    the
    ofexpectations"
    coinedthephrase"horizon
    24. HansRobert
    Jauss
    in a
    andithasbeenappropriated
    tojudgeliterary
    criteria
    works,
    byreaders
    employed
    a
    to
    as
    in
    this
    History Challenge Literary
    "Literary
    study.
    Jauss,
    way
    verygeneral
    vol. 2 ofTheory
    an Aesthetic
    trans.Timothy
    Bahti,inToward
    ofReception,
    Theory,"
    ofMinnesota
    andHistory
    Press,1982).OrigiUniversity
    (Minneapolis:
    ofLiterature
    inLiteraturgederLiteraturwissenschaft,"
    alsProvokation
    nally"Literaturgeschichte
    amMain:Suhrkamp,
    alsProvokation
    schichte
    1970).
    (Frankfurt
    inthe
    Victorian
    toModernist
    25. DanielJoseph
    Thought
    Singal,TheWarWithin:
    ofNorthCarolinaPress,1982),and
    1919-45(ChapelHill:University
    South,
    39 (1987),
    American
    A Definition
    ofAmerican
    "Towards
    Modernism,"
    Quarterly
    to Ameriin thisissueofAmerican
    dedicated
    7-26. Singal'sessayandothers
    Quarterly
    inAmerica,
    Culture
    ed. Daniel
    as Modernist
    havebeenreprinted
    canmodernism
    Calif.:Wadsworth,
    1991).
    Singal(Belmont,
    Joseph
    Masters
    andVictims
    andOther
    Germans:
    26. PeterGay,Freud,
    Jews,
    ofModernist
    Culture
    Press,1978),21-22. See alsoGay,Artand
    (NewYork:Oxford
    University
    &
    andMondrian
    Act:On CausesinHistory:
    Manet,Gropius,
    (NewYork:Harper
    Rowe,1976).
    in America
    isdrawn
    from
    DanielWalker
    culture
    ofVictorian
    27. Thisdiscussion
    as a Culture,"
    American
    Victorianism
    27 (1975):507-32,
    Howe,"American
    Quarterly
    9-11.
    ofAmerican
    andSingal,"Definition
    Modernism,"
    Frame
    TheVictorian
    28. WalterE. Houghton,
    ofMind,1830-1870(NewHaven:
    YaleUniversity
    Press,1957),145.
    in theTwentieth
    on Victorianism
    29. Stanley
    Coben,"TheAssault
    Century,"
    Victorianism:
    American
    27 (1975):604-25,andCoben,Rebellion
    against
    Quarterly

    696 TheMusical
    Quarterly
    in 1920sAmerica
    TheImpetus
    (NewYork:Oxford
    Press,
    forCultural
    Change
    University
    1991).
    30. On Omstein's
    career
    andmusic,seeVivianPerlis,
    "TheFuturist
    MusicofLeo
    31
    Notes
    the
    Music
    Association
    (1974-75):735-50,andMetzer,
    Library
    Omstein,"
    of
    85-130.
    ofMusicalModernism,"
    "Ascendancy
    31. Fora discussion
    ofHumperdinck's
    F. Kravitt,
    seeEdward
    "The
    innovation,
    ofWordsandMusicinLateRomantic
    Musical
    62
    Melodrama,"
    Joining
    Quarterly
    inthemelodrama
    isdescribed
    tradition
    in
    (1976):571-90.TheplaceofPierrot
    2-6.
    Pierrot
    lunaire,
    Dunsby,
    is thesongcycle;
    32. Dunsby
    that"thesupporting
    argues
    generic
    type"ofPierrot
    5.
    Pierrot
    lunaire,
    Dunsby,
    inAmerican
    "TheGenteelTradition
    33. Santayana
    coinedtheterminhisaddress
    25
    of
    at
    on
    at
    the
    California
    Berkeley
    University
    Aug.1911.This
    given
    Philosophy,"
    Tradition:
    Nine
    is presented
    in DouglasWilson,ed.,TheGenteel
    version
    original
    Harvard
    Press,1967),38-64.
    University
    Santayana
    (Cambridge:
    Essays
    byGeorge
    inContemporary
    Studies
    revised
    thespeechin Winds
    Opinion
    ofDoctrine:
    Santayana
    Sons,1913),186-215.
    (NewYork:CharlesScribner's
    seeF. I. Carpenter,
    "The
    ofthegenteel
    34. Fordifferent
    tradition,
    interpretations
    15 (Sept.1942):
    A Reinterpretation,"
    NewEngland
    GenteelTradition:
    Quarterly
    AnAgeofCriticism,
    1900-1950(Chicago:Henry
    VanO'Connor,
    427-43;William
    "TheGenteelTradition,"
    in TheAge
    Mumford
    1952),3-18; Howard
    Jones,
    Regnery,
    1865-1915(NewYork:Viking,
    Varieties
    1971),
    Experience,
    ofAmerican
    ofEnergy:
    intheGilded
    A Genteel
    American
    Culture
    andPolitics
    Endeavor:
    216-58;JohnTomisch,
    TheGenteel
    Stanford
    Dawidoff,
    Press,1971);andRobert
    University
    Age(Stanford:
    inAdams,
    andSantayana
    vs.Democracy
    andSacred
    Tradition
    James,
    Rage:HighCulture
    of
    North
    Carolina
    Hill
    London:
    and
    142-93.
    Press,
    1991),
    University
    (Chapel
    American
    musical
    ofmusicinnineteenth-century
    35. On theseidealistic
    perceptions
    Generation:
    A SocialHistory
    MusicintheCultured
    A. Mussulman,
    life,seeJoseph
    of
    Ill.:Northwestern
    MusicinAmerica,
    1870-1900(Evanston,
    Press,1971),
    University
    andPopulism
    inAntebellum
    Class":Elitism
    "MusicoftheHighest
    andMichaelBroyles,
    Boston
    Press,1992).
    (NewHaven:YaleUniversity
    "TheHumanNeedforMusicin DailyLife,"Etude33 (Jan.
    36. WalterDamrosch,
    1915):9.
    Etude33 (June1915):409.
    37. "Buying
    Beauty,"
    38. Engel,Discords
    87.
    Mingled,
    onFourteen
    inPortofNewYork:Essays
    hiscritical
    breadth
    39. Rosenfeld
    displayed
    Moderns
    American
    Brace,1924).
    (NewYork:Harcourt,
    is
    musicwithmechanization
    ofStravinsky's
    thelinkage
    40. In thePierrot
    review,
    it
    is
    of
    the
    in
    discussions
    whereas
    other
    as
    a
    composer
    quality,
    presented negative
    the
    viewedpositively.
    Here,Rosenfeld
    Stravinsky
    against
    propsupthemechanistic
    "themechanical
    howtheformer
    tortured
    captures
    describing
    Schoenberg,
    corporeal
    human
    overthemicroscopic
    itstriumph
    thatshouts
    bug."On Rosenfeld's
    rhythm

    lunaire 697
    NewYorkReception
    ofPierrot
    seeHughM.
    musicwithmechanization,
    andOmstein's
    ofbothStravinsky's
    linkages
    UniandArtinAmerica,
    1916-1946(AnnArbor:
    FalseDawn:PaulRosenfeld
    Potter,
    Microfilm,
    1980),29.
    versity
    at theBarof
    inR. H. Wollenstein,
    "Modernism
    areexpressed
    41. Theseopinions
    America
    Musical
    PublicOpinion,"
    43 (26 Feb.1927):3.
    ofModernism,"
    Musical
    Cou"Arnold
    42. FrankPatterson,
    Impressions
    Schoenberg:
    8.
    rier83 (7 July
    1921):
    the1910sand1920s
    ofFreudinAmerica
    ofthereception
    43. Thisdiscussion
    during
    of
    of
    Freud:
    "The
    Americanization
    F.
    H.
    draws
    Matthews,
    Sigmund
    Adaptations
    upon
    1 (1967):39-62;John
    Studies
    before
    1917,"Journal
    ofAmerican
    Psychoanalysis
    in
    toSocialControl,"
    FromNarcissism
    "TheNewPsychology:
    Burnham,
    Chynoweth
    The
    ed.
    America:
    in
    Twentieth
    and
    1920s,
    Braeman,
    John
    Century
    Change Continuity
    OhioStateUniversity
    H. Bremner,
    andDavidBrody
    Robert
    Press,
    (Columbus:
    TheBeginnings
    andtheAmericans:
    1968),351-98;NathanG. Hale,Jr.,Freud
    ofPsyintheUnited
    1876-1917(NewYork:Oxford
    Press,
    States,
    University
    choanalysis
    Little
    TheNewYork
    Renaissance:
    Frank
    Iconoclasm,
    Wertheim,
    1971);Arthur
    ModemrninAmerican
    1908-1917(NewYork:NewYorkUniverCulture,
    ism,andNationalism
    "Freud's
    Journal
    America,"
    ofAmerican
    sityPress,1976),69-74;andDuaneVorhees,
    12 (winter
    Culture
    1989):43-52.
    ChiThePerils
    2d ed. (1958;reprint,
    44. WilliamE. Leuchtenburg,
    ofProsperity,
    ofChicagoPress,1993),166.
    cago:University
    the1920s,seeRalphvonTrecsckow
    45. On theabusesofFreudian
    theory
    during
    inDancFrom
    theGeneralto theSpecific,"
    Twenties:
    "Freud
    and
    the
    Roaring
    Napp,
    R. Broer
    Blues:TheGreatEscapeoftheTwenties,
    ed. Lawrence
    ingFoolsandWeary
    GreenUniversity
    andJohnD. Walther
    Press,1990),
    Green,Oh.: Bowling
    (Bowling
    172-81.
    SevenArts1 (Feb.1917):406-12,and
    "TheArtist,"
    BoothKuttner,
    46. Alfred
    1 (Mar.1917):549-52.
    Seven
    Arts
    "TheArtist
    (A Communication),"
    ofRosenfeld,
    statesthatthecriticwasfamiliar
    with
    47. In hisstudy
    HughPotter
    of
    and
    Gestalt."
    He
    also
    mentions
    the
    overideas
    "Freudian
    Freud,
    Jung,
    "principal
    FalseDawn,83. Fifteen
    his
    tones"in someofRosenfeld's
    reviews;
    Potter,
    yearsafter
    wrote
    an article
    thatconcentrates
    Pierrot
    Rosenfeld
    on thetheories
    ofFreud
    review,
    30 Apr.1938,485-86.
    andGod,"Nation,
    andJung:
    "Psychoanalysis
    Prohibition
    andtheProgressive
    1900-1920(Cam48. James
    Timberlake,
    Movement,
    Harvard
    andBeautiful:
    Press,1963),andPaulaS. Fass,TheDamned
    University
    bridge:
    inthe1920s(NewYork:Oxford
    American
    Youth
    Press,1977).
    University
    "Music:An Expression
    ofLifeandCharacter,"
    31
    Musician
    49. Mrs.W. A. Harper,
    Institute
    Art,1905-1926(NewYork:
    ofMusical
    (Aug.1926):26. FrankDamrosch,
    SchoolofMusic,1936),178.
    Juilliard
    in twocollections
    50. Thisdebateculminated
    ofessays:
    Norman
    Foerster,
    ed.,
    ontheOutlook
    Humanism
    andAmerica:
    Civilization
    (NewYork:Farrar
    Essays
    ofModem
    & Rinehart,
    A SymGrattan,
    ed., TheCritique
    1930),andC. Hartley
    ofHumanism:
    andWarren,
    (NewYork:Brewer
    1930).
    posium

    698 TheMusical
    Quarterly
    51. On theNewHumanists,
    seeDavidJ.Hoeveler,
    A
    Jr.,TheNewHumanism:
    PressofVirginia,
    1900-1940(Charlottesville:
    America,
    ofModern
    Critique
    University
    from
    thegenteel
    tradi1977).It shouldbe notedthattheNewHumanists
    departed
    in theirdenouncement
    tioninsomekeyways,notably
    ofthedetachment
    ofartfrom
    lifewithin
    thattradition.
    52. Malcolm
    Exile'sReturn:
    A Literary
    Cowley,
    Odyssey
    ofthe1920s(1934;New
    York:Vintage,
    1956),9.
    53. Roderick
    Generation:
    American
    1917-1930(ChiNash,TheNervous
    Thought,
    1970),110.
    cago:RandMcNally,
    oftheterm,
    oftheinstability
    seeRichard
    54. Fora discussion
    Gilman,Decadence:
    TheStrange
    andGiroux,1979).
    (NewYork:Faber,Straus,
    Lifeofan Epithet
    55. ElaineShowalter,
    Gender
    andCulture
    SexualAnarchy:
    at theFindeSiecle(New
    York:Viking,
    1990),169.
    etMe'lisande,
    56. In herstudy
    ofthereception
    ofPelleas
    discusses
    how
    JannPassler
    ofDebussy
    "Pelcritics
    alsoquestioned
    themoralqualities
    andhisopera.See Passler,
    leasandPower:ForcesBehindtheReception
    ofDebussy's
    Music
    Opera,"19thCentury
    10 (1987):257-59.
    OhioUniversity
    57. JohnR. Reed,Decadent
    Press,1985),7.
    Style(Athens:
    58. Reed,Decadent
    7.
    Style,
    in
    59. Forstudies
    ofthesemovements,
    seeChristopher
    Lasch,TheNewRadicalism
    as a SocialType(NewYork:Alfred
    A. Knopf,
    America
    (1889-1963):TheIntellectual
    inBohemia:
    TheRadicals
    Rebels
    1965),andLeslieFishbein,
    oftheMasses,1911-1917
    Hill:
    of
    North
    Carolina
    Press,
    1982).
    University
    (Chapel
    ofthewaron thecultural
    seeHenry
    oftheeffect
    60. Fora fuller
    discussion
    rebels,
    A Study
    First
    Own
    Time
    Innocence:
    the
    Years
    Our
    F. May,TheEndofAmerican
    of
    of
    TheNewYork
    Little
    RenaisA. Knopf,
    1969),361-98;Wertheim,
    (NewYork:Alfred
    A History
    NewYorkIntellect:
    sance,215-26;andThomasBender,
    Lifein
    ofIntellectual
    A.
    NewYork
    1750totheBeginnings
    ofOurOwnTime(NewYork:Alfred
    Cityfrom
    1987),249-55.
    Knopf,
    ShowandthePaterson
    Strike
    61. Martin
    Green,NewYork1913:TheArmory
    Pageant
    Sons,1988).
    (NewYork:CharlesScribner's
    3 (Mar.1916):3.
    Little
    Review
    "ArtandRadicalism,"
    C. Anderson,
    62. Margaret
    308-12.
    ofMusicalModernism,"
    63. See Metzer,
    "Ascendancy
    in SomeUltra-Modern
    Futurist
    Element
    HoldenHuss,"TheAnarchic
    64. Henry
    2 (May1917):139-41.
    Music,"ArtWorld
    theFirst
    viewsofSchoenberg,
    earlier
    65. ForGilman's
    Quartet
    String
    particularly
    andHis
    PianoPieces,
    andtheThree
    Schoenberg
    op. 11,seeGilman,"TheIrrubrical
    199(Mar.1914):452-57.
    Review
    American
    Music,"North
    Extraordinary
    at a LeagueofComposers
    Downesspokeaboutneoclassicism
    66. Forinstance,
    neoIn
    he
    discussed
    lecture-recital
    addition,
    Stravinsky's
    (6 Apr.1930).
    frequently
    inhiscriticism.
    works
    classical

    NewYorkReception
    lunaire 699
    ofPierrot
    67. OlinDownes,"GalaProgram
    NewYorkTimes,17Apr.1933,
    ByComposers,"
    p.16.
    68. Lawrence
    17Apr.1933,p. 13.
    Gilman,"Music,"NewYork
    Herald-Tribune,
    D. Perkins,
    69. Francis
    "NewFriends
    LedbySchoenberg,"
    NewYork
    Program
    18Nov. 1940,p. 15.
    Herald-Tribune,
    70. Gilman,"Music,"13.
    "NewFriends
    71. Perkins,
    15.
    Program,"
    72. OlinDownes," 'Pierrot
    lunaire':
    ofHisScoreBrings
    Schoenberg's
    Conception
    OutItsTrueMerit,"
    NewYorkTimes,
    24 Nov. 1940,sec.9, p. 7.
    73. A. WalterKramer,
    MusicandFilm,"
    "Composers'
    LeagueGala ListIncludes
    Musical
    53 (25 Apr.1933):13.
    America
    isfrom
    74. Thisline,"O alterDuftausMarchenzeit,"
    thelastsongofPierrot;
    translationbyAndrew
    in Dunsby,
    Porter
    Pierrot
    71.
    lunaire,

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