Sprechstimme Reconsidered Once Again
‘… Though Mrs. Stiedry is never in pitch’
Bibliographic Data
| ID | 15006412 |
|---|---|
| Authors | Avior Byron (Royal Holloway, University of London and Bar-Ilan University), Matthias Pasdzierny (Berlin University of the Arts) |
| Year | 2007 |
| Volume | 13 |
| Issue | 2 |
| Publication date | 2007-06-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Theory Online (JOURNAL) |
| Journal identifiers | ISSN: 1067-3040 • E-ISSN: 1067-3040 |
| Publisher | Society for Music Theory (PUBLISHER • US) |
| DOI | 10.30535/mto.13.2.3 |
| OpenAlex | W2343287487 |
| Language | EN |
The MTO article “The Test Pressings of Schoenberg Conducting Pierrot lunaire : Sprechstimme Reconsidered” by Avior Byron claimed that “Schoenberg accepted very different performances . . . of the Sprechstimme notation by Erika Stiedry-Wagner in a period of not more than three days.” The present article discusses a surprising letter that Schoenberg wrote at the end of 1941, which seems (at first) to contradict Byron’s claim. We present this letter and suggest that Schoenberg’s conception of Sprechstimme in Pierrot lunaire presumably changed as a result of listening to recordings, an assumption which finally strengthens the argument presented in the aforementioned article
Art · Literature · Diverse Musicological Studies · Music Technology and Sound Studies · Musicology and Musical Analysis
| Highly cited | No |
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