[Article 3 in a series of writings to celebrate the 75th anniversary of the American Composers Alliance. Hear this work performed live, Saturday, June 23, by Soprano Jo Ellen Miller with the Orchestra of the League of Composers]
Setting an
“Unused Poem”: Miriam Gideon’s “Böhmischer Krystall”
Stephanie Jensen-Moulton
CD, Miriam Gideon: RetrospectiveMiriam Gideon
wrote “Böhmischer Krystall” in 1988 as part of The Schoenberg Institute’s
Pierrot Project. The Institute
commissioned sixteen different composers to set the twenty-nine Albert Giraud
poems that Arnold Schoenberg did not choose to set into his “three times seven”
movement melodrama from 1912. The only
requirement of the project was that composers use the same, fractured
instrumentation that Schoenberg had employed for Pierrot Lunaire: any combination of piccolo or flute, B-flat
clarinet or bass clarinet, violin or viola, cello, piano, and voice. Although Schoenberg asked his vocalist to
perform primarily in Sprechstimme, a
kind of eerie speak-singing, the commissioners allowed the composers free rein
about the use of the singer. Gideon’s
setting calls for flute, clarinet in B-flat, violin, cello, and voice.
Schoenberg only used this exact instrumental grouping three times, but notably,
employed it for his final movement of the cycle.
Gideon
had already established a definite personal compositional style by 1988,
particularly within the genre of vocal chamber music. Allan Kozinn, who reviewed the New York premiere
of the works, quickly pointed out that Gideon’s piece “explored the more
lyrical side of Schoenbergian atonality, while John Harbison’s ‘Im Spiegel’ and
Milton Babbitt’s ‘Souper’ emulated, in their different ways, the composer’s
Sprechstimme style.”[1] The reviewer was not far off in his
description of Gideon’s work. “Böhmischer Krystall” represents, in many ways, a
culmination of Gideon’s compositional output.