However, this formula is not followed strictly, with the piano playing a few cycles of the chaconne in the second tableau and in the third tableau everyone has access to the material and free to realize bits of the chaconne material on their own. This is to create an ambiguity with who or what is in control of the chaconne, ultimately brining this question for the audience to walk away with asking or answering. This ambiguity does not stand as an anomaly, in fact, it harkens back to a theme in Pierrot lunaire, in which the main character is setup to display traits that were historically coded as masculine and feminine, and a blur occurs with trying to categorize the person who is enacting both sides. The chaconne is the first major figure that is heard (played by piccolo and cello), establishing all this tension between high and low, feminine and masculine, from the onset of the piece until its
However, this formula is not followed strictly, with the piano playing a few cycles of the chaconne in the second tableau and in the third tableau everyone has access to the material and free to realize bits of the chaconne material on their own. This is to create an ambiguity with who or what is in control of the chaconne, ultimately brining this question for the audience to walk away with asking or answering. This ambiguity does not stand as an anomaly, in fact, it harkens back to a theme in Pierrot lunaire, in which the main character is setup to display traits that were historically coded as masculine and feminine, and a blur occurs with trying to categorize the person who is enacting both sides. The chaconne is the first major figure that is heard (played by piccolo and cello), establishing all this tension between high and low, feminine and masculine, from the onset of the piece until its