by an exhibition of artworks responding to each of its three sections (October 2014); mounted a "Pierrot-Kabarett" featuring new settings of Schoenberg's Brettl-Lieder (January 2015); and offered original interpretive responses to the central "dark" section of Pierrot lunaire (April 2015). Subsequently, the Project commissioned artists Tim A. Shaw, Jörg Obergfell, and Sara Naim to work with composers Ewan Campbell, Stef Conner, and Chris Roe to create "collaborative works that explore Schönberg's life, mind and work, for an exclusive 2 week showing at Display Gallery in London: 5th-17th February 2016," preceded by a February 4 concert by the Dr. K Sextet, which performed among the resulting installations. Known as The Pierrot Studio, this new project was staged in a "psychic, virtual or imagined" recreation of Schoenberg's own studio, furnished with "re-imaginings of Schönberg's 'miusical' sketches and painted self portraits." The programs included an abstract light-and-sound "rendering of Schönberg's moonscape in Pierrot Lunaire" and "a series of masks and musical motives" conjuring up "the various archetypal Pierrot characters." Schoenberg has attracted at least one prominent parodist: in 1924, Hanns Eisler, a student of Schoenberg, published Palmström (Studies on 12-tone Rows), in which a Sprechstimme vocalist, singing texts by Christian Morgenstern, parodies the musical lines of Pierrot to the accompaniment of flute (or piccolo), clarinet, violin (or viola), and violoncello. Re-enter Giraud: the French poems renascent Beginning in the early 1980s, scholars and musicians began to take a fresh look at Giraud's original texts, thereby initiating an implicit interrogation of the superiority of the Hartleben translations. Two works are especially illustrative of this development. The first, the volume Pierrot Lunaire, of 1982, is a retranslation of the Hartleben versions back into French by the poets Michel Butor and Michel Launay, who conclude their work with poems of their own inspired by Giraud. The second, Variations: Beyond Pierrot (1995), is a work by the American composer Larry Austin. Each of its three ten-minute sections features a Sprechstimme soprano who sings fragments of Schoenberg's 21 selections accompanied by flute, clarinet, violin, cello, and piano. She sometimes renders those fragments in Giraud's original French, sometimes in Hartleben's German, at other times in English and Japanese. Drawing upon live computer-processed sound and computer-processed prerecorded tape, the composition attempts (in Austin's words) to go "beyond Schoenberg's musical melodrama" to create a "multi-lingual dream of the essences of the poems". In 2001 and 2002, the British composer Roger Marsh