set all fifty of the original French poems for a (mostly) a cappella group of singers. Sometimes they sing in French accompanied by a narrator, whose English translations are woven into the music; sometimes they sing in both French and English; sometimes they speak the poems in both languages (in various combinations). The few songs entirely in French are intended to be glossed by action in performance. Instruments occasionally brought in, usually solo, are violin, cello, piano, organ, chimes, and beatbox. The English texts were derived from literal translations of Giraud's poems by Kay Bourlier. Giraud's original texts (and apparently one of Hartleben's) also stand behind the Seven Pierrot Miniatures (2010) by the Scottish composer Helen Grime, though hers cannot be called "settings", since voice and words are absent. The seven poems she selected—12: "The Clouds", 2: "Decor", 22: "Absinthe", 18: "Suicide", 27: "The Church", 20: "Sunset", and "The Harp", none used by Schoenberg—were merely "points of departure" for her suite for mixed ensemble. Beyond both Giraud and Hartleben: Pierrot lunaire reimagined In 2013, the Arab-American composer Mohammed Fairouz set the poet Wayne Koestenbaum's ten Pierrot Lunaire poems (2006)—all original in content, though retaining titles from the Giraud/Schoenberg cycles—to a theatrical score for tenor and the Pierrot ensemble. In these new settings, Pierrot, "erotomane, cinéaste, clown, troubadour, analysand, synaesthete", goes wandering "through circles of a moonlit inferno, where he confronts shadows of charmed, histrionic luminaries", including Susan Sontag, Virginia Woolf, Patty Duke, Mae West, and Diana Vreeland. The painters Paul Klee, Federico García Lorca, Theodor Werner, Marc Chagall, Markus Lüpertz, and Fernando Botero have all produced a Pierrot Lunaire (in 1924, 1928, 1942, 1969, 1984, and 2007, respectively). The British writer Helen Stevenson published a Chinese-box-like, postmodern set of variations on Giraud's poems in her 1995 novel Pierrot Lunaire, and Bruce LaBruce released his Canadian/German film Pierrot Lunaire, a gender-bending interpretation of the Schoenberg cycle, in 2014. Pierrot Lunaire is also a familiar figure in postmodern popular art: like the American experimental/drone music artist John DeNizio, Brazilian, Italian, and Russian rock groups have called themselves Pierrot Lunaire. The Soft Machine, a British group, included the song "Thank You Pierrot Lunaire" in its 1969 album Volume Two; the Scottish musician Momus included the track "Pierrot Lunaire" in his 2003 album Oskar Tennis Champion; and the avant-pop star Björk, known for her interest in avant-garde music, performed Schoenberg's Pierrot Lunaire at the