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Polish composer Karol Rathaus (1895–1954) wrote the ca. 40-minute ballet Der letzte Pierrot in 1925/26 for Max Terpis, who was himself co-author of the libretto. Following the virulent rejection of his two symphonies (the first of which was published by UE), the Schreker student had withdrawn from musical life. This ballet was an attempt to change his means of expression, and indeed Rathaus went through a considerable stylistic transformation. In an essay on the piece, Martin Schüssler writes: Rathaus’s music is of such illustrative power that it is easy to follow the plot without seeing the scenery on the stage – the characters can be recognised by musical motifs.