wozzeck - Ein verstimmtes Pianino nut" dex- Bfihne...

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Unformatted text preview: Ein verstimmtes Pianino nut" dex- Bfihne Dirnen ur Mar Girls and Margret Burschen Apprentices Planino W022. Pianino Won. ALBAN BERG (18854935) Wozzeck, Op. 7:Ac1: III, Scene 3 Opera 1917—22 [CD 12143 CD slizi Var-hang rasch auf 3. Szene Eine Schenke (Numbschwadmi Liam) Curtain rises quickly 3” Scene A low tavern (badly lit,Night) Sduwflpolkn von einem Bursehm ungamein rob und semer gespielt Fast Polka played very coarsely 41nd sanprefl by one of the young men ! ( 3160) w IE] an exam der Tische wozzeck is seated at one of the tabla: Tanzt A1- le; Dance all 02: $5013“ 3133 Wild“ uSGhDOUPOI-ka“/ are dancing a wild and rapid Polka ’ y ’ —:i;' ‘- “j ‘W—i 1+ ') If badeutet in dieser Szene Haupu‘hythnms (niche Tam 114-115) .— r _ .— _—- i F. EL t tamer cine Wilde ,Schnellpolka“ / are dancing a wild and rapid Polka tanzt nur 211, springt. sdiwitzt_.___ and dame a - way! Lazy, meal—.— and 135 - L V b _> > > s/ ._ ii I! ,———\ fig" 11g 1 stinkt, es._~_______ halt Eud1 doch reek! For some day 50071 From Aiban Berg, Wozzeck, ed. H. E. Apostei (Vienna: Universal Edition, 1955), 419—36. Engiish singing transiation by Eric Blackali and Vida Harford. © 1931 by Universal Edition A.G., Vienna. Copyright renewed. All rights reserved Used by permission of European American Music Distributors LLC. US. and Canadian Agent for Universal Edition AG" Vienna. IIIIIHIIIHIIH I __ a m 1. 7 ‘ a - _ m m .. . __ _ . r 1r. :EE,,§,. .. wm / _ w v. j n m .. .: :a r o M r... p .m p 3. g .. a my 6 , :. A D H mu .m m a a: w c m _ fl _ ; ,=, = .. M M. “M = __ — g m M m M: w B J 2 C n 8 #1 1 w a i a D . M n J C _ p “a .m m x .. .n u a m . _. m R m mm )5 w. - mm w mm - m 0 .m. a r 3 t u 3d .1. > am. Fan: m H _ = _ v =— _ w .5 = D _ m * t. m w. g M a. _= E .d ) M II .. m n w M w g. __ > d a _ m. m m __ m .w d M ,3 ;m J... # {fax . W a .,- m n . a u M __ .-_—— .m .a an .r [I .u _ la 1 .m m. . rb A. 5 7 ( r. .m E. m... s m - 4 _ Ia .mm- .... .. no. a t m‘ l- 1.. 5 H 2. mu: .9 n .--- _ 3 ¢ __ ¢ _ m _ J 4 ----|:-. u o -_ m k W 1 a. as ._. h m c . .=_ .m. .m f; . e M n t n M _=_ mm 0 .fl . u m w W m . -.=_ m n. V . .. n n e M M .. ____ __ E M . r B W .. .. e. . .3.“ n. L. N w .. Am ..nm.. in.“ ...u . n a u A mull m n W \ W V N r. r . . 2 w B A” 9m ‘M D. M T an“ W 1 D . . i . . I. (A A w . m n 2. m. 3. 1. m. o 3 x p 2 W. n m m 1 m N P 6 W 1 m _ : :2 M M H M H H M H M M M M E 72 \\ 162 ALBAN BERG Wozzeck {CD12 I we 1. 2. ' K1. m B 3. 4. . ‘ -'_IALI — 1. 2. fi==i— . " l‘l" Hr. In F o. D. , ,- --_ ——= 3. @- .".."—_u3=:'=r,—-— -»_- _ H Trgl + J— _J - ; mu- -mvr:l -A;IIIIL.. ' ' P immar gebro than gleiclxsam versucheud, eine Beg-leitung far das Lied Wozzecks zu finden ’ \ u - .5 6c”;- ‘. 4:52;“, 4 «am -- -. Wozz. : _:: 25:1. _"=Ii--'—':—=— '——-'—'i-E‘-" —_——-———.— x — kehr-ten sie ein. Main Wein_ ist gut, main Bier. ist klar. Mein Tijch - ter-lein taste of [Mr wine. My wine_ 1:? good. my 412— is clear, my daugfi _ tar dear 3“" etwas ruhiger (J: 70) :H“ mm; - ax >,H—\ * I a II: . i . g . 1.2. $010 - ___EEEI= ’ .. ~ )— l ‘ L v“ E v =. c r _r—. A -‘ ._ r 3.4. n I 1 > ' V I""“" ' —— _—I — . 23—— 1. V1. d. fibrig. { g fl . 'l u a 2. v1. _ V13 — m— .— Vlc. .. I‘M n _=_ E. .3 _ ‘_ _. ___> .= a: : =L . 6 M \m, nu m mm C W : I .. J : w __ fi ‘ ..." .‘__ u... . I(. 1 .. ;-|._m__._.|.m&1|..u_. n w m ) w * m 1 am . e t 4 . hr W L! M m M M ) . 0 w 6 n z _ Izw _ 0 M y _ e * ua W m a" M e .H . n W m w w m m . . H .hu z hm m ..u m S 2 w Wm m G W nn . E m up A , N — cw ; A W .. .....u.“ a. a. A W F) “Mn no. .mD. an M .L .m.r. a“ “H n o, D: a mm a 6 H n H 1 I 'I‘rgl k. P 16"!“ .. - q...“ I a tempo 155 nicht gebroehen _"wa5.x. -, Schnellpolka subito meno allegro o m n .m D. quasi in den Tan: Wozzeck s einfnllend _. ...o _ mi! anze ck tenzend dancing with Wozzeck Margret P .... ..u“ unge =J=1eo) I a tempo (J lanzi mu Margret ein Paar- Spr A dances a few sieps with her Mangret! M11157“! Kamm, Come, M. 6 z {ID ... v ( u u n ma mow» e r w...) = I. "a. v.4w nv mm m 2. _ ...__ w m _ %.ua >.m.a "m nu “w t m Mi. — .1 man . . b amm. “ u m .mbi . H W I t .. t . a I . ma. E, ("m n nun. awn. s . a o . = 3 . — um: ..E‘ m; . __ -... . .h z A ... =- 35.“ .....uu (gun o m & w. ew Wm 2 1. a. 1 n1 I 7.1 .m. A a m m... . ~ ‘ a w a w w a w . \ . s A g 74 “\ 162 ALBAN BERG Wozzeck CD12 cos \ ~. \ . A poco ritA _ _ _ _ _ rlt. _ _ erder meno allegro 160 mm“ 4.01:. (ritardierte J = neue A = 60) 3 3 a, 3 3 -| ~ _ ‘ : ==n-:=.-:==l---:==.=."'==: Lnglh. I _ -- lI-u-- ---.--l-- I“ l . I Ix J. Ill h/ VI J d— J— dle ungstumne or so zen f< d lit-mil _ _ _ _ _ _ i : esto fl. g... P 1.2.nehmen Dpf. 1. 2. 3 Hr. in F .‘ o. D. m. 4. 3- —_ a. D. . , r h - w», P05 fi 4. I . ‘ ' " , _ p m. D. E _ 3 — ; ' ' "Wm" 0.D. —'— __——-m=—— _, h . g h Lv .. «q > > > ;— ., ’"f (olme Tit.) Plbuliclxe waerbrechung Pianino . > > :h ._‘l' "Eu—Ill. - "Z-I: --- _ .— Mar-g. menu Plenum “aha” H- _,_‘.-/’¢/—’ ' lfihri SIP. am seine“ Tisch uml ziehl sie auf seinen Schofl nieder . J leads her to his table. and pulls her on his lap W022; Komm setz chh her, Mar . gret! Come, leth- sit down, Mar _ gret.’ tit. - _ Wieder meno allegro P“0 “t- * - * - - G T“ i gelvuréo Jrel ‘ - —, "A 2- Vl- EEV=lmin15 _ raf=flr=m ' I-EI'UE‘I—l—I _ll I‘- -IIII—!. V13 - - _ _ _ _ gel. VIC- =3=gza= Kb. f .62 ALHAN BERG Wozzeck £13312: C06 /’J 75 WW] '0 _ r—j’fi ‘—‘ nae-h ‘3th langsamer "‘ 40) a 2 fevent.nu.r nine) N— , , ‘5 1.2.171. 1. 2. Pg. 3. Mg. 1. Hr. in I- [11.0. 2. 1. Pos. .2“ 111.0. Beck. _ . . {xeihgd pp-fi - g V}. geschlagen mi! dam Schwamm- 2 abdimpfim sdfla'igfl und klIngen lnssen - - . - . . - V _ nuf Wozzecks Schufl ‘ an Wozzeck'a lap ' — L A 1—“_ Marg. {gig ,, driickt m an sich 15m. sin 105 l—‘ mf presses her to him let: her 0 LJAF_‘ ramp—w _u.-u —- _ m . .. Wozz. 3========E==g==g=i=ifi= V Mm- - gret, Du bist so heifi... Wart_ nur, wirst auch‘ mm _. _ V _ ‘ Mar < pet, you’re 1:0! as fire, But wm't, till you're_ noch etwas langsamer (J = 40) I .I'“ 4 - _-F‘-IF'_I" _ -E-l —; .__--I"l1- n — “c- '— Iii- - , ——a 9—— .___a L—I . a. _. PP “d :- .mi :— 1‘) T‘rfller ohne Nachschlng """Y 76 l~\.,\162 ALBAN BERG Wozzeck com—l cue l—_| |—'——'-—\ (<T_‘ ra— . ‘ #MA—WM 1 mailman ‘1.u.2APluc. 12.171. _ r. ——-‘—:rE=E-'m ~ — —- ' ‘ _--l‘_—-I_I-F‘—.3I=—— ——."u— -n u—m n-nnu- _— -— A m... quaai Echo (In-D1111) N- Pos. 2. 0.1) Hie night gebrocheu Das Planino a-d.Eihne m. cL Pianino ' _—.:_ L‘7 r ’m Mal-g. Won . _. _ halt “— wer — den! Kannsi. nicht sin~ gen? __ cold_fi_ a! _ 30/ Can? you sing girl? 1 b l-Vl. 2.VL Via y. > m H _ a. _ mu 7 = _ t, m, s W 7 . .. - r 3 m w > m m - -. t i. S _ My > n. m m w W . 2/ _ . é. m, _ D .1. w m a m um — l w .twr : . _ m. m M 6 . AMMI I Y m D w _ L .u a u m C _ m .- m .u m __ .5 _m 5 mm 0 _ g —=_ e g m w .u- 8h. 2 u m a , .. 1D: w _ —u: M W. .m _.m c ._ d a m w m m 1,. $ _ __ ..._. d M m. _n- __ WW I w _m _ mm _ . .. n m _ _ w "_ p a}. w h... mm a m m _ . _ \l _ W m m a g) . - a r 0 I e 0 m m _ =. 4 m a M a _ u___ a m m d k ‘ . a- d Rd W E . __ .__ m m a n .m. _= _ , v G e .1 _ ._ .M um. —u d, 4.. W n w E. _ .. m a, m .m N 0 m r .. 1 1 a. , 7 i M Tu. _ . .= m M" . 1.- u n l-lm A _ S 0 M .1. .I. . S M p m E. E _.- mm 3 m m a E u . M m m w B M d W =.—. M 9 D F 2 . t n .n M. Z ‘ r. e u - .. . . A we K m a a. _= M UM M n m 1... _u m a m m I). c 1 3. .m. __ P w m x __ R m E .. a .fl. .. \m S n m I. L 9 .. .. e .m —- _.— . m S .m u ll DD 6 tin: Lulu- m .1 um um . . 4| .u. s rm mm .. our M . .mumw n: .5. . 2, an“ L. . H w I)? |\)o\Il g z. i m r m A » m m w 0. H D. ID m . "a “ r. " ._.. , . h. ._ ‘ . 1 ,,., u y 1: ) n . 4 , m‘w If- ,. 1 . . m . m w. . .n _ . , .w. . , m. 4‘ . . x M \ I Lu z u ; u. _ ‘ r M. ‘ a y ‘ . g \M. \ _ x. n v n . Raw» ac m __ :- n J . ‘ . ‘ a H. m A m m m ., ‘. I: !. ‘13 ‘N. n \ \ J .mr _. V .._ M E ._ . m ‘_ a. __b, t __ m . w I, c _ . mum mi. N. 3::- K. :5 2 .A E. ‘m n TE. 1. .. f ._. II D C ._ - c r. .. _._> 6 K 22 mn_ .._ .._ E.“ . _ = _ _ “m I. _ .._...m. -i ;> > . t> - W a. a - , b _ _ . . " Ea .._ . _ ,n h _. “0 m nud- H U . _ E m “Em. W H: 23.5%“ n -F =.. A ".._ .m E. 30) _.> :2: I; f. D09 I .- H. H‘ Nalwcaraw 31w“, pltitzlich noch langsamer (J pliitzlida noch langsamer (A Nam! kel-ne Schuh, —: 5E =- , 7‘- I mankannmt-lofl — fii—Big one can go bare- foot-ed dmta hall :30} alarm :37: === _‘—’\.~_/ _ 7:3 — -~\ 162 ALBAN BERG Wozzeclc . a . m. LE m _ n ._= 000 L I... w _= . fl w . _. . _. .._..w .....m ..Ew .._..H“ u. a. ..m 5“ ésgiE ct F n . A . . . . , ‘ . T 1 .. u w w m m u m m M m a n m. m % 1 2 <nh. .. -- 162 ALBAN BERG Wozzeck f“ 79 I , \..._,% .k we; . ,r I ? /?1, 1.2. “ Picc. .. ' 3.4. 1.11.2. Pica. nehmen 141.8. Fl. 0}). 3.4. H'- Echoton aubilo p I o-D. _ . xubito (Echo) Btb. o.D. Pk. I] ' ‘ U xylv Wye. .4 Ce). I "M » -. HI: , Marg. r- “‘1' ‘ 1.‘ WozL mu - [on~ r ; fighting! I nLD [. Solo P m.D. "W ' u . 1m. d.Ubrlg. 'm. 2N]. -‘ «NV..- CD6 CD 12 A x x i ‘ S ¢ K n L 80 /-\ 162 ALBAN BERG Wozzeck MWw—wv gro (#3) J r: 80) name 000 A116 J: P vorlges kurzgr Halt 7 d _. m _ a __ d —— 'l m n “v .u“ C 91 Hie Mug. yaw- had? 071 =——..._ ——'A =——- ich? Mine? '1 Won. ((5) (2 so) 0 A poco Ajllegr Ha” variges =neue kurzer a. I — 1. Solo We 0 D o.D. Solo )0». _ , . a , 7 m 3.: mm __ __ __ __ ___ __ ;_ mm, __ _ _ ___ , = ___ __ = ___ 1. mm ___. ,= ___ ___. s , . ., __ ___ 5 __ ___ g. A, . .._ 11 __c ___ r. ___ . _, . _ = ___ = ___ . - .. ,ba - A ___ __ _, > .. ‘ . . =. ; - . .. m m 5 _m__ ___ m _ ____ __ _u. 9 .. = ___A .._ m _ . . _. m 7 . ,_ . 1 ___ .._ w. - __E ___. .._ __. ___ _r _ __. __.___ __ ___ __ h , L ___, ___ i. __, ___ ___ _ ___. ___: ___: ___. . . . m 7 . .. .. . . l. . . ‘ . Q _ ___ __ __ __ m a _ __ ___ h _ _ __ .r c——. .1 M 3. WW ... P. n as) > u_ _ _ _r; “M. a. __...«,_$ H __..(__m_ _ __ ._ _ ___ 5 mm _ 2 _ .u a a“. .2 a. ., ____ mm... _ L , .._ ___ 1 ,n v __m _ __ a ..=, m m .. , .. _ . ..= t .. ._ .. u. ___. ____ __ a; “5W .. _. a .. ___ MM __ . =2 a __. _.._ ___. ..= ___ .0 ,. a. m mm __ = ,_ m L __ __ , mu 4 ‘_.__ Mm. — u m“ _ m .M M n . n. . _ , ud . a; .1 mm? e ,—2 .. F __ E "a. E. 2 .. , _r __ _ : Fm: ma _, mm“ ___ _ __ __ _ a. .. mm __‘L., ‘ 1—. w .r =.. m r uv.M = W... a n ___. i k a _ _ p. a .M m. ___fi . m H .M. ___—wm. T. .. mm, . mm W __ ___. mm ____ ___ m .u___A, mm ‘ mm. _ ? Em 5%.. n. M m ._ _g a. __ my __.. .m E m .1 0 . . , m 1__ L m :3. _m"_ g : _. __ __ __ A 3 I __ ..m a. w” u. u. u. —— u... w a. .._.m u. mm a. a. "m m m. A a .m c. .m 1 o W .m CD 12 I62 ALBAN BERG Wozzeck \ \ x x s L lviltzllzltL 82 1.!en.8n|oH' __,.. m E — air. gethEuch an? my af _ That}- Was _ you? rech-tan with his right an: walli_ 1hr? Was What mean - . i'pozd we Hand— baw wiped- ta'a: Hand I M are . . ‘1 ge —wischt. it- A ab 0;:- H' 1.12n.Salo mph) A dar_an_ my [land Ghurguszug Alla Violon 7:01 legno gestr. *If the Chorus encounters insuperable difficulties with pitch, their entrances can be sounded by the onstage piano (audible only to the singers). cocaine 2 Solo Vlc. .62 ALBAN BERG Wozzeck CD6 / 83 1.25:ng _=—____—- I-I_:' I = _| 3 f 41 ‘ _ > > > > . . .. , > > - > >_ Bu = '= i E.— = in!) f l , — _ _ ————— —— 1.2.3.Fg- =r= , L—‘=r.-=-. -\ . er Soprane Frei - 11th m-v» ‘ SrIe - 19% ‘ _. .,. ., ‘ _, = "33- V . ev.das ” V Pianlno uAd.’Biihhe - r a - 2.33353 Blut Blood _! _;_ } Marg. stinkt’s mach Men 4.31% — blut! smells“ Of 1211 - my blood! ' ' flf>/E—\ i I . I ' ‘ 1 A | I A Wm. ===_, =.. - 'th- '= —=———=— ism; Bin lch eln MBr-der? PlatzL. o ‘ deri es gem_ Am I a murd’ rer? 0ffl__ 07— else some _ om; H-(alle Soprane) ’" in! q E sum. #- "3—5:?2'53. E (in stinkt's use}: ‘1: it smells a Q A“ —— V Ten. - g Q) 8 ‘fl '5 N Ban _ Blood “A 2S0]! Vlc. (flew) dle Ubrig. (col Iago gostr.) .._a > . ' ‘ ‘ 3 Kb‘ =“- = "#1 >- Iii-J." - " .. a m w .~ « m m a“ M g I M m _ D M. . , 1.; k g . . N. r. ._ \N w. w. w n w 3., fl J II >. I. e a. w m M e [I u m , ..... ....... £52522. .......... , D >. m “we E32213. t ). . . m\ >.... M non.wa 1 > . I H > fl _ 5 I. .1 "u _. W - mm “b .. mm . >. in WC [m .m .. . s _ u w . a w ._ gigaé a _ . 4 u _ _ . _ m .mm 1.! _ ..l mm ...m. ._ w B I 0. t8 I. O. ,. m has A” : mMmm L4 as wwm l ._ my." .. .H... m C . m 7 m am... W m A . a, n H mm ":3 2%.: marl“ £731 n m. n . _ _ ) ; v ___. ___; e .Iul F mm m M w n m ). 1 n b “N M &r m __m. _ gIK w ,W m ____ mm; ._ ,5 .__ h ._ g I... d g i _,____ mu; ____ .. .__ 4— ___. _____. M m 5. v ~_.:u_ A — _ A = d _ F. := Wm WM b _m_ b. ____ c m w _" W A__ L To Du H .mm r W m m, : .‘ Wm : ( m . ‘W . - um m __ Mm NEH“, _ T @m _, .L M Ma. n \1. A ,m; m _ _ imuf m, 3 Li J. 2. .11. W. .:, u W M.N m _ : w.“ . w... b.” mm, w W; x I m_ ,_ , _ .. 2 m __u_ n _ i.§...i.uLV\ [rm ....m a. m” . 35m E w. mam. .‘ a. , MD. mu u a... u m c. m 4 Mo H m M nmugsg zmqofisfi v w 8 1 . 5 a __ __ ___ __ _ ___ ii ___. ___ 2"" =__. __r. a". . z = E. .2 _- . =- J = - .3 ___. ___ ___. 5. M a 2 =. ___ .. 5. 6 M a“ _ . E. ___ ___“ ___. w fl. in. _ ___. P... __.H m :m ___ 3 m, g 2 _L =— = .. _ a. .E _ E. E ___. .- 3 “a, a _ h r 2 an _ ‘ M a _w W n 1:. w ._ M .. v g k _ . kc w _. > m m _ y w m . = A 7 _ _ _ WW “ 5 = _ 1.— __ 1 c . T t _. _ ; .. a m. _ =... __"g E 1.. m _M a. =1 a. .> E: . .I . _F. _.. . . an.‘ m w .. .. .. ___ _ ___. w .1. ‘ m :5.“ 2. .mW E“ m m w n m. u m u w m m mw m. m unnv nun. nun: CD12 CD6 nehmen Dpf. etwas schwerer ~~~\ 162 ALBAN BERG Wozzeck nun. fp sempre mare. 86 437 I.- abdimplen vl col lagno gmhl. col lamoiachl . y> co) legnn gemhl . 07‘250 . col legno ges‘chl. col log-no gascm. 2... 1117(qu Echo) 50—60 Vorhang auf (J=J)m.D.ku)-z gesmBen b' etwas schwerer (J 2 ppohne cresc. lich llLTr. womb; mehrere 1.2 3.4.1] p in Fm .D. kl .Tamfi‘am I62 ALBAN BERG Wozzeclt: Hagc—s’tk In 1824.. Johann Christian Woyzeck was executed for killing the woman he lived with, although many believed he was innocent by reason of insanity. Ayoung doc— tor and writer, Georg Buchner (1813—1837) wrote a play based on the incident, casting the central figure as a poor soldier who is a powerless victim of circum— stances, but Btichner died before finishing it. Decades later. Buchner's play was assembled by a literary scholar (who misread the y as a z and transcribed the name as Wozzeclc). This version was published in 1879 and, finally. staged in 1913. Alban Berg saw the Vienna production the next year and immediately decided to set the play as an opera. adapting his libretto from the original text and reordering some of the scenes. His own service in the Austrian military during World War I gave him a sense of Wozzeck’s life as a soldier and provided details for the opera. He completed the music in 1922 and had the vocal score printed in order to stimulate interest. The work was finally premiered in 1925 at the Berlin State Opera. to excellent reviews. Within a few years it became established as one of the most suc- cessful modern operas and by far the most popular atonal opera. The story centers on Franz Wozzeck, a poor soldier, who is mocked by his Captain, has apocalyptic visions, and submits to a Doctor's experiments in order to earn extra money. (The poor characters all have names, but the welleto—do ones have only titles, a symbol ofthe power they wield inWozzeck's world.) Wozzeck has a child with his common-law wif e Marie, but with his many panrtime jobs he has little time for them. When the Drum Major woos Marie. she gives in to his attenv tions. Wozzeck learns of their affair, and. driven mad by despair, he kills her and then accidentally drowns while seeking to hide the bloody knife. In the heart breaking final scene. their orphaned child rides his hobby horse. not compre- hending what has happened, while other children run to look at Marie's body. Berg laid out the libretto in three acts with five scenes each. In addition to using leitmotives throughout the opera. he composed each scene as a traditional musical form. These forms help to describe the characters and convey the dramatic situation, but they also show Berg's interest in reflecting on the music of the past. a common theme of modernist composers. The first act introduces the characters. with a Baroque suite to suggest the Captain‘s devotion to convention; a rhapsody for Wozzeck’s visions; a march and lullaby as Marie glimpses the Drum Major and sings to her child; a passacaglia for the Doctor‘s fixation on his experiments; and a rondo as the Drum Major repeatedly tries to seduce Marie and finally succeeds. The second act is a symphony in five movements, portraying the dramatic developments through a sonatarform movement, a fantasia and fugue. a ternary slow movement, a Scherzo, and a rondo, as Wozzeck learns of the affair, ineffectually fights for Marie, and sinks into despair. The third act is a series of six inventions, each on a single element—a theme, a single note, a rhythmic pattern, a chord. a key, and a duration—suggesting Wozzeck’s obsessions. The music in each act is continuous. with linking orchestral interludes between scenes. The longest interlude, before the last scene, is like a symphonic Adagio that sums up the tragedy. kw...»-_...... 87 _——————‘ i i 88 L\ 162 ALBAN BERG Wozzeck t_c___-.,wt_.,m. _ , , .,,mrw_»_.,_.,_wa.,,_,.,.,awcdt.-....-_.r.,._,w._.c..... . www.mafl -4” “www-mmm...was“.. am,“ , The scene included here is the invention on a rhythm. Wozzeck sits in a tavern, having just murdered Marie in the previous scene. An onstage piano, mistuned to suggest the sound of a cheap barroom piano, introduces the rhythmic pattern—a series of eight durations‘in the form of a fast polka. Throughout the scene, the rhythmic pattern repeats incessantly, in its original values, in augmentation, and in diminution, and in both instruments and voices, often in more than one form at a time. Berg indicates every instance with the sign of an H attached to a bracke et, a symbol Schoenberg had invented to designate the main melodic line (H standing for Hauptstimme, main voice) but used here to indicate the main rhythm (Hauptrhythmus). These constant repetitions envelop Wozzeck, symbolizing his obsession with his guilt. Wozzeck picks up the rhythm as he watches the dancers (measures 130—41), then briefly frees himself from it by singing a folk song, using a tune from Marie‘s Act I lullaby (at measure 14,5). He asks Marie‘s friend Margret to dance with him, then sits down with her on his lap and asks her to sing a song. But there is no respite for him—even her song is in the obsessive rhythm of the scene (measures 168*79). She notices blood on his hand. singing again in that rhythm (measures 185—93). As others gather around them, Wozzeck says he must have cut himself, but she points out the blood on his elbow and says it smells of human blood, and the others agree. By this point all of them are singing only in the scenes main rhythm, and Wozzeck sings it at twice the speed of the others in a sign of his grow— ing panic (measures 197—207). Throughout this passage (measures 187—211), the orchestra plays its own statements of the rhythm, each on repeated pitches a major seventh apart, rising by whole steps and then half steps as the scene builds to a climax. Surrounded by the emblem of his guilt, Wozzeck flees in a frenzy while overlapping statements of the rhythm sound in the orchestra. Berg's music is atonal (not twelve»tone), but he frequently imitates the styles and textures of tonal music, as in the triadic accompaniment to the piano polka; the prominent fourths, triadic shapes. and melodic sequences of Wozzeck's imi~ tation folk song; and the rocking accompaniment, balanced phrases, and arching lines of the popular—style song Margret sings. By constantly using familiar elee ments like these, Berg makes his music both dramatically effective and accessible to a wide range of listeners. It can be difficult for singers to find their pitches in atonal music. Sometimes the pitches of the vocal lines are contained in the harmonies that accompany them. as in Wozzeck's folksong at meaSure 14.5, but that is not always the ease. Berg recognized the difficulty, and in measures 202e12 he provided an optional part for the onstage piano that includes a transcription of the parts for the Chorus. This part may be playediaudihle only to the singers—if they need assistance in finding their pitches. ...
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This note was uploaded on 09/08/2010 for the course MUSC 201 at San Jose State University .

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wozzeck - Ein verstimmtes Pianino nut" dex- Bfihne...

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