Alban Berg's Wozzeck is one of the most significant operas of the twentieth century. Douglas Jarman's study provides a clear and accessible introduction to this work, placing it in the context of the radical developments in musical language during the early decades of the century and of the development of Berg's own musical style. The book covers all aspects of the work. Early chapters are devoted to the history and discovery of the Buchner play Woyzeck on which Berg based the libretto and to the background and composition of the opera. A detailed synopsis takes the reader through the events on stage in relation to the structured musical effects. Particular attention is given in the subsequent chapter to the unique dramatic and musical design of the opera. In offering a possible interpretation of the work Douglas Jarman considers this closely organized structure in relation to the expressionistic language of the music. A final chapter charts the performances of the opera, in particular early productions, which are illustrated with many hitherto unpublished photographs from Berg's own lifetime. An important feature of the book is the inclusion of many important and otherwise unobtainable contemporary documents concerned with the play and the opera, includine Karl Emil Franzos's description of the reconstruction of the fragmented Buchner play and three commentaries by Berg himself on the opera. This comprehensive guide will be invaluable to the student and opera-goer wishing to unravel the musical and dramatic complecities of this important work.
What people are saying - Write a review
We haven't found any reviews in the usual places.
The play and the libretto
Musical background and composition
The formal design
Act III scene 4 an analysis
A suggested interpretation
Stage history the premiere and subsequent performances
Alban Bergs Wozzeck
Alban Bergs Wozzeck A contribution to the problem of opera
Creating atonal opera
The musical forms in my opera Wozzeck
A word about Wozzeck
A lecture on Wozzeck
absolute music Act I scene Alban Berg Andres Anton von Webern appear Arnold Schoenberg artistic atonal barracks Berg's opera Berlin Biich Captain character child chromatic close composer crescendo critics curtain Darmstadt Doctor dramatic Drum Major earlier example expression final formal design Franzos fugue Georg Buchner George Perle harmonic Herr hexachord Ibid invention Kleiber Landler Largo leitmotive letter Lieder lullaby Lulu manuscript Marie Marie's melody minor third motive murder musical forms musical structure nature notes Oldenburg orchestral interlude Orchestral Pieces original palindromes Passacaglia performance Peter Markwort Petschnig piano pitch play premiere production of Wozzeck represented retrograde returns rhythm rhythmic Rondo Sauerlaender scene of Act Scherzo Schoenberg second scene shown in Ex singing six-note chord sonata movement song Sprechgesang stage symbol symphony tavern theatre thematic theme things tion tonality transposition Universal Edition Vienna Viennese Vocal score Vocalscore voice waltz Webern whole words Wozzeck wrote