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Journal articles on the topic 'Wozzeck'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Hsieh, Amanda. "Lyrical Tension, Collective Voices: Masculinity in Alban Berg's Wozzeck." Journal of the Royal Musical Association 144, no. 2 (2019): 323–62. http://dx.doi.org/10.1080/02690403.2019.1651496.

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AbstractThe voice of Berg's Wozzeck has been characterized by his Sprechgesang, heard as manifestation of his abnormality or even ‘hysteria’. However, Wozzeck often sounds more lyrical and emotive in relation to his oppressors, whose sense of authority is undermined by their caricatured vocal lines and vocal types. Rather than representing a ‘broken’ voice, Wozzeck's Sprechgesang is reserved for moments shared with his fellow low-ranking comrades, suggesting that it served as a voice of solidarity and empathy. In this article, I historicize the première of the opera at the Berlin State Opera; indeed, a glance at the singers who played the central roles suggests how the characters were perceived. It reveals an intertextual web of suffering shared between Berg's traumatized soldiers, and the perverse exercise of authority. Wozzeck therefore opens up questions about the expression of ideals in post-First World War Germany: the ideal of a stoic man demanded by the army, and the ideal of a voice.

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2

DeVoto, Mark. "Wozzeck." Opera Quarterly 3, no. 3 (1985): 220–24. http://dx.doi.org/10.1093/oq/3.3.220.

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3

Auner, J. "Berg's "Wozzeck"." Journal of Music Theory 58, no. 1 (2014): 57–65. http://dx.doi.org/10.1215/00222909-2413580.

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4

ARDOIN, JOHN. "Apropos Wozzeck." Opera Quarterly 3, no. 3 (1985): 68–74. http://dx.doi.org/10.1093/oq/3.3.68.

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5

Street, Alan, and Douglas Jarman. "'Wozzeck' Guide." Musical Times 131, no. 1767 (1990): 262. http://dx.doi.org/10.2307/966161.

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6

GREENE, SUSAN. "Wozzeck and Marie." Opera Quarterly 3, no. 3 (1985): 75–86. http://dx.doi.org/10.1093/oq/3.3.75.

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7

McKee, David. "Wozzeck. Alban Berg." Opera Quarterly 8, no. 1 (1991): 115–16. http://dx.doi.org/10.1093/oq/8.1.115.

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8

Brooks, Marc. "Wozzeck and the Mathematical." Opera Quarterly 35, no. 3 (2019): 179–206. http://dx.doi.org/10.1093/oq/kbaa001.

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9

Bonds, Mark Evan. ""Wozzeck's Worst Hours": Alban Berg's Presentation Copy of Wozzeck to Eduard Steuermann." Notes 76, no. 4 (2020): 527–34. http://dx.doi.org/10.1353/not.2020.0044.

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10

Brouwers, Toon. "Wozzeck als dakloze sans-papiers." Documenta 28, no. 2 (2019): 145–50. http://dx.doi.org/10.21825/doc.v28i2.10540.

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11

PETERS, PAUL. "Wozzeck / Woyzeck: Büchner versus Berg." Seminar: A Journal of Germanic Studies 38, no. 3 (2002): 241–60. http://dx.doi.org/10.3138/sem.v38.3.241.

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12

Jiménez. "Woyzeck - Wozzeck: estructuras literarias y musicales. Texto, gestos y música en "Wozzeck" de Alban Berg." Revista de Musicología 21, no. 1 (1998): 285. http://dx.doi.org/10.2307/20797501.

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13

Vogelsang, Konrad. "Alban Bergs „Wozzeck” in Rom 1942." Die Musikforschung 42, no. 2 (2021): 150–54. http://dx.doi.org/10.52412/mf.1989.h2.1311.

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14

Green, Douglass, Stefan Kostka, and Janet Schmalfeldt. "Berg's "Wozzeck": Harmonic Language and Dramatic Design." Journal of Music Theory 29, no. 1 (1985): 177. http://dx.doi.org/10.2307/843376.

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15

Pople, Anthony, and Janet Schmalfeldt. "Berg's Wozzeck: Harmonic Language and Dramatic Design." Music Analysis 5, no. 2/3 (1986): 265. http://dx.doi.org/10.2307/854188.

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16

Brooks, Marc. "Competing Ways of Hearing Nature in Berg's Wozzeck." Cambridge Opera Journal 32, no. 1 (2020): 52–89. http://dx.doi.org/10.1017/s0954586720000117.

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AbstractMusicologists have tended to assume that Berg's ‘translation’ of Büchner's play was an unproblematic affair and have felt free to set about uncovering how the music articulates the drama and the themes as if the meanings of play and opera were identical. In this article I listen to Wozzeck as a dialogue between Büchner's original fragment and Berg's operatic translation in a manner that acknowledges the differences between them. In particular I propose an alternative way of hearing nature in the opera that accords with Büchner's and Berg's own valorisation of the creative power of Life, rather than focusing on the political power of the idealist subject like many earlier appraisals of the opera. I first argue that, with Woyzeck, Büchner was opening up an exploratory space in which he asked his audience: ‘If the autonomous self-identical subject is indeed illusory, what is the mechanism through which social progress can take place?’ Second, I challenge the assumption that Berg managed to set the text in a neutral way, arguing that he imposed upon the fragments an alien set of aesthetic values and inadvertently dismantled the mechanism Büchner had designed to provoke audiences into thinking about volition and creativity. In the final two sections of the article, I argue that, despite the violence Berg did to Büchner's plan, the music in the opera's nature scenes can be heard to generate the philosophy of potential that Büchner was searching for in the original fragments.

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17

FORTE, ALLEN. "Tonality, Symbol, and Structural Levels in Berg's Wozzeck." Musical Quarterly LXXI, no. 4 (1985): 474–99. http://dx.doi.org/10.1093/mq/lxxi.4.474.

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18

Fanning, David. "Berg's Sketches for Wozzeck: A Commentary and Inventory." Journal of the Royal Musical Association 112, no. 2 (1987): 280–322. http://dx.doi.org/10.1093/jrma/112.2.280.

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In 1975 the Wozzeck sketches were examined and commented on by Ernst Hilmar, having been made available to him by the composer's widow. Subsequently they were catalogued, along with all the manuscripts in the Berg legacy, by Rosemary Hilmar. It might appear surprising, then, that neither George Perle nor Janet Schmalfeldt makes more than passing mention of them in their important recent studies. In a sense the omission is not unduly sinful – not surprisingly, the majority of the sketches show Berg at work on constructional features of the opera which are already well known, and there is no evidence of hitherto undiscovered esoteric planning.

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19

Schorske, Carl E. "Commentry: Operatic Modernism." Journal of Interdisciplinary History 36, no. 4 (2006): 675–82. http://dx.doi.org/10.1162/jinh.2006.36.4.675.

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The problem with deªning operatic Modernism is that, unlike Modernism in architecture, it did not have a single language that united the movement across Europe. In opera there was certainly an organizational component, notably represented by the Kroll Opera House in Berlin. But in musical terms, we have to accept two kinds of Modernism, represented by Rosenkavalier and Wozzeck.

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20

Hall, Patricia. "Berg's Sketches and the Inception of Wozzeck: 1914-18." Musical Times 146, no. 1892 (2005): 5. http://dx.doi.org/10.2307/30044103.

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21

BRISK, BARRY. "Leopold Stokowski and Wozzeck: An American Premiere in 1931." Opera Quarterly 5, no. 1 (1987): 71–82. http://dx.doi.org/10.1093/oq/5.1.71.

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22

Wood, Jeffrey. "The Great War and the challenge of memory." New Sound, no. 44-2 (2014): 109–20. http://dx.doi.org/10.5937/newso1444109w.

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An assessment of the responses of "classical" composers to World War I. A discussion of the responsibilities of the composer as they respond to war will be followed by a presentation of four different "modes" of artistic response: "heroic," "elegiac," "denunciation," and "reconciliation." These responses represent different modes of expression by which composers are able to respond to events such as World War I. Specific works representing these responses - Arthur Bliss' Morning Heroes, Alban Berg's Wozzeck, Edward Elgar's Violoncello Concerto, John Foulds' A World Requiem and Benjamin Britten's War Requiem - will also be discussed.

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23

Smith, S. D. ""Even Money Decays": Transience and Hope in Adorno, Benjamin, and Wozzeck." Opera Quarterly 29, no. 3-4 (2013): 212–43. http://dx.doi.org/10.1093/oq/kbt035.

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24

Kennaway, George. "The Birth of an Opera: Fifteen Masterpieces from Poppea to Wozzeck by Michael Rose." Notes 70, no. 3 (2014): 427–29. http://dx.doi.org/10.1353/not.2014.0002.

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25

Chadwick, N. "Berg's Wozzeck. By Patricia Hall. pp. xi + 211. Studies in Musical Genesis, Structure, and Interpretation." Music and Letters 94, no. 2 (2013): 358–60. http://dx.doi.org/10.1093/ml/gct041.

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26

Muñoz, Blanca. "Dodecafonismo y sociedad de entreguerras. El reflejo del conflicto social en el Wozzeck de Alban Berg." Reis, no. 84 (1998): 259. http://dx.doi.org/10.2307/40184086.

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27

Docherty, Barbara. "‘We know for whom we mourn’: Britten, Auden and the politics of 1936." Tempo, no. 192 (April 1995): 22–28. http://dx.doi.org/10.1017/s0040298200004083.

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On 25 September 1936 Benjamin Britten's Our Hunting Fathers, his first adult song cycle, first score for full orchestra and self-confessed ‘real op.l’, had its Norwich première. Its public agenda, both political and social, was set by W.H. Auden's 1930 Poems, and its aggressive technical and moral exhortation desired to épater les ancêetres much as Berg's Wozzeck had sought to do. Its private agenda is, however, of far greater interest. In 1930 it had seemed that the detached, self-conscious Künstlerarzt could take the knife to the social gangrene of the prewar generation and its political prescriptions; by 1936 such detachment yielded neither public nor private satisfaction. Political despair now had three names: German, Jew, and Spain; personal despair derived from the realization that ‘love without love's proper object' led only to love's privation and defeat. The texts Auden assembled for Our Hunting Fathers acted (as many of the choruses in the Auden/Isherwood play The Dog Beneath the Skin had done) as an examen de conscience, both confession and homily, with a Prologue and Epilogue in particular addressed to a composer increasingly aware of an imprisoning emotional isolation.

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28

Caplan. "Woyzeck or Wozzeck? Karl-Emil Franzos and the Border Lines between Eastern Europe and German Culture." Jewish Social Studies 25, no. 1 (2019): 128. http://dx.doi.org/10.2979/jewisocistud.25.1.05.

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29

Utz, Christian. "Zur Poetik und Interpretation des offenen Schlusses." Die Musikforschung 73, no. 4 (2021): 324–54. http://dx.doi.org/10.52412/mf.2020.h4.3.

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This article reviews the long historical process and changing significance of open endings in music from Haydn's mid-period symphonies of the 1760s to Helmut Lachenmann. Taking two case studies by Alban Berg (Lyric Suite, Wozzeck) as its starting point, the article demonstrates that open endings are often linked to ideas of cyclicity and the permanence of "objective time" as well as to a critique of social or political situations. Therefore, open endings challenge the aesthetic difference between the musical art-work and everyday experience, a tendency, that can be traced back to the emergence of self-reflexivity in early 19th-century music and aesthetics and even to Haydn's earlier listener-responsive musical writing. In later 19th-century and early 20th-century music, large-scale forms increasingly posed the problem of an inability to achieve closure. Further key examples elaborate the tendency of open endings toward musical self-reflexivity and the appearance of the composer-persona at the end of a cyclic work: Schubert's Der Leiermann from Winterreise, Schumann's Der Dichter spricht from Kinderszenen, Schoenberg's concluding piece from Six little Piano Pieces op. 19 as well as Lachenmann's "music with images" The Little Match-Girl. Finally, Schumann's and Schönberg's closing pieces are considered from the perspective of performance history and analysis, highlighting th performer's substantial impact on creating (or limiting) the impression of "openness".

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30

Shchetynsky, O. S. "Original and borrowed: correlation of the author’s and referred elements in modern musical work." Aspects of Historical Musicology 14, no. 14 (2018): 122–31. http://dx.doi.org/10.34064/khnum2-14.09.

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The phrase “author’s speech” the most frequently uses in musicological texts without exact definition but rather as a metaphor. However, its senses are not clear enough. The correlation of original and “borrowed” elements in music work also needs clarification. The objective of this article is to analyze the role of the author’s and borrowed elements, as well as their impact on artistic value of musical work on the examples of creativity by the composers of the XX century. Some examples of the “author’s speech” do not show any problem, as we clearly feel, when exactly the author suggests his/her personal commentary to the “events” that were depicted before. Among these are the sorrow solos of wind instruments in the symphonies by Dmitry Shostakovich, which he usually introduced after tragic culminations or the D minor orchestral interlude before the last episode of “Wozzeck” by Alban Berg. The author himself characterizes this interlude as the “author’s speech” directed to the audience, which represents the humankind. However, episodes of similar character (author’s “direct speech”) are not obligatory in music. Huge number of works by Shostakovich, Berg and other authors does not include them. Certainly, this does not mean they lack the “author’s speech”. While identifying this element in the piece, it is important to reject the stereotype to bind it with slow music of certain character (meditative, melancholic, sorrow, festive, solemn, etc.). In the same time, although such connotations sometimes are working, the faster episodes of another nature, with thematic contrasts and intensive development, should not be associated only with dramatic quasi-theatrical action. The author cannot avoid various emotions (doubt, trouble, uncertainty, protest, searching for a decision, multivalency of reaction, and many others), which definitely will be reflected in his/her piece and will producing a music of very different kinds. If we consider the music work in technical aspects, we find the combination of individual and “borrowed” elements at all levels of the compositional structure. So, we may conclude the author’s individuality manifests itself everywhere, and the meditative episodes do not enjoy any priority in comparison to episodes of another figurative character and type of movement. “Suite in the old style” for violin and piano (harpsichord) by Alfred Schnittke is a good example of such practice. In his dialogues with Dmitry Shulgin Schnittke characterizes this work as total stylization, except several tiny details. Nevertheless, the analysis of the piece reveals the more serious personal contribution. In addition to found by the researcher Olena Vashchenko harmonic and melodic elements that have their origin rather in the 20th century, the present article shows similar content in formal structure of the Suite and in part-writing of its polyphonic movements. Individual style reveals also in Schnittke’s choice of certain elements of “old styles” and their combination with the 20th century musical writing. Why Schnittke ignored his real stylistic contribution and qualified his Suite lower than it deserved? The author of the article finds an explanation in the composer’s work of the late 1960s and early 1970s, when the Suite was composed. In those years, the main Schnittke’s phenomenon – poly-stylistic writing – was coined in such wide-scaled works as the First Symphony, Piano Quintet, Requiem and others. Being occupied by these works that indicate his personality much stronger, Schnittke mentions just that feature of Suite, which stayed in his conscious as dominant, exactly stylization, so the explanation may be found in psychological field. Totally stylized piece would never become so popular and beloved both by the performers and the public as the Suite does. There is no reason to play and listen to pure stylization, when it is possible to have dealing with an original work. A listener and a performer are attracted by the combination of the original and stylized elements in the Suite, their interaction and flexible transition of one into other. This may be called as “modernized antiquity”. Due to this feature, the piece stays one of the most popular and wellknown works of the composer. Conclusion. The importance of the original and “borrowed” elements does not depend directly on the quantity of these elements and even on the ratio between them. The author’s individuality may show itself in various aspects in the context of the dominating stylization. The creative power of the author depends, first of all, on the strength of the author’s personality and his/her ability to adapt somebody else’s achievements to his/her own tasks, to fill them with new content and to create a new context for them. In case of a positive answers to these challenges the author gets the ability to utilize somebody else’s idiom similar to his/her own, and a listener, a performer and a researcher get a reason to refresh in memory the poetic prophesy by Osip Mandelstam: “… and will again the skald create somebody else’s song, and he will utter her as if it will his own”.

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31

Parker, Meaghan. "“Wir Arme Leut”: Undignified Death and Madness in Berg’s Wozzeck." Nota Bene: Canadian Undergraduate Journal of Musicology 6, no. 1 (2013). http://dx.doi.org/10.5206/notabene.v6i1.6589.

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Images in Western art of the tragic hero meeting his end typically conjure Romantic topics of honour, stoicism, and transcendence, yet it is questionable whether these projections of artistic death translate to the lived experiences of the dying. The titular protagonist of Alban Berg’s 1922 opera, Wozzeck, experiences death in a way that starkly contrasts Romantic ideals. Wozzeck does not die the honourable, ‘masculine’ death that might be expected from a tragic hero; rather, he capitulates to madness, misery, and poverty. Spurned by those who socially outrank him, Wozzeck is condemned to a shameful death, his fate sealed by his destitution and the sanctimonious prejudice against his ‘immoral’ life. These considerations provide a fascinating starting point for an examination of Berg’s poignant representation of Wozzeck’s death — a death that reflects early twentieth century attitudes that shaped and stigmatized the death experience. In this article I will frame my discussion of Wozzeck by considering the history of death in Western society, particularly the stigmas surrounding the gender and class of the dying individual. This history will inform my analysis of the symbolism in Berg’s music. Detailed analysis of Wozzeck sheds a critical light on the social stigma and class structure mapped onto the suffering, madness, and death of Wozzeck and his lover Marie.

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32

"Berg's Wozzeck." Choice Reviews Online 49, no. 12 (2012): 49–6790. http://dx.doi.org/10.5860/choice.49-6790.

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33

"Alban Berg, Wozzeck." Choice Reviews Online 27, no. 06 (1990): 27–3248. http://dx.doi.org/10.5860/choice.27-3248.

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34

Cossé, Peter. "BERGS „WOZZECK“ IM SALZBURGER LANDESTHEATER." Österreichische Musikzeitschrift 40, no. 2-3 (1985). http://dx.doi.org/10.7767/omz.1985.40.23.115.

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35

Klein, Rudolf. "Bergs „Wozzeck“ in der Staatsoper." Österreichische Musikzeitschrift 42, no. 9 (1987). http://dx.doi.org/10.7767/omz.1987.42.9.451.

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36

"CD AND DVD REVIEWS." Tempo 66, no. 261 (2012): 76–90. http://dx.doi.org/10.1017/s0040298212000290.

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Michel van der Aa Arnold WhittallClaus-Steffen Mahnkopf Colin ClarkeBrian Elias Paul ConwayJohn Foulds and Lionel Sainsbury Raymond HeadThe other ‘Wozzeck’ Peter PalmerKurt Schwertsik Howard SkemptonFurther Reviews Colin Clarke, Bret Johnson, Peter Palmer, Raymond Head, Paul Conway, Peter Reynolds

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37

Benjamin, Tim. "Sexual Politics and Autobiography in Berg's Wozzeck." SSRN Electronic Journal, 2006. http://dx.doi.org/10.2139/ssrn.2349559.

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38

Aytimur, R. Görkem. "Alban Berg’in Wozzeck Operası Hakkında Tarihsel Bir İnceleme." OPUS Uluslararası Toplum Araştırmaları Dergisi, September 30, 2019. http://dx.doi.org/10.26466/opus.574108.

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39

Schneider, Ilse. "Die ‚Ära Pflegerl‘ endet mit Berg „Wozzeck“ in Klagenfurt." Österreichische Musikzeitschrift 62, no. 6 (2007). http://dx.doi.org/10.7767/omz.2007.62.6.55.

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40

Headlam, Dave. "Review of Patricia Hall,Berg’s “Wozzeck”(Oxford University Press, 2011)." Music Theory Online 18, no. 2 (2012). http://dx.doi.org/10.30535/mto.18.2.6.

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41

Cossé, Peter. "Bilderfolgen differenzierten Mitleidens - Alban Bergs „Wozzeck“ bei den Osterfestspielen Salzburg." Österreichische Musikzeitschrift 52, no. 5 (1997). http://dx.doi.org/10.7767/omz.1997.52.5.54.

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42

"„IN DIE INNERE WELT DER CHARAKTERE EINDRINGEN. Über Alban Bergs „Wozzeck“." Österreichische Musikzeitschrift 65, no. 5 (2010). http://dx.doi.org/10.7767/omz.2010.65.5.13.

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43

Knaus, Kordula. "MUSIKTHEATRALISCHE FACETTEN DES ELENDS „Wozzeck“, „Lulu“ und die Oper des frühen 20. Jahrhunderts." Österreichische Musikzeitschrift 65, no. 5 (2010). http://dx.doi.org/10.7767/omz.2010.65.5.4.

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44

Stenzl, Jürg. "Komposition als Dienst am Drama: Georg Büchners Wozzeck - „musikalisch gelesen” von Alban Berg." Österreichische Musikzeitschrift 52, no. 8 (1997). http://dx.doi.org/10.7767/omz.1997.52.8.16.

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