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Freeing the Wagnerian Leitmotif

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Freeing the Wagnerian Leitmotif FREEING THE WAGNERIAN LEITMOTIF: A LOOK AT THEMATIC MANIPULATION IN BERG’S WOZZECK __________________ A University Thesis Presented to the Faculty of California State University, East Bay __________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Music __________________ By Matlyn Eve Peracca June 2017 Copyright © 2017 by Matlyn Eve Peracca ii FREEING THE WAGNERIAN LEITMOTIF: A LOOKATTHEMATIC MANIPULATION IN BERG' S WOZZECK By Matlyn Eve Peracca Approved: Date: SJ~ -~ Jeffrey Mille';J- Peter Marsh Omri Shimron iii Table of Contents List of Examples ..................................................................................................................v Introduction ..........................................................................................................................1 Chapter 1 ..............................................................................................................................3 The Groundbreaking Nature of the Storyline ..........................................................4 Berg’s Influences ...................................................................................................10 Berg’s Relationship with Schoenberg ....................................................................14 Berg’s Personal Connection to the Storyline .........................................................19 Chapter 2 ............................................................................................................................22 Shrinking the Play ..................................................................................................25 Act II, Scene 3: An Analysis..................................................................................26 Act III, Scene 2: An Analysis ................................................................................34 Other Recurring Thematic Material .......................................................................41 Chapter 3 ............................................................................................................................53 Use of Musical Interludes ......................................................................................55 Subtle Hints of Tonality .........................................................................................56 Conclusion .............................................................................................................62 Bibliography ......................................................................................................................64 iv List of Examples Example 1 Excerpts from Marie’s Folksong and Mahler’s “Revelge” ....................14 Example 2 Passacaglia Theme in Pierrot Lunaire and Wozzeck ..............................16 Example 3a The Captain’s “Eins nach dem Andern!” ................................................24 Example 3b Marie’s “Einer nach dem Andern.” ........................................................24 Example 3c Wozzeck’s “Einer nach dem Andern!” ...................................................24 Example 4 Act II, Scene 3 (mm. 395-6) ...................................................................27 Example 5 Act I, Scene 1 (mm. 93-6) ......................................................................28 Example 6 Act II, Scene 3 Chromatic Clarinet Line ................................................30 Example 7 Act II, Scene 3 Drum Major’s Fanfare Motif .........................................30 Example 8 Act I, Scene 5 Drum Major’s Fanfare Motif ..........................................31 Example 9 Act II, Scene 3 Marie’s G-D Fifths ........................................................32 Example 10 Act III, Scene 2 Marie’s “Fall from Heaven” .........................................33 Example 11 Act III, Scene 2 (mm. 97-9) ....................................................................35 Example 12 Act III, Scene 2 (mm. 100-1) ..................................................................36 Example 13 Act III, Scene 5 (mm. 378-80) ................................................................40 Example 14a Act II, Scene 1 (mm. 7-10) .....................................................................41 Example 14b Act II, Scene 1 (mm. 105-6) ...................................................................41 Example 15 Original Passacaglia Theme in Act I, Scene 4 ........................................42 Example 16a Act I, Scene 4 (mm. 612-4) .....................................................................43 Example 16b Act I, Scene 4 (mm. 615-9) ....................................................................43 Example 17 Act I, Scene 4 (mm. 620-3) ....................................................................44 v Example 18 Act I, Scene 4 (mm. 491-3) ....................................................................45 Example 19 Act I, Scene 3 (mm. 486-7) ....................................................................46 Example 20 Act III, Symphonic Interlude (mm. 349-51) ...........................................47 Example 21 Piano Reduction of Act II, Scene 5 (mm. 812-4) ...................................48 Example 22 B Played in Unison in Act III, Scene 2 (mm. 97-9) ...............................49 Example 23 Act III, Scene 2 (m. 103) ........................................................................50 Example 24a Marie’s First Note of the Scene ..............................................................50 Example 24b Wozzeck’s Highest and Final Note of a Phrase ......................................51 Example 24c Wozzeck’s First and Last Note of a Phrase ............................................51 Example 25 Act III, Scene 2 (mm. 106-8) ..................................................................51 Example 26 Act III, Scene 4 (m. 284) ........................................................................52 Example 27 Act II, Scene 1 (mm. 117-24) .................................................................57 Example 28 Act III, Scene 1 (mm. 36-8) ....................................................................59 Example 29 Act III, Symphonic Interlude (mm. 362-4) .............................................61 vi 1 INTRODUCTION Alban Berg is often considered the least strict, least systematic, and most conservative, even backward-looking composer of the Second Viennese School in the early 1900s. In fact, a feature of Berg’s musical artistry was the slow and the hesitant manner in which he gave forms to his more modern creative ideas. Not only, though, does his work (particularly his operas) reflect the ideas of late-Romantic composers including Mahler and Wagner, but at the same time, the contemporary atonal style adopted by his teacher, Arnold Schoenberg, as well as by Schoenberg’s other pupil, Anton Webern. By combining various romantic and modern elements in his first opera, Wozzeck, composed between the years 1914 and 1922, Berg was able to modernize the original drama by German playwright Georg Büchner (and 20th-century opera as a whole), through the intensification of dramatic action and character development, supported by original musical ideas. This remarkable achievement, however, was not Berg’s original intention. In fact, as stated in his Pro Mundo – Pro Domo, a collection of Berg’s lectures and writings on his own music, he reveals that it was not in his agenda to “reform the art of opera” while composing Wozzeck. His musical philosophy for the play was as follows: Apart from the wish to make good music, to fulfill musically the intellectual content of Büchner’s immortal drama, and to translate his poetic language musically, from the moment when I decided to write the opera I had nothing in mind about a technique of composition, nothing in mind at all except to give the theater what belongs to the theater, that is, to create music that at every moment fulfills its duty to serve the drama (Berg 2013: 216). 2 Though it was not his desire to change the status of post-Romantic opera, Berg clearly declares the importance of creating music that exists purely in support of the physical action—in other words, that forms an unbreakable bond with the storyline. But how exactly was Berg able to musically achieve this bond in the first opera featuring atonal elements ever created? I argue that Berg chose to relinquish the idea of using tonal harmony as a means of organizing his musical ideas, and instead relies primarily on leitmotif to fulfill his musical philosophy. Berg understood that a combination of atonal and tonal elements would best serve the storyline, and uses leitmotif to emphasize the physical actions and create cohesion within the opera in a more advanced way than was seen during the time of Wagner or even Debussy. This advance appears in multiple forms, primarily from the sheer volume and type, as well as manipulation of thematic material as the story progresses, symbolizing various plot twists and emotions, as well as each character’s changing mentality. This “freeing” of the Wagnerian leitmotif ultimately helped Berg create a sense of connectivity between scenes where Büchner had fallen short, leading to the success of the opera. In fact, other musically connective elements, primarily subtle hints of tonality and use of orchestral interludes, also exist in sole support of forming a connective thread from the physical action in one scene to the next. It is my conjecture that Berg composed the score in such a way that it could only reach
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