HI
h Season 198()-87 ISeS BENEPKrriNE S A . eO proof imported from FRANCE, JULIUS WILE SONS A CO , LAKE SUCCESS NY
TO SEND A GIFT OF B&B LIQUEUR ANYWHERE IN THE U S CALL 1-800-238-4373 VOID WHERE PROHIBITED Seiji Ozawa, Music Director
Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Sixth Season, 1986-87
Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Honorary Chairman George H. Kidder, President
Nelson J. Darling, Jr., Chairman J. P. Barger, Vice-Chairman
Mrs. John M. Bradley, Vice-Chairman William J. Pooi'vu, Vice-Chaintian and Treasurer Mrs. George L. Sargent, Vice-Chairman
Vernon R. Alden Archie C. Epps Roderick M. MacDougall David B. Arnold, Jr. Mrs. John H. Fitzpatrick Mrs. August R. Meyer
Mrs. Norman L. Cahners Avram J. Goldberg E. James Morton George H.A. Clowes, Jr. Mrs. John L. Grandin David G. Mugar William M. Crozier, Jr. Francis W Hatch, Jr. Mrs. George R. Rowland Mrs. Lewis S. Dabney Harvey Chet Krentzman Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti
Philip K. Allen E. Morton Jennings, Jr. Thomas D. Perry, Jr. Allen G. Barry Edward M. Kennedy Irving W Rabb Richard P. Chapman Albert L. Nickerson Paul C. Reardon Abram T. Collier John T. Noonan Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike
Other Officers of the Corporation
John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk
Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director Anne H. Parsons, Orchestra Manager Costa Pilavaehi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development
Robert Bell, Data Processing Manager Steven Ledbetter, Musicologist <& Helen P. Bridge, Director of Volunteers Program Annofator MadehTie Codola Cuddeback, Director Marc Mandel, Publications Coordinator of Corporate Development Richard Ortner, Administrator of Vera Gold, Assistant Director of Tanglewood Music Center Promotion Nancy E. Phillips, Media and Patricia Halligan, Personnel Administrator Production Manager, Nancy A. Kay, Director of Sales Boston Symphony Orchestra John M. Keenum, Director of Charles Rawson, Manager of Box Office Foundation Support Joyce M. Serwitz, Assistant Director Anita R. Kurland, Administrator of of Development Youth Activities Susan E. Tomlin, Director of Annual Giving
Programs copyright ®1987 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner/Design by Wondriska Associates Inc. Board of Overseers of the Boston Symphony Orchestra, Inc.
Avrain J. Goldberg Chairman
Mrs. Carl Koch Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Vice-Chairman Secretary
John Q. Adams Gerhard M. Freche Richard P. Morse Mrs. Weston W. Adams Dean Freed Mrs. Thomas 8. Morse Martin Allen Mrs. Thomas J. Galligan Mrs. Robert B. Newman Mrs. David Bakalar Mrs. Thomas Gardiner Mrs. Hiroshi Nishino Bniee A. Beal Mrs. James G. Garivaltis Vincent M. O'Reilly Mrs. Richard Bennink Mrs. Ray A. Goldberg Stephen Paine, Sr. Peter A. Brooke Jordan L. Golding John A. Perkins William M. Bulger Haskell R. Gordon Daphne Brooks Prout Mary Louise Cabot Mrs. R. Douglas Hall HI Robert E. Remis Mrs. C. Thomas Clagett, Jr. Joseph M. Henson Mrs. Peter van S. Rice James F. Cleary Arnold Hiatt David Rockefeller, Jr. John F. Cogan, Jr. Mrs. Richard D. Hill John Ex Rodgers Julian Cohen Glen H. Hiner Mrs. Jerome Rosenfeld William H. Congleton Mrs. Marilyn B. Hoffman Mrs. William C. Rousseau
Walter J. Connolly, Jr. Ronald A. Homer Mrs. William H. Ryan Mrs. A. Werk Cook H. Eugene Jones Mrs. Raymond H. Schneider Albert C. Cornelio Howard Kaufman Gene Shalit Phyllis Curtin Richard L. Kaye Mark L. Selkowitz A.V. d'Arbeloff Robert D. King Malcolm L. Sherman Mrs. Michael H. Davis Robert K. Kraft W. Davies Sohier, Jr. Mrs. Eugene B. Doggett John P. LaWare Ralph Z. Sorenson Ms. Phyllis Dohanian Mrs. Hart D. Leavitt William F. Thompson Harriett Eckstein Laurence Lesser Mark Tishler, Jr. Mrs. Alexander Ellis R. Willis Leith, Jr. Mrs. An Wang Edward Eskandarian Frederick H. Lovejoy, Jr. Roger D. Wellington Katherine Fanning Mrs. Charles P. Lyman Mrs. Thomas H.P Whitney John A. Fibiger Mrs. Harry L. Marks Mrs. Donald B. Wilson Kenneth G. Fisher C. Charles Marran Brunetta Wolfman Peter M. Flanigan Nicholas T. Zervas
Overseers Emeriti
Mrs. Frank G. Allen Mrs. Louis L Kane Mrs. Stephen VC. Morris Hazen H. Ayer Leonard Kaplan David R. Pokross Paul Fromm Benjamin H. Lacy Mrs. Richard H. Thompson
Symphony Hall Operations
Cheryl Silvia, Function Manager James E. Whitaker, House Manager
Earl G. Buker, Chief Engineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew
Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward Officers of the Boston Symphony Association of Volunteers
Mrs. Michael H. Davis President Mrs. R. Douglas Hall III Mrs. Harry F. Sweitzer, Jr. Executive Vice-Presidi nt Secretary Mr. Goetz Eaton Mrs. Seabiiry T. Short. Jr. Treasun r Soniinating Chairman
Vice-Presidents
Mrs. Eugene B. Doggett, Development Services Mrs. James T. Jensen, Hall Services Ms. Phyllis Dohanian, Membership Mrs. BelaT. Kalman, Youth Activities Mrs. Eugene Leibowitz, Tangle wood and Adult Education ]\Irs. Robert L. Singleton, Tangleivood Mrs. Hart D. Leavitt. Regions Mrs. Ray A. Goldberg, Fundraising Projects Ms. Ellen M. Massev, Public Relations
Chairmen of Regions
Mrs. Thomas M. Berger ]\Is. Prudence A. Law Mrs. F. T. Whitney Mrs. John T. Boatwright Mrs. Alfred F. Parisi Mrs. Thomas H.R Whitney Mrs. Charles A. Hubbard Mrs. Thomas Walker Mrs. Richard W. Young
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The featured ^est with Ron Delia Chiesa dur- ing the intermissions of the season's final live broadcasts on 24 and 25 April will be BSO BSO violinist Valeria Vilker Kuehment.
"Opening Night at Pops" 1987 Art Exhibits in the Cabot-Cahners Room
Conductor John Williams launches the 102nd The Boston S^^nphony Orchestra is pleased season of the Boston Pops when he leads the that, for the thirteenth season, various orchestra in a gala opening-night concert on Boston-area galleries, museums, schools, and Tuesday, 5 May at 8 p.m. The evening will non-profit artists' organizations have exhib- begin at 6:30 p.m. with a gourmet box dinner, ited their work in the Cabot-Cahners Room on and the concert will feature special guest art- the first-balcony level of Symphony Hall. On ist Tony Bennett. Sponsored by D^^latech, display through 4 May is an exhibit of textile "Opening Night 1987" is a project of the art from. Decor International of Boston, fea- Boston S^^nphony Association of Volunteers; turing a variety of tapestries, wall hangings, Barbara Steiner is chairman of this year's and New England hand-hooked rugs. On dis- Opening Night Committee. Remaining tickets play from 4 May through 1 June will be works are priced from $25 to $60 with dinner and from the Arnold Arboretum, to be followed wine included. For more information, contact through 12 July by works from the Gallery on the Volunteer Office at 266-1492, ext. 178. the Green.
Friends Weekend at Tanglewood Endowed Chairs
Friends of the BSO have the opportunity to The Boston Symphony Orchestra gratefully travel to Tanglewood by chartered bus for acknowledges the outstanding contributions three days of spectacular music the weekend of those who have fully endowed orchestra of Friday, July 24 through Sunday, July 26. chairs in perpetuity. Fully funded chairs Performances include Neville Marriner con- provide total and permanent orchestra com- ducting the Academy of St. Martin-in-the- pensation for the musicians who occupy these Fields and Charles Dutoit conducting the positions. No gift could be more valuable to Boston Symphony Orchestra in music of the BSO as it seeks to attract and retain the Roussel, Schubert, Wagner, and Stravinsky, most talented musicians. Gifts of this magni- with solo appearances by violinist Midori in tude enable the orchestra to direct additional
the Paganini Violin Concerto No. 1, and BSO funds toward commissioning new works, sub- principals Malcolm Lowe and Jules Eskin in sidizing youth programs, attracting outstand- the Brahms Double Concerto. The Friends ing guest artists, sustaining the Tanglewood will stay at the Red Lion Inn, with transporta- Music Center, and improving physical facili- tion pro\dded by Greyhound Bus. Dinner Fri- ties in Symphony Hall and at Tanglewood. day night will be at the Red Lion Inn, lunch on Remember, too, that another strong incentive Saturday at beautiful Seranak, and dinner to making such a valuable and lasting gift is Saturday night at the Tanglewood Tent Club. that, during this final year of the National Sunday luncheon at Blantyre will precede the Endowment for the Arts Challenge Grant, 2:30 p.m. concert. Anticipated arrival time every donor gift of $3 will be matched by $1 of back in Boston on Sunday, July 26 is 8:00 p.m. NEA support. For further information about The weekend is open to Friends of the BSO this and other endowment opportunities, who have donated a minimum of $40; space is please contact Josiah Stevenson IV, BSO limited to 45 people on a first-come, first- Director of Development, 266-1492, ext. 130. served basis. The cost of the weekend—$400 per person, double occupancy ($515 per per- With Thanks son for single occupancy)—includes a $50 tax-deductible contribution to the BSO and We wish to give special thanks to the National covers transportation, lodging, meals (exclud- Endowment for the Arts and the Massachu- ing breakfasts), and concert tickets. For fur- setts Council on the Arts and Humanities for ther information please call the Volunteer their continued support of the Boston Sym- Office at S\Tnphony Hall, 266-1492, ext. 177. phony Orchestra.
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Beverly, Cohasset, Concord, Marblehead. Osten ille, Wellesley, Westwood 922-2040 Seiji Ozawa
Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser.
Seiji Ozawa made his first Symphony Hall appearance with the Boston Sym- phony Orchestra in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artistic adviser in 1970. For the 1972-73 season he was the orchestra's music adviser. Since becoming music director of the Boston Symphony Orchestra in 1973, Mr. Ozawa has strengthened the orchestra's reputation internationally as well as at home, leading concerts in Europe, Japan, and throughout the United States. In March 1979 he and the orchestra traveled to China for a significant musical Seiji Ozawa became music director of the and cultural exchange entailing coaching, Boston SjTiiphony Orchestra in the fall of study, and discussion sessions with Chinese 1973. Now in his fourteenth year as music musicians, as well as concert performances. director, he is the thirteenth conductor to That same year, the orchestra made its first hold that position since the orchestra's found- tour devoted exclusively to appearances at ing in 1881. Born in 1935 in Shenyang, China, the major European music festivals. In to Japanese parents, Mr. Ozawa studied both 1981, Ozawa and the orchestra celebrated Western and Oriental music as a child, later the Boston Symphony's centennial with a graduating from Tokyo's Toho School of fourteen-city American tour and an interna- Music with first prizes in composition and tional tour to Japan, France, Germany, conducting. In 1959 he won first prize at the Austria, and England. They returned to International Competition of Orchestra Con- Europe for an eleven-concert tour in the fall ductors held in Besan^on, France, and was of 1984, and to Japan for a three-week tour imited to Tanglewood by Charles Munch, in February 1986, the orchestra's third visit then music director of the Boston Symphony to that country under Ozawa' s direction. and a judge at the competition. In 1960 he Mr. Ozawa has also reaffirmed the orches- won the Tanglewood Music Center's highest tra's commitment to new music with the honor, the Kousse\dtzky Prize for outstand- recent program of twelve centennial com- ing student conductor. missions, and with a new program, begin- ning this year, to include such composers as While working with Herbert von Karajan Peter Lieberson and Hans Werner Henze. in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein. He accom- Mr. Ozawa pursues an active interna- panied Bernstein on the New York Philhar- tional career, appearing regularly with the monic's 1961 tour of Japan and was made Berlin Philharmonic, the Orchestre de an assistant conductor of that orchestra for Paris, the French National Radio Orches- the 1961-62 season. In January 1962 he tra, the Vienna Philharmonic, the Philhar- made his first professional concert monia of London, and the New Japan Phil- appearance in North America, with the San harmonic. His operatic credits include Francisco Symphony. Mr. Ozawa was music Salzburg, London's Royal Opera at Covent director of the Ravinia Festival for five Garden, La Scala in Milan, and the Paris summers beginning in 1964, music director Opera, where he conducted the world of the Toronto Symphony Orchestra from premiere of Olivier Messiaen's opera 1965 to 1969, and music director of the San St. Francis of Assisi in November 1983.
8 Mr. Ozawa led the American premiere of ings, on CBS, include music of Berlioz and excerpts from that work in Boston and Debussy \vith mezzo-soprano Frederica von New York in April 1986. Stade, the Mendelssohn Violin Concerto ^vitii Isaac Stem, and Strauss's Don Quixote and Seiji Ozawa has recorded ^vith the Boston the SchoenbergCMonn Cello Concerto with Symphony Orchestra for Philips, Telarc, Yo-Yo Ma. He has also recorded the complete CBS, Deutsche Granmiophon, Angel/EMI, cycle of Beethoven piano concertos and the New AYorld, H\'perion, Erato, and RCA Choral Fantasy \sith Rudolf Serkin for records. His award-winning recordings Telarc, orchestral works by Strauss, include Berlioz's Romeo et Juliette on D6, Stra\'inslrv; and Hoist, and BSO centemiial Mahler's S^inphony Xo. 8, the Symphony of a commissions by Roger Sessions, Andrzej Hwusand, and Schoenberg's Gurrelieder, Panufnik, Peter Lieberson, John Harbison, both on Philips, and, also on DG, the Berg and Oily ^N^ilson. and Stra\'insk\' \'iolin concertos with Itzhak Perlman, with whom he has also recorded the Mr. Ozavv'a holds honorarv doctor of \'iolin concertos of Earl Kim and Robert music degrees from the University of Mas- Starer for Angel/EMI. With Mstislav sachusetts, the New England Consen^atory Rostropo^'ich, he has recorded the Eh'ofak of Music, and Wheaton College in Norton, Cello Concerto and Tchaikovsks^'s Variations Massachusetts. He has won an Emmy for on a Rococo Theme, newly available on a the Boston Symphony Orchestra's "Eve- single disc from Erato. Other recent record- ning at Symphony" PBS tele%ision series.
"There's no passion in the human soul. But finds its food in music."
George Lillo
Join us before or after the Symphony at the Bristol Lounge, overlooking the Public Garden at Four Seasons Hotel Also serving lunch, dinner and afternoon tea. The encore is over, but the music plays on. For Four Seasons Place FourSeasons Hotel Condominium Sales Information, BOSTON please call 617-338-4444. 200 Boylston Street Boston, Massachusetts 02116 (617) 338-4400 Fredy Ostrovsky Dorothy Q. and David B. Arnold, Jr., chair, fully funded in perpetuity Leo Panasevich Carolyn and George Rowland chair Sheldon Rotenberg Muriel C. Kasdon and Marjorie C. Paley chair Alfred Schneider Raymond Sird Ikuko Mizuno Amnon Levy Music Directorship endowed by John Moors Cabot Second Violins Mandou Speaker Churchill BOSTON SYMPHONY Fahnestock chair ORCHESTRA Vyacheslav Uritsky Charlotte and Irving W Rabb chair 1986-87 Ronald Knudsen Edgar and Shirley Grossman chair First Violins Joseph McGauley Malcolm Lowe Leonard Moss Concertmaster Charles Munch chair *Michael Vitale Tamara Smimova-Sajfar fHan^y Seigel Associate Concertmaster * Jerome Rosen Helen Horner Mclntyre chair * Sheila Fiekowsky Max Hobart Gerald Elias Assistant Concertmaster Robert L. Beal, and Ronan Lefkowitz Enid L. and Bruce A. Beal chair *Nancy Bracken Cecylia Arzewski *Jennie Shames Assistant Concertmaster *Aza Raykhtsaum Edward and Bertha C Rose chair * Lucia Lin Bo Youp Hwang *Valeria Vilker Kuchment John and Dorothy Wilson chair, fully funded ni perpetuity *Bonnie Bewick Max Winder Harr\^ Dickson Violas Forrest Foster Collier chair Burton Fine Gottfried Wilfinger Charles S. Dana chair Patricia McCarty * Participating in a system of rotated Anne Stoncman chair, seating within each string section. fully funded in perpetuity t On sabbatical leave. Ronald Wilkison
10 Robert Barnes Piccolo Trumpets Jerome Lipson Lois Schaefer Charles Schlueter Bernard Kadinoff Evelyn and C. Charles Marran chair Roger Louis Voisin chair Joseph Pietropaolo Andre Come Ford H. Cooper chair Michael Zaretsky Oboes Charles Daval Marc Jeanneret Ralph Gomberg Peter Chapman Benthin Betty Mildred B. Remis chair *Mark Ludwig WajTie Rapier Trombones *Roberto Diaz Alfred Genovese Ronald Barron J.E and Mary B. Barger chair, fully funded in perpetuity Cellos English Horn Norman Bolter Jules Eskin Philip R. Allen chair Laurence Thorstenberg Phyllis Knight Beranek chair, Bass Trombone fMartha Babcock fully funded in perpetuity Douglas Yeo Vernoti and Marion Alden chair Mischa Nieland Esther and chair Tuba S. Joseph M. Shapiro Clarinets Joel Moerschel Chester Schmitz Harold Wright Margaret William Sandra and David Bakalar chair and C. Ann S.M. Banks chair Rousseau chair *Robert Ripley Thomas Martin Luis Le^ia Peter Hadcock Timpani Robert Bradford Newman chair E-flat Clarinet Everett Firth Carol Procter Sylvia Shippen Wells chair Ronald Feldman *Jerome Patterson Bass Clarinet Percussion * Jonathan Miller Craig Nordstrom Charles Smith Farla and Harvey Chet *Sato Knudsen Peter and Anne Brooke cha ir Krentzman chair Arthur Press Basses Assistant Timpanist Bassoons Edwin Barker Thomas Gauger Harold D. Hodgkinson chair Sherman Walt Frank Epstein Edward A. chair Lawrence Wolfe Taft Maria Nistazos Stata chair, Roland Small Harp fully funded in perpetuity Matthew Ruggiero Ann Hobson Pilot Joseph Hearne Willona Henderson Sinclair chair Bela Wurtzler Leslie Martin Contrabassoon Personnel Managers John Salkowski Richard Plaster William Moyer John Barw^cki Harry Shapiro *Robert Olson Horns Librarians *James Orleans Charles Kavalovski Marshall Burlingame Helen Slosberg chair Sagoff William Shisler Flutes Richard Sebring James Harper Margaret Andersen Congleton chair Doriot Anthony Dwyer Daniel Katzen Walter Piston chair Stage Manager Fenwick Smith Jay Wadenpfuhl Position endowed by Myra and Robert Kraft chair Richard Mackey Angelica Lloyd Clagett Leone Buvse Jonathan Menkis Alfred Robison
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A Brief History of the Boston Symphony Orchestra
Now in its one-hundred-and-sixth season, of Boston. His vision approached reality in the Boston Symphony Orchestra continues the spring of 1881, and on 22 October that to uphold the vision of its founder Henry year the Boston Symphony Orchestra's Lee Higginson and to broaden the interna- inaugural concert took place under the tional reputation it has established in direction of conductor Georg Henschel. For recent decades. Under the leadership of nearly twenty years symphony concerts Music Director Seiji Ozawa, the orchestra were held in the Old Boston Music Hall; has performed throughout the United Symphony Hall, the orchestra's present States, as well as in Europe, Japan, and home, and one of the world's most highly China, and it reaches audiences numbering regarded concert halls, was opened in 1900. in the millions through its performances on Henschel was succeeded by a series of radio, television, and recordings. It plays German-born and -trained conductors an active role in commissioning new works Wilhelm Gericke, Arthur Nikisch, Emil from today's most important composers, Paur, and Max Fiedler—culminating in the and its summer season at Tanglewood is appointment of the legendary Karl Muck, regarded as one of the most important who served two tenures as music director, music festivals in the world. The orches- 1906-08 and 1912-18. Meanwhile, in July tra's virtuosity is reflected in the concert 1885, tlie musicians of the Boston Sym- and recording activities of the Boston Sym- phony had given their first "Promenade" phony Chamber Players—the world's only concert, offering both music and refresh- permanent chamber ensemble made up of a ments, and fulfilling Major Higginson's major symphony orchestra's principal play- wish to give "concerts of a lighter kind of ers—and the activities of the Boston Pops music." These concerts, soon to be given in have established an international standard the springtime and renamed first "Popu- for the performance of lighter kinds of lar" and then "Pops," fast became a music. In addition, during its summer sea- tradition. son at Tanglewood, the BSO sponsors one During the orchestra's first decades, of the world's most important training there were striking moves toward expan- grounds for young musicians, the Tangle- sion. In 1915, the orchestra made its first wood Music Center, which celebrates its transcontinental trip, playing thirteen con- fiftieth anniversary in 1990. certs at the Panama-Pacific Exposition in For many years, philanthropist, Civil San Francisco. Recording, begun with RCA War veteran, and amateur musician Henry in the pioneering days of 1917, continued Lee Higginson dreamed of founding a great with increasing frequency, as did radio and permanent orchestra in his home town broadcasts of concerts. The character of the
The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882 13 A New Standard: THE NAD 7220PE
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14 Boston Symphony was greatly changed in ership a full-tuition fellowship program was 1918, when Henri Rabaud was engaged as established. Also during these years, in conductor; he was succeeded the following 1964, the Boston Symphony Chamber Play- season by Pierre Monteux. These appoint- ers were founded. ments marked the beginning of a French- William Steinberg succeeded Leinsdorf oriented tradition which would be main- in 1969. He conducted several American tained, even during the Russian-born Serge and world premieres, made recordings for time, with the employment Koussevitzky's Deutsche Grammophon and RCA, of many French-trained musicians. appeared regularly on television, led the The Koussevitzky era began in 1924. His 1971 European tour, and directed concerts extraordinary musicianship and electric on the east coast, in the south, and in the personality proved so enduring that he mid-west. serA^ed an unprecedented term of twenty- Seiji Ozawa, an artistic director of the years. five Tanglewood Festival since 1970, became In 1936, Koussevitzky led the orchestra's the orchestra's thirteenth music director in first concerts in the Berkshires, and a year the fall of 1973, following a year as music later he and the players took up annual adviser. Now in his fourteenth year as summer residence at Tanglewood. music director, Mr. Ozawa has continued to Koussevitzky passionately shared Major solidify the orchestra's reputation at home Higginson's dream of "a good honest and abroad, and his program of centennial school for musicians," and in 1940 that commissions—from Sandor Balassa, dream was realized with the founding at Leonard Bernstein, John Corigliano, Peter Tanglewood of the Berkshire Music Center Maxwell Davies, John Harbison, Leon (now called the Tanglewood Music Center). Kirchner, Peter Lieberson, Donald Martino, Andrzej Panufnik, Roger Expansion continued in other areas as Sessions, Sir Michael Tippett, and Oily well. In 1929 the free Esplanade concerts Wilson—on the occasion of the orchestra's on the Charles River in Boston were inau- hundredth birthday significantly reaffirmed gurated by Arthur Fiedler, who had been a the orchestra's commitment to new music. member of the orchestra since 1915 and Under his direction, the orchestra has also who in 1930 became the eighteenth conduc- expanded its recording activities to include tor of the Boston Pops, a post he would releases on the Philips, Telarc, CBS, Angel/ hold for half a century, to be succeeded by EMI, Hyperion, New World, and Erato John Williams in 1980. The Boston Pops labels. celebrated its hundredth birthday in 1985 under Mr. Williams's baton. From its earliest days, the Boston Sym- phony Orchestra has stood for imagination, Charles Munch followed Koussevitzky as enterprise, and the highest attainable stan- music director in 1949. Munch continued dards. Today, the Boston S>Tnphony Koussevitzky's practice of supporting con- Orchestra, Inc., presents more than 250 temporary composers and introduced much concerts annually. Attended by a live audi- music from the French repertory to this ence of nearly 1.5 million, the orchestra's country. During his tenure, the orchestra performances are heard by a vast national toured abroad for the first time, and its and international audience. Its annual bud- continuing series of Youth Concerts was ini- get has grown from Higginson's projected tiated. Erich Leinsdorf began his seven- $115,000 to more than $20 million, and its year term as music director in 1962. preeminent position in the world of music is Leinsdorf presented numerous premieres, due not only to the support of its audiences restored many forgotten and neglected but also to grants from the federal and works to the repertory, and, like his two state governments, and to the generosity of predecessors, made many recordings for many foundations, businesses, and individ- RCA; in addition, many concerts were tele- uals. It is an ensemble that has richly vised under his direction. Leinsdorf was fulfilled Higginson's vision of a great and also an energetic director of the Tangle- permanent orchestra in Boston. wood Music Center, and under his lead-
15 References furnished on request
Aspen Music Festival Liberace Burt Bacharach Marian McPartland Leonard Bernstein Zubin Mehta
Bolcom and Morris . Metropolitan Opera Jorge Bolet Mitchell-Ruff Duo Boston Pops Orchestra Seiji Ozawa Boston Symphony Orchestra Luciano Pavarotti Brevard Music Center Philadelphia Orchestra Dave Brubeck Andre Previn David Buechner Ravinia Festival Chicago Symphony Orchestra Santiago Rodriguez Cincinnati May Festival George Shearing Cincinnati Symphony Orchestra Abbey Simon Aaron Copland Georg Solti Denver Symphony Orchestra Tanglewood Music Center Eastern Music Festival Michael Tilson Thomas Michael Feinstein Beveridge Webster Ferrante and Teicher Earl Wild Natalie Hinderas John Williams Dick Hyman Wolf Trap Foundation for Interlochen Arts Academy and the Performing Arts National Music Camp Yehudi Wyner Billy Joel Over 200 others HI Baldwin
16 BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Sixth Season, 1986-87
Friday, 17 April at 2 Saturday, 18 April at 8 Tuesday, 21 April at 8
SEIJI OZAWA conducting
BERG Wozzeck, Opera in three acts (fifteen scenes), Opus 7, after Georg Biichner
Act I Act II Act III
BENJAMIN LUXON, baritone (AVozzeck) HILDEGARD BEHRENS, soprano (Marie) JACQUE TRUSSEL, tenor (Drum Major) JON GARRISON, tenor (Andres) RAGNAR ULFUNG, tenor (Captain) SIEGFRIED VOGEL, bass (Doctor) MARGARET YAUGER, mezzo-soprano (Margret)
RICHARD KENNEDY, tenor (An Idiot) BRIAN MATTHEWS, bass (1st Apprentice) JAMES MADDALENA, baritone (2nd Apprentice) TIMOTHY LARSON, boy soprano (Marie's child) ROCKLAND OSGOOD, tenor (A Soldier) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor YOUTH PRO MUSICA, ROBERTA HUMEZ, director (Soldiers, apprentices, women, children)
Wozzeck will be performed without intermission; there will be brief pauses
after Acts I and II. A synopsis of the scenes begins on page 43.
Friday's concert will end about 3:45 and the evening concerts about 9:45. Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, H^^perion, Erato, and RCA records Baldwin piano
Please be sure the electronic signal on your watch or pager is switched off during the concert.
The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.
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18 Alban Berg
Wozzeck, Opera in three acts (fifteen scenes), Opus 7, after Georg Biichner
Alhano Maria Joannes Berg was born in Vienna on 9 February 1885 and died there on 23 December 1935. Wozzeek, the
first of his two operas, was sketched out over a period of eight years, with numer- ous interruptions due to Berg's military service in Woj^Id War I and to other obli- gations, but was complete in short score by October 1921 and in full orchestral
score by the spring of 1922. The first per- formance of "TJiree Excerpts from Wozzeck. " cQi'ering the Milita ry March and Lullaby from Act I, Marie's scene in Act III, and from the Drowning Music to the end of the opera, took place in Frank- furt-am-Main on 22 June 1924, under the direction of Hermann Scherchen, with Beatrice Sutter-Kottlar singing the solo part. The first performance of the complete opera was given by the Berlin Opera on 14 December 1925 under Erich Kleiber's direction, with Leo Schutzendorf in the title role and Sigrid Johanson in the role of Marie. The first performances in America were given by Philadelphia Grand Opera under Leopold Stokowski's direction, with Ivan Ivantroff and Anne Rosell in the principal roles, in Philadelphia on 19 March 1931 and in New York on 24 November that year. With Patricia Neway as soloist, Richard Burgin intro- duced the Three Excerpts to Boston Symphony audiences in February and March 1958. Erich Leinsdorf programmed the Three Excerpts on two occasions, in February 1964 with soloist Phyllis Curtin (at which time a recording was made for RCA), and in November/December 1969 with Evelyn Lear. Leinsdorf also led two complete, staged performances in the Tanglewood Shed in August 1969 with the Tanglewood Music Center Orchestra and members of the TMC's vocal music program as pari of that summer's annual Festival of Contemporary Music at Tanglewood; the lead singers were Richard Taylor and Alexandra Hunt. The present performances are the Boston Symphony Orchestra's first of the complete opera.
Wozzeck calls for a large orchestra of four flutes (all four doubling piccolos), four oboes (the fourth doubling English horn), four clarinets in B-flat (the first doubling clarinet in A, and the third and fourth doubling piccolo clarinets in E-fiat), bass clarinet in B-flat, three bassoons and contrabassoon, four horns in F, four trumpets in F, four trombones (alto, two tenors, bass), contrabass tuba, four timpani, bass drum, several snare drums, rute (a bundle of birch dowels struck against the bass drum), hand cymbals, suspended cymbal, another cymbal fastened to the bass drum, large tam-tam, small tam- tam, triangle, xylophone, celesta, harp, and strings.
A chamber orchestra, separated from the main orchestra if possible, is required for Act
II, scene 3, with the same instrumentation as Arnold Schoenberg's Chamber Symphony, Opus 9: flute (doubling piccolo), oboe, English horn, piccolo clarinet in E-flat, clarinet in A, bass clarinet in B-flat, bassoon, contrabassoon, two horns in F, two violins, viola, cello, and bass.
On stage the following are required: several snare drums (Act I, scene 2), a military band of twenty players (1/3), a dance band of two fiddles, clarinet in C, accordion, guitar, and bombardon in F (II/4), and an upright piano, out of tune (III/4).
Dramatis personae; Wozzeck, a soldier (baritone); Drum Major (heroic tenor); Andres, Wozzeck's buddy (lyric tenor); Captain (buffo tenor); Doctor (buffo bass); First Apprentice
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On-Site Sales Office (413)298-5186 (201)894-0132 r 20 (low bass); Second Apprentice (high baritone); An Idiot (high tenor); Marie, Wozzeck's common-law wife (soprano); Margret (alto); Marie's little boy (boy soprano); plus soldiers and boys (tenors, baritones, and basses, with one tenor a soldier from among these), bargirls and whores (sopranos and altos), and kids (unison voices). Special thanks to Seth Schneidman for his assistance with these performances of ''Wozzeck."
The year 1914 marked a eon\Tilsion in world history, but it was no less important a turning point in the history of music. For four years after the Great War broke out in August, composers, like everyone else, were irretrievably affected by rapidly developing events. As empires collapsed and new orders arose all over Europe, so did new musical languages and styles, aesthetic movements, and personal. destinies. Igor Stravinsky, only a few weeks before the shooting began, had enjoyed the spectacular premiere of his opera The Nightingale, and as his neoclassical language formed in the next three years, he would not write as chromatically or texturally complex a work again for four decades. Richard Strauss's creativity had reached a peak in his most recent operas, and although he composed steadily until his death thirty-five years later, he never again wrote anything as challenging as Elektra or as popular as Der Rosenkavalier. An unknown composer named Bela Bartok would begin his longest orchestral work in 1914, the ballet The }\voden Prince, finishing it two years later. Arnold Schoenberg in 1914 was grappling simultaneously with the most difficult problems of musical form and personal theologj^ in a huge symphony; to be climaxed by his oratorio Die Jakobsleiter, which would have been his largest and
longest work if he had completed it; but it remained unfinished, a casualty of the war, and not until the 1920s would a new technique emerge in new works. Claude Debussy, for a decade the most illustrious composer in western Europe, was severely
ill, and deeply depressed by the suffering of his country; not until 1915 would he begin to write music again, in one final brilliant burst of creativity before his early
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21 TWENTY YEARS OF SMOOTH SAILING
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22 death. Maurice Ravel had likewise already written most of his best work, and after his experiences as an ambulance driver at the front had brought him to a nenous breakdown, his muse would never again sen'e him so well. And younger than any of these was Alban Berg, whose direct and indirect experience of the war helped him work out the musical expression of a debased human condition in the most powerful way, in his opera Wozzeck, a work which, sixty years after its first performance, still must be considered the most remarkable opera of the twentieth century.
In 1914 Berg was still searching for a personal expression as a composer which would satisfy both his own standards and the capricious intellectual and artistic demands of his redoubtable teacher Schoenberg. In March 1913 the performance in Vienna of two of Berg's Five Orchestra Songs to Picture-postcard Texts of Peter Altenberg, Opus 4, had touched off a riot, an experience which shocked Berg to the core; but worse than that, Schoenberg, who had conducted the performance, seems to have had little sympathy or understanding for Berg's oiiginality At a meeting a short while later Schoenberg told him flatly that the Altenberg Songs were too short and aphoristic, and too full of novelty for its own sake, in short, the wrong kind of music for Berg to be writing. It took Berg most of a year to recover his equanimity after this dressing-down, and the short Four Pieces for clarinet and piano. Opus 5, are his only completed work from 1913. In the spring of 1914, however, he felt ready to begin composing a large-scale and fully developed work as his teacher wanted, and this would be his Three Pieces for Orchestra, Opus 6. Doubtless Schoenberg's reproof had been unjust, but his judgment about the future was good; the Three Pieces were brilliant testimony to his intuition about Berg's capabilities. And in May 1914 something else happened with far-reaching consequences that only Berg could have foreseen, but his vision too was very clear. He attended the first Viennese performance of a short play called Wozzeck and was so deeply affected by it that he decided immediately to set it as an opera.
The author of W'ozzeck, Georg Biichner, a native of Darmstadt, had been a medical student in Zurich before his death in 1837 at the age of twenty-three. In his short life he left to posterity only a small corpus of works, but enough to convince later
Georg Biichner
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60 Federal Street Boston, MA 02110 423-9190 generations of his literary genius for all time. Among his works are a novella, a long
play about the French Revolution called Danton 's Death, a comedy, Leonce and Lena, various socialist tracts which made him a fugitive from the Hessian authorities, and, among his unpublished manuscripts and fragments, various drafts of a play Woyzeck. The difference in spelling is due to a misreading by the first editor of the
play, Karl Emil von Franzos, who published it in 1879; Franzos should not be too severely criticized, because Biichner's manuscript was so poorly legible that even today scholars disagree on many readings of the text. The structural problem is complicated by the lack of page numbers or scene numbers in the manuscript, and by the presence of many revisions of different scenes. Later editors were able to show that Biichner had modeled his play very loosely on an actual criminal case, that of Johann Christian Woyzeck, a former soldier who was hanged in 1824 for the murder of his unfaithful mistress.
It must have been immediately apparent to those who read Franzc-s's edition of Wozzeck that the play would be a controversial work to bring off on stage. That the dialogue is filled with slang and indecent expressions was perhaps the least of the problems. Above all it was Biichner's dramatic conception which was so radical—the large number of scenes barely connected or completely unconnected by any nar- rative continuity, many of them extremely short; the disordered, often dreamlike soliloquizing in fragmentary sentences; the intense and rapid pace of the thought process. Today we recognize all of these as characteristics of modern cinematogra- phy, with stream-of-consciousness narration and rapid cutting and flashbacking from scene to scene and from viewpoint to viewpoint. Beyond this is Biichner's uncanny vision of an oppressive world populated by irrational and predatory people, in which only the simple soldier Wozzeck and his faithless wife Marie stand out with a measure of human sanity.
It was Franzos's important achievement to establish a usable text which, notwith- standing the different opinions of a host of later editors, has not been effectively challenged in its authenticity and which has surpassed all variant readings in
Johann Christian Woyzeck (1780-1824)
25 Week 22 dramatic power. Regardless of the edition used (and there have been some wildly I wrong ones), Woyzeck, the correct name of the protagonist now long since restored, has been a permanent part of the twentieth-century stage repertory ever since it was first played, and it has been recognized everywhere as one of the great milestones in the history of literary and dramatic art. As the critic George Steiner wrote,
Woyzeck is the first real tragedy of low life. It repudiates an assumption implicit in Greek, Elizabethan, and neo-classic drama: the assumption that tragic suffering is the sombre privilege of those who are in high places.
Nor do we need to be reminded of how depressingly authentic the subject sounds in our own century of violence and dehumanization.
We do not know that much in detail about what particularly musical reasons attracted Berg to the play Wozzeck. But much of the documentary basis is intriguing. In Berg's notebooks can be found a tabular layout of short scenes, side by side with a comparable layout of scenes for Debussy's opera Pelleas et Melisande, a work about as different from Wozzeck as could be imagined, but which shares with it one all- important characteristic—the breakup of each act into short scenes separated by orchestral interludes with the curtain lowered. (The structure of Debussy's opera had been regarded as radical in its day, and he too had chosen a pre-existing stage play, by Maurice Maeterlinck, as the basis of his libretto.) Beyond this, we have the testimony of Berg's student Gottfried Kassowitz, who states that Berg began sketching out two scenes for the music right after seeing the play—in other words, while he was working on the March in the Three Pieces for Orchestra, Opus 6; this is borne out by one of Berg's sketchbooks containing fifty pages of sketches for the March, and a number of miscellaneous sketches for the Fantasy in Act II, scene 2
(the Captain and the Doctor) and for Act I, scene 2 (Wozzeck and Andres), as well as
Berg's verbal notes about the kinds of characters he envisioned for his opera. Thus it BALLY OF SWITZERLAND
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The difference between dressed, and well dressed. is not at all surprising that part of the music which was ultimately included in Act I, scene 2 (measures 274-278) is derived from measures 81-90 of the March, which he was working on in the spring of 1914.
The survi\ang sketches seem most of all to be in the form of quickly jotted-down musical ideas—short melodic or rh\i:hmic fragments associated with specific lines of text, a few rudimentary harmonies that could have originated from experimenting at the piano, and an occasional bit of a more concentrated or worked-out texture. What is most striking about Berg's manner of sketching, as seen in the Wozzeck sketches and in earlier works as well, is his habit of writing down first a generalized rhythmic and melodic shape, a contoured line of stems and beams sprawled over the staff, without notes. In other words. Berg's choice of pitches is not an initial but an intermediate stage of composition, not decided until the writing of the Particell (short score), itself the last stage before the full orchestral score.
Berg's first task in hand, in the summer of 1914, was to finish the Three Pieces, which he intended to dedicate to Schoenberg. The Praludium and March were completed in time for Schoenberg's birthday on 13 September, but the second piece, Reigen, was not finished until the summer of 1915. And on 15 August 1915, Berg reported for infantry training; two months later he was sent to reser\'e officers' school at Bruck an der Leitha in what is now Hungary.
Berg's experience as a soldier, even without ever seeing combat, was no different from that of millions of others. "From seven in the morning till one in the afternoon we were marching, running, charging across hill and dale, through the swamps and marshes, down on the ground, up again, and so on," he wrote uncomplainingly to his wife. "I've got a crust of mud all over me. Afternoon out again, but at least without
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27 the 6th Annual PRESIDENTS
The BSO Salutes Business June 3, 1987
As the leader of your company, you can give your management team, your customers or clients, your vendors or possibly your other business friends a very special summer treat - and at the same time show your support of the Boston Symphony Orchestra.
Presidents at Pops 1987 is available to 108 businesses and professional organizations on a first-come, first-serv^ed basis. For $5,000 your company will receive 20 tickets to this event which Includes pre-concert cocktails and hors d'oeuvres, a gourmet picnic supper and a special Boston Pops concert, conducted by Erich Kunzel, designed to delight the corporate guests on this evening. The President or CEO of each
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28 pack or rifle." He once remarked to his faithful pupil Kassowitz, "Have you ever heard a lot of people all snoring at the same time? The pol^-phonic breathing, gasping and groaning makes the strangest chorus I have ever heard.'" He remembered this well when he wrote the snoring chorus in 11 5 of Wozzeck. His physical constitution, however, was not up to much rough activity, and in November, following an aggrava- tion of his bronchial asthma, he was reassigned to guard duty back in Vienna, and eventually to a job in the War Ministry, where he remained till the end of the war. In 1919, defending his ''fierce antimilitarism" in a letter to his pupil Erwin Schulhoff, he recalled his time in the War Ministrv': "Two and a half YEARS of daily duty from eight o'clock in the morning to six or seven in the evening of onerous paperwork under a frightful superior (a drunken imbecile!). All these years of suffering as a ."' corporal, humiliated, not a single note composed . .
In fact he had taken up serious work again on Wozzeck in the summer of 1917, and his degrading experiences as a soldier had a timely influence on his v»-ork. A year after that he wrote to his wife: "There is a bit of me in [Wozzeck's] character, since I have been spending these war years just as dependent on people I hate, have been in chains, sick, captive, resigned, humiliated.'' He did not need to mention that there is no mention of a war in the twenty- five scenes of Biichner's play, let alone in the fifteen which he adapted for the libretto of his own opera: for Biichner and Berg alike, Wozzeck's daily existence is that of Ever^-man under arms, at the mercy of a world gone mad.
By the summer of 1918 Berg could also write to his close friend Anton Webern that he was beginning to plan the formal organization of the opera, an organization that would later be seen as one of its most revolutionary aspects. Berg was clearly
Berg in his arniy uniform, 1915
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©1260211 hopeful that he was making progress. At the time of the Armistice, in November, Arnold Schoenberg, who had been demobilized the year before, was in Vienna with a fascinating project which became the famous Society for Private Musical Perform- ances. In December, Berg was appointed musical director of this society, and put in charge of concert planning and business affairs. These activities, plus some private teaching, took up most of Berg's time, and work on Wozzeck was slowed. (In any case, he did not consult Schoenberg about Wozzeck, after Schoenberg had told him that Biichner's play was unsuitable material for operatic treatment, and that the name "Wozzeck" was unsingable!)
Despite everything. Berg worked steadily on the opera, and in October 1921 the Particell was complete. By the spring of 1922 he had finished the orchestral score, and his pupil, Fritz Heinrich Klein, was working on the piano reduction. Berg had sufficient confidence in his accomplishment to take the considerable financial risk of having the complicated 230-page piano-vocal score engraved at his own expense, borrowing part of the money to cover the cost, and inviting interested people to purchase the score from him by subscription. (In the spring of 1923 both Wozzeck and the Three Pieces for Orchestra were taken over by Universal Edition.) Alma Mahler, the widow of Gustav Mahler, gave Berg the money to repay the debt, and in gratitude he dedicated the opera to her.
The new publication soon gained an underground circulation, but Berg's reputa- tion was still that of a little-known composer in the orbit of the dangerous radical, Schoenberg. Nevertheless, after Webern conducted the first performance, in 1923, of two of Berg's Three Pieces, Opus 6, curiosity about the opera increased. The conductor Hermann Scherchen, who had heard the performance, asked Berg to prepare a set of excerpts from the opera for concert use, and the performance of these "Three Excerpts from Wozzeck'' in Frankfurt in 1924 was successful. Mean- while Erich Kleiber, the newly appointed director of the Berlin Opera, had listened to the opera played on the piano. According to Willi Reich, after hearing just two scenes Kleiber was so impressed that he exclaimed, "I am going to do the opera in Berlin even if it costs me my job!"
It almost did cost Kleiber his job, not only because of the novelty of the musical language and its unprecedented technical difficulty, but also because of political machinations within the Berlin Opera management. Thirty-four full orchestral rehearsals were necessary—a nearly unthinkable number then, and absolutely
Janner 1923
- Euer Hcdi vvohlsebnrenl
]&> eriaub e mir rr.it2i.te !en, daS der Kiavlcragszug meiner Oper WOZZECK (nadi Gecrg Bud^ners Drama)
soeben erscfiienen ist. Der AuJ zug hat 230 GrcSquartseltcn, Icostet 150 000
OS .err. Kronen und ist direk vor. mir 2u beziehen.
Hod-.editungivoll Alban Berg ' W:«n, XIII, TrauttoiansdorfFgasse 27
J' f
Berg's announcement of the private publication of the vocal score of "Wozzeck"
31 Week 22 unthinkable now—but on 14 December 1925, the opera was produced at last, the first of seven performances in the season. All of these were an instant and astound- ing success with the public, just as they were vociferously denounced by most of the music-critical establishment. Paul Zschorlich's review in the Deutsche Zeitung was tjTDical:
As I was leaving the State Opera, I had the sensation of having been not in a public theater but in an insane asylum. On the stage, in the orchestra, in the
stalls—plain madmen. . . . Wozzeck might have been the work of a Viennese Chinaman. For all these mass attacks and instrumental assaults have
nothing to do with European music and musical evolution. . . . One may ask oneself seriously to what degree music may be a criminal occupation. We deal here, from a musical viev^TDoint. with a capital offense.
The pattern was repeated during the decade following, when Wozzeck was pro- duced in 1926 in Prague, in 1927 in Leningrad, and thereafter in over twenty opera houses in Europe (and in 1931 in Philadelphia, but not at the Metropolitan Opera in New York until 1959). The significance of the reception of Wozzeck went far beyond its avant-garde popularity. It was hailed as a work championing the proletarian cause: it was the first widespread public success of any work composed in a largely atonal idiom; and it made immediately, and continues to make today, an impact on composers comparable, among works of our century, only to two or three other works such as Stravinsky's Rite of Spring and Schoenberg's Five Pieces for Orchestra. Wozzeck also won for Berg, besides an international reputation, a good income from performance royalties, one which gave him a decent standard of living, and relative freedom to compose, for about seven years.
32 In 1930, with typical belatedness, Wozzeck was produced in Berg's native Vienna, the only seven performances there until after the war. Three years later, the political triumph in Germany of the Nazis brought a swift ban on '"degenerate"" music, and Berg's good fortune came to an end. (Berg and his wife were both from families which had been Catholic for as far back as records could be found, but that did not prevent him from being branded as a Jewish composer.) By the end of 1935 Berg was cut off from most of his income, in increasingly difficult financial circumstances, and in despair over the darkening political scene in central Europe. On 23 December 1935, with his second opera. Lulu, incomplete in orchestral score. Berg died of septicemia, a few weeks before his fifty-first birthday.
The Music Berg may well have realized from the start that to set Biichner's Wozzeck as an opera would demand a radical departure in operatic form, just as decisively as Biichner"s play was itself a radically new kind of dramaturg\^ What we can now appreciate, seventy-three years after Berg saw the play, is that no other composer could have been more appropriate to the text. Berg was in 1914 a newly but fully matured composer, one who had already shown in his Altenberg Songs, Opus 4, an extraordinarv" originality in approach to musical form, and who would soon push this aspect of his technique to the limit of complexity in his Three Pieces for Orchestra, Opus 6. In Wozzeck (which would be his last opus-numbered work. Opus 7) he sustained this intense formal invention with undiminished strength, but at the same time he placed it at the ser\'ice of the formal demands of Biichner's drama. The result is unlike an\1;hing else previously kno-wTi in opera. Considered overall,
Wozzeck is simultaneously several kinds of opera. At least in part, it is a traditional "number" opera, with well-defined indi\ddual songs, arias, dances, choruses, spoken dialogue, and recitatives. It is a leitmotivic opera in the Wagner tradition, with specific themes associated with characters and concepts, treated "s\TQphonically"
Baritone Leo Schiitzendorf, the first Wozzeck
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within the orchestra. It is a kaleidoscopic opera of successive short episodes con- nected by orchestral interludes, like Debussy's Pelleas, but with all the cinematic precision demanded by Biichner's almost aphoristic scenes. But what most of all has attracted the attention of analysts is the abstract formal design that dominates the opera as Berg's own personal imprint, from the microscopic details of choice of individual pitches to the comprehensive layout of entire scenes and acts. Each scene of Wozzeck is constructed as a specific musical form, either classical (sonata, rondo, etc.) or rigorously idiosyncratic (Rhapsody, "inventions," etc.).
A specific example is the first scene of Act II, whose pitch structure is based on four different harmonically related tetrachords. each dominating a particular sec- tion of the scene; these sections in turn correspond to sections of a classical sonata form which is also delineated by the use of specific themes; the whole scene in sonata form, finally, constitutes the first movement of Act II, which is designed as a
S^Tnphony in five movements. The Passacaglia which makes up Act I, scene 4, is no less tightly constructed; a series of twelve different pitches constitutes an ordered theme which underlies each of twenty-one variations, but much of the secondary melodic material is derived motivically from the Doctor's opening speech, and from leitmotives heard earlier in the opera. (The serial treatment of the passacaglia theme in this scene foreshadows Schoenberg's twelve-tone technique of a few years later, even if it does not exemplify^ that technique in a fully-formed way.) If the sonata form of II/l is well matched to the narrative details of Biichner's scene, it is more difficult to show how 1/4 demands the rigorous form of a passacaglia, unless it be the notion that this is pedantically appropriate for the vainglorious pseudo-science of Biichner's crazy doctor. Questions of this kind, and about hundreds of other details of Berg's endlessly interesting score, have engaged the attention of analysts for years and will certainly continue to do so. Yet Berg modestly insisted that formal aspects which preoccupied him as a composer need be no concern to anyone else; as he wrote in a celebrated article in 1928,
From the moment when the curtain rises until it descends for the last time, there must not be anyone in the audience who notices anything of these various fugues and inventions, suite movements and sonata movements, variations and passacaglias. Nobody must be filled with am1:hing except the idea of the opera—which goes far beyond the individual fate of Wozzeck.
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36 Wvzzecl- was Berg's longest work before Lulu, and it calls for the largest orchestra he ever used. Yet after the extravagant complexities of the Three Pieces for Orches- tra, Opus 6, Wozzeck does represent a simplification of Berg's musical language. In
Wozzeck the harmony is simultaneously more subtle and more controlled: it is often part of the formal organization itself. This is evident when harmonic progressions are used as motives, like the chord pair which is used at the end of all three acts, and at the beginning of the second:
i
^m1=
or the three chords (called X. Y. and Z in the analytical literature) which dominate the Rhapsody, 1/2: ^^^ ^ s y^
or the grotesque "Seduction Music" of 15: E^ cl. ^^
^— ti^^ ^R. Wi. ^ jr/4, VC-
all the way up to the series of twentv' chords used extensively in 11/4. Such harmonic de^'ices generally contain inter\'als which are tonally strong, thus reminders of a vestigial tonality that breathes a post-Mahlerian nostalgia even into Berg's most densely chromatic music. Only at rare inter\-als in Wozzeck does a recognizable tonality become explicit, as in the ''Es war einmal ein amies Kind" variation in IIIl. where the key signature of F minor appears, or the D minor Interlude before the final
scene. Even the idea of classical tonality itself is put to use s\Tnbolically in II 1. where Wozzeck gives Marie the money he has earned. Berg depicts here what he calls the '"ordinariness of money" by a plain C major triad. (Berg liked this whimsy enough to do it again in Lulu—an in-group joke if there ever was one.) At other times, the harmony will be paratonal, that is, having tone-centers which, by their verv' emphasis, are perceived as gravitational points for the harmony but \\ithout the classical system of diatonic scales and triads which are related in harmonic progression. The "Inven- tion on a single pitch'' is certainly the most persuasive example of this; its paratonality centers around B. We hear the B first at the very^ bottom of the orchestra, then moving into various other registers unobtrusively throughout most of the scene. When the moon rises, the B is suddenly heard softly in seven octaves of strings (Berg once compared this to the beginning of Mahler's First Symphony, ""like a sound of nature"), and then in an increasingly loud drumbeat when Wozzeck stabs Marie. After he runs off, we hear the B only in the low harp, followed by one of the most overpowering dramatic devices in all music: two gradual crescendi from pppp to /// on a unison B played by every instrument in the orchestra.
37 Week 22 .
Berg's musical language is often labeled "expressionist," which term, insofar as it associates Berg with the painters and dramatists who are also called expressionist, really only says something about the overheated psychological ambience of his operas. And whatever their formal abstraction, Berg's vocal works are products of their time, and are firmly rooted in the traditions of the Wagnerian opera and the German Lied. In his teens he wrote nearly a hundred songs in a post-Brahmsian, early Mahlerian style, and it was these that Schoenberg meant when he wrote, in 1910, about Berg's untutored imagination
that could not work on an\i;hing but Lieder. . . . [When he began studying with me in 1904 he] was absolutely incapable of writing an instrumental
movement or inventing an instrumental theme. . . . [Yet] I am convinced that in time Berg will actually become ver>- good at instrumentation.
Like the Altenberg Songs and the Three Pieces for Orchestra, Wozzeck is a brilliant fulfillment of this prediction, but it also fulfills the promise of the boy who composed songs of "overflowing warmth of feeling." In no other work of Berg can we find such extremes of both vocal declamation and instrumental expressivity, pushing both singers* and players" physical technique to their limits and beyond. Wozzeck
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38 uses Schoenberg's Sprechstimme freely, but there is plenty of 5f/ cauto as well, and a recent analysis identifies no less than sixty-three gradations between natural speech and natural singing in the opera. The orchestral technique in Wozzeck is as spec- tacular as can be found in any opera: but it too is integral with the overall form, especially when certain thematic usages depend on characteristic orchestration. An example is the "Death"* motive, which first appears with divided strings and harp bass in I 3 when Marie is "sunk in thought."" and again in III 2 at the moment of her death, scored the same way but with added low horns and high flutes:
Another instance is the chord pair of Example 1, scored identically at the beginning of Act II and the very end of the opera, for four flutes and celesta.
Beyond moments like these there are any number of memorable orchestral touches in Wozzeck. ^^^lo but Berg would have thought of tuning four timpani to a segment of a chromatic scale, as he does in 1/2? One should point also to the wonderful moment when ]\Iarie slams the window shut in I 3, abiiiptly cutting off the sound of the band outside, as the main orchestra takes over. Or the whole of II 3, where Berg uses a chamber orchestra of fifteen instruments (the same instrumentation as Schoenberg's Chamber S^Tnphony, Opus 9) as a solo group ^vithin the ripieno of the larger orchestra. Or the whole unearthly "Dro^^Tiing Music" of III i, where the six-note chord glides upward in successively slo\Wng chromatic-scale layers, strings, then woodwinds, then brass, then over again, like ripples spreading over the surface of the pond. It is not that Berg demands from the players things seldom or never called for before, although
Set by P. Aravantinos for Act III, scene ii of the "Wozzeck" premiere
39 Week 22 1987-88 BSO Schedule
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In addition to those already mentioned, here are the principal leitmotives and the scenes of their most important occurrences, referring to the synopsis which follows. (The Interlude in Act III can be analyzed motivically as a summation before the final scene, the Epilogue.)
apk.. T/}^lP/2.^ui€r\uk) !^^' ^^\^ ^
J^'^*'-'"^ W;r mnt L£af-'! SeJ^.S'^^ Kerr }h>upUc^y-
' Sol- iia- hn, Sol- da- i\n SJ/jl Scho-/te. .-.
Alar'e w.^^n ^
S>ad^or i^ ai f^^niiTi
^'^'^ fe f^lz, Ti:js, ucA)
—Mark DeVoto
Mark DeVoto is Professor of Music at Tufts University. His doctoral dissertation for Princeton University (1967) was an analysis of the Altenberg Songs. In the fall of 1986, under a grant from the National Endowment for the Humanities, he spent two months in Vienna studying the original manuscripts of the Altenberg Songs, in preparation for a critical edition of the orchestral score to be published as part of the Alban Berg Gesamtausgabe. A program note by Mr. DeVoto on the Altenberg Songs appeared in the Boston Symphony Orchestra program book this past January. He also wrote the program note on the Three Pieces for Orchestra, Opus 6, when the orchestra performed it in December 1982.
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42 .
Synopsis of the Scenes [Berg's own descriptions and designations are given in square brackets.]
Act I [Wozzeck in his relation to the world around him: Five Character Pieces]
Scene 1. [Baroque Suite] The Captain's room. Wozzeck shaves the Captain. The Captain taunts him for his stupidity and for having fathered "a child which is not blessed by the clergj\" Wozzeck apologizes: "Poor folk like us!" The Captain: "You're a worthy man, but you do think too much!"
Scene 2. [Rhapsody on three chords] An open field, near evening. Wozzeck and his buddy, Andres, are gathering sticks. Wozzeck is haunted by bizarre visions: "This place is accursed!" Andres, singing gaily, dismisses Wozzeck's foolish
thoughts. Wozzeck stamps on the ground, thinking ii to be hollow underneath; the setting sun reminds him of "A fire there! It rises from the earth into heaven."
Scene 3. [Military March and Lullaby] Marie's room, beside the street. She watches a military band pass by. The Drum Major salutes her as she waves to him. She exchanges taunts with her neighbor Margret, who has remarked upon her interest in the Drum Major. Marie bangs the window shut. After singing a lullaby to her child, she sits ''sunken in thought." Wozzeck comes in suddenly, telling Marie of what he saw in the field, then leaves abruptly. "Poor man!"
Marie says to herself. "So distracted . . . Ah! Poor folk like us!"
Scene 4. [Passacaglia on a twelve-note theme] The Doctor's study. To earn extra money, Wozzeck has been subjecting himself to the Doctor's dietars' experi- ments. The Doctor talks grandiosely of his brilliant research, of "a whole revolution in medicine." Wozzeck tries to tell him of his visions, but the Doctor ignores him, promising him instead extra money. "Oh! my hv-pothesis!" the
Doctor raves. "Oh, my fame! I shall be immortal! Immortal! . . . Wozzeck. once more show me your tongue now!"
Scene 5. [Andante affetuoso, quasi Rondo] The street in front of Marie's room. Marie admires the Drum Major, who struts in front of her. "And you're a ripe
young woman!" he says, trying to embrace her. She fights him off. "Is it the Devil in your glances?" He grabs her again, and she ^aelds, falling into his arms as they disappear into her room.
Act II [Dramatic Development: Symphony in five movements]
Scene 1. [Sonata-allegro movement] Marie's room. Marie tries on the earrings the Drum Major has given her. The child stirs in his sleep. Wozzeck comes in unexpectedly, asking Marie what she has in her hand. "A gold earring ... I just found it." Wozzeck: "I have never found things of that sort, two together." Wozzeck looks at his child sweating in his sleep: "All our days spent endlessly
toiling . . . Poor folk like us!" He gives Marie the money he has earned, and leaves. Marie, to herself: "I am just a bad lot! I could kill myself for it!"
Scene 2. [Fantasy and Triple Fugue] A street in town. The Captain and the Doctor exchange banter. Becoming serious, the Doctor describes his recent cases: "Yes,
dear Captain, you might well have an apoplexia cerebri someday. . . . Then we shall do the most immortal experimenting." The Captain is panicked by these thoughts. Wozzeck hurries by, but they call him back. The Captain taunts him:
"Did you find a hair from such a beard in your nice porridge this morning. . . Of some Drum Major, perhaps?" Wozzeck complains that the Captain is joking
43 Week 22 with him. The Doctor feels Wozzeek's pulse. Wozzeck shouts: "God in heaven! One inifjht in desperation end all by hanging!" He runs off. The Captain: "A worthy man does not have any courage!"
Scene 3. [Largo for chamber orchestra] The street in front of Marie's room. Wozzeck confronts Marie. Marie: "There are many people who will be standing there, one
after the other." Wozzeck: "I've seen him, I say!" He rushes at her furiously. Marie: "Let me alone! Better a knife blade in my heart, than lay a hand on me!" He stares at her, bewildered.
Scene 4. [Scherzo] The garden at a tavern. Evening, with dancing to instruments on stage. Two drunken apprentices sing. A waltz begins. Marie dances with the Drum Major. Wozzeck watches: "How he mauls her with his hands—touches her body! And she just laughs ..." A chorus: "A hunter from the South was riding through a shady grove, bailee, hallo!" Wozzeck grouses to Andres, who asks him if he is drunk. A long ramble by one of the drunken apprentices is followed by a roar of approval; they carry him out. As the band tunes up, an
Idiot approaches Wozzeck: "Joyful, joyful, . . . and yet it reeks of blood!" Wozzeck watches as everyone begins to dance again.
Scene 5. [Introduction and Rondo] The barracks, the same night. Chorus of snoring soldiers. Wozzeck wakes up, tormented by dreams. He prays. Suddenly the Drum Major blusters in drunk. "I am a man! I have a woman! To breed me smart drummer boys!" He taunts Wozzeck. They fight, and Wozzeck loses. The Drum Major goes reeling out, banging the door. Wozzeck stares fixedly as the other soldiers go back to sleep. "One after another!"
Staats-Thcater Opernhaus
Berlin, Montag, den 14. Dezember 1925 1-4, Karten-Reservesatz. (AaB*r AboBs«oi*at.) Urauffuhrung: Georg Bucliners Wozzeck Oper in drci Akten (15 Szenen) von Alban Berg. MusLkalische Leitung: Generil-Musikdirektor Erich Heiber, In Szcne ^esetrt von Franz Ludwig Horth.
Wozzeck Leo Schiitzendorf Tambounnajor Fritz Soot Andres Gerhard Witting Hauptmann WaJdemar Henke Doktor Martin Abendroth 1. Handwerksbursch Ernst Osterkamp 2. Handwerksbursch Alfred Borchardt Der Narr Marcel No€
Marie Sigrid Johanson Margret Jessyka Koettrik Mariens Knabc Ruth Iris Witting Soldat Leonhard Kern Soldaten und Burschen, Magde und Dimen, Kinder.
Gesamtausstattung: P. -Aravantinos.
Techniscbe Einrichtung: Georg Linnebach.
Nich d«D 2. A^t Endet eioc lisger« Paiue ititl. " K.JD Vonpiel. D«n Beaachem der heutigen Vorstellang wird da« nea erschienene Heh der „ Blatter der Staatsoper" xinentgeltlich Terabfolgt
From the premiere of Berg's "Wozzeck"
44 Act III [Catastrophe and Epilo^e: Six Inventions]
Scene 1. [Invention on a melody] Marie's room. Marie reads the Bible, remorseful when she reads about Jesus and the adulterous woman. She tells a story to her child: "And once there was a poor wee child, and he had no father nor any mother, for all were dead, there was no one in the world ..." Wozzeck has not come, neither yesterday nor today. "Savior! as Thou hadst mercy on her, have mercy now on me. Lord!"
Scene 2. [Invention on a single pitch, B] A path through the woods, by a pond, at dusk. Wozzeck and Marie sit down. "Ah! How your lips are sweet to touch, Marie! All Heaven I would give, and eternal bliss, if I still could sometimes kiss you so." The moon rises. "Like a blood-red iron!"" Wozzeck says. "Not me, Marie, then no other, either!"' She screams, and he stabs her in the throat. He bends over her as she dies, and then he rushes away.
Scene 3. [Invention on a rhythm] A cheap tavern, later that night. An out-of-tune piano bangs out a fast polka. Wozzeck tries to forget. He dances with Margret, then sits down with her on his lap. She sings to him. She notices blood on his hand. "Am I a murderer? Off! or else someone pays the Devil!" He runs out.
Scene 4. [Invention on a six-note chord] Same as Scene 2, immediately afterward. Wozzeck looks frantically— for the knife. "All is still and dead! Murder! Murder! Ah! who cried? No 'twas me." He stumbles on Marie's corpse. "Marie! What is
that so like a crimson cord round your neck?"" He finds the knife, and throws it into the pond. The blood-red moon shines through the clouds. "The moon is bloody. Must then the whole world be blabbing it?" Crazed with fear, Wozzeck
wades into the pond, looking again for the knife so as to throw it into deeper
water, but cannot find it. "I ought to wash my body. I am bloody. . . . Woe! I wash myself with blood! The water is blood!" Wozzeck wades in further and drowns. The Captain and the Doctor, passing by, hear the noise but do nothing. Doctor: "There's someone drowning!" Captain: "It's uncanny! The moon is red. and the
mist is gray. . . . Come away! Quick!""
Orchestral Interlude [Invention on a key, D minor]
Scene 5. [Invention on a steady eighth-note rhythm] In front of Marie"s house. Bright morning, sunshine. Children are playing ring-a-ring-a-rosey. Marie's ." child is riding on a hobbyhorse. Other children run in. "Hey, Katie! Marie . . "What is it?" "Don't you know? They've all gone out there."" To Marie's child: "Hey, your mother is dead." The child, not listening, sings "Hopp, hopp!" "Let's go and look!" All of the children rush off except Marie's child, who rides his hobbyhorse, until he notices others running away, and then he too runs off after them. —M.DeV
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46 More . . .
An abundant literature on Wozzeck has been accumulated in the six decades since its first production, and especially since the widespread obser\'ances of the Alban Berg centennial two years ago. Berg himself wrote several short essays about various aspects of the opera, including its musical structure and how the opera should be produced. Several of these, plus an edited version of his own highly detailed lecture on the music, can be found in Willi Reich's Alban Berg (1965, Harcourt, Brace & World). The most authoritative study of Wozzeck, and likely to remain so for a long time, is George Perle's magnificent The Operas of Alban Berg: Volume Il/Wozzeck (1980, University of California Press), which contains a wealth of biographical and documentary detail without bogging down, and an analysis of the music which is not only comprehensive in scope but very readably written; the book also has an espe- cially valuable discussion of Biichner's drama. Douglas Jarman's The Music of Alban Berg (1979, University of California Press) also has excellent and extensive coverage of Wozzeck. Janet Schmalfeldt's Berg's Wozzeck: Harmonic Language and Dramatic Design (1983, Yale University Press) is strictly for specialists. Even more so, and narrowly focused, is virtually everything published on Wozzeck in German; the bibliography in Perle's book gives a good survey of the most important of these.
No good biography of Berg has yet been written, although we may expect one within the next few years. Mosco Garner's AZ&an Berg: The Man and The Work (second edition, 1983, Holmes & Meier) is an adequate sur\'ey without much detail, and with some significant inaccuracies. Karen ^lonson h Alban Berg (1979, Houghton Mifflin) is sensationalist and full of amateurish errors. H.F. Redlieh's Alban Berg: Versuch einer Wurdigung (1957, Vienna, Universal Edition) has many errors, some of which were not Redlieh's fault, but it still remains the best overall survey in German; Alban Berg: The Man and His Music (1957, London, John Calder) is Redlieh's own abridgement in English. Both these books have been out of print for many years.
Wozzeck has been commercially recorded four times. The original recording, made from Dimitri Mitropoulos's concert performances with the New York Philharmonic in 1952, featuring Mack Harrell and Eileen Farrell, is periodically reissued (Odys- sey, monaural only, two discs); despite numerous flaws, the expressive quality of this performance is still unsurpassed. The most recent recording, with Eberhard Waechter and Anja Silja, and the Vienna Philharmonic conducted by Christoph von Dohnanyi (Decca, two discs), is very accurately and sensitively performed, and beautifully engineered. I would recommend owning both of these recordings. Not as good, but satisfactory, is Karl Bohm's 1965 version with Dietrich Fischer-Dieskau and Evelyn Lear (DG, two discs); Pierre Boulez's recording, with Walter Berrj' and Isabel Strauss (CBS, two discs), is inferior. —M.DeV
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48 —
Benjamin Luxon
formances with Scottish Opera of Jonathan Miller's acclaimed production of The Magic Flute, which he also sang with English National Opera in London in 1986. Also in 1986 he sang Onegin at La Scala under the direction of Seiji Ozawa, for whom he also sang Sherasmin in performances of Weber's Oberon at Tanglewood, in Frankfurt, and at the Edinburgh International Festival.
During the past few seasons, Mr. Luxon has appeared with all the major United States orchestras; he is a special favorite with Seiji Ozawa and the Boston Symphony, having made his BSO debut with Beethoven's Ninth in March 1976, later returning to both Symphony Hall and Tanglewood for music of Mahler, Bach, Born in Cornwall, England, baritone Tchaikovsky, Brahms, Faure, Dvorak, Benjamin Luxon studied at the Guildhall Weber, and Britten. He has also appeared School of Music, where he won the Gold with the London Philharmonic under Klaus Medal. A prizewinner at the International Tennstedt, the London Symphony under Competition in Munich, he developed a ver- Claudio Abbado, the Royal Philharmonic satile career in the late 1960s and through- under Antal Dorati, the BBC Welsh Sym- out the 1970s, working with major orches- phony under Andrew Davis, the Amsterdam tras both in the United Kingdom and abroad Concertgebouw under Bernard Haitink, and and appearing at most of Britain's major the Israel Philharmonic under Zubin Mehta. festivals. He is now established as one of Other engagements have included concert Britain's most popular singers for opera, performances of Wozzeck with the Chicago concerts, and Lieder, and he is widely known Symphony under Abbado, and Men- as a television personality, having hosted his delssohn's Elijah with Seiji Ozawa and the addition, collabo- o^\Ti program for Westward TV and pre- Berlin Philharmonic. In he sented his own show on the BBC. He is a rates on a regular basis with the interna- regular visitor to both Covent Garden and tionally-known folk and jazz musician Bill the Glyndeboume Festival; his Covent Gar- Crofut. Mr. Luxon's more than eighty den appearances have included the title role recordings appear on such major labels as of Eugene Onegin, Wolfram in Tannhduser, RCA, Deeca, Philips, Deutsche Grammo- Marcello in La boheme, and Palke in a new, phon, and Argo. In 1986 he was named a televised production of Die Fledermaus. He Commander of the British Empire for his has sung three major Mozart roles in new services to music. Peter Hall productions at Glyndeboume Don Giovanni, Papageno, and the Count in Figaro. He is a regular guest at the Frank- furt and Holland opera companies, and he has appeared in various productions at the Metropolitan Opera since his debut there as Onegin. He first sang the title role of Wozzeck for Scottish Opera, in 1980, at the Edinburgh Festival. In the 1982-83 season he sang in the opening production, Don Carlo, at the newly reestablished Brussels Opera. In the winter of 1985 he gave per-
49 —
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50 Hildegard Behrens
Solti, Ms. Behrens received tremendous acclaim for her Isolde at the Metropolitan Opera, and she is now established as a lead- ing Wagnerian soprano. At the Met, she has also sung Tosca, Marie in Wozzeck, Donna Anna in Don Giovanni, Leonore in Fidelio, Elettra in Idomeneo, and Sieglinde in Die Walkure. She has also appeared at the Ba- varian State Opera and L'Opera de Monte Carlo.
A distinguished soloist with orchestra, Ms. Behrens first appeared with Seiji Ozawa and the Boston Symphony in a 1982 Tangle- wood staging of Fidelio; she has since sung music of Wagner, Mozart, Strauss, Berlioz, and Schoenberg with the orchestra. She has also appeared with Zubin Mehta and the Engaged with the Metropolitan Opera New York Philharmonic, the Chicago Sym- through the end of the decade, soprano phony under both Solti and Abbado, Riccar- Hildegard Behrens opened the Met's do Muti and the Philadelphia Orchestra, Lorin Maazel and the Cleveland Orchestra, 1986-87 season as Briinnhilde in its new production of Die Walkure with James Herbert von Karajan and the Vienna Phil- harmonic, the Orchestre de Paris under Levine conducting, the first installment Daniel Barenboim, and the Orchestra of in a new Ring cycle in which she sings the St. Luke's under Michael Tilson Thomas at Siegfried Briinnhilde next season. Other Carnegie Hall. Well represented on disc, she operatic highlights this season included her has recorded Tristan und Isolde for Philips first performances of Elektra, at the Paris with Leonard Bernstein conducting, Fidelio Opera under Seiji Ozawa, in addition to with Solti and the Chicago S^nnphony for Fidelio at the Met and Wozzeck in Vienna. London, and Der Freischiitz under Rafael Concert performances in addition to Wozzeck Kubelik for Decca. Born in Oldenburg, Ger- wath the Boston Symphony under Ozawa studied voice at the include an appearance with Charles Dutoit many, Ms. Behrens Conservatory before joining the and the Montreal Symphony. Originally a Freiburg Deutsche Rhein in Diisseldorf in law student with an interest in choral sing- Oper am 1972. Performing with this company, she ing, Ms. Behrens has appeared with virtually was heard by Herbert von Karajan, who sub- every major orchestra of international stat- sequently signed her for the historic Salome ure and performed in the world's leading Salzburg. The soprano resides in New opera houses. She made several important at York City. debuts in 1976, singing Giorgetta in 77 tabarro at the Met and Leonore in Fidelio at Covent Garden, and performing in Janacek's Katya Kabanova at the National Theatre of Prague. During the summer of 1977 she made her Salzburg Festival debut in the title role of Salome in a new production con- ducted by Herbert von Karajan and subse- quently recorded for Angel records. In 1979 she returned to Salzburg in the title role of Ariadne auf Naxos, under the baton of the late Karl Bohm. Following her triumphant Bayreuth debut in 1983 under Sir Georg
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52 Jacque Trussel
ances of Charleston's inaugural season, as well as with Houston Grand Opera and at the National Arts Centre in Ottawa. Mr. Trussel made his San Diego Opera debut in the American premiere of Saint-Saens's Henry 177/ during the 1982-83 season. He also appeared in the world premieres of Carlisle Floyd's Bilby's Doll and Thomas Pasatieri's The Seagull, as well as in the American premiere of Ralph Vaughan Williams's Hugh the Drover, in which he sang the title role. At New York City Opera, in addition to perform.ances of The Student Prince directed by Jack Hofsiss, he has appeared in new productions oiDer Freischutz, L'amore dei tre re, and Tosca. He has sung Shuiskv* in Boris Godunov with Lyric Opera of Chicago, Danilo in The Merry One of America's most accomplished singing Widow in Houston, and Don Jose in Fort actors, tenor Jacque Trussel appears with Worth, and toured nationwide in a starring leading opera companies in Chicago, role in Houston Grand Opera's production Houston, San Francisco, New York, Boston, of Showboat. Orchestral appearances have Philadelphia, New Orleans, Dallas, Fort included the Philadelphia Orchestra, the Worth, Baltimore, and San Diego. In recent Amsterdam Concertgebouw under Bernard seasons he has been heard as Don Jose in Haitink, the Milwaukee Symphony under Carmen \\dth the New Orleans Opera, as well Kenneth Schermerhorn, and performances as in the New York City Opera production of Beethoven's Ninth SjTuphony, the Missa tele\ised on "Live From Lincoln Center." Solemnis, and the Verdi Requiem with the Other roles have included Nero in L'incor- Indianapolis Symphony. A distinguished onazione di Poppea for Long Beach Grand recitalist, Mr. Trussel tours extensively Opera and Danilo in the San Diego Opera throughout the United States and Canada. production of Lehar's The Merry Widow. He previously appeared with the Boston The summer of 1985 brought performances Symphony as Grigorv' in a production of at Florence's Maggio Musicale and appear- scenes from Mussorgskj-'s Boris Godunov ances as Aiwa in Berg's Lulu with the under Seiji Ozawa at Tanglewood in July Munich State Opera. In 1981 he created the 1981. role of Edmund in the American premiere of Aribert Reimann's Lear at San Francisco Opera. Recent career highlights have included his Welsh National Opera debut as Don Jose, a role he has also sung wdth great success in Pittsburgh and San Diego. He has also won acclaim for his portrayals of Sergei and Zino\y in Shostakovich's Lady Macbeth of Mtsensk for Lyric Opera of Chicago, at the Festival of T\\'o Worlds in Spoleto, Italy, at Spoleto USA in Charleston, and with San Francisco Opera. He is also closely identified with the role of Hermann in Tchaikovsky's Queen of Spades, which he has performed at the Festival of Two Worlds and at the opening perform-
53 I The Boston Home (formerly The Boston Home for Incurables)
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Seeks Your Support for Another Century
Write for Centennial Brochure: The BoStOIl HomC, IllC.
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54 Jon Garrison
York City Opera for Bizet's Pearl Fishers and Massenet's \yeiihfr. Other recent career high- lights have included the national New York City Opera telecast of La rondine on "Live from Lincoln Center." an appearance on the Kemiedy Center Honors program honoring Beverly Sills, the Metropolitan Opera's pro- duction of Romeo et Juliette on that company's 1985 spring tour. Magic Flute at the Santa Fe Festival, appearances as Cassio in Verdi's Otello with San Diego Opera, Donizetti's Don Pasquale with Montreal Opera, and La trav- iata with Orlando Opera. Appearances with orchestra have included the Pittsburgh and Houston s^Tnphonies, the Philadelphia Orchestra, Cleveland Orchestra. Calgarv^ Philharmonic, the Y Chamber Symphony, Hartford S^-mphony, San Francisco S\Tn- American tenor Jon Garrison divides his time phony Scottish Chamber Orchestra, Torino between opera and oratorio on the major RAI Orchestra, the New York Pops, Spec- stages of North America and Europe. This ulum Musicae, and the Puerto Rico Sym- season's engagements include a return to phony. He appeared twice with the Boston New York City Opera for performances of S\'mphony Orchestra at Tanglew-ood in 1984. Puccini's La boheme and La rondine, Mozart's in Beethoven's Ninth S\Tnphony, and as Ben- Magic Flute, Romberg's Student Prince, edick opposite Frederica von Stade in a stag- Stra\'insk}''s The Rake's Progress, and Verdi's ing of Berlioz's Beatrice et Benedict under the La traviata. He wdll also be heard in Offen- direction of Seiji Ozawa. Mr. Garrison made bach's Tales of Hoffmann \rith Cleveland his Metropolitan Opera debut in 1975, his Opera, Mozart's Magic Flute \^ath Portland European debut in 1978 at Spoleto, and his Opera, and Puccini's La boheme with Hawaii New York City Opera debut in 1982 in Opera Theatre. Orchestral appearances Ghick' sAlceste. He has also appeared with include Beethoven's Missa Solemnis with the Hamburg Opera, the Berlin Radio Orchestra, Seattle Symphony, Berlioz's Damnation of Lyons Opera, and at the Theatre du Chatelet Faust with the Sacramento S\Tiiphony, a con- in Paris. Mr. Garrison was chosen by Zubin cert version of La traviata with the Thunder Mehta to appear with the New York Philhar- Bay S\Tnphony, Berlioz's Te Deum conducted monic in the gala concert celebrating by Andrew Da\is at the Cincinnati ]\Iay Fes- Carnegie Hall's ninetieth anniversary in tival, Handel's Israel in Egypt with the 1981. He has recorded the Evangelist in the Choral Arts Society of Philadelphia, St. Matthew Passion under Raymond Lep- Beethoven's Ninth with the Houston Sjtu- pard for EMI and Handel's Roman Vespers phony, and ]\Iichael Tippett's TJie Mask of for RCA. Time with the Toronto Symphony. Recent engagements have included Mozart's Magic Flute with Santa Fe Opera, the Minnesota Orchestra's Schubertiade, Carter's In Sleep and Th2inder with the New Music Consort, Stra\insk\''s Pulcinella with Boston's Handel & Haydn Society, Mendelssohn's Lobgesang with the Atlanta Symphony, Handel's Messiah with the Pittsburgh Symphony, a New Year's Eve Gala with the Philadelphia Orchestra, a solo recital in Cleveland, and a return to New
55 WITHOUTYOUR HELP YOU COULD BE HEARING LESS FROMTHE BSO
To keep the Boston Symphony a vibrant musical force, it needs vigorous support. Ticket sales, recordings and broadcast revenues generate only half the income we need. So, if you want to hear more from us, then we need to hear from you.
Yes, I want to keep great music alive and become a Friend for the 1986-87 season. (Friends' benefits begin at $40.) Enclosed is my check for $ to the Boston Symphony Annual Fund.
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Please make check payable to "Boston Symphony Annua! Fund" and send to: Sue Tomlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. (617) 266-1492. KEEP GREAT MUSIC ALIVE.
56 That's music to our ears"
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Tenor Ragnar Ulfung has been a permanent member of the Royal Opera, Stockholm, since 1958. He has appeared with the world's major opera companies, including Oslo, Vienna, Helsinki, GhTidebounie, the Edinburgh Fes- tival, Covent Garden, the Metropolitan Opera, Chicago, Boston, Santa Fe, San Fran- cisco, Marseilles, and La Scala. Bom in Oslo, Mr. Ulfung made his debut as soloist at the age of fifteen as a boy soprano \\ith one of Norway's largest boy choirs. Following his xery successful concert debut in Oslo when he was twenty-one, he went to Italy for four years of further study, returning to Oslo in 1952 to sing the Magic Artist in Menotti's The Consul, a role for which he spent several months studying with a famous magician. He was honored in Norway by King Olav V, who bestowed upon him the Order of St. Olav, and he was named Royal Court Singer by the King of Sweden in 1977. He was recently awarded the Litteris et Artibus, the highest (asA f^M^RO order an artist can receive in Sweden. High- lights of Mr. Ulfung's recent engagements have included his first Otello in Verdi's opera and Macheath in TJie Beggar's Opera with the Royal Opera, Stockholm; the title role of Peter Maxwell Dalies" Taverner at the Royal Opera House, Covent Garden; Basilio in Mozart's Marriage of Figaro and Strauss's Liehe der Danae at Santa Fe; the Captain in Wozzeck at the Metropolitan Opera and at the Mexican Cuisine Paris Opera; and the Earl of Kent in King Lear with, the San Francisco Opera. He has also sung Herod in Salome in Paris and Los in ". Angeles, Koko in The Mikado Toronto, . . ihe best Mexican Alfred in Die Fledemiaiis in Santa Fe, and food this side of Taxco . . . the cuisine at Casa Romero Mahler's Das Lied von derErde in St. Louis. is as sophisticated as He appears for the first time with the Boston the decor ..." S\Tiiphony Orchestra at these concerts. Gourmet Magazine
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57 Music to your mouth.
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58 Siegfried Vogel
Bass Siegfried Vogel was born in Chemnitz, Democratic Republic of Germany. After only three years of study at the Academy of Music in Dresden, he was engaged by the Opera House of Dresden. Since 1954 he has been principal bass at the Opera House of East Berlin, also singing regularly as a guest with the Komische Oper of East Berlin. Mr. Vogel appears regularly at the opera houses of Vienna, Diisseldorf, and Munich and has sung at all the important European opera houses, as well as in Toronto, Ottawa, and Buenos Aires. For sev- eral years he has been a regular participant at the Ba\Teuth and Salzburg festivals, appearing most recently at Ba\Teuth in 1986 in Tannhduser. He made his Metropolitan Opera debut this season as Hunding in the new production otDie Walkilre, the first The Fox &L Hounds installment of the Met's new Ring cycle under the direction of James Le\dne. This Restaurant spring he sings in TJie Merry Wives of Wind- sor at the Salle Pleyel in Paris, and he makes Originally Established 1937 his Boston SjTnphony Orchestra debut as A Small Club Opposite the Doctor in concert performances of The Public Gardea Berg's Wozzeck under Seiji Ozawa. Mr. Vogel's extensive operatic repertoire includes virtually all the great bass roles, including Hans Sachs, Gurnemanz, Wotan, King Henr\', the Landgraf, Daland, King ^lark. Baron Ochs, Rocco, Don Giovanni, and others. His extensive work as a recitalist has taken him frequently to Japan, and he has appeared with such conductors as Wolf- gang Sawallisch, Leonard Bernstein, Karl Riehter, Igor Marke\"itch, Seiji Ozawa, and Hounds Karl Bohm.
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60 Margaret Yauger
the Verdi Requiem with the s\iiipiiony orchestras of Trier, Monchengladbach- Krefeld, and East Berlin, Handel's Messiah with the Jacksonville S\inphony, in New- York City, and in Boston, and Beethoven's Ninth S\inphony \\'ith the s>inphony orches- tras of Duisburg and Dresden. She has recorded the Ninth with the Mexico City S>inphony. Ms. Yauger's honors include mention in the 1976 "'Who's Who in Opera" and in the first edition of "Who's Who in American Music." A recipient of the William^ ]\Iathis Sullivan Foundation scholarship and the ]\Iiss Alabama Competition Scholarship, she has also worked as a fashion model and as a nurse's aid. Ms. Yauger holds degrees from Converse College and the New Eng- land Consen'ator}" of Music. She currently \ Margaret Yauger has been a leading mezzo- lives in Germany \Wth her husband, bass- -i soprano wdth the Deutsche Oper am Rhein baritone Malcolm Smith. since 1978. She has performed in more than eighteen productions there, including the role of Fricka in Wagner's Ring, Euridice in
Sarah Caldwell in^^ted her to sing Meg t^ Page in the American National Opera Com- pany's touring production of Verdi's Falstaff. Following this, she joined the Boris Goldov-
^1 sk\" Opera Touring Company. Since then she ft has appeared with the Birmingham Civic
' Opera in Xicolai's Merry Wives of Windsor,
» with the Caramoor Festival in Purcell's Dido
)\ and Aeneas, with the Lake George Opera K Festival as Lucretia in Britten's The Rape of Lucretia, as Jenny in Weill's Threepenny
' Opera, and as Elizabeth Proctor in Ward's Investment Real Estate Managennent. r The Crucible. In America, Ms. Yauger has Consulting Services appeared with Central City Opera, the Brokerage and American Opera Center, and New^ York City Since 1898 Opera, where she was heard as Siebel in
' Faust, Lola in Cavalleria rusticana, and Maddalena in Rigoletto. She has also per- formed with the opera houses of Krefeld,
Hannover, Karlsruhe, Freiburg, and Donald L. Saunders. Wiesbaden in Germany, the Teatro Reggio President & Chief Executive Officer in Torino, Italy, and in Mexico with the Mex- SAUNDERS & ASSOCIATES ico City Opera. Ms. Yauger's concert appear- 20 Park Plaza • Boston • MA • 021 16 ances have included Das Rheingold with the (617)426-4000 National Symphony of Washington, D.C., Exclusive Agent for the Statler Office Building Brahms's A/fo Rhapsody and Mahler's Sec- ond Symphony with the Solingen Symphony,
61 Richard Kennedy
Tenor Richard Kennedy received his bach- elor's and master's degrees from Indiana University and earned the Artist Diploma from Boston University, where he studied with Phyllis Curtin. lie has appeared with the Utah Symphony, the symphony orchestras of La Crosse, Green Bay, and Charlotte, and the American Chamber Orchestra of Washington, D.C. Mr. Kennedy has performed such varied roles as Don Basilio in TTie Marriage of Figaro, Tamino in The Magic Flute, Perrando in Cost fan tutte, Rinuccio in Puccini's Gianni Schicchi, Sam in Carlisle Floyd's Susannah, and Acis in Handel's Acis and Galatea. He performed the role of Haemon in the world premiere of Marjorie Merryman's opera ^nh- gone. A 1985 Tanglewood Music Center Fel- low^ in voice, Mr. Kennedy was an inter- national finalist in the Opera Company of Philadelphia/Luciano Pavarotti International Voice Competition that same year. He was also the winner of the National Association of Teachers of Singing Artists Aw^ard, the Franz Schubert Prize for Singers awarded in Baden, Austria, and a national finalist in the National Federation of Music Clubs Young Artist Auditions. Mr. Kennedy has given re- citals in Austria, Canada, Carnegie Recital Hall, the British Embassy, the National Arts Club in New York City, at the Spoleto Fes- tival USA, and at several colleges and univer- sities throughout the United States. During the 1987-88 season, he w\\\ be touring the United States and Japan as soloist with the Mantovani Orchestra in a program of Vien- nese operetta.
62 .
James Maddalena
Musicale, he has recorded Telemami's St.
Luke Passion, Handel's L'allegro, il pen-
seroso, ed il moderato, and Haydn's Lord Nelson Mass. Since 1982, he has been voice instructor at Phillips Exeter Academy in New Hampshire. Since 1981, Mr Maddalena has performed regularly in the operatic pro- ductions of Peter Sellars, who cast him in the title role of Mozart's Don Giovanni, as well as in key roles in Handel's Orlando, Mozart's Cosl fan tuttt, Haydn sAmiida, the Brecht/ Weill Kleine Mahagonny, and Handel's Giulio Cesare in Egitto: the latter was re^'ived this year by the Opera Company of Boston follow- ing its initial PepsiCo Summerfare staging in 1985. In November 1987 he performs the role of Nixon in Houston Grand Opera's world premiere production of John Adams's Nixon Baritone James Maddalena made an aus- in China, staged by Peter Sellars, ^\ith chore- picious debut at age nineteen with Arthur ography by ]Mark Morris. Mr Maddalena is Fiedler and the Boston Pops: while still a making liis Boston S\Tnphony Orchestra student at the New England Consen^ator}' of debut with these performances of Berg's Music, he was in^^ted to perform a Rodgers Wozzeck. and Hammerstein medley on the opening Pops concert of 1974. AMiile a participant in the ^Volf Trap Opera Program bet\veen 1975 and 1977, Mr. Maddalena performed Aaron Copland's Early American Songs \Wth the National S^Tnphony under the composer's direction. At Wolf Trap, he also performed Stra\'inslrv'"s Pribamitki with the St. Paul Chamber Orchestra under Dennis Russell Dalies and Mahler's Riickert Songs with the Elliot Feld BaUet, with which he has since appeared numerous times as guest artist. Since 1973. Mr. Maddalena has appeared as soloist in all the Bach cantatas \Wth Emmanuel Music, the choir and orchestra conducted by Craig Smith at Boston's 3 When only Emmanuel Church. His oratorio perform- the ances have won critical acclaim in Boston and New York, where he was baritone soloist at most elegant Carnegie Hall in Banchetto Musicale's origi-
nal-instrument Messiah in 1984. He has also will do . . won praise for his interpretations of German Lieder, especially \Nith the song cycles of Schubert, Schumann, Brahms, and Wolf.
Mr. is of the Maddalena a founding member of CONCORD Liederkreis Ensemble, which the 1980 1296 Main Street won west Concord MA 01742 Xaumburg Award for chamber music, and (617)369-4030 furniture of distinction smce \nth which he has recorded both sets of the Brahms Liebeslieder Waltzes. With Banchetto
63 Brian Matthews
Bass Brian Matthews received his bachelor's and master's degrees from the Juilliard School and is currently a member of its American Opera Center. He has studied with Marion Cooper and Oren Brown and worked with coaches Martin Smith and Renato Capecchi and directors Dino Yannopoulos, Norman Ayrton, and James Lucas. Mr. Matthews has performed with Los Angeles Opera, Valley Opera, Wolf Trap, and New York Grand Opera, with which he sang Zuniga in Carmen and will perform Tom in Un hallo in maschera this summer. He has most recently been heard with the American Opera Center as Leporello in Don Giovanni and as Superintendent Budd in Britten's Albert Herring. Among his awards are the Lauren Zachary Award, the M.C. Lawton Award, the Elaine Johnstone Award, and the Herbert Weinstock Memorial Scholarship.
Timothy Larson
A fifth-grade student at the Abundant Life Christian School in Wilmington, Timothy Larson is a resident of North Andover. He has studied cello with Mark Churchill at the Extension Division of the New England Conservatory, and he is a member of the Treble Choir of New England under the direction of Marie Stultz, with whom he studies voice. Timothy was a soloist in the All our services are free Zamir Chorale's performance of Bernstein's —no strings attached. Chichester Psalms at Jordan Hall last also in the role We perform a veritable symphony of December; December he sang travel arrangements of Amahl in Amahl and the Night Visitors at no extra wqth the Salisbury Singers in Worcester. charge to you. Earlier this month he sang the role of the Travel is our forte; shepherd boy in Boston Concert Opera's Garber is our name Give us a call- performance of Tosca at Symphony Hall. 734-2100 and we'll get in tune with your travel needs.
IVIain Office: 1406 Beacon St., Brookline.
64 Tanglewood Festival Chorus John Oliver, Conductor
invitation of Deutsche Grammophon, was a 1979 Grammy nominee. Recordings with Ozawa and the orchestra available on com- pact disc include Schoenberg's Chirrelieder
and Mahler's S\anphony No. 8, the Sym- phony of a Thousand, both on Philips, and Beethoven's Choral Fantasy with pianist Rudolf Serkin, on Telarc. The choi-us may also be heard in Debussy's La Damoiselle elue with the orchestra and mezzo-soprano Frederica von Stade on CBS, on the album ''We Wish You a Merrv Christmas" with John Williams and the Boston Pops on Philips, and in music of Luigi Dallapiccola and Kurt Weill on Nonesuch.
In addition to his work w^th the Tangle-
wood Festival Chorus, John Oliver is con- Now in its seventeenth year, the Tanglewood ductor of the MIT Choral Society, a senior Festival Chorus was organized in the spring lecturer in music at MIT, and conductor of of 1970 when founding conductor John the John Oliver Chorale, which is celebrating Oliver became director of vocal and choral its tenth anniversary this season. The activities at the Tanglewood Music Center Chorale gives an annual concert series in Co-sponsored by the Tanglewood Music Cen- Boston and has recorded for Northeastern ter and Boston University, and originally and New World records. Mr. Oliver made his formed for performances at the Boston S^tti- Boston Symphony Orchestra conducting phony's summer home, the chorus was soon debut at Tanglewood in 1985 and led per- plajdng a major role in the orchestra's Sym- formances of Bach's B minor Mass at Sym- phony Hall season as well. Now the official phony Hall in December that year. Earlier chorus of the Boston Symphony Orchestra, this month he led the Tanglewood Festival the Tanglewood Festival Chorus is made up Chorus and members of the Boston Sym- of members who donate their services, per- phony Orchestra in a special S\Tnphony Hall forming in Boston, New York, and Tangle- concert featuring the world premiere of wood, and working with Music Director Seiji Donald Martino's The White Island, commis- Ozawa, John Williams and the Boston Pops, sioned by the Boston SvTnphony Orchestra and such prominent guests as Leonard for the Tanglewood Festival Chorus. Bernstein, Sir Colin Da\as, and Klaus Tennstedt. Noteworthy recent performances have included the world premiere of Sir Michael Tippett's The Mask of Time under Sir Colin Da\as in April 1984, and the Amer- ican premiere of excerpts from Olivier Messiaen's opera St. Francis of Assist under Seiji Ozawa in April 1986.
The Tanglewood Festival Chorus has col- laborated with Seiji Ozawa and the Boston SvTnphony Orchestra on numerous record- ings, beginning with Berlioz's The Damna- tion of Faust for Deutsche Grammophon, a 1975 Grammy nominee for best choral per- formance. An album of a cappella twentieth- eenturj' American music, recorded at the
65 Tanglewood Festival Chorus John Oliver, Conductor
Sopranos Tenors Basses Phyllis Benjamin Kent Anderson Kelly D. Anderson
Michele M. Bergonzi Antone Aquino J. Barrington Bates Bonita Ciambotti John C. Barr William S. Biedron Joanne L. Colella Donato Bracco Daniel E. Brooks Mary A. V. Crimniins Reginald Didham Edward E. Dahl
Christine P. Duquette Michael P. Gallagher John DufP>- Nina Giselle Keidann Andrew Hamilton Jay S. Gregory* Lydia A. Kowalski Dean Armstrong Hanson Mark L. Haberman Nancy Lee Patton George Harper Mitsuhiro Kawase Joan Perniee Sherman John W. Hickman Timothy Lanagan Bernadette Yao Fred G. Hoffman Lee B. Leach Richard P Howell Steven Ledbetter Mezzo-sopranos James R. Kauffman David K. Lones Christine Billings Edward J Kiradjieff Gregory- Mancusi-Ungaro Sara Dorfman David E. Meharry Stephen H. Owades Mary F. Ellis Mehrdad Moasser A. Michael Ruderman Paula Folkman David Raish David Sanford Donna Hewitt-Didham Ernest Redekop Robert Schaffel Laurie Rogers Barry Singer Peter S. Strickland Amy Sheridan Michael W. Spence Cliff Webb Linda Kay Smith Carl Zahn Pieter Conrad White Hazel von Maack
Sarah Harrington. Manager Martin Ajiilin. Rehearsal pianist
66 Youth pro Musica Fine Quality Roberta Humez. Director Broadloom ^Hand Custom^ Youth pro Musica, Greater Boston Youth Knotted Area Chorus, is a non-profit educational organiza- Orientals Rugs tion unaffiliated \Wth a church or school. Founded in 1970 by its continuing director WASHINGTON ST WELLESLEY HILLS. MA 0218' :i-; Roberta Humez, and incorporated in 1980, Zoe" Wo'- Toes Tnu's f" uniii 5 30 Wee unlii 8 00 Sal unl:> 4 30 •1617)237 0800 the chorus attracts membership from twenty communities, serving annually in three divi- WeUesley Hills sions 100 young people from grades three to tw^elve. \Veekly rehearsals in Newton provide Rug Shop vocal training, musicianship, choral disci- pline, and distinctive challenging repertoire, inc. with a dozen or more concerts each season. A firm commitment to contemporarv' music, ^ ^ sacred and secular, has led to the commis- sioning of four new choral pieces, as well as countless Boston and New England pre- mieres of already existent works for treble voices. Members of the chorus have sung with the Boston Svinphony Orchestra in Boston, New York, and at Tanglewood, in scenes from Mussorgskv^'s Boris Godunov, Mahler's SvTnphony No. 8. and Honegger's Jeanne d'arc au hucher. They have also appeared with the Opera Company of Boston, the American Repertorv- Theatre, the Revels, local adult choruses, and on radio and television. Since 1982, Youth pro Musica has been a continuous recipient of Merit Aid award from the Massachusetts Grill the An Authentic Council on the Arts and Humanities and has with twice received fimding from the Council its New ^Yorks commissioning pro- Aged Steaks Plump Poultry under gram. Of 428 Merit Aid applicants. Youth Fresh Fish Native Shellfish pro Musica was one of only thirty-four sin- grilled on gled out by the Council in 1987 for special leader in enriching the Woods & Charcoals recognition as "a cultural life of the Commonwealth," of Mesquite Apple Sassafras Hickory
In Boston's Back Bay Hilton
Just steps away between The Christian Science Complex and Prudential Center with ample indoor parking. Dial-(617) BOODLES. ?
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68 The Boston S^^nphony Orchestra wishes to acknowledge particularly the follo\\ing group of corporations and professional organizations for their outstanding and exemplar^' response in support of the orchestra's needs during the past or current fiscal vear.
1986-87 Business Honor RoU (810,000 + )
ADD Inc Architects General Electric Company Lj-nn Philip M. Briggs Frank E. Pickering AT&T General Electric Plastics Business Group Robert C. Babbitt Glen H. Hiner Advanced Management Associates, Inc. The Gillette Company Han-ey Chet Krentzman Colman M. Mockler, Jr. American Express Company HBM Creamer. Inc. James D. Robinson III Edward Eskandarian Analog Devices. Inc. IBM Corporation Paul J. Ray St at a Palmer John Hancock Life Insurance Bank of Boston Mutual William L. Bro\^'n Company E. James Morton Bank of New England Stanley H. Kaplan Educational Center Peter H. McCormick Susan B. Kaplan BayBanks, Inc. Liberty Mutual Insurance Companies William M. Crozier. Jr. Meh'in B. Bradshaw Boston Edison Company McKinsey & Company. Inc. Stephen J. Sweeney Robert P. O'Block Boston Financial & Equity Corporation Moet-HennessyU.S. Corporation Sonny Monosson Ambassador Evan G. Galbraith The Boston Globe Affiliated Publications Morse Shoe. Inc. William 0. Taylor Manuel Rosenberg Boston Park Plaza Hotel & Towers Xeiman-Marcus Roger A. Saunders William D. Roddy Boston Safe Deposit & Trust Company New England Telephone Company James X. von Germeten Gerhard M. Freche Bozell. Jacobs. Kenyon & Eckhardt. Inc. The New England Thomas Mahoney Edward E. Phillips Cahners Publishing Company PaineWebber, Inc. In memors' of Norman L. Cahners James F. Clearv^ Carter Hawley Hale Stores, Inc. Ra^i:heon Company Philip M. Hawley Thomas L. Phillips Coopers & Lybrand The Red Lion Inn Vincent M. O'Reilly John H. Fitzpatrick Country' Curtains Shawmut Bank of Boston Jane P. Fitzpatrick WiUiam F. Craig Creative Gourmets, Ltd. Signal Technologv- Corporation Stephen E. Elmont William E. Cook Daniels Printing Company State Street Bank & Trust Company Lee S. Daniels William S. Edgerly Digital Equipment Corporation Terad\iie. Inc. Kenneth H. Olsen Alexander V d'Arbeloff Broadcasting, Inc. D^Tiatech Corporation WCRB Charles River Richard L. Kaye J. P. Barger Wang Laboratories, Inc. E.F. Hutton & Company, Inc. An Wang S. Paul Crabtree WCVB-TA^ 5 Fidelity Investments S. James Coppersmith Samuel W. Bodman Za\Te Corporation GTE Electrical Products Maurice Segall Dean T Langford General Cinema Corporation Richard A. Smith
69 .
The Boston Symphony Orchestra gratefully acknowledges the following corporations and professional organizations for their generous and valuable support totaling $1,000+ during the past fiscal year. Names which are both capitalized and underscored in the Business Leaders listing comprise the Business Honor Roll denoting support of $10,000 + Capitalization denotes support totaling $5,000-$9,999, and an asterisk indicates support totaling $2,500-$4,999.
Business Leaders ($1,000 + )
Accountants Aerospace SHAWMUT BANK OF BOSTON William F. Craig ARTHUR ANDERSEN & COMPANY * Northrop Corporation William P. Meagher Thomas V. Jones STATE STREET BANK & TRUST ARTHUR YOUNG & COMPANY PNEUMO CORPORATION COMPANY William S. Edgerly Thomas P. McDermott Norman J. Ryker COOPERS & LYBRAND UST CORPORATION James V. Sidell Vincent M. O'Reilly Architecture/Design *Charles E. DiPesa & Company ADD INC ARCHITECTS Building/Contracting William F. DiPesa Philip M. Briggs *A.J. Lane & Company, Inc.. ERNST & WHINNEY LEA GROUP Andrew J. Lane James G. Maguire Eugene R. Eisenberg Chain Construction Corporation KMG Main Hurdman Howard Mintz William A. Larrenaga Banking Lee Kennedy Co., Inc. PEAT, MARWICK, Lee M. Kennedy MITCHELL & COMPANY BANK OF BOSTON William L. Brown Robert D. Happ National Lumber Company BANK OF NEW ENGLAND Louis L. Kaitz *Theodore S. Samet & Company Peter H. MeCormick Theodore S. Samet *Perini Corporation TOUCHE ROSS & COMPANY BAYBANKS, INC. David B. Perini William Crozier, Jr. * James T. McBride M. JF. White Contracting BOSTON SAFE DEPOSIT Thomas J White Advertising/Public Relations & TRUST COMPANY Arnold & Company, Inc. James N. von Germeten Displays/Flowers Gerald Broderiek Cambridge Trust Company *Giltspur Exhibits/Boston BMC STRATEGIES, INC. Lewis H. Clark Thomas E. Knott, Jr. Bruce M. McCarthy Chase Manhattan Corporation *Harbor Greenery BOZELL, JACOBS, KENYON & Robert M. Jorgensen Diane Valle ECKHARDT, INC. CITICORP/CITIBANK Thomas Mahoney Education Walter E. Mercer Harold Cabot & Company, Inc. BENTLEY COLLEGE *Eastern Corporate Federal Credit William H. Monaghan Gregory H. Adamian Union HBM/CREAMER, INC. Jane M. Sansone STANLEY H. KAPLAN Edward Eskandarian First Mutual of Boston EDUCATIONAL CENTER Susan B. Kaplan Clarke & Company, Inc. Keith G. Willoughby Terence M. Clarke *Framingham Trust Company THE COMMUNIQUE GROUP, INC. William A. Anastos Electrical/HVAC James H. Kurland NeWorld Bank *p.h. mechanical corporation Paul A. Hayes HILL AND KNOWLTON, INC. James M. Gates Peter A. Farwell * Patriot Bancorporation R&D ELECTRICAL COMPANY, 1 Thomas R. Heaslip Richard D. Pedone *Hill, Holliday, Connors, Cosmopulos, Inc. *Provident Financial Services, Inc. Jack Connors, Jr. Robert W Brady Electronics Young & Rubieam *Rockland Trust Company Alden Electronics, Inc. Mark Stroock John F Spence, Jr. John M. Alden
70 ^Analytical Systems Engineering Food Service/Industry HITCHCOCK CHAIR COMPANY Thomas H. Glennon Corporation * Boston Showcase Company Michael B. Rukin Jason Starr The Jofran Group EPSCO Inc. CREATIVE GOURMETS, LTD. Robert D. Roy Wayne P. Coffin Stephen E. Elmont Mitre Corporation The daka Food Service Management, Inc. Graphic Design Robert R. Everett Terry Vinee Clark/Linsky Design, Inc. PARLEX CORPORATION Dunkin' Donuts, Inc. Robert H. Linsky Herbert W. Pollack Robert M. Rosenberg Fader, Jones & Zarkades Design SIGNAL TECHNOLOGY *Federal Distillers, Inc. Associates CORPORATION Alfred J. Balema Roger Jones William E. Cook Garelick Farms, Inc. •"Gill Fishman and Associates '.Energy Peter M. Bernon Gill Fishman CABOT CORPORATION JOHNSON O'HARE COMPANY, INCfWeymouth Design, Inc. FOUNDATION, INC. Harry O'Hare Michael E. Weymouth Ruth C. Scheer MOET-HENNESSY YANKEE COMPANIES, INC. U.S. CORPORATION High Technology Ambassador Evan G. Galbraith Paul J. Montle Allied Corporation NATIONAL DISTILLERS AND Edward L. Hennessy, Jr. Engineering CHEMICAL CORPORATION ANALOG DEVICES, INC. Goldberg-Zoino & Associates, Inc. John Hoyt Stookey Ray Stata Donald T. Goldberg O'Donnell-Usen Fisheries Corporation ^^OIAjO COMPUTER INC ' Stone & Webster Engineering Arnold S. Wolf Thomas A. Vanderslice Corporation *Roberts and Associates William F. Allen, Jr. "Aritech Corporation Richard J. Kunzig James A. Synk Entertainment/Media Ruby Wines AT&T Theodore Rubin GENERAL CINEMA Robert C. Babbitt CORPORATION *Silenus Wines, Inc. AUGAT, INC. Richard A. Smith James B. Hangstefer Roger D. Wellington < National Amusements, Inc. The Taylor Wine Company, Inc. Automatic Data Processing Sumner M. Redstone Michael J. Doyle Josh S. Weston Williams/Gerard Productions, Inc. Shaws Supermarkets, Inc. BBF Corporation William J. Walsh Stanton W. Davis Boruch B. Frusztajer Finance/Venture Capital United Liquors, Ltd. BOLT BERANEK AND Michael Tye AMERICAN EXPRESS COMPANY NEWMAN INC. James P. Robinson III Stephen R. Levy Footwear Carson Limited BOSTON FINANCIAL & EQUITY Herbert Carver * Jones & Vining, Inc. CORPORATION Sven A. Vaule, Jr. FARRELL, HEALER & COMPANY Sonny Monosson Richard Farrell MERCURY INTERNATIONAL "Compugraphic Corporation TRADING CORPORATION THE FIRST BOSTON Carl E. Dantas Irving A. Wiseman CORPORATION Computer Corporation of America Mark S. Ferber MORSE SHOE, INC. John Donnelly, Jr. Manuel Rosenberg HAMBRECHT & QUIST VENTURE COMPUTER PARTNERS PARTNERS The Rockport Corporation Paul J. Crowley Bruce Katz Robert M. Morrill Costar Corporation Kaufman & Company STRIDE RITE CORPORATION Otto Momingstar Sumner Kaufman Arnold S. Hiatt DIGITAL EQUIPMENT TA ASSOCIATES CORPORATION Peter A. Brooke Furnishings/Housewares Kenneth H. Olsen
Tracy Financial, Inc. COUNTRY CURTAINS DYNATECH CORPORATION
Robert E. Tracy Jane P. Fitzpatrick J. P. Barger
71 *EG&G, Inc. TASC •Johnson & Higgins Dean W. Freed Arthur Gelb Robert A. Cameron
* Encore Computer Corporation *Tech/()ps, Inc. Kendall Insurance, Inc. Kenneth G. F'isher Marvin G. Schorr Kennett "Skip" Kendall, Jr. *General Eastern Instruments TERADYNE, INC. LIBERTY MUTUAL INSURAN CI Corporation Alexander V. d'Arbeloff COMPANIES Pieter R. Wiederhold *Thermo Electron Corporation Melvin B. Bradshaw GenRad Foundation George N. Hatsopoulos THE NEW ENGLAND Linda B. Smoker WANG LABORATORIES, INC. Edward E. Phillips HELIX TECHNOLOGY An Wang Sullivan Risk Management Group CORPORATION *XRE Corporation John Herbert Sullivan Frank Gabron John K. Grady •Charles H. Watkins & Company, hu
THE HENLEY GROUP Richard P. Nyquist Hotels/Restaurants Paul M. Montrone BOSTON PARK Investments Hewlett-Packard Company PLAZA HOTEL & TOWERS Alexander R. Rankin Amoskeag Company Roger A. Saunders HONEYWELL Joseph B. Ely II *The Hampshire House Warren G. Sprague BEAR STEARNS & COMPANY Thomas A. Kershaw Keith H. Kretschmer Hyeor, Inc. HOWARD JOHNSON COMPANY Joseph Hyman E.F HUTTON & COMPANY, INC. G. Michael Hostage Paul Crabtree IBM CORPORATION S. Meridien Hotel Paul J. Palmer Endowment Management & Resear Bernard Lambert Corporation Instron Corporation Mildred's Chowder House Stephen D. Cutler Harold Hindman James E. Mulcahy FIDELITY INVESTMENTS *Ionics, Inc. THE RED LION INN Samuel W Bodman Arthur L. Goldstein John H. Fitzpatrick •Fidelity Service Company *M/A-COM, Inc. *Sonesta International Hotels Robert W. Blucke Vessarios G. Chigas Corporation Goldman, Sachs & Company *Masscomp Paul Sonnabend Stephen B. Kay August P. Klein THE WESTIN HOTEL KENSINGTON INVESTMExNT Massachusetts High Technology Bodo Lemke Council, Inc. COMPANY Alan E. Lewis Howard P. Foley Insurance KIDDER, PEABODY& MATEC CORPORATION *A.I.M. Insurance Agency, Inc. COMPANY, INC. Ted Valpey, Jr. James A. Radley John G. Higgins MILLIPORE CORPORATION *Allied Adjustment Service John A. Gilmartin Charles A. Hubbard •Loomis Sayles & Company Robert L. Kemp The Norton Company Arkwright Boston Insurance MORGAN STANLEY & COM PAN Donald R. Melville Frederick J. Bumpus Jack Wadsworth *Orion Research Incorporated CAMERON & COLBY CO., INC. Moseley, Hallgarten, Estabrook & Alexander Jenkins III Graves D. Hewitt Weeden, Inc. * Polaroid Corporation *Consolidated Group, Inc. Fred S. Moseley I.M. Booth Woolsey S. Conover PAINEWEBBER, INC. PRIME COMPUTER, INC. FRANK B. HALL & COMPANY OF James F. Clear>' Joe M. Henson MASSACHUSETTS •The Putnam Management PRINTED CIRCUIT Colby Hewitt, Jr. Company, Inc. CORPORATION Robert D. Gordon Adjusters, Inc. Lawrence J. Lasser Peter Sarmanian Robert D. Gordon SALOMON INC. RAYTHEON COMPANY JOHN HANCOCK MUTUAL LIFE Joseph P. Lombard Thomas L. Phillips INSURANCE COMPANY E. James Morton SMITH BARNEY, HARRIS UPH SofTech, Inc. & COMPANY Jr. Fred S. James Company of Justus Lowe, & New Robert H. Hotz England, Inc. STELLAR COMPUTER Street Development Compan P. Joseph McCarthy •State J. William Poduska John R. Gallagher III
72 TUCKER, ANTHONY & Jason M. Cortell & Associates, Inc. ERVING PAPER MILLS Jason M. Cortell Charles B. R. L. DAY, INC. Housen Gerald Segel The Forum Corporation *FLEXcon Company, Inc. Wainwright Capital John W. Humphrey Mark R. lingerer John M. Plukas *General Electric Consulting Services The Foxboro Company WOODSTOCK CORPORATION Corporation Earle W Pitt Frank B. Condon James J. O'Brien, Jr. GENERAL ELECTRIC PLASTICS KAZMAIER ASSOCIATES, INC. BUSINESS GROUP Richard W. Kazmaier, Jr. Glen H. Hiner
Legal Irma S. Mann, Strategic Marketing GENERAL ELECTRIC COMPANY/ Irma S. Mann LYNN Bingham, Dana & Gould Frank E. Pickering Everett H. Parker McKINSEY & COMPANY, INC. Robert P O'Block GENERAL LATEX & CHEMICAL Dickerman Law Offices CORPORATION Lola Dickerman William M. Mercer-Meidinger, Inc. Robert W. MacPherson Chester D. Clark Fish & Richardson THE GILLETTE COMPANY John N. Williams Mitchell & Company Colman M. Mockler, Jr. Gadsby & Hannah Carol B. Coles GTE ELECTRICAL PRODUCTS Jeffrey P. Somers *Rath & Strong, Inc. Dean T. Langford GOLDSTEIN & MANELLO Arnold 0. Putnam Company, Inc. Richard J. Snyder The Wyatt Company *Harvard Folding Box Melvin A. Ross Hale & Dorr Michael H. Davis Paul Brountas Hollingsworth & Vose Company Gordon W Moran Mintz, Levin, Cohn, Ferris, Glovsky Manufacturer's Representatives and Popeo, PC. The Horn Corporation Francis X. Meaney Barton Brass Associates Robert H. Lang, Jr. Nissenbaum Law Offices Barton Brass The Kendall Company J. Dale Sherratt Gerald L. Nissenbaum Paul K. O'Rourke, Inc. PALMER & DODGE Paul K. O'Rourke The Kenett Corporation Robert E. Sullivan Julius Kendall Peabody & Arnold LEACH & GARNER COMPANY Manufacturing/Industry Paul R. Devin Philip F. Leach
' Peabody & Brown Acushnet Company NEW ENGLAND BUSINESS Maurice Zilber John T. Ludes SERVICE, INC. sherbume, Powers & Needham Alles Corporation Richard H. Rhoads Daniel Needham, Jr. Stephen S. Berman *New England Door Corporation Robert C. Frank Neiss, Angoff, Coltin, Koski & Ausimont Noll PC. Leonard Rosenblatt PLYMOUTH RUBBER INC. Dudley A. Weiss *Avondale Industries, Inc. COMPANY, Maurice J. Hamilburg William F. Council * Barry Wright Corporation Princess House, Inc. tanagement/Financial/Consulting Ralph Z. Sorenson Robert Haig .DVANCED MANAGEMENT The Biltrite Corporation RAND-WHITNEY CORPORATION Kraft .SSOCIATES, INC. Stanley J. Bernstein Robert K. Harvey Chet Krentzman *C.R. Bard, Inc. S.A.Y. Industries, Inc. Romilly H. Humphries larry Axelrod Consultants, Inc. Robert H. McCaffrey Harry Axelrod William Carter Company Scully Signal Company Manson H. Carter Robert Scully ^ lRTHUR D. LITTLE, INC. John F. Magee Cheeon Corporation *Soundesign Corporation Donald E. Conaway, Jr. Robert H. Winer ' iain & Company William W. Bain, Jr. *Chelsea Industries, Inc. *Sprague Electric Company 'HE BOSTON CONSULTING Ronald G. Casty John L. Sprague JROUP Dennison Manufacturing Company Superior Pet Products, Inc.
Arthur P. Contas Nelson G. Gifford Richard J. Phelps
73 *Termiflex Corporation Hub Mail Northland Investment Corpo William E. Fletcher Wally Bernheimer Robert A. Danziger The HMK Group of Companies *Itek Graphix Corporation Benjamin Schore Company Steven E. Karol Patrick Forster Benjamin Schore
TRINA, INC. LABEL ART, INC. Stanmar, Inc. Thomas L. Easton J. William Flynn Stanley W. Snider H.K. Webster Company, Inc. Massachusetts Envelope Company Urban Investment & Develop Dean K. Webster Steven Grossman Corporation Webster Spring Company, Inc. MERCHANTS PRESS R.K. Umscheid A.M. Levine Doug Clott Retail Wire Belt Company of America Rand Typography, Inc. J. Baker, Inc. F. Wade Greer, Jr. Mildred Nahabedian Sherman N. Baker Sir Speedy/Congress Street Media Ray Cadogan CARTER HAWLEY HALE THE BOSTON GLOBE/ STORES, INC. AFFILIATED PUBLICATIONS Philip xM. Hawley Publishing William 0. Taylor Child World, Inc. Addison Wesley Publishing Dennis H. Barron *The Boston Herald Company, Inc. Patrick J. Purcell Design Pak Incorporated Donald R. Hammonds WBZ-TV 4 Paul G. Grady CAHNERS PUBLISHING John J. Spinola COMPANY FILENE'S Michael J. Babeock WCRB/CHARLES RIVER In memory of Norman L. Cahners BROADCASTING, INC. HOUGHTON MIFFLIN COMPANY Herman, Inc. Richard L. Kaye Bernard A. Herman Harold T. Miller WCVB-TV 5 *Hills Department Stores Time Magazine S. James Coppersmith Stephen A. Goldberger Jeanne Kerr WNEV-TV 7 The E.B. Horn Company Yankee Publishing Incorporated Seymour L. Yanoff Harry Finn Rob Trowbridge *Jordan Marsh Company Personnel Elliot Stone Emerson Personnel, Inc. Real Estate/Development Karten's Jewelers Rhoda Warren Amaprop Developments, Inc. Joel Karten TAD Technical Services Corporation Gregory Rudolph London Harness Company David J. McGrath, Jr. The Beacon Companies Murray J. Swindell Edwin N. Sidman Printing NEIMAN-MARCUS *Boston Financial Technology W.E. Andrews Company William D. Roddy Group, Inc. Martin E. Burkhardt * Purity Supreme, Inc. Fred N. Pratt, Jr. *Bowne of Boston, Inc. Frank P. Giacomazzi *Combined Properties Inc. Donald J. *Saks Fifth Avenue Cannava Stanton L. Black * Ronald Hoffman Bradford & Bigelow, Inc. *John M. Corcoran & Company John D. Galligan John M. Corcoran Table Toppers Inc. CO., INC. Constance Isenberg CHADIS PRINTING *Corcoran, MuUins, Jennison, Inc. Chadis John Joseph E. Corcoran THE STOP & SHOP COMPANIES, INC. Courier Corporation *The Flatley Company French, Jr. Avram J. Goldberg Alden Thomas J. Flatley Customforms, Inc. Hilon Development Corporation ZAYRE CORPORATION Maurice Segall David A. Granoff Haim S. Eliachar DANIELS PRINTING COMPANY Historic Mill Properties, Inc. Science/Medical Bert Paley Lee S. Daniels Cambridge BioScience Gerald F. Buck *Espo Litho Company The Leggat McCall Companies David Fromer J Brad Griffith CHARLES RrV^R
* Grafaeon, Inc. *McGregor Associates LABORATORIES, INC. H. Wayman Rogers, Jr. Kathleen McGregor Henry L. Foster
74 'ompu-Chem Laboratories, Inc. Software/Information Services *Lily Truck Leasing Corporation Claude L. Buller CULLINET SOFTWARE, INC. John A. Simourian )AMON CORPORATION John J. Cullinane New England Lincoln-Mercury David I. Kosowsky EPSILON DATA Dealers Association J. P. Lynch [EALTH PROGRAMS MANAGEMENT, INC. NJTERNATIONAL, INC. Thomas 0. Jones THE TRANS-LEASE GROUP Donald B. Giddon John J. McCarthy, Jr. Dr. Interactive Data Corporation A.Webster, Inc. John Rutherfurd Travel Consultants International A. Webster, Jr. Phoebe L. Giddon John International Data Group
Patrick J. McGovem
Phoenix Technologies Ltd.
'Tvices Neil J Colvin Utilities
merican Cleaning Company, Inc. "Software International Corporation BOSTON EDISON COMPANY Joseph A. Sullivan, Jr. Frank Grywalski Stephen J. Sweeney
; isquith Corporation EASTERN GAS & FUEL Travel/Transportation L-aurence L. Asquith ASSOCIATES Cleansers, Inc. Federal Express Corporation William J. Pruyn 1 on Ton Rug Frederick W. Smith Armen Dohanian New England Electric System
Tire J. ' ictor Grillo & Associates Gans Company, Inc. Paul Sullivan David Gans v'ictor N. Grillo NEW ENGLAND TELEPHONE Center Garage HERITAGE TRAVEL, INC. COMPANY ] rudential ?rank Newcomb Donald R. Sohn Gerhard M. Freche
Conduct y<)ur business where location and Class "^" construction bl^nd to create tlie Horth Shore's^ ulti^ite office condomii pariiiynnfield Woods § Condominium Park. BrI
To arrange a private presentation call: 399'BOBS 200 Broadway/Route 1 Southbound/Lynnfield, MA
75 Inside Storiries
MusicAmerica host Ron Delia Chiesa takes vou "Inside the BSO" —
a series of special intermission features with members of the Boston
Symphony Orchestra and the people behind the scenes at Symphony Hall.
Inside the BSO
Fridays at 2pm
Saturdays at 8pm
WGBH89.7FM
76 ^n:^' Coming Concerts . . . rates and For --^BOSTON T information on /SYM PHONY \ \OKCHESTR.\/ Wednesday, 22 April at 7:30 in the advertising , X SEIJl OZAU-A ^=- Open Rehearsal Boston Symphony, Marc Mandel \nll discuss the program at 6:45 ill the Cohen Annex. Boston Pops, Thursday 'B'—23 April, 8-9:55 and SEIJI 0ZAW\ conducting Tanglewood program books LISZT Piano Concerto Xo. 2 please contact: KRYSTL\N ZIMER^LIX BRUCKNER Symphony Xo. 2 STE\T GANAK AD REPS
(617)-542-6913 Friday "B"—24 April, 2-3:50 SEIJI 0ZA\\A conducting LISZT Totentanz, for piano and orchestra KRYSTIAN ZIMER^LVN BRUCKNER S\'mphony No. 2
$iXoto(j^kfBi$tfiiur(XHt-^ Saturday 'B'—25 April, 8-9:55 SEIJI 0ZA\VA conducting
LISZT Piano Concerto No. 1 KRYSTIAN ZIMERMAN BRUCKNER S\Tnphony No. 2
Programs subject to change.
A charming 19th Century Townhouse serving superb continental cuisine in contemporary informal elegance. Offering lunch ana dinner with a variety offresh seafood specials daily, and our after theatre cafe menu till midnight.
Serving Lunch: 12:00-2:30 weekdays Dinner: 6:00-10:30 Sun-Thurs. 6:00-12:00 ¥ri. -Sat. Brunch: 11:00-3:00 Sun.
reservations: 266-3030
99 St. Botolph Street behind the Colonnade Hotel Valet Parking
77 78 Symphony Hall Information . . .
FOR SYMPHONY HALL CONCERT AND make your ticket available for resale by call- TICKET INFORMATION, eaU (617) ing the switchboard. This helps bring 266-1492. For Boston Symphony concert needed revenue to the orchestra and makes program information, caU "C-0-N-C-E-R-T." your seat available to someone who wants to attend the concert. A mailed receipt will THE BOSTON SYMPHONY performs ten acknowledge your tax-deductible months a year, in Symphony Hall and at contribution. Tanglewood. For information about any of the orchestra's activities, please call Sym- RUSH SEATS: There are a limited number phony Hall, or write the Boston Symphony of Rush Tickets available for the Friday- Orchestra, Symphony Hall, Boston, MA afternoon and Saturday-evening Boston 02115. Symphony concerts (subscription concerts only). The continued low price of the Satur- THE EUNICE S. AND JULIAN COHEN day tickets is assured through the gener- ANNEX, adjacent to Symphony Hall on osity of two anonymous donors. The Rush Huntington Avenue, may be entered by the Tickets are sold at $5.50 each, one to Symphony Hall West Entrance on Hunt- a customer, at the Symphony Hall West ington Avenue. Entrance on Fridays beginning 9 a.m. and FOR SYMPHONY HALL RENTAL Saturdays beginning 5 p.m. INFORMATION, call (617) 266-1492, or LATECOMERS will be seated by the write the Function Manager, Symphony ushers during the first convenient pause in Hall, Boston, MA 02115. the program. Those who wish to leave THE BOX OFFICE is open from 10 a.m. before the end of the concert are asked to until 6 p.m. Monday through Saturday; on do so between program pieces in order not concert evenings, it remains open through to disturb other patrons. intermission for BSO events or just past SMOKING IS NOT PERMITTED in any starting-time for other events. In addition, part of the Symphony Hall auditorium or in the box office opens Sunday at 1 p.m. when the surrounding corridors. It is permitted there is a concert that afternoon or evening. only in the Cabot-Cahners and Hatch Single tickets for all Boston Symphony rooms, and in the main lobby on Massachu- subscription concerts become available at setts Avenue. the box office once a series has begun. For outside events at Symphony Hall, tickets will be available three weeks before the con- cert. No phone orders will be accepted for these events. Vast Selection of THE SYMPHONY SHOP is located in the A Huntington Avenue stairwell near the Arts, Scholarly & Cohen Annex and is open from one hour Literary Titles before each concert through intermission. Almost all discounted The shop carries all-new BSO and musical- motif merchandise and gift items such as 20% all the time calendars, appointment books, drinking $12.99 per disc on London, glasses, holiday ornaments, children's Deutsche Grammaphon,& books, and BSO and Pops recordings. All Philips Compact discs. proceeds benefit the Boston Symphony Mail —Phone— Special orders welcome Orchestra. For merchandise information, 230 Elm St., Davis Sq. Somerville 02144 please call 267-2692. N. on Mass. past TICKET RESALE: If for some reason you B««to«.Bo«i..nd Porter Sq. Right on lucerd warwhouM St. blocks to Elm. are unable to attend a Boston Symphony Day 3 Davis stop on Red Line 623-7766 concert for which you hold a ticket, you may
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/ Dedicated to Alma Maria Mahler ALBAN BERG WOZZECK Opera in 3 acts (15 scenes) Opus 7
after GEORG BUCHNER
BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA
ihrator
BOSTON SYMPHONY ORCHESTRA Seiji Ozawa conducting
Benjamin Luxon, baritone (Wozzeck) Hildegard Behrens, soprano (Marie) Jacque Trussel, tenor (Drum Major) Jon Garrison, tenor (Andres) Ragnar Ulfung, tenor (Captain) Siegfried Vogel, bass (Doctor) Margaret Yauger, mezzo-soprano (Margret) Tanglewood Festival Chorus, John Oliver, conductor Youth pro Musica, Roberta Humez, director
17, 18, and 21 April 1987 Symphony Hall, Boston
English/German Libretto
English Translation by ERIC BLACKALL and VIDA HARFORD
UE 16953NJ UNIVERSAL EDITION Copyright 1923, 1931 by Universal Edition A.G., Wien English translation Copyright 1952 by Alfred A. Kalmus, London Copyright renewed All Rights Reserved Used by permission of European American Music Distributors Corporation, sole U.S. agent for Universal Edition. ERSTER AKT, ERSTE SZENE ACT ONE, SCENE ONE
Zimmer des Hauptmanns. FriihmOrgens. Der Hauptmann The Captain's room. Early morning. The Captain is ist auf eine Stuhl vor einem Spiegel; Wozzeck raciest den sitting on a chair in front of a mirror, while Wozzeck is Hauptmann. shaving him.
HAUPTMANN CAPTAIN Langsam, Wozzeck, langsam—! EMs noch dem Andern! Easy, Wozzeck, easy! Do take your time, man! (unwillig) Er macht mir ganz schwindlich . . . (bedeckt (anxiously) You make me quite giddy. (Covers his fore- Stirn und Augen mit der Hand) head and eyes with his hand. Wozzeck stops what he is doing. The Captain steadies himself.) WOZZECK (unterbricht seine Arbeit) CAPTAIN HAUPTMANN (wieder beruhigt) What shall I do with the time you save in ten minutes, Was soil ich denn mit den zehn Minuten anfangen, die Er if you finish early today? (more vigorously) Wozzeck, heut' zu friih fertig wird? consider, you surely still have almost thirty years to live yet . . . Thirty years . . . that's three hundred and sixty WOZZECK (rasiert—mit Unterbrechungen—weiter) months to go . . . and how many days and hours and minutes! . . . What will you do with the great expanse of HAUPTMANN (energischer) time before you now? (serious again) Make up your Wozzeck, bedenk' Er, Er hat noch seine schonen dreissig mind, Wozzeck! Jahr' zu leben! Dreissig Jahre: macht dreihundert und sechzig Monate and erst wieviel Tage, Stunden, Minuten! WOZZECK Was will Er denn mit der ungeheuren Zeit all' anfangen? Yes sir, I will sir. (wieder streng) Teil' Er sich eM, Wozzeck! WOZZECK CAPTAIN (mysteriously) Jawohl, Herr Hauptmann! It always makes me afraid for the world to think of eternity. Always—that's "eternal" . . . (you understand). HAUPTMANN (geheimnisvoll) But then again, it cannot be always . . .but a mere Es wird mir ganz angst urn die Welt, wenn ich an die moment, yes, a moment. Wozzeck, I'm terrified when Ewigkeit denk'. "Ewig," das ist ewig! (das sieht Er eM.) I'm thinking that the whole world in one short day Nun ist es aber wieder nicht ewig, sondern ein Augen- revolves. And if I see a mill-wheel that turns, it always blick, ja, eM Augenblick! —Wozzeck, es schaudert mich, gives me melancholia. wenn ich denke, dass sich die Welt in einem Tag herum- dreht: drum kann ich auch kein Milhlrad mehr sehn, oder WOZZECK ich werde melancholisch! Yes sir, I see sir. WOZZECK CAPTAIN Jawohl, Herr Hauptmann! Wozzeck, your face always looks so harrassed. A worthy man takes his time, a worthy man with a conscience that's HAUPTMANN undefiled does all things slowly. Do say something, Wozzeck, Er sieht immer so verhetzt aus! EM guter Wozzeck. Come tell me, how's the weather?' Mensch tut das nicht. Ein guter Mensch, der sein gutes Gewissen hat, tut alles langsam . . . Red' Er doch was, WOZZECK Wozzeck. Was ist heut' fur ein Wetter? Not good. Not good, sir. Wind ... WOZZECK CAPTAIN Sehr schlimm, Herr Hauptmann! Wind! I feel it . . . there's always something so swift outside there. Such a wind always seems to me just like a mouse. HAUPTMANN (artfully) I think there's something blowing from South- Ich spur's schon, 's ist so was Geschwindes draussen; so North ... eM Wind macht mir den Effekt, wie eine Maus. (pfiffig) Ich glaub', wir haben so was aus Sud-Nord? WOZZECK Yes sir, quite so sir. WOZZECK Jawohl, Herr Hauptmann! CAPTAIN (laughs loudly) South-North! (laughs still more loudly) Oh, you are HAUPTMANN (lacht leirmend) dense! (sympathetically) Wozzeck, you are a worthy Siid-Nord! (lacht noch lartnender) Oh, Er ist dumm, man . . . (striking an attitude) and yet . . . you have no ganz abscheulich dumm! (geruhrt) Wozzeck, Er ist ein moral sense. Moral sense . . . (very dignified) . . . that is, guter Mensch, (setzt sick in Positur) aber ... Er hat keine acting quite morally. Is that clear? . . . it is a splendid Moral! (mit viel Wiirde) Moral: das ist, wenn man word . . . (very grand) You have a child which is not moralisch ist! (Versteht Er? Es ist ein gutes Wort.) blessed by the clergy ... (mit Pathos) Er hat eM Kind ohne den Segen der Kirche, WOZZECK WOZZECK Well, yes ... (stops) Jawo (unterbricht sick)
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1 HAUPTMANN CAPTAIN . . . wie unser hochwiirdiger Herr Garnisonsprediger As our regimental chaplain says to us, preaching in sagt: "Ohne den Segen der Kirche"—(das Wort ist nicht church: " . . . which is not blessed by the clergy" (the von mir.) words are not my own) ... WOZZECK WOZZECK Herr Hauptmann, der liebe Gott wird den armen Wurm And yet sir, the good Lord God will not spurn the poor nicht d'rum ansehn, ob das Amen darilber gesagt ist, eh' little fellow, all because the "amen" was not spoken er gemacht wurde. Der Herr sprach: "Lasset die Kleinen before a child was thought of. The Lord spake: "Suffer zu mir kommen!" the children to come to Me" ...
HAUPTMANN (wiitend aufspringend) CAPTAIN (jumping up in a rage) Was sagt Er da?! Was ist das fur eine kuriose Antwort? What do you mean? And what sort of curious answer is Er macht mich ganz konfus! Wenn ich sage: "Er," so that? You make me quite confused. When I'm saying mein' ich "Ihn," "Ihn" "you," then I mean you, you .. . WOZZECK WOZZECK Wir arme Leut! Sehn Sie, Herr Hauptmann, Geld, Geld! Poor folk like us ... see now ... need money ... look, sir Wer kein Geld hat! Da setz' einmal einer Seinesgleichen . . . always money. Let one of us try to bring his own auf die moralische Art in die Welt! Man hat auch sein kind into the world in a good moral way . . . We're all Fleisch und Blut! Ja, wenn ich ein Herr war, und hatt' made of flesh and blood. If I were a lord, sir, and wore a einen Hut und eine Uhr und ein Augenglas und konnt' silk hat and had a watch and an eyeglass too, and could vornehm reden, ich wollte schon tugendhaft sein! Es talk genteelly, then I would be virtuous too. It must be muss was Schemes sein urn die Tugend, Herr Hauptmann. fine indeed to be virtuous, indeed, sir ... and yet ... I am Aber ich bin ein armer Ked! Unsereins ist doch einmal a simple soul. Folk like us always are unfortunate ... in unselig in dieser und der andern Welt! Ich glaub', wenn this world and in any other world. I think that if we wir in den Himmel kamen, so miissten wir donnern should go to heaven, then we shall be thunder-makers. helfen! CAPTAIN (somewhat nonplussed) HAUPTMANN (etwas fassungslos) All right, all right. (pacifying) I know that you're a Schon gut, schon gut! Ich weiss: (beschwichtigend) worthy man (exaggerating) a worthy man . . . (firmer, Er ist ein guter Mensch, (ubertrieben) ein guter Mensch. more controlled) . . . but you do think too much; that (etwas gefasster) Aber Er denkt zu viel, das zehrt; Er hurts. Your face always looks so harrassed. (anxiously) sieht immer so verhetzt aus. (besorgt) Der Diskurs hat This discussion has quite unnerved me. Run away, and mich angegriffen. Geh' Er jetzt, und renn' Er nicht so! yet do not run. Go quite slowly the length of the high- Geh' Er langsam die Strasse hinunter, genau in der Mitte way, and keep to the middle; and once more, do go und nochmals, geh' Er langsam, htibsch langsam! slowly, quite slowly ...
WOZZECK (ab) (Exit Wozzeck)
Verwandlung Change of scene
- Orchester-Nachspiel Orchestral interlude
ERSTER AKT, ZWEITE SZENE ACT ONE, SCENE TWO
Freies Feld, die Stadt in der Ferne, Spiitnachmittag. An open field outside the town. Late afternoon. Wozzeck and Andres are cutting sticks in the bushes. ANDRES und WOZZECK (schneiden Stocke im Cebiisch) WOZZECK WOZZECK Hey! This place is accursed. Du, der Platz ist verflucht! ANDRES ANDRES (weiter arbeitend) How now! (sings) Ach was! (singt vor sich hin) The huntsman's life is gay and free, Das ist die schone Jigerei, Shooting is free for all. Schiessen steht Jedem frei! There would I huntsman be, Da mocht ich Jager sein: There would I be. Da mocht ich hin. WOZZECK WOZZECK This place is accursed! See how the mist is floating above Der Platz ist verflucht! Siehst Du den lichten Streif da the grass there, where the toadstools are springing up. fiber das Gras hin, wo die Schwamme so nachwachsen? There rolls at dusk (whispered) a head! (singing) Once Da rollt Abends ein Kopf. Hob ihn einmal Einer auf, a man did lift it up, thought it was a hedgehog. Three meint', es war' ein Igel. Drei Tage und drei Nachte drauf, days and three nights then . . . and he lay in his wooden und er lag auf den Hobelspinen. coffin ...
2 ANDRES ANDRES Es wird finster, das macht Dir angst. Ei was! (hort mit It gets darker. You are afraid? ... How now? (He stops der Arbeit auf, stellt sich in Positur und singt) working, strikes a stance and sings) Liuft dort ein Has vorbei, Runs there a hare so free, Fragt mich, ob ich Jager sei? Asks me if I huntsman be, Jager bin ich auch schon gewesen, Huntsman have I long since been, Schiessen kann ich aber nit! Try to shoot it, I can not!
WOZZECK (unterbricht auch seine Arbeit) WOZZECK Still, Andres! Das waren die Freimaurer! Ich hab's! Quiet, Andres, that must be the Freemasons ... Die Freimaurer! Still! Still! ANDRES ANDRES (singt weiter) Two fat hares were sitting, Sassen dort zwei Hasen, Eating off the greeny grass ... Frassen ab das grilne (Gras) (unterbricht den Cesang) WOZZECK Beide lauschen angestrengt.) That's it! The Freemasons! Quiet! Still! ... ( ANDRES (selbst etwas beunruhigt, wie um Wozzeck, und sich, zu beruhigen) ANDRES (stops singing, himself rather uneasy. Then, in order to calm down Wozzeck, and himself) Sing lieber mit! Sing it with me! ... Frassen ab das Griine Gras Bis (wird unterbrochen) (setzt fort) auf den Rasen. Eating off the greeny grass, Down to the roots ... WOZZECK (stampft auf) (ebenso) Hohl! Alles hohl! Ein Schlund! Es schwankt WOZZECK (stamping on the ground) . . . (er taumelt) Horst Du, es wandert was mit uns da Hollow, all quite hollow! A gulf! It quakes! (he unten! (in hochster Angst) Fort, fort! (will Andres mit staggers) Listen, there's something moving with us down sick reissen) there. (in mounting fear) Away!
ANDRES (halt Wozzeck zurack) ANDRES (holding Wozzeck back) He, bist Du toll? Hey! Are you mad? WOZZECK (bleibt stehen) WOZZECK (trying to pull Andres with him) 's ist kurios still. Und schwiil. Man mochte den Atem anhalten . (starrt in die Gegend) It's strangely still and close . . . (stands still) . . . so close that your breathing seems to stop . . . (stares into the ANDRES (nach einer Pause) distance) .. . Was? (Die Sonne ist im Begriff unterzugehen. Der letzte scharfe Strahl taucht den Horizont in das grellste Sonnen- ANDRES licht, dem ziemlich unvermittelt die (wie tiefste Dunkel- What? (spoken) (The sun is just setting, the last rays are heit wirkende ) Ddmmerung folgt, an die sick das Auge coloring the horizon) allmahlich gewohnt.) WOZZECK WOZZECK A fire! A fire there! It rises from the earth into heaven, Ein Feuer! Ein Feuer! Das fihrt von der Erde in den and with a tumult falling, just like trumpets . . . How it Himmel und ein Getos' herunter wie Posaunen. Wie's rattles! ... (twilight, gradually) heranklirrt! ANDRES (mit geheuchelter Gleichgiiltigkeit) ANDRES (feigning calmness) Die Sonn' ist unter, drinnen trommeln sie. (packt die The sun has set now ... hear the drummers there. geschnittenen Stocke zusammen) WOZZECK WOZZECK Still, all is still ... and all the world ... dead. Still, alles still, als ware die Welt tot. ANDRES ANDRES Night! We must go home. Nacht! Wir miissen heim! (Beide gehen langsam ab.) (Exeunt both slowly.) Verwandlung Change of scene
Orchester Nachspiel und beginnende Militirmusik hinter Orchestral interlude and beginning of military music for der Szene the next scene
ERSTER AKT, DRITTE SZENE ACT ONE, SCENE THREE
Mariens Stube. Abends. Die Militiirmusik nahert sich. Marie's room. Evening. The military band approaches.
MARIE (mit ihrem Kinde am Arm beim Fenster, spricht) MARIE (with her child on her arm, at the window) Tschin Bum, Tschin Bum, Bum, Bum, Bum! Horst Bub? Chin, boom, chin, boom, boom, boom, boom. Do you Da kommen sie! hear, boy? They're coming now...
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3 (Die Militiirmusik — mit dem Tambourmajor an der (The band, headed by the Drum Major, comes into the
Spitze — gelangt in die Strasse vor Mariens Fenster.) street before Marie's window.)
MARGRET (auf der Strasse, sieht zum Fenster herein und MARGRET (peers into the window and says to Marie) spricht mit Marie) What a man! . . . Like a tree! ... Was, ein Mann! Wie ein Baum! MARIE (through the window to Margret) MARIE (spricht zum Fenster hinaus) He stands on his feet like a lion. (The Drum Major greets seinen Fiissen wie ein Low'. (Der Tambour- Er steht auf Marie who waves to him) major griisst herein. Marie winkt freundlich hinaus)
MARGRET MARGRET Ei was freundliche Augen, Frau Nachbarin! So was is Oho! What friendly glances, neighbor! We're not used to man an ihr nit gewohnt! that from you.
MARIE (singt vor sich hin) MARIE (singing to herself) Soldaten, Soldaten The soldiers, the soldiers are splendid fellows ... sind schone Burschen! MARGRET MARGRET (immer zum Fenster hereingesprochen) Your eyes are sparkling! Ihre Augen glinzen ja! MARIE MARIE What if they are? What's that to do with you? Take your Und wenn! Was geht Sie's an? Trag' Sie ihre Augen zum eyes to the Jew and have them polished; perhaps they'll Juden und lass Sie sie putzen: vielleicht glanzen sie such be bright enough for two buttons. noch, dass man sie fur zwei Knopf verkaufen konnt'. MARGRET MARC RET How dare you, you "madam!" I'm an honest woman, but Was Sie, Sie "Frau Jungfer!" Ich bin ein honette Person, everyone knows that you can't keep your eyes off any aber Sie, das weiss Jeder, Sie guckt sieben Paar lederne man. Hosen durch! MARIE (shouting at her) MARIE (schreit sie an) Hussy!! (She slams the window, the band is no longer Luder! (schlagt das Fenster zu. Die Militiirmusik ist heard. Marie is alone with her child) Come, my child. plOtzlich—als Folge des zugeschlagenen Fensters—un- We shan't hear their slanders. (Takes the child in her horbar geworden. Allein mit dem Kind) Komm, mein arms) You are just an innocent . . . (sits) and give to Bub! Was die Leute wollen! Bist nur ein arm' Hurenkind your mother so pure a joy, although no priest blessed und machst Deiner Mutter doch so viel Freud' mit your little face. Deinem unehrlichen Gesicht! (She rocks the child) . . . Hush-a-bye, baby ... (wiegt das Kind) Eia popeia Maiden, what song shall you sing? Martel, was fangst Du jetzt an? You have a child, but no ring. Hast ein klein Kind und kein Mann! Why such sorrow pursue ...? Ei, was frag' ich darnach, Singing the whole night through; Sing' ich die ganze Nacht: Hush-a-bye, baby, my darling son, Eia popeia, mein siisser Bu', Nobody cares, ne'er a one. Gibt mir kein Mensch nix dazu! Jackie, go saddle your horses now, Hansel, spann' Deine sechs Schimmel an, Give them to eat and to spare, Gib sie zu fressen aufs neu- No oats to eat today, Kein Haber fresse sie, No water drink today, Kein Wasser saufe sie, Purest, coolest wine shall it be ... Lauter kale Wein muss es sein! Purest, coolest wine shall it be. Lauter kiihle Wein muss es sein!
(Das Kind ist eingeschlafen, Marie in Gedanken versunken. (The child is asleep. Marie is now sunk in thought. There Es klopft am Fenster.) is a knocking at the window, and she starts with fright)
MARIE (zusammenfahrend) MARIE Wer da? (aufspringend) Bist Du's, Franz? (das Fenster Who's there? (Jumps up) Is't you, Franz? (opens the offnend) Komm herein! window) Come indoors.
WOZZECK (sum Fenster hereinsprechend) WOZZECK Kann nit! Muss in die Kasern'! No, no. Must go and report.
MARIE MARIE Hast Stecken geschnitten fur den Major? And have you been all this time cutting sticks?
WOZZECK WOZZECK Ja, Marie. Ach Yes, Marie ... Ah!
MARIE MARIE Was hast Du, Franz? Du siehst so verstOrt? What is it, Franz? You look so distraught.
4 WOZZECK WOZZECK Pst, Still! Ich hab's heraus! Es war ein Gebild am Sh! Hush! I see it now. A shape lay across the heavens, Himmel, and Alles in Glut! Ich bin Vielem auf der Spur! and all was aglow! Now I think I'm on the track! MARIE MARIE Mann! Franz! WOZZECK WOZZECK Und jetzt Alles finster, finster . . . Marie, es war wieder And now all is darkness, darkness . . . Marie, and some- was, (er iiberlegt) vielleicht . .. (geheimnisvoll) Steht thing else, too . . . (he reflects) . . . maybe . . . (mysteri- nicht geschrieben: "Und sieh, es ging der Rauch auf vom ously) Is it not written: "Behold, the smoke did rise from Land, wie eM Rauch vom Ofen." the land, as from out a furnace?"
MARIE MARIE Franz! Franz! WOZZECK WOZZECK Es ist hinter mir hergegangen bis vor die Stadt. (in It came after me all the way back into the town. (in hochster Exaltation) Was soil das werden?! great excitement) What now will happen?
MARIE (ganz ratios, versucht ihn zu beruhigen) MARIE (perplexed, tries to calm him, and shows him the Franz! Franz! (halt ihm den Buben hin) Dein Bub ... child) Franz! Franz! Your child! WOZZECK (geistesabwesend) Mein Bub . . . (ohne ihn anzusehn) Mein Bub . . . Jetzt WOZZECK muss ich fort. (hastig ab) My child . . . (without looking at him) . . . my child ... I must be off. (rushes off) MARIE (geht vom Fenster weg, allein mit dem Kind, betrachtet es schmerzlich) MARIE Der Mann! So vergeistert! Er hat sein Kind nicht ange- "Poor man" . . . so distracted ... and for his child he had sehn! Er schnappt noch iiber mit den Gedanken! Was no eyes. He'll lose his senses with these wild fancies. bist so still, Bub. Fiirch'st Dich? Es wird so dunkel, man You are so still, child . . . Frightened? . . . It's now as meint, man wird blind; sonst scheint doch die Latern' dark here as if one were blind. No lamp out in the street herein! (ausbrechend) Ach! Wir arme Leut. Ich halt's alight. (She breaks out in sudden anguish) Ah! Our lot nit aus ... Es schauert mich . (stiirzt zur Tar) is hard. I'll bear it no more. I'm terrified! (rushes to the door)
Verwandlung Change of scene Orchester-Oberleitung Orchestral interlude
ERSTER AKT, VIERTE SZENE ACT ONE, SCENE FOUR
Studierstube des Doktors. Sonniger Nachmittag. Woz- The Doctor's study. A sunny afternoon. The doctor zeck tritt ein. rushes to meet Wozzeck as he comes into the room.
DOKTOR (eilt hastig dent eintretenden Wozzeck ent- DOCTOR gegen) What is this now, Wozzeck? Where is your word? Eh, eh, Was erleb' ich, Wozzeck? Ein Mann ein Wort? Ei, ei, ei! eh!
WOZZECK WOZZECK Was denn, Herr Doktor? What sir? ... What, Doctor? ...
DOKTOR* DOCTOR• Ich habs gesehen, Wozzeck, Er hat wieder gehustet, auf I saw you now, Wozzeck, I saw you just now coughing. der Strasse gehustet, gebellt wie eM Hund! Geb' ich Ihm You have once again failed me, and roared in the street. dafiir alle Tage drei Groschen? Wozzeck! Das ist You do not get paid every day for such antics, Wozzeck! schlecht! Die Welt ist schlecht, sehr schlecht! (stohnend) This is bad, —the world is bad, so bad! Oh! Oh! WOZZECK WOZZECK Listen please, Doctor. When forced to that by Nature ... Aber Herr Doktor, wenn einem die Natur kommt! DOCTOR (flaring up) DOKTOR (auffahrend) By your nature! By your nature!! Superstition! Ridi- Die Natur kommt! Die Natur kommt! Aberglaube, culous superstition! Have I not proved quite clearly that abscheulicher Aberglaube! Hab' ich nicht nachgewiesen, the muscles are subject to the human will? (flaring up dass das Zwerchfell dem Willen unterworfen ist? (wieder again) Nature's force, Wozzeck! . . . Man's will is free.
*Berg has here changed Buchner's "gepissr ("urinating") to the less objectionable "gehustet" ("coughing"), thereby altering the focus of the Doctor's concern. At these performances, Buchner's original word will be used.—Ed.
—Please turn the page quietly.—
5 auffahrend) Die Natur, Wozzeck! Der Mensch ist frei! In man, individuality is sublimated into freedom. (Shak- In dem Menschen verklart sich die Individualitk zur ing his head, in a whisper) Misbehaving! . . . (to Wozzeck) Freiheit! (kopfschiitte/nd, mehr zu sich) (Husten Have you already eaten your beans up, Wozzeck? (Woz- mussen!) (wieder zu Wozzeck) Hat Er schon seine zeck nods assent) Beans in plenty, nought but beans for Bohnen gegessen, Wozzeck? (Wozzeck nicht bejahend) dinner. Mark my words. And then, next week, we'll Nichts als Bohnen, nichts als Hulsenfriichte! Merk' Er start with a little leg-of-mutton. I'm starting a whole sich's! Die nichste Woche fangen wir dann mit Schopsen- revolution in medicine (counting on his fingers) albumen, fleisch an. Es gibt eine Revolution in der Wissenschaft: fats too, carbohydrates and next . . . oxyaldehydanhy- (an den Fingern aufzahlend) Eiweiss, Fette, Kohlen- dridium . . . (with sudden anger) And yet, you have once hydrate; (grosse Geste) und zwar: Oxyaldehydan- again failed me! (goes up to Wozzeck; then suddenly hydride . . . (plotzlich emport) Aber, Er hat wieder checks himself) No! . . . This anger will not do. Anger is gehustet . . . (tritt auf Wozzeck zu) . . . (sich plOtzlich bad for health and bad for one's science. I am quite beherrschend) Nein! —Ich kgere mich nicht, argern ist steady. My pulse is beating its usual sixty. Take care, and ungesund, ist unwissenschaftlich! Ich bin ganz ruhig, do not let a mere man upset you. If it were some lizard mein Puls hat seine gewohnlichen Sechzig, behut, wer now, which had become indisposed . . . (more vigorously) wird sich fiber einen Menschen argern! (mit Wiirme) But now, really, Wozzeck . . . you surely need not mis- Wenn es noch ein Molch ware, der einem unpasslich wird. behave so. (Wozzeck tries to pacify the Doctor who is all (wieder heftig) Aber, aber, Wozzeck, Er ham doch nicht the time making angry gestures) husten sollen! WOZZECK (den Doktor beschwichtigend) WOZZECK Seh'n Sie, Herr Doktor, manchmal hat man so 'nen But listen, doctor, some folk have such strong disposi- Charakter, so 'ne Struktur; aber mit der Natur ist's was tions, so strong a mind, but with . .. but with one's ander's. (knackt mit den Fingern) Seh'n Sie, mit der nature, it's diffrent. (snaps his fingers) See now .. . Natur das ist so ... wie soil ich denn sagen one's nature is . . . it is like ... how shall I describe it ... like this now .
DOKTOR DOCTOR
Wozzeck, Er philosophiert wieder! (Wozzeck imitierend) Wozzeck! Again this philosophy! Well ... when nature Was? Wenn die Natur? has ... WOZZECK WOZZECK Zum Beispiel: Wenn die Natur ... wenn die Natur aus ist, When nature has . . . when nature has vanished . . . and wenn die Welt so finster wird, dass man mit den Handen the world's so dark, so dark that you have to grope round an ihr herumtappen muss, dass man meint, sie verinnt wie it with your hands, searchingly . . . and it seems to dis- Spinnengewebe. Ach, wenn was is und doch nicht is! perse like spidery weavings . . . Ah! when it's there .. . Ach! Ach, Marie! Wenn, Alles dunkel is, und (macht mit and is not there! Ah! Ah, Marie! When all around is ausgestreckten Armen ein paar grosse Schritte durchs dark and (takes a few steps across the room, with out- Zimmer) . . . nur noch ein roter Schein im Westen, wie stretched arms) . . . from out the West red light is glowing, von einer Esse: an was soil man sich da halten? (bleibt as if from a chimney. Oh, what ... what is there to cling nahe beim Doktor stehen, vertraulich) to?
DOKTOR DOCTOR Kerl, Er tastet mit seinem Filssen herum, wie mit Spin- Man! You're feeling your way around with your feet, as nen fussen with spiders' legs.
WOZZECK WOZZECK (standing close to the doctor, in a confidential Herr Doktor, Wenn die Sonne im Mittag steht, und es ist, tone) als ging' die Welt in Feuer auf, hat schon eine furchter- But Doctor, when at midday the sun stands high, and it liche Stimme zu mix geredet. seems the world is bursting forth in flame, just at that time terrifying voices to me have spoken. DOKTOR Wozzeck, Er hat eine aberratio... DOCTOR Wozzeck! You have got an aberration ... WOZZECK (unterbricht den Doktor) Die Schwamme! Haben Sie schon die Ringe von den WOZZECK (interrupts) Schwammen am Boden gesehn? Linienkreise — Figuren — The toadstools . . . haven't you seen the circles of toad- Wer das lesen konnte! stools out there on the ground? Lines and circles .. . strange figures ... would that one could read them! DOKTOR Wozzeck, Er kommt ins Narrenhaus. Er hat eine schone DOCTOR fixe Idee, eine kostliche aberratio mentalis partialis, Wozzeck, your mind is wandering. You are quite ob- zweite Spezies! Sehr schon ausgebildet! Wozzeck, Er sessed by an idee fixe, such an excellent aberratio men- kriegt noch mehr Zulage! Tut Er noch Alles wie sonst? talis partialis, second species! Highly cultivated! Woz- Rasiert seinen Hauptmann? Fingt fleissig Molche? Isst zeck, you'll get an extra bonus. And do you live as seine Bohnen? before? . . . You shave your dear Captain? ... Go catch- ing lizards? ... Eating your beans up? WOZZECK Immer ordentlich, Herr Doktor; denn das Menagegeld WOZZECK kriegt das Weib: Darum tu' ich's ja! I do everything you tell me. I need this money for my wife. That is why I'm here.
6 DOKTOR DOCTOR Er ist eM intressanter Fall, halt' Er sich nur bray! Woz- You are a most absorbing case. Keep it up, my man! zeck. Er kriegt noch einen Groschen mehr Zulage. Was Wozzeck, I'll give you one more penny extra bonus .. . muss Er aber tun? Was muss Er tun? Was? but what are you to do?
WOZZECK (ohue sich um den Doktor zu kiimmern) WOZZECK Ach Marie! Marie! Ach! Marie! ... Ah!
DOKTOR DOCTOR Bohnen essen, dann Schopsenfleisch essen, nicht husten, Eat your beans, then, and mutton to follow. Don't semen Hauptmann rasieren, dazwischen die fixe Idee slacken . . . and the Captain you'll shave ... and cultivate pflegen! (immer mehr in Ekstase geratend) Oh! Meine your idee fixe further. Oh ... (waxing ecstatic) my hypo- Theorie! Oh mein Ruhm! Ich werde unsterblich! Un- thesis! Oh, my fame! I shall be immortal! Immortal! sterblich! Unsterblich! (plotzlich wieder ganz sachlich, Immortal! (at the height of ecstasy) Immortal! (sudden- an Wozzeck herantretend) Wozzeck, zeig' Er mir jetzt ly quite calm, walking up to Wozzeck) Wozzeck, once die Zunge! (Wozzeck gehorcht) more show me your tongue now. (Wozzeck obeys)
Verwandlung Change of scene
Orchester-Einleitung Orchestral prelude
ERSTER AKT, FUNFTE SZENE ACT ONE, SCENE FIVE
Strasse vor Mariens Tiir. Abenddiimmerung. Street before the door of Marie's dwelling. Evening twilight. MARIE (steht bewundernd vor dem Tambourmajor) Geh einmal vor Dich hin! MARIE (stands admiring the Drum Major) Just take a step or two ... (Der Tambourmajor macht einige i.4arschschritte) (Drum Major pulls himself up straight, and marches a MARIE few steps.) Ober die Brust wie ein Stier und eM Bart wie ein Lowe. So ist Keiner! Ich bin stolz vor alien Weibern! MARIE He has a chest like a bull, and a beard like a lion .. . TAMBOURMAJOR No-one like him ... I am proud above all women ... Wenn ich erst am Sonntag den grossen Federbusch hab', DRUM MAJOR und die weissen Handschuh! Donnerwetter! Der Prinz sagt immer: "Mensch! Er ist ein Ked!" Wait till on a Sunday I wear my plumes in my cap, and my fine white gloves, too! Saints Almighty! The Prince himself says, "What a splendid fellow!" MARIE (spiittisch) Ach was! (tritt vor ihn hin. Bewundernd) Mann! MARIE (mockingly) Indeed! (she walks up to him) Man! (admiringly) TAMBOURMAJOR Und Du bist auch ein Weibsbild! Sapperment! Wir DRUM MAJOR wollen eine Zucht von Tambourmajors anlegen. Was?! And you're a ripe young woman! Snakes alive! We'll (er umfasst sie) start a proper stud of future Drum Majors someday. Well? (embraces her) MARIE Lass mich! (will sich losreissen) (Sie ringen miteinander) MARIE Let go! (tries to break loose, they wrestle with each TAMBOURMAJOR other) Wildes Tier! DRUM MAJOR Wild cat, hey? MARIE (reisst sich los) Riihr mich nicht an! MARIE (breaking loose) Let me alone! TAMBOURMAJOR (richtet sich in ganzer Crosse auf und tritt nahe an Marie heran; eindringlich) DRUM MAJOR (draws himself up to his full height, and Sieht Dir der Teufel aus den Augen?! (er umfasst sie steps up close to Marie; ingratiatingly) wieder, diesmal mit fast drohender Entschlossenheit) Is it the devil in your glances? (embraces her again, this time with almost menacing determination) MARIE Meinetwegen, es ist Alles eins! (sie stiirzt in seine Arme MARIE und verschwindet mit ihm in der offenen Haustiir) Have your way, then! It is all the same! (She falls into his arms, and disappears with him through the open door) Leere Biihne Stage empty Der Vorhang falls langsam The curtain slowly falls.
7 ZWEITER AKT, ERSTE SZENE ACT TWO, SCENE ONE
Kurze Orchester-Einleitung Short orchestral prelude. Marie's room. Morning. Sunshine. Marie, with the child Mariens Stube. Vormittag. Sonnenschein. on her lap, is looking at herself in a broken piece of mirror. MARIE (sitzt, ihr Kind auf dem Schoss, halt ein S tack - chen Spiegel in der Hand und besieht sick darin) MARIE Was die Steine glanzen? Was sind's far welche? Was hat How the stones do glisten! I wonder what they are? er gesagt? (uberlegt) (zu ihrem Buben, der sick bewegt What was it he said? (she thinks awhile; then, to her child hat) Schlaf, Bub! Driick die Augen zu, fest. (Das Kind who has stirred) Sleep, child, press your eyelids to .. . versteckt die Augen hinter den Handen) Noch fester! (The child hides his eyes behind his hands) Firm ... still Bleib, so! (Das Kind bewegt sick wieder) Still, oder er firmer . . . stay thus! . . . (The child moves again) Quiet! holt Dich! . . . or else the bogey . . . ! (with a feigned eeriness of Made!, mach's Lidel zu! expression, but roguish and almost wanton) 's kommt ein Zigeunerbu', Maiden, shut lattice tight, Fiihrt Dich an seiner Hand Here comes a gypsy sprite, Fort ins Zigeunerland. Will lead you by the hand (Das Kind hat, in huckster Angst, seinen Kopf in den Out to gypsyland! Falten des Kleides seiner Mutter verborgen, wo es ganz (The child, very frightened, has hidden his head in the still halt. Marie besieht sick wieder im Spiegel) 's ist folds of his mother's dress and keeps quite still; Marie gewiss Gold! Unsereins hat nur ein Eckchen in der Welt looks at herself again in the mirror) Can it be gold? und ein Stiickchen Spiegel (ausbrechend) Und dock hab' ich Folk like us have but a corner in the world, and a piece of einen so roten Mund, als die grossen Madamen mit ihren mirror . . . (with sudden intensity) but look, I have surely Spiegeln von oben bis unten und ihren schonen Herrn, die as red a mouth as the noble, rich ladies who have their ihnen die lignde kiissen; aber ich bin nur ein armes mirrors from floor up to ceiling . . . and all their hand- Weibsbild! (Das Kind richtet sick auf) (argerlich) Still! some lords who snatch up their hands and kiss them . Bub! Die Augen zu! (blinkt mit dem Spiegel) Das Schlafen- yet I am always so poor and wretched? (The child sits gelchen; wie's an der Wand lauft . . . (Das Kind gehorcht up) (crossly) Quiet, boy! . . . and close your eyes! (She nicht)(fast zornig) Mach die Augen zu! Oder es sieht Dir flickers the mirror) The Sandman is here ... he's on the hinein, dass Du blind wirst . . . (blinkt wieder mit dem wall there. (The child does not obey) (Marie, almost Spiegel. Wozzeck tritt herein, hinter Marie. Marie, regung- angrily) Shut your eyes up tight, else he will pierce them los, wie das eingeschuchterte Kind, die Wirkung ihres Spiels so, till you're blind, child! . . . (flickering the mirror mit dem Spiegel abwartet, sieht Wozzeck anfangs nicht. again) (Wozzeck enters behind Marie. Marie does not Plotzlich fahrt sie auf, mit den Minden nach den Ohren) notice him at first. She remains motionless with the intimidated child, waiting to see the effect of her game WOZZECK with the mirror. Then she suddenly jumps up and puts Was hast da? her hand to her ears) MARIE WOZZECK Nix! What's that there? WOZZECK MARIE Unter Deinen Fingern glanzt's ja. Where? WOZZECK MARIE Something in your fingers glitters. Ein Ohrringlein, —hab's gefunden- MARIE WOZZECK (schaut das Ohrringlein priifend an) A gold ear-ring ... I just found it ... Ich hab so was noch nicht gefunden, (etwas drohend) WOZZECK (looks at the ear-ring questioningly) zwei auf einmal. I have never found things of that sort . . . (somewhat menacing) Two together. MARIE MARIE (flaming up suddenly) Bin ich ein schlecht Mensch? You think I am bad? WOZZECK (beschwichtigend) WOZZECK (calming her) 's ist gut, Marie! 's ist gut—(wendet sick zum . Buben) Was Alright, Marie, alright. (turning to the child) How the der Bub immer schlift! Greif ihm unter's Armchen, der boy always sleeps! . . . Take his arm and lift him ... the Stuhl driickt ihn. Die hellen Tropfen stehn ihm auf der chair presses (hesistantly) and beads of moisture lying on Stirn . . . Nichts als Arbeit unter die Sonne, sogar his brow . All our days spent endlessly toiling ... even Schweiss im Schlaf. Wir arme Leut! (in ganz verandertem sweat in sleep . . . poor, wretched folk! (Then, in quite a Ton) Da ist wieder Geld, Marie, (zahlt es ihr in die Hand) different voice) See what I have brought, Marie: this die Lohnung und was vom Hauptmann und vom Doktor. money . . . (counts it out into her hand) some from the Captain ... and the doctor ... MARIE MARIE Gott vergelts, Franz. Thank you, Franz! WOZZECK WOZZECK Ich muss fort, Marie ... Adies! (ab) I must go, Marie. Good-bye. (Exits)
8 MARIE (allein) MARIE (alone) Ich bin doch ein schlecht Mensch. Ich konnt mich I am just ... a bad lot! I'll kill myself some day! Oh, this erstechen. —Ach! was Welt! Geht doch alles zum Teufel: world ... how all goes to the devil ... man, and wife, and Mann und Weib und Kind! child ...
Verwandlung Quick curtain.
Orchester-Nachspiel Orchestral interlude.
ZWEITER AKT, ZWEITE SZENE ACT TWO, SCENE TWO
Strasse in der Stadt. "rag. Der Hauptmann und der Street. Day. The Captain and the Doctor meeting each Doktor begegnen sich. other. . (schon aus der Entfernung) HAUPTMANN CAPTAIN (coming onto the stage) Wohin so eilig, geehrtester Herr Sargnagel? Whither so hasty . . . respected friend . . . old Grave- DOKTOR (sehr pressiert) digger? Wohin so langsam, geehrtester Herr Exercizengel? DOCTOR (in a great hurry) HAUPTMANN Whither so slowly . . . respected friend . . . old Spit-and- Nehmen Sie sich Zeit! (will den Doktor, der rasch weiter- Polisher? geht, einholen) CAPTAIN DOKTOR (eilt weiter) Why not take your time? (He tries to catch up with the Pressiert! Doctor who hastens on) HAUPTMANN DOCTOR Laufen Sie nicht so! Uff! (schOpft tief und gerauschvoll No time! Atern) Laufen Sie nicht! Ein guter Mensch geht nicht so schnell. Ein guter Mensch CAPTAIN DOKTOR A worthy . . . Such haste will run you into your Pressiert, pressiert! deathbed!
HAUPTMANN DOCTOR (slowing down a little, so that the Captain Ein guter . . . (irnmer atemloser) Sie hetzen sich ja hinter catches him up and plucks several times at his coat) dem Tod d'rein! (irritably) I can't get my time by stealing ... DOKTOR (im Gehen etwas einhaltend, so dass ihn der CAPTAIN Hauptmann einholt, argerlich) A worthy man ... Ich kann meine Zeit nicht stehlen. HAUPTMANN DOCTOR Ein guter Mensch No time, no time, no time! DOKTOR CAPTAIN Pressiert, pressiert, pressiert! But please don't run so fast, Doctor Gravedigger! You're wearing your feet and legs out on these paving-stones. HAUPTMANN (erwischt den Doktor einigemale am (The Captain is panting between his words and the Doctor Rock) has at last stopped still) Allow me, sir, that I . (slowly Aber rennen Sie nicht so, Herr Sargnagel! Sie schleifen ja calming down) . . . a human life may rescue. (deep breath) Ihre Beine auf dem Pflascer ab. (halt den Doktor endlich (The Doctor moves off slowly. The Captain takes another fest) (zwischen den einzelnen Worten tief keuchend) deep breath. The Doctor decides to listen to the Captain) Erlauben Sie, dass ich ein Menschenleben (sick langsam beruhigend) rette— (tiefer Atemzug) DOCTOR ... Girl ... within four weeks, dead! Cancer uteri (stands DOKTOR (langsam weitergehend, entschliesst sich, dem still) (The Captain shows signs of uneasiness) I have had Hauptmann Gehor zu schenken) twenty similar patients to her ... (about to move on) .. . Frau, in vier Wochen tot! (bleibt wieder stehen, geheim- within four weeks nisvoll) Cancer uteri. Habe schon zwanzig solche Pat- ienten gehabt—in vier Wochen— (will weitergehen) CAPTAIN HAUPTMANN Doctor, don't frighten me like that! For many people have died of terror ... of pure, naked fright! Doktor, erschrecken Sie mich nicht! Es sind schon Leute am Schreck gestorben, am puren hellen Schreck! DOCTOR DOKTOR In just four weeks ... ! What a really fascinating case! In vier Wochen! —Gibt ein intressantes Praparat. CAPTAIN HAUPTMANN Oh, oh, oh! Oh—oh oh
—Please turn the page quietly.—
9 DOKTOR (ganz stehenbleibend, kaltbliitig den Haupt- DOCTOR (stands quite still and observes the Captain mann prufend) cold-bloodedly. Then, in a pleasant tone of voice) Und Sie selbst! Hm! Aufgedunsen, fett, dicker Hals, apo- As for you . . . hm! . . . bloated features ... fat, thickish plektische Konstitution! Ja, Herr Hauptmann, (gelzeim- neck . . . apoplectical constitution there! Yes, dear nisvoll) Sie konnen eine apoplexia cerebri kriegen; Sie Captain, (mysteriously) you might well have an apoplexia konnen sie aber vielleicht nur auf der einen Seite bekom- cerebri someday . . . you possibly might have it just .. . men. Ja! Sie konnen nur auf der einen Seite gelahmt along the one side of your whole body . . . yes! You werden, (wieder sehr geheimnisvoll) oder im besten Fall might only find you're paralyzed on one side, perhaps, nur unten! (again, very mysterious) or, with the best of luck, just downwards! HAUPTMANN (stohnend) Urn Gottes- CAPTAIN (groaning) For God's sake ... ! DOKTOR (iiberstramend, begeistert) Ja! Das sind so ungefahr Ihre Aussichten auf die nachsten DOCTOR (enthusiastic , and in full swing) vier Wochen! Ubrigens kann ich Sie versichern, dass Sie Yes, that could be just about your own prospects einen von den intressanten Fallen abgeben werden und throughout the coming four weeks now. All the same, I'd wenn Gott will, dass Ihre Zunge zum Teil gelahmt wird, like to assure you that the progress of your illness surely so machen wir die unsterblichsten Experimente. (will will be most fascinating . . . and if God wills your tongue mit rascher Wendung enteilen) be paralyzed, even partly . . . then we shall do the most immortal experimenting! (Captain grasps at Doctor and HAUPTMANN (langt schnell nach dem Doktor und halt holds him firmly. The Doctor tries to escape from ihn fest) his grasp) Halt, Doktor! Ich lasse Sie nicht! Sargnagel! Toten- freund! In vier Wochen? (schon ganz atemlos) Es sind CAPTAIN schon Leute am puren Schreck . . . Doktor! (hustet vor Stop, doctor! I won't let you go. Old Tombstone! Aufregung und Anstrengung. Der Doktor klopft ihm auf Friend of Death! ... After four weeks? ... (quite out of den Rucken, um ihm das Husten zu erleichten. Gerahrt)Ich breath) There are some people who die of fright .. . sehe schon die Leute mit den Sacktiichern vor den Augen. Doctor! . .. (he coughs with excitement and exertion, (immer geriihrter) Aber sie werden sagen: Er war ein with the Doctor tapping him on the back to ease his guter Mensch, ein guter Mensch- cough. The Captain is moved almost to tears) Right now I see the mourners with their handkerchiefs at their faces (Wozzeck geht rasch vorbei, salutiert) (with even more emotion) and they will all be saying: 'He was a worthy man, a worthy man.' DOKTOR (der peinlich beriihrt ist und abzulenken sucht, sieht Wozzeck) (Wozzeck salutes as he hastens past. The Doctor, deeply moved and trying to distract the Captain from his (Wozzeck bleibt stehen) He, Wozzeck! Was hetzt Er sich thoughts, sees Wozzeck.) so uns vorbei? (Wozzeck salutiert und will wieder gehen) Bleib Er doch, Wozzeck! (Wozzeck bleibt schliesslich DOCTOR stehen und kommt langsam zuriick) Hey, Wozzeck! (Wozzeck stops) Why hurry so fast and HAUPTMANN (wieder gefasst, zu Wozzeck) pass us by? (Wozzeck salutes and starts off again, but then decides to stay, and comes slowly back) Stay Er lauft ja wie ein offenes Rasiermesser durch die Welt, awhile, Wozzeck! man schneidet sich an Ihm! (betrachtet Wozzeck der stumm und ernst dasteht. Wendet sich daher—etwas CAPTAIN (calm again) beschamt—zum Doktor. Mit Anspielung auf dessen You run by like open knife, a razor slicing the world. Vollbart) Er lauft, als hitt er die Vollbirte aller Univer- an We cut ourselves on you. (The Captain looks at Wozzeck sitaten zu rasieren, und wiirde gehingt, so lang noch ein who stands there dumb and earnest, then turns somewhat . . (pfeift) . letztes Haar . Ja richtig, die langen Bine .. ashamed to the Doctor, and continues—with reference to (was wollte ich doch sagen?) (nachsinnend, hie und da in the Doctor's beard—) . . . You run as if all the full beards Gedanken pfeifend) die langen Barte—? of the varsity professors needed shaving . . . and you would be hanged . . . so long as a single hair ... (FUGUE DOKTOR (zitierend) BEGINS) Exactly . . . those fine, long beards, yes, .. . "EM Langer Bart unter dem Kinn" (hm!), schon Plinius what was it I was saying? ... Those fine, long beards, yes spricht davon, — . . . (he whistles as he thinks)
HAUPTMANN (kommt durch die Anspielung des Doktors DOCTOR (quoting) darauf und schlagt sich auf die Stirn) 'A fine long beard beneath the chin' . . . hm! . . . Old Ha! Ich habs- Pliny spoke of that. (The Captain realizes the Doctor's allusion, and taps his forehead) One ought to stop those DOKTOR (mit Anspielung) soldiers wearing beards ...... man muss ihn den Soldaten abgewohnen- CAPTAIN HAUPTMANN (sehr bedeutsam) Ha! . . . I see . . . those fine long beards, yes. (very signi- . . . die langen Bane! Was ist's Wozzeck? (Der Doktor ficantly) How now, Wozzeck? Did you find a hair from hort von bier an belustigt dem Hauptmann zu und summt such a beard in your nice porridge this morning? (While hie und da sein Thema, indem er mit seinem Spazierstock the Captain is speaking, the Doctor listens with consid- —gleich einem Tambourstab—den Takt dazu markiert) .. . erable amusement, humming his theme and beating time (zu Wozzeck) Hat Er nicht ein Haar aus einem Bart in sei- with his stick as if it were the Drum Major's stick) Ha, ha, ner Schilssel gefunden? Haha! Er versteht mich doch? do you see my point? A hair from off a human, the beard EM Haar von einern Menschen, vom Bart eines Sappeurs, of a recruit . . . of some junior officer we know . . . or oder eines Unteroffiziers, oder eines Tambourmajors. else, of some drum-major perhaps?
10 DOKTOR DOCTOR He, Wozzeck? Aber Er hat doch eiri braves Weib?! Hey, Wozzeck? Nevertheless, you've a faithful wife ... ? WOZZECK WOZZECK Was wollen Sie damit sagen, Herr Doktor, und Sie, Herr But why do you ask that question, good Doctor? And Hauptmann?! why (turning to the Captain) do you, sir? HAUPTMANN CAPTAIN Was der Kerl fur eM Gesicht macht! Nun! Wenn auch What a face the fellow's pulling! ... Well! So you found nicht grad in der Suppe, aber wenn Er sich eilt und urn die none in your porridge? But if you were to run around the Ecke lauft, so kann Er vielleicht noch auf einem Paar corner now, then it is quite likely you'd see two lips lying Lippen ems finden! EM Haar namlich! (suss) Ubrigens, ... a hair, namely! Yes, indeed ... on two red lips. Oh, I eM Paar Lippen! ich babe auch einmal die Liebe too have known the pleasure that love can bestow! (in gefiihlt! Aber, Ken!, Er ist ja kreideweiss! quite a different voice) But what's this? Your face is as white as chalk!
WOZZECK WOZZECK Herr Hauptmann, ich bin eM armer Teufel! Hab' sonst Maybe I am a simple fellow; I have nought in all the nichts auf dieser Welt! Herr Hauptmann, wenn Sie Spass world, nought else, sir ... and you joke with me ... machen- CAPTAIN (flaring up) HAUPTMANN (auffahrend) Joke? I? Whatever ... ! Spass?! Ich? Dass Dich der .. . WOZZECK WOZZECK Herr Hauptmann, die Erd' ist Manchem hollenheiss- See, Captain, the earth to some is hot as hell ... HAUPTMANN CAPTAIN Spass! Kerl— Kerl, will Er sich erschiessen? Joke, man? ... Man! There's no need for shooting ... WOZZECK WOZZECK ... die Hone is kalt dagegen. —Herr ... And hell is ... so cold ... beside it, sir ...
DOKTOR DOCTOR Den Puls, Wozzeck! (ergreift Wozzecks Puls) Klein .. . Your pulse ... Wozzeck ... (feels his pulse) . . . short ... HAUPTMANN CAPTAIN Er sticht mich ja mit semen Augen! You stab me with your piercing glances ... WOZZECK WOZZECK . . . Herr Hauptmann . . . (entreisst seine Hand dem ... oh, please sir ... (snatches his hand away from the Doktor) Doctor)
DOKTOR DOCTOR ... hart ... arhythmisch- ... hard ... arhythmic HAUPTMANN CAPTAIN Ich mein's gut mit Ihm, weil Er eM guter Mensch ist, I mean well by you ... for you're a worthy fellow ... Wozzeck WOZZECK (to himself, but getting louder) WOZZECK (vor sich hin, aber mit Steigerung) There's much that's likely. Es ist viel moglich
DOKTOR (betrachtet Wozzeck priifend) DOCTOR (looks at Wozzeck enquiringly) ... and . . und . CAPTAIN HAUPTMANN (geriihrt) Wozzeck ... (with emotion) . . . a worthy man ...... eM guter Mensch! WOZZECK WOZZECK ... for man ... there's much that's likely ...... Der Mensch ... es ist viel moglich .. . DOCTOR DOKTOR ... face muscles stiff ... and taut, stony stare. Gesichtsmuskeln starr, gespannt, Augen stier. WOZZECK WOZZECK Gott in Himmel! Man konnte Lust bekommen, sich God in Heaven! One might in desperation end all by aufzuhingen! Dann wiisste man, woran man ist! (stiirzt, hanging! Then one would know . . . just where one is. ohne zu griissen, davon. Ab) (He rushes off without taking leave) HAUPTMANN (blickt Wozzeck betreten nails) CAPTAIN (puzzled, following Wozzeck with his eyes) Wie der Kerl lauft und sein Schatten hinterdrein! How he runs off! And his shadow runs behind. —Please turn the page quietly.—
11 DOKTOR DOCTOR Er ist ein Phanomen, dieser Wozzeck! A real phenomenon, this man Wozzeck.
HAUPTMANN CAPTAIN Mir wird ganz schwindlich (ndselnd) vor dem Menschen! I feel quite giddy from this fellow . . . and quite despon- Und wie verzweifelt! (gewohnlich) Das hab ich nicht dent. (Nasally) This won't do at all. A worthy man is gem! Ein guter Mensch ist dankbar gegen Gott . . . (Der grateful to God . . . a worthy man has no need of morale Doktor, der einen neuen Cefahlsausbruch befiirchtet, . . . but a scoundrel has morale (with reference to Woz- setzt sich bei diesem Wort des Hauptmanns—als besanne zeck) but a scoundrel . . . scoundrel . . . (He joins the er sich der Eile zu Anfang der Szene—in Bewegung) .. . Doctor, who, fearing a new emotional outburst from the ein guter Mensch hat auch keine Courage! (mit Beziehung Captain, has begun to move off, as if suddenly remem- auf Wozzeck) Nur ein Hundsfott hat Courage! (schliesst bering his haste at the beginning of this scene. The sich dem Doktor an. Schon im Abgehen) Nur ein Hunds- Captain is moving off while singing, and sings the last fott! ... (hinter der Szene) Hundsfott word "scoundrel" behind the scene.)
Verwandlung Change of scene.
Einige Schluss-, bzw. uberleitende Takte und Kammer- Interludes orchester-Einleitung
ZWEITER AKT, DRITTE SZENE ACT TWO, SCENE THREE
Strasse vor Mariens Wohnungtur. Triiber Tag. Marie steht The street before Marie's dwelling. A dull day. Marie vor ihrer Tar. Wozzeck komtrat auf dem Gehsteig rasch stands outside her door. Wozzeck comes rushing up to auf sie zu. her.
MARIE MARIE Guten Tag, Franz. Ah, good day, Franz!
WOZZECK (steht sie starr an und schiittelt den Kopf) WOZZECK (stares at her and shakes his head) Ich seh' nichts, ich seh' nichts. 0, man miisst's seh'n, man I see nought ... I see nought . Oh, one should see .. . musses greifen konnen mit den Fausten! one should grasp it firmly with one's fingers ...
MARIE MARIE Was hast Franz? What's wrong, Franz?
WOZZECK (wie fruher) WOZZECK Bist Du's noch, Marie?! Eine Siinde, so dick und breit- Is it you, Marie? But where is it . . . that sin and shame das milsst' stinken, dass man die Engel zum Himmel hin- . . . foul and smelling to the highest heaven ... and driv- ausrauchern konnt'. Aber Du hast einen roten Mund, ing the angels away? . . . But see, you have such a rosy einen roten Mund—keine Blase drauf? mouth ... and no blister there ...
MARIE MARIE You're beside yourself, Franz. I'm frightened ... Du bist hirnwiitig, Franz, ich fiirclit' mich WOZZECK WOZZECK You are fair "as the sinning." How then can your mortal Du bist schon—"wie die Sande." Aber kann die Tod- sin be so fair, Marie? (He points suddenly to a place by siinde so schon sein, Marie? (zeigt plotzlich auf eine the door and shouts) There! . . . Was it there you saw Stelle vor der Tiir, auffahrend) Da! Hat er da gestanden, him? (Striking an attitude) Like ... this? (in Positur), so, so? MARIE MARIE It is not my street ... if people want to stand there ... Ich kann den Leucen die Gasse nicht verbieten WOZZECK WOZZECK Devil! Was it there you saw him? Teufel! Hat er da gestanden? MARIE MARIE Just as the day's long, and the world ancient, there are Dieweil der Tag lang und die Welt alt ist, konnen viele many people who will be standing there ... one after the Menschen an einem Platze stehn, einer nach dem andern. other ...
WOZZECK WOZZECK Ich hab ihn gesehn! I've seen him, I say!
MARIE MARIE Man kann viel sehn, wenn man zwei Augen hat und wenn One can see much . . . if one has eyes to see, and those man nicht blind ist und wenn die Sonne scheint. are not blinded ... and if the sun shines ...
12 WOZZECK (der sick immer weniger beherrschen kann, WOZZECK (losing his control more and more, suddenly ausbrechend) breaks out) Du bei ihm! You!!! ... with him!! ...
MARIE MARIE (bold, pert) Und wenn auch! What of it?
WOZZECK (geht auf sie los, schreiend) WOZZECK (rushes at her) Mensch! Bitch!!!
MARIE MARIE Ruhr' mich nicht an! (Wozzeck lasst langsam die erhob- Let me alone! (Wozzeck slowly drops his hand to his side) ene Hand sinken) Lieber ein Messer in den Leib, als eine Better a knife-blade in my heart, than lay a hand on me! Hand auf mich. (im Abgehen) Mein Vater hats nicht My father would never dare when I was little . . . (goes gewagt, wie ich zehn Jahr alt war ... (ins Haus ab) into the house. Wozzeck stands staring after her)
WOZZECK (sieht ihr starr nach) WOZZECK "Lieber ein Messer" . . . (scheu fliisternd) Der Mensch ist "Better a knife-blade" . . . (in a frightened whisper) Ah! ein Abgrund, es schwindelt Einem, wenn man hinunter- ... Man is a chasm ... I'm falling downwards ... into the
schaut Abgehen) mich schwindelt . (ab) dizzy depths . . . (going off stage) . . . I'm falling ...
Verwandlung Curtain
ZWEITER AKT, VIERTE SZENE ACT TWO, SCENE FOUR
Wirtshausgarten. Spat abends. Die Wirtshausmusik auf Tavern garden. Late evening. Apprentices, soldiers and der Biihne beendet soeben den Landler des Orchester- servant girls; some are dancing, others watching. Vorspiels. Burschen, Soldaten und Mdgde auf den Tans- boden, teils zusehend. Unter ihnen Marie, der Tambour- FIRST APPRENTICE major und Andres. I've got a shirt on, but it is not mine ...
1. HANDWERKSBURSCHE SECOND APPRENTICE Ich hab' ein Hemdlein an, das ist nicht mein, ... it is not mine ... (den 1. Handwerksburschen 2. HANDWERKSBURSCHE FIRST APPRENTICE imitierend) As for my soul, it stinks of brandy wine. Das ist nicht mein . . 1. HANDWERKSBURSCHE (The apprentices, soldiers and girls move in a leisurely Und meine Seele stinkt nach Branntewein. way from the dance floor and gather in groups, one group around the drunken apprentices.) (Die Burschen, Soldaten und Mdgde verlassen gernachlich den Tanzboden und sammeln sick in Gruppen. Eine FIRST APPRENTICE Cruppe urn die zwei betrunkenen Handwerksburschen.) For my soul . . . for my own immortal soul . stinketh of brandy wine . . . it stinketh, and I know not .. . 1. HANDWERKSBURSCHE wherefore. Wherefore is the world so dreary? Even Meine Seele, meine unsterbliche Seele, stinket nach money turns into corruption! Branntewein! Sie stinket, und ich weiss nicht, warum? Warum ist die Welt so traurig? Selbst das Geld geht in SECOND APPRENTICE Verwesung fiber! Forget me not! Brother! Friendship! (embraces him) Wherefore is the world so bright? I wish that our noses 2. HANDWERKSBURSCHE could be two full bottles, and that we could pour them Vergiss mein nicht! Bruder! Freundschaft! (umarmt den ... each other's ... down our own gullets ... 1. Handwerksbursche) Warum ist die Welt so schon! —Ich wollt' unsre Nasen waren zwei Bouteillien, und wir FIRST APPRENTICE konnten sie uns einander in der Hals giessen. ... for my soul ... 1. HANDWERKSBURSCHE SECOND APPRENTICE Meine Seele The whole wide world is rosy red! Brandy ... that is my 2. HANDWERKSBURSCHE life blood. Die ganze Welt ist rosenrot! Branntwein, das ist mein Leben! FIRST APPRENTICE . . . for my own immortal soul . . . stinketh . . . oh! . 1. HANDWERKSBURSCHE that is dreary ... dreary ... dreary! ...... meine unsterbliche Seele stinket. Oh! Das ist traurig, traurig, traurig, trau- (schlaft ein) (The company returns to the dance floor and begins to dance. Amongst them are Marie and the Drum Major. (Burschen, Soldaten und Magde begeben sick wieder auf Wozzeck rushes on and sees Marie dancing past with the den Tanzboden und beginners zu tanzen. Unter ihnen Drum Major.) wieder Marie und der Tambourmajor.) —Please turn the page quietly.—
13 WOZZECK (tritt—nach einiger Zeit—hastig auf, sieht WOZZECK Marie, die mit dem Tambourmajor vorbeitanzt) Him! Her! The devil! Er! Sie! Teufel! MARIE (dancing past) MARIE (im Vorbeitanzen) On we go! ... On we go! ... Immer zu, immer zu! WOZZECK WOZZECK On we go! On we go! (He sits down on a bench near the (sinkt auf eine Bank in der Mille "Immer zu, immer zu!" dance floor) Twisting . . . turning ... why does not God des Tanzbodens. Vor sick hin) Dreht Euch! Wilzt Euch! put out the sun now? . . . Everything twists and turns in Warum loscht Gott die Sonne nicht aus? Alles walzt sich lechery . . . man and woman and beast! (He looks again in Unzucht iibereinander: Mann und Weib, Mensch at the dance floor) Woman! Woman! Woman is fire ... (sieht wieder auf den Tanzboden /tin) Weib! und Vieh! is fire! . . . fire! (jumps up violently) How he mauls her Weib! . . . Das Weib ist heiss! ist heiss! heiss! (fahrt with his hands . . . touches her body ... and she ... just heftig auf) Wie er an ihr herumgreift! An ihrem Leib! laughs! Und sie lacht dazu! . MARIE MARIE & DER TAMBOURMAJOR (mitten unter den Tanzenden) On we go! On we go! Immer au! Immer zu! DRUM MAJOR On we go! On we go! WOZZECK (gereit in immer grossere Aufregung) Verdammt! (kann schliesslich nicht mehr an sick halten WOZZECK (unable to control himself any more) und will auf den Tanzboden starzen) Ich— (unterlasst es Damnation! (about to rush onto the dance floor) I .. . aber, da der Tanz beendet ist und die Burschen, Soldaten (but the dance finishes and the company leaves the und Magde den Tanzboden verlassen. Er setzt sick wieder) floor. Wozzeck sits down again)
BURSCHEN UND SOLDATEN CHORUS OF APPRENTICES AND SOLDIERS Ein Jager aus der Pfalz A hunter from the South Ritt einst durch einen grunen Wald! Was riding through a shady grove, Halli, Hallo, Halli, Hallo! Halli, hallo, halli, hallo! Ja lustig ist die Jagerei, 0, happy is the hunter's life Allhie auf griiner Haid! From morning unto night. Halli, Hallo, Halli, Hallo! Halli, hallo, halli, hallo!
ANDRES (die Gitarre ergreifend, spielt sick als Dirigent (Andres, seizing the guitar, sets himself up as a chorus- des Chores auf und gibt ein ritardando, so dass er in den conductor, conducts the chorus and gives them a final verklingenden Akkord des Chores einsetzen kann—leiernd) ritardando, so that he can come in with the last chord 0 Tochter, liebe Tochter, of the chorus as it dies away) Was hast Du gedenkt, Dass Du Dich an die Kutscher ANDRES Und die Fuhrknecht hast gehingt?! 0 daughter, dearest daughter, What thought you, my love, When flirting with the coachmen And the stable-boys above? BURSCHEN UND SOLDATEN Hallo! Ja lustig ist die jagerei, Allhie auf griiner Haid! CHORUS Halli, Hallo, Halli, Hallo! O happy is the hunter's life From morning until night. ANDRES Halli hallo halli, hallo! Hallo! Hallo! (gibt die Gitarre dem Spieler von der Wirts- hausmusik zuruck und wendet sick zum Wozzeck) ANDRES Hallo! (He gives the guitar back to the player in the band, WOZZECK and then turns to Wozzeck) Wie viel Uhr? WOZZECK ANDRES What's the time? Elf Uhr! ANDRES WOZZECK Elev n. So? Ich meint', es miisst spiter sein! (Die Wirtshaus- musik hat indessen einen Landler begonnen, zu dem wie WOZZECK friiher getanzt wird) Die Zeit wird Einem lang bei der Eh? I thought it was later still. The time seems very long Kurzweil- in these pastimes ...
ANDRES ANDRES Was sitzest Du da vor der Tiir? Why sit like that so near the door?
WOZZECK WOZZECK Ich sitz' gut da. Es sind manche Leut' nah an der Tiir und I sit well here. Many people sit near to the door, and do wissen's nicht, bis man sie zur Tur hinaustrigt, die Fuss' not know it till they are carried out through the door voran! feet first. 14 ANDRES ANDRES Du sitzesc hart. The seat is hard.
WOZZECK WOZZECK Gut sitz' ich, und im kiihlen Grab, da lieg' ich darn noch No matter . . . and in coolest grave . . . there will I lie besser- still better ...
ANDRES ANDRES Bist besoffen? Are you drunk, man?
WOZZECK WOZZECK Nein, !eider, bring's nit z'sam. Me drunk, man? No such luck!
(Andres, gelangweilt und mit dem Gedanken schon mehr (Andres is bored. He whistles to himself and, thinking beim Tanz, wendet sich pfeifend von Wozzeck ab. Der more of the dancing, he turns away from Wozzeck. Tanz hat indessen geendet. Die Burschen und Soldaten Wozzeck remains alone on the seat. Meanwhile, the First verlassen den Tanzboden und wenden sich zum 1. Hand- Apprentice has revived again, climbs on the table and werksburschen, der inzwischen aufgewacht 1st; er steigt begins to preach, to the accompaniment of the band) auf einen Tisch und beginnt—von der Wirtshausmusik auf der Biihne melodramatisch begleitet —zu predigen) FIRST APPRENTICE
1. HANDWERKSBURSCHE (anfangs etwas leiernd) And yet, if a wanderer who is leaning on the stream of time suddenly should have a vision of God in majestic Jedoch, wenn ein Wanderer, der gelehnt steht an dem wisdom, and asketh: Wherefore then is Man? (With Strom der Zeit, oder aber sich die gottliche Weisheit ver- feeling) And yet, verily, verily, brethren, I say to you: gegenwirtigt und fraget: Warum ist der Mensch? (mit (ecstatic) It is good so! For from what should then the Phatos) Aber wahrlich, geliebte Zuhdrer, ich sage Euch: farmer, the cask-maker, the tailor, the quack earn their (verziickt) Es ist gut so! Denn von was batten der Land- living, if God had not created human beings? From what mann, der Fassbinder, der Schneider, der Arzt leben should then the tailor earn his living, if God had not first sollen, wenn Gott den Menschen nicht geschaffen him? in man implanted a strong sense of shame at his naked- Von was haste der Schneider leben sollen, wenn Er nicht ness? From what should the soldier and host live, if men dem Menschen die Empfindung der Schamhaftigkeit ein- ne'er felt the desire to become dead-shots . . . and ... if gepflanzt haste? Von was der Soldat und der Wirt, wenn parching thirst were not always our lot? Therefore, Er ihn nicht mit dem Bediirfnis des Totschiessens und der beloved, do not doubt; for it is all so lovely and fine ... Feuchtigkeit ausgerilstet bane? Darum, Geliebteste, Know that all is vanity that's worldly. Even money turns zweifelt nicht; denn es ist Alles lieblich und fein ... Aber into corruption . . . As for my soul, it stinks of brandy- alles Iridische ist eitel; selbst das Geld geht in Verwesung wine ... (verfdllt allmahlich in seinen larmoyanten Ton wie zu Beginn der Szene, urn im Leindlertempo zu endigen) Und meine Seele stinkt nach Branntewein.
(Allgemeines Gejohle! Der Redner wird umringt und von (General uproar. The speaker (apprentice) is surrounded einem Teil der Burschen abgefiihrt. Die Ubrigen begeben and carried away by some of the apprentices. The others sich singend teils zum Tanzboden, teils zu der't Tischen im return, singing, to the dance floor or to the tables in the Hintergrund) background)
BURSCHEN UND SOLDATEN CHORUS Ja lustig ist die Jagerei ... Halli! 0, happy is the hunter's life, Halli ANDRES (ebenfalls im Hintergrund abgehend) 0 Tochter, liebe Tochter ANDRES 0 daughter, dearest daughter! (going up stage. The Idiot (Der Narr taucht plotzlich auf und nahert sich dem suddenly appears, and creeps up to Wozzeck who is still Wozzeck. Wozzeck 1st wahrenddessen immer—teil- sitting on the bench, having taken no part in the preced- nahmslos an den Vorgangen—auf der Bank vorn gesessen. ing. As the band begins to tune their instruments, the Der Narr drdngt sich an Wozzeck heran. Die Instrument- Idiot presses up closer to Wozzeck) alisten der Wirtshausmusik beginnen ihre Instrumente zu stimmen) IDIOT DER NARR (ganz nahe bei Wozzeck) Joyful . . . joyful . . . (Wozzeck does not notice him at Lustig, lustig . . . (Wozzeck beachtet den Narren anfangs first. Craftily) . . . and yet it reeks ... nicht. Das Stimmen der Instrumente der Wirtshausmusik 1st beendet. Listig.) . . . aber es riecht- WOZZECK WOZZECK Fool! What is it? ... Narr, was willst Du? IDIOT DER NARR It reeks ... reeks of blood! Ich riech, ich riech Blut!
—Please turn the page quietly.—
] 5 WOZZECK WOZZECK Blut? —Blut, Blut! (In diesem Augenblick setzt der Walzer Blood? . . . blood, blood! (Apprentices, servant-girls and der Wirtshausmusik ein. Die Burschen, Mdgde und soldiers, amongst them Marie and the Drum Major, again Soldaten—unter ihnen Marie und der Tambourmajor- begin to dance) There s a red mist before me ... They all beginnen wieder zu tanzen) Mir wird rot vor den Augen. seem twisting ... and then ... rolling over each other . Mir ist, als walzten sie sich alle ubereinander
Verwandlung Curtain
ZWEITER AKT, FUNFTE SZENE ACT TWO, SCENE FIVE
Wachstube in der Kaserne. Nachts. Wortloser Chor der Guard Room in the barracks. Night. Chorus of sleeping schlafenden Soldaten, die auf holzernen Pritschen liegen. soldiers is heard as the curtain rises slowly. Andres is Andres liegt mit Wozzeck auf einer Pritsche und lying with Wozzeck on a wooden bed, sleeping.
WOZZECK im Schlaf) WOZZECK (moaning in his sleep) Oh—oh—(auffahrend) Andres! Andres! Ich kann nicht Oh! ...... (starting up) Andres, I cannot sleep schlafen. (Bei den Worten Wozzecks werden die schlafen- more! (The soldiers, who are sleeping on wooden beds, den Soldaten unruhig, ohne aber aufzuwachen. Immer zu stir slightly at Wozzeck's words but do not fully awaken) Andres.) Wenn ich die Augen zumach', dann seh' ich sie Each time I close my eyelids, I can see them still quite doch immer, und ich h6r' die Geigen immerzu, immerzu. clearly ... And I hear the fiddlers ... On we go, on we go Und dann spricht's aus der Wand heraus—Horst Du nix, . . . and then, out of the wall a voice ... can't you hear, Andres? Wie das geigt und springt?! Andres? ... how they play and dance? ANDRES (verschlafen) ANDRES Lass sie tanzen- Let them dance, then! WOZZECK WOZZECK Und dazwischen blitzt es immer vor den Augen wie ein And between, there is a flashing all the time ... just like a Messer, wie ein breites Messer! knife-blade ... like a glittering knife-blade! ANDRES ANDRES Schlaf, Narr! Sleep, fool! WOZZECK WOZZECK Mein Herr und Gott, (betet) "und fiihre uns nicht in My Lord and God! (he prays) . . . "And lead us not into Versuchung, Amen!" (Zwei Takte des wortloser Gesang temptation . . ." . . . Amen! (Two bars of the chorus of der schlafenden Soldaten) sleeping soldiers is heard) DER TAMBOURMAJOR (poltert—stark angeheitert- herein) DRUM MAJOR (entering noisily, very drunk) Ich bin ein Mann! Ich hab' ein Weibsbild, ich sag' Ihm, I am a man! I have a woman! I tell you, a woman ... to ein Weibsbild! Zur Zucht von Tambourmajors! Ein breed me smart drummer-boys! A bosom! . . . such Busen und Schenkel! und alles fest! Die Augen wie thighs too ... and all so firm! Her eyes are like red coals, gliihende Kohlen. Kurzum ein Weibsbild, ich sag' Ihm so glowing! 0, what a woman, I tell you ... ANDRES ANDRES He! Wer ist es denn? Hey! Who is it, then? TAMBOURMAJOR DRUM MAJOR Frag' Er den Wozzeck da! (zieht eine Schnapsflasche aus der Tasche, trinkt daraus und halt sie dem Wozzeck hin) Ask your friend Wozzeck there! (He pulls a bottle of Da Kerl, sau' —Ich wollt', die Welt war Schnaps, Schnaps, brandy from his pocket, drinks from it and hands it to der Mann muss saufen! (trinkt wieder) Sauf, Kerl, Wozzeck) There man, drink! I wish the world were saur — (Wozzeck blickt weg und pfeift. Schreiend) Kerl, drink, drink! For man must tipple! (drinks again) soil ich Dir die Zung' aus dem Hals zieh'n und sie Dir um Drink, man drink! (Wozzeck looks away and whistles) den Leib wickeln? (Sie ringen mit einander. Wozzeck (very angry) Lout! Shall I rip your tongue from your wird unterliegen. Der Tambourmajor wurgt den am Boden gullet and wrap it around your neck tightly? (Drum liegenden Wozzeck) Soll ich Dir noch so viel Atem lassen, Major and Wozzeck wrestle with each other. Wozzeck is als ein Altweiberfurz? (fiber Wozzeck gebeugt) Soil ich- thrust to the ground, and the Drum Major grasps him (Wozzeck sinkt erschopt urn. Der Tambourmajor lasst firmly by the throat) Do you want some breath still left von Wozzeck ab, richtet sich auf und zieht die Schnaps- inside you? . . . so that . . . (bending over him) Shall I ... flasche aus der Tasche) Jetzt soli der Kerl pfeifen! (Wozzeck sinks back exhausted. The Drum Major lets go (trinkt wieder) Dunkelblau soil er sich pfeifen! (pfeift of him, straightens himself and takes the bottle from his dieselbe Melodie wie fruher Wozzeck—triumphierend) pocket) Now let the lout whistle! (whistles, triumphant) Was bin ich fur ein Mann! (wendet sich zum Fortgehen And now you know your man! . . . (He turns and crashes out of the door, which slams after him. Meanwhile und poltert zur Tiir hinaus. Die Tiir schldgt zu. Wozzeck hat sich indessen langsam erhoben und auf seine Pritsche Wozzeck has lifted himself slowly from the ground, on to gesetzt. Szene ohne den Tambourmajor.) his bed)
EIN SOLDAT (auf Wozzeck deutend) SOLDIER (pointing to Wozzeck) Der hat sein Fett! He's had his fill ... (turns over and goes to sleep)
16 ANDRES ANDRES Er blut' He bleeds .. . (turns over and goes to sleep) WOZZECK WOZZECK Einer nach dem Andern! (Andres und der eine Soldat One after the other . . . ! (He remains seated, staring in legen sich urn und schlafen ein. Die anderen Soldaten die front of him. The other soldiers, who had risen on their sich wahrend des Ringkampfes etwas aufgerichtet hatten, beds during the fight, have all lain down again after the haben sich nach dem Abgang des Tambourmajors —einer departure of the Drum Major, and are now all sleeping nach dem andern—niedergelegt und schlafen nunmehr alle again) wieder. Wozzeck bleibt sitzen und starrt vor sich hin) Die Musik ;tort auf. Etwas spater fallt der Vorhang. Curtain
DRITTER AKT, ERSTE SZENE ACT THREE, SCENE ONE
Mariens Stube. Es ist Nacht. Kerzenlicht. Marie sitzt am Marie's room. It is night. Candle-light. Marie, alone with Tisch, blattert in der Bibel; das Kind in der Mahe. her child, is sitting at the table, turning the pages of the Bible and reading.. . MARIE (liest in der Bibel) "Und ist kein Betrug in seinem Munde erfunden worden" MARIE . . . Herr-Gott, Herr-Gott! Sieh mich nicht an! (blattert "And out of His mouth there came forth neither deceit weiter) "Aber die Pharisier brachten ein Weib zu ihm, nor falsehood.' . . . Lord God! Lord God! Look not on so im Ehebruch lebte." "Jesus aber sprach: So verdamme me! . . . (She turns the pages and reads further) . . • ich dick auch nicht, geh' hin, und stindige hinfort nicht Wherefore the Pharisees had taken and brought to Him an mehr." Herrgott! (schldgt die Hande vors Gesicht. Das adulterous woman. Jesus said to her. 'Thus condemn-ed Kind drangt sich an Marie) Der Bub gibt mir einen Stich shall you not be. Go forth, go forth in peace, and sin no ins Herz. Fort! (stosst das Kind von sich) Das briist' sich more. ' . . . Lord God! (Covers her face with her hands. in der Sonne! (pli3tzlich milder) Nein, komm, komm The child presses up to Marie) The boy looks at me and her! (zieht das Kind an sich) Komm zu mir! (erzahlend) stabs my heart. Be off! (pushes the child away) . . . Go "Es war einmal ein armes Kind und hatt' keinen Vater proudly in the sunlight! . . . (suddenly more gentle) Ah, und keine Mutter—war Alles tot und war Niemand auf der no! Come here . . . (draws him closer) Come to me. Welt, und es hat gehungert und geweint Tag und Nacht. "And once there was a poor wee child ... and he had no Und weil es Niemand mehr hatt' auf der Welt . . ." Der father, nor any mother ... for all was dead, there was no- Franz ist nit kommen, gestern nit, heut' nit . . . (blattert one in the world, therefore he did hunger and did weep hastig in der Bibel) Wie steht es geschrieben von der Mag- . . . day and night ... Since he had no-one else left in the dalena? . . . "Und kniete hin zu seinen Fiissen und weinte world ..." But Franz has not come yet ... yesterday ... und kiisste seine Ftisse und netzte sie mit Trinen und this day . . . (She hastily turns the leaves of the Bible) .. . salbte sie mit Salben . . ." (schlagt sich auf die Brust) What is written here of Mary Magdalene? . . . (she reads) Heiland! Ich mochte Dir die Fiisse salben—Heiland, Du . . . "And falling on her knees before Him and weeping, hast Dich ihrer erbarmt, erbarme Dich auch meiner ...! she kissed His feet and washed them, and washed them with her tears, anointing them with ointment." (Beats her Verwandlung breast) . . . Saviour! . . . Could I anoint Thy feet with ointment . . . Saviour! . . . as Thou hadst mercy on her, Orchester-Nachspiel have mercy now on me, Lord!
Slow Curtain
DRITTER AKT, ZWEITE SZENE ACT THREE, SCENE TWO
Waldweg am Teich. Es dunkelt. Marie kommt mit Woz- Forest Path by a pool. Dusk is falling Marie enters with zeck von rechts. Wozzeck, from the right.
MARIE MARIE Dort links geht's in die Stadt. 's ist noch weit. Komm The town lies over there ... it's still far . . let's hurry! schneller. WOZZECK WOZZECK You must stay awhile, Marie. Come, sit here. Du sollst dableiben, Marie. Komm, setz' Dich. MARIE MARIE But it's getting late ... Aber ich muss fort. WOZZECK WOZZECK Come! (They sit down) So far you've wandered, Marie. Komm. (sie setzen sich) Bist weit gegangen, Marie. SoIlst You must not make your feet so sore, walking . . . It's Dir die Fiisse nicht mehr wund laufen. 's ist still bier! still, here in the darkness. . . . Tell me, Marie, how long Und so dunkel. —Weisst noch, Marie, wie tang es jetzt ist, has it been since our first meeting? dass wir uns kennen? MARIE MARIE At Whitsun, three years. Zu Pfingsten drei Jahre. —Please turn the page quietly.—
17 WOZZECK WOZZECK Und was meinst, wie lang es noch dauern wird? And how long ... how long will it still go on?
MARIE (springt auf) MARIE (jumping up) Ich muss fort. I must go!
WOZZECK WOZZECK Fiirchst Dich, Marie? Und bist doch fromm? (lacht) Und Trembling, Marie? . . . But you are good? ... (laughing) gut! Und treu! (zieht sie wieder auf den Sitz. Nei,gt sich and kind? . . . and true? . . . (He pulls her down again on —wieder ernst—zu Marie) Was Du fiir siisse Lippen hast, the seat. He bends over her, in deadly earnest) Ah! How Marie! (klisst sie) Den Himmel gab' ich drum und die your lips are sweet to touch, Marie! (kisses her) All Hea- Seligkeit, wenn ich Dich noch oft so kussen diirft! Aber ven would I give, and eternal bliss, if I still could some- ich darf nicht! —Was zitterst? times kiss you so ... But yet I dare not ... You shiver...
MARIE MARIE Der Nachttau The night dew falls.
WOZZECK (fliistert vor sich hin) WOZZECK (whispering to himself) Wer kalt ist, den friert nicht mehr! Dich wird beim Mor- Who cold is ... you who shiver . . . will freeze no more in gentau nicht frieren. — cold morning dew ...
MARIE MARIE Was sagst Du da? What are you saying?
WOZZECK WOZZECK Nix. (Langes Schweigen. Der Mond geht auf.) Naught! (A long silence. The moon rises.)
MARIE MARIE Wie der Mond rot aufgeht! How the moon rises red! .. .
WOZZECK WOZZECK Wie ein blutig Eisen! (zieht ein Messer) Like a blood-red iron ... (He draws a knife)
MARIE MARIE Was zitterst? (springt auf) Was willst? You shiver? (She jumps up) What now?
WOZZECK WOZZECK Ich nicht, Marie! Und kein Andrer auch nicht! (packt sie No-one ... Marie ... if not me, then ... no-one ... an und stosst ihr das Messer in den Hals) MARIE MARIE Help! (Wozzeck seizes her and plunges the knife into her throat. Hilfe! (sinkt nieder. Wozzeck beugt iiber sick. Marie Marie sinks down. Wozzeck bends over her. She dies) stirbt) WOZZECK WOZZECK Dead! . . . (He rises to his feet anxiously, and then rushes Tot! (richtet sich scheu auf und stiirzt gerduchlos davon) silently away)
Verwandlung Curtain
DRITTER ART, DRITTE SZENE ACT THREE, SCENE THREE
Eine Schenke. Nacht. Schwaches Licht. Dirnen (unter A low tavern, badly lit. Night. Apprentices and girls ihnen Margret) und Burschen tanzen eine wilde Schnell- (among them Margret) are dancing a wild and rapid polka. polka. Von einem der Burschen wird ein verstimmtes Wozzeck is seated at one of the tables. Pianino ungemein roh gespielt. WOZZECK WOZZECK (an einem der Tische) Dance, all you, dance away! Leap, sweat, and reek! For Tanzt Alle; tanzt nur zu, springt, schwitzt, und stinkt, es some day soon, he'll fetch you . . . the Devil! (Dashes holt Euch doch noch einmal der Teufel! (stiirzt ein Glas down his glass. Then, shouting down the pianist) Wein hinunter) (Den Klavierspieler iiberschreiend) Three riders came riding up to the Rhine, Es ritten drei Reiter wohl an den Rhein, And went to my hostess to taste of her wine. Bei einer Frau Wirtin da kehrten sie ein. My wine is good, my beer is clear, Mein Wein ist gut, mein Bier ist klar, My daughter dear lies on her ... Mein Tochterlein liegt auf der ... Be damned! (jumps up) Come, Margret. (Dances a few Verdammt! (springt auf) Komm, Margret! (tanzt mit Mar- steps with her, then suddenly stops) Come, let's sit down, gret ein paar Spriinge. Bleibt plotzlich stehen) Komm setz Margret. (Leads Margret to his table, and pulls her onto Dich her, Margret! (fiihrt sie an seinen Tisch und zieht sie his lap) Margret, you're hot as fire. (Presses her to him) auf seinen Schoss nieder) Margret, Du bist so heiss ...... (Lets her go) . . . But wait . . . till you're cold also! (driickt sie an sich. Lasst sie los) Wart nur, wirst auch Can't you sing, girl? kalt werden! Kannst nicht singen?
18 MARGRET (vom Klavierspieler auf der Blame begleitet, MARGRET (the little out-of-tune piano accompanying singt) her) In's Schwabenland, da mag ich nit. To Swabia I will not go, Und lange Kleider trag ich nit, And your long dresses I'll not wear, Denn lange Kleider, spitze Schuh, For trailing dresses, pointed shoes, Die kommen keiner Dienstmagd zu. Do not belong to servant girls.
WOZZECK (auffahrend) WOZZECK (flaming up) Nein! keine Schuh, man kann auch blossfiissig in die Hiill No! Wear no shoes! . . . for one can bare-footed go to geh'n! Ich mochte heut raufen, —raufen- hell-fire . I want to wrestle, wrestle ...
MARGRET MARGRET Aber was hast Du an der Hand? But what is that there on your hand? WOZZECK WOZZECK Ich? Ich? Mine? ... mine? ...
MARGRET MARGRET Rot! Blut! Red ... blood!
WOZZECK WOZZECK Blut? Blut? (Es stellen sich Leute urn sie) Blood? . . . blood! (People gather round Margret and Wozzeck) MARGRET Freilich—Blut. MARGRET Surely ... blood! WOZZECK Ich glaub', ich hab' mich geschnitten, da an der rechten WOZZECK Hand ... I think ... I must ... have ... I've cut it sometime ... on my right hand MARGRET Wie kommt's denn zum Ellenbogen? MARGRET (imitating Wozzeck's tone of voice) How comes . . . it then ... on your elbow? WOZZECK Ich hab's daran abgewischt. WOZZECK I've wiped ... my hand ... on it there. MARGRET Puh! Puh! Da stinkt's nach Menschenblut! MARGRET Pooh! ... Pooh! ... It smells of human blood! WOZZECK WOZZECK (jumping up) Was wollt Ihr? Was geht's Euch an? Bin ich eM Morder? Platz! oder es geht wer zum Teufel! (stiirtzt hinaus) What mean you? That's my affair. Am I a murd'rer? Off!! ... or elk ... someone pays the Devil!! (rushes out) DIE BURSCHEN CHORUS OF APPRENTICES Mit der rechten Hand am rechten Arm? His right elbow wiped ... with his right hand?? DIRNEN GIRLS Freilich, da stinkt's nach Menschenblut! Surely ... it smells ... of human blood ... blood?
DIE BURSCHEN APPRENTICES Blut, Blut, Blut, Blut! Blood, blood, blood, blood! ... It smells of human blood!
Verwandlung MARGRET Surely ... of human blood? Kurzes Orchester-Nachspiel Quick Curtain
—Please turn the page quietly.—
19 DRM'ER AKT, VIERTE SZENE ACT THREE SCENE FOUR
Waldweg am Teich. Mondnacht wie vorher. Wozzeck Forest path by the pool. Moonlit night as before. Woz- kommt schnell herangewankt. Bleibt suchend stehen. zeck stumbles on hastily, and then stops as he searches for something. WOZZECK WOZZECK Where is it? ... Where has the knife gone? ... Somewhere Das Messer? —Wo ist das Messer? —Ich hab's da gelassen. here I left it ... Somewhere ... here, somewhere ... Oh, - noch naher. —Mir graut's —da regt sich was. horror! . . . There something moved! . . . Still . . . all is
Still! —Alles still und tot. — Murder! Murder!! Ha! Da still . . . and dead! . . . Murder! Murder! . . . Ah, who ruft's. Nein —ich selbst. (wankt suchend ein paar cried? No, 'twas me. (Still searching, he staggers forward Schritte weiter und stOsst auf die Leiche) Marie! Marie! a few more steps, and comes on the corpse) Marie! Was hast Du fiir eine rote Schnur urn den Hals? Hast Dir Marie! What is that so like a crimson cord round your das rote Halsband verdient, wie die Ohrringlein, mit dein- neck? . . . And was that crimson necklace well-earned ... er Sunde! Was hingen Dir die schwartzen Haare so wild—?! like the gold ear-rings ... the price of sinning? Why hangs —Murder! Murder!! Sie werden nach mir suchen. Das your fine black hair so wild on your head? Murder! Messer verrat mich! (sucht fieberhaft) Da, da ist's! (am Murder! For me they'll soon be searching .... That knife Teich) So! Da hinunter! (wirft das Messer hinein) Es will betray me . . . (seeks it feverishly) Ah! It's here! (At taucht ins dunkle Wasser wie ein Stein. (Der Mond bricht the pool) Down to the bottom! (throws the knife in) It blutrot hinter den Wolken hervor. Wozzeck blickt auf) sinks through deep dark water like a stone. (The moon Aber der Mond verrat mich —der Mond ist blutig. Will comes up blood-red through the clouds) See how the denn die ganze Welt es ausplaudern?! —Das Messer, es moon betrays me ... the moon is bloody! ... Must then liegt zu weit vorn, sie linden's beim Baden oder wenn the whole wide world be blabbing it? ... The knife there sie nach Muscheln tauchen. (geht in den Teich hinein) ... too near to the shore! ... They'll find it when bathing Ich find's nicht. Aber ich muss mich waschen. Ich bin . . . maybe when they are mussel-gath'ring. (He wades blutig. Da ein Fleck —und noch einer. (klagend) Weh! into the pool) It's gone now. I ought to wash my body Weh! Ich wasche mich mit Blut —das Wasser ist Blut . I am bloody ... Here's a spot ... and here ... some- Blut . . . (ertrinkt. Der Doktor tritt auf, der Hauptmann thing. Woe! . . . Woe! . . . I wash myself with blood! ... folgt ihn) The water is blood . . . blood . . . (He drowns. After a short time the Doctor enters, followed by the Captain) HAUPTMANN Halt! CAPTAIN Stop! DOKTOR (bleibt stehen) Horen Sie? Dort! DOCTOR (stands still) Do you hear? ... There! HAUPTMANN CAPTAIN Jesus! Das war ein Ton. (bleibt ebenfalls stehen) Heavens! There was a sound ... (stands still) DOCTOR (pointing to the pool) DOKTOR (auf den Teich zeigend) Ja, dort! Yes, there! HAUPTMANN CAPTAIN Es ist das Wasser im Teich. Das Wasser ruft. Es ist schon It is the water in the pool. The water calls. It is a long lange Niemand ertrunken. Kommen Sie, Doktor! Es ist time since anyone was drowned ... Come, Doctor, this is nicht gut zu horen. (will den Doktor mit sich ziehen) not good to hear. (He tries to drag off the Doctor) DOKTOR (bleibt aber stehen und lauscht) DOCTOR (stands still and listens)
Das scant —als sturbe ein Mensch. Da ertrinkt Jemand! It groans . . like a dying man . . . there's someone drowning ... HAUPTMANN Unheimlich! Der Mond rot und die Nebel grau. Horen CAPTAIN Sie? —jetzt wieder das Achzen. It's uncanny! The moon is red, and the mist is grey. Do you hear? ... That groaning again ... DOKTOR Stiller, —jetzt ganz still. DOCTOR It's getting softer ... and now ... quite gone. HAUPTMANN Kommen Sie! Kommen Sie schnell. (zieht den Doktor CAPTAIN mit sich. Beide ab.) Come away! Quick! (drags the Doctor off with him)
Verwandlung Curtain
20 DRITTER AKT, FONFTE SZENE ACT THREE, SCENE FIVE
Strasse vor Mariens Ttir. Heller Morgen, Sonnenschein. In front of Marie's door. Bright morning. Sunshine. Kinder spielen und liirmen. Mariens Knabe auf einem Children are playing and shouting. Marie's child is Steckenpferd reitend. riding a hobby-horse.
DIE SPIELENDEN KINDER CHILDREN Ringel, Ringel, Rosenkranz, Ringelreih'n! Ring-a-ring-a-roses, all fall down! Ringel, Ringel, Rosenkranz, Rin . . . (unterbrechen Ring-a-ring-a-roses, all . . . (They stop, and other children Gesang und Spiel. Andere Kinder sturmen herein. Eins come rushing on. One of these speaks) Katie! .Marie . von Ihnen—) Du Kithe! —Die Marie .. . SECOND CHILD ZWEITES KIND What is it? Was is? FIRST CHILD ERSTES KIND Don't you know? ... They've all gone out there. Weisst' es nit? Sie sind schon Alle 'naus. THIRD CHILD (to Marie's child) DRITTES KIND (zu Mariens Knaben) Hey! Your mother is dead. Du! Dein Mutter ist tot! MARIE'S CHILD (still riding the horse) MARIENS KNABE (immer reitend) Hop, hop! Hop, hop! Hop, hop! Hopp, hopp! Hopp, hopp! Hopp. hopp! SECOND CHILD ZWEITES KIND Where is she now? Wo is sie denn? FIRST CHILD ERSTES KIND Out there ... on the path by the pool .. . Draus' liegt sie, am Weg, neben dem Teich. THIRD CHILD DRITTES KIND Let's go and look! Kommt —anschaun! (Alle Kinder laufen davon) (All the children run off except Marie's child who conti- MARIENS KNABE (reitet) nues to ride and sing: Hop, hop! Hop, hop! Hop, hop! Hopp, hopp! Hopp, hopp! Hopp, hopp! (thgert einen Then noticing he is alone, he hesitates a moment, and Augenblick und reitet dann den anderen Kindern nach) rides off after the other children)
Der Vorhang fiillt Curtain
21