A SINGLE WORK TODAY, AND A SINGULAR ONE. Alban Berg’s Wozzeck (1825) is notable as the first full-length atonal opera and a masterpiece reflecting the bitter mood after the First World War. Berg based his text on Woyzeck by Georg Büchner (1813–37), a brilliant but short-lived writer from the start of the 19th Century. His play, a searing attack on militarism and social injustice, was left unfinished at his death, existing only as a number of short scenes. It was first performed only in 1913 in Munich and in Vienna the following year, a performance that Berg attended. Working on the opera during his own service in the War, Berg must have seen uncanny relevance across the centuries. Although the opera has inspired many innovative productions in past decades, we shall watch it in a 1972 film that places its humanity in a realistic historical context. The synopsis below is adapted from Wikipedia; the italicized musical descriptions after each scene are Berg’s own. We shall watch the opera complete, omitting only the scenes involving the Doctor. Act One, Scene 1 (Suite). Wozzeck is shaving the Captain who lectures him on the qualities of a "decent man" and taunts him for living an im- moral life. Wozzeck slavishly replies, "Jawohl, Herr Hauptmann" repeatedly to the Captain's abuse. However, when the Captain scorns Wozzeck for having a child out of wedlock, Wozzeck protests that it is difficult to be virtuous when he is poor. The flustered Captain, unable to comprehend Wozzeck, finally concedes that he is a decent man, and dismisses him. Act One, Scene 2 (Rhapsody and Hunting Song). Wozzeck and his friend Andres are cutting sticks as the sun is setting. Wozzeck has frightening visions and Andres tries unsuccessfully to calm him. Act Three, Scene 1 (Invention on a Theme). In her room at night, Marie reads to herself the passage from the Bible about the woman taken in adultery. She cries out that she wants forgiveness. Act One, Scene 3 (March and Lullaby). A military parade passes by outside Marie's room. Her neighbor Margret taunts her for flirting Act Three, Scene 2 (Invention on a Single Note). Wozzeck and Marie with the soldiers. Marie sings a lullaby to her son. Wozzeck then are walking in the woods by a pond. Marie is anxious to leave, but comes by and tells Marie of the terrible visions he has had, but Wozzeck restrains her. As a blood-red moon rises, Wozzeck becomes leaves without seeing their son, much to Marie's dismay. She laments determined that if he can't have Marie, no one else can, and he being poor. stabs her. — Berg: Wozzeck, Act I, scenes 1–3 Act Three, Scene 3 (Invention on a Rhythm). Again in the tavern, Toni Blankenheim (Wozzeck), Gerhard Unger (Captain), Peter people are dancing. Wozzeck enters, and upon seeing Margret, Haage (Andreas), Sena Jurinac (Marie), Richard Cassilly (Drum dances with her and pulls her onto his lap. He insults her, and then Major). Film by Joachim Hess (1972), based on the Hamburg asks her to sing him a song. She sings, but then notices blood on his Opera production by Gunther Rennert; Bruno Maderna (c). hand and elbow; everyone begins shouting at him, and Wozzeck, Act One, Scene 5 (Rondo). Marie admires the Drum Major outside now agitated and obsessed with his blood, rushes out of the tavern. her room. He makes advances to her, which she first rejects but then Act Three, Scene 4 (Invention on a Hexachord). Having returned to accepts after a short struggle. the murder scene, Wozzeck becomes obsessed with the thought — Berg: Wozzeck, Act I, scene 5 that his knife will incriminate him, and throws it into the pond. Cast and production as above. When the blood-red moon appears again, Wozzeck, fearing that he has not thrown the knife far enough from shore and also wanting to Act Two, Scene 3 (Largo). Wozzeck confronts Marie, who does not wash away the blood staining his clothing and hands, wades into the deny his suspicions. Enraged, Wozzeck is about to hit her, when she pond and drowns. The Captain and the Doctor, passing by, hear stops him, saying even her father never dared lay a hand on her. Her Wozzeck moaning and rush off in fright. statement "better a knife in my belly than your hands on me" plants in Wozzeck's mind the idea for his subsequent revenge. Interlude (Invention on a Key). A four-minute orchestral adagio summing up the emotions of the opera. — Berg: Wozzeck, Act II, scene 3 Act Three, Scene 5 (Invention on an Eighth-Note moto perpetuo). Next morning, children are playing in the sunshine. The news spreads that Marie's body has been found, and they all run off to see, eventually including Marie's little boy, who incomprehendingly Act Two, Scene 4 (Scherzo). In the tavern, Wozzeck sees Marie dancing follows after the others. with the Drum Major. After a brief hunter's chorus, Andres asks — Berg: Wozzeck, Act II, scenes 4 and 5, and Act III all Wozzeck why he is sitting by himself. An Apprentice delivers a drunken sermon, then an Idiot approaches Wozzeck and cries out that the joyful scene reeks of blood. For materials used in each class, see the instructor’s website: Act Two, Scene 5 (Rondo). In the barracks at night, Wozzeck, unable http://www.brunyate.com/RingingChanges/ to sleep, is keeping Andres awake. The Drum Major comes in, intoxi- cated, and rouses Wozzeck out of bed to fight with him. Roger Brunyate may be contacted at [email protected] .