Act 2, Scene I is in Sonata Form. 38:25- Introduction, referencing material from the last scene 38:53- EXPOSITION- Theme 1 39:20- Transition into Theme 2 39:42- Theme 2- Perfect Fourths 39:49- Codetta 40:08- This is the "repetition" of the exposition, where the thematic material is significantly varied. The recurrence of the second theme, for example, is almost comically shortened in 41:20 (The perfect fourths are demonstrated in the horns). 41:24- Transition into development (using material from the codetta with this brass canon. This theme is used to represent Wozzeck). 41:31- DEVELOPMENT (Using Theme 1 and Codetta themes, Marie and Wozzeck) 42:05- As Wozzeck looks at his child, minor 2nds and 3rds are present, possibly referencing the transition into theme 2. Also, there is considerable development of the Wir Arme Leut theme here. 42:41- Transition into recapitulation- haunting C major triad 43:26- RECAP- The 1st theme isn't exactly heard identically, but Berg makes references to it, using intervallic leaps and an emphasis on B natural 43:46- CODA- The last phrase of theme 1 (heard in the violins at 39:08) is expounded upon in the winds. Then, the 2nd theme is heard (44:01). It is all a delicious crescendo into the final stretta (44:14), which makes use of the eerie Codetta (Wozzeck) theme. This just shows how clever Berg was into incorporating form into Wozzeck.
To listeners , see Wozzeck play to further appreciate the composition of Berg , I like that he writes counterpoint classical in layers interactive themes of cello, viola,bassoon etc...one of my faves is "Lyric Suite" performed by " Kronos Quartet"...but Wozzeck is masterfully written!😊
Developing variation of the rhythmic theme Piano [1:27:46] Wozzeck [1:27:53] (augmentation) Wozzeck [1:27:59] String section [1:28:06] (augmentation) Harp [1:28:16] (augmentation) Margaret [1:29:17]
This really is the best performance of the opera.
Undoubtedly a masterpiece of atonal expressionism. So good.
1:34:26 (my own reference) possibly the first fully-fledged Shepard's tone in the orchestra!
Even predates the Shepard Tone illusion, which was discovered in the 1950s.
(Also, RIP Roger Shepard)
Act 2, Scene I is in Sonata Form.
38:25- Introduction, referencing material from the last scene
38:53- EXPOSITION- Theme 1
39:20- Transition into Theme 2
39:42- Theme 2- Perfect Fourths
39:49- Codetta
40:08- This is the "repetition" of the exposition, where the thematic material is significantly varied. The recurrence of the second theme, for example, is almost comically shortened in 41:20 (The perfect fourths are demonstrated in the horns).
41:24- Transition into development (using material from the codetta with this brass canon. This theme is used to represent Wozzeck).
41:31- DEVELOPMENT (Using Theme 1 and Codetta themes, Marie and Wozzeck)
42:05- As Wozzeck looks at his child, minor 2nds and 3rds are present, possibly referencing the transition into theme 2. Also, there is considerable development of the Wir Arme Leut theme here.
42:41- Transition into recapitulation- haunting C major triad
43:26- RECAP- The 1st theme isn't exactly heard identically, but Berg makes references to it, using intervallic leaps and an emphasis on B natural
43:46- CODA- The last phrase of theme 1 (heard in the violins at 39:08) is expounded upon in the winds. Then, the 2nd theme is heard (44:01). It is all a delicious crescendo into the final stretta (44:14), which makes use of the eerie Codetta (Wozzeck) theme.
This just shows how clever Berg was into incorporating form into Wozzeck.
To listeners , see Wozzeck play to further appreciate the
composition of Berg , I like that he writes counterpoint
classical in layers interactive themes of cello, viola,bassoon
etc...one of my faves is "Lyric Suite" performed by
" Kronos Quartet"...but Wozzeck is masterfully written!😊
the music slaps hard like drill
Developing variation of the rhythmic theme
Piano [1:27:46]
Wozzeck [1:27:53] (augmentation)
Wozzeck [1:27:59]
String section [1:28:06] (augmentation)
Harp [1:28:16] (augmentation)
Margaret [1:29:17]
Act III starts at 1:16:50.
Delightful
THIS SONG IS RATHER LARGE
caps
Damn this is maud
Metal
Кажется, что певцы не исполняют в Sprechgesang
Where can I find the full score? It isn’t on IMSLP
the full score is on imslp: imslp.org/wiki/Wozzeck,_Op.7_(Berg,_Alban)
5:10 1:38:50
1:20:30
I find this solid, but a tad-bit overrated.