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A clear and accessible introduction to one of the most significant operas of the twentieth century.
This book is a guide to Berg's second opera, Lulu, written in non-technical language and intended for those students and music lovers wishing to become familiar with one of the masterpieces of twentieth-century music. Jarman presents a clear and concise introduction to the musical language and to the intricate musical and dramatic structure of Berg's opera. The volume also examines the literary background, the genesis, composition, and tortuous posthumous career of the work. The final chapters survey the performance history and suggest a possible interpretation of this complex and challenging composition. An important feature of the book is the inclusion of source documents and critical responses to the opera. Illustrated with photographs from the premiere and from recent productions, the volume also includes a synopsis, bibliography, and discography.
According to Elias Canetti, "e;with Wozzeck, Buechner achieved the most complete revolution in the whole of literature"e;. The same can be said of Berg's opera, as revolutionary in the history of music. Mark DeVoto and Theo Hirsrunner discuss why this complex score suits the chaotic nature of the play. In his famous essay about the opera, Theodor Adorno shows how what seems fragmentary in the text is actually complete. Kenneth Segar offers a new interpretation of the play in the light of the most recent Buechner research. The play as Berg knew it is set out with a translation, and this unique source material is complemented by a series of critical reactions to the first London production in 1952.Contents: 'Wozzeck' in Context, Mark DeVoto; Georg Buechner's 'Woyzeck': an Interpretation, Kenneth; The Musico-Dramatic Structure of 'Wozzeck'; Musical Form and Dramatic Expression in 'Wozzeck', Theo Hirsbrunner; On the Characteristics of 'Wozzeck', Theodor W. Adorno; 'Wozzeck' at Covent Garden, 1952, John Amis, Eric Walter White, Arthur Jacobs, William Mann, Joan Chissell, Geoffrey Bush, Deryck Cooke, Robert L. Jacobs; Wozzeck: Libretto by Georg Buechner, edited by Franzos and Landau, 1909; Wozzeck: Performing translation by Vida Harford and Eric Blackall; Additional material fiom Buechner translated by Stewart Spencer
Burton D. Fisher's extremely popular Mini Guides feature Principal Characters in the Opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, and an insightful and in depth Commentary and Analysis of the opera.
Although Berg decided immediately after seeing Büchner's play Woyzeck in May 1914 to set it to music, he did not complete his opera until 1922, with the Berlin premiere taking place in 1925. Using compositional sketches, diaries, notebooks and other archival material, Hall reveals the challenges Berg faced in completing his masterpiece.
An illuminating entry into how operas are written and the personalities, incidents, and musical circumstances that have shaped their creation.
Although Berg decided immediately after seeing Büchner's play Woyzeck in May 1914 to set it to music, he did not complete his opera until 1922, with the Berlin premiere taking place in 1925. Berg's Wozzeck traces the composer's slow but determined progress. Using compositional sketches, diaries, notebooks and other archival material, author Patricia Hall reveals the challenges Berg faced--from his induction as a soldier in World War I, to the hyperinflation of the twenties. In addition to the precise chronology of the opera, the sketches show how Berg derived large-scale form from the Büchner text, and how his compositional style evolved during the nine years in which he composed the opera. A comprehensive visual database on the book's companion website of the extant sketches from seven archives in the United States, Germany and Austria allows the reader to examine, for the first time, Berg's sketches in high resolution color scans.
Izdryk's Wozzeck is one of the masterpieces of contemporary Ukrainian literature and a cult classic for the Ukrainian 1990s generation. Discerning at the dusk of romanticism the thickening gloom of an ever more godless age, in 1836 Georg Buchner dramatized the story of the hapless and homicidal barber Woyzeck. On the ruins of an old Europe destroyed by the First World War, Alban Berg gave Buchner's hero voice in the shrieks and moans of his atonal opera, Wozzeck. In the 1990s, Yuri Izdryk, in turn, has made Wozzeck the Everyman of the turn of the third millennium. Anguished and disoriented, betrayed by love and the frailties of his body, Izdryk's Wozzeck is a victim of the phantoms of his mind and of the grotesque society that excludes him. In a world where nothing is certain but pain, he gropes vainly for an Other and for the solaces of knowledge and belief. Fortunately for the reader, his tragedy and his comedy play out in a tour de force of a novel that gleams with dark satire and revels in ingenious metaphors for the modern human condition.