As I study the work, I am struck by a number of things. First, in spite of the work’s atonality, the music is often intensely romantic. Many of the musical gestures could just have easily been written as tonal music, but they would lose the sense of extreme tragedy and at times, the madness of the poor characters of this opera. It is very effective when Berg hints at tonality, somehow finding beauty in the bleakness of the lives of these characters. At times, he almost “crosses over” into the extremely chromatic harmonies you find in the music of late Wagner. I also hear moments that remind me very much of Mahler. But speaking of Wagner, Berg’s opera seems a big step further in the direction of “music drama.” Besides the use of “leitmotifs” (the recurrence of musical motives corresponding to various characters and even states of mind), Berg’s music is even more an integral part of the theatrical drama, often expressing the “subtext” of the character’s thoughts and feelings. The abstract nature of the music allows Berg to use splashes of color and dissonance to express the raw and powerful emotions of the characters with a directness that more conventional music cannot do as easily.
Art is not always beautiful. There are many instances of that in this work. It’s a very dark and tragic story, but very powerful and poignant. I hope people will give it a chance. It may help to hear it a few times first – to get used to the musical language Berg is using. I believe many of you will begin to hear the sense in the music with a couple of hearings. Don’t worry, it won’t ruin the concert experience for you. A recording can not have the same impact as a live performance, as most of our patrons know well. But it will help you to enjoy the concert more and allow you to fully appreciate, understand and enjoy this tremendous work.
–Eric Halen, Associate Concertmaster
The Houston Symphony performs Wozzeck on March 1 and 2, 2013. CLICK HERE for tickets and more information.
Video: Why Wozzeck?
I like your suggestion that “Berg hints at tonality”. When he does it is sublime.
After much searching I finally found a PDF score that I could study from my iPad while listing to the music. I wanted to be prepared as I’ve returned from working in Asia for this concert (this being the most expensive concert in my life!)
This music is not only difficult on the ear and emotions, it is difficult to read. There were so many times that I would have to stop the music & search the score to find my place. More than once I had to restart an act. In all this trial and error I came to anticipate and love those quasi tonal moments as a respite from the emotional terror that prevails in the libretto and score.
I have come to believe this the ultimate warhorse. There is nowhere for a musician to hide in this music.
Can’t wait!
I like your suggestion that “Berg hints at tonality”. When he does it is sublime.
After much searching I finally found a PDF score that I could study from my iPad while listing to the music. I wanted to be prepared as I’ve returned from working in Asia for this concert (this being the most expensive concert in my life!)
This music is not only difficult on the ear and emotions, it is difficult to read. There were so many times that I would have to stop the music & search the score to find my place. More than once I had to restart an act. In all this trial and error I came to anticipate and love those quasi tonal moments as a respite from the emotional terror that prevails in the libretto and score.
I have come to believe this the ultimate warhorse. There is nowhere for a musician to hide in this music.
Can’t wait!
I like your suggestion that “Berg hints at tonality”. When he does it is sublime.
After much searching I finally found a PDF score that I could study from my iPad while listing to the music. I wanted to be prepared as I’ve returned from working in Asia for this concert (this being the most expensive concert in my life!)
This music is not only difficult on the ear and emotions, it is difficult to read. There were so many times that I would have to stop the music & search the score to find my place. More than once I had to restart an act. In all this trial and error I came to anticipate and love those quasi tonal moments as a respite from the emotional terror that prevails in the libretto and score.
I have come to believe this the ultimate warhorse. There is nowhere for a musician to hide in this music.
Can’t wait!