Alban Berg - Wozzeck (Audio + Full Score)

Performers:
Wozzeck: Toni Blankenheim
Marie: Sena Jurinac
Drum Major: Richard Cassilly
Andres: Peter Haage
Captain: Gerhard Unger
Doctor: Hans Sotin
Workman I: Kurt Moll
Workman II: Franz Grundheber
Idiot: Kurt Marschner
Margret: Elisabeth Steiner
Marie's son: Martina Schumacher
The Hamburg Philharmonic State Orchestra
The Chorus of the Hamburg State Opera
Conducted: Bruno Maderna
Music and libretto by Alban Berg, after the play by Georg Büchner
This recording was taken from the 'film' version, directed for television by Joachim Hess, recorded in 1970 with the Hamburg State Opera, you can watch it here:
• Berg: Wozzeck (HQ) - 1...
Wozzeck is the first opera by the Austrian composer Alban Berg. It was composed between 1914 and 1922 and first performed in 1925. The opera is based on the drama Woyzeck, which the German playwright Georg Büchner left incomplete at his death. Berg attended the first production in Vienna of Büchner's play on 5 May 1914, and knew at once that he wanted to base an opera on it. From the fragments of unordered scenes left by Büchner, Berg selected 15 to form a compact structure of three acts with five scenes each. He adapted the libretto himself, retaining "the essential character of the play, with its many short scenes, its abrupt and sometimes brutal language, and its stark, if haunted, realism..."
The plot depicts the everyday lives of soldiers and the townspeople of a rural German-speaking town. Prominent themes of militarism, callousness, social exploitation, and casual sadism are brutally and uncompromisingly presented. Toward the end of act 1, scene 2, the title character (Wozzeck) murmurs, "Still, all is still, as if the world died," with his fellow soldier Andres muttering, "Night! We must get back!" seemingly oblivious to Wozzeck's words. A funeral march begins, only to transform into the upbeat song of the military marching band in the next scene. Musicologist Glenn Watkins considers this "as vivid a projection of impending world doom as any to come out of the Great War ...."
en.wikipedia.org/wiki/Wozzeck
ACT 1:
Scene 1: Langsam, Wozzeck, Langsam! - 0:00
Scene 2: Du, der platz ist verflucht! - 9:12
Scene 3: Chin Boom... Horst Bub? Da kommen sie! - 16:38
Scene 4: Was erlab ich, Wozzeck? - 25:48
Scene 5: Geh einmal vor Dich hin! - 34:56
ACT 2:
Scene 6: Was die Steine Glanzen? - 38:25
Scene 7: Wohin so eilig... - 44:28
Scene 8: Guten tag, Franz. - 55:23
Scene 9: Ich hab ein hemdlein an... - 1:00:21
Scene 10: Ach... Andres, Andres! Ich kann nicht schlafen. - 1:11:26
ACT 3:
Scene 11: Und ist kein Betrug in seinem Munde... - 1:16:50
Scene 12: Dort links geht's in die Stadt. - 1:22:27
Scene 13: Tanzt, alle! - 1:27:45
Scene 14: Das Messer, Wo ist das Messer? - 1:31:18
Interlude - 1:36:34
Scene 15: Ringel, Ringel, Rosenkranz. Ringelein! - 1:39:59
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[@PhilipDaniel]

This really is the best performance of the opera.

[@LordNev4]

1:34:26 (my own reference) possibly the first fully-fledged Shepard's tone in the orchestra!

[@joshscores3360]

Even predates the Shepard Tone illusion, which was discovered in the 1950s.
(Also, RIP Roger Shepard)

[@vitocipponeri6773]

the music slaps hard like drill

[@machida5114]

Undoubtedly a masterpiece of atonal expressionism. So good.

[@simonkawasaki4229]

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.

[@waltersaul1807]

Act III starts at 1:16:50.

[@musik350]

Delightful

[@LL-mu4kk]

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]

[@anewbugmusic]

Metal

[@ohadnativ]

Where can I find the full score? It isn’t on IMSLP

[@RyanPower]

the full score is on imslp: imslp.org/wiki/Wozzeck,_Op.7_(Berg,_Alban)

[@kathrynhan7878]

Damn this is maud

[@jamesbond4830]

5:10 1:38:50

[@s092480]

1:20:30

[@user-gd7ul8gc2z]

Кажется, что певцы не исполняют в Sprechgesang

[@theodoreproferes9390]

THIS SONG IS RATHER LARGE

[@theodoreproferes9390]

caps

[@aayyiss]

I find this solid, but a tad-bit overrated.