COVID-19 Update

Despite the problems caused by the Corona-virus our Webshop and the contact forms on our website are fully available. You may also address your inquiries to customer-relations@universaledition.com. Thank you for your understanding if our answer takes longer as usual because of the current restrictions. Your Universal Edition Team

Alban Berg: Wozzeck

(Arranger: John Rea)

  • Opera in 3 acts (15 scenes) (1917-1922)
  • reduced version (21 instruments) (Rea)
  • 1 2 3 2 - 2 1 1 0 - perc(2), hp, pno, str
  • Duration: 90’
  • Instrumentation details:
    flute (+picc.
    Afl.(G))
    1. oboe
    2. oboe (+c.a.)
    1. clarinet in B (+cl.(Eb))
    2. clarinet in B (+cl.(A)
    cl.(Eb))
    bass clarinet in A (+3.cl.(Bb))
    bassoon
    contrabassoon
    1. horn in F
    2. horn in F
    trumpet in C
    bass trombone
    1. perc
    2. perc
    harp (+tr.
    Hcymb.)
    pno (+cel.;synth.;tr.)
    violinI(+Fidel)
    violinII
    viola
    violoncello
    contrabass
  • Choir: Soldaten und Burschen, Tenor 1/2, Bariton 1/2, Bass 1/2 Mägde und Dirnen, Sopran 1/2, Alt 1/2 Kinder, Kinder
  • Composer: Alban Berg
  • Librettist: Alban Berg
  • Arranger: John Rea
  • Text author: Georg Büchner
  • Commission: Auftrag von Lorraine Vaillancourt, künstlerischer Leiter des Nouvel Ensemble Moderne (NEM)

Work introduction

Remarks by Alban Berg

“Give unto the theatre what is the theatre’s …“

I did not dream of wishing to reform the art form of opera by composing Wozzeck, nor was that my intention as I began to compose it; nor did I ever consider, assume or expect that the result would be an object lesson in what should be exemplary in creating another opera – either of my own or by another composer.

Apart from the desire to make good music, to musically realise the psychological matter in Büchner’s immortal drama, to translate his poetic language into a musical one, at the moment when I decided to write an opera I had no other notion (not even in terms of compositional technique) than to give unto the theatre what is the theatre’s. That is, designing the music so that it was conscious at every moment of its duty to serve the drama – indeed, to go further; making the music so that everything the drama needs to translate into the reality of the stage comes from the music alone, the composer thus arrogating all the essential tasks of an ideal director – and all that notwithstanding such music’s other absolute (purely musical) right to exist, notwithstanding its own life, unimpaired by anything extra-musical.

Alban Berg, in Musikblätter des Anbruch, Vol. XII, No. 2, January 1930

The complete perusal score (PDF-preview)

Previously Viewed Works

No previously viewed works