Wozzeck

Part 1:
Treitler discusses Bergs process of highlighting aspects of the
story of Wozzeck in two ways: narratively and musically. In terms of
narrative, Treitler notes a sense of doom and a feeling of an oncoming
apocalypse when describing scene two. He cites the lines of the Book
of Genesis, which also deals with the apocalypse. The story can be
examined on different levels. On its surface, Wozzeck is about a
jealous man who kills his wife after she has an affair. However, Treitler
states that Wozzeck is about Wozzeck fulfilling his own prophecy.
When he confronts Marie about her affair, he internalizes the affair as a
symbol of the worlds wrongdoing and wants to punish the world for it.
Therefore, he feels it is his duty to kill Marie; it is not an act of
vengeance. Likewise, his death is neither suicide nor an accident.
Therefore, his apocalyptic prophecy is satisfied, according to Treitler.
Musically, Treitler discusses at length the development of
motives. At the heart of the music is an augmented second, which he
calls motive a. Treitler traces this motive throughout the score and
notes what voice it lies in and how it is introduced in relation to the
other motives. Motive a cycles into what he calls motive b1, which
cycles into b2. B2 returns to a creating a never-ending cycle from
which Wozzeck cannot escape.

Although I understand the ideas Treitler discusses, I wonder why

he does not mention the overall structure of the opera. Berg
consciously wrote the opera with very structural forms like sonata
form, passacaglia, and fugue. I think it is interesting to note that Act I,
which introduces characters, uses character pieces. Act II, which
heightens the conflict, contains symphony forms, which generally form
a story as well. Act III takes apart Wozzceks world as his life falls apart
and features inventions that take apart specific aspects of music. The
structure of the piece deals with the narrative structure and motivic
development as well.
Part 2:
Although the musical structure of Act II, scene 3 is largo, which
typically consists of slow moving music, the dialogue between Wozzeck
and Marie is somewhat quick, erratic and constantly changing. The
music often switches depending on who is singing; Maries music is
supported by long legato lines and fewer notes, while Wozzecks music
consists of interweaving lines in solo instruments.
The scene begins with a combination of both types of music.
Legato lines are heard in the strings while a somewhat erratic pizzicato
lies underneath, which sets up the type of music the audience hears
for the rest of the scene. When Wozzeck begins to question Marie, the
music becomes thicker with rapid runs, particularly in the English horn.

Maries response is quieter, with fewer notes. However, she still seems
nervous as she is supported by tremolos in the strings.
Wozzeck begins to appear conflicted over how someone so fair
can sin. The music here carries a longer melody. The music shifts
when Wozzeck starts yelling. The music features a repeated note as
he yells percussively. The repetition of the note implies a sort of ide
fixe, which Wozzeck cannot let go. Maries response is legato and
more confident as she tries to defend herself against Wozzecks
accusations. However, her confidence combined with Wozzecks
increasing anger results in the climax of the scene. He tries to slap
her, but she flees and Wozzeck is alone.
When Wozzeck is by himself, the music turns back to solo
instruments with rapid runs, specifically in the cello and the French
horn. He describes falling, which is represented by the rapid
ascending and descending passages that are passed around the
orchestra. Finally, he seems to trip and fall off stage, ending the
scene.