"Wozzeck (Gurlitt) Wozzeck (op. 16) is a 1926 German-language opera in 18 scenes and one epilogue by Manfred Gurlitt after the fragmentary ""Woyzeck"" by Georg Büchner. It was premiered 22 April 1926 in Bremen, four months after the better known opera ""Wozzeck"" by Alban Berg had been premiered at the Berlin State Opera on 14 December 1925. The two composers were unaware of each other's projects, being among many artists stimulated by the publication of Büchner's play. Berg, unsettled by his publisher Universal Edition also publishing another opera on the same material so quickly reviewed Gurlitt's piano score, and in"
"complete concert performance of ""Wozzeck"", again produced by Edward Clark. The opera was given its first British staged performance at the Royal Opera House, Covent Garden, on 22 January 1952. A typical performance of the work takes slightly over an hour and a half. ""Wozzeck"" is generally regarded as the first opera produced in the 20th-century avant-garde style and is also one of the most famous examples of employing atonality (music that avoids establishing a key) and ""Sprechgesang"". Berg was following in the footsteps of his teacher, Arnold Schoenberg, by using free atonality to express emotions and even the thought"
"most importantly, the opera ""Wozzeck"" by Alban Berg in 1926. These programming choices met extreme controversy over Ostrčil's fifteen-year administration at the National Theater, especially from conservative critics such as Antonín Šilhan, who branded the conductor an anti-Czech pro-communist traitor, and whose articles prompted a riot at the third performance of ""Wozzeck"". Many of these criticisms had to do with Ostrčil's close association with Nejedlý, who by this time was a strong proponent of the Czechoslovak Communist Party. It was Ostrčil's belief in the necessity of presenting modern art to the public that won him many supporters among the students"
"held until he became general music director there in 1924. In 1920 he founded a ""Society for New Music"" in Bremen to encourage avant-garde and rarely heard pre-classical works. His first opera ""Die Heilige"", set in 12th-century Japan, premiered in Bremen in 1920. His opera ""Wozzeck"" after the play by Georg Büchner premiered with Gurlitt conducting in Bremen on 22 April 1926 four months after the opera of the same title by Alban Berg. Berg called it ""not bad or unoriginal"" but added that ""the broth in the kettle of this opera, that is, in the orchestra, is too watered"
"and later destroyed by Büchner's widow, who survived him by four decades. But Franzos's edition was for many years the authoritative version, until the late 1910s when a revival of Büchner's works began in Europe and the many errors in Franzos' edition came to light. These errors include the misspelling of the title, as ""Wozzeck"" instead of ""Woyzeck"", an alternate ending that involves Wozzeck drowning in lieu of Büchner's incomplete manuscript, and a fragmented plot without connections between the scenes. Although the play is often performed in newer versions, Franzos' edition has been immortalized in the form of Alban Berg's"
"Orpheus und Eurydike Orpheus und Eurydike (""Orpheus and Eurydice"") is an opera by Ernst Krenek. The German text is based on a play by Oskar Kokoschka. Kokoschka began writing his play during his convalescence (from wounds received on the Ukrainian front in 1915) and it premiered in 1921, one year before Rilke's Sonnets to Orpheus appeared. In 1923 he let it be known that he was looking for a composer to write incidental music. Kokoschka's expressionist, psychological treatment of the Orpheus myth, marked by his passion for Alma Mahler, appealed to Krenek so he approached Kokoschka. They quickly decided that"
"Franz Grundheber Franz Grundheber (born 27 September 1937) is a German operatic baritone. At the Hamburg State Opera, he performed over 150 roles from 1966. His voice is flexible enough to sing Italian opera as well as Wagner parts and contemporary opera; he is a stage presence in acting and singing. He has performed at major international opera houses and is known for his performance of the title role of Alban Berg's ""Wozzeck"", filmed for DVD in 1994 in a production staged by Patrice Chéreau. Grundheber was born in Trier and graduated from the Max-Planck-Gymnasium in 1959. He subsequently enrolled"
"und Aron"", with , chorus and orchestra of the Vienna State Opera conducted by Daniele Gatti. Franz Grundheber Franz Grundheber (born 27 September 1937) is a German operatic baritone. At the Hamburg State Opera, he performed over 150 roles from 1966. His voice is flexible enough to sing Italian opera as well as Wagner parts and contemporary opera; he is a stage presence in acting and singing. He has performed at major international opera houses and is known for his performance of the title role of Alban Berg's ""Wozzeck"", filmed for DVD in 1994 in a production staged by Patrice"
"""Wozzeck"" at the Vienna State Opera and was hired by Claudio Abbado as his assistant conductor. In February 1988 he made his official debut with ""Maria Stuarda"" (Gruberova, Baltsa, Araiza) and became resident conductor under Abbado's tenure as music director. Until 1991 he conducted at the Vienna State Opera a large repertoire from Mozart to Alban Berg. In Vienna he collaborated with the some of the world's greatest singers: Luciano Pavarotti (""Un ballo in maschera""), José Carreras (""Carmen""), Thomas Hampson, Gundula Janowitz, Hermann Prey (""Le nozze di Figaro""), Ruggero Raimondi, Agnes Baltsa (""L'italiana in Algeri""), Hildegard Behrens (""Wozzeck""), Éva Marton"
"own initiative"", conducted the world premiere at the Berlin State Opera on 14 December 1925. Walsh claims that it was ""a ""succès de scandale"" with disturbances during the performance and a mixed press afterwards, but it led to a stream of productions in Germany and Austria, before the Nazis consigned it to the dustbin of 'decadent art' after 1933"". Initially, ""Wozzeck"" established a solid place for itself in the mainstream operatic tradition and quickly became so well-established in the repertoire of the major European opera houses that Berg found himself able to live a comfortable life off the royalties. He"
"cycle is considered significant, or because he first suffered an asthma attack on the 23rd of the month. In 1924, three excerpts from ""Wozzeck"" were performed, which brought Berg his first public success. The opera, which Berg completed in 1922, was first performed on December 14, 1925, when Erich Kleiber conducted the first performance in Berlin. Today, ""Wozzeck"" is seen as one of the century's most important works. Berg made a start on his second opera, the three-act ""Lulu"", in 1928 but interrupted the work in 1929 for the concert aria ""Der Wein"" which he completed that summer. ""Der Wein"""
"close in style to Schoenberg's expressionism, c. 1909–13, and subsequently his music ""became increasingly constructivist on the surface and increasingly concealed its passionate expressive core"" . His ""Five Pieces for Orchestra"", Op. 10 (1911–13) are from this period. Alban Berg's contribution includes his Op. 1 Piano Sonata, and the Four Songs of Op. 2. His major contribution to musical expressionism, however, were very late examples, the operas ""Wozzeck"", composed between 1914 and 1925, and unfinished ""Lulu"" . ""Wozzeck"" is highly expressionist in subject material in that it expresses mental anguish and suffering and is not objective, presented, as it is,"
"for either composition or listening. The first phase, known as ""free atonality"" or ""free chromaticism"", involved a conscious attempt to avoid traditional diatonic harmony. Works of this period include the opera ""Wozzeck"" (1917–1922) by Alban Berg and ""Pierrot Lunaire"" (1912) by Schoenberg. The second phase, begun after World War I, was exemplified by attempts to create a systematic means of composing without tonality, most famously the method of composing with 12 tones or the twelve-tone technique. This period included Berg's ""Lulu"" and ""Lyric Suite"", Schoenberg's ""Piano Concerto"", his oratorio ""Die Jakobsleiter"" and numerous smaller pieces, as well as his last"
"Heinz Zednik Heinz Zednik (born February 21, 1940) is an Austrian operatic tenor, closely associated with the character tenor roles of Wagner such as Mime and Loge (""Der Ring des Nibelungen"") and David (""Die Meistersinger von Nürnberg""). He is also distinguished in roles such as Valzacchi (""Der Rosenkavalier""), Monostatos (""The Magic Flute""), Pedrillo (""Die Entführung aus dem Serail""), the Scribe (""Khovanshchina""), the Captain in ""Wozzeck"", and the Director (Luciano Berio's ""Un re in ascolto""). Zednik studied singing in Vienna before making his professional opera début in 1964 at Graz as Maestro Trabuco in ""La forza del destino"". Shortly thereafter he"
"In 1916, however, he devoted himself to attaining the rank of ""Einjährig-Freiwillige"" Korporal (Corporal), which he did later that year. During this period, as Berg wrote to his wife, ""For months I haven't done any work on ""Wozzeck"". Everything suffocated. Buried!"" Finishing act 1 by the summer of 1919, act 2 in August 1921, and the final act during the following two months (with orchestration finalized over the following six months), Berg completed ""Wozzeck"" in April 1922. For the climactic section, Berg used one of his old student pieces in D minor. Erich Kleiber, ""who programmed (the opera) on his"
"and advocates of atonality and its later development (as worked out by Schoenberg), dodecaphony. Schoenberg's early musico-dramatic works, ""Erwartung"" (1909, premiered in 1924) and ""Die glückliche Hand"" display heavy use of chromatic harmony and dissonance in general. Schoenberg also occasionally used Sprechstimme. The two operas of Schoenberg's pupil Alban Berg, ""Wozzeck"" (1925) and ""Lulu"" (incomplete at his death in 1935) share many of the same characteristics as described above, though Berg combined his highly personal interpretation of Schoenberg's twelve-tone technique with melodic passages of a more traditionally tonal nature (quite Mahlerian in character) which perhaps partially explains why his operas"
"experience at the Komische Oper Berlin and the illness of his second wife, that Reznicek found a new and very personal style, that can be described as a sort of musical expressionism. In a letter to Ernst Déczy in 1921 he claimed to have modernized his style considerably. He never left the realm of tonal composition, but he often made use of bi-tonal constructions. And in the dramaturgy of his operas he was clearly influenced by silent-movie aesthetics. Reznicek was skeptical about the Schoenberg concept of twelve-tone composition, but not against atonalism ""per se."" He greatly admired Alban Bergs ""Wozzeck"""
"whom he had been living. He was later publicly beheaded. In editions based on the Franzos version and at its first stage performances, the play and the title character bore the name ""Wozzeck"": an indication of the near-illegibility of the manuscripts with which Franzos worked. Not only did he have to cope with Büchner's ""microscopically small"" handwriting, but the pages had faded so badly that they had to be chemically treated to make the text decipherable at all. Franzos was unaware of the real-life basis of the drama, which was first generally disseminated through the appearance in 1921 of a"
"Buenos Aires, and he conducted the first performance in Spanish of ""Wozzeck"" by Alban Berg, translated for the occasion. In 1953 he was responsible for the first performance of Gottfried von Einem's work ""Der Prozess"". From 1954 to 1956 he directed the Vienna State Opera at its reconstructed home. He additionally resumed ties post-war in Dresden, at the Staatskapelle. In 1957 he made his debut at the Metropolitan Opera, New York, conducting ""Don Giovanni"", and quickly became one of the favorite conductors of the Rudolf Bing era, conducting 262 performances, including the house premieres of ""Wozzeck"", ""Ariadne auf Naxos"" and"
"addition to the Austro-German repertory occurred in 1905. This was the premiere of Richard Strauss's ""Salome"", with the pivotal part of John the Baptist assigned to a baritone. (The enormous-voiced Dutch baritone Anton van Rooy, a Wagner specialist, sang John when the opera reached the Met in 1907). Then, in 1925, Germany's Leo Schützendorf created the title baritone role in Alban Berg's harrowing ""Wozzeck"". In a separate development, the French composer Claude Debussy's post-Wagnerian masterpiece ""Pelléas et Mélisande"" featured not one but two lead baritones at its 1902 premiere. These two baritones, Jean Périer and Hector Dufranne, possessed contrasting voices."
"work of prose fiction, as ""the beginning of modern European prose"". The play ""Woyzeck"" became the basis for many adaptations including Alban Berg's landmark atonal opera ""Wozzeck"" which premiered in 1925, and Werner Herzog's 1979 film ""Woyzeck"" (see main article, ""Woyzeck"", for a full list). A literary prize in Germany, the Georg Büchner Prize, is awarded annually. It was created in 1923. Georg Büchner Karl Georg Büchner (17 October 1813 – 19 February 1837) was a German dramatist and writer of poetry and prose, considered part of the Young Germany movement. He was also a revolutionary and the brother of"
"the work should become an opera and Krenek received carte blanche to adapt the German play, condensing it by a third in the process, and setting it to an atonal score. At one point Krenek sought help from Eduard Erdmann, who gave up. In this new form it premiered as Krenek's Op. 21 in Kassel at the Staatstheater on 27 November 1926. Orpheus und Eurydike Orpheus und Eurydike (""Orpheus and Eurydice"") is an opera by Ernst Krenek. The German text is based on a play by Oskar Kokoschka. Kokoschka began writing his play during his convalescence (from wounds received on"
"theatre . Indeed, by the time ""Wozzeck"" was performed in 1925, Schoenberg had introduced his twelve-tone technique to his pupils, representing the end of his expressionist period (in 1923) and roughly the beginning of his twelve-tone period. As can be seen, Arnold Schoenberg was a central figure in musical expressionism, although Berg, Webern, and Bartók did also contribute significantly, along with various other composers. Expressionist music The term expressionism ""was probably first applied to music in 1918, especially to Schoenberg"", because like the painter Wassily Kandinsky (1866–1944) he avoided ""traditional forms of beauty"" to convey powerful feelings in his music"
"Following that, he collaborated with the French composer François Sarhan on a short show called ""Telegrams from the Nose,"" for which he made the stage and set design for the performance. In November 2015 his ""provocative and visually stunning new staging"" of Berg's ""Lulu"", premièred at the Metropolitan Opera in New York, a co-production with the English National Opera and the Dutch National Opera. On 8 August 2017, William Kentridge's Wozzeck (Alban Berg) premièred at the Salzburg Festival and received enthusiast reactions. Kentridge's protean artistic investigation continues in his series of tapestries begun in 2001. The tapestries stem from a"
"identify, beginning with the Serenade, op. 24, and the Suite for piano, op. 25 . Schoenberg's pupil Alban Berg actually came to neoclassicism before his teacher, in his ""Three Pieces for Orchestra"", op. 6 (1913–14), and the opera ""Wozzeck"" , which uses closed forms such as suite, passacaglia, and rondo as organizing principles within each scene. Anton Webern also achieved a sort of neoclassical style through an intense concentration on the motif . However, his 1935 orchestration of the six-part ricercar from Bach's ""Musical Offering"" is not regarded as neoclassical because of its concentration on the fragmentation of instrumental colours"
"1929, he was appointed director of the Vienna State Opera. Its orchestra, which was part of the independent concert entity known as the Vienna Philharmonic, appointed him its music director in 1930. He was a regular conductor at the Salzburg Festival from 1926 to 1934, where in 1930 he conducted Alban Berg's avant-garde atonal opera ""Wozzeck"". Krauss gave up his Vienna positions in 1933-34 to direct the Berlin State Opera in 1935 after Erich Kleiber had resigned in protest against Nazi policies. In 1933, he took over the preparations for the premieres of Richard Strauss's opera ""Arabella"" after the departure"
"Walter Goetze Walter Wilhelm Goetze [sometimes ""Götze""] (17 April 1883 in Berlin – 24 March 1961 in Berlin) was a German composer of operettas and revues. Goetze began as composer of songs; the first of his many works for the stage was the revue ""Nur nicht drängeln"" (""Don't Rush"") in 1912, followed by his first operetta ""Der liebe Pepi"" (""The Charming Pepi"") in 1913. His most successful works in this form were ""Ihre Hoheit, die Tänzerin"" (1919) which achieved almost 700 performances in Berlin alone, ""Adrienne"" (1926) and ""Der goldene Pierrot"" (1934). Other successful numbers from his other works include"
"other leaders; the last issue of ""Var"" was taken up with a detailed defense of Alban Berg's opera ""Wozzeck"", which Ostrčil had produced in 1926. By this point, however, his many musicology students were among the main critics in Prague, carrying on his work on his behalf. After the close of ""Var"", his main involvements in music included a short polemic with Novák and monographs on Ostrčil (1935, to commemorate his friend's death), the National Theatre (1936), and Soviet music (1937). During the Nazi occupation of the Czech Lands, the Nejedlý family fled to the Soviet Union, where he supposedly"
"his landmark opera Wozzeck, Op. 7. The instrument—marked ""Ziehharmonika bzw. Akkordeon"" in the score appears only during the tavern garden (""wirthausgarten"") scene, along with an on-stage (""Bühnenmusik"") ensemble consisting of two fiddles (violins tuned up a tone), one clarinet in C, one guitar and one bombardon in F (or bass tuba), to lend a touch of authenticity to the ""deutsche Biergarten"" setting. Notable composers who wrote for the accordion during the first half of the 20th century were: In 1937 the first accordion concerto was written and played in Russia. Pauline Oliveros brought the accordion into the American experimental tradition."
"Woyzeck Woyzeck () is a stage play written by Georg Büchner. He left the work incomplete at his death, but it has been posthumously ""finished"" by a variety of authors, editors and translators. ""Woyzeck"" has become one of the most performed and influential plays in the German theatre repertory. Büchner probably began writing the play between June and September 1836. It remained in a fragmentary state at the time of his early death in 1837. ""Woyzeck"" was first published in 1879 in a heavily reworked version by Karl Emil Franzos. It was not performed until November 8, 1913 at the"
"on 13 May 1922 at the Great Theatre, Warsaw, Poland, and it has been produced four times. Szymanowski commissioned a Polish translation of the text (by Stanisław Barącz), but the project was not successful. The opera was criticized and disparaged in the interwar Poland notably by critic (and writer of prayer songs) Stanisław Niewiadomski, a devout Catholic and former official in the Austrian Partition, as well as other clericalists, due to its author's openly gay lifestyle. The libretto by is loosely based on the Old Testament, with the emphasis on deception and jealousy in love and death, similar to other"
"contribution to the last vestiges of late 19th-century romanticized bohemianism and to the Italian 'scapigliatura'"". The opera was performed at the Opera Wrocławska in Wrocław, Poland, in 2010 as part of the Chopin bicentenary celebrations. Chopin (opera) Chopin is a four-act opera by Giacomo Orefice (1865–1922) to a libretto by Angiolo Orvieto, premiered in Milan in 1901. The opera, which is ""a wildly inaccurate account"" of the life of Frédéric Chopin, is based entirely on his music, orchestrated by Orefice. The vocal score indicates the sources of the music, which include Chopin's sonatas, polonaises, mazurkas and nocturnes. The overture is"
"notably in Vienna, Salzburg, Paris, London, Glyndebourne, and made his American debut in 1957 at the Dallas Opera, subsequently appearing at the San Francisco Opera, the Lyric Opera of Chicago and the Metropolitan Opera in New York. Besides the 18th- and 19th-century Italian repertoire, he also gained considerable acclaim in character roles such as Fra Melitone, Geronte, Gianni Schicchi, Baron Ochs, the Doctor in ""Wozzeck"", as well as roles in many contemporary works by Rota, Tosatti, etc. He retired from the stage in 1997, but remained active as a stage director and teacher. He died in Rome in 2006. Paolo"