Berg's fixation on constructing narratives of identity is reflected most overtly in his rendering of the character of Alwa, who is transformed into an opera composer, the “Wozzeck Komponist” (composer of Wozzeck), from the original playwright in Wedekind's play. This sort of self-identification was not unusual within his Viennese circle of friends; perhaps the closest model is Schoenberg's identification with Moses in his opera Moses und Aron.” Yet Berg complicates his self-identification with Alwa because, as Patricia Hall has rightly argued, “many sketches for the Rondo suggest that on some level Berg associated the character of Alwa with Tristan from Wagner's opera.” This conflation of Alwa and Tristan completely changes the dramatic plot in the opera and also affects Berg's musical choices, particularly the formal plan for the exposition of the rondo in the first scene of act 2.