- The Oxford Handbook of Faust in Music
- Musical Examples
- Selected Settings from “Auerbachs Keller”
- Musical Remembering in Schubert’s <i>Faust</i> Settings
- Berlioz, <i>Faust</i>, and the Gothic
- Schumann’s Struggle with Goethe’s <i>Faust</i>
- Ideas of Redemption and the Total Artwork in Wagner’s Encounters with <i>Faust</i>
- Liszt’s Faust Complexes
- Gounodian <i>Faust</i>s by Pablo de Sarasate, Joan Baptista Pujol, and Felip Pedrell i Sabaté
- Mahler’s Eighth and the Faust Symphonic Tradition
- Hanns Eisler and <i>Faust</i> in the German Democratic Republic
- The Paradoxical Faust Cantatas of Adrian Leverkühn and Alfred Schnittke
- Louis Spohr’s Tragic <i>Faust</i>
- The Genesis, Transformations, Sources, and Style of Gounod’s <i>Faust</i>
- <i>Mefistofele</i> Triumphant—From the Ideal to the Real
- Extending the Reach of Ferruccio Busoni’s <i>Doktor Faust</i>
- The Faustian and Mephistophelean Worlds in Stravinsky’s <i>The Rake’s Progress</i>
- Havergal Brian’s Gothic Opera <i>Faust</i>
- The Serial Concept in Pousseur’s <i>Votre Faust</i>
- Reflections of the Contemporary Schizophrenia in Josef Berg’s Two Versions of <i>Johanes doktor Faust</i>
- History and Faust in <i>Doctor Atomic</i>
- Pascal Dusapin’s New Lyrical Style in <i>Faustus, the Last Night</i>
- Faust Goes Dancing
- Heinrich Heine’s <i>Faust</i> Ballet Scenario, 1846–1948
- The American Musical and the Faustian Bargain
- Faust Rocks the Stage (Not)
- Helen Gifford’s Marlovian <i>Regarding Faustus</i>
Abstract and Keywords
Created by Igor Stravinsky, in collaboration with W. H. Auden and Chester Kallman, the Faustian opera The Rake’s Progress (1947–51) was inspired by a series of engravings by William Hogarth. The collaboration between Stravinsky and Auden is a fascinating study, not only because of the way in which these luminaries interacted to produce this masterwork, but also because it provides insights into Stravinsky’s compositional process for his first dramatic work that involved the setting of a text in English. This chapter provides a glimpse into the process for specific musical passages in The Rake’s Progress and considers certain parallels between the storyline of Auden’s text and that of Goethe’s Faust.
Maureen A. Carr is Distinguished Professor of Music Theory at the Pennsylvania State University. She is a recipient of the Faculty Scholar Medal for Outstanding Achievement in the Arts and Humanities. Her works examining Stravinsky’s use of neo-classicism include Multiple Masks: Neoclassicism in Stravinsky’s Dramatic Works on Greek Subjects (Nebraska, 2002) and After the Rite: Stravinsky’s Path to Neoclassicism (1914–1925) (Oxford, 2014). She is also the author of Stravinsky’s Histoire du soldat: A Facsimile of the Sketches (A-R Editions, 2005) and Stravinsky’s Pulcinella: A Facsimile of the Sources and Sketches (A-R Editions, 2010), for which she won the Citation of Special Merit from the Society for Music Theory. She is currently writing After Apollo: Stravinsky’s Path through the Models of Bach (1929–1965) (forthcoming, Oxford).
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