- 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
Louis Spohr’s Faust is the first operatic setting of the legend by a major composer. Unlike most of the Faust settings of later years, Spohr’s used a libretto based on Faustian characters and ideas, but not the main events associated with the legend. A subplot presents a second female love interest for Faust, and he is ultimately punished for his misdeeds with eternal damnation. The opera displays many of the features associated with German Romantic opera, including sophisticated characterization and motivic development. In particular, Spohr’s handling of the supernatural elements develops the disruptive procedures associated with two eighteenth-century musical styles, ombra and tempesta, the one slow and menacing, the other fast and furious, both of which lie at the root of Romantic expressivity.
Clive McClelland is Associate Professor in the School of Music at the University of Leeds, where he teaches harmony, counterpoint, and analysis. He is the author of Ombra: Supernatural Music in the Eighteenth Century (Lexington, 2012) and Tempesta: Stormy Music in the Eighteenth Century (Lexington, 2017). Other publications include “Death and the Composer: The Context of Schubert’s Supernatural Lieder,” in Schubert the Progressive: History, Performance Practice, and Analysis (Ashgate, 2003), and “Ombra and Tempesta” in The Oxford Handbook of Topic Theory (2014).
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