- The Oxford Handbook of Faust in Music
- Musical Examples
- Selected Settings from “Auerbachs Keller”
- Musical Remembering in Schubert’s Faust Settings
- Berlioz, Faust, and the Gothic
- Schumann’s Struggle with Goethe’s Faust
- Ideas of Redemption and the Total Artwork in Wagner’s Encounters with Faust
- Liszt’s Faust Complexes
- Gounodian Fausts by Pablo de Sarasate, Joan Baptista Pujol, and Felip Pedrell i Sabaté
- Mahler’s Eighth and the Faust Symphonic Tradition
- Hanns Eisler and Faust in the German Democratic Republic
- The Paradoxical Faust Cantatas of Adrian Leverkühn and Alfred Schnittke
- Louis Spohr’s Tragic Faust
- The Genesis, Transformations, Sources, and Style of Gounod’s Faust
- Mefistofele Triumphant—From the Ideal to the Real
- Extending the Reach of Ferruccio Busoni’s Doktor Faust
- The Faustian and Mephistophelean Worlds in Stravinsky’s The Rake’s Progress
- Havergal Brian’s Gothic Opera Faust
- The Serial Concept in Pousseur’s Votre Faust
- Reflections of the Contemporary Schizophrenia in Josef Berg’s Two Versions of Johanes doktor Faust
- History and Faust in Doctor Atomic
- Pascal Dusapin’s New Lyrical Style in Faustus, the Last Night
- Faust Goes Dancing
- Heinrich Heine’s Faust Ballet Scenario, 1846–1948
- The American Musical and the Faustian Bargain
- Faust Rocks the Stage (Not)
- Helen Gifford’s Marlovian Regarding Faustus
Abstract and Keywords
Czech music has a lengthy tradition of Faustian settings extending back to the nineteenth century. Two important Faust compositions from the mid-twentieth century were created by the composer, writer, and poet Josef Berg. Berg’s position in post–World War II music resembled the story of Doctor Faustus in that he was faced with the choice of an official existence provided by the Czechoslovak Composers' Union or a life in isolated opposition. After starting his career as an optimistic supporter of communism, Berg shifted to a critical mode involving irony and parody. In the 1960s, Berg worked on two different adaptations of the Faust theme entitled Johanes doktor Faustus (Johanes Doctor Faustus). The first was created as a chamber opera for three persons and a small ensemble, while the second was conceived as a grand opera inspired by the poetics of folk puppet theater.
Martin Flašar is Assistant Professor in the Department of Musicology at Masaryk University, Brno. His research interests include contemporary music and media, multimedia, and electro-acoustic music. He is a contributor to sound exchange: Experimentelle Musikkulturen in Mitteleuropa (Pfau, 2012). He is a member of the Czech Ministry of Culture Board for Live Arts (Classical Music).
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