- 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
Pascal Dusapin, an acclaimed French composer, created the opera Faustus, the Last Night in 2005–6. In this dark work, the myth of Faust from the perspective of Marlowe’s tragedy, Doctor Faustus, is revisited through the prism of different contemporary topics and a general atmosphere of tragicomedy, perhaps typical of postmodern times. The composer called on his well-known prosodic style (a translation in music of the intonation of speech). But he also experimented with a new style, more typical of the early 2000s and their relative aesthetic return (or stagnation), which is more “Romantic,” dedicated to the strings. This new Romanticism seems well adapted to the archaic Faust theme and its association with pain, fate, and damnation.
Jacques Amblard is Associate Professor in the Department of Music at the University of Provence (Aix-en-Provence, France). His publications concern aesthetics, music of the twentieth and twenty-first centuries, music and intonation (Pascal Dusapin, l’intonation ou le secret, Musica Falsa, 2002), musical pedagogy (L’harmonie expliquée aux enfants, Musica Falsa, 2006), and music and sociology (Vingt regards sur Messiaen: une étiologie de la méditation, Presses universitaires de Provence, 2015).
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