- 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
On reading Gérard de Nerval’s translation of Goethe’s Faust, Hector Berlioz set nine lyrics, grouped into eight miscellaneous pieces, which he immediately published (April 1829) as Huit scènes de Faust (Eight Scenes from Faust). This, his opus 1, was well received by fellow musicians, but he withdrew it, subsequently reworking the material in a full-scale dramatic work, La damnation de Faust (The Damnation of Faust) (1846), the title of which separates it from Goethe’s larger scheme in which, as Berlioz remarked, “Faust is saved.” Although Berlioz’s Faust suffers from ennui, suicide is prevented by the Easter Hymn and a nostalgic vision of childhood piety. Méphistophélès intervenes directly at this point, and controls the remaining action, in which Berlioz contrasts the purity of Marguerite (Gretchen) with demonic manifestations; in these Berlioz subverts musical expectations, notably turning a minuet of “follets” into one of music’s most fascinating evocations of the romantic grotesque.
Julian Rushton is Emeritus Professor of Music at the University of Leeds. He has published mainly on Gluck, Mozart, Berlioz, and Elgar. His books include The Musical Language of Berlioz (Cambridge, 1983) and The Music of Berlioz (Oxford, 2001), and he edited several volumes of the New Edition of the Complete Works of Berlioz (Bärenreiter, 1970, 1979/86, 1991/93). He was President of the Royal Musical Association, 1994–99, and has been chairman of the Editorial Committee of Musica Britannica since 1993.
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