- 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
This chapter sets Gustav Mahler’s Achte Symphonie (Eighth Symphony) in the context of the Faust symphonic tradition, which emerged with the growth of program music. Prior to Liszt’s monumental Faust-Symphonie (Faust Symphony), Faust overtures were composed by Richard Wagner and the Czech composer Bedřich Smetana. In contrast to Liszt’s Faust-Symphonie, with its explicit setting of verses from Goethe’s Faust at the end of the final movement, Mahler’s setting of the final scene of the drama in his Eighth Symphony integrates his selection from Goethe’s text throughout the entire second part of the work. The structure of Mahler’s Eighth Symphony merits attention for its treatment of Goethe’s text in a single, cohesive movement rather than a sequence of separate scenes. Mahler juxtaposed Faust’s redemption in the second part of the Symphony with a cantata-like presentation of a Latin hymn.
James L. Zychowicz is a scholar in residence at the Newberry Library, Chicago. His publications include Mahler’s Fourth Symphony (Oxford, 2000), as well as articles and reviews in the Journal of the American Musicological Society, Notes: Quarterly Journal of the Music Library Association, and the Journal of Musicology. He contributed to The Cambridge Companion to the Lied (2004), Perspectives on Gustav Mahler (Ashgate, 2005), and Genetic Criticism and the Creative Process: Essays from Music, Literature, and Theater (Rochester, 2009). He serves on the editorial board of Oxford Bibliographies in Music.
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