- 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
This chapter discusses four ballets, all based on Goethe’s Faust, created over the period 1832–48 by four leading choreographers: August Bournonville in Copenhagen, André-Jean-Jacques Deshayes in London, Salvatore Taglioni in Naples, and Jules Perrot in Milan. Each was significantly influenced by the early French Romantic ballet and the great Parisian Faust vogue of the 1820s and 1830s. Of the musical scores, only those from Copenhagen and London are extant, the former being largely a compilation. The London version, by Adolphe Adam, is an original composition treated here in some detail. The power of Adam’s music to evoke something of the variety and profundity of Goethe’s Faust as conceived by Deshayes is explored.
Kristin Rygg is Professor of Musicology at the Inland Norway University of Applied Sciences. Her research focuses on music in interplay with other arts, especially music theater. Her publications include Masqued Mysteries Unmasked: Early Modern Music Theater and Its Pythagorean Subtext (Pendragon, 2000), “When Angels Dance for Kings: The Beginning of Scandinavian Music Theatre,” Danish Yearbook of Musicology 39 (2012), and “The Broken Hallelujah: The Super Hit as Sacred Space,” in Transcendence and Sensoriness: Perceptions, Revelation, and the Arts (Brill, 2015). She is currently completing a book on early music theater in Nordic countries.
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