- 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
The history of the American musical is framed by spectacular successes driven by Faustian elements: The Black Crook (1866, running for decades, based loosely on Weber’s Der Freischütz [The Freeshooter]) and The Phantom of the Opera (1988; still running as of 2019). Yet, straightforwardly Faust-based musicals are rare, with Damn Yankees (1955) being the single obvious example. A discussion of Damn Yankees relates it to other treatments in popular culture, including the film version of The Devil and Daniel Webster (1941), as a basis for a wider discussion of Faustian elements deployed in American musical theater, including magic, striving, earning, idealism, temptation, and sexuality, leading to a consideration of the Faustian bargain of the genre itself, which uses the magic of music, dance, sex, and spectacle to seduce audiences and achieve commercial success, but at the apparent price of its artistic soul.
Raymond Knapp is Professor of Musicology at the University of California at Los Angeles. His publications include Symphonic Metamorphoses: Subjectivity and Alienation in Mahler’s Re-Cycled Songs (Wesleyan, 2003), The American Musical and the Formation of National Identity (Princeton, 2005; winner of the George Jean Nathan Award for Dramatic Criticism), The American Musical and the Performance of Personal Identity (Princeton, 2006), The Oxford Handbook of the American Musical (2011, with Mitchell Morris and Stacy Wolf), and Making Light: Haydn, Musical Camp, and the Long Shadow of German Idealism (Duke, 2018). His interests include Beethoven, Wagner, Brahms, Tchaikovsky, Mahler, nationalism, musical allusion, music and identity, camp, and film music.
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