- 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
Australian composer Helen Gifford’s Regarding Faustus (1983) is an innovative musical theater setting of Christopher Marlowe’s tragedy Doctor Faustus, with additional adaptation from Marlowe’s Tamburlaine the Great, verse by Marston and Shakespeare, Greene’s Historie of Frier Bacon, and Frier Bongay, and Australian indigenous ceremonial practices. Developing the piece for performance by tenor Robert Gard, Gifford makes effective use of dissonance, with pitched and non-pitched percussion, and pre-recorded chorus, oscillating between diegetic and non-diegetic sounds. Her libretto underplays the visceral aspects of the Faustus character, who damns himself yet still invites our pity. The work is distinctive in its intercultural scope and creative synthesis.
Mark Carroll is Professor at the Elder Conservatorium of Music, University of Adelaide. An active classical and pop music performer, his research activities range from music and politics (Music and Ideology in Cold War Europe [Cambridge, 2003]) to Percy Grainger (Self-Portrait of Percy Grainger, with Malcolm Gillies and David Pear [Oxford, 2006]), to Jean-Paul Sartre’s literary and ideological use of music. He publishes regularly in Music & Letters, and is series editor of the Ashgate Library of Essays on Music, Politics and Society (2012).
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