- 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 discusses the musical representation of memory in three of Franz Schubert’s Faust settings. “Gretchen am Spinnrade” (“Gretchen at the Spinning Wheel”) (D. 118) fuses qualities of a spinning song and an operatic aria, creating seamless transitions among Gretchen’s “field” memories (remembering events as if reliving) of intimate encounters with Faust, her present awareness, and her fantasizing. “Szene aus ‘Faust’” (“Scene from Faust”) (D. 126) reveals the connection between Gretchen’s guilt-inducing “observer” memories (remembering from the perspective of an outside observer) of childhood purity and her anxiety about Judgment Day by interlacing passages of operatic recitative and pseudo-archaic church music. In “Der König in Thule” (“King of Thule”) (D. 367), Gretchen’s singing of an ostensible “cultural memory” (a vessel of wisdom and truth handed down through the ages), suggested by the interfusion of folk ballad and chorale, expresses longing for an idealized mythic past.
Marjorie Hirsch is Professor of Music at Williams College in Williamstown, Massachusetts. She is the author of Schubert’s Dramatic Lieder (Cambridge, 1993), Romantic Lieder and the Search for Lost Paradise (Cambridge, 2007), and other writings on nineteenth-century music.
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