- 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 chapter examines settings of two witty songs from the tavern scene of Goethe’s Faust. Beethoven, Berlioz, Wagner, Liszt, Mussorgsky, and Stravinsky are only the most famous among the composers who devoted their attention to “Es war eine Ratt’ ” (“Song of the Rat”) and “Es war einmal ein König” (“Song of the Flea”). While many of these artists set Goethe’s lines in minor works, two of them did not. Berlioz made his “Song of the Rat” the fourth of his Huit scènes de Faust (Eight Scenes from Faust), composed in 1828 29. Similarly, another translation is the basis for the most remarkable achievement in the group: Mussorgsky’s “Song of the Flea,” a striking concert-scene composed for a famous singer in 1879.
Alberto Rizzuti is Professor of Music at the University of Turin. His areas of interest are, among others, Bach, Beethoven, the German Lied, and Italian opera. His publications include Giovanna d’Arco: dramma lirico (in Four Acts) (Chicago, 2008), Fra Kantor e Canticum. Bach e il “Magnificat” (dell’Orso, 2011), Sotto la volta celeste: Beethoven e l’immaginario pastorale (Aracne, 2014), and Musica sull’acqua: fiumi sonori, mari in tempesta, fontane magiche da Händel a Stravinskij (Carocci, 2017).
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