- 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
Richard Wagner’s explicit attempts at composing music for (or inspired by) Faust are a minor byproduct of his lifelong fascination with Goethe. More generally, the example of Faust provoked Wagner to continue thinking about the nature of theater, drama, and the possibilities of a “total dramatic artwork,” even after he had first formulated his ideas about a new musical-dramatic Gesamtkunstwerk in the essay Oper und Drama (1851). After reviewing Wagner’s critical engagement with Faust and his early compositional responses to it (the Sieben Kompositionen zu Goethes Faust [Seven Compositions on Goethe’s Faust] of 1830–31 and Eine Faust-Ouvertüre [A Faust Overture] of 1840, revised 1854–55), this chapter proposes some ways in which the endings of Wagner’s mature music dramas might be read as attempts to realize in operatic form the transfiguration through the agency of the “Eternal Feminine” that forms the apotheosis of part 2 of Goethe’s Faust.
Thomas S. Grey is Professor of Music at Stanford University. He is the author of Wagner’s Musical Prose: Texts and Contexts (Cambridge, 1995), as well as editor of Richard Wagner, Der fliegende Holländer (Cambridge, 2000), The Cambridge Companion to Wagner (2008), and Wagner and His World (Princeton, 2009). He has also written on Beethoven, Mendelssohn, and the history of nineteenth-century opera.
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