- 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
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.
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.