- 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 considers Franz Liszt’s engagement with Faustian themes during three periods of his career: an initial stage during his concert years in which he ambivalently cultivated a Mephistophelean image through arresting performances and extraordinarily virtuosic compositions; a middle stage in which Goethe’s Faust inspired several choral compositions and the controversial Faust-Symphonie (Faust Symphony), premiered in 1857; and a final period in which, frustrated by the failure of the Faust-Symphonie in particular and criticism of his artistic goals and musical output in general, Liszt reinterpreted Mephistopheles in the Mephisto-Walzer (Mephisto Waltzes) as an artistically transgressive figure. These various engagements with Faustian themes are linked by Liszt’s constant struggles to balance a progressive musical orientation with inherited tradition.
Jonathan Kregor is Professor of Musicology at the University of Cincinnati, College-Conservatory of Music. He is the author of Liszt as Transcriber (Cambridge, 2010; winner of the inaugural Alan Walker Book Award from the American Liszt Society), and Program Music (Cambridge, 2015). His articles and reviews on Franz Liszt, virtuosity, transcriptions, and other topics in nineteenth-century music have been complemented by critical editions of works by C. P. E. Bach and Clara Schumann. Since 2012 he has been editor of the Journal of the American Liszt Society.
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