- 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
Robert Schumann had a long and complicated relationship with Goethe’s Faust, as is reflected in the compositional history of his Scenen aus Goethe’s Faust (Scenes from Goethe’s Faust), begun in 1844 and completed in 1853, but not published in his lifetime. Schumann was unusual among composers in using Goethe’s words rather than a paraphrase and in selecting scenes from both parts of the drama. He began with the closing “Chorus mysticus,” working his way backward through aspects of the Gretchen tragedy, and finally providing an overture. Unusually, Schumann decided to treat Faust as an oratorio rather than as an opera, but as in his other choral dramatic works of the time there is crossover, musically, with more theatrical approaches. The chapter examines musico-dramatic features of the work to reconsider its reception, which has been made problematic by critics viewing the Faustszenen as a barometer of Schumann’s late style.
Laura Tunbridge is Professor in Music at the University of Oxford. She gained her PhD from Princeton in 2002, with a dissertation on Schumann’s music to Byron’s Manfred and the Scenen aus Goethe’s Faust. Subsequent publications have included Schumann’s Late Style (Cambridge, 2007), The Song Cycle (Cambridge, 2010), the co-edited volume Rethinking Schumann (Oxford, 2011), and Singing in the Age of Anxiety: Lieder Performances in New York and London between the World Wars (Chicago, 2018).
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