- 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 documents the history and impact of the opera Doktor Faust (Doctor Faust), left incomplete by the Italian composer Ferruccio Busoni at his death in 1924, by surveying the completion proposed for the first performance (Dresden, 1925) by Busoni’s disciple Philipp Jarnach and, more recently, those offered by the musicologist Antony Beaumont and the composer Larry Sitsky, as well as the work’s translations, performances, and recordings. It examines works by Ronald Stevenson, Alistair Hinton, and Michael Finnissy, three composers from the United Kingdom on whom Busoni’s artistic figure has left a deep imprint and who have drawn on material from his masterpiece in a spirit of homage, thus drawing attention to its significance.
Marc-André Roberge is Professor of Musicology at Laval University, Quebec. He is the author of Ferruccio Busoni: A Bio-Bibliography (Greenwood, 1991), as well as several articles on Busoni and reviews of relevant publications in the Canadian University Music Review, American Music, The Music Review, The Musical Quarterly, and the Revue de musicologie. He contributed the Busoni chapter to Larry Sitsky’s Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Greenwood, 2002) and a biographical study of Busoni’s disciple Gisella Selden-Goth in Busoni in Berlin: Facetten eines kosmopolitischen Komponisten (Franz Steiner, 2004). In addition to preparing more than twenty-five critical editions of works by Kaikhosru Shapurji Sorabji (Sorabji Archive), he created the Sorabji Resource Site in 2010 and is the author of Opus sorabjianum: The Life and Works of Kaikhosru Shapurji Sorabji (Sorabji Archive, 2013).
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