- 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
When Austrian composer and committed Marxist Hanns Eisler was forced out of the United States in 1948, he returned to Vienna and hoped to settle there. Instead, a commission for Goethe’s bicentennial celebration the following year drew him to East Berlin and the SBZ (Soviet Occupation Zone), soon to be the German Democratic Republic (GDR, or East Germany), and set him on the path to be that country’s most prominent composer. This chapter examines the piece Eisler wrote for that commission, Rhapsodie für großes Orchester (Rhapsody for large orchestra) (1949), which set text from Goethe’s Faust II, as well as his libretto for a proposed opera entitled Johann Faustus. East German reception of these pieces reveals the centrality of Goethe’s Faust for national identity formation in the fledgling GDR.
Joy H. Calico is Cornelius Vanderbilt Professor of Musicology at Vanderbilt University and Editor-in-Chief of the Journal of the American Musicological Society. She is the author of Arnold Schoenberg’s “A Survivor from Warsaw” in Postwar Europe (2014) and Brecht at the Opera (2008), both from the University of California Press.
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