- 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
English composer Havergal Brian’s setting of Goethe’s Faust was the third of his large-scale German-language operatic projects. Goethe’s Faust had interested Brian for at least forty years when he started composing his Faust opera. Brian was fascinated by the Gothic, and the Goethean Faust represented Gothic Germany as he imagined it. In his opera Faust (1955–56), Brian sought to recreate the German Gothic, filtered through Goethe’s words, which he left unaltered. The opera is full of invention and new perspectives on Goethe’s play. The composer has avoided any superficial picturesqueness, creating a density and intensity typical of his later large-scale operatic works.
Jürgen Schaarwächter is Senior Research Assistant to the Max Reger Institute, Karlsruhe. Among his publications are Richard Strauss und die Sinfonie (Dohr, 1994), as well as numerous articles for Archiv für Musikwissenschaft, Die Musikforschung, The Musical Times, and other journals. He is the editor of HB: Aspects of Havergal Brian (Ashgate, 1997).
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