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date: 30 September 2020

(p. xi) Musical Examples

(p. xi) Musical Examples

  1. 1.1. Ludwig van Beethoven, Sechs Gesaenge, op. 75, no. 3, “Aus Göthe’s Faust,” mm. 19–21. 22

  2. 1.2. Johann Christoph Kienlen, Lieder aus Göthe’s Faust, no. 5, “Lied der lustigen Gesellen,” mm. 7–9. 23

  3. 1.3. Anton Heinrich von Radziwill, Compositionen zu Göthe’s Faust, no. 13, “Lied des Brander,” mm. 35–44. 25

  4. 1.4. Conradin Kreutzer, Gesänge aus Goethe’s Faust, no. 9, “Recitativo [‘Es war einmal ein König’],” mm. 1–9. 27

  5. 1.5. Hector Berlioz, Huit scènes de Faust, no. 4, “Écot de joyeux compagnons–histoire d’un rat,” mm. 31–50. 28

  6. 1.6. Richard Wagner, Sieben Kompositionen zu Goethes Faust, no. 3, “Branders Lied,” mm. 10–16. 31

  7. 1.7. Franz Liszt, Vierstimmige Männergesänge, no. 2, “Studentenlied, aus Göthes Faust,” mm. 11–15. 32

  8. 1.8. Modest Mussorgsky, Песня Мефистофеля в погребке Ауэрбаха (Песня о блохе), mm. 1–7. 34

  9. 2.1. Franz Schubert, “Gretchen am Spinnrade,” mm. 1–6. 43

  10. 2.2a. Johann Abraham Peter Schulz, “Spinnerlied,” mm. 1–4. 44

  11. 2.2b. Johann Abraham Peter Schulz, “Die Spinnerin,” mm. 1–4. 44

  12. 2.3. Franz Schubert, “Gretchen am Spinnrade,” mm. 49–75. 46

  13. 2.4. Franz Schubert, “Szene aus ‘Faust,’ ” second version, mm. 1–5. 50

  14. 2.5. Franz Schubert, “Szene aus ‘Faust,’ ” second version, mm. 15–24. 51

  15. 2.6. Franz Schubert, “Szene aus ‘Faust,’ ” second version, mm. 45–46. 52

  16. 2.7. Franz Schubert, “Szene aus ‘Faust,’ ” second version, mm. 33–44. 53

  17. 2.8. Franz Schubert, “Der König in Thule.” 56

  18. 2.9. Carl Friedrich Zelter, “Der König von Tule.” 58

  19. 3.1. Hector Berlioz, Huit scènes de Faust, no. 5, “Chanson de Méphistophélès–histoire d’une puce.” 68

  20. 3.2. Hector Berlioz, La damnation de Faust, entry of Méphistophélès. 71

  21. 3.3. Hector Berlioz, La damnation de Faust, Méphistophélès, “l’esprit de vie.” 74

  22. (p. xii) 3.4. Hector Berlioz, La damnation de Faust, the two melodies of the scene by the Elbe. 76

  23. 3.5. Hector Berlioz, La damnation de Faust, “Menuet des follets.” 79

  24. 4.1. Robert Schumann, Scenen aus Goethe’s Faust, no. 1, “Scene im Garten. Gretchen und Faust.” 95

  25. 4.2. Robert Schumann, Scenen aus Goethe’s Faust, no. 2, “Gretchen vor dem Bild der Mater dolorosa.” 97

  26. 4.3. Robert Schumann, Scenen aus Goethe’s Faust, no. 3, “Scene im Dom.” 98

  27. 4.4. Robert Schumann, Scenen aus Goethe’s Faust, no. 3, “Scene im Dom.” 99

  28. 4.5. Robert Schumann, Scenen aus Goethe’s Faust, no. 4, “Ariel. Sonnenaufgang. Faust. Chor.” 100

  29. 4.6. Robert Schumann, Scenen aus Goethe’s Faust, no. 4, “Ariel. Sonnenaufgang. Faust. Chor.” 102

  30. 4.7. Robert Schumann, Scenen aus Goethe’s Faust, no. 5, “Mitternacht.” 104

  31. 4.8. Robert Schumann, Scenen aus Goethe’s Faust, no. 6, “Faust’s Tod.” 107

  32. 4.9. Robert Schumann, Scenen aus Goethe’s Faust, no. 7, “Faust’s Verklärung.” 110

  33. 5.1a. Richard Wagner, Sieben Kompositionen zu Goethes Faust, main idea from “Melodram,” “Ach neige, du Schmerzenreiche.” 124

  34. 5.1b. Richard Wagner, Die Feen, reuse of main idea from “Melodram” in finale of 2, mm. 284–89: Ada, “O Himmel schütz’ ihn, schütz’ ihn vor Verdacht!” 124

  35. 5.2. Richard Wagner, Eine Faust-Ouvertüre, motifs “x” and “y” from introduction, mm. 7–10. 126

  36. 5.3. Richard Wagner, Eine Faust-Ouvertüre, mm. 19–21. 126

  37. 5.4a. Richard Wagner, Tristan und Isolde, Isolde’s transfiguration, mm. 58–64. 134

  38. 5.4b. Richard Wagner, Tristan und Isolde, Isolde’s transfiguration, mm. 71 to end. 135

  39. 5.5a. Richard Wagner, Götterdämmerung, conclusion of 3 (“Im Feuer leuchtend, liegt dort dein Herr”). 138

  40. 5.5b. Richard Wagner, Götterdämmerung, conclusion of 3 (“Fühl meine Brust auch”). 139

  41. 5.5c. Richard Wagner, Götterdämmerung, conclusion of 3 (final mm.). 141

  42. 6.1. Franz Liszt, Vierstimmige Männergesänge, no. 2, “Studentenlied, aus Göthes Faust,” end of third strophe and refrain. 150

  43. 6.2. Franz Liszt, Chor der Engel aus Göthe’s Faust IIter Theil, mm. 185–95. 153

  44. 6.3. Franz Liszt, Eine Faust-Symphonie, the falling line in the main motifs of the first movement (Pohl). 158

  45. (p. xiii) 6.4a. Franz Liszt, Eine Faust-Symphonie, “Gretchen,” mm. 138–42. 159

  46. 6.4b. Franz Liszt, Eine Faust-Symphonie, “Gretchen,” mm. 201–4. 159

  47. 6.5. Franz Liszt, 2ter Mephisto Walzer, mm. 35–38. 162

  48. 6.6. Franz Liszt, 2ter Mephisto Walzer, mm. 298–301. 163

  49. 6.7. Franz Liszt, 2ter Mephisto Walzer, mm. 523–47. 164

  50. 7.1. Pablo de Sarasate, Souvenirs de Faust, beginning of second section, mm. 74–100. 171

  51. 7.2. Pablo de Sarasate, Souvenirs de Faust, “O silence,” mm. 288–91. 171

  52. 7.3. Pablo de Sarasate, Nouvelle fantaisie sur Faust, bridge and “Seigneur, Seigneur, accueillez la prière” in polyphonic arrangement, mm. 43–62. 173

  53. 7.4. Pablo de Sarasate, Nouvelle fantaisie sur Faust, beginning of second section, mm. 73–88. 173

  54. 7.5. Pablo de Sarasate, Nouvelle fantaisie sur Faust, mm. 247–75. 174

  55. 7.6. Joan Baptista Pujol, Fausto opera de Ch. Gounod: gran fantasía para piano, introduction, mm. 1–19. 177

  56. 7.7. Joan Baptista Pujol, Fausto opera de Ch. Gounod: gran fantasía para piano, Faust’s “Laisse-moi,” mm. 52–66, and beginning of Marguerite’s “O silence,” m. 67. 178

  57. 7.8. Felip Pedrell, Transcripción de la serenata del Fausto, anticipation of demonic laughter, mm. 5–8. 179

  58. 7.9. Felip Pedrell, Fantasía sobre motivos del Fausto, prison scene with introduction, mm. 18–33. 180

  59. 7.10. Felip Pedrell, Fantasía sobre motivos del Fausto, third section, mm. 123–45. 181

  60. 7.11. Felip Pedrell, Fantasía sobre motivos del Fausto, beginning of fourth section, “Anges purs,” mm. 146–51. 181

  61. 7.12. Felip Pedrell, Faust: rapsodia para piano sobre motivos de la ópera de Gounod, “Ne permettrez-vous pas,” mm. 1–9. 182

  62. 8.1. Gustav Mahler, Achte Symphonie, opening of part 1. 188

  63. 8.2. Gustav Mahler, Achte Symphonie, opening of part 2. 192

  64. 9.1. Hanns Eisler, Rhapsodie für großes Orchester, R14. 206

  65. 9.2. Hanns Eisler, Rhapsodie für großes Orchester, R22. 207

  66. 9.3. Hanns Eisler, Rhapsodie für großes Orchester, R5. 209

  67. 10.1. Alfred Schnittke, Seid nüchtern und wachet, opening measures. 227

  68. 10.2. Alfred Schnittke, Seid nüchtern und wachet, appearance of Mephostophiles. 230

  69. 10.3. Alfred Schnittke, Seid nüchtern und wachet, beginning of tango. 234

  70. 11.1. Louis Spohr, Faust, three motifs. 250

  71. (p. xiv) 11.2. Louis Spohr, Faust, Mephistopheles, “Wie bin ich dieser Menschenmaske satt,” R18. 251

  72. 11.3. Louis Spohr, Faust, Mephistopheles, “Geister auf! an Stell und Ort,” R10. 254

  73. 11.4. Louis Spohr, Faust, Kunigunde, “Ha! Welch ein Traum,” R7. 256

  74. 11.5. Louis Spohr, Faust, Kunigunde, “Wie in einem Zauberkreis,” R17. 257

  75. 12.1. Charles Gounod, Faust, 2, discarded duet for Marguerite and Valentin. 265

  76. 12.2. Charles Gounod, Faust, 3, no. 9, “Scène et air des bijoux.” 265

  77. 12.3. Charles Gounod, Faust, 1, no. 1, “Scène et choeur.” 266

  78. 12.4. Charles Gounod, Faust, 3 [i.e., 4], no. 12, “Scena, Spinning-Wheel Song, Romance.” 268

  79. 12.5. Charles Gounod, Faust, introduction. 269

  80. 12.6. Charles Gounod, Faust, 1 [i.e., 2], no. 4, “Scena and Recitative, Cavatina, Song of the Golden Calf.” 269

  81. 12.7. Charles Gounod, Faust, 2, no. 3, “Kermesse.” 273

  82. 12.8. Charles Gounod, Faust, 1, no. 2, “Duo.” 275

  83. 12.9. Charles Gounod, Faust, 1, no. 2, “Duo.” 276

  84. 12.10. Charles Gounod, Faust, 3, no. 11, “Duo.” 277

  85. 12.11. Charles Gounod, Faust, 3, no. 8, “Cavatine.” 278

  86. 12.12. Charles Gounod, Faust, 3, no. 9, “Scène et air des bijoux.” 278

  87. 13.1. Arrigo Boito, Mefistofele, 1868, La battaglia. 289

  88. 13.2a. Ludwig van Beethoven, Sonata, op. 47, II, mm. 8–10. 293

  89. 13.2b. Arrigo Boito, Mefistofele, 1, “Officina di Faust,” 1 m. after RD. 293

  90. 13.3a. Ludwig van Beethoven, Sonata, op. 7, II, mm. 25–28. 293

  91. 13.3b. Arrigo Boito, Mefistofele, 4, “La notte del Sabba classico,” RI. 293

  92. 13.4. Arrigo Boito, Mefistofele, “Prologo in cielo,” 4 mm. after RC. 295

  93. 13.5. Arrigo Boito, Mefistofele, 3, “Morte di Margherita,” 2 mm. before RI. 295

  94. 13.6. Arrigo Boito, Mefistofele, 2, “Il giardino,” RD. 296

  95. 13.7. Arrigo Boito, Mefistofele, 2, “La notte del Sabba,” RD. 296

  96. 13.8. Arrigo Boito, Mefistofele, 3, “Morte di Margherita,” 12 mm. before RA. 296

  97. 13.9. Arrigo Boito, Mefistofele, “Prologo in cielo,” 28 mm. after RA. 297

  98. 13.10. Arrigo Boito, Mefistofele, 1, “Officina di Faust,” 12 mm. after RE. 297

  99. 13.11. Arrigo Boito, Mefistofele, 2, “La notte del Sabba,” 14 mm. before RA. 298

  100. 13.12a. Arrigo Boito, Mefistofele, “Epilogo,” 1 m. before RF. 298

  101. 13.12b. Arrigo Boito, Mefistofele, 4, “La notte del Sabba classico,” 15 mm. after RJ. 298

  102. (p. xv) 14.1. Ferruccio Busoni, Doktor Faust, “Vorspiel I,” mm. 90–94, 181–84; “Vorspiel II,” mm. 1–9; “Intermezzo (Kapelle im Münster),” mm. 248–51. 319

  103. 14.2. Ronald Stevenson, Prelude, Fugue & Fantasy on Busoni’s “Faust,” mm. 1–3, 17–18, 90–91. 321

  104. 14.3. Ronald Stevenson, Motus perpetuus (?) temporibus fatalibus, mm. 226–28. 322

  105. 14.4. Ferruccio Busoni, Doktor Faust, “Symphonisches Intermezzo (Sarabande),” mm. 28–41. 324

  106. 14.5. Michael Finnissy, The History of Photography in Sound, no. 9 (“Wachtend op de volgende uitbarsting van repressie en censuur”), mm. 11–19. 325

  107. 14.6. Alistair Hinton, Sequentia claviensis, “Adagio (Lamento–Arioso–Notturno).” 326

  108. 14.7. Alistair Hinton, Sequentia claviensis, “Fughe su frammenti faustiani.” 328

  109. 14.8. Alistair Hinton, Sequentia claviensis, “Passacaglia cum LI variationibus.” 329

  110. 15.1.1a. Igor Stravinsky, The Rake’s Progress, 3.2, sketch page for the prelude. 48.2 cm (w) x 29.4 cm (h). 340

  111. 15.1.1b. Igor Stravinsky, The Rake’s Progress, 3.2, continuation of Musical Example 15.1.1a (same dimensions). 341

  112. 15.1.1c. Igor Stravinsky, The Rake’s Progress, 3.2, excerpt from the orchestral score, prelude. 342

  113. 15.1.2. Igor Stravinsky, The Rake’s Progress, 3.2, map of Musical Example 15.1.1a with reference numbers to transcribed figures. 343

  114. 15.1.3a. Igor Stravinsky, The Rake’s Progress, 3.2, transcription of preliminary sketch for the opening of the prelude up to R159. 343

  115. 15.1.3b. Igor Stravinsky, The Rake’s Progress, 3.2, transcription of preliminary sketch for the prelude, 1 m. after R159. 344

  116. 15.1.3c. Igor Stravinsky, The Rake’s Progress, 3.2, transcription of preliminary sketch for 1 m. after R160. 345

  117. 15.1.3d. Igor Stravinsky, The Rake’s Progress, 3.2, transcription of preliminary sketch related to the fourth m. of the prelude. 345

  118. 15.1.3e. Igor Stravinsky, The Rake’s Progress, 3.2, transcription of preliminary sketch for the opening of the prelude through 2 mm. after R159. 345

  119. 15.1.3f. Igor Stravinsky, The Rake’s Progress, 3.2, transcription of another sketch for the opening of the prelude with examples of re-barring. 346

  120. 15.1.3g. Igor Stravinsky, The Rake’s Progress, transcription of preliminary sketch possibly related to the aria in 2.1. 346

  121. 15.1.3h. Igor Stravinsky, The Rake’s Progress, transcription of preliminary sketch possibly related to 2.1. 347

  122. (p. xvi) 15.1.3i. Igor Stravinsky, The Rake’s Progress, transcription of preliminary sketch showing superimposition of D major (upper line) against E♭ major. 347

  123. 15.2.1. Igor Stravinsky, The Rake’s Progress, 3.2, preliminary sketch for “Behold thy waiting grave,” R174 to R176. 44.2 cm (w) x 28.8 cm (h). 348

  124. 15.2.2. Igor Stravinsky, The Rake’s Progress, 3.2, map of Musical Example 15.2.1. 348

  125. 15.2.3. Igor Stravinsky, The Rake’s Progress, 3.2, comparison of the transcription of preliminary sketch and the published score for “Behold thy waiting grave,” R174 to R176. 349

  126. 15.3.1. Igor Stravinsky, The Rake’s Progress, 3.2, (recto) preliminary sketch for “Now in his words,” 1-4 mm. after R196. 26.7 cm (w) x 18.5 cm (h). 350

  127. 15.3.2. Igor Stravinsky, The Rake’s Progress, 3.2, map of Musical Example 15.3.1. 350

  128. 15.3.3. Igor Stravinsky, The Rake’s Progress, 3.2, comparison of the transcription of (recto) preliminary sketch and the score for “Now in his words,” 2-4 mm. after R196 re-barring. 351

  129. 15.3a.1. Igor Stravinsky, The Rake’s Progress, 3.2, (verso) preliminary sketch for “Will Fortune give another sign?” 6 mm. after R196 to 1 m. after R197, 5-7 mm. after R196, and 4-5 mm. after R196. 26.7 cm (w) x 18.5 cm (h). 352

  130. 15.3a.2. Igor Stravinsky, The Rake’s Progress, 3.2, map of Musical Example 15.3a.1. 352

  131. 15.3a.3a. Igor Stravinsky, The Rake’s Progress, 3.2, comparison of the transcription of (verso) preliminary sketch and score for “Will Fortune give another sign?” 6 mm. after R196 to 1 m. after R197. 353

  132. 15.3a.3b. Igor Stravinsky, The Rake’s Progress, 3.2, comparison of the transcription of (verso) preliminary sketch and score for “Will Fortune give another sign?” 5-7 mm. after R196. 353

  133. 15.3a.3c. Igor Stravinsky, The Rake’s Progress, 3.2, comparison of the transcription of (verso) preliminary sketch and score for “And Fortune gives no other sign,” 4-5 mm. after R196. 354

  134. 15.4.1. Igor Stravinsky, The Rake’s Progress, 3.2, preliminary sketch for “I burn! I burn! I freeze!” R201 to 1 m. after R202 and 1 m. after R203 to R204, 1-4mm. after R202, and 1-4mm after R204. 44.7 cm (w) x 28.8 cm (h). 355

  135. 15.4.2. Igor Stravinsky, The Rake’s Progress, 3.2, map of Musical Example 15.4.1. 355

  136. 15.4.3a. Igor Stravinsky, The Rake’s Progress, 3.2, comparison of the transcription of preliminary sketch and score for “I burn! I freeze!” R201 to 1 m. after R202 and 1 m. after R203 to R204. 356

  137. (p. xvii) 15.4.3b. Igor Stravinsky, The Rake’s Progress, 3.2, comparison of the transcription of preliminary sketch and score for “lost me my prey,” 1-4 mm. after R202. 356

  138. 15.4.3c. Igor Stravinsky, The Rake’s Progress, 3.2, comparison of the transcription of preliminary sketch and score for “To reason blind,” 1-4 mm. after R204. 357

  139. 16.1. Havergal Brian, “Faust,” 1.1, “Nacht,” 1 m. after R54 to 2 mm. before R56. 368

  140. 16.2. Havergal Brian, “Faust,” 1.2, “Studierzimmer,” 2-1 mm. before R111. 368

  141. 16.3. Havergal Brian, “Faust,” “Prolog im Himmel,” R22 to R24. 369

  142. 16.4. Havergal Brian, “Faust,” 2.3, “Gretchen (mit einer Lampe),” 2 mm. before R276 to R276. 369

  143. 16.5. Havergal Brian, “Faust,” 2.4, “Gretchens Stube,” 1 m. before R294 to 1 m. before R296. 370

  144. 16.6. Havergal Brian, “Faust,” 3.1, “Nacht,” 1 m. before R314 to 2 mm. after R316. 371

  145. 16.7. Havergal Brian, “Faust,” 3.1, “Nacht,” 2 mm. after R334 to R335. 372

  146. 16.8. Havergal Brian, “Faust,” 3.2, “Dom,” R409 to R410. 372

  147. 16.9. Havergal Brian, “Faust,” 4.3, “Kerker,” R520 to R522. 373

  148. 17.1. Walter O’Connell’s original transformation. T6 applies to all arrows. Empty and black noteheads identify the two whole-tone scales. Accidentals modify only the note they directly precede (also in Musical Examples 17.2–6). 384

  149. 17.2. Pousseur’s whole-tone generated cyclic system (partial). Compound interval-cycle labels appear in parentheses above each staff (top left). Vertical brackets indicate the evolution of harmonic color (right). 384

  150. 17.3. Pousseur’s cycle-of-fifth generated cyclic system (partial). 385

  151. 17.4. Henri Pousseur, Votre Faust, “Prologue dans le ciel,” generative series. Labels (above staff) identify the original series and associated interval cycle(s). Boxed segments A–D refer to Musical Example 17.5. 386

  152. 17.5. Henri Pousseur, Votre Faust, “Prologue dans le ciel,” segments A–D. Piano reduction with set-class labels above notes (top staves) and underlying pitch structure and associated interval cycles (bottom staff). 387

  153. 17.6. Henri Pousseur, Votre Faust, sequence of five harmonic progressions (left); letter-label A-E and set class (center); associated interval cycle, underlying structure, and transformations (right). 388

  154. 17.7. Henri Pousseur, Votre Faust, song for “le cabaret.” 391

  155. 17.8. Henri Pousseur, Votre Faust, song for “la foire.” 391

  156. (p. xviii) 18.1. Josef Berg, “Johanes doktor Faust,” part 1, Mefisto’s spoken section, p. 2. 415

  157. 18.2. Josef Berg, “Johanes doktor Faust,” part 1, celestial choir, p. 7. 416

  158. 18.3. Josef Berg, “Johanes doktor Faust,” part 1, use of quasi-dodecaphonic technique in Vágner’s aria, p. 59. 416

  159. 18.4. Josef Berg, “Johanes doktor Faust,” part 1, madrigal setting, p. 68. 417

  160. 18.5. Josef Berg, “Johanes doktor Faust,” part 2, fanfare appropriating style of Stravinsky, p. 4. 419

  161. 18.6. Josef Berg, “Johanes doktor Faust,” part 2, a cappella recitative of Faust, p. 54. 420

  162. 19.1. John Adams, Doctor Atomic, 1.1, mm. 1–12. 429

  163. 19.2. Igor Stravinsky, Histoire du soldat, “Danse du diable,” mm. 16–21. 430

  164. 19.3. Igor Stravinsky, Histoire du soldat, “Danse du diable,” mm. 1–6. 431

  165. 19.4. Igor Stravinsky, Histoire du soldat, “Couplets du diable,” mm. 1–9. 431

  166. 19.5. John Adams, Doctor Atomic, ostinato at opening of 1.1. 432

  167. 19.6. John Adams, Doctor Atomic, 2.3, mm. 150–71. 434

  168. 19.7. Igor Stravinsky, Histoire du soldat, “Marche royale,” mm. 93–96. 438

  169. 19.8. Franz Liszt, Eine Faust-Symphonie, “Mephistopheles,” mm. 1–4. 438

  170. 19.9. John Adams, Doctor Atomic, 1.2, mm. 1–19. 439

  171. 19.10. Franz Liszt, Eine Faust-Symphonie, final chorus, mm. 16–22. 441

  172. 19.11. John Adams, Doctor Atomic, 1.3, mm. 793–811. 442

  173. 21.1. Ludvig Philip Keck, “Repetiteur partie til balletten Faust,” 1, no. 3. 465

  174. 21.2. Adolphe Adam, “Faust,” 1, 15 (recto) –15 (verso). 466

  175. 21.3. Adolphe Adam, Faust, 1, Grande Marche, Diabolique. 468

  176. 21.4. Adolphe Adam, Faust, 1, The Admired Pas du Sylphe. 469

  177. 21.5. Adolphe Adam, “Faust,” 3, 158 (recto). 470

  178. 21.6. Adolphe Adam, “Faust,” 3, “Andante religioso,” 172 (recto). 473

  179. 22.1. František Škvor, Doktor Faust, 1, the signing of the contract. 491

  180. 22.2. The entry of Mephistophela (in Egk, Bellastriga), in the first scenes of (a) Škvor’s Doktor Faust, (b) Krips’s “Faust,” and (c) Egk’s Abraxas. 492

  181. 22.3. Henry Krips, “Faust,” scene 2, entreé pas de deux. 493

  182. 22.4. Henry Krips, “Faust,” scene 1, entry of Satana. 494

  183. 22.5. Werner Egk, Abraxas, scene 3 (mm. 1075–85), Faust and Archisposa in erotic frenzy. 496

  184. 22.6. Werner Egk, Abraxas, scene 4 (opening mm. and mm. 1528–31), dance and its later transformation. 497

  185. 25.1. Helen Gifford, “Regarding Faustus,” p. 30. 548

  186. (p. xix) 25.2. Helen Gifford, “Regarding Faustus,” p. 64. 550

  187. 25.3. Helen Gifford, “Regarding Faustus,” p. 65. 551

  188. 25.4. Helen Gifford, “Regarding Faustus,” the final page of the composer’s autograph score. 553

(p. xx)