Pub Date : 2019-10-10DOI: 10.1093/oxfordhb/9780199935185.013.28
M. Hirsch
This chapter discusses the musical representation of memory in three of Franz Schubert’s Faust settings. “Gretchen am Spinnrade” (“Gretchen at the Spinning Wheel”) (D. 118) fuses qualities of a spinning song and an operatic aria, creating seamless transitions among Gretchen’s “field” memories (remembering events as if reliving) of intimate encounters with Faust, her present awareness, and her fantasizing. “Szene aus ‘Faust’” (“Scene from Faust”) (D. 126) reveals the connection between Gretchen’s guilt-inducing “observer” memories (remembering from the perspective of an outside observer) of childhood purity and her anxiety about Judgment Day by interlacing passages of operatic recitative and pseudo-archaic church music. In “Der König in Thule” (“King of Thule”) (D. 367), Gretchen’s singing of an ostensible “cultural memory” (a vessel of wisdom and truth handed down through the ages), suggested by the interfusion of folk ballad and chorale, expresses longing for an idealized mythic past.
本章讨论了舒伯特《浮士德》中三个场景中记忆的音乐表现。“Gretchen am spinnade”(“Gretchen at the Spinning Wheel”)(D. 118)融合了旋转歌曲和歌剧咏叹调的特质，在Gretchen与浮士德的亲密接触、她现在的意识和她的幻想的“田野”记忆(回忆事件就像重演一样)之间创造了无缝的过渡。《浮士德》(《浮士德的场景》)(D. 126)通过歌剧朗诵和伪古代教堂音乐的穿插，揭示了格雷琴童年纯洁的“观察者”记忆(从外部观察者的角度记忆)与她对审判日的焦虑之间的联系。在“Der König In Thule”(“King of Thule”)(D. 367)中，格雷琴通过民间民谣和赞美诗的融合，唱出了一种表面上的“文化记忆”(一种代代相传的智慧和真理的容器)，表达了对理想化的神话般的过去的渴望。
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Pub Date : 2019-10-10DOI: 10.1093/oxfordhb/9780199935185.013.29
A. Rizzuti
The chapter examines settings of two witty songs from the tavern scene of Goethe’s Faust. Beethoven, Berlioz, Wagner, Liszt, Mussorgsky, and Stravinsky are only the most famous among the composers who devoted their attention to “Es war eine Ratt’ ” (“Song of the Rat”) and “Es war einmal ein König” (“Song of the Flea”). While many of these artists set Goethe’s lines in minor works, two of them did not. Berlioz made his “Song of the Rat” the fourth of his Huit scènes de Faust (Eight Scenes from Faust), composed in 1828 29. Similarly, another translation is the basis for the most remarkable achievement in the group: Mussorgsky’s “Song of the Flea,” a striking concert-scene composed for a famous singer in 1879.
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Pub Date : 2019-10-10DOI: 10.1093/OXFORDHB/9780199935185.013.4
V. Giroud
Beginning with Charles Gounod’s lifelong interest in Goethe’s Faust, this chapter explores the genesis of the composer’s collaboration with his librettists Jules Barbier and Michel Carré and the circumstances leading to the opera Faust’s 1859 premiere at the Théâtre-Lyrique. It discusses the opera’s transformation from a semi-character opéra-comique-type work with spoken dialogue to a full-fledged through-composed opera, with various additions and changes that make it difficult to speak of a “definitive” version. The libretto, while indebted to the French melodrama tradition, shows that the authors were eager to remain as faithful to Goethe as the nature and conventions of the genre allowed. The result is an admittedly hybrid work, where both Faust and Mephistopheles inevitably emerge as somewhat trivialized, while secondary characters are vividly portrayed and the figure of Marguerite transmutes as the emotional core, which makes her, vocally and dramatically, one of the memorable figures in nineteenth-century opera.
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Pub Date : 2019-10-10DOI: 10.1093/oxfordhb/9780199935185.013.24
Kristin Rygg
This chapter discusses four ballets, all based on Goethe’s Faust, created over the period 1832–48 by four leading choreographers: August Bournonville in Copenhagen, André-Jean-Jacques Deshayes in London, Salvatore Taglioni in Naples, and Jules Perrot in Milan. Each was significantly influenced by the early French Romantic ballet and the great Parisian Faust vogue of the 1820s and 1830s. Of the musical scores, only those from Copenhagen and London are extant, the former being largely a compilation. The London version, by Adolphe Adam, is an original composition treated here in some detail. The power of Adam’s music to evoke something of the variety and profundity of Goethe’s Faust as conceived by Deshayes is explored.
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Pub Date : 2019-10-10DOI: 10.1093/oxfordhb/9780199935185.013.32
Rolf Bäcker
This chapter addresses the reception of the Faust myth in Spanish musical culture, focusing on three nineteenth-century composers: Pablo de Sarasate, Joan Baptista Pujol, and Felip Pedrell i Sabaté. The theme found its way into Spanish music by means of Charles Gounod’s opera, Faust (Barcelona premiere, 1864), upon which the Faust works of these composers are based. Analysis of their adaptations reveals their dependence upon certain genres and styles (especially virtuoso piano/violin fantasies) more than a creative engagement with the myth itself and its translation into musical language.Among these works, Sarasate’s Nouvelle fantaisie sur Faust (Fantasy on Gounod’s “Faust” for Violin and Orchestra or [Piano]) [1874] may be the most well-known Spanish musical interpretation of the Faust theme.
本章讨论了浮士德神话在西班牙音乐文化中的接受情况，重点是三位十九世纪的作曲家:帕布罗·德·萨拉萨特，琼·巴普蒂斯塔·普约尔和菲利普·佩德罗·萨巴特尔。这一主题通过查尔斯·古诺的歌剧《浮士德》(1864年巴塞罗那首演)进入西班牙音乐，这些作曲家的浮士德作品都是基于此创作的。对其改编的分析揭示了他们对某些类型和风格的依赖(尤其是钢琴/小提琴幻想大师)，而不是对神话本身及其翻译成音乐语言的创造性参与。在这些作品中，萨拉萨特的《Nouvelle fantasisie sur Faust》(古诺的《浮士德》为小提琴和管弦乐队或[钢琴]创作的幻想)[1874]可能是最著名的西班牙音乐对浮士德主题的诠释。
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Pub Date : 2019-10-10DOI: 10.1093/oxfordhb/9780199935185.013.33
L. Tunbridge
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.
罗伯特·舒曼与歌德的《浮士德》有着长期而复杂的关系，这反映在他的《浮士德场景》(Scenen aus Goethe 's Faust)的创作历史上，该作品始于1844年，完成于1853年，但在他有生之年没有出版。舒曼在作曲家中与众不同的是，他使用了歌德的话，而不是改述，并从戏剧的两个部分中选择了场景。他以结尾处的“神秘合唱团”(Chorus mysticus)开始，以他的方式回溯格雷琴悲剧的各个方面，最后提供一个序曲。不同寻常的是，舒曼决定把《浮士德》当作清唱剧而不是歌剧，但就像他当时的其他合唱戏剧作品一样，在音乐上有跨界的，更戏剧化的方法。本章考察了作品的音乐戏剧特征，以重新考虑它的接受，这已经被评论家视为舒曼晚期风格的晴雨表而产生了问题。
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Pub Date : 2019-10-10DOI: 10.1093/oxfordhb/9780199935185.013.23
C. McKnight
The Russian composer Alfred Schnittke’s Faust cantata, Seid nüchtern und wachet (Be sober and watch), remarkably parallels the fictional work of the hero of Thomas Mann’s 1947 novel Doktor Faustus (Doctor Faustus). Mann’s novel is a retelling of the sixteenth-century Faust story in the light of the history of German music of the late nineteenth and early twentieth centuries. The central character, the composer Adrian Leverkühn, navigates the currents of social and artistic unrest. The fictional composer’s last work was the cantata D. Fausti Weheklag (The Lamentation of Doctor Faustus) with a text drawn from the 1587 Spies Faust Book. One of the first readers of Mann’s novel, Schnittke patterned much of his own life on his fictional counterpart. The main characteristic of both Schnittke’s and Leverkühn’s cantatas is a pervasive sense of paradox.
俄罗斯作曲家阿尔弗雷德·施尼特克(Alfred Schnittke)的《浮士德》(Faust)大合唱《Seid nchtern und wachet》(保持清醒和警惕)与托马斯·曼(Thomas Mann) 1947年的小说《浮士德博士》(Doctor浮士德)中主人公的虚构作品惊人地相似。曼恩的小说是根据19世纪末和20世纪初的德国音乐史，重新讲述了16世纪的浮士德故事。故事的中心人物，作曲家阿德里安·勒弗尔k恩(Adrian leverkhn)，驾驭着社会和艺术动荡的潮流。这位虚构的作曲家的最后一部作品是康塔塔《浮士德博士的哀歌》(D. Fausti Weheklag)，剧本取自1587年的《间谍浮士德书》。作为曼恩小说的第一批读者之一，施尼特克把自己的大部分生活都模仿了曼恩小说中的主人公。施尼特克和勒弗的康塔塔的主要特点都是一种无处不在的悖论感。
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Pub Date : 2019-10-10DOI: 10.1093/oxfordhb/9780199935185.013.25
Raymond Knapp
The history of the American musical is framed by spectacular successes driven by Faustian elements: The Black Crook (1866, running for decades, based loosely on Weber’s Der Freischütz [The Freeshooter]) and The Phantom of the Opera (1988; still running as of 2019). Yet, straightforwardly Faust-based musicals are rare, with Damn Yankees (1955) being the single obvious example. A discussion of Damn Yankees relates it to other treatments in popular culture, including the film version of The Devil and Daniel Webster (1941), as a basis for a wider discussion of Faustian elements deployed in American musical theater, including magic, striving, earning, idealism, temptation, and sexuality, leading to a consideration of the Faustian bargain of the genre itself, which uses the magic of music, dance, sex, and spectacle to seduce audiences and achieve commercial success, but at the apparent price of its artistic soul.
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Pub Date : 2019-10-10DOI: 10.1093/oxfordhb/9780199935185.013.30
T. Grey
Richard Wagner’s explicit attempts at composing music for (or inspired by) Faust are a minor byproduct of his lifelong fascination with Goethe. More generally, the example of Faust provoked Wagner to continue thinking about the nature of theater, drama, and the possibilities of a “total dramatic artwork,” even after he had first formulated his ideas about a new musical-dramatic Gesamtkunstwerk in the essay Oper und Drama (1851). After reviewing Wagner’s critical engagement with Faust and his early compositional responses to it (the Sieben Kompositionen zu Goethes Faust [Seven Compositions on Goethe’s Faust] of 1830–31 and Eine Faust-Ouvertüre [A Faust Overture] of 1840, revised 1854–55), this chapter proposes some ways in which the endings of Wagner’s mature music dramas might be read as attempts to realize in operatic form the transfiguration through the agency of the “Eternal Feminine” that forms the apotheosis of part 2 of Goethe’s Faust.
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Pub Date : 2019-10-10DOI: 10.1093/oxfordhb/9780199935185.013.17
J. Rushton
On reading Gérard de Nerval’s translation of Goethe’s Faust, Hector Berlioz set nine lyrics, grouped into eight miscellaneous pieces, which he immediately published (April 1829) as Huit scènes de Faust (Eight Scenes from Faust). This, his opus 1, was well received by fellow musicians, but he withdrew it, subsequently reworking the material in a full-scale dramatic work, La damnation de Faust (The Damnation of Faust) (1846), the title of which separates it from Goethe’s larger scheme in which, as Berlioz remarked, “Faust is saved.” Although Berlioz’s Faust suffers from ennui, suicide is prevented by the Easter Hymn and a nostalgic vision of childhood piety. Méphistophélès intervenes directly at this point, and controls the remaining action, in which Berlioz contrasts the purity of Marguerite (Gretchen) with demonic manifestations; in these Berlioz subverts musical expectations, notably turning a minuet of “follets” into one of music’s most fascinating evocations of the romantic grotesque.
赫克托耳·柏立兹读了格姆扎尔·德·内瓦尔翻译的歌德的《浮士德》后，写下了九首歌词，分成八首杂文，并立即出版(1829年4月)，名为《浮士德八景》。他的作品《浮士德的诅咒》(La damnation de Faust)(1846)是一部完整的戏剧作品，其标题将其与歌德的更大的计划区分开来，正如柏辽兹所说，“浮士德得救了”。尽管柏辽兹的《浮士德》饱受无聊之苦，但复活节圣歌和童年虔诚的怀旧景象阻止了自杀。在这一点上，msamhistophsamuts直接介入，并控制了剩余的行动，柏辽兹将玛格丽特(格雷琴饰)的纯洁与恶魔的表现进行了对比;在这些作品中，柏辽兹颠覆了人们对音乐的期望，尤其是把一首“跟随”的小步舞曲变成了音乐中最迷人的浪漫怪诞的召唤之一。
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