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Musical Remembering in Schubert’s Faust Settings 舒伯特《浮士德》背景中的音乐记忆
The Oxford Handbook of Faust in Music Pub Date : 2019-10-10 DOI: 10.1093/oxfordhb/9780199935185.013.28
M. Hirsch
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引用次数: 0
Selected Settings from “Auerbachs Keller” 选自《奥尔巴赫·凯勒》
The Oxford Handbook of Faust in Music Pub Date : 2019-10-10 DOI: 10.1093/oxfordhb/9780199935185.013.29
A. Rizzuti
{"title":"Selected Settings from “Auerbachs Keller”","authors":"A. Rizzuti","doi":"10.1093/oxfordhb/9780199935185.013.29","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780199935185.013.29","url":null,"abstract":"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.","PeriodicalId":383294,"journal":{"name":"The Oxford Handbook of Faust in Music","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113996778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Genesis, Transformations, Sources, and Style of Gounod’s Faust 古诺《浮士德》的起源、转变、来源与风格
The Oxford Handbook of Faust in Music Pub Date : 2019-10-10 DOI: 10.1093/OXFORDHB/9780199935185.013.4
V. Giroud
{"title":"The Genesis, Transformations, Sources, and Style of Gounod’s Faust","authors":"V. Giroud","doi":"10.1093/OXFORDHB/9780199935185.013.4","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780199935185.013.4","url":null,"abstract":"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.","PeriodicalId":383294,"journal":{"name":"The Oxford Handbook of Faust in Music","volume":"08 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122994074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Faust Goes Dancing 浮士德跳舞
The Oxford Handbook of Faust in Music Pub Date : 2019-10-10 DOI: 10.1093/oxfordhb/9780199935185.013.24
Kristin Rygg
{"title":"Faust Goes Dancing","authors":"Kristin Rygg","doi":"10.1093/oxfordhb/9780199935185.013.24","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780199935185.013.24","url":null,"abstract":"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.","PeriodicalId":383294,"journal":{"name":"The Oxford Handbook of Faust in Music","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122940897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Gounodian Fausts by Pablo de Sarasate, Joan Baptista Pujol, and Felip Pedrell i Sabaté
The Oxford Handbook of Faust in Music Pub Date : 2019-10-10 DOI: 10.1093/oxfordhb/9780199935185.013.32
Rolf Bäcker
{"title":"Gounodian Fausts by Pablo de Sarasate, Joan Baptista Pujol, and Felip Pedrell i Sabaté","authors":"Rolf Bäcker","doi":"10.1093/oxfordhb/9780199935185.013.32","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780199935185.013.32","url":null,"abstract":"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.","PeriodicalId":383294,"journal":{"name":"The Oxford Handbook of Faust in Music","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126020870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Schumann’s Struggle with Goethe’s Faust 舒曼与歌德的《浮士德》的斗争
The Oxford Handbook of Faust in Music Pub Date : 2019-10-10 DOI: 10.1093/oxfordhb/9780199935185.013.33
L. Tunbridge
{"title":"Schumann’s Struggle with Goethe’s Faust","authors":"L. Tunbridge","doi":"10.1093/oxfordhb/9780199935185.013.33","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780199935185.013.33","url":null,"abstract":"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.","PeriodicalId":383294,"journal":{"name":"The Oxford Handbook of Faust in Music","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125969472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
The Paradoxical Faust Cantatas of Adrian Leverkühn and Alfred Schnittke 阿德里安·勒沃克尔<e:1>和阿尔弗雷德·施尼特克的《浮士德的矛盾》大合唱
The Oxford Handbook of Faust in Music Pub Date : 2019-10-10 DOI: 10.1093/oxfordhb/9780199935185.013.23
C. McKnight
{"title":"The Paradoxical Faust Cantatas of Adrian Leverkühn and Alfred Schnittke","authors":"C. McKnight","doi":"10.1093/oxfordhb/9780199935185.013.23","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780199935185.013.23","url":null,"abstract":"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.","PeriodicalId":383294,"journal":{"name":"The Oxford Handbook of Faust in Music","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129451296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The American Musical and the Faustian Bargain 《美国音乐剧》与《浮士德交易
The Oxford Handbook of Faust in Music Pub Date : 2019-10-10 DOI: 10.1093/oxfordhb/9780199935185.013.25
Raymond Knapp
{"title":"The American Musical and the Faustian Bargain","authors":"Raymond Knapp","doi":"10.1093/oxfordhb/9780199935185.013.25","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780199935185.013.25","url":null,"abstract":"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.","PeriodicalId":383294,"journal":{"name":"The Oxford Handbook of Faust in Music","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132644382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Ideas of Redemption and the Total Artwork in Wagner’s Encounters with Faust 瓦格纳《与浮士德相遇》中的救赎思想与整体艺术
The Oxford Handbook of Faust in Music Pub Date : 2019-10-10 DOI: 10.1093/oxfordhb/9780199935185.013.30
T. Grey
{"title":"Ideas of Redemption and the Total Artwork in Wagner’s Encounters with Faust","authors":"T. Grey","doi":"10.1093/oxfordhb/9780199935185.013.30","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780199935185.013.30","url":null,"abstract":"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.\u0000","PeriodicalId":383294,"journal":{"name":"The Oxford Handbook of Faust in Music","volume":"458 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127726312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Berlioz, Faust, and the Gothic 柏辽兹、浮士德和哥特
The Oxford Handbook of Faust in Music Pub Date : 2019-10-10 DOI: 10.1093/oxfordhb/9780199935185.013.17
J. Rushton
{"title":"Berlioz, Faust, and the Gothic","authors":"J. Rushton","doi":"10.1093/oxfordhb/9780199935185.013.17","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780199935185.013.17","url":null,"abstract":"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.","PeriodicalId":383294,"journal":{"name":"The Oxford Handbook of Faust in Music","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131913900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
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