OXFORD UNIVERSITY PRESS

The Oxford Handbook of Faust in Music

ISBN : 9780199935185

Price(incl.tax): 
¥28,710
Author: 
Lorna Fitzsimmons; Charles McKnight
Pages
648 Pages
Format
Hardcover
Size
171 x 248 mm
Pub date
Oct 2017
Series
Oxford Handbooks
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Since its emergence in sixteenth-century Germany, the magician Faust's quest has become one of the most profound themes in Western history. Though variants are found across all media, few adaptations have met with greater acclaim than in music. Bringing together more than two dozen authors in a foundational volume, The Oxford Handbook of Faust in Music testifies to the spectacular impact the Faust theme has exerted over the centuries. The Handbook's three-part organization enables readers to follow the evolution of Faust in music across time and stylistic periods. Part I explores symphonic, choral, chamber, and solo Faust works by composers from Beethoven to Schnittke. Part II discusses the range of Faustian operas, and Part III examines Faust's presence in ballet and musical theater. Illustrating the interdisciplinary relationships between music and literature and the fascinating tapestry of intertextual relationships among the works of Faustian music themselves, the volume suggests that rather than merely retelling the story of Faust, these musical compositions contribute significant insights on the tale and its unrivalled cultural impact.

Index: 

List of Figures
List of Musical Examples
List of Tables
List of Contributors
Acknowledgments

Introduction
CHARLES MCKNIGHT AND LORNA FITZSIMMONS

PART I SYMPHONIC, CHORAL, CHAMBER, AND SOLO FAUST WORKS
1. Selected Settings from Auerbachs Keller
ALBERTO RIZZUTI
2. Musical Remembering in Schubert's Faust Settings
MARJORIE HIRSCH
3. Intertextuality in the Faust Compositions of Fanny Hensel and Felix Mendelssohn Bartholdy
CORNELIA BARTSCH
4. Berlioz, Faust, and the Gothick
JULIAN RUSHTON
5. Schumann's Struggle with Goethe's Faust
LAURA TUNBRIDGE
6. Ideas of Redemption and the Total Art-Work in Wagner's Encounters with Faust
THOMAS S. GREY
7. Liszt's Faust Complexes
JONATHAN KREGOR
8. Gounodian Fausts by Pablo de Sarasate, Joan Baptista Pujol, and Felip
Pedrell i Sabate
ROLF BACKER
9. Mahler's Eighth and the Faust Symphonic Tradition
JAMES L. ZYCHOWICZ
10. Hanns Eisler and Faust in the SBZ/GDR
JOY H. CALICO
11. The Paradoxical Faust Cantatas of Adrian Leverkuhn and Alfred Schnittke
CHARLES MCKNIGHT

PART II FAUST IN OPERA
12. Louis Spohr's Tragic Faust
CLIVE MCCLELLAND
13. The Genesis, Transformations, Sources, and Style of Gounod's Faust
VINCENT GIROUD
14. Mefistofele Triumphant
MICHELE GIRARDI
15. Extending the Reach of Ferruccio Busoni's Doktor Faust
MARC-ANDRE ROBERGE
16. The Faustian and Mephistophelean Worlds in Stravinsky's The Rake's Progress
MAUREEN A. CARR
17. Havergal Brian's Operatic Tour de Force Faust
JURGEN SCHAARWACHTER
18. Reflections of the Contemporary Schizophrenia in Josef Berg's Two Versions
of Johanes doktor Faust
MARTIN FLASAR
19. The Serial Concept in Pousseur's Votre Faust
ANDRE BREGEGERE
20. History and Faust in Doctor Atomic
REBECCA CYPESS
21. Pascal Dusapin's New Lyrical Style in Faustus, the Last Night
JACQUES AMBLARD

PART III FAUST IN BALLET AND MUSICAL THEATER
22. Faust Goes Dancing
KRISTIN RYGG
23. Heinrich Heine's Faust Ballet Scenario, 1846-1948
DAVID CONWAY
24. The American Musical and the Faustian Bargain
RAYMOND KNAPP
25. Faust Rocks the Stage (Not)
ELIZABETH L. WOLLMAN
26. Helen Gifford's Marlovian Regarding Faustus
MARK CARROLL

Index

About the author: 

Lorna Fitzsimmons is Professor of Humanities at California State University, Dominguez Hills. She has taught an interdisciplinary course on Faustian literature, music, and visual culture for over a decade. She is also the editor of Lives of Faust: The Faust Theme in Literature and Music. A Reader; International Faust Studies: Adaptation, Reception, Translation; Goethe's Faust and Cultural Memory: Comparatist Interfaces; and Faust Adaptations from Marlowe to Aboudoma and Markland.; Charles McKnight is Associate Professor Emeritus of Music at the University of North Carolina at Asheville. He holds a PhD in Music from Cornell University, specializing in Russian music. A professional trombonist in New York City for eighteen years, he performed with ballet orchestras such as the American Ballet Theatre, New York City Ballet, and the Joffrey Ballet. As an academic he teaches music history, music theory, and Russian studies.

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