Since the original publication online of The Faust Legend in Music in early 2001, the number of web sites, university courses, and publications with a general interest in Faust as well as a particular interest about Faust in music has grown enormously. Numerous suggestions have been received from readers of the original pages resulting in planned updates, the last occurring in 2003. The knowledge and interest from readers encouraged me to add their submissions and corrections in this revision, late as it is in coming to fruition. The delay in producing this revision was well served by the phenomenal increase in the pages added to the Internet about Faust in music. The names of contributors are in the acknowledgment section at the end.
The original music compilation sought to base the Faust compositions on a known text or representation, from the medieval era's German puppet plays to the well-known works of Goethe and Marlowe, and on to contemporary music and literature. There are so many variants of the Faust theme that I considered how to make a discrete separation between the Faust ur-texts and the variants. I first decided to limit the compilation to the Faust legend based on these ur-texts. However, there are many "pact with the devil" themes in literature and the arts quite independent of the historical Faust character and of Goethe's and other texts. Such variations of a Faust-like character exist in many guises – most notably the Polish legend of Pan Twardowski. A reader's suggestion that Weber's Der Freischütz and Stravinsky's L'Histoire du Soldat be added to The Faust Legend in Music seemed warranted in light of the wide acceptance of these variants as falling within or near the Faust tradition. Other examples of such variants are now to be found in this catalogue, including silent film accompaniments and film soundtrack music. The designation “Soundtrack” in the Type column means that an original musical score was composed for a film, either silent or sound.
At the end of the entries is a selected bibliography on the subject of Faust in music; most entries appeared in the original compilation. Hans Henning's Faust-Bibliographie is considered the magisterial work in Faust bibliographic research, with the final volume appearing in the mid-1970s. Three items added to the last revision in 2003 deserve mention since they are especially rich sources of Faust in music: they are the entries for Walter Aign, Hermann Fähnrich, and Hedwig Meier from which additional composers and compositions have been extracted. Not to be overlooked are the ever-widening resources available online. The Internet/World Wide Web has been mined for its richness in the field of Faust in music, and it has produced its fair share of contributions to this list.
As always, this is a work in progress. Despite detailed cross-checking in standard English- and German-language authorities, errors and omissions are bound to occur; therefore, corrections and additions are always quite welcome from readers.
With this revised publication of the Faust Legend in Music, I wish to honor Charles K. Moss who died in February 2008. Charley was the creator of the site Carolina Classical Connection where this work first was published, and he was the first webmaster of the Schubert Society of the USA which I founded. Immediately after his death, Carolina Classical Connection was taken down and The Faust Legend in Music disappeared from the Internet. For his dedication to our much beloved muse and for providing over the years his incalculable efforts in making my work and the work of so many others available online
In Memorian Charles K. Moss.
acc. = accompaniment
arr. = arranged, arrangement
c. = circachor. = chorus
collab. = collaborator
comp. = composed
fl. = flourished
fp = first performance (if blank, fp date is unknown or subject to verification)
Faust, or Faust I, or Faust I, II = Goethe's Faust
mvmt. = movement
op. = opus
orch. = orchestra, orchestrated
pub. = published
rev. = revised
S = Soprano, A = Alto, T = Tenor, B = Baritone, B-B =Bass-baritone. M = Mezzo
v = voice
vv = voices
? = unable to identify or verify in a standard authority
blank field = unable to identify or verify in a standard authority
2H = two-hands
4H = four-hands
Walter AIGN, Faust im Lied, Stuttgart: K. Theens, 1975. Volume 1 of Faust in der Musik, ed. Karl Theens, 1975-78.
Andreas BALLSTAEDT, et al., Musik in Goethes Werk, Schliengen: 2000.
Jean-Pierre BARRICELLI, "Faust and the Music of Evil," Journal of European Studies 13.1-2, 1983: 1-26.
William J. BURLING, New Plays on the London Stage, 1700–1810, Version 1.3 January 2006. All contents © 2006 by William J. Burling. [Lists dramatic and musical stage works based on the Faust theme.]
Robbie DELL’AIRA and Feico HOEKSTRA, Faustius. Een geschiedenis van Faust in Nederland, Zaltbommel: Uitgeverij Europese Bibliotheek, 2002.
Osman DURRANI, ed., Faust [Icons of Modern Culture], RRP: 2004.
Hermann FÄHNRICH, Faust in Kantaten, Oratorien, Symphonischen Dichtungen und Symphonischen Kantaten, Stuttgart: K. Theens, 1978. Volume 2 of Faust in der Musik, ed. Karl Theens, 1975-78.
Marcia GREEN, "'The Demonic Pact': The Faust Myth in Music and Literature." Ars LYRICA 6, 1992: 33.
Marcia GREEN, "Exploring a Myth: Faust in Music & Drama" Ars LYRICA 6, 1992: 34.
William E. GRIM, The Faust Legend in Music and Literature, vol.1, 1987; vol.2, 1992, Lewiston, NY: Edwin Mellen Press, 1987, 1992.
Hans HENNING, Faust-Bibliographie. - Berlin, Weimar: Aufbau-Verlag, 1966-1976.
Vol. 3: Das Faust-Thema neben und nach Goethe. 1976. [Music: see pages 281-360]
Maurice HINSON, The Pianist's Guide to Transcriptions, Arrangements, and Paraphrases, Bloomington: Indiana University Press, 1990. [A music scholar's guide, in alphabetical order by composer name. By searching under a known composer of a Faust work, a published version for piano appears. For example, under the entry for Gounod one would find Liszt's transcription of the waltz from Gounod's Faust.]
Coit Roscoe HOECHST, "Faust" in Music, Gettysburg, PA: Gettysburg Compiler Print, 1916. University of Pittsburgh Ph.D. dissertation. [Bibliography for the 18th and 19th centuries.]
James William KELLY, The Faust Legend in Music, Ph.D. dissertation, Music History and Literature, Northwestern University, 1960. [Bibliography updated 1974, published1976. Musical type, e.g. opera, symphony, choral, orchestral, song, and so on, categorizes both bibliographies. In most instances, the song titles are listed. For a complete list of songs, see both 1960 and 1974 Kelly bibliographies.]
Carlo MARINELLI, Faust e Mefistofele nelle opere teatrali e sinfonico-vocali, Treviso: 1986 (Istituto di Ricerca per il Teatro Musicale, 1986). [Discography.]
Andreas MEIER, Faustlibretti: Geschichte des Fauststoffs auf der europäischen Musikbühne nebst einer lexikalischen Bibliographie der Faustvertonungen, Frankfurt am Main: Peter Lang Verlag, ca. 1990. [Originally doctoral dissertation.]
Hedwig MEIER, Die Schaubühne als musikalische Anstalt. Studien zur Geschichte und Theorie der Schauspielmusik im 18. und 19. Jahrhundert sowie zu ausgewählten "Faust"-Kompositionen, Bielefeld: Aisthesis Verlag, 1999. [Originally doctoral dissertation.]
Carl NIESSEN, Katalog der Ausstellungen Faust auf der Bühne; Faust in der Bildenden Kunst. Zur Jahrhundertfeier der Uraufführung des ersten Teiles in Braunschweig veranstaltet von der Landeshauptstadt Braunschweig und der Goethe-Gesellschaft, Hrsg. vom Rate der Stadt. Braunschweig, Vieweg, 1929.
Ernest PRODOLLIET: Faust im Kino. Die Geschichte des Faustfilms von den Anfängen bis in die Gegenwart, Freiburg: Universitätsverlag, 1978. [Film adaptations.]
Margit RADERS, “Der Titel in der Faust-Tradition: Konventionalität, Originalität, Intertextualität,” in Jochen Mecke and Susanne Heiler, eds., Titel-Text-Kontext: Randbezirke des Textes: Festschrift für Arnold Rothe zum 65. Geburtstag, Glienicke/Berlin and Cambridge, MA: Galda+Wilch Verlag, 2000, 73-100.
James SIMON, Faust in der Musik, Berlin: Bard, Marquardt, 1906. [Music facsimiles.]
Gerhard STUMME, Faust als Pantomime und Ballett, Leipzig: Poeschel & Trepte, 1942. [History of Faust in ballet and pantomimes.]
This and earlier revised versions would not have been possible without the knowedgable contribution, assistance, and interest of the following:
Jonathan Bardolph, UK; Sandra Castro Bayona, Spain; Nicholas A.C. Blake, UK; Robert Coldwell, USA; Dr. Robbie Dell’Aira, The Netherlands; John Gessner, USA; Theodore J. van Houten, The Netherlands; Dr. Frank Hentschel, Germany; Dr. Ina Iske-Schwaen, Germany; Sam Jacobson, USA; Prof. Sergi Jordà, Spain; Dr. Bernhard A. Kohl, Germany; Dr. Darren Kriticos, Australia; Dr. Andreas Meier, Germany; Stephan Möller, Austria; Harry Oudekerk, The Netherlands; Michael Postweiler, Germany; Dr. Laura Danæ Stanfield Prichard, USA; Daniel A. Sonneborn, USA; John Maxwell Taylor, USA; Dr. Rudolf Volz, Germany; Dr. Melvyn Willin, UK.
Special thanks to THEODORE J. van HOUTEN (Netherlands), silent film and film music historian, researcher, musicologist, writer, and live cinema producer, for the progam book of the 2003 restored original version of F.W. Murnau’s silent film Faust. Eine deutsche Volkssage. The program makes the distinction that the accompanying music for the film’s premiere on August 25, 1926 was by Ernö Rapée while upon the film’s release on October 14, 1926, the music credits were for W.R. Heymann and Paul A. Hensel. Mr. Van Houten wrote the program text for the event’s organizer Stichting Film in Concert whose artistic director he was from 1994 to 2006.
Copyright © 2001 –2008 Janet I. Wasserman
From Wikipedia
Faust/us Renewed (series of short films, 1981-1989)
Damnation (series of short films, 1992-1998)
The Cabinet of Dr. Mephisto (series of animation short films, 1999-2006)
From Internet Movie Data Base
Faust’s Other: An Idyll (1988)
Faust 3: Candida Albacore (1988)