FAUST, PART 1 Third of Three Lectures

Total Page：16

File Type：pdf, Size：1020Kb

LECTURE NOTES FOR GOETHE'S FAUST, PART 1 Third of Three Lectures Faust and Margaret-Gretchen part after kissing in hortus conclusus (enclosed garden) or hortus amoris (garden of love) Faust repairs to cavern in forest (wild or Sublime locale), where he reflects, "I can no longer do without" (page 1) not woman, but Mephistopheles Mephistopheles visits Faust to urge return to Margaret; love-sick philosophe declares, "I...envy the body of our Lord, | when her lips touch it at the altar" (page 2) Focus shifts to Margaret-Gretchen, who sings heartache lyric—"My peace is gone" (page 3)—while working spinning wheel; scene set to music in 1814 as soprano Lied (Romantic song) called "Gretchen am Spinnrade" by Franz Schubert On subsequent date in Marta's Garden, Margaret-Gretchen pushes Faust to assert belief in God; however, he's only prepared to say, "Feeling is all," offering something like an Ennlightenment Argument from Design—"Don't the heavens arch above us? Doesn't earth lie here under our feet?" (page 4) She also wants him to ditch Mephistopheles: "I can't pray when he's there" (page 9) Mephistopheles overhears Faust convince Margaret-Gretchen to drug mother; he wishes to "clasp you to my heart"—and Mephistopheles asserts, "I take pleasure in it too!" (i.e. voyeurism) (page 5) Next scene: at fountain, Margaret-Gretchen (who's now slept with Faust) learns fate of acquaintance Barbara: "feeding two"; "the flower is gone"; "We'll scatter chaff in front of her door" if she marries child's father (pages 5-6) Next scene: Margaret-Gretchen's brother, Valentine, recalls boasting to drinking comrades about "flower | Of maidenhood" (page 6); he challenges Faust to "[p]arry" or fight beneath Margaret- Gretchen's window (page 7) While "dying," he tells Margaret-Gretchen, "[Y]ou're a whore indeed" (page 8) She unsuccessfully seeks solace at Cathedral mass for "mother's soul" (page 9)—apparently, Faust's drug worked too well Choir sings Dies Irae ("Day of Wrath"), medieval poem about God's final judgment, while Evil Spirit (perhaps her guilty conscience) torments Margaret-Gretchen Mephistopheles conducts Faust through "labyrinth of valleys, | ...cliffs and gullies" (page 10) of Hartz Mountains to witness fire-intensive Volk rituals of Walpurgis Night Polymath Goethe conducted geological research in these mountains that Volk tradition associates with supernatural phenomena like "will o' the wisp" (page 10) and Broken Specter— optical illusion caused by magnification of one's shadow when it falls upon mist surrounding tallest Hartz peak, the Brocken (3,743 feet) Walpurgis Night (Walpurgisnacht): 30 April Christianization of pagan springtime fertility ritual, with bonfires to confound chaotic evil spirits Various mythic female types, such as Lilith, "[f]irst wife to Adam" (page 13)—not created from Adam's rib Arguably, most important: Baubo, who, "riding on a mother-sow," "goes first" (page 11) As compleX Walpurgis episode concludes, Faust believes he sees Margaret-Gretchen, but as well as "sweet body I enjoyed" there's "single scarlet cord... | Like a knife-cut" at her throat Sequel to Walpurgis Night episode: piece that offers German version of Shakespeare's play A Midsummer Night's Dream .

Copy Link

Recommended publications

THE POETIC MUSE: GOETHE, SCHUBERT and the ART of SONG Lorraine Byrne Bodley Anyone Who Ventures Into the Vast Regions of The
THE POETIC MUSE: GOETHE, SCHUBERT AND THE ART OF SONG Lorraine Byrne Bodley Anyone who ventures into the vast regions of the 19th-century Lied meets a powerful presence almost immediately. Time and again the text is by Goethe, whose lyric imagination left an indomitable imprint on European music history. Even a cursory glance at Friedlaender’s Das deutsche Lied bears testimony to multiple settings of Goethe’s poems and the range and variety of this abundant repertoire is immediately striking. Ernst Challier’s Grosser Lieder-Katalog gives further evidence of the musicality of Goethe’s language and its location of meaning at the cradle of the Lied. Schubert’s first masterpiece, ‘Gretchen am Spinnrade’, was a setting of a dramatic scene from Goethe’s Faust. The earliest songs of Reichardt, Spohr, Loewe, Brahms and Wagner were to texts by Goethe, which raises the question as to the reasons for the poet’s influence. Yes, Goethe was a supreme lyric poet. The binding force of form and meaning, or rhythm and sense, that characterizes Goethe’s lyric poetry offered composers a wealth of material with which to cut their compositional cloth. Yes, Goethe was an object of admiration, even veneration, throughout the 19th century and the sheer quantity and variety of music his poetry has inspired signals the huge fascination exerted by his writing and his personality. Yet the steadfastness of his occupancy of the Lied goes beyond these explanations. Deeper currents must explain why Goethe’s poetry goes hand in glove in our musical heritage. From the time he burst onto the literary scene with the publication of Die Leiden des jungen Werther in 1774 until long after his death in 1832, Goethe was a catalyst for many composers who wanted to challenge what song could be.
[Show full text]
Industrialism, Androids, and the Virtuoso Instrumentalist
UNIVERSITY OF CALIFORNIA Los Angeles Performing the Mechanical: Industrialism, Androids, and the Virtuoso Instrumentalist A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Leila Mintaha Nassar-Fredell 2013 © Copyright by Leila Mintaha Nassar-Fredell 2013 ABSTRACT OF THE DISSERTATION Performing the Mechanical: Industrialism, Androids, and the Virtuoso Instrumentalist by Leila Nassar-Fredell Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert S. Winter, Chair Transactions between musical androids and actual virtuosos occupied a prominent place in the music of the eighteenth and nineteenth centuries. Instrumentalists and composers of instrumental music appropriated the craze for clockwork soloists, placing music in a position of increased social power in a society undergoing rapid technological transformation. The history of musical automata stretches back to antiquity. Androids and automata, vested by audiences with spiritual and magical qualities, populated the churches of the broader populations and the Renaissance grottos of the aristocracy. As ii the Industrial Revolution began, automata increasingly resembled the machines changing the structure of labor; consequently, androids lost their enchanted status. Contemporary writers problematized these humanoid machines while at the same time popularizing their role as representatives of the uncanny at the boundaries of human identity. Both instrumental performers and androids explored the liminal area between human and machine. As androids lost their magic, musical virtuosos assumed the qualities of spectacle and spirituality long embodied by their machine counterparts. In this process virtuosi explored the liminal space of human machines: a human playing a musical instrument (a machine) weds the body to a machine, creating a half-human, half-fabricated voice.
[Show full text]
Franz Schubert Written and Narrated by Jeremy Siepmann with Tom George As Schubert
LIFE AND WORKS Franz Schubert Written and narrated by Jeremy Siepmann with Tom George as Schubert 8.558135–38 Life and Works: Franz Schubert Preface If music is ‘about’ anything, it’s about life. No other medium can so quickly or more comprehensively lay bare the very soul of those who make or compose it. Biographies confined to the limitations of text are therefore at a serious disadvantage when it comes to the lives of composers. Only by combining verbal language with the music itself can one hope to achieve a fully rounded portrait. In the present series, the words of composers and their contemporaries are brought to life by distinguished actors in a narrative liberally spiced with musical illustrations. Unlike the standard audio portrait, the music is not used here simply for purposes of illustration within a basically narrative context. Thus we often hear very substantial chunks, and in several cases whole movements, which may be felt by some to ‘interrupt’ the story; but as its title implies the series is not just about the lives of the great composers, it is also an exploration of their works. Dismemberment of these for ‘theatrical’ effect would thus be almost sacrilegious! Likewise, the booklet is more than a complementary appendage and may be read independently, with no loss of interest or connection. Jeremy Siepmann 8.558135–38 3 Life and Works: Franz Schubert © AKG Portrait of Franz Schubert, watercolour, by Wilhelm August Rieder 8.558135–38 Life and Works: Franz Schubert Franz Schubert(1797-1828) Contents Page Track Lists 6 Cast 11 1 Historical Background: The Nineteenth Century 16 2 Schubert in His Time 26 3 The Major Works and Their Significance 41 4 A Graded Listening Plan 68 5 Recommended Reading 76 6 Personalities 82 7 A Calendar of Schubert’s Life 98 8 Glossary 132 The full spoken text can be found on the CD-ROM part of the discs and at: www.naxos.com/lifeandworks/schubert/spokentext 8.558135–38 5 Life and Works: Franz Schubert 1 Piano Quintet in A major (‘Trout’), D.
[Show full text]
Goethe's Faust Essay Prize for Sixth-Formers Further Resources
A German Classic: Goethe’s Faust Essay Prize for Sixth-Formers Further Resources Urfaust and Faust, Part II Johann Wolfgang von Goethe: Urfaust (1775) Johann Wolfgang von Goethe: Faust. Der Tragödie zweiter Teil (1832) Faust before Goethe Johann Spies: Historia von D. Johann Fausten (1587) Christopher Marlowe: Doctor Faustus (1592) Faust after Goethe Thomas Mann: Doktor Faustus (1947) Faust as film Faust, dir. by F.W. Murnau, with Gösta Ekman, Emil Jannings and Camilla Horn(silent film, 1926) Faust, dir. by Alexander Sokurov, with Johannes Zeiler, Anton Adasinsky and Isolda Dychauk (Russian film, 2011) Faust and music Franz Schubert: Gretchen am Spinnrade (Lied, 1814) Hear Kiri Te Kanawa sing Gretchen’s love song ‘Meine Ruh ist hin’ (‘My peace has gone’) (https://www.youtube.com/watch?v=MY0eeotSDi8). You may also wish to have a look at – and listen to – this course on Schubert’s settings of Goethe’s poems: http://www.open.edu/openlearn/history-the-arts/history/history-art/schuberts-lieder- settings-goethes-poems/content-section-0 Hector Berlioz, La damnation de Faust (opera, 1846) – see the production by Monty Python’s Terry Gilliam (http://www.bbc.co.uk/programmes/b010xwhh) Charles Gounod: Faust (opera, 1859) Ferruccio Busoni: Doktor Faust (opera, 1924) Faust to go In case you’re in need of some light inspiration, here is a summary of Faust I. Don’t worry if you can’t even begin to keep up with Michael Sommer’s German – he speaks extraordinarily fast and uses slang and rather specialised allusions. But you should be able to work out
[Show full text]
Schubert Lieder
CHRISTIAN ELSNER SCHUBERT LIEDER ORCHESTRATED BY MAX REGER & ANTON WEBERN Rundfunk-Sinfonieorchester Berlin Marek Janowski FRANZ SCHUBERT (1797–1828) 6 Prometheus D 674 5. 09 Poem by Johann Wolfgang von Goethe Lieder Orchestrated by Max Reger Orchestrated by Max Reger and Anton Webern 7 Nacht und Träume (Heil’ge Nacht, du sinkest nieder) D 827 2. 38 1 An die Musik (Du holde Kunst) D 547 2. 07 Poem by Matthäus von Collin Poem by Franz von Schober Orchestrated by Max Reger Orchestrated by Max Reger Gesänge des Harfners D 478 2 Erlkönig D 328 3. 49 Lyrics from “Wilhelm Meisters Lehrjahre” by Johann Wolfgang Poem by Johann Wolfgang von Goethe von Goethe Orchestrated by Max Reger Orchestrated by Max Reger 8 No. 1: Wer sich der Einsamkeit ergibt 3. 52 3 Du bist die Ruh’ D 776 3. 09 9 No. 2: Wer nie sein Brot mit Tränen aß 4. 11 Poem by Friedrich Rückert 10 No. 3: An die Türen will ich schleichen 2. 06 Orchestrated by Anton Webern 11 Gruppe aus dem Tartarus D 583 3. 01 4 Greisengesang (Der Frost hat mir bereifet) D 778 6. 02 Poem by Friedrich Schiller Poem by Friedrich Rückert Orchestrated by Max Reger Orchestrated by Max Reger 12 Tränenregen (from “Die schöne Müllerin”) D 795 No. 10 5. 35 5 An den Mond D 296 3. 54 Poem by Wilhelm Müller Poem by Johann Wolfgang von Goethe Orchestrated by Anton Webern Orchestrated by Max Reger 13 Der Wegweiser (from “Die Winterreise”) D 911 No. 20 4. 06 Poem by Wilhelm Müller Orchestrated by Anton Webern 14 Memnon (Den Tag hindurch nur einmal mag ich sprechen) D 541 3.
[Show full text]
Faust, Part I Ebook Free Download
FAUST, PART I PDF, EPUB, EBOOK Goethe | 240 pages | 28 Aug 2015 | Penguin Books Ltd | 9780140449013 | English | London, United Kingdom Faust, Part I PDF Book But forever green is the tree of life. Get Faust. Reed puts it in his biography Goethe of Goethe and Schiller and is considered the culmination of German literature. Hopkins, G. The close of the 18th century in Germany was a time very much like the Renaissance. Refresh and try again. Homunculus, Mephistopheles, and Faust went to Greece, where Mephistopheles borrowed from the fantastic images of classical mythology one of their grotesque forms. External Websites. If there be spirits in the air That hold their sway between the earth and sky, Descend out of the golden vapors there And sweep me into iridescent life. After a painful struggle with himself, Faustus is carried off by the devil at the end of the play. In what ways does Goethe's depiction of Heaven seem unorthodox? Relevant discussion may be found on the talk page. He drew on an immense variety of cultural material—theological, mythological, philosophical, political, economic, scientific, aesthetic , musical, literary—for the more realistic Part I no less than for the more symbolic Part II. Previous Poem Summary. Mephistopheles brings Marthe the news that her long absent husband has died. The history of the legend's development and its expansion into broader moral and philosophical spheres is also an intellectual history of mankind. A remedy. Gretchen and Lieschen's discussion of an unmarried mother, in the scene at the Well, confirms the reader's suspicion of Gretchen's pregnancy.
[Show full text]
Functions of Metrical Dissonance in Schubert's Songs
Functions of Metrical Dissonance in Schubert’s Songs Harald Krebs ABSTRACT Schubert employs both grouping and displacement dis- sonance very effectively in his Lieder, with definite ends in view. Much of his metrical dissonance could be termed pictorial or onomatopoeic; metrical conflicts in his piano parts often conjure up particular sounds or actions that are mentioned in the text. Many of the metrical dissonances in Schubert’s songs represent not physical objects or activity, but internal, spiritual phenomena – particularly inner upheavals and tensions. Metrical dissonances in Schubert’s songs may also have purely structural instead of, or in addition to repre- sentational functions. In Winterreise, for instance, the disso- nances, beyond their various text-related connotations, also assume a motivic function: particular specific displacement dissonances recur frequently. In Schubert’s tonally deviating songs—songs that begin in one key and end in another— metrical dissonance may act as a highlighter of significant moments within the tonal drama. The analyses provided here reveal that Schubert is a pioneer of the powerful appli- cation of metrical dissonance in the Lied, and that his skill at subtly manipulating this device for text-expressive and struc- tural purposes was no less remarkable than that reflected in his manipulation of harmony and tonality. 1 2 Harald Krebs We can conceive of musical meter as a set of layers of regular pulses, those pulses being created by various types of accents, by repetitions of patterns, by changes of harmony, and other musical features. Each notated meter is defined by a particular set of lay- ers—six-eight time, for instance, by aligned six- and three-eighth- note layers.
[Show full text]
Goethe's Faust in Music
Music in Goethe’s Faust: INTERNATIONAL CONFERENCE Goethe’s Faust in Music CALL FOR PAPERS 20-22 April 2012 Music Department and School of Modern Languages, Literatures and Culture NATIONAL UNIVERSITY OF IRELAND MAYNOOTH Music in Goethe’s Faust: Goethe’s Faust in Music Keynote Speakers Professor Nicholas Boyle (Schroeder Professor of German, Magdalene College Cambridge) Professor Thomas Bauman (Professor of Musicology, Northwestern University, USA) Professor Osman Durrani (Professor of German, University of Kent) The name ‘Faust’ and the adjective ‘faustian’ are as emblematic of the supra-intellectual as they are of the tragic. Such concepts haunt German cultural life and have prompted countless discussions in philosophy, literature, the visual arts and music, especially in the second half of the nineteenth and early twentieth centuries. Through this a broad trajectory can be traced from Zelter’s colourful record of the ﬁrst setting of Goethe’s Faust - composed by prince and rehearsed by a royal cast in Berlin in 1816 - to Alfred Schnittke’s Faust opera of 1993. Between these two realizations, a ﬂoodtide of musical interpretations of Goethe’s Faust came into existence; these explore the theme of love, so central to opera, and the concomitant themes of redemption for both Gretchen and Faust. A theatrical work with the artistic virtuosity and moral gravity of Goethe’s Faust need not be musically inclusive, yet Goethe sought out many burgeoning musicians - Heinrich Schmieder, Carl Friedrich Zelter, Carl Eberwein and Prince Anton Heinrich Radziwill – as possible composers of Faust. While Goethe longed to have Faust set to music and considered only Mozart and perhaps Meyerbeer as being equal to the task, by the end of his life he had abandoned hope that he would live to witness a musical setting of his text.
[Show full text]
The Synergy of Film and Music
The Synergy of Film and Music Sight and Sound in Five Hollywood Films Peter Rothbart THE SCARECROW PRESS, INC. Lanham • Toronto • Plymouth, UK 2013 12_408-Rothbart.indb i 12/3/12 3:17 PM Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com 10 Thornbury Road, Plymouth PL6 7PP, United Kingdom Copyright © 2013 by Scarecrow Press, Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Rothbart, Peter. The synergy of film and music : sight and sound in five Hollywood films / Peter Rothbart. p. cm. Includes bibliographical references and index. ISBN 978-0-8108-8758-9 (cloth : alk. paper) — ISBN 978-0-8108-8759-6 (pbk. : alk. paper) — ISBN 978-0-8108-8760-2 (ebook) 1. Motion picture music—United States—History and criticism. 2. Motion pictures—Sound effects. I. Title. ML2075.R67 2013 781.5'420973—dc23 2012033467 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America 12_408-Rothbart.indb ii 12/3/12 3:17 PM
[Show full text]
High-Fidelity-1964-0
000.ss.gooVs".s°.1 ,-, .. .. A Portfolio of Stereo Décor www.americanradiohistory.com VM AU I i3M r1 T tt. itViC.S ÍM V`)tc J( 1 M[)NC? t APE 11FAD SO Drs to this all -in -one Fisher receiver! Most important of all, each of these three sections is just as modest version of the 500 -C at substantially lower cost. ruggedly built, just as reliable in operation, just as free from Any Fisher stereo receiver is ready to play as soon as you overheating and other life- expectancy problems as any sepa- take it out of its shipping carton. Simply connect a pair of good rately sold Fisher component. No other manufacturer has gone loudspeakers to it-preferably as good as the Fisher XP -4A's quite in single- that far chassis stereo receiver design. (That is shown on the right. The famous XP -4A is a 3 -way system that undoubtedly the reason why the Fisher 500 -C is the best -selling has been called "one of the best, most truly musical reproducers high fidelity component in the world today.) available today" by no less an authority than Julian D. Hirsch. In areas where AM stations are still an important source of There is no better `marriage' in stereo today than that of a music, most users will prefer the new Fisher 800 -C, which is Fisher 500 -C with a pair of these superlative speakers. completely identical to the 500 -C except for including, in addi- Prices: Fisher 500 -C, $389.50; Fisher 800 -C, $449.50;Fisher tion, a high- sensitivity AM tuner section with adjustable 400, $329.50; Fisher XP -4A, $199.50; walnut or mahogany (Broad /Sharp) bandwidth plus a ferrite-rod AM antenna.
[Show full text]
Reflections on My Journey Using Visual Media in a Voice Recital
REFLECTIONS ON MY JOURNEY USING VISUAL MEDIA IN A VOICE RECITAL by Claudia Salcedo A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2016 Approved by ______________________________ Advisor: Professor Nancy Maria Balach ______________________________ Reader: Dr. Michael Gardiner ______________________________ Reader: Dr. Nancy Wicker © 2016 Claudia Salcedo ALL RIGHTS RESERVED ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my thesis advisor, Ms. Nancy Maria Balach. Without her, this recital would have never come to fruition. I thank her for unyielding support and guidance. She has been fundamental in my growth as a musician and person. I can not thank her enough for going above and beyond for me. I would also like to thank my committee members, Dr. Michael Gardiner and Dr. Nancy Wicker, for their advisement and encouragement. I would like to extend my thanks to Mr. Charlie Miles for his technical support and guidance. Furthermore, I would like to thank the faculty and staff of the University of Mississippi’s Music Department and Sally McDonnell Barksdale Honors College. I thank them for my unique experience throughout my undergraduate study. Finally, I thank my friends and family for their support throughout my four years at the University of Mississippi. I want to specifically thank Anna Brigance for her friendship and support; my fellow music majors for their daily care and encouragement; and my church family at First Presbyterian Church of Oxford for the laughs, prayers, and music. Thank you. iii ABSTRACT Reflections on My Journey Using Visual Media in a Voice Recital The following thesis is a reflection of one student’s process and execution of her vocal recital in which she incorporated visual media (digital paintings, light graphics, and videos).
[Show full text]
Gretchen Am Spinnrade Aus Faust (Erster Teil, ‘Gretchens Stube’)
Gretchen am Spinnrade Aus Faust (erster Teil, ‘Gretchens Stube’). Wolfgang Goethe (1749-1832) Franz Schubert (1798-1828) Nicht zu geschwind. Singstimme. 6 8 ! 3 ( * * > > :> > > > Mei ne Ruh ist sempre legato 6 3 8 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > Pianoforte. pp V V V V V V V 6 ¥ 8 > * > > * > > * > > * > > * > > * > =: =: =: 3 sempre staccato 4 >: > 3 :> > * > > :> ( > :> > > hin, mein Herz ist schwer; ich ﬁn de, ich 3 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > cresc. V ¥ >: > * > > * > > * > >: > * > > * > > * > > > = > > > > 3 * > : : * > : =: V V 8 >: > 3 2>: > > > >: > > 2> :> ( * ﬁn de sie nim mer und nim mer mehr. > > > > > > > > 3 3> > > > > > > > > > > > > > > > > > > > 3> > > > > > > > > > > > > > > > > > > > f decresc. ¥ 2> * 3>> > * >> > * > > * > 2> * 3>> > * >> > * > > * > 3 > := > > := > > := > > := > 12 ! 3 ( * * > > :> > > > :> ( > Wo ich ihn nicht hab, ist 3 > 3> > > > > >2> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > pp > > ¥ > * > > * > > * > > * > > * > > * > > * > > * > 3 >:> >:> =: =: := Public Domain 2 16 3 2>: > > /> :> ( > :> > /> >: > 2> > mir das Grab, die gan ze Welt ist 3 /> > > > > > >2> > > > > > > > > > > > > > 2> >/> >2> > > > > > > 2> > > > > > > > > mf > > > > > > > ¥ * * * * * * * * 3 > > > > > := > > > 2> > > > 2> > > > =: 2 := =: 20 2> 3 ( > :> > > :> > * > / :> > > > >: mir ver gällt. Mein ar mer Kopf ist
[Show full text]