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Ergebnisanzeige "Music in Goethe's Faust: Goethe's Faust in Music"
RessourcentypCall for Papers
TitelMusic in Goethe's Faust: Goethe's Faust in Music
BeschreibungMusic in Goethe’s Faust: Goethe’s Faust in Musik
Call for Papers

20-22 April 2012
Department of Music and School of Modern Languages, Literatures and Culture,
National University of Ireland Maynooth

The name ‘Faust’ and the adjective ‘faustian’ are as emblematic of intellectual endeavour as they are of the tragic experience. Such concepts haunt German cultural life and have prompted countless discussions in philosophy, literature, the visual arts and music, the latter especially in the second half of the nineteenth and early twentieth centuries. A broad trajectory can be traced from Zelter’s colourful record of the first setting of Goethe’s Faust 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.

Goethe longed to have Faust set to music; and while he considered only Mozart and perhaps Meyerbeer as being equal to the task, he sought out many other musicians (Heinrich Schmieder, Carl Friedrich Zelter, Carl Eberwein and Prince Anton Heinrich Radziwill) as possible composers of Faust. Despite this and despite the numerous settings Faust has subsequently inspired, the centrality of Faust I and II in German music theatre remains under-explored. Conversely, musical references influenced form and content of Goethe's piece. In recent studies Hans Joachim Kreutzer (2003) has observed that the musical rhetoric of Faust I and II is organic and central to its form; and Tina Hartmann’s analysis of the musical material in Faust (2004) traces the intricate web of musico-theatrical connections in the text: Goethe’s concept of a world theatre in the prologue can be connected to the baroque operatic tradition, for example, and the choral songs of the Nacht scene to the Passions of Graun and Bach. This conference seeks to re-examine the musical origins of Goethe’s Faust and to explore the musical dimensions of its legacy. Possible areas of investigation could be:

Faust’s first appearance on the musical stage, Gesänge von Doktor Faust, Singspiel in 4 Acts (1819) by Ignaz Walter and the reliance of the librettist, C.A. Mämminger, on Goethe’s Faust: Ein Fragment (1790);
Musical realization of central themes in Goethe’s drama: Faust’s striving for knowledge, the Mephisto pact; the seduction of Gretchen and death of her mother; the music of redemption in Goethe’s Faust;
Problems in the reception of Goethe’s music theatre;
Interaction between Faust I and II and Goethe’s early works of music theatre, and their position in European music-theatrical history;
Goethe’s musicalization of the Faust legend, the genesis of musical structures in Faust I and Faust II and analytical discussion of Faust I and II as libretti;
The function of the chorus in Faust I and/or Faust II;
Music in Faust I: ‘The sun proclaims its old devotion’ (Prologue in Heaven); Angel’s Easter Chorus; the songs of the Gretchen tragedy (‘Der König in Thule‘, ‘Gretchen am Spinnrade’, ‘Gretchens Bitte’ (Gretchen vor der Mater Dolorosa/‘Ach neige, du Schmerzen reiche’), ‘Cathedral Scene’, Prison Scene’); ‘Mephisto’s Song of the Flea’ and ‘Brander’s Song of the Rat’ (Down in the cellar there lived a rat) in Auerbach’s Tavern; ‘The Beggar’s Song’, ‘The Soldier’s Song’ and ‘The Peasant’s Song’ in Outside the Town Wall; ‘A Walpurgis Night Dream. An Intermezzo’;
Music in Faust II: ‘Ariel’s Song’; ‘The Carnival Masque’; Classical Walpurgis Night’; ‘Arcadia’; The Helena Act’ (‘Helena, classic-romantic Phantasmagoria, Intermezzo to Faust); melodrama and intermezzi in Act IV; the lieto fine, ‘Mountain Gorges’ including Lynkeus’ Tower Song (A watchman by calling/ Far-sighted by birth); Dr Marianus’s ‘Queen and Ruler of the World’ and ‘Chorus Mysticus’;
Text setting in musical realizations of Faust I and/or Faust II;
Settings of Faust as Opera, Oratorio, Symphonic Works (see repertoire list below).

Proposals (no more than 300 words) for papers (in English or German) of 30 minutes duration should be sent to one of the following contact persons to arrive no later than Friday, 20 May 2011:

Dr Lorraine Byrne Bodley
Department of Music
National University of Ireland
Co. Kildare

Professor Florian Krobb
Department of German
National University of Ireland
Co. Kildare


Please also attach a brief biographical sketch (no more than 150 words). Proposals will be selected by the end of June 2011; a provisional programme will be available by September 2011. The conference organisers plan to publish a volume of selected conference contributions.

Quelle der BeschreibungInformation des Anbieters
PersonName: Krobb, Florian (Prof. Dr.) 
Funktion: Ansprechpartner 
KontaktdatenName/Institution: Department of German 
Strasse/Postfach: National University of Ireland Maynooth 
Postleitzahl: 0000 
Stadt: County Kildare 
Telefon: 00353 1 7083702 
Fax: 00353 1 7086499 
SchlüsselbegriffeLiteraturwissenschaft; Literatur 1770 - 1830; Medien- u. Kommunikationsgeschichte (Hand-, Druckschrift, Film, Rundfunk, Computerspiel usw.); Motiv- u. Stoffgeschichte; Theater (Aufführungspraxis)
Zusätzliches SuchwortMusik
Klassifikation01.00.00 Allgemeine deutsche Sprach- und Literaturwissenschaft > 01.03.00 Germanistik; 03.00.00 Literaturwissenschaft > 03.08.00 Poetik > 03.08.04 Dichtung und Musik; 13.00.00 Goethezeit > 13.03.00 Geistes- und Kulturgeschichte; 13.00.00 Goethezeit > 13.10.00 Klassik; 13.00.00 Goethezeit > 13.12.00 Gattungen und Formen > 13.12.02 Drama. Theater; 13.00.00 Goethezeit > 13.13.00 Stoffe. Motive. Themen
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